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Coldplay has once again soared to new heights, securing their 10th consecutive No. 1 album on the U.K. Official Albums Chart with Moon Music.
Not only did Moon Music debut at the top spot, but it also logged 237,000 chart units in its opening week, making it the biggest debut for a British act in three years, since Adele’s 30 in 2021.
This monumental achievement sees Coldplay joining the ranks of British music royalty. With Moon Music, the band ties ABBA, Michael Jackson, and Queen, each boasting 10 No. 1 albums on the U.K. Official Albums Chart.
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Coldplay’s chart-topping streak, which began with their 2000 debut Parachutes, includes A Rush of Blood to the Head (2002), Mylo Xyloto (2011), and their most recent effort, Music of the Spheres (2021). Moon Music isn’t just Coldplay’s latest No. 1—it’s also the fastest-selling album of 2024 in terms of physical and digital sales, with 209,000 of its units coming from pure album purchases.
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It trails only behind Taylor Swift’s The Tortured Poets Department, which sold 270,000 units earlier this year, however, Coldplay’s strong numbers have put them leagues ahead of other British acts,.
Meanwhile, Sabrina Carpenter’s Short N’ Sweet continued its steady climb, moving up one spot to No. 2 this week. Public Service Broadcasting landed their third Top 10 album with The Last Flight, debuting at No. 3, while James Bay’s Changes All The Time entered at No. 4, marking his fourth Top 5 album.
Further down the Top 10, The Smile’s Cutouts, featuring Radiohead’s Thom Yorke and Jonny Greenwood, debuted at No. 7, while Alison Moyet’s Key entered at No. 8—her highest-charting album in over a decade. Aphex Twin’s Selected Ambient Works Volume II also made waves, re-entering the Top 40 at No. 21 following its 30th-anniversary reissue.
Coldplay’s consistent chart domination, now spanning over two decades, shows no signs of slowing down. With Moon Music securing their place among legends, the band continues to solidify their lasting impact on the U.K. music scene.
Sabrina Carpenter is on fire! The pop superstar just smashed the record for the most weeks spent at No. 1 in a single year on the U.K. Official Singles Chart, proving that she’s truly in a league of her own.
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Her hit single “Taste” has now spent seven consecutive weeks at the top in the U.K., and when you add that to the No. 1 runs of her previous singles “Espresso” (seven non-consecutive weeks) and “Please Please Please” (five non-consecutive weeks), the pint-sized pop star has officially racked up 19 weeks at No. 1 in 2024.
This makes her the female artist with the most weeks at No. 1 in the U.K. in a single year—ever!
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That’s not just any record—Sabrina has now overtaken the legendary Olivia Newton-John, who held the record with 16 weeks at No. 1 back in 1978.
As if that weren’t enough, she’s also tied with Ed Sheeran for the most weeks at No. 1 in a single year this century. Sheeran also hit 19 weeks in 2021 with tracks like “Bad Habits,” “Shivers,” and his Christmas collaborations with Elton John and LadBaby.
“Taste” is proving to be irresistible, pulling in over 6 million streams this week alone, making it the most-streamed song in the U.K. for the seventh straight week. It’s tied with Noah Kahan’s “Stick Season” for the longest-running No. 1 of 2024, and with no major competition on the horizon, Sabrina’s reign could stretch even further.
Elsewhere on the charts, things are getting interesting. Lady Gaga and Bruno Mars’ mid-career hit “Die With A Smile” is surging, climbing to a brand-new peak of No. 3. It’s their highest-charting song in the U.K. in years, proving they’ve still got it.
Meanwhile, Gigi Perez scores her first-ever Top 10 hit with “Sailor Song,” which leaps five spots to No. 6 this week, earning a lot of buzz in the process.
Sonny Fodera, Jazzy, and D.O.D.’s summer anthem “Somedays” is still heating up, jumping two places to land at a new peak of No. 8, while Gracie Abrams is edging closer to her first U.K. Top 10 with “I Love You, I’m Sorry,” which skyrockets eight spots to No. 11.
Chappell Roan’s “Pink Pony Club” is also making a move, rising four places to No. 13.
Not to be outdone, KSI and Trippie Redd make a big splash with their latest single “Thick Of It,” which debuts at No. 14, marking KSI’s 19th Top 40 single and Trippie Redd’s second. Meanwhile, Addison Rae is continuing her rise in the pop world, as her track “Diet Pepsi” cruises up seven spots to No. 15, marking her first-ever U.K. Top 20 hit.
Rounding out the Top 20, Coldplay makes a strong return with “FeelsLikeImFallingInLove” re-entering the charts at No. 18 after a 13-week absence, thanks to the release of their new project Moon Music. Their track “We Pray” also hits a new peak at No. 20.
With three massive No. 1 hits and 19 record-breaking weeks at the top, Sabrina Carpenter is officially unstoppable. Her taste for chart domination shows no signs of slowing down, and it’s clear that 2024 is shaping up to be her year.
The question now is, can anyone knock her off the top?
After a nearly yearlong absence, the seventh member of breakout K-pop group RIIZE will rejoin his band mates.
RIIZE’s official social media accounts announced that Seunghan will gradually participate in select group activities starting in November, marking a return that’s been highly anticipated yet fraught with confusing controversy.
Beginning in August 2023, Seunghan’s break stemmed from pre-debut photos and videos of the young star leaking that ignited backlash within some of South Korea’s more conservative social climate. The images showed Seunghan in a bed with an unidentified woman and smoking a cigarette, leading to some fans labeling his actions as inappropriate for a K-pop idol and demanding his removal from RIIZE. Last November, the group’s label, SM Entertainment, announced that Seunghan would “halt activities indefinitely” while reflecting on his behavior with no further updates from the label in a decision that left fans and industry insiders forced to speculate about his future.
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The controversy surrounding Seunghan’s return reflected the broader tension between the global aspirations of K-pop artists and the expectations placed on them by domestic audiences. While RIIZE has earned international acclaim for music and the group’s authentic approach to social media and fan connection — highlighted in a Billboard digital cover touting them as “K-pop stars on the rise” from this past June — Seunghan’s situation highlights the pressure increasingly international idols face to uphold traditional values in a rapidly modernizing industry.
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In the statement, SM Entertainment acknowledged both Seunghan’s personal growth during his time away and the label’s internal deliberation on the timing of his return. While many fans will welcome his reappearance (an online petition requesting his return had 20,000 signatures), the decision to reintegrate him into RIIZE marks a pivotal moment in how the group will navigate its future trajectory both at home and abroad and, potentially, how the K-pop industry can more seamlessly navigate controversies of cultural clashes.
Seunghan followed up on the statement with a handwritten letter uploaded to RIIZE’s Weverse account, in which he apologized to his fans, company, and band mates. The 21-year-old shared that he questioned his future as a musician but pointed out that his RIIZE members Shotaro, Eunseok, Sungchan, Wonbin, Sohee and Anton actually reached out to him.
“Because I caused such great disappointment, I continued to have more realistic thoughts such as, ‘Will I be able to stand on stage again?’” he wrote. “During that time, the members held my hand once again. It must have been a very difficult decision, and I am only filled with gratitude and apologetic feelings for giving me another chance. I know there is so much I need to show to the members who have taken my hand again, the fans who are worried that the achievements made in my absence might be tarnished, and the company that made the tough decision. Of course, I feel burden and fear about this.”
Earlier today (Oct. 10), RIIZE released the “KENZIE RE:WORKS” remix of their pre-release buzz single “Memories,” which dropped ahead of the septet’s official debut in September 2023.
Read the full statement below (with translation provided via Soompi):
To the BRIIZE [RIIZE’s fandom] who love RIIZE,
Hello, this is Wizard Production, who is in charge of producing for RIIZE. We would like to cautiously make a statement regarding member Seunghan’s return and the direction of RIIZE’s future activities.
As the fans know, it has been around 10 months since Seunghan went on a hiatus from group activities due to issues with his pre-debut personal life.
Seunghan acknowledges that his past actions were wrong, and he has currently halted activities for nearly a year while deeply reflecting [on his actions] and feeling apologetic to the other members and his fans. We also recognized that Seunghan’s past actions were not appropriate as an artist, which is why it took us a long time to debate the timing of his return to activities.
Because there was no announcement regarding Seunghan’s activities, the fans went beyond curiosity to become worried and concerned, and we empathize with those feelings. But as we continued to debate the matter from various angles, [our decision took some time], and we sincerely apologize for the fact that we are only now telling you our decision about the direction of RIIZE’s future activities.
We poured our heart and soul into planning out RIIZE even before their debut, and we have determined that RIIZE’s next chapter would be even more meaningful if the seven members were together. Therefore, after numerous discussions with the staff and members about the direction of the group’s future activities, it has been decided that Seunghan will be returning to the group. After joining the group and preparing for a certain amount of time, we plan for Seunghan to gradually participate in some of the group’s scheduled activities for November and greet the fans once again.
Even during his hiatus, Seunghan has consistently worked to build his skills, and as he still has a lot to show you in the future, we hope that you will look warmly upon him.
Once again, we sincerely apologize for causing confusion and difficulty for the fans who have watched over and cheered for RIIZE’s growth. However, as RIIZE is a group that aims to rise and realize their dreams together, the members think of the group as their top priority and are, even at this very moment, working hard to practice [for their future activities]. We ask that you trust our decision so that we can properly show the fans a RIIZE consisting of seven members.
We are certain that many people are curious about what RIIZE’s next chapter will be, how much farther they will rise, what sorts of dreams they are harboring, and how they will realize those dreams in the future. Because we, the people who are the closest to RIIZE and who are also passionate fans of RIIZE ourselves, are also eagerly looking forward to RIIZE’s next chapter.
We will continue to work hard in the future to repay [the fans] with RIIZE’s great music and performances while sharing the members’ dreams. We ask that you stay with the members and share all of their moments of rising and realizing that will continue to unfold in the future.
Seunghan’s Weverse letter (via Soompi):
Hello, this is Seunghan.
First of all, I sincerely want to apologize to the members and the fans. When the photos from before my debut were released, although they were photos of me, I was deeply disappointed and regretful about myself. If even I felt that way, I can’t even imagine how the members and fans by my side must have felt.
You must have been angry, shocked, and disappointed. I am truly sorry to the fans who supported us from the very beginning, which was such a crucial time, and to those who were hurt by my immature actions. I also feel sorry to the members, with whom I should have been working hard to move forward together, which led to my sudden suspension of activities. I want to apologize to everyone who had to endure and overcome that situation. I felt both sorry for the situation and a sense of despair at not being able to be with everyone.
Because I caused such great disappointment, I continued to have more realistic thoughts such as, “Will I be able to stand on stage again? Can I continue making music?”
During that time, the members held my hand once again. It must have been a very difficult decision, and I am only filled with gratitude and apologetic feelings for giving me another chance.
I know there is so much I need to show to the members who have taken my hand again, the fans who are worried that the achievements made in my absence might be tarnished, and the company that made the tough decision. Of course, I feel burden and fear about this aspect.
However, I am determined to work even harder and do better because of the trust placed in me.
I will strive to be a good member who takes responsibility and does not tarnish the achievements the members have built up. I want to become a necessary presence to the team RIIZE.
Once again, I want to apologize to the members and company staff who made the difficult decision and to the fans who must have been shocked. I will work more diligently and responsibly in the future.
JO1’s “WHERE DO WE GO” hits No. 1 on the Billboard Japan Hot 100, dated Oct. 9, tallying the week ending Oct. 6.
The title track of JO1’s ninth single debuted at No. 31 on the chart dated Sept. 18 after being released digitally on Sept. 9. It remained in the Japan Hot 100 since then and soared 73-1 powered by sales with the release of the CD on Oct. 2. The track rules sales this week while coming in at No. 4 for downloads, No. 36 for streaming, No. 2 for radio airplay, and No. 29 for video views. The CD sold 732,009 copies, coming in second to the group’s previous single “HITCHHIKER” (738,776 copies), currently the record-holder for highest first-week sales for the band.
SKE48’s “Kokuhaku Shinpakusu” debuts at No. 2. The group’s 33rd single launched with 319,722 copies to come in at No. 2 for sales, while hitting No. 64 for radio.
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Mrs. GREEN APPLE’s “Lilac” slips a notch to No. 3. The former No. 1 hit continues to rule streaming for the 16th straight week, though showing a slight decrease (94%) from the week before. The track comes in at No. 3 for video, No. 15 for downloads, and No. 5 for karaoke.
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ATEEZ’s “Birthday” bows at No. 4. The title track off the K-pop boy band’s fourth single in Japan sold 154,296 copies in its first week to debut at No. 3 for sales. The track also comes in at No. 93 for downloads and No. 65 for radio. No. 4 on the Japan Hot 100 is tied for the group’s best position so far, previously achieved by “NOT OKAY.”
King & Prince’s “WOW” enters at No. 5. The track off the duo’s sixth album Re:ERA dropped digitally on Sept. 30 and rules downloads and radio, while also coming in at No. 25 for video. This is the second time King & Prince topped downloads, following “halfmoon.”
Official HIGE DANdism’s “Same Blue” debuts at No. 7. The opener for the anime series Blue Box comes in at No. 2 for downloads (11,375 units), No. 4 for radio, No. 20 for video, and No. 27 for streaming.
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 Sept. 30 to Oct. 6, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
HARU NEMURI dropped her collaborative EP with Frost Children called Soul Kiss on Oct. 4, and also shared the new music video accompanying “Burn,” a track off the project. Explore Explore See latest videos, charts and news See latest videos, charts and news Frost Children is a duo based in New York, consisting of siblings […]
Wagakki Band shocked fans earlier this year when it announced that the group will be going on hiatus indefinitely after Dec. 31, 2024. The eight-member band has forged out a singular space in J-pop music through its unique ensemble including traditional Japanese instruments and featuring the distinctive singing style of frontwoman Yuko Suzuhana. After a decade of enjoying brilliant success both in its home country and abroad, the group has summed up its career so far in a best-of collection, called ALL TIME BEST ALBUM THANKS – Yasou no Oto -.
Wagakki Band members Suzuhana, Beni Ninagawa (Tsugaru-shamisen), Kurona (wadaiko, Japanese drums), Machiya (guitar & vocals), and Wasabi (drums) sat down with Billboard Japan and spoke candidly about why they chose to take a break on their anniversary year, and the process of producing the 18-track greatest hits album that also includes re-recorded versions of familiar hits and two new songs.
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The announcement that the band would be taking a break indefinitely took me by surprise when it came out in January. Could you tell us how you came to that decision?
Yuko Suzuhana: We formed Wagakki Band and made our debut in less than a year and spent an extremely busy ten years since. But at the time we first got started, all the members each had their own bands or were doing solo work. Wagakki Band suddenly attracted a lot of attention, so we stopped everything else we’d been doing until then and poured everything into this project. We’d been discussing for over a year about how it might be a good idea to stop the band for the time being and focus on our individual activities.
Beni Ninagawa: We figured we’d do our best until the end of our tenth year, then after that, we needed some time to reflect on ourselves and further improve our skills. It’s a positive decision that will allow us to get together again after we’ve improved and make even better music.
Suzuhana: The band wasn’t going downhill, so the timing of the announcement might have come as a surprise for some, but we said the hiatus would be indefinite simply because we haven’t set a time limit. This news is being inaccurately reported, especially outside of Japan, that we’re disbanding and I’ve received many inquiries from overseas.
Listening to this greatest hits album, I was touched by how it traces the history of your past ten years in a very dramatic way.
Machiya: We didn’t want to make a best-of album that just lined up our famous hits. Since it’s the tenth anniversary of our debut, we decided to re-record some of our early releases and make the collection into a retrospective of the ten years we’ve spent with our fans. It’s a pretty conceptual structure that allows you to trace our history by listening to the songs in release order.
Ninagawa: What’s more, the earlier songs that we re-recorded have a completely different sound quality compared to the original recordings, so that’s something for our fans to enjoy.
Wasabi: In particular, the original version of “Rokuchounen to Ichiya Monogatari” sounds quite light. There are parts where we should have made more solid, but it’s a fast-paced song and we weren’t able to express that at the time. But thanks to the things we’ve cultivated over the past decade, we’ve finally been able to give it shape, and I think you can feel the weight of our ten years in the sound.
After listening to the re-recorded version, I was struck by the magnitude of the wadaiko’s presence.
Kurona: Rock music can be made with just a guitar, bass and drums, so traditional Japanese instruments aren’t really necessary. But in this band, they can’t just be discreetly included; they have to become indispensable and the sounds should be there because they’re necessary. There were no precedents before Wagakki Band and we’re still the only ones that do this… We’re still in the process of trial and error.
The tracks “Rokuchounen to Ichiya Monogatari (Re-Recording)” and “Senbonzakura (Re-Recording)” were released digitally ahead of the album. My phrases and calls haven’t changed at all since (the original), but maybe because the way we recorded has changed, I’ve had people tell me that they think I’ve added more wadaiko phrases and calls. In that sense, I feel that my trials and the results of how to make Japanese instruments sound richer, including the significance of my own presence, are expressed in these re-recorded versions.
“GIFT” is a positive up-tempo new song credited to Yuko.
Suzuhana: I imagined what I’d be like, what kind of melody I’d like to be singing at the end of our tenth anniversary before the break. I came up with a positive, bright melody and tempo in a day or so, and wrote it on the piano. I named it “Gift” because this band was a gift to me. My life changed completely thanks to this band, and of course I hope that the music we eight members created will also be a gift to our fans. So this song is about how the existence of Wagakki Band has changed all of our lives for the better.
Ninagawa: Everything we want to convey is packed into this song, isn’t it?
Machiya: If you listen to this song after reading this interview, you might be able to see that our hiatus is a bit different from what those who interpreted it as a negative move thought it would be.
The other new song, “Yasou Emaki,” is credited to Wagakki Band.
Machiya: What’s different about this best-of album from previous ones is that we asked our fans which songs they wanted included. We made the selection based mainly on the top answers from the survey, but those songs are to be expected, right? Among the top 100, there were lots of tracks in the midrange that didn’t make the cut. We wanted to meet the expectations of our fans who voted for such songs, so we started working on this new track with the idea of mashing them up as much as possible. I was the one who did all the actual work, but we made it together in that it samples phrases that we all made, so we put it out under the name Wagakki Band for the first time.
I’ve forgotten how many I ended up using, but I took samples of over 80 songs. I exported all the melodies and chords in the same key, and then spent about two weeks extracting the words from them.
You’ll be touring from November to December with this album and wrapping up your decade of music for the time being. Can your fans expect the tour to be a joyful celebration?
Kurona: We know that our fans have bought tickets with some sadness and feeling of loss about our break in the corner of their minds, so we want to make sure that the shows will outlast those feelings for as long as possible. We want people who were feeling down to go home with a brighter outlook, saying things like, “I had a great time” and “I’m glad I came today.” To that end, we’ll put on an even cooler show than ever before.
“ALL TIME BEST ALBUM THANKS – Yasou no Oto -” is streaming now https://wgb.lnk.to/thanks_digital. Click here for information on tickets to “WAGAKKIBAND Japan Tour 2024 THANKS-YASO NO OTO-” Tokyo show on Dec. 10 for overseas residents https://wagakkiband.com/contents/857663.
—This interview by Tomokazu Nishibiro first appeared on Billboard Japan
Coldplay’s Moon Music has stormed to the top of the U.K. Albums Chart upon its release, becoming the fastest-selling album of the year by a British act, U.K. Official Charts can confirm.
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In just 72 hours, the band’s latest album has already sold over 160,000 chart units, setting Coldplay on course for their 10th consecutive No. 1 studio album, as per the latest Chart blast.
It marks the biggest first-week sales in the U.K. for a British act since Adele’s 30 in 2021, which debuted with 261,000 chart units. If Coldplay maintains this momentum, they might edge closer to Taylor Swift’s record, which claimed the fastest-selling album of 2024 with The Tortured Poets Department, which moved 270,000 chart units in its first week.
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It marks the biggest first-week sales in the U.K. for a British act since Adele’s 30 in 2021, which debuted with 261,000 chart units. If Coldplay maintains this momentum, they might edge closer to Taylor Swift’s record, who claimed the fastest-selling album of 2024 with The Tortured Poets Department.
Public Service Broadcasting are eyeing their third Top 10 album with The Last Flight, which is currently at No. 2, while The Smile — an offshoot of Radiohead — follows closely with their latest effort Cutouts at No. 3. James Bay’s Changes All The Time is also expected to land in the Top 5.
The 1975’s Being Funny In A Foreign Language is projected for a re-entry into the Top 10 at No. 6, driven by the release of an exclusive liquid-filled vinyl.
Alison Moyet is on track for her first Top 10 album in over a decade with Key, marking a triumphant return for the singer-songwriter.
In the lower half of the Top 10, Aphex Twin’s Selected Ambient Works Volume II (No. 8) and Jake Bugg’s A Modern Day Distraction (No. 10) are set for strong debuts.
Further down the chart, FINNEAS could score his first Top 40 album with For Cryin’ Out Loud!, predicted to debut at No. 20. Caribou’s Honey is on track to become the Canadian producer’s third Top 40 album, while indie favorite Orla Gartland is set to land her second Top 40 album with Everybody Needs A Hero (No. 25).
Elsewhere, former Black Midi frontman Geordie Greep’s debut solo album The New Sound is on course for a Top 40 debut (No. 31), and Leon Bridges’ Leon follows closely behind at No. 34.
Stay tuned as Coldplay’s Moon Music battles to cement its place as the year’s biggest release in the U.K., with Friday’s final chart reveal set to determine if they’ll match or surpass Swift’s 2024 milestone.
It seems everything Shed Seven touches turns to Liquid Gold, with the rockers scoring their second No. 1 album of 2024 on the U.K. Official Album Charts.
Their latest project, Liquid Gold, follows their first-ever chart-topper A Matter of Time back in January, putting them in some seriously elite company. They now stand shoulder-to-shoulder with legends like The Beatles, Queen, Elton John, Diana Ross, Taylor Swift, Ed Sheeran, and ABBA—artists who’ve managed to land two U.K. No. 1 albums in a single year.
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“Can’t quite really believe that we’re standing here once again this year, but this is our second No. 1 of 2024, which is absolutely mind-blowing,” Shed Seven told the Official Charts Company.
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“We would like to thank our amazing label, Cooking Vinyl, all our crew, and most of all, all the fans who’ve been getting out there this week and getting behind us. We’re immensely proud, and we can’t wait to get out on tour and celebrate what an amazing year we’ve had.”
“We’d like to dedicate this to our departed loved ones; our four Dads and Max’s Mum. Thank you”
Just behind Shed Seven, Bring Me The Horizon jumped to No. 2 with POST HUMAN: NeX GEn, thanks to its physical release. The album previously peaked at No. 5 back in June and has now marked the group’s fifth Top 10 album.
Meanwhile, North-West London rapper Nines hit No. 4 with his sixth and final album Quit While You’re Ahead, while Ed Sheeran’s +–=÷× (Tour Collection) secured the No. 5 spot, making this Ed’s eighth Top 10 album.
In a big moment for jazz, Ezra Collective broke into the Top 10 for the first time with Dance, No One’s Watching, debuting at No. 7. The last time jazz had such a big moment in the U.K. Top 10 was Chris Kamara’s Here’s To Christmas in 2019. Ezra Collective previously earned Top 40 success with their Mercury Prize-winning Where I’m Meant To Be in 2022, but this leap to the Top 10 marks a game-changer for the genre.
Elsewhere, Manchester’s Pale Waves made waves of their own with their fourth studio album Smitten, landing at No. 13, while indie veterans Maximo Park claimed No. 21 with Stream of Life, keeping their streak of Top 40 albums intact.
And in a surprise surge, Benson Boone’s Fireworks & Rollerblades shot back into the Top 40, climbing 20 spots to land at No. 37 in what was a week full of chart shakeups and big wins across the board.
Oasis has extended their highly anticipated Live 25 reunion tour to Australia, marking their first shows in the country since the band’s split in 2009.
As confirmed by Rolling Stone AU/NZ last week, the Britpop legends have announced two stadium dates, with a performance at Melbourne’s Marvel Stadium on Friday, Oct. 31, followed by a show at Sydney’s Accor Stadium on Friday, Nov. 7.
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“People of the land down under. You better run – you better take cover… We are coming. You are most welcome. Oasis will tour Australia in 2025!” a message posted to Oasis’ X (formerly Twitter) account on Oct. 8 read.
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‘People of the land down under.“You better run-you better take cover…”We are coming.You are most welcome.’Oasis will tour Australia in 2025! 🇦🇺Register for the Australian ticket pre-sale private ballot: https://t.co/lms10x64eUThe pre-sale will take place on Monday 14th… pic.twitter.com/WCpRa8pNRF— Oasis (@oasis) October 7, 2024
The band’s return to Australia comes after a string of sold-out dates across Europe and the U.S., reflecting the huge demand for Oasis nearly 25 years after their debut. U.S. dates include a stop at Madison Square Garden in New York on June 14 and a show at SoFi Stadium in Los Angeles on June 21.
As part of the reunion tour, fans can expect to hear hits from the band’s extensive catalog, including tracks like “Wonderwall,” “Champagne Supernova,” and “Don’t Look Back in Anger,” which saw Oasis emerge as one of the most influential rock bands of the ’90s.
Oasis’ impact in Australia has been major. Their second album, (What’s the Story) Morning Glory?, spent four weeks at No. 1 on the ARIA Albums Chart and is certified eight times platinum. The single “Wonderwall” was also voted the No. 1 song in triple j’s “Hottest 100” for 1995.
Pre-sale tickets for the Australian leg of the tour will be available starting Wednesday, Oct. 9, with general sale beginning on Tuesday, Oct. 15.
The Gallaghers will kick off the North American leg of their tour with two shows at Toronto’s Rogers Stadium on Aug. 24 and 25, followed by a performance at Chicago’s Soldier Field on August 28.
They’ll then head to New Jersey for two nights at MetLife Stadium on August 31 and Sept. 1, before wrapping up the U.S. run with two shows at the Rose Bowl in Los Angeles on Sept. 6 and 7. The band will also make a stop in Mexico City on Sept. 12. These are Oasis’ first North American shows in over 16 years.
The last time Oasis played the U.S. in 2008 on the Dig Out Your Soul tour they performed in 10,000-20,000 capacity arenas. The stadiums on their upcoming North American swing will accommodate between 45,000-80,000+ fans.
Oasis 2025 Australia Tour Dates:
Friday, Oct. 31 – Marvel Stadium, Melbourne, VIC
Friday, Nov. 7 – Accor Stadium, Sydney, NSW
ONE N’ ONLY, the six-member dance and vocal group from Japan, released their third EP, Fiesta, on Oct. 2. In the past, they melded J-pop and K-pop to create a “JK-pop” style, and in 2023 they established a new style, “Jatin pop,” which fused J-pop and Latin music. Their new EP Fiesta has an even freer approach, spanning all kinds of genres, including a foray into amapiano.
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Billboard Japan interviewed the group, which is constantly breaking new ground as a Japanese dance and vocal group. (Note: Member NAOYA was unable to take part in the interview due to a scheduling conflict.)
You’ve made a really lively EP with Fiesta I feel like it has more aggressive songs than your past work. What have your impressions been like?
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HAYATO: Well, first off, when we were creating the EP, we talked about wanting to make songs to lead our autumn tour. We wanted to make something that would get the audience hyped, like “EVOL,” turning shows into real parties. That’s why we made “Fiesta” our lead song. I think it’s an incredibly fun EP.
“EVOL” generates a lot of excitement, so it’s beloved by fans.
TETTA: Right. I think “Fiesta,” like “EVOL,” will turn up the energy levels in our shows.
HAYATO: The chorus is one you never get tired of, the song has a fast tempo, and both the lyrics and the choreography are incredibly upbeat. There’s also a part that we want all our fans to sing along with, so want to build up this song together.
TETTA: KAITA did the choreography for “Fiesta.” A lot of trial-and-error went into the chorus, too, and I think it turned out catchy and memorable. We stripped the choreography down a lot, making it easy to copy, and the dance is a lot of fun.
How many times have you worked with KAITA so far?
HAYATO: This is our fourth song, after “Hook Up,” “OPEN,” and “Last Forever.” The choreography is really catchy and easy to understand, and KAITA’s the same age as us, so he’s easy to talk to. That’s why the end result turned out so well.
REI: Ever since we established the “Jatin Pop” genre by fusing J-pop and Latin music in “EVOL” and “DOMINO,” we’ve written a lot of songs with Latin elements. “Fiesta” is especially catchy, and it has a great call-and-response section, so the audience will get amped up with us. KAITA, the choreographer, is part of RIEHATATOKYO, which has a strong hip-hop focus, so the choreography he created was really groovy. There’s a lot of depth to the rhythm, and that was combined with this Latin feel. They’re a great match. I don’t think there have been any other groups that combined Latin and Japanese elements like we have with Jatin Pop, so, just like our name, I think we’ve created a “one and only” song.
EIKU: And what’s more, it’s a blast to sing. You can really get into it, and I can just imagine everyone going crazy, carried by that Latin sound, so I’m looking forward to performing it live. Also, through our tour of all of Japan’s 47 prefectures, I’ve felt a change in how much more vocal our fans have gotten.
TETTA: Right! There’s this stronger feeling of unity, and in the audience participation parts, the crowd has gotten so much louder that it feels like they’ve all been practicing together in advance.
HAYATO: It’s so much fun sharing that feeling of excitement and energy with everyone.
KENSHIN: I think that by releasing a song like this, we’re helping create an even stronger sense of unity. I love the start of the second verse. It has this speed and this addictive quality that makes you want to listen to it over and over again. The song gets you fired up. The lyrics are also interesting, combining Japanese, English, and Portuguese.
HAYATO: The lyrics are all really easy to understand, too, so they’re easy to absorb.
KENSHIN: Yeah. Through our 47-prefecture tour from October 2023 to April 2024, we improved our live performance abilities. We were able to experience truly hands-on live shows, and we’ve grown so much.
TETTA: But we never had any down time! There were cameras filming us even while we were travelling between shows, so the only time we were truly alone was when we were asleep in our hotels. Partway through, I was like, “Where am I?” “Who am I?” (laughs) But thanks to that, I was able to focus exclusively on our shows, so I refined my vocals, and I grew more confident with each show. It was a great experience.
REI: It really was educational. Playing at small concert venues, close to the audience, I’d look at people further away and think that I needed to make it a fun show for everyone. I think the tour made me much better at performing live.
TETTA: We played several live shows in Brazil, and sometimes there would be a change of venue on the actual day of a show. Coming from experiences like that, the little problems that came up when touring in Japan were a breeze to deal with. (laughs)
KENSHIN: I became a lot more adaptable! (laughs)
That’s great to hear. Going back to the EP, “Burn it out” is a hard rock number, which is unusual for ONE ‘N ONLY. Listening to it, I could just picture you running around the stage.
HAYATO: We wrote that song precisely because we wanted to run around! We have an older song called “OPEN,” which has a strong rock feel. ONE N’ ONLY and rock go together really well. We wanted a song in our set list where we could go wild, so we picked “Burn it out.”
TETTA: I like rock in general, so singing that song is a blast. I feel like with a rock song, the way you perform live is different, so I’m looking forward to doing it live.
REI: The music for “R.U.S.H.” was written by JUNE (ONE N’ ONLY’s music producer) and HAYATO was involved in writing the lyrics. I hope listeners pick up on those creative aspects, as well.
HAYATO: I worked on the rap part. I wanted to use Japanese, too, so I picked words carefully. In JUNE’s songs, it’s pretty common for the Japanese parts to be broken down and given a more Western feel, with English mixed in, but if I was going to be taking part in the writing process, I wanted to have some clearly Japanese parts. I placed a lot of importance on the overall vibe, focusing on creating an atmosphere in which the words were clearly audible.
EIKU: I love “Too Much.” There’s some amapiano in there, so I hope people keep a close eye on our footwork. TETTA and I did the final switch-up, and I love the interplay in that part. It felt like we were jamming together, so I had a lot of fun.
HAYATO: The choreography also had some African dancing, and we’re developing and using some new steps, so I want fans to check out these latest moves, fresh from the floor.
EIKU: These new steps are like nothing I’ve ever seen when practicing the fundamentals. They’re really hard, so I’ve been watching tutorial videos and practicing.
KENSHIN: I like “ALL OUT.” We debuted this song in the final show of the 47 prefecture tour, but we wanted to make it clear in the lyrics that this was just one more step in our journey. NAOYA, HAYATO, and I wrote the lyrics to the song, and I didn’t have much previous experience with writing lyrics, so it was an incredibly fun time.
HAYATO: We wrote lyrics to accompany music from JUNE, and all of us really focused on the details. We’d show each other the lyrics we were working on while on the bus between shows, and we truly put our heart into the lyrics. Because of that, we were able to create a song with a strong message.
—This interview by Kana Yoshida first appeared on Billboard Japan
