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When referencing the “Migration” tour that has endured for numerous years, in Chen Li’s memories, the prelude to each performance holds unforgettable moments. “I will stand behind two large screens awaiting the opening, and then I will witness red and green lights flashing before me. Despite the mere presence of cold iron frames surrounding the stage, for some inexplicable reason, being in that environment makes me feel remarkably familiar and secure.”
In ancient times, the entrances on both sides of the stage were known as the Tiger Gate. Once the performer steps through the Tiger Gate, regardless of what unfolds on or off the stage, The Show Must Go On. The flickering lights witnessed before the commencement of the concert evoke in Chen Li memories of “the first thing I saw when I was born.” Through the screen, she can even discern the cheers and encouragement from the front row audience, meters away. Every upcoming performance is like a newborn baby coming into the world, everything is like an unknown “migration.” Therefore, every time Chen Li steps through the Tiger Gate, the feeling is both nervous and brand new.
In relation to the “Migration” concert, Chen Li once expressed: “I hope those blue nights can provide enduring tenderness for us in the future.” She likes to use different colors to commemorate the emotions evoked in every moment, and the “Migration” associated with fish, naturally, is blue. As the various stages in the life cycle of fish progress, migration is the consequence of the fish’s adaptation to changes in the external environment. From 2019 to 2024, Chen Li has held 17 “Migration” tours. For her, “Migration” is not just a simple concert; it records the process of her growth as a singer.
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Unique Creation Styles to “Prevent Addiction”
One of Chen Li’s album was named “Fang Chen Mi,” which means “Prevent Addiction” in Chinese. In fact, this highly smooth conceptual record makes it very easy for listeners to become addicted to it. Rather than fostering an addiction to the online realm, the album aims to immerse its audience in the offline world. To promote this vision, Chen Li’s team organized a physical album photo event, encouraging recipients of the CD to unleash their creativity and share imaginative photos with one another.
The absence of an official introduction for “Fang Chen Mi” stands out in the Chinese music industry, where extensive album introductions are the norm. This departure may carry a deeper, more creative significance. Despite receiving over ten versions of album introductions, Chen Li still believes that the most fitting introduction for “Fang Chen Mi” is no introduction at all. “Just listen to the songs, there’s no need for anything fancy. If you like it, sing along a few lines. If everyone has similar experiences as those in the songs, feel free to interpret them.”
The promotion methods for “Fang Chen Mi” are also unconventional. In the current era of digital music, “Fang Chen Mi” instead chose to release the physical CD version first, with the online platform release following after a period of time (partly due to copyright reasons). If listeners want to hear the entire album as soon as possible, they must purchase the physical album, evoking a nostalgic sensation reminiscent of using a Discman to listen to music in the 1990s, and thus achieving a substantial physical sales volume.
This year, Chen Li will unveil her ninth album. The new project has already recorded three songs, with all lyrics penned by a good friend with whom she has never previously collaborated in music. Chen Li describes the lyrical style as “a bit more serious,” while the melodies continue to reflect her personal taste.
Chen Li on Billboard China
Yaxin Liu
Finding the Balance in Leisure
Currently, Chen Li lives in Hangzhou for the majority of time, occasionally returning to Beijing for brief stays. Unlike the bustling work environment in Beijing, in Hangzhou, Chen Li wholly embraces a “slowed down” way of life: “It is merely because the strolling environment in Hangzhou is somewhat superior. In Beijing, I have a group of old friends who care for each other like family. I simply desire to venture out independently, to a place with fewer friends, and seek tranquility, to ascertain if I can acclimate.”
On Chen Li’s Weibo account, her life in Hangzhou is vivid: the coffee shops she adores, the handicrafts she enjoys creating, the line drawings she loves to produce… Chen Li genuinely relishes this leisurely and refined lifestyle. “Many of my small hobbies can be fully realized in Hangzhou. The pace of life here is slower, and I have ample time and space to engage in numerous ‘unproductive’ activities, thus I live quite comfortably. You cannot contrive a specific life for the purpose of creation; life itself is the purpose.”
The simple sketches that appear in the physical album of “Prevent Addiction” are an authentic reflection of Chen Li’s life in Hangzhou: “Drawing is a ‘little corner’ that I particularly cherish. Drawing makes me lost in time, continuously observe and contemplate, including the precious lines and colors conjured from blank.”
“Every day, people have different desires, and I think the key is finding a balance. Sometimes you like this, sometimes like that, eat when hungry, take a nap when sleepy, get up and play when awake, these are all very simple truths.” Everything should just go with the flow. As long as one approaches life with a “playful” attitude, one can find their own balance.
–This article was written by Jifan Wang for Billboard China
Chen Li on Billboard China
Yaxin Liu
On March 13, LIPxLIP, the men’s idol unit produced by HoneyWorks consisting of Yujiro (voiced by Koki Uchiyama) and Aizo (voiced by Nobunaga Shimazaki), released their second album, Umarete Kita Koto Ni Kansha Shinasai! (“Be Thankful You Were Born!”).
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To commemorate this release, the unit’s first album in roughly four years, Billboard Japan interviewed HoneyWorks composer shito and illustrator/animator Yamako, who talked about the new album and what they think is even more important than buzz.
How do you usually divide up your song creation duties?
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shito: Generally, both Gom and I write our own songs, and whoever writes the song decides the theme of the lyrics. Then we both work on the lyrics together. Once we’re done with the lyrics, Yamako creates the music video. HoneyWorks is all about writing songs for specific characters, so while we’re working on the lyrics, we check them with Yamako to make sure we’re staying true to the character. We try to pick lyrics that draw on the personalities of the characters and that ensure that the song leaves a lasting impression.
Yamako: I not only do the illustrations for the songs, but also supervise most of the creation of the music videos. I check the storyboards, illustrations, video editing, and the like.
When people think of HoneyWorks, I’d venture that most of them think of songs that set listeners’ hearts fluttering and songs with a youth-focused aesthetic.
shito: I started reading shojo manga (“girls’ comics”) after I’d already become an adult, and I was like “I never knew a world like this existed!” That’s what got me into shojo manga. That’s also when we formed HoneyWorks. Yamako’s drawings had a shojo manga feel, so the decision to go in that direction, making songs about romance and youth, just felt natural.
On LIPxLIP’s second album, Umarete Kita Koto Ni Kansha Shinasai!, I feel like you were trying new things, musically.
shito: Until now, LIPxLIP’s music has been created with the concept that the duo are princes, and their fans are princesses. On this album, though, we went a little beyond that to create something more artistic. It defies fans’ expectations, in a good sense, as our concept for the new album was to produce the LIPxLIP music we truly wanted to make.
“A.B.SECRET” has an Arabian feel and “Meoto” is a rock song with traditional Japanese elements. Both of them are new styles you didn’t hear in previous LIPxLIP songs.
shito: That’s right. For “Meoto,” when I asked Yamako about what kind of song would be good, she said “Japanese rock.”
Yamako: I wanted to have LIPxLIP wearing gorgeous, fantasy-like traditional Japanese clothing, which is why the idea was to make it rock with a really Japanese feel. In my case, I come up with ideas based on the kinds of clothes I want the characters to be wearing in the music video.
shito: Yamako is the main producer for LIPxLIP, and also their biggest fan, so I trust her.
Yamako: Sometimes I create conceptual presentations for shito and GOM that reflect fans’ feelings.
In a certain sense, you’re able to create works that resonate with fans because you’re a fan yourself. Is there a reason that you decided to take a more artistic approach with LIPxLIP?
shito: I’m usually there providing direction when the voice actors for LIPxLIP (Koki Uchiyama and Nobunaga Shimazaki) do their recordings, so we’ve worked together for a long time. I feel like we’ve developed strong communication skills, based on a common understanding, that make it easy to convey what kinds of expressive approaches to use. Both Uchiyama and Shimazaki understand LIPxLIP’s expressive approach, and they’ve also both grown tremendously. In the past, we on the production side have made the decisions entirely on our own, but now we talk with the voice actors to create even better expressive approaches and nuances.
Which songs on the album especially stand out to you two?
Yamako: For me, “Meoto,” which Aizo sings differently than any of LIPxLIP’s past songs. I was surprised that he’d developed the ability to sing like that! Also, I really want people to listen to “Last Stage,” which ties into the future of the group. It conveys what LIPxLIP is feeling in a raw, true-to-life way.
shito: The standout for me is “Oshi no Maho.” I wrote it starting with the idea that I wanted to make a really crazy song. The vocal artists had broadened their range, so I wanted to try a song that was unlike anything LIPxLIP had ever done before.
It has the most shouted choral parts of any LIPxLIP song.
shito: HoneyWorks does sound production for the “real” idol groups Karen Na Ivory and Takane No Nadeshiko, so we’ve shown up for some idol events. The way the crowd shouts along, and the energy that comes from the crowd, is really fun. We wanted to put that into a LIPxLIP song.
How did you write the lyrics for the parts with the shouted sections?
shito: We used as our template the things that male fans shout at shows by female idols. There’s a certain format to it, with fans replacing parts of their favorite idols’ or groups’ names. We went to actual shows and listened in, paid close attention to what people were shouting, and looked at that template when writing the lyrics.
In “Julieta,” whose title comes from the name LIPxLIP fans call themselves, you can feel the unit’s love for their fans. I feel like the song also links to another of LIPxLIP’s iconic songs, “Romeo.”
Yamako: “Julieta” is the sequel to “Romeo,” and it has the same concept. With “Romeo,” we didn’t know how to convey that aesthetic. We had to figure it out as we went along, exploring how to depict this world of princes and princes, where to get materials to work off of, and how to decide on those aesthetics. When we wrote “Julieta,” though, we already had an image of the LIPxLIP characters and what kinds of “princes” fans would enjoy. I think we were able to project an even more finished and polished image of the two as princes.
In 2023, HoneyWorks’ “Kawaikute Gomen (feat. Kapi)” took the number 1 spot on Billboard JAPAN’s year-end “TikTok Songs Chart.” The music video features Chu-tan (Chizuru Nakamura), a character on Heroines Run the Show! The Unpopular Girl and the Secret Task, and people really liked how it showed her cheering for LIPxLIP while shining in her own way. This song is reaching global audiences. Are you thinking of turning your attention overseas as well in the future?
shito: The fundamental stance of LIPxLIP is that of creating songs that we want characters to sing, not creating songs with the aim of generating buzz. That stance hasn’t changed. Within those bounds, though, we’d love to do a virtual overseas show. They can go anywhere (laughs).
I’m sure some people discovered LIPxLIP by seeing them in the “Kawaikute Gomen” video.
shito: Ever since “Kawaikute Gomen” went viral, when making character songs, we’ve focused even more on how the characters would move and what they would think, not on buzz.
Yamako: These are, at heart, character songs, so they tell a story within the world inhabited by the characters. It’s like we’re thinking about how LIPxLIP would be successful within that world — how they would work hard in that world — and we act based on that. In the real world, Chu-tan’s song went viral, but within HoneyWorks’ world, she’s just an ordinary fan. We’re going to continue to create great works while keeping on drawing that line between the real world and the world our characters inhabit.
—This interview by Mio Komachi first appeared on Billboard Japan
Creepy Nuts’ domination of the Billboard Japan Hot 100 continues as “Bling-Bang-Bang-Born” marks its 10th week atop the Japan Hot 100, on the chart released April 3.
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The MASHLE Season 2 opener is back at No. 1 for downloads this week, though figures dropped slightly by about 9.8% from last week to 17,122 units. The hip-hop hit also continues to rule streaming for the tenth consecutive week with 22,797,748 streams, down by about 1%, and video views and karaoke for the third straight week. The song also rises 12-6 for radio airplay this week.
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Omoinotake’s “IKUOKU KONEN” rises 4-2, the highest position yet on the Japan Hot 100 for the three-man band. The theme of the drama series Eye Love You holds at No. 2 for streaming for the fourth week in a row, second only to “Bling-Bang-Bang-Born” with 12,482,594 streams. Downloads for the love song rises 4-3 with 6,818 units, increasing by 7.6%, and video moves 9-7 with 1,359,223 views, up 28%. The track also climbs in other metrics, including radio (36-18) and karaoke (56-30), possibly influenced by the airing of the final episode of the fantasy love story the song serves as the theme.
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“EDEN” by Knight A, a group produced by SutoPuri’s Nanamori, debuts at No. 5. The song is at No. 1 for sales with 124,876 copies sold in its first week, which is about 2.8 times more than the track at No. 2 for the metric.
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ILLIT’s “Magnetic” bows at No. 8. ILLIT, pronounced “I’ll-it,” is a brand-new girl group assembled from HYBE’s audition program R U Next? The group consisting of three South Korean and two Japanese members released its debut mini-album called SUPER REAL ME on Mar. 25, and “Magnetic” is the lead single off the set. The song made a spectacular debut, coming in at No. 7 for streaming with 7,308,883 streams, No. 23 for downloads with 1,973 units, No. 12 for video with 1,085,090 views, and No. 84 for radio.
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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 Mar. 25 to Mar. 31, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
As a leader in a new generation of K-pop acts, IVE‘s Show What I Have world tour boasted a wholly appropriate name for which the girl group delivered an electric, emotional finale to its U.S. leg in Newark.
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For the sold-out crowd at the massive Prudential Center arena, IVE brought their hit singles — which includes eight entries on the Billboard Global 200 to date — b-side tracks and cover performances to life via heavily conceptual staging for each of the 24 setlist songs interwoven with frequent commentary from the group and video interludes.
Highlights of the night included the theatrical umbrella routine recalling “Singing in the Rain” for “Mine” and the haunting visuals accompanying horror-themed stages for “Hypnosis” and “My Satisfaction.” While IVE’s signature flowy choreography spotlighted in deep cuts like “Blue Blood” and “Heroine,” the crowd’s fervent chanting during hits “Love Dive” and “Kitsch” underscored the fervor and dedication of IVE’s fans — affectionately known as DIVE — even when making their New Jersey debut.
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As a special treat for fans, the IVE members split into duos and solo performances to pay homage to diverse artists, with covers ranging from Ariana Grande to Indonesian singer-songwriter NIKI and English crooner Richard Sanderson. While the inclusion of covers by Spice Girls (Rei and Gaeul performed “Wannabe”) and IVE’s new Columbia Records label mate Little Mix (where Yujin and Leeseo duetted on “Woman Like Me”) were astute in aligning themselves as the next global girl group, the performances acted more of a reminder that IVE has already carved out a distinct identity and color as the prom queens of K-pop and isn’t so easily able to adopt other personas in the pop sphere.
But beyond the polished performances and elaborate stage production, the IVE members’ raw emotions might have left the strongest impression during Show What I Have.
Early into the show, IVE leader An Yujin became visibly emotional and cried while singing their fan-dedicated power ballad, “Shine With Me.” After the crowd cheered her through the performance and the group checked in with her, the 20-year-old assured everyone she was fine and laughed while pointing the blame to the track’s lyrics written by Jang Wonyoung — followed by an adorable apology from Wonyoung.
The heartfelt sincerity returned at the show’s end when the sextet gave their final messages to the crowd.
“Even though our languages are different, just seeing how you guys are so focused on our songs, connecting and enjoying with us, is really cool,” Gaeul pointed out. “I couldn’t imagine all these seats filled up like this. I’m really touched.” Liz added that IVE is now “more than just family; we are not able to separate from each other.”
In a moment rarely seen among top K-pop performers, Yujin sincerely opened up about regaining her self-esteem thanks to the tour and her group.
“Recently, I kind of lost my confidence,” the star, with six years in the industry, shared through voice cracks and tears with Leeseo holding her hand. “I thought, ‘Maybe I cannot do it?’ before I came here. But the first day in L.A., I got so much energy and love from DIVEs there that I’m getting more confident. I promised a lot to myself before I came here. I can’t say exactly what I promised but I think I did it all — I did everything I promised to myself… it was really precious time.” Capped off by Yujin’s heartfelt thanks and promise to return, Liz quickly led the girls into a group hug on stage, encapsulating IVE’s essence of the night in gratitude towards fans and one another.
As the concert closed with the massive finale track of their debut English single, “All Night,” IVE left the crowd with an indelibly upbeat mark by unexpectedly singing the song’s refrain an additional seven times — begging the sound team to “please” play it one more after six — before officially exiting. With today’s announcement of their new EP, IVE SWITCH, out at the end of April, the promise of future performances and shared moments confirms that this is hardly a farewell but a preview of more for them to show ahead.
Read on for exclusive photos from IVE’s Show What I Have concert at Newark’s Prudential Center, as well as reflections from the tour at its conclusion for Billboard readers.
IVE
Aysia Marotta/Photos provided by Starship Entertainment
IVE
Aysia Marotta/Photos provided by Starship Entertainment
JANG WONYOUNG: “Despite not having officially debuted in the U.S before our world tour, I came with half excitement and half worry whether big venues like The Forum, where famous overseas artists have performed, would be filled. But starting from L.A., seeing the venue packed with DIVE enjoying our songs and dances gave me such great energy. It felt like we were able to finish the U.S tour well with strength all the way to our last stop.”
GAEUL: “It was so much fun to be able to perform in front of our DIVE here in the U.S., their energy was great. They were so loud — it gave us so much inspiration. We are so thankful for all the love and support from our fans.”
LIZ: “I was so happy to visit cities I’ve never been to before. One of my favorite moments besides seeing all our DIVE in America was meeting Anne Hathaway at the Atlanta Hawks game. It was our first basketball game and we loved it!”
LEESEO: “It feels wonderful to perform on stage in front of our U.S. DIVE, to try many delicious foods in the U.S, and to create precious memories with my sisters!”
REI: “The members and I made so many amazing memories on the U.S. leg of our tour. It is truly something we will never forget.”
AN YUJIN: “I’m so happy that I got to meet so many DIVEs through our world tour. I can’t wait to come back to the U.S. for Lollapalooza. It’s an honor to be able to perform there as our first U.S. festival – we will come back with a stage that could surprise you!”
IVE
Aysia Marotta/Photos provided by Starship Entertainment
Janet Jackson returned to Japan for the first time in five years for her 2024 Together Again Tour, making stops in Nagoya, Osaka and Yokohama. At her K Arena Yokohama show on March 20, the icon treated the packed crowd to a nonstop 90-minute spectacle of her career-spanning, hits-filled set.
The concerts also featured TLC as the special guest only in Japan, and tickets were sold out in all three cities.
K-Arena Yokohama, the venue for the final night of Jackson’s Japan trek, is one of the world’s largest music-specific arenas, which opened on Sept. 29. Since it’s still a brand-new venue, many appeared to be visiting for the first time and people were snapping pictures on their phones while looking around even before the show began. In addition to the state-of-the-art sound system, all seats are positioned like a fan facing the front of the stage to allow fans to fully experience their favorite artist’s performance. The seats are also comfortable, ideal for those who want to relax and enjoy the concert, but when the lights went down for this particular show, the audience shot up from their seats in unison to greet TLC with loud cheers.
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As the DJ hyped up the crowd with a “T-L-C!” call and response, T-Boz and Chilli appeared onstage accompanied by four dancers and opened the set with their debut single “Ain’t 2 Proud 2 Beg.” With Chilli’s vocals overlapping with T-Boz’s deep voice during the chorus, the two also performed with the late Left Eye during the rap part, bringing the voice of the third member who died in a tragic accident in 2002 along for the ride. Chilli thanked fans in between songs for celebrating the 30th anniversary of the release of the group’s hit album CrazySexyCool, and after a DJ break, the two members returned to perform a few more hits including one of their biggest, “No Scrubs,” to huge cheers from the crowd. Led by a gorgeous horn arrangement, the pair closed their set with “Waterfalls,” as Chili and the dancers danced beautifully to the Left Eye’s rap. The audience cheered loudly, clapping along with the beat, and enthusiastically responded in unison to the “T-L-C!” call and response at the end of the set to express their appreciation.
The venue went dark after a brief set change and the words “50 YEARS OF ME” flashed on the huge screens set up in the center, left, and right sides of the stage. As a montage of flashback photos featuring Janet since childhood flickered by, the central screen rose to reveal the superstar standing immobile on the circular stage wrapped in a purple hooded cloak. Kicking off her set with “Damita Jo,” she sang completely still, then briefly receded to removed the cloak and returned in a sparkly gold bodysuit with a large purple ribbon around her waist. Singing to a simple beat with a heavy bass sound, she performed “Feedback” with her four dancers, the audience gleefully screaming every time they struck a pose. The band consisted of a drummer and bassist on the right side of the stage, keyboardist, guitarist, and DJ on the left. The seamless sound system had no time lag even for fans in the stands, immersing the audience in the concert experience.
The crowd went wild when Janet performed “That’s the Way Love Goes” from her eponymous hit album from 1993. Families with children could be seen here and there in the audience, and it was clear that the concert was a space where the pop icon’s timeless music was being passed down from the generation who lived through the same era as the hitmaker to the next generation of fans.
The concert was divided into four acts, and Janet took the stage in the second decked in a broad-brimmed black hat and long, ruffled black skirt. The second section consisted mostly of songs from her 1986 album Control, including “What Have You Done for Me Lately,” “Nasty,” and “The Pleasure Principle,” and the songstress captivated the audience with vocals and dynamic choreography set to the big beat and scratches by the DJ. She removed her hat and skirt and performed the majority of this act in wide pants along with four dancers dressed in white.
“Now I’m going to take you back,” she said with a grin. “Way back. Bass!” With her cue, the familiar, catchy bass line of “When I Think of You,” began, and she continued, “Back to 1986. This was my first No. 1 song. I was just a baby. But I still look good!” Towards the end of the act, she slowed things down to perform some of her most famous ballads seated on the stage, including “Come Back to Me,” “Let’s Wait Awhile,” and “Again.” Janet encouraged the Yokohama audience to sing along with her on “Again” with her mic raised towards the crowd, and seemed genuinely moved by the rousing sing-along by her fans in Japan.
Returning in a bright orange outfit, the Grammy winner began her third act with “All for You.” She went on to perform tracks including “Girlfriend/Boyfriend,” her collab with Blackstreet, and “Do It 2 Me,” singing and dancing aggressively with her dancers almost non-stop. By this point, it’s been about an hour into the show, and her performance has been phenomenal.
The fourth and final act featured songs from Rhythm Nation 1814, with Janet performing tracks such as “Miss You Much,” “Love Will Never Do (Without You),” and “Alright” rocking a casual T-shirt and jeans get-up as if she were out on the street. The hits from 1989 blending delicate melodies with edgy sounds have stood the test of time, dynamically shaking the hearts and bodies of those witnessing them live.
Then suddenly, the venue went dark and white noise filled the screens. Cued by an all-too-familiar scream, the band began rocking out as the late Michael Jackson’s voice and image appeared majestically on the screens for the brother-sister duet “Scream.” Deafening shouts erupt from the audience as Michael continues to sing his part in the Sci-Fi-inspired, black-and-white music video, later joined by his sister’s live vocals onstage. Janet faced the guitarist towards the end of the song in what looked like a tribute to her late older brother. The voltage in K Arena peaked as the band segued into “Rhythm Nation” and Janet performed the iconic choreography with her dancers surrounded by intensely flashing lighting and beats, ending the main set with an impressive shout.
The icon promptly answered the call for an encore and sang “Together Again,” the title of her tour, as the final song of the concert. Singing along with the audience while casually moving from one end of the stage to the other, she jumped up and down and encouraged everyone to do the same, bringing the audience together as one for a joyful ending to the show. “Yokohama! This is the very last show of this leg of our tour. I hope you enjoyed it,” Janet addressed her fans. “May God bless each and every one of you on your journey through the world. I love you so much, please be safe! Good night! I love you!” A breathtaking 90 minutes of almost non-stop dancing and singing, the concert left one with a sense of awe and respect for the undiminished passion for live performance by an artist who has created some of the leading music of our time.
—This article by Takayuki Okamoto first appeared on Billboard Japan
President and CEO of Shure, Christine Schyvinck spoke with Billboard Japan for its Women in Music interview series featuring female players in the entertainment industry. The WIM initiative in Japan began in 2022 in the same spirit as Billboard’s Women in Music that launched in 2007, honoring artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.Beginning her career as a quality control engineer in 1989 at Shure, a leading global audio technology company with nearly 100 years of history, Schyvinck gained diverse experience and insight within the company which helps her move the organization forward to this day. In an email interview with Billboard Japan, Schyvinck shared her mission of getting more women involved in STEM to help them become the next generation of leaders and the importance of having a shared mindset within the industry when tackling gender inequality.Growing up, were there any women you looked up to? How have those ideals changed over the course of your career and life?In my much younger years, I paid attention to women in leadership roles and was quite curious about them. Female athletes, astronauts, and political leaders proved to me that women can go places and they inspired me. It was fortunate that I started my career at Shure, which had a supportive system and did not discriminate between men and women. This is a company that was led by Mrs. Shure herself from 1995 to 2016 – I got to work along-side her and understand her values and beliefs. That experience shaped how I work today, and now it’s my job to make sure women can find paths to success.We can’t leave everything to luck – help is needed along the way. Women play an important role in the future of technology and one of my missions is working with organizations to try to get more women involved in STEM so they can understand that this is a viable career path for them that could result in the next generation of leaders.You joined SHURE as an engineer and have had a successful tenure at the company for over 30 years. How has your experience in different departments and business units affected your career and life?This is now my 34th year with Shure. You will not find many global CEOs who have been with their companies that long. I firmly believe it is important to experience new things in an organization. I started at Shure as a quality control engineer and was quickly exposed to learning about the types of issues sound professionals encounter daily. My job was to help ensure that our equipment was reliable and always ready for the show. Shure’s brand reputation was built on quality products and this company remains committed to delivering the best performing products.I eventually moved from Vice President of Quality to Vice President of Operations, where I managed procurement, supply chain, and manufacturing, as well as quality. This was another essential experience because I was able to work with passionate people all around the world, dedicated to making great products that solved problems for our customers. In 2006, I moved into a role leading global marketing and sales, where I managed three business units in the Americas, Europe/Middle East/Africa, and the Asia/Pacific regions. All this experience has helped me learn more about overall company operations, the global business structure, and what we need to do to meet the evolving needs of customers.Having diverse experience within different parts of our company has given me an appreciation that not all CEOs are fortunate enough to have: I thoroughly understand the type of work that happens at various levels of the organization, and I know what our customers expect from us.You earned a master’s degree in management engineering while balancing work with your career. Are there things you are working on or mindful of in order to achieve your current goals?For me, being a strong business leader means listening. I work with so many talented people that help keep me informed of current business conditions and upcoming trends. I’ve found that having trust in your leadership and listening to customers is the best way forward. We are a customer-focused company and we’re not afraid to work shoulder to shoulder with people as they are working through problems. We like being out in the field and solving issues with certain venues or with certain performances. We’re problem-solvers and we share the end goal of having people in an audience be wowed during a performance. The only way this happens is attention to detail, attention to quality products, and attention in listening to what our customers need.It’s also been helpful for me to have been where many of our Associates have been as I’ve worked my way through this organization. There’s no one blueprint for success, but for me, the combination of listening and hands-on experience has really helped me move the organization forward.On the other hand, when faced with difficulties at work, how have you resolved them?The key to overcoming difficulties in business is to surround yourself with smart, capable people who can collaborate to find the right solutions. Many minds can come at a problem from different angles and help find solutions that perhaps weren’t obvious in the way you were thinking.Christine, you have been the CEO of SHURE since 2016, which is a rare feat in the audio and technology industry. Why do you think there are so few women executives in these fields?Shure has been very involved with our trade group AVIXA and others in promoting women in the industry, but there is more work to do too. Women play an important role in the future of technology and it’s really never too early to start thinking about that career path. In fact, I think you have to reach girls when they are in junior high or middle school. They need to start thinking about classes in high school and organizations to join. There are now so many schools and community organizations providing opportunities for all young kids to get involved with STEM (Science, Technology, Engineering, Math), but if that awareness doesn’t hit them early, they won’t sign up or they might be intimidated. As an industry, we should always be looking at ways we can be more involved in getting kids interested in our fields. Then, once they are in the industry, they need to have equal opportunities to progress in their careers and elevate into leadership roles.In terms of gender equality, what is Shure’s current stance, as well as the approaches it has taken in order to achieve it?When Mr. Shure founded the company in 1925, even in those different times, he was very attuned to diversity, equity and inclusion. This has been part of Shure’s DNA from the beginning. McKinsey did a study a few years back called “Diversity Matters.” The facts are there – companies that have more diversity on their teams perform better financially.We have been more aggressive with our Diversity, Equity, Inclusion, and Access (IDEA) efforts recently, involving our Associates in helping shape our communications efforts as we recruit, retain and celebrate a diverse workforce. Gender balance is a big part of that. Mrs. Shure led by example.Diversity in backgrounds, whether it is from the tech sector, musicians, audio engineers, etc., is also important. We embrace this diversity because it helps us better understand our diverse set of customers, which range from major television networks and movie studios, to educational institutions, to musicians and concert venues, to global businesses to individuals who use headphones and earphones. We now have Associates working in more than 30 countries around the world. This gives us a much better handle on local market needs and how to grow in those regions.In Europe and the U.S., women have more access to career development support through various programs and mentorships. Can you tell us about Shure’s women-focused initiative “WE VIBE”?At Shure, we have been making a commitment to our own internal actions around IDEA efforts. Over the past two years, we have held Inclusion Panels, which are panels with our own employees, discussing their backgrounds, their challenges, and how we can all create a better workplace. These are streamed live and via recording for our Associates to watch and ask questions.Our Associate-led resource groups or “VIBES” are each focused on Women, LGBTQIA+ and Culture/Racial Equity – and they have helped guide us in thinking about policies, activities and other support functions they would like to see from Shure. The WE VIBE provides additional resources and support for everyone within the organization who wants to contribute to a more diverse workplace and community. Within the industry, we are holding Women in Technology panels with pros from all over the world in the areas of theater, film and more.Shure is also supporting a number of organizations focusing on increased inclusion and support that reach younger students to help them encourage careers in the audio industry – specifically in areas of STEM.What do you hope to accomplish through this initiative?We have many goals with those initiatives, but our two main goals are: adding more women and diversity to this industry and celebrating and championing those who are already here.Billboard US, launched Women In Music in 2007, an annual event to honor women artists and executives who actively made a difference that year. What are some key factors when raising awareness about gender inequality issues across the industry, including Shure’s initiatives?This past year has been an empowering year for women in music. The top highest grossing concert tours in the U.S. were from Taylor Swift and Beyonce. There are so many up-and-coming female artists as well – not just in the U.S., but all over the world. We have been supporting programs globally that help women who are just getting started in music to teach them and provide them with opportunities to be successful.It is also important to note the increasing growth in the women behind the scenes in music. And we are doing what we can with our efforts to help close those gender gaps.Finally, what advice would you give yourself during the first year of your career? I think many young women who are looking to enter the music industry will be encouraged by your words.Find who your friends are and don’t be afraid to ask them for help. Oftentimes, women think they have to figure it out on their own, lest they be thought of as “weaker” or “incapable.” Asking questions and finding a network of people who can help you actually builds strength and teaches you how to become a good mentor someday. Simply put, don’t try to do it all yourself.
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Creepy Nuts’ “Bling-Bang-Bang-Born” continues to rule the Billboard Japan Hot 100 on the chart dated March 27, logging its ninth consecutive week atop the tally. The MASHLE Season 2 opener is now the record-holder for second most consecutive weeks at No. 1 on the multi-metric Japan song chart, passing Official HIGE DANdism’s “Subtitle” and steadily […]
Since Russia invaded Ukraine on Feb. 24, 2022, most of the country’s musical acts have taken sides, either supporting or condemning the war – but not Picnic.
The aging Russian rock band notably refrained from making any statements about the invasion of Ukraine. Many of their fellow musicians faced touring bans or exile for voicing their opposition, while others performed on the frontlines in solidarity with the Kremlin or in occupied Ukrainian territories.
Now, 46 years after its formation, Picnic has grabbed more global attention than ever for tragic reasons: Its planned concert at the Crocus City Hall in Moscow became the site of a mass shooting last Friday (March 22), with at least 137 lives lost in the terrorist attack. ISIS-K, an offshoot of the terrorist group ISIS, claimed responsibility for the March 22 attack.
Since then, some Russian media outlets have claimed that the band supported Russia’s military operation in Ukraine, suggesting this was one of the reasons that terrorist gunmen targeted the show.
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The band did not comment on these reports. In fact, the band’s current frontman, Edmund Shklyarsky, who joined in 1981 as a guitarist and soon became Picnic’s main songwriter, has remained steadfastly apolitical since the terrorist attack. In his only public comments in the wake of the tragedy, he released a video address expressing “condolences to everyone who, involuntarily and naturally, found themselves involved in this terrible tragedy, utterly senseless. It is clear that there are no words that can resurrect or console people. But, of course, we offer our condolences to all relatives.”
Picnic will brave the stage again on Wednesday (March 27) at St. Petersburg’s Oktyabrsky concert hall. The concert will be dedicated to the victims of the Crocus City Hall attack, with the band announcing on social media that proceeds will be donated to the families of those who lost their lives or were injured in the attack.
The band’s manager, Yuri Chernyshevsky, wouldn’t comment on Picnic’s views on the war with Ukraine, and told Billboard that “you would need to ask the terrorists why they targeted Picnic’s show or why they targeted Crocus City Hall. I hope law enforcement will determine that.”
In the early 1980s, Picnic became part of the Leningrad Rock Club, an organization, allegedly controlled by the KGB, that facilitated underground and semi-underground rock bands to perform at a time when rock music in the Soviet Union faced scrutiny, if not outright bans. Later, Picnic’s songs drew criticism from Communist authorities for lyrics referencing illegal drug use.
In the latter half of the 1980s, Picnic, like other bands, benefited from the perestroika and glasnost reforms in the Soviet Union, which allowed formerly underground rock bands to officially tour and record. However, unlike some prominent bands of the period, Picnic largely avoided social and political issues, focusing more on esoteric and mystical themes in their lyrics.
Currently, the band includes the 68-year-old Shklyarsky, his son Stas on keyboards, bassist Marat Korchemny and drummer Leonid Kirnos. The band’s fan base is diverse, ranging from older listeners who have followed Picnic since the 1980s to younger fans introduced to the band through social media.
At the time of the March 22 attack, musicians from Picnic and a 65-piece orchestra set to accompany the rock band were in their respective dressing rooms and were promptly evacuated. However, Ekaterina Kushner, a member of Picnic’s administrative staff manning the merchandise table, died in the attack.
Another concert by Picnic and the symphonic orchestra was scheduled at the same venue on March 23. Almost all tickets for both performances at the 6,200-seat Crocus City Hall had been sold.
Sarah Geronimo, Regine Velasquez-Alcasid, Moira and more Filipina music icons were given the spotlight at Billboard Philippines’ first-ever Women In Music event, held on Friday (March 22) at Samsung Hall in SM Aura, Taguig City.The evening marked the first-ever Women In Music event held in the Philippines, after Billboard Philippines officially launched in the country in October 2023. Following in the tradition of the Billboard Women In Music event held annually since 2007, Billboard Philippines will recognize and honor notable women in the Philippine music industry every year as well.
The event was hosted by actress, singer and entertainer Jolina Magdangal, who commenced the festivities shortly after welcoming remarks by Billboard Philippines Publisher Anne Bernisca and a three-song set by acclaimed pop-rock artist Barbie Almalbis.
The first two awards to be given out that evening were both fan-voted, with Belle Mariano winning the Listeners’ Choice award for her song “Bugambilya,” and Morissette bringing home the People’s Choice award. All the awards given out that evening were presented by men in the music industry, to highlight the mutual respect, support and admiration among genders in the Philippine music scene.
Young indie artist Zild went onstage to introduce his friend and peer Ena Mori, whose boundary-pushing pop earned her this year’s Rule Breaker award. The 2023 SXSW Festival performer then gave a compelling rendition of her new single “Heartache Generation,” giving the audience a taste of her offbeat-yet-catchy sound.
Afterward, the P-pop fans in the audience were thrilled by the presence of SB19’s Stell, who then introduced the recipients of the Rising Star award: fellow P-pop trailblazers BINI. The eight-piece girl group then launched into the debut performance of “Salamin Salamin” (Mirror Mirror) from their newly released EP Talaarawan (Diary), showcasing their precise choreography and infectious melodies.
Influencer and online sensation Mimiyuuuh then introduced Hitmaker awardee: singer-songwriter and best friend Moira. The most-streamed Filipina solo artist for seven consecutive years also performed “Before It Sinks In” from her multiplatinum 2018 debut album Malaya (Free).
Next, singer and actress Jackie Lou Blanco accepted the Icon award on behalf of her mother, Filipina music legend Pilita Corrales. The Icon award was presented by Billboard Philippines Editor-In-Chief Bret Jackson.
The Powerhouse award was given to the bestselling Filipino music artist of all time, “Asia’s Songbird” Regine Velasquez-Alcasid, for her enduring presence and influence on succeeding generations of artists and in the music industry as a whole. The award was presented by her husband and Organisasyon ng Pilipinong Mang-Aawit (OPM) president Ogie Alcasid, an accomplished singer-songwriter himself. She then serenaded the audience with a heartfelt cover of Paramore’s “The Only Exception,” a staple of her ongoing Regine Rocks concert series.
Finally, the first Billboard Philippines Woman of the Year award went to Sarah Geronimo, fresh from her appearance at the Billboard Women In Music event in Los Angeles last March 7 as the first Filipina Global Force awardee. Husband, producer and actor Matteo Guidicelli presented the award to an elated Geronimo, who then brought the house down with a performance of two of her most memorable songs, “Dati-Dati” (Before) and “Ikot-Ikot” (In Circles), before host Magdangal closed the celebration with a toast to all women in the music industry who inspire and empower their fellow Filipinas to pursue their dreams as artists, musicians, songwriters, producers, and other key roles in music.
All in all, the very first Billboard Philippines Women In Music event was a rousing success. Not only was it the pioneer Billboard Women In Music event to be held in the country, but it also marked the first time in which women were exclusively and properly recognized for their achievements and impact in the Philippine music industry. There are many more who deserve to be honored, and Billboard Philippines shall ensure that they are represented, celebrated, and remembered in the years to come.
See photos from the inaugural event below.
–This article was written by Jason Caballa for Billboard Philippines
Sarah Geronimo
Image Credit: Billboard Philippines
Sarah Geronimo performs at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Regine Velasquez
Image Credit: Billboard Philippines
Regine Velasquez at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Ogie Alcasid
Image Credit: Billboard Philippines
Ogie Alcasid at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Moira
Image Credit: Billboard Philippines
Moira at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Belle Mariano
Image Credit: Billboard Philippines
Belle Mariano at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Jolina Magdangal
Image Credit: Billboard Philippines
Jolina Magdangal at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Anne Bernisca
Image Credit: Billboard Philippines
Anne Bernisca at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Bret Jackson
Image Credit: Billboard Philippines
Bret Jackson at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Sarah Geronimo
Image Credit: Billboard Philippines
Sarah Geronimo at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Jackie Lou Blanco
Image Credit: Billboard Philippines
Jackie Lou Blanco at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Morissette
Image Credit: Billboard Philippines
Morissette at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Dave Lamar
Image Credit: Billboard Philippines
Dave Lamar at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
ena mori
Image Credit: Billboard Philippines
ena mori at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Zild
Image Credit: Billboard Philippines
Zild Benitez at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
ena mori
Image Credit: Billboard Philippines
ena mori at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
BINI
Image Credit: Billboard Philippines
BINI at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
SB19’s Stell
Image Credit: Billboard Philippines
Stell at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Mimiyuuuh
Image Credit: Billboard Philippines
Mimiyuuuh at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Moira
Image Credit: Billboard Philippines
Moira at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
Franco Laurel
Image Credit: Billboard Philippines
Franco Laurel at Billboard Philippines’ first Women In Music event, held Friday (March 22) at Samsung Hall in SM Aura, Taguig City.
From NCT DREAM‘s delicious debut with “Chewing Gum” in 2016 to later devouring the charts with hits like “Hot Sauce” and “Candy,” the boy band’s taste for snackable singles takes a different and darker turn with “Smoothie,” the lead single off their just-released Dream( )scape EP, that speaks to the group’s hope of using music for fans to “escape their fears and negativity.”
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“Our producers and label were like, ‘Is there something that you guys want to say in particular?’” group leader MARK explains to Billboard days before the album drop. “RENJUN was actually thinking, ‘Musically and visually, we’ve always been so bright and very optimistic, but I think we can kind of express how it’s still NCT DREAM and sometimes we can also have bad dreams.”
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Represented through the intense five-part ( )SCAPE Film on YouTube and their most experimental mini album, NCT DREAM tweaked their signature style for tracks that recognize hardship and offer an empowering, encouraging message. MARK opens intro track “icantfeelanything” announcing, “I might’ve been afraid to be brave,” followed by CHENLE crooning, “‘Cause I’m lost and confused” before an intense breakbeat switches into a chant of frustrated yells.
The septet tackles anxiety on the pacifying R&B of “UNKNOWN” (Encouraging the listener to slowly but surely “Go chase your dreams/ Dive in, dive in, into the unknown”) as they yearn for freedom on hip-hop/pop cut “BOX” (“I don’t need controllin’, Let me go/Nobody lockin’ me up, nobody stoppin’ me”). The hook-heavy single “Smoothie” flips the group’s tried-and-true foodie styling by inspiring the audience to share their worries with NCT DREAM so they can blend it into a healing formula: “Throw in that doubt and fake, pour in all that pain / Shower that in all this ice, eventually it all melts.”
Pronounced as “Dream Escape,” the tight, six-track makeup of Dream( )scape offers fans not only an uplifting getaway of a listening experience but crucially lets them in a bit closer to a group that all debuted as teenagers and is becoming a team of wise young adults. The messages should connect well with audiences worldwide as NCT DREAM’s Dream Show 3: Dream( )scape world tour begins in May with plans to visit Latin America, the U.S., and Europe before the year’s end.
Before then, read more from MARK, RENJUN, CHENLE, JENO, JAEMIN, HAECHAN and JISUNG on creating their latest album, upcoming world tour and more.
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Congratulations on the new album. From the teasers to the music itself, NCT DREAM shares a lot through Dream( )scape. Overall, what are you looking to show in this album?
RENJUN: As expressed through the ( )SCAPE Film trailers, although we have all different jobs and are in different locations, we experience the same external stress and, through those processes, we almost feel like we are liberated. And also the title song itself, you can see that it’s titled “Smoothie,” but it means that we will grind all these bad ingredients and mix them up [into something positive].”
MARK: I think we’ve really grown as people, and as artists, and that definitely reflects the way we make our albums now because I think this album might actually have the most of our identities and our personal colors in it. We were very involved in the process from the very start and we really got to put in the message that we’ve always wanted to deliver to our audiences. This album, in particular, really kind of showcases who we are the most out of all the other albums in terms of that we were very much looking forward to how our fans would respond to that. [Dream( )scape] revolved around our ideas, and we were involved with how we wanted this whole message shared, so it made us feel like, “Okay, we need to take more responsibility for this album.”
JENO: This album is the starting point of this year in our new chapter so I think we now want to focus more on that stories that lie within.
What message did you all want to share? MARK opens the album by saying, “I might’ve been afraid to be brave,” and the idea of is mentioned a few times in the record. What’s the significance of bravery here?
RENJUN: It’s always hard to start something and take that first step. Actually, it’s very difficult to be brave and requires a lot of courage. And with this album, we wanted to help others at their own starting line to be brave by themselves.
MARK: Our producers and label were like, “Is there something that you guys want to say in particular for this album?” So, we were thinking among our members but RENJUN was actually thinking, “Musically and visually, we’ve always been so bright and very optimistic, but I think we can kind of express how it’s still NCT DREAM and sometimes we can also have bad dreams as well, you know?” Even though we are going for our dreams, there are hardships that we face in reality. Our hope is to let our audiences escape their fears and negativity; we really want to encourage that. That kind of formed the title of our album as well, which is Dream( )scape.
And I wanted to clarify because I feel like a lot of people would pronounce it as “Dreamscape,” but it’s “Dream Escape.” They took the “e” out because the parentheses are supposed to symbolize a gate, you know? We have to call it “Dream Escape,” I guess — the “e” escaped.
JENO: We express our growth through our music. Since we debuted at such a young age, I think we still have things to figure out from the younger image that our group holds. So, with that in mind, when we were producing this album, we tried to escape from that image that we had.
It felt like Dream( )scape was viral the moment you unveiled these dark teasers that we haven’t seen from NCT DREAM—I thought the bruised and bloody feet were very striking. Can you explain them and your take on the reactions?
RENJUN: The initial teasers meant that the clothes on top are very neat and sleek, but you also see these wounded feet from the members. This signifies that, in real life, everyone seems to be comfortable and put together, but we have hidden feelings inside and wounds in our hearts—and that’s normal. We’re trying to express that going through struggles and pain eventually leads to an escape.
JENO: As you can see in the ( )SCAPE Film, we are locked in our own rooms to show each of the member’s own dreams and identities in this suppressed reality. Eventually, we get to escape after the seven of us gather up, and that’s the storyline that we focused on when we were filming.
MARK: It was really fun seeing how after every photo got released, the fans were like, “Oh, what does this mean? What does this symbolize? I think there’s a story behind all this.” I really liked to see how they were very attentive to each and every detail of the photo, and sometimes even, we were surprised by how they interpreted some parts of a photo or video — their trying to detect what it all meant before everything was released was one of the things that we really liked about this promotion.
Not to pry, but that’s a great message that I imagine many artists relate to. Is there anything you dealt with where things looked good on the outside, but something else was going on inside?
RENJUN: I think everyone has pain and scars from their lives that they don’t want to show until they’re ready. So, maybe talking to people [about this subject] could make others comfortable to want to reveal their pains.
JENO: To continue that, I think the rooms that I described earlier really relate to this album, and that’s where the story and concept came from.
MARK: I think there are a lot of times where I feel very hungry on set, but I just can’t show that to the people because I feel like that might be delaying the whole schedule, you know? Very painful…
RENJUN: He’s joking! He’s always kidding.
MARK: I mean, there’s a seed of truth. [Group laughs.] But don’t worry too much.
Why was “Smoothie” the right song to choose the single for this important album?
MARK: So, it was really hard choosing the title track because we had a lot of meetings and heard a lot of different options of songs for the title track [single], but we eventually chose “Smoothie” because one of the main goals we had for this comeback was to come up with a song that had the easiest hook but still had an impact. In a way, we could have chosen a more complex song, but we wanted to really narrow it down to the simplest type of hook that anyone can kind of catch on, even from the first listen, and I remember how we agreed that “Smoothie” would be the one because of that reason specifically.
JAEMIN: There are a lot of ingredients from which you make a “Smoothie” pictured in the music video, and what we wanted to express was cutting through all these bad ingredients to viewers — that’s the plot point that you might want to look forward to the most when watching.
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One of my favorite tracks from your LP last year, ISTJ: The 3rd Album, was “Yogurt Shake,” and I wondered if “Smoothie” was related to it.
MARK: That’s also one thing we wanted to say! We have a lot of songs that relate to food or something you can eat, which is why we wanted to have the “Dirty Smoothie” as the title because we didn’t want it to sound too common or something that people can expect right away.
Looking at some of the other Dream( )scape tracks you were involved in, I love the lyrics in “BOX,” which MARK co-wrote. Did this come from a personal place or do you ever feel NCT DREAM is put into a box?
RENJUN: We wanted to more so summarize a universal feeling because I think everyone, whether it’s at home or work, I think everyone has felt that kind of feeling of being put in a box so wanting to explore and feel free.
MARK: I relate to what RENJUN said because, whether we are or aren’t aware of it, we all have our own boxes internally as well. I realized that this song’s theme and energy really fit the album’s concept — we can’t be trapped in your frame or opinions anymore. If you were to put that as a “BOX,” this song helps us come out of that and I just wanted to put that energy into the verses that I wrote.
MARK and JENO took part in “UNKNOWN,” which I found comforting and I think fans will too.
MARK: Just from the word, “unknown,” I think a lot of people can relate to being afraid when it’s something that you’re not familiar with — even though they know that they have to take that step. We use the analogy of a body of water as something being “UNKNOWN” so you can dive into the unknown by taking a leap of faith. When me and JENO were writing, we really wanted to express how we know that we want to take that dive so let’s just take the leap of fate together — because it’s always better to do something with someone you trust rather than do it alone.
The album closes with “Breathing,” co-written by MARK, JENO, JAEMIN and JISUNG.
JENO: When I was making the rap, the song content itself is very dark and restrictive, feeling like your breath is running out — that is, until I met you and that became the cure. So, that’s the theme that we set from the start.
RENJUN: The first part of the song starts with “Where I am” and the last part ends with “Here I am.” When we were recording, we put our emotions and struggles into this idea of feeling lost, but when we were getting close to the end, we felt like, “Oh, I am here and I am determined.”
You’ll soon take these songs on stage with your Dream Show 3: Dream( )scape world tour. How are the preparations going?
JISUNG: I think it’s going to be a better concert than The Dream Show 2. We’re still working on it, but we set Dream( )scape as the direction and focus on The Dream Show 3 tour. It’ll be a very different concert because we’re now more experienced, we have new songs and I think we can put out more diverse and improved sides of ourselves.
JENO: This year, fans can look forward to a show where each section has its own strong, independent color and various charms in each section — that’s the key point.
RENJUN: It’s almost like riding a rollercoaster because our emotions throughout the sections have a dynamic to it. So, fans can also ride the ups and downs with us.
What else do fans need to know right now?
CHENLE: We worked really hard on this album, so I hope you guys look forward to it from the trailer to the stages we’re going to perform when we have the album out. It’s going to be a very busy year for us and we’re going to look to do a lot of things. We’ll be getting closer with you all so please look forward to all that.
