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The first night of Italy’s 74th edition of the Sanremo Festival was long, despite ending ahead of time. With Amadeus (host and artistic director of the event for the fifth consecutive year), it is normal to stay up late. It certainly must have been more complicated for the rapper Il Tre, who had to wait […]
“There is a phrase, ‘If you have no expectations, there will be no disappointment,’” (G) I-DLE’s Minnie explains when it comes to her mindset for the group’s newest full-length album. “I actually didn’t want to have high expectations, but it will be great if we get good results.”
In 2022, (G)I-DLE embarked on a bold new chapter with its first full LP, I NEVER DIE from 2022. The pivotal moment marked a creative renaissance for the group — with the single “Tomboy” named Billboard’s best K-pop song of the year — and propelled it to new chart heights with hit albums and signature singles. Less than two years later, (G)I-DLE is already back with its second full-length album, aptly titled 2, that shows the group’s heavy involvement in writing and producing songs discussing female empowerment, trusting one’s instinct, destiny, and love.
“Since a lot of people are waiting for (G)I-DLE music, we wanted to come out with a new concept that no one expected,” leader Soyeon says of the LP promoted by the bold and bass-driven single “Wife” (that’s gone viral for its lyrics and breaking into the general public, more on that below) and the booming, big-room anthem “Super Lady.”
Despite a packed 2023, which included the release of their Korean EP I Feel and their debut English EP HEAT — which peaked at Nos. 41 and 25 on the Billboard 200, respectively — (G)I-DLE wasted no time returning to the studio.
“I started working on our songs when we were heading towards the end of our world tour,” says Minnie. “Although I did not have enough time, I worked on the songs non-stop and was able to make ‘Vision’ and 7Days within 10 days.” Shuhua adds, “Whenever we had a free moment, we practiced and recorded our songs.”
The album also marks a significant milestone for member Miyeon, who contributed lyrics for the first time.
“Excluding my solo songs, this is my first time participating in the lyric-making for (G)I-DLE album,” the vocalist shares. “I had so much fun and was able to work with a lot of excitement since it was my first time. Although some parts were lacking, this whole process was a new experience, and I am really glad that our [fandom] NERVERLANDs liked it as well.”
Throughout the creative process, (G) I-DLE’s members took active roles in also shaping the album’s direction, from refining choreography to fine-tuning the concept.
“We all were involved together,” Soyeon says. “We communicated with the choreographer to revise the details while learning the choreography for our title track single ‘Super Lady’ because I wanted to do something that wasn’t so obvious.” Yuqi adds that “most of the choreography and concept were centered around Soyeon, as she is the producer of the group, but all of our members gathered together to share our opinions.”
While high chart rankings are undoubtedly a goal, the quintet also emphasize the importance of connecting with listeners.
“First, I want to thank you for listening and showing a lot of love towards our songs,” Miyeon says to those tuning in. “When preparing for this album, I thought, more than ranking on the charts, I hope each and every person who listens to (G)I-DLE songs can relate to our songs and enjoy them.”
Yuqi sums things up by saying, “Of course, it would be great to rank high on the charts, but I don’t go around thinking about rankings when making music. I want (G)I-DLE music to be delivered to as many people as possible. That’s the biggest and most meaningful goal!”
Read on for (G)I-DLE to break down every track of their new 2 album, track-by-track, below:
“Super Lady”
Image Credit: Cho Gi-Seok 88Rising
Creepy Nuts hits No. 1 with “Bling-Bang-Bang-Born” on the Billboard Japan Hot 100, dated Jan. 31, giving the popular duo consisting of rapper R-shitei (R-rated) and DJ Matsunaga their first-ever No. 1.
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After entering the top 10 last week from No. 27, the MASHLE Season 2 opener rises 5-1 this week, powered by streaming (No. 1, 14,657,362 weekly streams, up 63% from last week), downloads (No. 4, 9,465 units, up 35%), and radio (from No. 10 to No. 7). The track also hits No. 1 on Billboard Japan’s TikTok chart after the “BBBB Dance Challenge” inviting fans to dance to the show’s opening animation went viral on the short movie platform. “Bling-Bang-Bang-Born” also rules the Global Japan Songs Excl. Japan chart released Jan. 25 after bowing at No. 8 last week.
tuki.’s “Bansanka” slips to No. 2 this week, coming in at No. 2 for streaming (10,536,519, up 7.9%), No. 6 for downloads (6,757 units, up 1.9%), No. 4 for video views (2,161,787 views, up 9%) and karaoke, and No. 77 for radio. Though the song couldn’t extend its stay atop the Japan Hot 100, it continues to maintain momentum with overall points increasing by about 7.7% from the previous week.
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As Mrs. GREEN APPLE continues to chart two songs in the top 10, the band’s latest hit “Nachtmusik” rises 7-3. It’s the theme for the movie Silent Love that opened in domestic theaters Jan. 26, and boosted by this film starring Ryosuke Yamada’s release, streams for the track soared by about 45% to rack up 7,994,782 plays, moving 11-6 for the metric, while radio climbed 14-1. Downloads are down 38% from the previous week to 6,666 units.
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M!LK’s fourth single from a major label, “Kiss Plan,” debuts at No. 6. The track comes in at No. 2 for sales, launching with 79,197 CDs, up by about 30% over the 60,820 copies of its predecessor, “STARS.” The track logged 3,112,622 streams to hit No. 34 for the metric, which is also slightly more than the first-week figure of the previous single.
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Kanjani Eight’s “Anthropos” follows at No. 7, ruling sales. The opener for the anime series Firefighter Daigo: Rescuer in Orange was written by Tatsuya Kitani (Jujutsu Kaisen ’s “Where Our Blue Is”). The veteran boy band’s 50th single sold 162,727 copies in its first week, about 7.8% more than its predecessor, “Ookami to Suisei” (150,848 first-week copies), launching the band’s 20th anniversary year with a bang.
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back number’s “Fuyu to Haru” (Winter and Spring) debuts at No. 9. It’s the J-pop band’s first new release in about six months since “Kaiju no Size.” The latest number is produced by Masanori Shimada, who worked on the band’s single “Horizon” from Aug. 2020. “Fuyu to Haru” hits No. 2 for downloads with 12,842 units and No. 19 for streaming with 4,448,468 streams, while also coming in at No. 2 for radio and No. 28 for video. The three-man group is off to a strong start with its first release of this year.
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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. 22 to 28, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
J-pop singer-songwriters Miliyah Kato and Leo Ieiri sat down with Billboard Japan for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched 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 conversations in this series were published in Japan last year as a “Billboard Japan Presents” collection by writer Rio Hirai, who moderates this conversation between the two popular artists.
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Ieiri and Kato are both set to perform at Billboard Japan’s Women In Music Vol. 2 concert on Feb. 8, along with the Tokyo Philharmonic Billboard Classics Orchestra led by Yukari Saito as conductor. While the styles of the two singers vary greatly, they share a common ground in the way they both delve deeply into their inner selves to sublimate what’s there into their music. In this conversation, Ieiri and Kato got to know each other better ahead of their upcoming WIM concert as they opened up about their mindsets on songwriting and their respective careers.
Tell us how you felt when you were asked to perform at Billboard Japan’s Women in Music Vol. 2 concert, and what you have in store for the show.
Miliyah Kato: The purpose of this concert, women’s empowerment, is something I’ve always valued like a mission throughout my career. I was happy to be tapped to do it and could immediately imagine the way I’d feel when I stood on that stage. It’ll be my first time performing with an orchestra at Tokyo Dome City Hall, and performing with Ms. Ieiri is also special, so I think we’ll be able to add further breadth to our show.
Leo Ieiri: This is actually our first time meeting each other, but when I heard that my collaborator would be Miliyah san, I was surprised and so happy at the same time. I went to an all-girls school and all of my classmates at the time loved your songs. I never thought I’d have an opportunity to work with you and am so honored.
Miliyah: I guess you’re a bit younger than me? I recognized you as an artist with a fresh, wonderful voice, and I think we share something in common in that we both create songs by digging into our personal sides. I feel close to people who can share their dark sides like that.
Leo: Thank you so much. After all, it’s pretty much a given that the experience of falling in love or having feelings for someone could end up hurting you, right? When my soul was still childish, I couldn’t stand that hurt and songs would be born from there. As I’ve gotten older and gone through more experiences, I’ve come to understand that loving someone includes that hurt. I want to convey such changes in a woman’s mindset and growth through my songs.
I listened to your song “Aitai” in my school days, and when I listen to it again as an adult, it sounds so fresh and I can tell that it describes a different state of mind compared to the lyrics you write now. A female artist who has built her own history like that is so great.
Miliyah: Thank you. I made my debut in my teens and spent my 20s and 30s as a singer, and feel that my songs reflect the way I live my life and how I spend my days. I don’t think I’m great just because I’ve been doing this for a long time, but I’ve been able to do this for so long because of the people who listen to my music, and that’s something to be very thankful for. So I want to show my gratitude by creating places where people can have fun, like concerts.
Ms. Kato, you mentioned that the empowerment of women has been like a mission in your career. Have you always felt this way?
Miliyah: I became a singer by singing about things that were bothering me. My third single, “Dear Lonely Girl,” came out when I was 16. I was in high school at the time, and I hated grownups. [Laughs] I hated being judged so much, but I didn’t understand myself, either, and felt kind of lonely. When I sang about how I felt with bleached blonde hair, it turned out a lot of girls around me could relate. It felt like people noticed my existence, and I realized, “This is what I should sing about,” and felt it was my mission to encourage women through my songs. That’s what I’ve been doing ever since.
Leo: That’s so cool. I’ve never really been too aware of empowering women before. I’ve always thought that there’s an infinite number of identities other than female and male, and that there’s no gender difference in how a person feels. It wasn’t until I was in my late 20s that I became aware of my female identity in a new way. I think it was during what they call the “quarter-life crisis,” when I was trying to figure out how I should live from then on. More of my friends were getting married or having kids, so the awareness came naturally. But I think the melodies that come from such shifting emotions and casual daily life resonate with people the most, so I want to keep singing songs like that.
Miliyah: Now that I’m in my 30s, I think my way of thinking has changed so much that it’s hard to believe. Women in particular go through ups and downs because of the changes in their hormones or life stages. But if you stop and look back on your life, I’m sure you’ll see you did your best during each decade. I faced myself seriously from moment to moment and the results are evident in my music.
Leo: That’s so true. I’m 29 now, and I’ve been looking really forward to hitting my thirties, and hearing you say that just now makes me feel more strongly about it. I’ve included parts of myself that are embarrassing and weak in my songwriting, and as I grow older, I sometimes look back on the things I made in the past and wonder why I was thinking that way at the time. But they prove I’ve been opening the door to my heart and making music seriously. I sometimes sing songs written by other people, which is also really fun, but I’m set on continuing to write my own lyrics as well.
We women accumulate personas, don’t we? To marry or not, to have kids or not… there are so many paths and so many roles that we’re forced to take on. How we maintain our identity in the midst of all that is important. Looking at your Instagram, I’m struck by how energetic you are. You work out stoically, yet you also enjoy shaved ice and whatnot as a treat for yourself. It helps me see that people who keep moving ahead have two sides, taking time to be strict and easy with themselves as needed.
Miliyah: Oh wow, you’ve checked out my account? [Laughs] Yes, I think being up for a challenge in life is definitely more interesting. There are people who want to pursue beauty, and there are people who want to live a simple life without luxuries, and it doesn’t matter what you take on as a challenge.
I say I want to empower people, but that desire might make me unwittingly use strong words and that could make the recipient think they need to achieve something big. But that’s not what I really want to get across. I think living is also about how much you end up liking yourself over the course of your life. We all have our own hang-ups and it’s impossible to force yourself to keep working hard all the time. But everyone is equally capable of taking on a challenge. If you keep challenging yourself, no matter how small, I think you’ll come to like yourself even more than you do now.
Like you said, women experience changes in their environment and their sensibilities depending on the stages in their lives. Is there anything you both value in order to continue your singing career for a long time and in a healthy way?
Miliyah: Well, I think what I value is the sense of trying to be strong, even if I can’t always be strong. As a solo artist, I’m the only one who bears the brunt, but behind the scenes I’m being supported by my staff and fans. So in order to be the kind of person that everyone wants to follow, I want to stay strong, cheerful, and energetic. I can stay strong even when things make me nervous because I never forget that.
Leo: I think all human beings are actually weak. Men and women are equal in mind, but their bodies are inevitably built differently. So the inclinations stemming from those differences led to women being forced in the home, into weaker positions at certain points in history. When you find yourself in such positions, it’s up to you to choose whether you live your life feeling sorry for yourself, or thrive because you don’t want people to feel sorry for you. I think Ms. Kato is a really strong person who believed in herself and walked with a sense of mission no matter what position she found herself in.
There was a time when I thought I wasn’t cut out for a career in music and wanted to quit. At that time, I helped out at a nursery school, partly because I like picture books. But when I spent some time in another field, I was able to look at my own situation objectively. I realized I liked to sing after all and returned. I don’t know if I’m suited for it or not, but I couldn’t pretend that I don’t love it.
Hearing that you felt conflicted like that even though you’re so successful comes as a surprise. What advice would you both give yourself when you were just getting started in your career? In particular, Ms. Kato, you debuted when you were just 16. What did worry about back then?
Miliyah: In the first year of my career, I was like 100 times bolder than I am now. [Laughs] Lacking experience and ability, I was bold out of ignorance. But if I could speak to myself from back then, I’d probably say, “You don’t have to worry so much.” Unlike today, social media wasn’t as widespread, and maybe things were easier in that sense, but even while being bold, there was a part of me that worried about people’s reactions and thought maybe I’d get in trouble. So I’d tell younger me to just go all out.
Leo: Well, I was desperate to find a way to protect my worldview. I was even afraid of things that people said to me out of kindness, because I felt like they were dismissing who I was. Now I truly want people to tell me what they think because I know that stimulation from the outside is what expands my own world.
But because of that time I spent protecting myself like that, I enjoy meeting people later on in life. You don’t have to try to be so mature, and if you’re afraid, it’s OK to protect yourself. I’d like to say to myself at that time, “If something bad happens to you, try to understand what it is you don’t like about it and let your feelings out.”
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
“Mwaki,” the urgent progressive house track from Brazilian producer Zerb and Kenyan singer Sofiya Nzau, has been a dance world sensation since its release last November. The track hit No. 1 on Spotify’s Global Viral Chart, with more than 100,000 videos created by fans on social media, and is currently at No. 3 on the global Shazam chart.
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The track — sung in the tribal Kenyan language of Kikuyu — also gained momentum with recent remixes by Major Lazer and Tiësto, with edits from Franky Wah, Major League DJz, Tyler ICU, and Chris Avantgarde forthcoming. The song’s title translates to “fire.”
“I knew ‘Mwaki’ was special, but I didn’t expect the success and love that the song has had,” Zerb said in a statement. “I’m very happy not only with the result, but also with the opportunity to spread my music to the world.”
Now “Mwaki” is coming to life even more vividly via it’s just-out video, starring Zerb, Nzau and a fleet of Kenyan dancers. Directed by by Mikhail Mehra — who helmed the classic video for Major Lazer’s “Lean On” — the video was made in Kenya’s stunning Hells Gate National Park, where the crew traversed the park’s gorges by rope (and avoided the local hippopotamuses) while filming in the canyons and fields.
“Everybody on the team just making miracles happen,” Mehra said in a statement. “Hopefully, we make Kenya proud, because it was a tremendous experience.”
The clip comes with the announcement that the São Paulo-born producer, who has performed at Lollapalooza and Rock In Rio, has signed with UTA for live representation in all territories excluding Brazil.
The track is out on the indie label TH3RD BRAIN, whose global campaign behind the track successfully broken the song in myriad countries.
“Music doesn’t have borders today. It’s inspiring that an artist in Kenya can upload her vocals to the internet, be found by a Brazilian DJ, and turned into one of the biggest dance records of the year,” TH3RD Brain’s Alec Udell tells Billboard. “As an independent label, our partner network is set up to tell stories like this across the globe. Zerb and his manager Gabriel have been at this game for over ten years so what’s next for them is what’s really exciting to us.”
Watch Zerb’s “Mwaki” music video below:
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Atarayo, a three-member band that calls itself “a band raised on sadness,” released their new song “I am…” on Jan. 8. It’s been consistently praised for its lyrics, which are delicate depictions of people’s emotions, and its sound, which help highlight the lyrics to even fuller effect. “I am…,” their first release of 2024, was written as the opening theme song for season two of the TV anime The Dangers in My Heart. It’s written from the perspective of the show’s protagonist, reflecting his inner feelings. Billboard Japan spoke with Atarayo about their past and future growth, including their first-ever overseas performance, playing in Taiwan in 2023, about their latest song, and about their plans for future overseas shows.
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In 2023, you played at the ISLAND’s LA RUE Music & Arts Festival in Taiwan. What was it like playing a show outside Japan for the first time?
Hitomi (vocals and guitar): At first, I was really nervous, but the audience was really engaged, and everyone sang along in Japanese. That blew me away. Japanese audiences almost never sing along with us, they listen intently. The Taiwanese audience was different. There was a real sense of oneness with the crowd. It was really fun.
Takeo (bass): At first, I was pretty nervous, too, but then when we actually started playing, the audience’s vibe was great.
Marcy (guitar): Yeah, everyone was filming with their phones, but they were really into the show. There was a real sense of freedom. It felt very different from Japan, and it was a ton of fun. The stage was huge, too. When we were checking out the venue the day before, I idly wondered what the place would look like totally packed, but the on the day of the show the audience was really big.
Did experiencing your first show outside of Japan give you a stronger desire to play overseas more?
Hitomi: Yeah, it was a great experience seeing how warmly we were welcomed. After playing the festival in Taiwan, we got offers from other countries in Asia, saying “Come play here, too.” If there’s that much of an audience who wants to see us, I’d love to actively perform more overseas.
You recently released “I am…,” your first release of 2024. It’s the opening theme for the second season of the anime The Dangers in My Heart. What kind of concept did you have going into the writing process?
Hitomi: First off, since it’s the opening theme song, we wanted it to have a lot of energy. As for the lyrics, the anime’s producers asked that we write the song from the perspective of the show’s protagonist, Kyotaro Ichikawa, so we always kept that in mind as we worked on the song. I’d read the comic the show is based on, so when writing the lyrics, I imagined what kind of poem Ichikawa would write if he were to write a poem. There’s actually a scene in the show where he writes a poem, and my own personal impression is that people who write poems have something buried deep inside. Ichikawa must have a lot inside that he thinks but doesn’t say out loud, so I thought about how he’d express that if he put it to music. Ichikawa’s feelings are especially reflected in the first verse.
What kind of character do you see Ichikawa as?
Hitomi: Hmm…kind of difficult and stubborn (laughs). He has these ideals and things he wants to do, but he just can’t fully accept himself and his ideas for what they are. However, in season two, he gradually comes to accept himself more.
What are your feelings on The Dangers in My Heart itself?
Hitomi: It’s not just a simple, straightforward romance anime. There are a lot of lines that really get you, emotionally, in its depictions of how Ichikawa grows as a person. When I read it, I had a lot of insights myself.
Marcy: When I read it, I just thought, “Man, I’m jealous. I wish a beautiful girl like that was in love with me when I was that age” (laughs).
Hitomi: You’re too honest (laughs).
Marcy: But, seriously, in the song, there are two guitar solos, which represent the relationship between Ichikawa and his love interest. We wrote the song so that its whole sound — both its highs and its lows — depict Ichikawa’s own feelings.
Takeo, what do you think about The Dangers in My Heart?
Takeo: I sympathize with Ichikawa.
Hitomi: Ichikawa’s a lot like Takeo (laughs). Sometimes, looking at Ichikawa, I’m like “Is this Takeo?”
Takeo: Both Hitomi and Marcy were telling me that, so I read the comic, and there were all these times where I found myself thinking, “I get it, Ichikawa. I know exactly how you feel” (laughs).
I feel like the lyrics to “I am…” depict a real sense of change, as epitomized by the line “It’s like I’m no longer me.” In your activities as Atarayo, have there been any changes of your own that have surpassed your own expectations?
Hitomi: Ichikawa’s own changes are changes for the better. Through his interactions with Anna Yamada he discovers parts of himself that he wasn’t previously aware of. I’ve felt the same about myself. I was really shy and withdrawn when I was little. Now, I’m standing on stage, singing in front of people. That’s because these two people changed me. I’m still scared to get up on stage sometimes, but I think if we keep on as a band, I’ll grow even more bold, and one day the me that’s up there on stage will be one that I didn’t even realize was in me. That’ll probably change our live performances and how we express ourselves, too.
Marcy: During our shows, I used to really look in from the outside, taking a kind of aloof stance, but lately I’ve really been getting absorbed in the shows, and sometimes I find myself sobbing despite myself. I think I get more into the songs now and I’ve become able to play my guitar in a way that better conveys the emotions of the songs to people. Another change is that I couldn’t afford to buy draft beer in the past, but now I can drink it every day (laughs).
(Laughs) Marcy and Takeo, have you seen any changes in Hitomi?
Takeo: Um… Not really (laughs).
Marcy: She’s been the same since we were in school (laughs).
Hitomi: No, I’ve changed! (Laughs) For example, my voice doesn’t tremble during shows anymore. I feel like before I wasn’t able to focus on how to express myself, or on my performance, I was just trying to make it through the show.
Marcy: Yeah, when it comes to music, you’ve changed. Listening back to old demos, your voice was really, how should I say it…green? Very youthful. Now your voice has gotten a lot bolder. Also, the amount of feeling you put in to the lyrics and singing is totally different from our first live shows. It’s not just Hitomi, either. Our legs used to always be trembling when we performed, so that’s been a big change. But our day-to-day lives haven’t really changed, right? At least, when we go to a bar, nothing’s changed (laughs).
Hitomi: As long as I’m growing musically, that’s enough (laughs).
—This interview by Fumiaki Amano first appeared on Billboard Japan
Through K-pop’s rapid changes in the last three decades, a constant standard has been JYP Entertainment’s particular attention given to its female groups.
From Wonder Girls becoming the first Korean-pop act to crack the Billboard Hot 100 to the likes of TWICE and ITZY making inroads with U.S. label deals and arena tours, plus a Japanese group NiziU who’s had a No. 1 single on the Japan Hot 100 every year since their 2020 debut, the company has lived up to its company tagline as a “leader in entertainment” with noted strict guidelines for dating, dieting, media engagement and more. So when a mid-interview miscommunication over the interview time with JYPE’s latest girl group abruptly ends the conversation when the schedule can’t spare another 10 minutes, the fleeting encounter feels like it mirrors the meticulousness and unwavering standards to success set by K-pop industry giants like JYP. Especially for the high stakes with VCHA, a first-of-its-kind “global” girl group, there’s no room for missteps.
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VCHA began with a bold vision outlined by JYP founder J.Y. Park and Republic Records founder Monte Lipman: their A2K competition series set out to create “the first American artist made out of the K-pop system.” Amid increasingly heated competition from industry heavyweights like SM Entertainment, HYBE and Geffen Records with similar projects, JYP and Republic pulled ahead in this next-generation pop race, culminating in the six-member girl group that’s helping evolve the definition of K-pop and changing how companies like JYP and Republic traditionally operate.
Unlike the Korea-based counterparts who famously undergo years of rigorous training, VCHA embarked on a whirlwind journey encompassing vocal and dance training, character assessments, and even “star quality evaluations” through 22 episodes of A2K where the final lineup of members Lexi, Camila, Kendall, Savanna, KG and Kaylee — who range from ages 18 to 14 — were revealed in September 2023 and made their official debut just four months later, today, on Jan. 26, 2024 via “Girls of the Year” by revealing its digital single and music video.
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After four buzz tracks hinting at their sound like “Ready for the World” and “Y.O.Universe” (the latter of which performed on public Korean TV channels like KBS and MBC alongside other K-pop acts), “Girls of the Year” marks the official start of VCHA and what midwest-born, 18-year-old leader Lexi says “really emphasizes confidence, self-worth and what we strive to be, which is, obviously, girls of the year.”
An upbeat, bubblegum-pop anthem with hooks ready to get lodged in young listeners brains, “Girls of the Year” also encapsulates a subtle yet poignant message of feminism and self-empowerment with lyrics like, “No more doubtin’ and no glass ceilings.” Speaking to Billboard in their new home base in Los Angeles, the Florida-raised, 17-year-old Savanna sings that line on the track and personally connects with the lyric when “going deeper because of the meaning itself.”
“Girls of the Year” embodies the essence of VCHA’s mission—to inspire and empower a new generation of fans who aren’t as bound or preoccupied by cultural, language and country barriers. With all six based in the U.S. or Canada, the VCHA members’ backgrounds range from white and Latino to Black, Korean, Vietnamese, and Hmong.
Texas native Kendall recognizes the diversity they represent and the chance to be a role model.
“‘Girls of the Year’ is such a statement, but to us, it really means to be able to become a group or someone that other people can proudly look up to,” the 17-year-old says. “To be able to represent different communities is honestly such an honor because we all had people from our cultures or from our nationalities who we looked up to growing up and they made such a big impact on our lives. So, for us to possibly be able to grow into becoming those people for others is really what being a ‘girl of the year’ would mean to us.”
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VCHA is in good company with Republic Records signees like Taylor Swift, TWICE, Ariana Grande, Stray Kids and ITZY all cited as different inspirations to the members. The girls will open for upcoming stadium shows their JYP/Republic label mates TWICE are holding in Las Vegas, Mexico City and São Paulo — something of a dream for youngest member Kaylee, who says TWICE is the first artist she remembers connecting with from a young age.
“I can’t say that I’m nervous or excited because I can’t think that it’s actually going to happen,” the 14-year-old Philly singer says. “It feels like a dream rather than something that we’re going to be performing on stage opening for TWICE. It just seems so unreal to be able to do something like this so early in our career.”
In fact, K-pop concerts traditionally do not have opening acts, marking yet another way VCHA is shaking up the system’s formulas with a page from the western playbook. “This is something that was all kind of unexpected,” Lexi adds, “We’re just super honored to be able even to do something that’s not really done.”
To prepare for the upcoming shows, the sextet has all-day training sessions, rehearsals and content creation that begin around 10:30 or 11 a.m. local time once youngest members Kaylee and KG, who are 14 and 16 respectively, finish schooling, which they take earlier in the mornings via online learning classes. Kaylee and KG point to some difficulty in balancing school and group work but have the older members to help them study.
With VCHA’s release of “Girls of the Year,” coupled with the easy-listening, R&B-pop cut “XO Call Me” as a b-side that Kendall notes is part of the “new sounds” they’re excited to show, the teens are moving into unknown but exciting territory that feels more centered on deeper, heartfelt messaging than the maximalist showmanship found in most K-pop debuts.
Take the moment in the “Girls of the Year” music video where Camila walks from her dance rehearsal into a massive VCHA concert where she catches her glammed-up, onstage version performing, and the two exchange smiles—a moment of recognizing her journey that included years of auditions and competition shows like The Voice Kids in Canada and France, to now debuting in a group backed some of the world’s most proven players in pop.
See what all the VCHA members had to say about their growth, looking back at honest moments from their character evaluations in A2K to where they stand today.
The role of leader is an important one in K-pop and Lexi, you’re the leader of VCHA. How has your role shifted from someone who was known to help the contestants in A2K to now leading VCHA?
Lexi: Obviously, I’m super grateful to be the leader to help organize things in this group. Although I have the title, I do think that I get so much help from the other members — like, everyone helps me out so much. Even though I’m the leader, I think that we all help out a lot in the group for us to be able to be successful and work hard.
I do do a lot of the organization things like setting up our times for when we should practice or spreading things out for what we should do throughout the day and for what’s coming up. I help us try to stay on task too. Sometimes I’ll have to communicate [with the label teams] just a little bit for things like our schedules.
I remember Camila was voted co-favorite team mate with Lexi during A2K evaluations. You’re also the eldest member, and you said a lot of that motivated you to kind of help take care of and encourage your members. What does that relationship look like now?
Camila: Actually in my family, I’ve always been the youngest so I’ve always been well taken care of. I learned a lot from my mom and my brother, and how they made me feel always so safe and comfortable. I wanted to do that as well if I was ever in a group. Being here, it’s the same thing since we last talked; I think because I’m a very empathetic person, I always feel what other people feel. I always try to make people comfortable and make sure everyone’s okay emotionally.
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Savanna, J.Y. Park said he had doubts about your seriousness but you shared how you know nerves aren’t helpful. I loved your attitude and answer then. Is that a mindset you continue today?
Savanna: If I was to explain this more, being in gymnastics at a very young age led me to learn different techniques to not let my nerves get the best of me since, if I was in a nervous state, I would perform worse— especially on events where I had to balance on a four-inch beam. Although I was definitely nervous, I applied this learned technique of mine during the evaluations of A2K. I think I still have this mindset today as we do nervewracking activities but I try to calm the members down and let them know that we’ve worked our hardest up to this point and to try to relax, trust your practice, and give it your all.
Kendall, I remember you were super-focused on both your and the group’s growth during Boot Camp with many moments practicing on your own. How are you today with leaning on your members?
Kendall: I would say that the more time we spent together and the closer we became, the more I was able to rely on my members. As a person, I often tend to think to myself and enjoy spending time on my own, but it’s nice to have a support system with the other girls that I can always lean on.
J.Y. Park also said very honestly that he thought KG had a “solid style fixed in you” that couldn’t work in a group. But not only did you prove you could adapt, you’re in the group! How do you feel you’re evolving as an artist today?
KG: Yes, J.Y. Park was exactly right. I had a very fixed style and unique way of singing where I fell off my words, and that type of singing is not usually found in K-pop groups. I can sing many different styles, so removing what he didn’t like was not difficult for me but his advice made me a better singer and fit for this group so I really appreciate it. I think being an artist or performer means you’re always constantly evolving and, right now, I’ve evolved into the K-pop world.
Kaylee, you anticipated that you could be the “Moodmaker” of the group. Do you help set the group’s tone?
Kaylee: We all have different personalities and all of us are so fun to be around! So everyone has the potential to become a mood maker of the group.
tuki.’s “Bansanka” rises 4-1 on the Billboard Japan Hot 100, dated Jan. 24, giving the rising singer-songwriter her first No. 1 on the Japan song chart.
“Bansanka” debuted on the Japan Hot 100 at No. 14 on Oct. 11 and stayed in the top 20 for 16 consecutive weeks. The poignant ballad with a title that means “Supper Song” finally reached the top spot this week after streaming climbed 3-1 with 9,760,960 weekly streams (up 9.7%) and downloads 8-5 with 6,629 units (up 41.8%). Total streams in Japan for this track have passed the 100 million mark. This song was popular online since before the actual recording was digitally released, through covers and other secondary uses that continue to be uploaded in droves. This explains the increase in video views (moving 5-4 with 1,980,614 views, up 19%), and karaoke (7-4).
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Creepy Nuts jump 27-5 with “Bling-Bang-Bang-Born,” the opener for the anime series MASHLE Season 2, after debuting on the chart last week. The rapper/DJ duo’s latest hit broke into the top 10 in three metrics of the chart’s methodology: downloads (11-3 with 6,976 units), streaming (30-4 with 8,944,345 streams), and radio airplay (37-10). This song has been spreading on TikTok mainly in the U.S. and debuted at No. 8 on the Global Japan Songs Excl. Japan chart released Jan. 18. It’s gaining fans internationally, charting in the top 10 in four countries: U.S., France, U.K., and South Africa.
Mrs. GREEN APPLE charts two songs in the top 10 this week, with “Que Sera Sera” rising 5-4 after streaming increased slightly from the week before. The other track is “Nachtmusik,” which debuts at No. 7 after its digital release Jan. 17. The theme song for the film Silent Love rules downloads with 10,872 units, which is about 28% more than the first-week figures for “Que Sera Sera,” the trio’s previous single. “Nachtmusik” comes in at No. 11 for streaming with 5,480,372 streams, No. 6 for video and No. 14 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. 15 to 21, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Billboard Arabia sat down for an exclusive one-on-one with Grammy-winning producer, rapper, songwriter and DJ Kasseem Daoud Dean — known professionally as Swizz Beatz — for an interview about his work in Saudi Arabia. These days, the 45-year-old musician-turned-businessman spends his time hyping up one place in particular, and that’s the Kingdom of Saudi Arabia.
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“Why Saudi?” seems to be the question on everyone’s mind. “Why not Saudi?” Swizz Beatz answers assertively. “It’s so amazing and has so much heritage.” Speaking with the same passion you would find in locals of Jeddah and Riyadh arguing over which city they think is cooler, Swizz Beatz’s advocacy for Saudi creativity runs deep and started way before the kingdom decided to leverage celebrity influence as part of its global tourism campaign.
“It’s amazing to see where everything is going, from when I started coming to Saudi, to what I see today,” explains Swizz Beatz, who has been visiting the country since 2006 and supporting its talents even before that, such as in early 2000, when he crossed paths with a young kid from Jeddah who had big dreams of rapping about his homeland internationally.
“Skinny was the first Saudi artist I produced. His last album, I executive produced. I got him his deal, I structured his deal, and to see him on [the MDLBEAST] stage in front of all of those people, singing those songs that we were sitting in the studio with, it just shows you that Saudi is not far off at all!”
In March 2022, Skinny released the bass-laden track “Saudi’s Most Wanted,” produced by Swizz Beatz, accompanied by a three-minute video set to a montage of scenes throughout the kingdom.
“I think the creative community here is thriving! I have a compilation with some local artists called MOYA, including Jeed, Shaolin and Ntitled. All of those guys are family to me. When I came here and was listening to their music and their stories, I said to myself, ‘You know what? I want to give everybody music.’” A few months later, those same artists debuted at the region’s biggest music festival, Soundstorm.
Having worked with legends such as DMX, Jay-Z, Kanye West, Drake, Mary J. Blige and his wife, Grammy-winning singer/songwriter Alicia Keys, Swizz Beatz has always had an eye for creative talent. Much like an unofficial brand ambassador for the kingdom, Swizz Beatz can often be seen publicly commenting on his celebrity friends’ Instagram posts with Saudi flag and red heart emojis. “I’ve been telling them for years! I’ve been saying, ‘You have to come to AlUla! You have to see the development of The Line and NEOM. Go visit JAX!’” In the time since, Saudi Arabia has continued to boom with artists visiting through performance opportunities, or on their own accord. In the 2023 edition of Soundstorm, major headliners from the global hip-hop community came through including Will Smith, 50 Cent and Travis Scott, to name a few.
“See, I’m kind of biased about Saudi. For me, it’s like being home. It’s like asking me about my own home when you speak about Saudi. I feel like it’s going to be the number one place in the world, period. Especially when you look at all the new places being built, the energy the region has in general.
“I just recently went to the Noor Festival [in Riyadh] and there were a lot of amazing artists in that particular show,” he says. “There’s Ahmed Mater, who is a great friend.”
An avid collector of art, Swizz Beatz admits he’s constantly inspired by the many talents he meets in the kingdom. “I’m getting them [Saudi artists] into my museum show in New York at the Brooklyn Museum. That’s coming soon insha’Allah, so their work can be seen abroad as well. But the art scene [in Saudi] is super booming. There’s a lot of talent here on all sides of art — fashion, music and visual photography. To see all of these doors open has been amazing to watch.”
Swizz Beatz is much more than a spectator. His latest endeavor, the new headquarters of his Riyadh-based company, Good Intentions, is less office space and more incubator-like venue that can easily be transformed into an interchangeable setting, ideal for all facets of creativity.
“I’ve seen so many styles in Saudi already now. It’s not just one particular style,” he explains. Swizz Beatz admits Saudi is a melting pot of influences and aesthetics, and exporting its culture is just as important as the country opening up to the rest of the world.
When closing out the interview, Swizz Beatz gave a final testament to his excitement about the progress in Saudi, stating, “The thing that I like is that everybody’s in their own vibe and everybody’s supporting each other.”
At the turn of the millennium, the Arabic pop scene was flourishing and looking for its next big hit. In came Elissa with “Aayshalak” (Living for you), which became an instant hit in the Arab world and put the singer on the path to stardom. Elissa immediately left an imprint, and not only because she had found the perfect song for her vocals and personality. The ambitious singer had studied other hits with sharp precision and refined taste, and she made sure to have a say in the music production process until she got the perfect electronic beat for the song.
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Elissa quickly sparked interest – and controversy. When her first music video was released, the young singer was immediately labeled as “bold.” But time would prove that she was never a talent who stumbled upon success by chance. From the outset, she had had her own vision, as evidenced by her introduction of house music to Arabic pop with master composer Jean-Marie Riachi.
Ahead of the release of her new album, the 13th of her musical career, we took a trip down memory lane with the singer to trace back all the milestones she has celebrated since her first album.
Some 32 years ago, Elissa clinched the silver medal at the Lebanese music competition Studio Al Fan. A record deal was supposed to follow, but her contract was shredded to pieces – she lacked talent, Studio Al Fan creator Simon Asmar told her. But Elissa did not give up on her dream. Even after that setback, she kept trying. If anything, she was even more determined.
In 1998, she released “Baddi Doub” (I Want to Melt), her first official song and title of her first album. With the track, Elissa began shaping her identity as an artist, paying no heed to what’s “popular” or “needed.” She confidently blended Arabic music and lyrics with Spanish melodies, and the black-and-white music video for the song was seen by the audience as bold. Right from the start, Elissa forged her own unique path.
Successful as it was in establishing her presence on the music scene, this first milestone left her with a drive to work even harder. In the summer of 2000, she released her second album W’Akherta Maak (What Should I Do with You), which would compete amongst the leading Arabic albums of the year against Abdel Majid Abdallah’s Enta Al Aziz (You’re the One), Hani Shaker’s Garhi Ana (My Wound), Muhammad Munir’s Fi Ishg El Banat (When it Comes to Loving Women) and Amr Diab’s Tamally Maak (Always with You).
The album featured “Betghib Betrouh” (Whether You’re Away or Gone), which propelled her from amateur status to professional. That Ragheb Alemeh would choose to make this duet with Elissa and feature it on his own 2001 album Saharouni El Leil following the collaboration’s resounding success spoke volumes about Elissa’s talent. Even for the singer herself, the success of “Betghib Betrouh” was a turning point in her quest for her identity as an artist. “I told myself at that moment: the talent I see in myself, Ragheb also sees it in me.”
With her first successful collaboration, Elissa saw herself climbing the ladder to stardom two steps at a time. The release of her third album, Ayshalak (Living for You), cemented her position as a pop star. “Ayshalak was not only a giant leap for me, but also for the whole music scene – pop music precisely.”
The song was not originally as fast-paced as the released version. The rhythm was accelerated upon Elissa’s request, who deeply admired another pop hit of the time. “‘Ayshalak’ came to life because I adored Amr Diab’s ‘Habibi Wala Aala Balu’ (My Lover Doesn’t Care) and wanted a similar song. Eventually, it turned out to sound nothing like it, but ‘Ayshalak’ was finally released.”
Besides perfect timing, a farsighted vision and a unique audacity, something else helped Elissa maintain her stardom after the first hit. Throughout the following years, the singer retained the same discipline and determination that helped her launch into the world of music. She was not the kind of pop star who chose from ready-made song projects. Instead, she participated in the song making and production processes and fostered partnerships with composers and songwriters who understood her points of strength. She insisted on getting involved in even the tiniest details – an insistence that can hardly be seen in a negative light if one were to look at the success she achieved, one album after another.
In 2004, she released her fourth album Ahla Donya (The Most Beautiful World), which, along with the titular song, laid the foundations for the path of romantic music that she subsequently followed, earning her the nickname “Queen of Emotions.” Recorded using the Super Audio sound technology – still a new innovation at the time – the album achieved worldwide success, earning Elissa a World Music Award for Best Selling Artist in the Middle East and North Africa. Elissa describes the title song, written and composed by Muhammad Al-Rifai and arranged by Jean-Marie Riachi, as an ode to all that love represents, a dreamy tale that expresses heartbreak as much as it does affection.
In early 2006, Elissa released Bastannak (Waiting for You), which went on to garner her another World Music Award. The global recognition for two years in a row was an unprecedented achievement in the Arabic music scene. The album sold over 3.7 million copies, and its songs were translated to many languages, including Hindi and Turkish.
One particular song from that album occupies a special place in Elissa’s heart. “When I hear ‘Fatit Sinin’ (Years Passed), I don’t feel like this is my voice in the song. I love this song. It doesn’t really remind me of anything. I’ve never experienced the state I’m singing about. But I love its music. I love its lyrics.”
The next year, Elissa unveiled her sixth album, Ayyami Bik (My Days with You). Like Bastannak, many of the album’s 11 tracks were translated to other languages. With “Betmoun” (Anything for You), Elissa stayed true to her identity as an artist, but still delivered a new musical genre that could be described as groundbreaking for its time. “Betmoun” was Elissa’s first of many successful collaborations with Marwan Khoury. The song was written and sung with a Lebanese accent, but it was adored by the Egyptian audience, Elissa recalls. It went to show the uniting power of music and how it can transcend borders and linguistic barriers.
Album number seven Tisaddaa Bi Meen (Would You Believe it) left Elissa with many unforgettable memories. Elissa remembers how “Aabali Habibi” (I Want to… My Love), which found its way to her by coincidence, struck her as a woman’s bold expression of love, declaring her wish to marry her lover and start a family with him. Elissa thought “Aabali Habibi” was realistic and tackled a subject that female artists rarely sing about. Plus, it would serve as a wonderful wedding song. As always, Elissa insisted on being involved in the production process to make sure the song came out as it did: “a romantic song by excellence.”
Most of the album’s songs were equally romantic, but each had its own story and emotions, and each reflected a different reality. Despite the misery embedded in the lyrics of “Amri La Rabbi,” faith took center stage in the song, reflecting the beliefs of Elissa the human being, who resorts to her faith to find strength in life.
As for “Min Gher Mounasba” (Without a Reason), written by Nader Abdallah and composed by Walid Saad, Elissa strayed from her usual romantic musical line to shine a spotlight instead on a social issue. For Elissa, singing about domestic violence was not an easy choice to make. “I was scared! It took me six or seven months to decide to sing it… But after that song, I broke the barriers stopping me from tackling taboos. No subject, sensitive as it was, was too scary to sing about. That’s when I discovered that art is, indeed, about sending a message.”
Some of Elissa’s songs conveyed social messages. Some stirred deep feelings in her listeners’ hearts. Others became the ultimate dance tune of their time. With this vast, diverse portfolio, Elissa’s music resonated with millions of listeners around the world. It was hardly a surprise, then, when her eighth album Asaad Wahda (The Happiest Woman) came in 13th position on Billboard’s World Albums chart for one week in July 2012. The album’s titular song, according to Elissa, is “full of positivity and joy. I sing it at every concert. It engages the audience in such a spectacular way. It’s a great song to perform at concerts.”
From a state of positivity, Elissa leapt in her ninth album to a state of love with Halet Hobb (which literally translates to “A State of Love”). In August 2014, the Halet Hobb appeared on the Billboard World Album chart, debuting at No. 3 and then hitting No. 7 and No. 12 in the following weeks.
Elissa had heard the melody of “Halet Hobb” (A State of Love) by coincidence while on a visit to Turkey. It was playing on the radio and she could not get it out of her head, eventually leading her buy the rights to reproduce the song in Arabic. She passionately recounts: “I don’t know how many Turkish songs I had to listen to until I finally found it.” As soon as she obtained the copyright for the melody, Elissa asked Nader Abdallah, her “emotional twin,” to write a song that fits the tune. She only needs to describe to Nader the emotion she would like her song to convey, and he’ll put it into lyrics.
The album also included “Beraghm Al Zorouf” (Despite the Circumstances), which she holds dear, being one of those songs that show a side of her personality, particularly in the verse “the weakness of the soul comes from the weakness of faith.” Elissa says she feels a deep connection to that verse, because it expresses strong faith despite challenges and setbacks.
Year after year and album after album, Elissa’s name became no stranger to Billboard charts. So when album number ten Sahharna Ya Leil (I’m Awake, O’Night) ranked No. 5 in October 2016 on Billboard’s World Albums chart it was far from a surprise. But the success of “Maktooba Leek” was. The song, released as part of the album, found its way to listeners’ hearts even without a music video or promotion. “This song conveys love in its most sublime form,” says Elissa.
Similarly, the song “Hekayat” (Stories), released in 2018 as part of her album Ila Kol Elli Bihebbouni (To All Those Who Love Me), achieved great success, ranking No. 10 in August 2018 on Billboard’s World Albums chart, despite not being made into a music video. Elissa is fond of many of her songs, but she admits “Hekayat” is the only song she listens to on a daily basis, drifting off to sleep to its melody. “Hekayat” was written by Osama Mustafa and composed by Mohamed Yahya. For Elissa, the song abounds with emotions that summarize the power of love.
In 2020, in celebration of two decades of a successful music career, Elissa released Sahbit Raey (A Woman of Opinion), whose 18 songs varied between the Lebanese and Egyptian dialects, and even included a song in French. With this twelfth album, Elissa sought to reaffirm her identity as an artist who never compromised on her unique spontaneity and strength of character.
The album includes “Ahwet El Madi” (The Coffee of the Past) written by Siham Al-Shaashaa and composed by Muhammad Rahim, which brought Elissa back to the past and its memories. “All I could feel with this song was nostalgia and longing for my father.”
As she approaches the silver jubilee of a successful music career, marked by many ups and downs and a wide variety of experiments with Arabic pop, Elissa insists that it is only with perseverance that she can maintain her stardom.
“I know I am successful,” she says. “I certainly do not deny it. But I’m not yet satisfied with what I have accomplished – nor do I want to be.”
This article is a translation of a piece that originally appeared on Billboard Arabia.
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