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G Flip makes a noise with Drummer (via Future Classic/Universal), as the Australian artist bows at No. 1 on the ARIA Albums Chart.
It’s the singer, songwriter and multi-instrumentalist’s first leader, after their debut About Us peaked at No. 6 in 2019.
The homegrown hero has been on a roll in recent years, landing 11 tracks in the triple j Hottest 100 countdown, earning three ARIA Award nominations, bagging three platinum-certified singles (“About You,” “Drink Too Much,” and “Killing My Time”), and one gold (for “Lover”), and performing at the nationally televised Logie Awards, and AFL and AFLW Grand Finals.
A talented drummer, G Flip co-produced and co-wrote every song on the new album, alongside the likes of Tommy English and Colin Brittain.
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“Finally, we can celebrate another Aussie at No. 1 on the Albums Chart,” comments ARIA CEO Annabelle Herd. “Congratulations to G Flip and their team on this absolute triumph. As an artist and personality, G Flip has done so much for pushing the narrative of Australian music forward, and truly represents the next wave of homegrown success here and overseas. We couldn’t be happier to celebrate their first ARIA No. 1.”
G-Flip is supporting the new LP with a national tour this month and next, spanning 13 dates in Brisbane, Cairns, Adelaide, Perth, Torquay, Melbourne, Sydney and Newcastle, with North America dates kicking off Sept. 18 at The Catalyst Atrium, Santa Cruz, CA.
Luke Combs started his own tour of Australia this week, and he’s already making his presence felt on the national albums survey, published Friday, Aug. 18, with two titles lifting into the top 10. This One’s For You rises 14-9 in its 283rd week on the tally, and former leader Gettin’ Old gains 17-10 in its 21nd week. Further down the list, another former No. 1, Combs’ What You See Ain’t Always What You Get (all via Columbia/Sony), improves 21-14 in its 197th week on the survey.
Also new to the ARIA Chart is Volcano (AWAL), the fourth studio album from U.K. electronic pairing Jungle. Volcano erupts at No. 22.
Over on the ARIA Singles Chart, also published Friday, Billie Eilish’s “What I Was Made For?” (Interscope/Universal) extends its rule into a third week. Lifted from the Barbie soundtrack, “What I Was Made For?” becomes Eilish’s longest-reigning leader, eclipsing the two-week streak for “Bad Guy back in 2019. It leads an unchanged top three, ahead of Dave and Central Cee’s “Sprinter” (Virgin Music Australia/Universal) and Dua Lipa’s “Dance The Night” (Atlantic/Warner), respectively.
Finally, Olivia Rodrigo bags two top 10s on the national chart, as former champion “Vampire” holds at No. 5 and her new release “Bad Idea Right” enters at No. 10, for the week’s highest debut. Both tracks will appear on the U.S. pop star’s sophomore album GUTS (Geffen/Universal), due out Sept. 8.
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YOASOBI’s “Idol” extends its record-breaking streak at No. 1 on the Billboard Japan Hot 100 on the chart dated Aug. 16, now at 18 consecutive weeks atop the tally.
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Ayase and ikura of YOASOBI are keeping themselves busy performing at a different music festival each weekend this month — after returning from performing at 88rising’s Head in the Clouds in Los Angeles, the pair took the stage at the Rock in Japan Festival on Aug. 13 as the headlining act closing out the five-day event, and are set to headline Summer Sonic on Saturday (Aug. 19) as the last act to hit the Mountain Stage.
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“Idol” continues to rule downloads, streaming, video views and karaoke although it’s on the decline in terms of overall points. The Oshi no Ko opener slips 17-24 for radio but total points add up to around 1.7 times the track at No. 2 on the Japan Hot 100.
Tatsuya Kitani’s “Where Our Blue Is” climbs 4-2 this week after the rising singer-songwriter performed the Jujutsu Kaisen Season 2 opener at Rock in Japan on Aug. 10. The track holds at No. 3 for downloads with 10,149 units and rises 3-2 for streaming with 9,982,812 weekly streams. The song is faring well in all but radio this week: staying at No. 38 for physical sales, rising 8-6 for video, 74-62 for karaoke, falling 27-32 for radio.
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Jung Kook’s “Seven” featuring Latto continues to hold at No. 3. The track falls 14-17 for downloads with 2,940 units, 2-3 for streaming with 9,808,590 streams, 9-16 for radio, and holds at No. 3 for video.
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Two songs debut in the top 10 this week. Kanjani Eight’s “Okami to Suisei” (Wolf and the Comet) bows at No. 4, selling 150,848 copies in its first week after dropping Aug. 9. Meychan’s “Enjoy,” written by Yuzu’s Yujin Kitagawa, launches at No. 6 after hitting No. 4 for streaming with 9,025,257 streams, boosted by an online event and a campaign to win autographs and other prizes.
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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 Aug. 7 to 13, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
QUEEN BEE’s “Mephisto,” the ending theme for the smash hit anime 【OSHI NO KO】, has itself become a long-running hit song. The video for “Mephisto” performed by “Avu-chi, the Idol from Hell” on the YouTube channel THE FIRST TAKE reached 4.57 million views in less than a week.
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The heart of QUEEN BEE, vocalist Avu-chan, who is responsible for both the lyrics and the music to “Mephisto,” spoke with Billboard Japan for the first time. In this wide-ranging interview, she discusses 【OSHI NO KO】 and “Mephisto,” performing in a band, and QUEEN BEE’s full-fledged start as global band.
“Mephisto” is the ending theme for the anime 【OSHI NO KO】, and the song has become quite the hit.
Avu-chan: I think the anime introduced a lot of people to “Mephisto,” but even more than that, I think there were people who had heard of QUEEN BEE before, and “Mephisto” reinforced for them what a tremendous band we are. It was wonderful that Aka Akasaka and Mengo Yokoyari, who created the original manga, and the creators of the anime all supported us in handling the ending theme. It’s a strange feeling, like they recognized and validated the approach we take to life.
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The new song has given people an opportunity to see what an amazing band you are.
Avu-chan: Right. Just look at how many people are listening to our music. We’ve lit the flame of QUEEN BEE and kept it burning, and now we’ve been given this opportunity by something even bigger than us. But we’re not going to burn out, and we’re not aiming to fan these flames in new directions, working toward some new goal. We’re not going to allow ourselves to get swept away, we’re just going to quietly keep pushing forward.
Without getting anxious or restless.
Avu-chan: We knew that we could achieve synergy by pairing up with 【OSHI NO KO】. We’re very grateful for that. However, in the end we just want to do what we think is interesting — what we find wonderful. That’s going to be the path we continue to follow in the future. All that said, I’m amazed that “Mephisto,” which is just brutally honest, has been so widely accepted. It’s not just about idols, it’s about every kind of work. It’s about how we stake our lives on our work, how once you start there’s no turning back. It tells these truths in uncouth, unvarnished words. If people are enjoying it by making vocal covers and dance videos, I don’t know what to say.
What are your impressions of 【OSHI NO KO】, which recently aired its final episode?
Avu-chan: I think it’s wonderful how the original creators of the comic have enjoyed the anime adaptation, which has become a social phenomenon. But what 【OSHI NO KO】 is really depicting is a serious message of social reform, set on the stage of the entertainment industry. It’s so ironic that it became a hit overseas and people are like “Japan is so fascinating.” I guess one saving grace, in a way, is that the people who made it are brimming with love, and that our own music is part of it.
The love and passion the creators feel for their work is making the serious message of social reform into a hopeful message.
Avu-chan: Right. There are people who, when they talk about the entertainment industry, are like “Your job is being on stage, so you need to just grin and bear it.” They want to treat the entertainment industry as if it’s an anomaly. 【OSHI NO KO】 is directly challenging that idea, saying “This is a story that relates to everyone.” I think it challenges the viewers. But there are a lot of people who aren’t seeing it as a battle, which may be a reason for its popularity.
“Mephisto” is the name of a demon in German folklore, and appears in Goethe’s drama Faust. I’ve heard that you developed the concept of the song some time ago.
Avu-chan: From the time of the decision for the tie-in, I thought that the theme of “Mephisto” would be a great match for the anime. I was sure the anime would be great, and I was so confident that I cried with joy on being selected to provide the ending theme. I drew the motif from Goethe’s Faust, and I was influenced by authors who richly depicted the doings and passion of people — authors like Go Nagai, who I’ve enjoyed since I was little, and like Yukio Mishima and Shakespeare. I think those sensibilities lie at the heart of “Mephisto.”
So you’re expressing the doings and passion of people through music.
Avu-chan: I feel the same kind of passion in 【OSHI NO KO】 as I feel in the works of those authors, so “Mephisto” was a great fit for it. However, the music drew on that passion more than it drew on any specific information about the anime, so I didn’t think that many people would realize the intent behind it.
If you look at YOASOBI’s “Idol” as broadening the world of the anime, it would seem to me that “Mephisto” deepened it.
Avu-chan: Thank you for saying that. Drawing out context from a work of art — that’s our specialty. YOASOBI and QUEEN BEE have really just blown the lid off this! (laughs) I don’t think if this would’ve happened if our musical styles hadn’t been so different.
I’d like to talk to you for a moment about the band as a whole. You performed two live shows in the U.S. this April. Do you have your eyes set on establishing a full-fledged global presence?
Avu-chan: We hadn’t originally been thinking about that. I love the Japanese language and I’ve always felt it was important to sing in Japanese, so starting all over from the ground up, writing lyrics in English — that’s a decision I’ve struggled with.
Sure, but the situation in the North American market is changing. Song lyrics used to have to be in English to be successful, but now it’s no longer that hard to compete even when singing in your own native language.
Avu-chan: True. When we played in America in spring, I started to think that the passion and strength of Japanese could serve as our passport. We performed in Seattle and Los Angeles, and when we put on the kind of show QUEEN BEE usually does, the venues went wild.
Even though there were a lot of people who didn’t speak Japanese?
Avu-chan: Right. And another thing that people who praised the show all mentioned is that the audience had people of all races. There were senior citizens and little kids, and looking at how much fun everyone had, I thought “QUEEN BEE really needs to go international.” Of course, succeeding in Japan is itself no easy matter. However, I recognize that I myself am a melting pot of races. At the two shows, I got a glimpse of just why I should be performing to overseas audiences.
You want to be someone who stands on stage surrounded by people of every race.
Avu-chan: I just bare my heart for all to see. I think overseas success is still a major challenge, but I hope to stir up some chaos on a global scale.
Is there anything that you’d change in your efforts to go global?
Avu-chan: If I changed anything, people would notice immediately. In our case, if you change yourself in order to curry popularity, then you’re left with nothing. We don’t want to use that kind of marketing approach.
Because that wouldn’t be true to QUEEN BEE.
Avu-chan: I’d like to think that we just can’t do things like that, and that’s one of our strengths.
I’ve heard that you already have plans for future overseas shows.
Avu-chan: Decisions about overseas shows are starting to get made, so in the future I think we’ll be playing abroad more and more.
In Japan, you’ve got plans to perform in festivals and events, and in November you’ve lined up a performance hall tour, “Juni-jigen + 01.”
Avu-chan: We’ve decided how we’re going to present ourselves in our shows, so now we’re working on internalizing that at the physical level. There’s a lot we still want to do, and we’re always thinking about what challenges to take on next. I feel like we have to keep updating ourselves, stimulating our own cycle of creativity, shedding our skin. If we don’t, we’ll die. I wonder what kind of beast we’ll have become at the end of this transformation.
It’s like QUEEN BEE’s own theory of evolution.
Avu-chan: The end result of evolution is collapse, so what I’m talking about isn’t quite evolution. What will lie at the end of this cycle of metabolism? I’m not going to hazard any specific guesses, but I’m really looking forward to seeing how it all turns out.
I’m sure there are a lot of people who are encouraged by how QUEEN BEE refuses to simply be satisfied with how things are, but instead is always taking on new challenges.
Avu-chan: Looking back, from two or three years ago until just recently, there were no discussions about tie-in songs. But even during that time, we were making our own music videos and keeping our focus on QUEEN BEE in all that we did. I think that all combined to put us where we are today. Right now, people are enjoying “Mephisto,” but I don’t see this as our peak. No matter what the situation, we’re just going to keep being on stage — that’s what we’ve made up our minds to do.
—This interview by Itsuki Mori first appeared on Billboard Japan
Japanese dance and vocal group ONE N’ ONLY dropped its new song “EVOL” digitally on Wednesday (Aug. 16). The latest track is an upbeat, passionate reggaeton-flavored number fitting for where the ever-evolving band currently stands.
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Billboard Japan chatted with the six members of the group celebrating its fifth anniversary this year — HAYATO, REI, TETTA, NAOYA, EIKU, and KENSHIN — about “EVOL” and also asked them to share their impressions from the group’s headlining Brazilian tour from earlier this year.
You toured Brazil this spring and performed for your fans there at last. Could you share your thoughts on the trek?
HAYATO: We were really happy to be able to go there to do our own shows instead of being part of a bigger event. We came up with a setlist with about the same number of songs as we do in Japan, and spoke to our audience completely in Portuguese. But when we first decided to tour three cities in Brazil, we weren’t sure just how many SWAG (ONE N’ ONLY fans) would be there. It felt so moving on our first day of the tour in Sao Paulo when we saw the faces our fans, knowing so many people had been waiting for us to come.
REI: Their reactions were amazing too, weren’t they?
HAYATO: Yeah. Everyone reacted so enthusiastically to what we did onstage. Everyone sang and danced and all those reactions were just awesome, so it was a lot of fun to do.
What about you, TETTA?
TETTA: To tell you the truth, I’m not completely used to performing live yet. [Laughs] I guess I’ll just have to keep doing it to feel truly comfortable with it. It was such a great experience, though, and I really felt the energy of the people of Brazil. SWAG in Brazil were so energetic and I couldn’t outdo them in that regard! I’ll do better next time!
HAYATO: Yeah, they were so full of energy.
NAOYA: I got injured a few days before we left for Brazil and couldn’t be a part of our performances. But everyone over there gave me such a warm welcome and I felt what a generous country it is. I actually wasn’t sure until shortly before we departed if I could come along or not, so I was so glad to have been able to be a part of it. And the band members all stepped up for me so I really appreciate them.
At what point did you feel they stepped up for you?
NAOYA: I had a chance to see them performing onstage when I couldn’t join in, and felt so proud to see the five of them commanding the stage with such vitality. Our SWAG had such power and passion, too. They let us know they were having a lot of fun, just like we thought they would!
EIKU: I thought it was a country overflowing with love. There was no reserved seating in the venues we played in, and everyone ran to grab the seats up front. When I saw that, it really hit home just how much our fans love us. Oh, and whenever one of our crew members crossed the stage before we went on, the crowd made so much noise!
HAYATO: Oh, yeah! Our crew was so pleased about that.
EIKU: Yeah. They went up there about four times on purpose and seemed to revel in all that attention. [Laughs] Each of the three cities we visited had different vibes and that was fascinating, too.
KENSHIN: When you stop and think about it, being able to tour on the other side of the planet is such an amazing thing. We had a special place in our hearts for Brazil, and it was such a happy feeling sharing the same space with our SWAG in that country.
You had two Portuguese-language songs in your set. Were your fans excited to hear them?
KENSHIN: They loved those the most! The way they expressed their excitement was awesome. But they were also hyped about our Japanese songs as well, so I felt that our songs were getting through to the audience. I’d love to visit again.
REI: Everyone was so upbeat! Their reactions to every single thing we did were just awesome and it was a lot of fun.
The group’s new song “EVOL” dropped this month. It’s also a really upbeat number.
HAYATO: I wish we could have performed this one during our Latin American tour!
Sounds like it would have been a lot of fun! Did you start discussing what kind of music to release next around the end of your 5th anniversary tour?
HAYATO: Yes. We’ve gone into depth about the concept for each song we’ve been releasing lately every time we produce a new one. For this we decided to come up with a summery track and incorporate a Latin flavor as one of the group’s new distinctive styles. It turned out to be a song with a catchy chorus over Latin and reggaeton beats, which suits us.
REI: When I first heard it, it took me by surprise because I’d never heard anything like it before. But I knew we’d able to express it and that we were the ones who could do it justice because of where we currently are as a group right now.
KENSHIN: I’m in charge of the opening lines and the rap part of the second verse. The track is built to hype people up and plunge them into the music. The sultry vibe of the second verse also has a summery feel to it, so I hope people enjoy that.
You’ve all probably matured as you’ve grown older since you first got started. Which member do you think has changed the most in that regard?
REI: I think EIKU is more attractive now.
TETTA: I know what you mean! EIKU is the youngest and it’s like he’s upgraded. First of all, he’s bigger in physique. Which means his style of dancing has changed and he has a man’s face now.
HAYATO: He’s gone from cute to cool.
REI: EIKU is probably the one who’s changed the most both externally and internally. He used to be the quiet type before, but now he steps forward a lot more.
TETTA: Oh, I know! That’s probably because he changed his bangs and began parting it in the middle. And then he changed again by dyeing his hair and stuff. By the way, I was the one who said he’d look better if he parted it like that.
So you’re saying he changed thanks to you?
TETTA: Yeah!
REI: Why do you always try to take credit for everything? [Laughs]
TETTA: I’m the type who says, “I knew them before they were big” more than anyone! [Everyone laughs]
EIKU, are you aware of these changes they’ve pointed out?
EIKU: I guess I am. I think the changes in the kind of songs we do now might have something to do with it, but I do think I express myself differently now… from around when I began parting my hair down the middle. [Laughs] I also study videos of other people performing in different ways.
What will the choreography for the new song be like?
NAOYA: We just began learning the moves. MONA, the choreographer who came up with the dance for Na-Yeon from TWICE’s “POP!,” is handling the dance for this one.
TETTA: We often had male choreographers handling our performances in the past, so I hope everyone enjoys our new catchy dance moves that are different from before. We’d love to see you dancing on TikTok!
NAOYA: Yeah, since the song is so catchy, too. It’d be great if you all have fun with it!
—This interview by Kana Yoshida first appeared on Billboard Japan
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“Follow Your Heart,” the first single from Laure Shang’s new project, has been climbing the charts in China and is also a major move for the artist after not releasing an album for five years. Her last original electronic album, The Puzzle Pieces, was released in 2018 and was described by Shang as “an album that completely disregards market factors.”
So how has her thinking changed after five years?
In the past half-decade, Shang has been an ever-present force in Chinese music. She has consistently released a variety of singles, pushing her creative boundaries and exploring her potential. These songs range from film and television soundtracks to public welfare songs, and even to works related to TV shows that Shang has participated in, such as her 2020 original innovative electronic EP Ode.
Shang has been devoted to music for 17 years since she won season 3 of Super Girl in 2006, and “Follow Your Heart ” proves her unwavering passion. After years of careful consideration, Shang has crafted a song that is both an expression of her love for music and a declaration of her aspirations. With this single, listeners can gain a deeper understanding of Shang’s journey and her commitment to music.
“I was first known to the audience as a love-song singer,” Shang tells Billboard China for their latest cover story. “However, after debuting in the talent show, I entered a rebellious period, which eventually helped me find my true passion in electronic music.”
The year 2009 was the period of her greatest struggle and self-doubt, which she calls the “exploration period.” Shang remembers the most difficult year of her life like it was yesterday. With a burning desire to transition into electronic music, she was met with a dramatic moment of clarity – a voice inside her head that said, “You must persist in your creation, even if you don’t know anything and even if you have to overcome all difficulties.” This voice was so strong and it was a very real instinct, telling her that she had to finish this.
Shang’s music has inspired countless fans to recognize her as an “original electronic singer/songwriter.” From her cutting-edge electronic albums in and Ode to the Doom to her other heartfelt projects, she has captivated fans with her unique style. At the peak of her creativity, Shang was fueled by her emotions, writing songs with a passion and intensity that was unmatched. She recalls her 20s fondly, saying, “My head was full of emotions, and I would write songs regardless of many emotions. When I was young, the anger was like atomic-level fuel, strong creativity and productivity. This is a very rare state.”
Although her albums were well-received by niche audiences, the mainstream public’s reaction was mixed. She realized that she had entered a somewhat contradictory stage in her thinking about her own creative style. “On one hand, I hope that more people would have the opportunity to hear my work. On the other hand, the market’s perception of ‘Laure Shang’ conflicted with the direction of the music I wanted to pursue in the future.”
Shang is on a mission to find the perfect “connection point” with her audience. Although her bitter love songs have been her most popular, with the highest play rates on major platforms, these “big songs” may not be her personal favorites. Shang is determined to stay true to what she’s “particularly good at,” and “Follow Your Heart” is a testament to this commitment.
Shang has been keeping a close eye on Billboard and other European and American music charts, and she’s had a new idea. “I have noticed that many overseas musicians who stick to their favorite styles can still connect with larger audiences. With this in mind, I made a new attempt with my latest work, ‘Follow Your Heart,’ which I hope will be more popular. I am also challenging myself to create electronic works that are slightly more mainstream.”
With the attitude of “otherwise I’ll give it a try,” Shang has successfully attracted new listeners with “Follow Your Heart.” Even those who aren’t part of “Sesame” (Shang’s fanbase) have fallen in love with this song. Although it hasn’t been out for long, “Follow Your Heart” has already been featured in many mixed-cut short videos, and its playback data on major platforms is impressive. It’s an EDM song with great potential for popularity, and some have even called it Shang’s most “approachable” electronic music to date.
“’Follow Your Heart’ is a reflection of my observations of the world around me and my personal experiences over the past few years,” Shang says. “And it is also a summary of my own music journey. The success of the song since its release has been a great encouragement for me to write more. After writing songs for so many years, I am eager to find a new creative direction and discover my true musical value in this new and different environment.”
Laure Shang
Tianyao Wang/Billboard China
Learning to Be a Relaxed “Newcomer”
To promote her long-awaited new song “Follow Your Heart,” Shang visited the Tencent Music Entertainment Group building to hand out cookies. She suddenly realized that she had become a passionate “newcomer” in the music industry again, just like she was 17 years ago.
During her collaboration with TME for the intensive online and offline promotion of “Follow Your Heart,” Shang – who had grown accustomed to a Buddhist state-of-mind – felt like she had wound up the clockwork and was ready to go. “For me, it’s been more than 10 years since I’ve had such a deep collaboration with a platform,” Shang says. “It’s been five years since I’ve released a new album. Everything feels like I’m starting from scratch again.”
Shang says that promoting her music in this way, working with the media and fans to introduce her hard work, and experiencing this old-school style of promotion is something she hasn’t tried in many years. “At my age, suddenly going all out to promote my new song feels great,” she says. “It’s like starting over and getting back to business!”
Back in the day, when the Internet wasn’t as developed, Shang remembers doing all kinds of old-school promotional tactics, including running to radio stations, TV programs, newspaper interviews and touring the country to perform at music festivals. “As a newcomer back then, I felt that these promotional tasks were very complex,” she says. “But now that I’m trying to do this again and tell everyone the stories behind our music creation, it’s quite an interesting experience.”
Promoting her new song during the TME “building sweep,” Shang also observed those around her. “The TME colleagues responsible for technology are a bit shy and hesitant to say hello, while the marketing department is more outgoing and enthusiastic. Seeing these people working behind the scenes and quietly supporting my music, our relationship is very special. It’s because we have music as a bond that we’re connected.”
After promoting “Follow Your Heart” like a newcomer would, Shang also tried to treat every performance from a rookie perspective too. Shang, who rarely practiced her singing before going onstage, released a video on the studio’s Weibo account showing her seriously rehearsing backstage at TMEA in Macau. She received a lot of applause from fans. “This is the first time I’ve publicly sung this song, so I’m a little nervous about the first performance.”
Live performances are unpredictable, even if you’ve rehearsed everything to perfection. However, as a “newcomer,” this is the most exciting part because you can learn how to sing freely onstage. During the debut of “Follow Your Heart” at TMEA, Shang encountered a sudden situation that required her to improvise: The elevator platform under the stage suddenly stopped, and only half of Shang’s head appeared onstage.
Remaining calm under pressure, Shang used the emergency method of turning danger into opportunity and adapted to the situation to deliver an exceptional performance of the new song. Uninformed audiences even thought it was a special stage design. Reflecting on this performance, Shang admitted that her mind was “a little muddled” at the time: “But I’ve experienced it before when the timing of the elevator was too fast or too slow, and sometimes the elevator didn’t even lift up during the whole song. As long as there are no accidents, it’s fine.”
Also as a “newcomer,” the best thing is that because you don’t have too many burdens, you can have the courage to make fun of yourself. Shang chose to post a picture of herself with only half of her head onstage on Weibo, naming it “entrance into the pit,” and even calling on everyone to come and “whack-a-mole” with a hammer. Now, Shang can laugh at herself and is no longer as “stiff” as before.
As the lyrics of the new song are straightforward and honest, Shang realized that she has finally reached a creative stage where she “wants to be more straightforward” too. “My mind-set has changed now,” she says. “It makes me really uncomfortable to write things that are as stiff as before. We’ve finally made it through difficult times, so let’s love openly and do whatever we want without too many twists and turns. Don’t be too stiff and let yourself think too much.”
Similar positive energy was rare in Shang’s past works. Looking back at her earlier music’s “stiffness,” Shang admitted that it was a kind of emotional expression that released inner-depression. “At that time, the collapse, uneasiness and anxiety in my heart prompted me to find different ways to make music,” she says. “It’s different now.”
Shang says that like “Single Boy” in 2018, “Follow Your Heart” also has the same core spirit of “boldly abandoning worries, loving whoever you want and doing whatever you want.” She adds: “Creativity should still follow the emotional needs of different periods. When I wrote this song, it was one of the most challenging phases in recent years. We’re all tired now, so we might as well follow the more real emotional needs of the present moment in music.”
Shang is currently implementing this “relaxed” spirit in her upcoming music. “Compared to my other songs, ‘Follow Your Heart’ is relatively simple, with a strong live feel and not much technicality,” she says. “You don’t need to think about anything complicated; whether you’re singing or listening, just move freely and bounce along, sing along and release emotions together with everyone.”
Accepting the Limitless Possibilities Within Yourself
“Follow Your Heart” delivers a powerful message: Love yourself. By embracing who you are, you can find true happiness and the courage to love this imperfect world. Shang has her own unique take on this topic: “Loving yourself means letting go, being brave and boldly following your heart. This way, you’ll have fewer regrets in life.”
While creating “Follow Your Heart,” Shang learned to focus on the present rather than dwelling on the past or worrying about the future. She hopes that this song will inspire listeners to have confidence in themselves, embrace life’s ups and downs and accept the limitless possibilities within themselves.
During her five-year hiatus from music, Shang discovered a passion for AI technology. She’s collaborated with Fudan University’s AI research institute and is excited about the potential of AI in music creation and entertainment. Her obsession with AI technology is unparalleled in the Chinese music industry. “AI is on the verge of a major breakthrough, and in the future, it will be a powerful tool for music creation and have a greater impact on the entertainment industry,” she says.
Compared to relying on flashes of inspiration in the past, Shang now longs for a more stable creative source. “I hope my thinking about music can become more mature, while also entering into deeper levels of thought,” she says. Shang emphasizes that some of her experimental electronic music may be even more “abnormal” than her previous work in, but the quality will be even higher.
Shang’s upcoming project will showcase her entire creative worldview, including her unique take on love songs. While some listeners may prefer her classic “Shang-style love songs,” she’s exploring new ways of expressing love through music.
At home, Shang writes songs facing a white wall, where she can focus on her creative process. With her strong academic-research spirit, she’s become a real scholar studying “Shang-style music.” She hopes to organize her own unique creative ideas during her research process, find connections between different songs and create new works with a more rigorous theoretical system. Looking around the Chinese music industry, there probably isn’t another scholarly singer like her.
Just like everyone talks about Shang’s “foreign-language learning method,” she also has her own secret formula for memorizing lyrics. “Every time a singer looks up at the prompter, I can tell at a glance. It’s really obvious,” she says. “So I try to avoid looking at the prompter. I memorize the lyrics in advance and let my mouth form muscle memory, while my ears also need time to practice. When I sing, I especially like to watch the audience’s reactions. It’s a shame if I don’t look at them.”
Whether on stage or off, Shang loves to look directly into the eyes of her fans. The eyes are the most honest, and this kind of “eye contact” that cannot be replaced is probably the most equal and direct communication between two souls. In the “after-work video” filmed by fans backstage at TMEA, we were deeply moved by the interaction between Shang and “Sesame” (the nickname of her fanbase).
In Shang’s home, there is a painting gifted by a fan who is deaf and mute from years ago. “Although this fan needs a hearing aid to speak, he has learned to draw on his own and can still create very realistic paintings on his computer,” Shang says. “These things often inspire me to be more confident in what I am doing. Look, he has so much perseverance! This is the positive energy given to me by my fans, and it is also a confirmation of my current different attempts. The life status of my fans also inspires me a lot.
“There are some older fans who have been with me for over 10 years,” she adds. “They were originally high school students, and now they are already mothers holding their babies coming to see me. I have witnessed them growing up, falling in love, getting married and having children. We think of each other in our hearts, and our relationship has lasted for so many years. It is truly a rare and great fate.” In Shang’s heart, these original “Sesame” are more like old friends she has known for 17 years than just fans. Even if they haven’t seen each other for a long time, they never grow apart.
Shang once wrote this touching sentence on Weibo: “I’m lucky that I can still write, and I’m lucky that there are still people who can understand!” Over the years, the relationship between her and her “Sesame” has only grown. No matter how unconventional her “weird electronic music” is, her fans are still waiting by her side, never leaving or abandoning her. Since the release of “Follow Your Heart,” fans have been sharing messages of understanding.
Some fans wrote Shang into their graduation thesis, some successfully confessed their love because of “Follow Your Heart,” and some were inspired by Shang’s story of being accepted to Fudan University and getting into their dream company. Shang said that compared to the general sense of being a fan, this is the real “mutual inspiration”: “Their success makes me feel that I am useful to some people, and what I am doing is valuable.
“Music is originally an intangible subject that cannot be seen or touched,” she continues. “How can we as musicians determine that what we are doing is valuable? Once I know that someone will become more determined to improve themselves and achieve something because of my music or what I do, this is mutual inspiration for me. Fans’ achievements on their life paths actually give me great courage and motivation.”
Talking about mutual inspiration between people reminds Shang of her encounter with Coco Lee on the show Praise the Program. At that time, Coco Lee encouraged Laure, who was sitting in a wheelchair due to an injury. “Coco Lee’s care for others comes from the heart. A great musician like her must have a lot of love. When exhausted, what can support a musician to keep going is the love that comes from the bottom of their hearts.”
Shang, who lives a new life in music, is also practicing the philosophy of life she expressed in “Follow Your Heart,” pouring all her self-love, love for others, love for the world, and her most passionate love for music into her work.
–This article was written by Jifan Wang for Billboard China
Laure Shang
Tianyao Wang/Billboard China
Liam Gallagher is approaching higher ground, as Knebworth 22 (via Warner Records) leads the race for the U.K. chart title.
Cut during the British rocker’s two sold-out shows at Knebworth in June last year, where he played to crowds of 170,000, the live collection leads the midweek chart.
If it holds its momentum, Knebworth 22 would give Gallagher his fifth solo No. 1 album, and bragging rights over his brother Noel Gallagher, who boasts four No. 1 albums with his High Flying Birds, and missed out by a fraction on claiming a fifth when Foo Fighters won a tight chart race in June.
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Liam Gallagher is no stranger to life in the U.K. chart penthouse. As frontman with Oasis, he led the chart on eight occasions, a consecutive streak that includes all seven of the band’s studio albums, plus the 2010 compilation Time Flies.
Knebworth was, of course, the setting of Oasis’ legendary gigs, played across two nights in August 1996, a moment in time that was captured for the feature-length documentary Knebworth 1996, directed by Jake Scott, and for its companion album which peaked at No. 4 on the U.K. chart in 2021.
As a solo artist, Liam Gallagher has led the national tally with As You Were (2017), Why Me? Why Not (2019), MTV Unplugged (2020) and C’mon You Know (2022).
Dropping in at No. 2 on the Official Chart Update is the Hives’ The Death Of Randy Fitzsimmons (Disques Hives), the Swedish rockers’ sixth album and first in more than a decade. Fitzsimmons is on track to become the group’s career peak and third top 10 title, including their 2002 breakthrough Your New Favourite Band, released on Alan McGee’s Poptones, and 2004 followup Tyrannosaurus Hives (Polydor), both peaking at No. 7.
Completing an all-new top three on the latest chart blast is Volcano (Caiola), from electronic act Jungle. Volcano should blast to the duo’s fourth top 10 appearance.
Finally, John Lydon’s’s post-punk outfit Public Image Ltd could snag a first-ever U.K. top 10 with End of the World (PIL Official), set to start at No. 7, while new releases from London rapper Fredo (Unfinished Business via PG Records at No. 11) and English singer-songwriter Lucy Spraggan (Balance via CTRL at No. 12) are just outside the top tier.
All will be revealed when the Official U.K. Albums Chart is published Friday, Aug. 18.
YOASOBI’s “Idol” continues to blaze the trail on the Billboard Japan Hot 100, logging an unprecedented 17th consecutive week at No. 1 on the chart dated Aug. 9.
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During this chart week, the male-female duo of Ayase and ikura traveled to Los Angeles for its first performance Stateside at 88rising’s Head in the Clouds LA Music & Arts Festival. The pair took the stage on Sunday (Aug. 6) and was joined by the offbeat J-pop girl group ATARASHII GAKKO! for a delightful live rendition of YOASOBI’s monster hit track.
While overall points for “Idol” continue to decrease, the Oshi no Ko opener continues to dominate, holding the top spots for downloads, streaming, video views, and karaoke this week. It’s also at No. 17 for radio airplay and with a total of 13,350 points, the song is 3,200 points ahead of its competition at No. 2. YOASOBI is set to keep the momentum going as the headliner for the Rock in Japan Festival scheduled for Aug. 13.
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Debuting at No. 2 this week is THE RAMPAGE from EXILE TRIBE’s “Summer Riot -Nettaiya-,“ the 20th single by the dance and vocal group. Released Aug. 2 as a double A-side single with “Everest,” “Summer Riot” is a collaborative number with Japanese drum performance group DRUM TAO. The song launched with 229,498 copies to hit No. 1 for sales and also comes in at No. 3 for radio. The track didn’t fare too well in the digital realm — No. 35 for downloads with 1,642 units, No. 32 for streaming with 3,195,380 weekly streams, and No. 73 for video — and bowed in its current position on the Japan Hot 100 powered by CD sales.
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Jung Kook’s “Seven” featuring Latto holds at No. 3. The youngest BTS member appeared as one of the guests at SUGA’s solo show Agust D TOUR “D-DAY” THE FINAL that took place at KSPODOME in Seoul, South Korea Aug. 4. “Seven” falls 10-14 for downloads, holds at No. 2 for streaming, slips 3-2 for video, and stays at No. 9 for radio this week.
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Tatsuya Kitani’s “Where Our Blue Is” rises 5-4 after the rising singer-songwriter performed the track live on the long-running TV show Music Station Aug. 4. The Jujutsu Kaisen Season 2 opener collected points in a balanced way, coming in at No. 3 for downloads and streaming, No. 8 for video, No. 38 for sales, No. 27 for radio, and launching at No. 74 for karaoke.
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Hikaru Utada’s “Gold” jumps 40-10 on the Japan Hot 100 this week after the movie the track is featured as the theme — Kingdom 3 starring Kento Yamazaki — hit Japanese theaters July 28. The latest song by the iconic J-pop singer-songwriter rules radio and comes in at No. 6 for downloads and No. 54 for streaming.
Mrs. GREEN APPLE charts four songs in the top 20 this week as the pop-rock band prepares for its first dome shows set for Aug. 12 and 13. In the top 10, “Ao to Natsu” moves 10-8 with increases in downloads and streams, while “Magic” is at No. 9 with downloads continuing to increase since the track’s release.
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 July 31 to Aug. 6, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Skindred has every reason to smile. After performing at Glastonbury Festival 2023, the Newport, Wales heavy metal act leads the U.K.’s chart blast with Smile (via Earache), the rockers’ eighth studio album.
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If Smile holds its spot, not only would it become their first leader, but it would be the band’s first title to impact the top 10.
Nothing is certain at this stage.
Yorkshire, England indie-rock act the Sherlocks (with People Like Me & You via Teddyboy) and Cian Ducrot (Victory via Polydor) complete the respective podium places on the Official Chart Update.
Currently, less than 500 chart units separate the top three, the Official Charts Company reports.
Completing an all-new top 5 at the midweek stage is Miles Kane’s fifth solo effort, One Man Band (Modern Sky), set to start at No. 4 for what would be his peak chart position, while London hip-hop outfit N-Dubz could snag No. 5 with Timeless (EMI), their first studio album in 13 years.
Anniversary reissues from Snow Patrol and ABC could make a splash when the national albums chart is published this Friday, Aug. 11.
Snow Patrol’s third album Final Straw is poised for a top 10 return, at No. 7. Released in 2003, through Polydor, the British-Irish alternative rock band’s major label debut, Final Straw peaked at No. 3. Its followup, Eyes Open from 2006, gave the group their first and only U.K. chart leader.
Also, ‘80s pop favorites ABC could stage their own return to the top 10 with The Lexicon of Love (Mercury), which this year celebrates its 40th anniversary. The LP, which initially led the chart following its release in 1982 and includes the hits “Poison Arrow,” “The Look of Love” and more, appears at No. 10 on the chart blast.
Finally, Mammoth WVH could bag its first U.K. charting album with Mammoth II (BMG). It’s new at No. 24 on the Official Chart Update. Mammoth WVH is fronted by Wolf Van Halen, son of the legendary late guitarist Eddie Van Halen, and bass player with the iconic U.S. rock act Van Halen.