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YOASOBI’s “Idol” returns to No. 1 on the Billboard Japan Hot 100, dated Jan. 17, extending its all-time record for weeks atop this chart to 22.
The Oshi no Ko opener is back at No. 1 after 19 weeks — the last time the long-running hit took the top spot was on the chart dated Sept. 6 — and while overall points for the track are down by 13% from the week before, it comes in at No. 1 for streaming, No. 2 for karaoke, No. 4 for downloads and video views, and No. 33 for radio airplay.
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Ado’s “Show,” the song tied for second-most weeks at No. 1 (13 weeks) with Official HIGE DANdism’s “Subtitle,” holds at No. 2 this week. Points for “Show” are down by 18%, but the USJ event theme continues to perform well, hitting No. 2 for streaming and video, No. 3 for downloads, and No. 5 for karaoke.
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Last week’s No. 1 song, Number_i’s “GOAT,” continues to rule downloads and video, coming in at No. 3 on the Japan Hot 100 this week.
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tuki.’s “Bansanka” rises 6-4, breaking the 15-year-old singer-songwriter’s personal record for highest position on the Japan Hot 100. Spotify Japan included the rising artist on its RADAR: Early Noise 2024 list (released Jan. 11), featuring J-artists expected to make great strides this year. This could be one of the reasons why “Bansanka” soared to No. 3 for streaming with 8,893,914 weekly streams, up by about 22%, and No. 8 for downloads with 4,674 units, up 7.7%. The track is also up by about 13% for video (No. 5, 1,655,118 views), and moves 11-7 for karaoke, also the highest position so far for the young artist.
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Yorushika’s “Sunny” (Japanese title: “Haru”) jumps 31-8 this week to break into the top 10. The track is being featured as the opener for the anime series Frieren Season 2 and dropped on the day of the season premiere Jan. 5. The track hits No. 2 for downloads with 9,164 units, No. 25 for streaming with 3,660,640 streams, and No. 3 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 Jan. 8 to 14, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
The concept of “narrative” in the English language is becoming adapted as a commonly used word in Japan. Unlike the similarly loaned “story” that refers to the content or outline of a tale, the narrator is central to a narrative. Just as in our own lives, there is no fixed plot and nobody knows how it will unfold. In the world of popular music, narratives organically connected to a person’s background or situation are often used as a connection between artist and listener. Artists talk candidly about their own lives and form a kind of community with listeners who accept those narratives,
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Wez Atlas is an artist with an extremely rich narrative. His lyrics are candid and personal, written as if they’ve been taken straight out of his diary or journal. Thoughts and landscapes expressed in the first person, rather than an objective third-person perspective, are undoubtedly part of his own narrative. Listening to the quiet flow of his verses filled with intense emotion set to restrained tracks makes us feel like we’re playing a first-person, open-world video game.
Born in 1998 in Oita, Japan, Wez Atlas is a Tokyo-based hip-hop artist with roots in Japan and the U.S. He moved to Colorado as a child and attended public school there, and eventually got into hip-hop music and rapping through artists such as Eminem, Kendrick Lamar, and his biggest influence, J. Cole. He began writing his own lyrics after returning to Japan in high school, and his career as an artist can be traced back to those days he spent jotting down typically adolescent struggles and worries on paper.
With roots in Japan and the U.S. and having internalized those different cultures, Wez’s verses aren’t just superficially bilingual in English and Japanese but are based on a rich musical foundation. Shortly after the release of his first EP, “Saturday,” keen hip-hop listeners began noticing his music.
In 2020, Spotify JAPAN featured a song co-written by Wez and michel ko called “Time” on its official playlist. In June 2021, the young rapper followed up with a collaboration with Grammy-nominated producer starRo called “Zuum!” and graced the cover of the streaming giant’s Next Up playlist.
Wez Atlas then released his first mini-album, Chicken Soup For One in July that year. The artist had just entered his twenties when working on this album, and his lyrics, written during a period when he had no clear vision for the future, genuinely reflect the worries and anxieties he felt at the time. Among the tracks is “T.I.M.M.,” a song that seems to reveal his pain, but other tracks articulate his attempt to turn negativity into positivity. In “Fun + Games,” he expresses the importance of solidarity with the friends who support him, and in “Overthink,” the Japanese lyrics “Maybe I don’t have to read the room” voice his determination to follow his intuition. His flows aren’t intense, but they’re filled with grim determination.
And in March last year, he released his second mini-album, This Too Shall Pass. As the title suggests, this project following his deeply personal debut set is a work that expresses a more detached state of mind. The first track, “Life’s A Game,” is like a shrug of the shoulders, song of positivity stemming from resignation that reflects what Wez was honestly feeling at the time. The song “It Is What It Is” expresses his will to “never stop looking for the light despite adversity.” The TikTok lyric/performance video of this number articulating his positive vision for the future went viral with over 12.4 million views.
His collaborations with VivaOla, Kota Matsukawa, starRo, nonomi, uin, and other producers who support his creativity have also gained further depth. The production is extremely listener-friendly, focusing on Wez’s own comfort and chemistry without fixating on trends — not that they’re being ignored by any means. Wez’s music has widespread appeal because it fits a broad range of situations, from bedroom to driving. The magnetism of his music has been proven by the enthusiastic reactions to his performances at SXSW 2023 in the U.S. and at Kobe Mellow Cruise 2023, one of the largest hip-hop culture festivals in Japan’s Kansai region.
Wez dropped a new song called “RUN” on Dec. 22, an upbeat number that can be considered a new experiment for the rapper. The track starts with a sharply distorted guitar riff, followed by the verse, “Hajimaru aratana Race (A new race begins)/Vamos! Andale! Onore no sadame (my destiny),” then drum’n’bass-like rhythms and hard rock-inspired bass kick in. The music produced by nonomi and Kota Matsukawa might be described as neo-mixture or an evolution of grunge rock. Either way, there’s no doubt the style is unlike anything we’ve heard from Wez before.
His vocal style in this song also feels new, speaking frankly to listeners as if to inspire them. While he gained popularity through the restrained flow of his earlier releases, Wez diverts from his conventional style in “RUN” and swings toward a more direct expression. The fact that he leans towards mostly Japanese in this number means it has potential to reach domestic listeners who normally prefer rock and J-pop. Another notable aspect of his releases is that he doesn’t stay in one genre or style and continues to casually expand the boundaries of his musicality.
“RUN” brilliantly shatters Wez Atlas’ previous soundscapes and messages, hailing his breakthrough into a new phase of his career. This song will surely add further depth to his narrative, and the words he weaves together will spread far and wide, overlapping with the lives of each listener. There’s no doubt Wez will be one to watch in 2024.
—This article by Tomoyuki Mori first appeared on Billboard Japan
Billboard is expanding its global footprint in Asia with the launch of Billboard Korea. The expansion, in partnership with Global Entertainment Media Group (GEMG), will be dedicated to the flourishing Korean music scene. Billboard Korea‘s first issue, Billboard K Vol.1, is scheduled for release in June. “We are thrilled to announce our expansion into Korea,” […]
Conductor Yukari Saito spoke with Billboard Japan for its Women in Music interview series celebrating female players in the country’s entertainment industry. The WIM initiative in Japan began in 2022 to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan last year as a “Billboard Japan Presents” collection by writer Rio Hirai, who continues to speak with women to highlight their stories.
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Saito moved to Dresden in 2013 and gained experience in Europe conducting the Lille National Orchestra and the Vienna Tonkunstler Orchestra. She returned to Japan in 2021 and this year, is set to conduct the Tokyo Philharmonic Billboard Classics Orchestra at Billboard Japan’s Women In Music Vol. 2 concert on Feb. 8 featuring singer-songwriters Reo Ieiri and Miliyah Kato. The 40-year-old maestro looked back on her career dedicated to the world of classical music and shared some experiences that changed in her life after spending time in Dresden.
First, could you share your thoughts on the upcoming WIM concert in February?
I’m interested in various genres of music, so I’m really looking forward to performing with two different types of musicians like Ms. Reo Ieiri and Ms. Miliyah Kato.
You usually work in the world of classical music. What opportunities do you see in the collaboration between pop and orchestral music?
First, I feel grateful to be tapped to participate in this precious opportunity. We’re still in the process of working out the details, but I have a feeling I’ll be able to find a new style within myself that’s different from my usual work. The way I feel about this concert is the same as how I usually feel about creating classical music together with everyone, but depending on the rhythm and mood of the piece, there will be changes in my conducting style and the sound expressed by the orchestra, so I’m excited about that. I look forward to seeing what positive effects the synergy produces.
This concert is part of Billboard Japan’s Women in Music project. What do you think about this kind of event focusing on women’s empowerment?
It’s something that’s been relatively uncommon (in Japan), isn’t it? Some people might come because the project interests them, so it makes me glad to think we’ll be able to bring our music to a wider and more varied audience.
I understand you originally wanted to be a pianist. How did you come to be a conductor?
At some point while studying at music school to become a pianist, I began to feel that it might be hard for me to become a professional. I became interested in conducting around then and met various teachers who told me, “You might be suited for it.” I then met Mr. Seiji Ozawa, who nominated me as a conducting trainee. That’s how I got started.
Why do you think you were suited for the job?
Maybe I always had a good sense of rhythm. I conducted in a choral competition when I was in junior high school. At the time, I only did it because I didn’t want to sing, [laughs] but the teachers praised me and told me I did a great job.
Does being a woman have any influence on doing your job?
I haven’t experienced too many moments where I thought, “This happened because I’m a woman.” When I wanted to become a pianist growing up, I’m sure there were times I thought, “I wish I could be like that” when seeing female concert pianists wearing beautiful dresses. I also remember thinking how awesome the pianist Martha Argerich was.
As a conductor, I believe I’m capable of flexible expression with meticulous attention to detail, even if I can’t compete with men in terms of physical size and strength. So I’d say I’m aware of the differences but don’t let it bother me. There are plenty of female players in classical music and it’s a merit-based industry, so I don’t think women are rejected as a member just because of their gender.
Because the world of classical music values tradition, I’d imagined there might still be some elements of sexism left. It’s nice to know it’s merit-based. So you’ve never encountered any gender imbalances?
Well, I’ve had experiences where I went to greet an elderly male concertmaster and he seemed surprised that I was going to conduct, but at the time I thought maybe it was because I was acting intimidated and not because I was a young woman. I think I might have accepted such moments as a net positive because the gap between that first encounter and my actual high level performance on stage would result in a good impression.
You know what though, this isn’t about sexism, but unfortunately some racism might still be around. There are no Asians at all in some orchestras, or if there are, only Japanese are included for some reason.
I see. So you didn’t encounter sexism but you did witness some leftover Western-centric values. Outside of the classical music world, do you see any differences in values between Germany and Japan?
In Germany, I often encountered protests. The sight of LGBTQ people asserting their rights, for example, is striking in its earnestness. I didn’t come across such scenes in Japan very often before I left for Germany, which made me think that such problems were hidden. Things seem to have changed now, though. Also, a lot of women (in Germany) clearly express their opinions. In Japan, many people are somewhat modest or reserved, but the culture in Germany doesn’t consider that to be a good thing.
Did you change after spending time in such an environment?
I think I did. The first thing that took me by surprise when I went to Germany was when I was told during a lesson, “Don’t you have your own will?” When we were asked, “What do you think?” the people around me would express their opinions, but I was at a loss at first.
How did you manage to change from not being used to expressing your opinion?
By being honest with myself, I guess. If I think too much about what will happen if I say something, I won’t be able to say anything, so I try not to think about it too much. What’s also important, along with naturally expressing what I feel, is delving deep within myself to figure out why I feel that way. I think this makes my words more convincing.
Is being convincing a necessary skill for your work as a conductor of orchestras?
I think so. In my case, I taught myself how to think in order to overcome that initial setback of not knowing what my own will was. I’m glad I’ve gained experience by repeatedly making such gaffes.
When do you find your work as a conductor most rewarding?
It is rewarding, but I work pretty hard to get there.
What’s the hardest part of your job?
It goes without saying that I have to use my brain and convince everyone in the orchestra. It’s a lot of work, but there comes a moment when things just click. The players and I make eye contact and we’re like, “This is the sound, right?” and the sound comes out exactly as we intended. It’s hard to put into words, but I guess it’s like having a dialogue with sound. When that happens, I’m like, “Yes! We did it!” and pump my fist in my mind.
—This interview by Rio Hirai first appeared on Billboard Japan
On Jan. 13 and 14, 2024, , the creative label that is pioneering Internet culture, will be holding Kamitsubaki Yoyogi Wars 2024. This event, the label’s biggest ever, will be held in Tokyo’s Japan National Stadium, Yoyogi 1st Gymnasium, which has a capacity of roughly 12,000. V.W.P, the virtual artist group made up of KAF, RIM, Harusaruhi, Isekaijoucho and KOKO, will be playing on the first day. On the second day, virtual singer KAF, just 20 years old, will be putting on a solo show titled Kaika.
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The event will be a special feature in the ongoing SINKA LIVE series of live shows put on by virtual artists on the Kamitsubaki label. With the first day of the event approaching, Billboard Japan talked to the performers about their ambitions for the show.
KAF, how have you been preparing for the event?
KAF: I can’t go into a lot of detail yet, but I can present myself in different ways in my performances, so I’ve been talking a lot to my team about what approach to take to make the show the most fun for the audience. I’m also practicing singing a lot!
KOKO, what are you looking forward to the most about playing at the Yoyogi 1st Gymnasium?
KOKO: Needless to say, I’m excited about playing in a venue as big as the Yoyogi 1st Gymnasium, and I’m looking forward to seeing what it looks like from the stage. In the virtual world, I have a lot of opportunities to connect to fans through the screen and the net. This time, though, people will be taking time out of their schedules to come to see V.W.P in person, gathering together in one place, so I’m looking forward to seeing everyone face-to-face at the venue.
Could you talk a little about the “Versus” artist collaboration stage performance?
KOKO: My opponent in the “Versus” stage will be CIEL. Normally, we stream together in the Kamitsubaki Diplomacy Division. So usually, she feels like a colleague, not an opponent. We’re both former brass band members, and when it comes to music, we both have our own strong preferences and musical expertise. I’ve got no idea what kind of positive chemistry it’s going to produce when we perform together. Maybe it’ll turn into a tense musical battle? I guess people will just have to come and see.
RIM, how are you feeling as the show approaches?
RIM: For now, what I need to do is to get Haru (Harusaruhi) to unwind. Recently, I’ve been practicing the choreography for “Resonance” so I won’t make any mistakes (laughs). Everybody’s all hyped for the event, and we’re already giving it our all, starting with the rehearsals!! I’m also looking forward to my part as a guest performer.
Isekaijoucho, what do you think about the SINKA LIVE show series?
Isekaijoucho: Everything about SINKA LIVE is innovative. It’s a whole new type of live show. Everything, from the virtual space to the connected stories, is majestic and beautiful, but at the heart of all of it is our own music. To share our songs, we need to have a place to serves as our starting point, along with a certain spirit. SINKA LIVE shows allow us to dive deep inside ourselves. We’re setting out to discover our true selves, which are the same in both the virtual and real worlds. What will we find through this exploration? How deep will we go? I think each of us has found our own answers to these questions. At V.W.P 2nd ONE-MAN LIVE “Phenomena II – Witch Expansion”, we’re going to be giving it our all, singing true-to-life songs with all our heart, as only the five of us can.
Harusaruhi, could you share a little about the unique qualities of the members that make up V.W.P?
Harusaruhi: KAF’s voice is wonderful, clearly delivering her message straight to listeners. It stands out for its almost spoken feel, a really natural mode of expression. RIM has a stylish, relaxed, soft singing voice. I find it really catchy, and it makes mid-tempo songs truly shine. Isekaijoucho isn’t just a singer, but also a creator, and I find her originality to be enthralling. I also love her unique voice. KOKO has a wide singing range. She can sing songs from any genre. She also puts on wonderful live shows, making a lasting impression on anyone who watches her perform.
How has V.W.P evolved since it was initially formed?
RIM: All of us members have grown even closer, and the way we combine our voices has evolved!!! At some point we lost our initial awkwardness. We still have our five distinctive voices, but now they mesh smoothly in our songs. Each of us brings our own unique strengths and we combine them into a unified whole. The process was so steady I didn’t even notice it at the time, but looking back, we’ve evolved a lot.
KAF, your previous main composer, Iori Kanzaki, was part of your process of deepening your sound. When he parted ways with the label, you also ended your Fukakai series of live shows, which you began in 2019. Your solo show, Kaika, on the second day of Kamitsubaki Yoyogi Wars 2024, could almost be seen as chapter two of Fukakai. What do you think the highlights will be?
KAF: In this new show series, I’m of course preparing performances that will go above and beyond what everyone is imagining. I think I’ll be able to put on a show that highlights both the changes I’ve made and the parts I’m keeping the same. At last year’s Nippon Budokan performance, I called on various guests to sing together with me on stage. This time, as well, there will be an exclusive, one-time collaboration that people will only be able to see at Kamitsubaki Yoyogi Wars 2024. I hope a lot of people come to see it.
Is there anything you try to do when collaborating with guest performers?
KAF: When I sing a song by an artist I like, the first thing that comes to mind is their singing style. When I think about how I want to sing the song, I find myself setting the original artist’s own style as the standard. But it’s important that I sing in my own way. The question is how best to combine the two. I’m really looking forward to trying out different approaches in the show.
KAMITSUBAKI STUDIO has changed immensely while constantly progressing. It now has quite a few creators.
KAF: When I first started my creative work, I didn’t know much about the virtual world. However, over time, I’ve gone beyond just songs. Now, there are a lot of different elements that make up the artist known as KAF. A lot of people’s efforts combine to make me what I am, but I’m the one who speaks. Since realizing that, I’ve started to think deeply about just what I am.
I feel like that question ties into the title Fukakai, which is Japanese for “inexplicable.”
KAF: The title Fukakai also contains a sense of “unknown.” There are a lot of times in my artistic activities where I find myself confronting the unknown. For example, with the upcoming show at Yoyogi 1st Gymnasium, just how big will it be? How many people will come? I know the numbers, but they don’t really give me a visceral sense of what it will actually be like. Sometimes, on stage, I don’t know exactly how the performance is going. But the fact that I don’t know means that I simply have to have faith. I can move forward, trusting my own predictions and hopes. I think this is something I’ve discovered through this series of shows. It’s really strengthened my belief in myself.
Streaming tickets can be purchased here.
—This interview by Mio Komachi first appeared on Billboard Japan
Number_i’s “GOAT” blasts in at No. 1 on the Billboard Japan Hot 100, dated Jan. 10.
Number_i is the new group formed by members Sho Hirano, Yuta Jinguji, and Yuta Kishi, three former members of King & Prince. The trio’s first digital single dropped on New Year’s Day and launched at No. 1 for downloads, radio airplay, and video views, while coming in at No. 15 for streaming with 4,801,615 weekly streams. First-week figures for the track placed it far ahead of the song at No. 2 on the Japan Hot 100 — Ado’s “Show” — with downloads hitting 64,321 units (3.8 times the number for “Show”) and 7,243,154 video views (2.3 times).
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Songs that enjoyed exposure on year-end music programs continue to rise on the charts this week, with two iconic live shows — the 65th Japan Record Awards and the 74th NHK Kohaku Uta Gassen — greatly influencing the action.
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Ado’s “Show” slips to No. 2 after extending its record to 13 weeks at No. 1 last week. The long-running hit comes in at No. 2 for downloads and streaming, with the former racking up 16,740 units (up 14%) and the latter 10,318,975 streams (up 0.6%). Radio jumped 24-11, indicating that the track is also being played on platforms other than ground-based TV broadcasts.
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YOASOBI’s “Idol” comes in at No. 3, also boosted by a jaw-dropping staging of this monster hit track on NHK’s year-end live music extravaganza, with more than a dozen A-list J-pop and K-pop idol groups, dance teams and individuals gracing the stage to assist the superstar duo’s first-ever live performance of their global hit on TV. The record-holder for most weeks at No. 1 on the Billboard Japan Hot 100 is on the rise again, with downloads up 67% to 16,740 units (No. 3), streaming up 13% to 10,571,870 streams (No. 1) and video up 11% to 2,341,628 views (No. 3). Like Ado’s “Show,” the Oshi no Ko opener has gained new fans through its year-end exposure.
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Mrs. GREEN APPLE’s “Que Sera Sera,” winner of the 2023 Grand Prix at the 65th Japan Record Awards, rises to No. 4 after jumping 17-7 last week. Points for streaming increased significantly, up 23% with 7,759,163 views, indicating that the song is reaching a new generations of fans. “Dance Hall,” which the three-man band performed on Kohaku, rose 18-12 this week, and like Vaundy’s “Kaiju no Hanauta” — a karaoke favorite that continued to chart in the upper tiers of the Japan Hot 100 throughout last year after the 23-year-old performed it on Kohaku in 2022 — Mrs. GREEN APPLE could have another hit song in the making this year.
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Other notable chart-movers powered by year-end TV performances include 10-FEET’s “Dai Zero Kan” (21-13), ATARASHII GAKKO!’s “OTONABLUE” (32-20), NewJeans’ “Ditto” (46-22) and Aimyon’s “Ai no Hana” (79-27), all enjoying surges in metrics including downloads, streaming, radio, video, and karaoke.
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 Jan. 1 to 7, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
It has not taken 2024 long to find its first new global superstar. Xavi, the 19-year-old Mexican-American singer-songwriter born Joshua Xavier Guiterrez, is surging on Billboard charts, notably climbing to No. 1 on the Jan. 13-dated Emerging Artists survey.
The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Billboard Hot 100 and Billboard 200. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.
Xavi’s bustling activity is due in large part to the success of “La Diabla” and “La Victima,” both of which are unaccompanied solo singles. The former shoots from No. 62 to No. 34 on the Hot 100 and the latter leaps 79-55. As the leading non-English-language song on the first fully post-Christmas Hot 100 of the year, “La Diabla” drew 12.7 million on-demand U.S. streams in the week ending Jan. 4, up 15% from the previous frame, according to Luminate.
“La Diabla” adds a second week atop the Hot Latin Songs chart, while rising to No. 1 on Latin Streaming Songs.
Both of Xavi’s breakout hits are making great strides on Billboard’s global charts as well. “La Diabla” is No. 2 on the Billboard Global Excl. U.S. ranking and No. 4 on the Billboard Global 200, while “La Victima” climbs to Nos. 17 and 14, respectively. Both are new in each chart’s top 20.
Further, Xavi debuts on both charts with “Poco A Poco,” with Los Dareyes De La Sierra, and “Modo Dnd” with Tony Aguirre. The one-after-another onslaught is reminiscent of fellow regional Mexican star Peso Pluma’s sudden surge on the global charts last year, when he amassed seven debuts between March and April. Peso Pluma himself scores his fifth top 10 hit on each global list, as “Bellakeo” with Anitta hits No. 6 on Global Excl. U.S. and No. 7 on the Global 200.
Even with all of Xavi’s success on the U.S.-based Hot 100 and Latin charts, three of his four globally-charting hits are higher on the Global Excl. U.S. tally than the Global 200. “La Diabla” and “La Victima” takes the Nos. 1 and 2 spots, respectively, on Billboard’s Mexico Songs ranking, while the former is also in the top 10 in Colombia and Ecuador.
It’s been an action-packed year for Amir Eid, the lead singer of the groundbreaking Arabic rock-pop band Cairokee, who just released several tracks off his debut solo album, which came in parallel with season two of the hit show, RIVO. Created by Mohamed Nayer and directed by Yahya Ismail, the show premiered on Watch It, starring Amir Eid as Shady, the lead member of a fictional indie band shrouded in mystery.
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Much like Cairokee’s journey to success, and particularly that of lead singer Amir Eid, RIVO depicts the arduous road of a band determined to change the musical landscape in which it exists. We hear this all packed into RIVO’s brilliant soundtrack. Meanwhile, the deep nostalgia for the glory days of the ‘90s was perhaps another factor behind RIVO’s mass appeal.
Amir says the idea for RIVO began with his friend, script writer Mohamed Nayer, who kept trying to sell him the character of Shady for years. For the Cairokee lead singer, the decision to embark on this new experience was not an easy choice to make.
“[Mohamed] would always tell me: ‘You will play the role of Shady,’ and I would respond by saying: ‘My son, I do not want to act,’” Amir explains. But it seems that seven years of preparation were enough for Amir to change his mind. “I met Nayer by chance, and he told me you have to read this script,” he recalls. “I read the script and loved it, because it had a band and music and ‘90s and playing, so honestly, I fell in love with the role, and wanted to go through with it.”
In terms of the music, Amir manages to yet again deliver a set of songs that exhibit his resonant ability to blend alternative rock and pop, with his self-contained style of songwriting — in this case, songs that are at the heart of both Shady’s life and Amir’s career. Four tracks were enough to leave the audience with a sonic token from the show, as heard in “Tayer” (“Flying”), where the mood is immediately set by means of a bemoaning guitar line and delicate drum pattern that gives space for Eid’s vocals.
Later in “Wahshteny” (“I miss you”), Amir’s pop sensibilities and musical storytelling come in with an upbeat production juxtaposed against lyrics of an untimely love. “Lw Kan” (“If Only”), in collaboration with producer Sary Hany, offers the fullest sound, while in “Metkatef” (“Tied Up”), the keys and trumpet-driven track delivers a melancholia cushioned by rich instrumentation. In the track, we hear Amir in his most controlled vocal delivery situated within the tragic closing scene of RIVO‘s series finale.
The show weaves the music into its narrative to convey meaningful messages and ignite conversations about mental health. Within its script, the series spotlights issues like depression, a dialogue that Amir aspires will resonate profoundly with the audience.
Amir says that his approach to crafting music content for RIVO is a complete departure from his usual songwriting process for Cairokee — in this case, a largely solo driven process, but also conceived for an entirely different time period. The songs he writes for RIVO are based on a script set in the 1990s, whereas his songs for his band Cairokee are born out of pure imagination.
“First thing I do is I read the scenario really well,” he says. “Then I put it aside and go about my life normally, as we do tours and a lot of concerts, so I think, ‘What would Shady do in this situation? If he was to sing, how would he sing? If he was to write, how would he write?’ So the idea gets refined in my head, so I go back to the scenario and start working on Shady’s songs and character in the second season of RIVO.”
Looking back, a blending of Western rock and Egyptian folk music is carved in Amir’s memories of his childhood and teenage years — a fusion that would eventually shape his own music to a great extent. When revisiting this period of his life, Amir, a huge fan of the Rolling Stones, often remembers his Beatles-loving older brother. To justify his own preference, Amir says he liked the Stones’ rebellious nature and signature look.
“I would love for Cairokee to keep performing when its members are 60 or 70, touring and writing songs and living this life regardless of their age. It goes beyond just looks and fashion style – it’s that forever-young attitude that I admire most in the Stones.”
Since their debut self-titled album in 2009, the band has released eight albums, with songs that continue to find a home on the Billboard Arabia newly launched Hot 100 chart. Amir also landed a spot in Billboard Arabia’s Top 100 Artists with his solo work, while closing out the year with two epic performances with Cairokee: MDLBEAST’s Soundstorm in Riyadh, followed by their show in Egypt’s El Gouna Film Festival.
Through Amir’s musical journey, the timeless essence of rock and the resonance of his songwriting continue to permeate his melodies. Be it in his solo work or the rich portfolio he’s created with Cairokee, Amir maintains his ability to create music that speaks to the human experience, with songs that are helping to shape the new sound of Arabic pop.
This article is a translation of a piece that originally ran on Billboard Arabia.
Amir Eid
Abdulla ElMaz/ Billboard Arabia
From TikTok to touring the world with the Grammy-nominated pop-rock band OneRepublic, Mishaal Tamer continues to find ways to elevate his position in the global pop pantheon. Singing in English, Arabic and Spanish while mixing guitars with a self-made modified electric oud, not to mention a poignant songwriting and performance style that is entirely his own, Mishaal represents a rising generation of trilingual pop stars that are not only bridging cultures but sonic references to create something entirely new.
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Since childhood, Mishaal has been driven by making the impossible possible. When he was nine years old, Mishaal broke his arm, suffering nerve damage that would have left him handicapped had he not found the guitar. Powered by his dreams, he used the instrument as part of this physical therapy, which eventually built the foundation for his songwriting and artistry.
In 2016, Saudi Arabia saw a major turning point with the announcement of the 2030 vision, with music, art and entertainment at the forefront. During this transformative period, Mishaal emerged onto the scene, establishing his presence through his first Instagram post with a self-reflective, somber guitar clip of “Can’t Love Myself.” Producer Monty Datta later found the track, sampled and released it, propelling the track to amass almost upwards of a billion views across platforms.
2019 witnessed Mishaal’s evolution as an artist with the release of his debut music video for “Arabian Knights.” Filmed in his hometown of Jeddah, Mishaal kicked off the trilingual trend by singing in Spanish, Arabic and English, cushioned within a Spanish strummed guitar and a lo-fi beat.
Afterwards, Mishaal went on to release an outpouring of singles, culminating with his debut EP, Life’s a Ride, in 2020 through RCA Records. Driven by indie-pop and genre-bending aesthetics, heard chiefly in tracks like “Friends,” Mishaal found his voice and self-contained style of songwriting.
In this behind-the-scenes video, Mishaal explains to Billboard Arabia what it means to be a songwriter from Saudi Arabia on the brink of global stardom and the importance of dreaming big. On the tour, Mishaal also teased several singles from his forthcoming album, Home is Changing, a double entendre for undeniable progress happening in the Kingdom, but also deep within the artist. The album consists of five EPs that collectively tell a story of transformation and personal growth. Thus far, the lead singles include the self-reflective “Superman,” followed by “Disco Cowboy,” a blending of post-punk guitar lines, momentous drums and anthemic lyrics.
This notion of change is ever present in Mishaal’s work, particularly when looking at his early work and the evolution of his songwriting leading up to getting signed by Empire, and Home is Changing. It is perhaps out of his ability to embrace change that the young artist continues to rise. For example, in the process of receiving his visa in the United States, Mishaal spent many nights sleeping under a table in a recording studio in New York, unable to return home to Saudi during COVID, and instead writing through his homesickness. The outcome was a body of work that continues to flourish.
In the summer of 2023, Mishaal joined OneRepublic as the opening act on their multi-city tour across Europe, and in this video, he takes Billboard Arabia behind the scenes and through the many milestones reached along the way. The tour came after singing with Empire and co-headlining the 2022 iteration of MDLBEAST’s SoundStorm in Riyadh alongside stars like Bruno Mars, DJ Snake, Post Malone, David Guetta and more.
Building off the momentum of the tour, OneRepublic teamed up again with Mishaal in a partnership between Interscope and Ubisoft to release the track “Mirage” for the video game Assassin’s Creed Mirage. “To be featured on a song with my musical heroes, OneRepublic, that soundtracks my favorite video game, is a dream come true,” says Mishaal Tamer.
The song dropped in the lead up to the game’s release, with the lyrics co-written by Ryan Tedder, and a feature by Mishaal singing in Arabic, where both verses take inspiration from the video game. A week later, Mishaal dropped another single, “Painful Paradise,” paired with a music video made of footage from the tour with OneRepublic.
Last December, OneRepublic announced a Dubai stop on its Artificial Paradise world tour on Jan. 25, with Mishaal Tamer set to open up the stage with tracks from his new EP, The Deep. In his rapid rise to the global stage, Mishaal’s trilingual prowess and genre-blending continue to push the boundaries of indie-pop, where his lyrics echo personal and cultural growth, while his collaboration with OneRepublic heralds a new era for the artist and musicians from Saudi Arabia.
This article is a translation of a piece that originally ran on Billboard Arabia.
Pinpointing the exact moment when Mohammed Abdu earned the title “Artists of the Arabs” proves challenging, yet it undoubtedly reflects his remarkable contributions to the pantheon of Arabic music. His unwavering commitment to evolving his artistic style and craft over the past six decades cemented his legacy. Abdu introduced the inaugural musical experience from the Gulf, specifically from Saudi Arabia, reaching audiences in Egypt and the Levant, and later, performances on distinguished global stages.
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In this realm, his artistic resonance mirrors that of other Arabic music icons such as Umm Kulthum in Egypt and Fairuz in Lebanon. Abdu’s music stands among these trailblazers, transcending boundaries of geography, dialect and cultures. It continues to be cherished, remembered and echoed across the Arab world, ingrained in the collective memory to this day.
When asked about the artistic activity closest to his heart, Abdu’s response is swift and confident: “The stage!” Abdu has always been passionate about bringing his art to the masses. “We started with open-air public theaters,” he says, a sentiment that defines the nearly sixty years he has been active in the music scene. Over this time, he has observed significant changes in the music industry, not only in Saudi Arabia but across the GCC and the Arab region as a whole. At just 14 years old, he experienced the proliferation of traditional Arabic music in Saudi Arabia and had the opportunity to learn from and train under the leading composers and musicians of the time.
While theater holds a special place in his heart, radio was the first and most influential platform in Mohammed Abdu’s artistic journey. He fondly recalls his time at Saudi Broadcasting Authority, reminiscing about the memories it holds. Abdu joined the station in its early days in the ‘60s, describing it as a pivotal moment filled with both fear and excitement. He recalls, “When the Saudi Radio aimed to contribute to the elevation of [Khaleeji] art, the Radio sought to adopt an artist whose work it would produce based on a refined culture.”
This leads him to remember his greatest moment of sadness. “One of the saddest moments in my life was when I heard my voice on the radio. Sadness and crying took over me, and maybe even depression to a certain extent.” However, fear and sadness became drivers of hope for him, and hope was always a source of joy. Hearing his voice on the radio marked the official recognition of his status as a professional artist, ushering in a feeling of facing the unknown and newfound responsibilities. To ease his nervousness, he even explored alternative career options alongside his music, but ultimately his drive toward music persevered.
It’s crucial to note that radio in that era, especially in the Kingdom, served as more than just a broadcasting platform; it was an artist’s home, production company, recording studio and distribution platform—all functions that are now separated. Mohammed Abdu emphasizes the revolutionary role of Saudi Radio in popularizing traditional Arabic music to Saudi Arabia in the early 1960s by bringing in musicians from the Levant. Before this, traditional music in the Gulf mainly consisted of collective chanting of poetry, including what we know today as Saudi Sheilat music.
After the foundational phase marked by fear, sadness, responsibility and personal struggles, Abdu entered another phase in his career characterized by collaboration with fellow artists, influencing and drawing inspiration from them. A significant figure in shaping Abdu’s musical journey was the late composer Omar Kadars. Abdu expresses, “I gained a wealth of knowledge from him. His openness to traditional Arabic melodies, their intricacies and his mesmerizing oud playing greatly benefited me. As an amateur with modest talent in the beginning, I ended up benefiting immensely from his guidance.”
It was during this time that music in Egypt opened up even more. In the 1970s, young Abdu set off to Egypt, ready to take on the world as a budding artist and expand his horizons. He went with a clear purpose in mind, saying, “When I went to Egypt, I had a plan. I brought my tunes and my vision. I wanted to bring fame to my country’s art. You could say it was a fully integrated Saudi artistic project…. My first trip to Egypt was in 1969 and I can confidently say that I benefited from the musical workshops they used to organize, which helped me showcase the true colors of the Gulf.”
Proving himself as a serious artist, Abdu collaborated with legendary Egyptian composers like Riad Al-Sunbati, singing his compositions in a national operetta. He also worked with the late Egyptian poet Ismat Al-Habrouk, co-writing a eulogy song for Umm Kulthum called “Bulbuli Al-Sadah” when she passed away. This moment deeply affected Abdu, a devoted fan of Umm Kulthum who attended her concerts across the Arab world whenever possible. As he continued his music journey in Saudi Arabia and made regular trips to Egypt, he produced songs resonating throughout the Arab region in the 1980s, such as “Aywah,” “La Treddin Al Rassayel” and “Markab El Hind.”
In the 1990s, the Artist of the Arabs began reaping the rewards of his years of hard work in music, performing his rich repertoire on some of the world’s most prestigious stages as the pioneer of Saudi song. His voice brought people together with heartfelt songs like “Baad Kuntu Wala Garibin,” which he dedicated to expats. Abdu performed in major Arab and European cities as well, as part of the Weeks of Cultural Exchange that Saudi Arabia used to organize.
After reflecting on his long journey, we must also explore Mohammed Abdu as an artist in the present day, while considering how production techniques and methods have evolved. In this context, he emphasizes that today’s generation of aspiring musicians is incredibly fortunate. “Nowadays, demand is higher than supply,” he stated, referring to the numerous radio stations and platforms that give emerging talent the chance to showcase themselves to their audience. “An artist without an audience is an artist without art. The audience isn’t ignorant; they need to see something valuable in the artist,” he explained, sharing his perspective on the special relationship between an artist and their audience. However, certain aspects that define an artist’s essence remain constant regardless of the era. According to Abdu, “An artist is composed of two layers: natural talent and the mastery of it. Talent is innate, while mastery is acquired.”
In the interview, Abdu also compares yesterday’s music with today’s. He acknowledges the changes in composition and recording techniques, pointing out that technology has made things easier. “I’ve always been a bit slow with composition, but nowadays, technology is a real time-saver,” he admits. However, he also sees a downside to this convenience. He believes that artists have become a bit lazy due to the ease and speed it brings. Previously, music recording required effort, focus, discipline and a respect for time.
When it comes to AI and the future of the music industry, Abdu doesn’t shy away from expressing his support for technological advancement: “Scientific progress in general should never stop,” he says. However, upon closer examination, he also recognizes that AI-generated sounds, especially in traditional Arabic music, are still far from perfect. Particularly in genres that rely on improvisation and creativity, there’s still work to be done.
When asked about the wave of openness toward art and music in the Kingdom, and whether it aligns with Saudi Vision 2030, Mohammed answers, “What we are witnessing today is a culmination of past efforts, with officials knowing exactly when to seize the moment and launch us into this smart era. We’re picking up where others left off, and it’s a remarkable time to be part of the scene.”
This article is translated from the original on Billboard Arabia.