Global
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Another edition of Eurovision Song Contest – the pan-European Olympics of pop songwriting – has come and gone, but the competition’s impact lingers, with six songs appearing on the May 25-dated Billboard Global Excl. U.S. chart. Nemo’s “The Code” won for Switzerland and leads all charting songs, debuting at No. 21, while also cracking the Billboard Global 200 at No. 52.
“The Code” arrives with 21.6 million streams worldwide, 20.8 million of which, or 96%, were from outside the U.S., May 10-16, according to Luminate. It crowns Billboard’s Switzerland Songs, while placing in the top 10 on rankings reflecting activity in Austria, Belgium, Croatia, Finland, Greece, Iceland, Luxembourg and Sweden.
Eurovision runner-up Baby Lasanga’s “Rim Tim Tagi Dim”, representing Croatia, and fourth-place finisher Slimane’s “Mon Amour” (France) also debut on both global charts. The former is new at No. 64 on Global Excl. U.S. and No. 139 on the Global 200, and the latter starts at Nos. 61 and 144, respectively.
Plus, third-place finalist “Teresa & Maria” by Alyona Alyona and Jerry (Ukraine) hits Global Excl. U.S. at No. 130 and seventh-place finisher “La Noia” by Angelina Mango (Italy) arrives one spot higher at No. 129.
One other Eurovision song appears on both global charts, but you won’t find it on the competition’s leaderboard. Joost’s “Europapa,” representing the Netherlands, was disqualified from competing after the singer threatened Eurovision’s production crew. The ban may have helped spur global consumption, as its No. 24 re-entry on Global Excl. U.S. comes just below the winning track’s debut, and it leads the Eurovision pack on the Global 200, one spot above “The Code,” at No. 51.
The global success of Joost’s entry, particularly on the Global 200, were U.S. sales and streams are part of the chart’s equation, is unique. On average, this year’s six Eurovision tracks drew 3.65% of their worldwide streams from the U.S. in the frame following the competition’s close, in line with last year’s 3.58%. But “Europapa” is an outlier, more than doubling that average. Of 23 million streams worldwide in the tracking week, 7.44% come from the U.S., marking the highest domestic share of any Eurovision song to have hit the global charts since 2021. The song’s spiked American activity is notable since its lyrics are in Dutch (while “The Code” is performed in English).
The total tally of six Global Excl. U.S.-charting songs improves upon the four from Eurovision’s 2023 haul and matches 2022’s six. Still, 2021’s competition remains unmatched with seven, including Måneskin, which won for Italy with “Zitti E Buoni.” That song got as high as No. 10 but proved an appetizer for the group’s “I Wanna Be Your Slave” and “Beggin,” which climbed to Nos. 8 and 2, respectively, later that year.
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, and Shaboozey’s “A Bar Song (Tipsy)” both strike the top 10 on each of Billboard’s global charts (dated May 25) – the Billboard Global 200 and Billboard Global Excl. U.S. – joining forces as the first pair of country songs to simultaneously appear in the top 10 of both surveys.
“I Had Some Help” debuts atop the Global 200 with 119 million streams worldwide in the week ending May 16, according to Luminate. In doing so, it becomes Post Malone’s second No. 1 debut on the ranking in just four weeks. Taylor Swift’s “Fortnight,” on which he’s featured, ruled for two weeks earlier this month. For Wallen, it’s his first leader, surpassing the No. 5 peak of last year’s “Last Night.”
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“A Bar Song (Tipsy)” is Shaboozey’s third global chart entry, following his two features on Beyoncé’s Cowboy Carter. Both “Spaghettii” and “Sweet * Honey * Buckin’” logged one week on the April 13-dated list, just two frames before the arrival of “A Bar Song (Tipsy).”
Post Malone and Wallen’s team-up is just the third country song to crown the Global 200 in its four-year history (as defined by titles that have hit Billboard’s Hot Country Songs chart), following Beyoncé’s “Texas Hold ‘Em” in March and Taylor Swift’s “All Too Well (Taylor’s Version)” in 2021, with each having led for one week.
Shaboozey follows at No. 5 on the latest Global 200, bookending the first pair of country songs to simultaneously appear in the top five.
The breakthrough of both tracks is even more significant on the Global Excl. U.S. chart, where country music has historically struggled, dating to the list’s September 2020 inception. While the Global 200 ranks songs based on sales and streams from over 200 international territories, Global Excl. U.S. removes domestic consumption, revealing the biggest songs in the world outside of the United States.
On Global Excl. U.S., “I Had Some Help” starts at No. 3 and “A Bar Song (Tipsy)” rises 13-10, marking just the third and fourth country songs to hit the tally’s top 10, following entries by Beyoncé and Swift.
While Post Malone and Shaboozey’s top five success on the Global 200 are in line with the highs of 2023 hits from Jason Aldean, Zach Bryan, Oliver Anthony Music and Morgan Wallen, their concurrent top 10 placements on Global Excl. U.S. far exceed that group, which, of their tracks, reached a No. 82 high on the tally via Wallen’s “Last Night.” None of the others even hit the top 100.
Plus, Post Malone and Shaboozey’s new hits appear on 13 of Billboard’s Hits of the World charts. “I Had Some Help” replaces “A Bar Song (Tipsy)” atop Norway Songs and leads Ireland Songs, while the latter holds at No. 1 on Sweden Songs. Throughout its run last year, which included 16 weeks atop the U.S.-based Billboard Hot 100 and a No. 1 finish on the chart’s year-end edition, Wallen’s “Last Night” appeared on just three such international rankings.
Surely “I Had Some Help” and “A Bar Song (Tipsy)” are both helped by major elements outside of country music. The former is by Post Malone, one of Billboard’s top 10 artists of the 2010s with strong history in pop and hip-hop circles, much like the crossover success of global country hits from Beyoncé and Swift. And while Shaboozey is a new act without ties to other genres, the song interpolates J-Kwon’s 2004 hit “Tipsy,” a No. 2 Hot 100 hit that also topped Hot Rap Songs for five weeks. His recent collaborations with Beyoncé can’t hurt, either.
Post Malone and Shaboozey’s chart hits are examples of the broadening borders of the genre, as a wave of new artists gain traction on streaming services and social media internationally. Extending the hot streak, Dasha’s country-pop hit “Austin” went viral on TikTok earlier this year and has since climbed to No. 23 on Global Excl. U.S., almost 60 positions above Wallen’s previous high.
It doesn’t take long to understand that Rose Villain is an artist who is truly interested in what she talks about. Above all, she wants to know who is in front of her – be it her make-up artist, a member of her team, her press office or the bartender. She is a passionate artist who takes care of her music down to the smallest detail and is also a girl with empathy and a good dose of irony. That doesn’t hurt, especially when dealing with topics that can turn out to be traps of banality.
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The 35-year-old Rosa Luini from Milan is enjoying a big turning point in her career thanks to her participation in the 2024 Sanremo Festival, her presence in the Netflix talent show Nuova Scena as a judge and the release of her new album, Radio Sakura, which includes the single “Come un Tuono” feat. Guè, currently at No. 1 on Italy’s singles chart.
Rose Villain has never stopped expressing her opinion on the topics of environmental sustainability and gender inequality. Having lived and studied in the United States — where she likes to return whenever she can — has also contributed to her vision of the world.
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The new issue of Billboard Italy is dedicated to the UN’s 2030 Agenda for Sustainable Development. The 17 goals of the program are all fundamental, but do you think there is one that you are most attached to?
I am very sensitive to the topic of environmental sustainability. This is why years ago I decided to become vegan. I started from a need related to health, also due to my family history. I had read Michael Greger’s book How Not to Die, which explains in a simple and clear way the impact of meat farming on our environment. Then I started watching documentaries that showed in an even more shocking way the cruelty to which we subject animals. I feel like my life has really improved since becoming vegan, because I feel like I’m doing something for others every day. I notice that when we have dinner with friends, we now talk a lot about the environment, because everyone is worried. But at the beginning I was much more aggressive when I spoke out about these issues.
And now?
I understood that you achieve much more when you explain things calmly and delicately. When it comes to gender equality, for example, if we women attack, then men will retreat. Sometimes in the past I got so angry that I even cried. Now I realize that I have a duty to speak my mind. I try first to inform myself well and then pass the message on.
Do people ask you the classic question “why vegan — wasn’t being vegetarian enough?”
It’s totally different, because even the milk or egg industries pollute as much as the meat industry. The only thing that changes is the killing practice. But it is also absurd cruelty to remove the calf from the cows to have their milk, after they have been made pregnant specifically for that. However, I consider myself an imperfect vegan. I try to do my best, but if I’m on tour and if there’s no alternative, I also eat a croissant with butter. However, vegan food will be the diet of the future. That’s for sure.
Would you like to do more for the environmental sustainability of music and concerts?
Billie Eilish is making vinyl from recycled plastic. I would like to follow her example, also because she is a great inspiration: she is very young and vegan. For tours, I try to participate in green festivals, but the problem is travel. For my part, I try to prefer the train to the plane, whenever possible.
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Coldplay also try to reduce their carbon footprint while touring. You will be opening their shows in Rome in July.
Songs like “Fix You” and “Yellow” were part of my youth, like that of many other people. Who hasn’t listened to them after a breakup? Having been chosen by them to open their concerts still seems incredible to me. I also like the fact that for this tour they always chose women as opening acts.
They like to meet the opening acts when they can. What would you ask Chris Martin?
I would ask him for a featuring right away! I’m joking… I would like to ask him what the key is to remain an artist for so long, how he has retained his audience. In other words, the secret of their artistic immortality.
Going back to the initial question, is the issue of environmental sustainability the one that is closest to your heart among the goals of the 2030 Agenda?
You know what the fundamental goal is that I believe summarizes all the others? Attention for others. If we were all less self-centered, it would be a better world. Few things are needed: kindness, attention, and education. At school they should also teach how to treat women, nutrition and above all respect for others.
You have been fighting for years on the topic of gender inequality. Do you see improvements in the music industry?
Yes. We must thank the American rappers, who have cleared a free narrative, even about sex, expressing themselves as they want. This trend is also arriving in Italy. Let’s take for example Elodie, who during the tour danced as if she were on a cube in the disco. She was criticized but probably didn’t care. Annalisa, same thing. I think there is nothing more beautiful than a woman who feels free to behave as she wants. In my opinion we women are now much more united.
Have you witnessed any abuse?
Sure. A form of pressure that I can’t stand is having to dress sexy. It literally drives me crazy. I also saw it in America. I remember the CEOs who hit on me when I was only 20 years old. We need to learn to say a firm no. But many things have improved since #MeToo, fortunately.
As a child, did you dream of becoming more of a pop star or rapper?
Absolutely a pop star! My myth was (and is) Madonna, who is definitely multifaceted. And The Weeknd is the greatest pop star of our time, in my opinion.
Is there a genre you would focus on?
I love rock. But I think I range a lot in my albums, especially in Radio Sakura, where there are bachata, punk, country and electronica. I don’t want to choose a single genre for a concept album. I want to do everything I like.
Nude pictures of you created with artificial intelligence have circulated on the internet. Does progress sometimes scare you?
A.I. is certainly important. It could help solve many problems or discover new cures for diseases that are now incurable. But it must be regulated in a very strict and precise manner. I also fear that they might use my voice to create videos where they make me say horrible things.
If you had children one day, what would you fear for them?
That they live in a country at war and totally inhospitable, with an out-of-control climate. I would like to have children, precisely to tell them: “You must fight to save the planet.” But Gen Z is very aware, I really trust them.
On June 12, 1998, Jeff Chang captivated audiences with his inaugural major concert on the Chinese mainland at the Shanghai Indoor Stadium, appropriately titled “Dream Comes True.” Little could he have foreseen that 26 years later, in 2024, he would triumphantly bring the “Continuum” ultimate edition to a crowd of 80,000 at the Shanghai Stadium.
The recent April showcase in Shanghai marked the debut of the “Continuum” ultimate edition. Despite the acclaim garnered by the six-year “Continuum” tour, transitioning from versions 1.0 to 2.0 and now the ultimate edition, Jeff Chang confesses to occasionally experiencing a vague, inexplicable “sense of powerlessness.” “Last year’s tour was a resounding success, yet some critics implied that our performance might not suit our generation of singers.”
Some view classic concepts as relics of the past, valuable only for evoking nostalgia. This perspective was one of the driving forces behind Jeff Chang’s decision to embark on the “Continuum” concerts: “I aim to guide audiences towards a more mature appreciation of music, challenging established perceptions along the way.”
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Physically, the Shanghai Stadium is a mere 100 meters from the Shanghai Indoor Stadium. Yet, for Jeff Chang, this distance represents a 26-year odyssey. Reflecting on this journey at the “Continuum,” Jeff Chang remarked, “I’ve traversed this 100-meter distance over 26 years!” This metaphor succinctly encapsulates his unwavering dedication to music, with music serving as the cornerstone of his endeavors over his 35-year career.
Embarking on the Future Together with the Audience
Kicking off the “Continuum” ultimate edition concert is Jeff Chang’s 2000 smash hit “Faith.” His unwavering passion for music embodies a spirit of “warm and courageous” faith. Perhaps it is this steadfast belief in music that brings Jeff Chang and his fans together at the “Continuum” concerts, where they experience the soul-stirring power in Jeff Chang’s voice that resonates with the vitality of life itself.
“As a singer with a certain degree of seniority, my audience is already deeply familiar with my songs; we have grown and supported each other mutually,” Jeff Chang reflects. “I aspire for my musical journey and growth to keep pace with the progress of my fans, rather than remaining stagnant. The ‘Continuum’ concerts were conceived with the intention of demonstrating to fans that my music will not dwell solely in memories and nostalgia, but will embark a new future alongside everyone.”
“Each segment of the ‘Continuum’ concert has a message we wish to convey to the audience. We have carefully selected songs that hold significant meaning in my music career, even if they are not the most popular hits. In each of my albums, I aim to impart insights, concepts, and musical knowledge. Through the concert’s overall arrangement, I hope to convey the concept of ’embarking on the future together with the audience.’”
Ending One Chapter, Beginning Another
The term “ultimate” in Jeff Chang’s “Continuum” concert signifies that this six-year “Continuum” tour is finally approaching a perfect conclusion. “The ‘Continuum’ has been a prolonged journey, and it’s time for a stage-wise ending. There are other musical endeavors that are equally essential for me.”
The conclusion of one stage signifies the commencement of a new chapter. The “Continuum” ultimate edition serves as a gentle reminder from Jeff Chang, urging us to seize every opportunity to gather offline and experience the music before the final show arrives.
As the first Chinese singer to perform in Dubai, the Dubai stop of the “Continuum” ultimate edition in June holds significant importance for Jeff Chang. “We’re committed to making it happen in Dubai. Sometimes, overseas organizers prefer a simplified concert where the singer merely performs, and everything else is automated. But that’s not enough for me; I want to fully recreate the ‘Continuum’ experience in overseas shows.”
If he could dream big, where would Jeff Chang choose to host the final “Continuum” concert? Surprisingly, his answer is Easter Island, situated in the South Pacific: “It’s like the ‘navel of the world,’ equidistant from all continents. Holding a concert on Easter Island would truly be the ‘ultimate’ experience, like singing at the edge of the world for everyone to hear.”
Embrace the Future
After completing all the performances of the “Continuum” ultimate edition, Jeff Chang will focus on the creation of a new album. It has been three years since the release of his last album See the Light, and Jeff Chang, along with his devoted fans, eagerly anticipates the arrival of this new work. “Currently, the songs for the new album are nearly finalized, with around 80% of the track list already set.”
For him, the greatest challenge of this new album lies in the significantly increased proportion of “non-love songs.” “In the new album, I may relatively reduce the love songs and express more of my perspectives and sentiments regarding the world. I feel that my past classic love songs have already encompassed most of the emotional states. Therefore, I believe it is time to start singing about matters beyond love, using the album to convey broader ideas.”
Jeff Chang describes the new album as an adventurous state of “taking a step forward” out of his comfort zone. Compared to his previous love songs, the new album will be more critical, and a more quintessential expression of his Aries personality. “In the past, my love songs stood at the observational standpoint, simply singing the feelings of the protagonist. But this time, I will stand on a clearer ‘Jeff Chang’ perspective, to openly express my own attitude, and be more subjective.”
The backstage machinery of the “Continuum” concert is intricate, with over 20 lifts waiting for the performer to step onstage. Rising and falling on the lifts, it’s like facing the peaks and valleys of life – this is the norm for a singer. From the beginning to the present and into the future, Jeff Chang and the audience have always been there; the performance never stops.
Billboard China
–Written by Jifan Wang for Billboard China
Creepy Nuts is set to stream a show from its ongoing domestic tour, called Creepy Nuts ONE MAN TOUR 2024, for global audiences. The “Bling-Bang-Bang-Born” duo kicked off the tour in March and the nationwide trek is expected to draw approximately 70,000 fans total, including additional shows in June. The concert set for June 16 […]
Expanding into a two-day event to uplift Asian and AAPI artists, culture and connection, the 2024 MetaMoon Music Festival hits New York this fall with Henry Lau and Eric Nam as headliners, Billboard can exclusively reveal.
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Taking place at the Brooklyn Paramount on Sept. 27-28, the fest brings Lau and Nam together with rising stars Emei and SUNKIS, as well as unique educational opportunities in partnership with the Roc Nation School of Music, Sports & Entertainment at Long Island University. The one-day student conference, “The Summit: Rise of Asian Artists and their Global Fandom,” takes place on Friday, Sept. 27, with panel discussions and masterclasses by industry professionals to foster dialogue on Asian representation in the music industry as well as networking opportunities.
“The ethos of MetaMoon is to amplify Asian/AAPI talent on stage by giving underrepresented artists a consistent platform to perform in front of their fans in the U.S.,” Grace Chen, founder of MetaMoon Music Festival, tells Billboard. “Just as importantly, we want to empower Asian/AAPI voices behind the scenes, in the rooms where decisions are made and agendas are set. Our collaboration with the Roc Nation School of Music, Sports & Entertainment equips students and the next generation of music executives with the access and insight, and hopefully inspiration, to show up and get involved.”
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Produced in collaboration with Live Nation, the pre-sale for the MetaMoon concert tickets begins on May 22 and goes on general sale via Ticketmaster on May 24. Registration for the Roc Nation School x MetaMoon Summit opens on Sept. 4.
Ahead of MetaMoon Music Festival 2024, Billboard sat down with headliner Henry Lau for 20 Questions to discuss his involvement in the show for his first-ever headlining slot in a U.S. festival, latest music developments and more.
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1. Where are you in the world right now, and what’s the setting like?
Right now, I’m traveling around everywhere so I tell my friends I’m like a stewardess. I’m currently in Korea. In a few weeks I’ll be going to, I don’t know, Paris. I was just in Thailand last week. It’s all over the world. But right now, I’m here in my studio/office/gym — there’s a whole entire gym area here.
2. You’re coming to the 2024 MetaMoon Music Festival for your first time headlining a U.S. festival. What can we expect?
This is the first time I can really show my stage and sing as much as I want for my fans who know that all my shows have a very unique stage. Because I don’t just go up and sing, there’s a lot of instruments and then there’s a lot of live recording, looping, I like to take a lot of props on stage and record them into songs. I’m really excited that people in America can see that from me for the first time. And, of course, mixing in classical music.
3. Is there any new music we’ll hear at MetaMoon?
I actually haven’t told anybody about this yet, but right around that time, I’ll probably be releasing a new single. I’ve already teased this with my fans very personally, but it’s a song called “Always Been You.”
4. You’ve teased your full-length album for a while now. What’s the status?
I have put the album on hold. I’ve already apologized personally to all my fans. But it is completed. It’s just that I have so many projects right now that when I release it, I have to—and my fans would appreciate it—promote it properly. I’m just waiting for the right timing; I just don’t know when that will be exactly.
5. You’ve spoken about representation in Hollywood in the past, and MetaMoon celebrates and highlights AAPI artists and culture. What’s the significance to you of being part of such an event?
I don’t really think of it. I’m there to perform music, right? There are no borders to music so I think I’m just so happy that I could perform in the States and and it could be a cross-cultural festival. That’s my opinion. For me, it’s music first — I’m not thinking that this represents anything like that.
6. You are so multifaceted in all your music inspirations, the languages you speak and sing in, or how you release music. What is your approach when you’re creating the music itself?
For every song, it’s totally different. The one really big element of my songs is not just the audio, but I think about how I will perform this onstage. For example, one of my latest singles was called “Moonlight.” I made that song and then had a different version where I used a loop station process performing on stage. And for the songs I’ll be performing at the festival this time, you will be able to see all of that. That’s one way I approach a lot of the songs. When you have too much going on in an audio track, it’s just too crazy, so I like to leave it for the performance. When you actually listen to my songs, those are probably the most basic versions.
7. if you could travel to any musical era, when and where would you go?
I used to think it would be the ’80s or ’90s because it feels like all the great melodies, the simple melodies, weren’t thought of back then. I used to think that way, but then you see the amazing pop music that comes out today, too — I’m not saying every song. But I think the earlier you go and when a new genre of music is being born, I’d say at the start of any musical era. If it’s the start of classical music, that’d be amazing.
But right now is a really great time for mixing different genres since there are so many amazing genres out there. And if you’re arguing that a genre has already matured, if you start mixing genres and mixing cultures, then the possibilities are limitless. And I think that’s where my role is now in the music field overall — I think that’s my purpose.
6. MetaMoon is not just about the concert, but there is a summit, panels, and other ways to help build the community and music-industry network. What will you bring to these events?
First of all, I’ve never done anything like this before, so I’ll usually just go up, perform and, you know, say hi. And that’s it. So this is something very, very new and I’m very excited to do it. I have no idea what it’s going to be about but I’m just excited to share what I’ve learnt. Maybe not everything I say will be the most correct, but it’s just my experience. I think I’ve gotten to an age — I’m pretty old now [Laughs] — where there are a lot of aspiring musicians, and I hope that my experiences can help give them a good idea of what to expect and what they need to work on in certain aspects. I’m just very excited to be sharing my story.
9. The Roc Nation School of Music, Sports & Entertainment at LIU is collaborating with MetaMoon for their “The Evolution of Asian Artists and their Global Fandom” summit. You also went to a music school. How significant are these opportunities?
I think the biggest benefit was meeting my peers and fellow musicians. At that time, there weren’t a lot of forums like this. Usually, these days in music school, they have a lot of guest speakers and successful musicians come up and share their stories. And I actually watch those now and look for them on Instagram or YouTube. It’s something that I wish I had when I was younger. I think it’s very, very important because there’s no textbook for music or the music business or guide to let people actually know these are the hard things that you have to deal with…I’ll do my part and I hope it helps because everybody’s story or way to success is very different. So, I think the more you listen, the more you hear these stories, the more you can apply it to yourself.
10. I want to give you your flowers for your place as such a unique musician in pop music. Do you see yourself having a role in shaping or changing perceptions of popular music?
I used to think that I came from a unique background, but I’m coming to realize there are so many more people who are similar to me background-wise. I have a lot of people that come up to me like, “Hey, I also learned piano, I also learned violin,” “I’m living in Canada, but I don’t have anything to do with K-pop, what do I do?” [or] “How did you do that?” Everyone from my hometown is almost identical to me background-wise. I think I have a role to let people know that it is possible. I hadn’t a probability of like 0.01% of this happening to me, but then there were certain steps I took and I think that maybe it’s my role to share that with people.
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11. Looking wider, what are your hopes or aspirations in representing kids from your hometown who might want to pursue a similar path?
Right now, I’m just focused on giving all my fans the best music possible, the best stages and the best content. Before COVID, I was planning on a tour and that’s something I still want to do in the near future. And through that, they can see what is possible. But what’s different about America, compared to performing in Asia which I usually do 99% of the time, is I think in the States, they can recognize that I’m more similar to them. So, I think that one main difference when I’m performing or working in the States, it’s like, “Hey, he’s one of us and he’s doing this.” I think similar to Eric [Nam] as well. I’m very happy to let people know that things are possible.
12. You and Eric Nam are both headlining MetaMoon Music Festival together. Are you friends?
At the start of our careers, we were both on different shows and came up together. Sometimes, I would be on shows where he was the MC; I would watch it later and be like, “Whoa, he was there with me.” We basically grew up together and we came up very, very similarly from a similar background.
13. Fans have also watched you grow in your acting career. Do you have a movie that always makes you smile?
To be honest, I don’t watch many movies. I don’t have much time. I watch movies when I feel like I need to be lifted up — movies that show somebody going through a harder time than me or any movie following any genius. What’s that movie with Russell Crowe being a mathematician? A Beautiful Mind. Yes, that’s a beautiful movie. So when I watch movies like that, it’s like, “Ooh, they went through so much; what I’m going through is actually nothing.”
14. If you don’t mind sharing, what was a hard time you went through recently and how did you overcome it?
There’s everything. Just even preparing for one stage, people see me play a lot of instruments. I record things up on stage, and [with] every little thing I do, I’m the one directing it. I make all my equipment, I make custom instruments for myself, and I do all the mixing for everything that’s recorded. If the stage performance is 30 minutes, I will spend at least five days just doing technical things: dealing with lighting, visual effects, all the LEDs, all the logos, everything. I have a habit of trying to do everything. It gets stressful when you’re dealing with that and under a tight timeline. There’s just a lot of that but what I like to show people are not the hardships.
15. You shared that you recently went to Nashville and met with the members of OneRepublic. What is the importance of traveling for music to you and did anything come from this trip?
I was actually on a journey to explore music and explore myself. This could be a whole separate interview, but in short, it was to find the best way to combine classical violin and pop music. The perfect place for that is actually country music because, if you think about it, violin is in maybe 50% of country music. So I went to the birthplace of country music, explored that, and we actually came up with something amazing. It’s all in that new album, all the new concepts, something the world’s never heard. Concept-wise, it would be “country x K-pop x violin.” That’s the reason why I’m putting off the album and waiting for the correct timing because I believe so much in this project.
16. What’s something you learned in Nashville?
I actually didn’t know, but the fiddle is violin — it’s the same thing, it’s just the way you play it. So, I actually learned how to fiddle. When you pull out a violin in Nashville, everybody plays it, so it was kind of shocking. Hopefully, if we can get one of those songs done before the festival, that would actually be really cool…maybe there’s a chance of me performing…you just gave me an idea.
17. You grew up in a musical family. What do your parents think of what you’re doing today?
Well, in the very beginning, they were against it. Sending your kid off away from home to become a singer doesn’t sound too promising, you know? But I decided to take the risk and I convinced them to let me do it. And I haven’t been doing so bad. Ever since then, they’ve been supportive. I think what’s really important for an artist, or anyone, is that the people around you support you. And I know not everybody has supporting families, bu it’s really important to build the people around you. I was thinking how that’s something really important through this forum that maybe some people who don’t have enough support can meet other people there.
18. Do you have a proudest moment of your career so far?
No, I actually don’t. I’m the type that I ask my company to remove all my trophies and awards that they like to put on display and stuff. I don’t look at those and feel satisfied; I’m not that type. Of course, I’m very thankful but I don’t think about those kinds of things. I just think about what I’m going to be doing tomorrow, what I’m going to be doing next month, when I’m going to perform at the MetaMoon Festival.
19. That’s interesting because you said your first celebrity crush was Christina Aguiler. She’s said she puts away her Grammys and awards when recording. But you said you liked her because she was not only pretty but talented. What draws you to an artist?
I actually totally forgot that I said that, but now that you’re saying it and I’m like, “Yeah, that’s actually true.” First, I think talent is very important and, until very recently, I only looked at talent. What I’m actually finding that I’m drawn to these days is the character of the artist. If you wanted to be just an artist, you should release music and not come onto the screen. But if you decide now to be in the media, to even show your face or let people know who you are, then you have a responsibility of also leading people in a good direction — not doing, you know, stupid shit. One thing that’s really inspiring to me when I see an artist is when they’re 360 [degrees], the whole picture of what they’re doing and what kind of energy they’re bringing to people. I think that’s something that also really draws me into them. Before, when there was less social media, it wouldn’t be that important; you could get by with just having art or your music because there were no platforms to constantly show your personality.
20. What’s your relationship like with social media as an artist?
For me, Instagram is just a way of communication between me and my fans. I don’t like to put my entire life up there and I’m very careful with what I want to put up. But I’ve done so many silly things on TV and everything that I have very little to hide from my fans. So, there’s no certain image for me to upkeep or anything — I can put up a picture of me looking horrible and it wouldn’t be so much of a shock to my fans because they’ve already seen everything they have to see of me. I’m more lucky in that aspect, but I’m still not the type to put up my whole life on Instagram. I would say everything I’m doing is all for the fans.
Tickets to MetaMoon Music Festival 2024 are available via Ticketmaster.
Only two months ago, Stray Kids told Billboard the band’s 2024 would be “very different from what we’ve done so far,” with the four-time Billboard 200 chart-toppers’ latest New York trip already proving that to be the truth.
Sitting inside a recording studio owned by their U.S. label, Republic Records, the K-pop sensations’ charisma, candidness and slight trepidation shone through in a laid-back, honest chat to recount their Met Gala debut, just-released collaboration with Charlie Puth, and the anticipation surrounding their upcoming projects.
Reflecting on their Met Gala experience, the members expressed how their initial worries eventually turned into pure excitement. “We didn’t know anything about Met Gala,” Stray Kids leader Bang Chan shares in his affable Australian accent, before adding, “It was a really good experience.” Felix shares that “it was an honor and pleasure for us to show what our team color is like” with their appearance, thanks to Tommy Hilfiger, marking a significant milestone in attending one of fashion’s most prestigious nights out, as they mingled with celebrities like Chris Hemsworth, Baz Luhrmann and Jennie from BLACKPINK.
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Shifting to their first original English single, their collaboration with Charlie Puth in “Lose My Breath” is highlighted as an experience for their team to learn but also share their years of experience in blending musical styles. “We had a lot of freedom to express our opinions,” notes Han, emphasizing the collaborative nature of the project that included Bang Chan, Changbin and himself writing and composing alongside Puth. For the pure-pop affair, Hyunjin says his aspiration is “to show that Stray Kids can do this kind of song” as a testament to their versatility and willingness to explore different musical landscapes.
While SKZ spoke with nervous excitement to Billboard just hours before the release of “Lose My Breath,” the band’s anticipation for their potential new future projects was also palpable.
While details remain under wraps, Bang Chan hinted at the exciting prospects: “If there was a new album, it’s definitely very new, very different yet very genuine and authentic.” The tour — that may or may not have been spoiled by Tommy Hilfiger himself — is also important, and when Lee Know mentions how “there are countries we haven’t been to yet,” he seems to hint toward a truly expansive global trek.
As Stray Kids continue to break barriers and captivate audiences worldwide, the Kids themselves remain grounded and committed to continually improving and leveling up artistry. Like “Lose My Breath,” their upcoming projects all show promise in showcasing an evolving and maturing sound to affirm their status as boundary-breakers in the global music scene. Read the full conversation from Billboard‘s chat with Stray Kids below.
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Welcome back to New York, Stray Kids. It’s great to have you back, and we have to give you a big congratulations on your Met Gala debut. Overall, how was the experience?
Bang Chan: There was a lot happening, but I mean, it was a really good experience. We had fun.
Felix: It was such a huge honor because it was our first time as a team, and to go with Tommy Hilfiger to the Met Gala. Like what Chris [Bang Chan’s birth name] said, it’s such an honor but also a pleasure for us to show what our team color is like. It was incredible.
Bang Chan: Because we didn’t know anything about Met Gala! So, we went in, and then as soon as we got in, we walked up the stairs, and then there was Anna Wintour, Bad Bunny, Jennifer Lopez and Chris Hemsworth. So we said “Hi,” and then Chris was like, “Oh, I know you guys! You guys are two Australians — aww, come here, boys!” He took really great care of us. Baz was there too.
Felix: Baz Luhrmann was there as well. So, we had a nice chat with him. It was very nice, very nice.
Bang Chan: Ben Simmons, the basketball player, who is actually from and born in Australia, he was there. There were a lot.
It was amazing to see all eight of you there, but I’m curious how you got eight invitations for the Met Gala and how you coordinated on the red carpet with your reveal as eight?
Bang Chan: Big thanks to Tommy.
Felix: Yeah, big thanks to him.
Bang Chan: But at the Met, Tommy had a little bit of an idea. Because we have to unveil what was underneath, right? So, we kind of rehearsed how we should show what our outfits were. We did exactly what we had to do and were told to do; it was all right.
I think it was more important than you might realize. But let’s jump to the present with “Lose My Breath.” What’s the significance of this being Stray Kids’ first original English single?
Bang Chan: It is kind of exhilarating if you think about it. But one thing I wanted to point out is, I’m very, very thankful to the members because everyone recorded their parts on point and very good. The English has improved, I don’t know why, but yeah. [Laughs] So, I’m very very thankful to the members but we worked on the song here [in this New York studio], I think it was like the room across. But we had fun because, you know, Charlie Puth is very musically talented so we learnt a lot from him; it was a great experience.
You are so involved in your music, and Charlie Puth is also so involved in his music. How did you find the balance behind the scenes to collaborate?
Han: Since it’s a collaboration, the way we work might be different and there could have been clashes. But in the end, we were very open and Charlie was very open with ideas too. We had a lot of freedom to express our opinions and tried a lot of things So, we balanced it out from the get-go; it was very smooth. And with all these ideas we get from each other, we developed the parts that we wanted to show each other and the parts that we wanted to get closer aligned and eventually finished off the project.
Changbin: I was just really thrilled. There’s the Charlie that I know on social media, on videos or YouTube or whatever, and I think it was he even more than what I’ve seen on YouTube or social media so it was really cool. It was cool. He’s so musically talented, and it’s something that I, myself, want to learn from and want to have in being so versatile when you’re making music.
What are your goals or hopes for this song?
Hyunjin: Since it’s a pop genre-type of song that we haven’t done before, I want to show that Stray Kids can do this kind of song — I want to show the world, STAYs, everyone that we can do music like this. We also have a performance as well, and I want everyone out there to see what kind of performance we’ve prepared this time.
Since it might be a sound people don’t expect from Stray Kids, how do you think about or hope to introduce something new to fans?
Felix: This whole pop genre is very different to us, but like what Chris hyung said, we’re able to record the song and the lyrics perfectly through our own feelings and our emotions, which means we’re really able to express what the song is. And because we’re all experienced in making music and just showing fans what our style is, I think fans will really enjoy “Lose My Breath” as it is.
Bang Chan: It might not seem like a Stray Kids song, but in the end, it is our voices, we did write the lyrics, the melodies and everything as well. But I don’t know what people will think! I hope they can get a hint of Stray Kids in the whole platter.
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I have a theory that “Lose My Breath” is the first taste or connection to the “special album” you teased at the top of the year…
Bang Chan: Um…I think of it as a side quest. “Lose My Breath” might just be a side quest…
I.N is smiling, though!
All: [Laugh]
Bang Chan: What I can say is: If there was a new album, um, it’s definitely, very new, very different yet very genuine and authentic. Because the messages that we want to say through music are all packed inside.
What’s the message you want to share when it comes to “Lose My Breath”?
Seungmin: We just want to appeal that we can, all of our members can sing the pop genre. From the moment we first began recording, everyone has been used to singing [in] like a really strong tone, but this time we try to, what the word in English? We tried to power down and compress — compressed into our natural voices. We tried to tone it down and record with a sound that naturally fit to the pop genre. I think that’s a big difference compared to the last album — I think that it will appeal to STAYs.
Bang Chan: It’s funny because I don’t usually get opportunities now to talk about what we did and everything, but definitely, with “Lose My Breath,” we did try a lot of different vocal techniques while we recorded the song. I hear that especially with Seungmin. Changbin as well. Everyone did their part so good.
Mr. Hilfger did share that you’re preparing a 40-date world tour. Can you share or confirm anything about the tour or preparations?
Bang Chan: He spoiled it on TV…and he spoiled it for us as well. [Laughs] I guess there would be a tour? But we’re still in the preparation process so we don’t know what’s what or don’t know how it’s gonna set out…
Seungmin: Lee Know wants to say something!
Lee Know: There are countries we haven’t been to yet and foods we want to eat while on the tour; touring means we can see a lot of STAYs. I think that’s what I’m looking forward to the most. It’s the chance to meet different STAYs in different parts of the world that is really important. But we haven’t started choreographing or developing the blueprints for the stage yet.
You’re in the moment with this single, but what’s coming up for Stray Kids in the immediate future? Or what message do you have for fans as you start this new chapter?
Bang Chan: [To their team member in the room] How much can we say?
Stray Kids team member: The less you talk, the better!
Stray Kids: [Laugh]
Bang Chan: Well, we don’t want to raise your expectations too much but when we head back [to Korea], it’s going to be late May. We’ve got some preparations for, well, let’s say, I guess a tour. If there’s an album, probably the album. Probably festivals. That’s is, you know, if. I don’t know if it’s true or not,
Han: There is nothing 100% real. We don’t know what’s happening.
Bang Chan: Lollapalooza is something that we’re really looking forward to. The one in Paris was amazing, there were a lot of people in the audience, and now we’re off to Chicago.
I.N: We want everyone to look forward to “Lose My Breath,” but there are a lot of things that are gonna come up and I hope you don’t get too surprised about the things that are going to come.
Creepy Nuts’ “Bling-Bang-Bang-Born” extends its stay atop the Billboard Japan Hot 100 to 15 weeks on the chart dated May 15.
Fifteen weeks at No. 1 on the Japan Hot 100 is second only to YOASOBI’s “Idol,” which holds the all-time record at 22 weeks. “BBBB” dominates four metrics this week — downloads, streaming, video views, and karaoke — and while points for each are down from the week before, the differences are slight: 91% for downloads week-over-week, 88% for streaming, 74% for radio, 87% for video and karaoke. A video of the duo’s performance of the long-running hit was recently featured on the Recording Academy’s “GRAMMYs Global Spin” segment and the hip-hop banger continues to reach global listeners. The track also continues to rule the Global Japan Songs chart.
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Bowing at No. 2 is &TEAM’s “Samidare.” It’s the nine-member global group’s first single, though the band debuted in December 2022 from HYBE LABELS JAPAN. The track comes in at No. 2 for sales with 440,615 CDs sold in its first week, No. 7 for downloads with 5,295 units, No. 21 for radio, No. 36 for video, and No. 90 for streaming, accumulating points in a balanced way though it didn’t top any of the metrics.
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At No. 3 is Hinatazaka46’s “Kimi wa Honey Dew.” The 11th single by the J-pop girl group sold 521,676 copies in its first week to hit No. 1 sales, while coming in at No. 34 for downloads, No. 15 for karaoke, and No. 89 for video.
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Mrs. GREEN APPLE’s “Lilac” slips 2-4 this week, with points for radio dropping significantly by 20% from the week before. But points for video and karaoke have increased, and while not a metric included in the methodology of the Japan Hot 100, points for User Generated Content have also gained, a trend indicating that the track could further expand its reach. Additionally, five songs by the three-man band have climbed the Japan Hot 100 this week: “Dancehall” moves 26-22, “Ao to Natsu” 31-24, “Soranji” 33-29, “Romanticism” 91-83, and “Blue Ambience (feat. asmi)” hits No. 98.
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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 6 to 12, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Kru wants you to level up — and has a crew of heavy-hitting hip-hop stars to help spread the message.
The Mumbai-born, California-raised R&B/pop artist is manifesting dreams on her new single “Masterplan,” crafted by multiplatinum producer Cha Cha Malone and featuring rapper Junoflo. Boasting pop and hip-hop influences from across India, Korea and the U.S., “Masterplan” makes its exclusive premiere on Billboard ahead of its worldwide release on May 17.
Over the slinky production that opens with Malone’s signature “I need a Cha Cha beat, boy” producer tag heard across dozens of hit K-pop and Korean hip-hop tracks, Kru lays out her “master plan” for a path to success: million-dollar deals, luxury items galore and unwavering commitment. Junoflo joins her on the journey with the Korean-American MC delivering an innuendo-filled rap verse showing support for his woman’s goals while still pushing his own.
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Classically trained in opera and the traditional Indian Bharathanatyam dance, Kru mixed her range of musical touchstones for a track boasting universal and empowering themes that can transcend any cultural or gender barriers.
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“Designed with women in mind but welcoming of all genders, this song seeks to uplift individuals by showcasing their talents and perseverance, ultimately earning the respect they deserve,” Kru tells Billboard. “‘Masterplan’ was crafted with the aim of inspiring success and empowering listeners to overcome obstacles.”
Junoflo, a longtime admirer of Cha Cha Malone’s work, jumped at the chance to collaborate. “Writing the verse was light work because Cha Cha’s production makes it easy,” the SoCal star says. “Throughout my career in music, I’ve ran into Cha Cha way too many times, in both Korea and America, and we always talked about working on a record, but timing never seemed to work out. One day, he hit me up out the blue telling me about this song he hears me on, and I just said ‘Bet, let’s run that.’ Turns out it was for this talented artist named Kru, and I’m always for working with dope new artists. Even though I don’t make much music in this style anymore, I do my best to be as versatile as I can and am always open to all genres of music as long as it hits!”
After crafting 2023 hits for his longtime creative and business partner Jay Park, as well as Korean pop and R&B stars like Han Seung Woo and Hoody, Cha Cha Malone says he is “grateful to both Kru and Juno bringing this record to life.”
“I wanted to sound edgy and charismatic with a touch of sexy,” the Seattle native explains. “Definitely a vibe for a commanding artist that is Kru. Her voice, her dancing, [and] her embodiment is just that; it was an effortless fit. Pair her with Junoflo, it further solidifies my intentions with the track! His tone and cadence have the right sauce for a perfect feature.”
Perfectly timed to celebrate AAPI Heritage Month in May, “Masterplan” marks the first of three singles from Kru’s forthcoming EP, titled INEVITABLE, which will be entirely produced by Cha Cha Malone. Meanwhile, Junoflo announced on May 15 that his new album, JUST JUNØ, drops in a few weeks on June 5.
Listen to “Masterplan” below:
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05/15/2024
From globally focused crossover hits to modern-classical compositions, which of these 11 standout releases gets your vote?
05/15/2024