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Sherine Abdel-Wahab’s illustrious musical career has flourished over two decades, defined by a versatile body of work that resonates deeply with audiences. With a portfolio of hits, Sherine Abdel-Wahab’s music continues to captivate hearts, dominating playlists across diverse streaming platforms and scaling the heights of the Billboard Arabia charts. Sherine’s impressive achievements and triumphs have paved the way for her to clinch a prestigious Global Force Award at Billboard’s 2024 Women in Music ceremony.
Since the launch of Billboard Arabia Hot 100 and Artist 100 charts in late 2023, Sherine has dominated the Top 100 Artists chart for eight out of 12 weeks, holding the No. 1 spot for the majority of that time and consistently ranking within the top three positions during the remaining weeks. Additionally, her presence on the Hot 100 chart has been formidable, with six of her songs maintaining a spot for a continuous 12-week period.
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The lasting success of Sherine’s tracks like “Kalam Einieh (Words of His Eyes),” which was the No. 1 song on Billboard Arabia’s Hot 100 when the chart released twelve weeks ago, and still holds the No. 5 slot, and the presence of several other tracks from her album Nassay (A Person Who Forgets), are a testament to Sherine’s ability to make timeless music. Meanwhile, her song, “Sabri Aleel (My Patience is Wearing Thin),” has persisted on Billboard Arabia’s charts and streaming platforms, where it continues to reign supreme even two decades after its debut. Meanwhile, the song has garnered viral attention on TikTok, finding new life by captivating a global audience, while transcending language barriers and cultural divide.
“I am thrilled that both my old and new songs are loved by listeners,” says Sherine. “They have embraced everything I’ve poured my heart into from day one. Seeing my tracks still topping the charts after twenty years is truly amazing! That was my dream and it feels great seeing it come true.”
Sherine’s musical journey is marked by a prolific discography and numerous collaborations. In 2005, she released her album Lazem Ayeesh (I Must Live) with Free Music Company, featuring hits like “Ala Bali” (On My Mind) and “Qal Saaban Alieh” (Everyone Feels Sorry for Him). Transitioning to Rotana, she dropped Batamenak (I Reassure You) in 2008, followed by Habeit (I Loved) in 2009 and Esaal Alaya (Ask About Me) in 2012, featuring standout tracks like “Beh Tehky Fe Eh?” (What Are You Talking About?) and “Wel Nabi Law Gani” (I Swear If He Comes to Me). Her sixth album, Ana Kteer (I’m a Lot), released in 2014, included memorable songs like “W Meen Ikhtar” (Who Chose?) and “Ya Layali” (Oh Nights!). Sherine also contributed to the soundtrack of the drama series Tareky (My Way), collaborating with poets and composers.
In 2016, she teamed up with Hossam Habib for the duet “Kol Ma Aghanni” (Everytime I Sing). Sherine’s 2018 album Nassay (A Person Who Forgets) garnered millions of views with diverse tracks such as “Kazbain” (The Liars) and “Al Watar Al Hassas” (The Sensitive String). Returning to Rotana, she released hit singles like “El Hob Khedaa” (Love is a Trick) in 2019, “Mish Qadd Al-Hawa” (I Can’t Afford to Love) in 2020, and “Kollaha Ghayrana” (All of Them Are Jealous) and “Khasimt Al-Num” (I Forgot About Sleep) in 2021.
Sherine attests much of her success to the ability to keep things simple, and real, saying, “It’s all about keeping it real. I’m just me, and that authenticity is what’s helped me connect with fans. Ultimately, it’s their love and support that fuels my success.”
About a decade ago, Sherine teamed up with global hip-hop star Nelly for the duet “Just a Dream.” The song became a massive hit upon its release and recently resurfaced on streaming platforms and social media. She recalls it fondly: “To be honest, Nelly and I hit it off right away. Despite my limited English, we managed to understand each other. I remember we were backstage and I really liked his mic, so I asked him if I could borrow it when we’re singing on stage, and he gladly gave it away!”
Sherine’s virality isn’t limited to the charts. In recent years her songs have found new life on social media, particularly through the remixes of several DJs, chief among them DJamil. In July 2023, DJamil mashed up Sherine’s “Eh Eh” with Drake’s “Hotline Bling,” clocking nearly 20 million views, followed by “Sabry Aleel” mixed with Busta Rhymes “I Know What You Want” in September 2023, which went on to amass upwards of 34 million views.
When revisiting some of the pivotal moments that left a lasting impact on her journey, she reminisced about her first performance on the legendary stage of Baalbek in Lebanon, and shared some insights into her special connection with the Lebanese audience, whom she considers a tough nut to crack.
“Standing on the same stage that Umm Kulthum graced 48 years earlier as the first Egyptian artist to perform in Baalbek was surreal,” says Sherine. “It felt like the Lebanese were not just welcoming me, but also paying tribute to me, and that was an incredible feeling. It’s moments like these that make all the hard work worth it.”
Last month, Sherine dropped her latest single “El Dahab,” which serves as an exciting preview of her highly anticipated new album. Fans have been eagerly awaiting this release, especially following her last album Nassay in 2018. Sherine graciously shared some details about what to expect from her upcoming album: “The new album has some great songs all set, but I’ve decided to wait a bit with Ramadan approaching. After Eid, I’ll start releasing them one by one. Times have changed, you know – it’s all about the singles now.”
As for the Global Force award she received at Billboard’s 2024 Women in Music, Sherine said she couldn’t be happier about such a global nod to the impact of her music, especially knowing that even the younger generations, including her own daughters, have taken to listening to her songs.
“My girls go to an English school and didn’t know much about my songs,” she says. “But recently, my daughter Hana began listening to my music and it’s incredible to see that I’m striking a chord with kids their age and the young generation who listens exclusively to English-language music. It’s a real thrill knowing they’re enjoying my Arabic melodies.”
She adds: “This recognition is huge for me. Seeing my daughters witness this global honor brings me immense joy, and it means a lot to me knowing they’re proud of their mom. At the end of the day, my fans and my daughters mean the world to me.”
Sherine Abdel Wahab
Hassan Hendawi
It’s the evening at the end of a typically packed week for Stray Kids, but the four-time Billboard 200 chart-toppers are unquestionably buzzing to discuss one of their big first projects in 2024, which they’ve deemed “the year of giving.”
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In the seven days ahead of this interview, Stray Kids members Felix, Seungmin and I.N. all attended different Paris Fashion Week shows — with Felix making his runway debut walking for Louis Vuitton in the luxury brand’s ready-to-wear 2024/2025 collection presentation — Han dropped a new song “13” via the group’s YouTube channel, Bang Chan also revealed his English song “Eternity” and its accompanying video on YouTube as Nylon Japan premiered a striking fashion film tied to his new magazine cover, and the entire group continued preparations for their upcoming fan-meeting concert “SKZ’S MAGIC SCHOOL” taking place at the end of March. Even when Bang Chan notes that “the Kids sometimes can be shy” in having all eight members discuss their latest endeavors, what comes through in both their full-group cheering responses is the vibrant assurance that SKZ are aiming to deliver something to touch both their beloved STAY fandom and global audiences at large.
Alongside three fellow superstar acts under their JYP Entertainment label, Stray Kids teamed up with Coca-Cola in late February for its new Coca-Cola K-Wave Zero Sugar drop that not only introduces a new “Fruity Fantasy” flavor but looks to honor the international K-pop fandom. The guys join ITZY, NMIXX, plus JYP Entertainment founder J.Y. Park for the Coca-Cola Creations joint single “Like Magic.” which was produced by Park, has Bang Chan credited as a vocal arranger, and Changbin as co-writer.
In addition to the new flavor and music video, the collab is delivering limited-edition apparel and accessories including a special lightstick, digital photo cards, a mobile “fan music video AI experience” via the Coca-Cola Creations microsite, all capped off with the K-Wave Concert for Inkigayo, scheduled for June 2 that promises to host JYP talent and other top K-pop names including Stray Kids, ITZY, NMIXX and more.
“The experience starts with an amazing Coca-Cola Zero Sugar taste accompanied by a dash of fruity K-pop magic,” adds Oana Vlad, the senior director of Global Strategy at the Coca-Cola Company. “We are excited to celebrate one of the most passionate fan communities in the world and create new experiences that we hope will bring Coca-Cola magic to fans across the globe.”
Looking ahead to the K-Wave Concert and the year that the group already confirmed will include — and you might need to a breath to take it all in — a fan-meeting concert, third world tour, an album, a “special” album, pop-up stores and loads more digital content, Bang Chan, Lee Know, Changbin, Han, Hyunjin, Felix, Seungmin and I.N. gave Billboard some additional insight into their first major 2024 project and what else is coming.
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Congratulations on launching this new campaign for the Coca-Cola K-Wave Zero Sugar. I think the first order of business is to know if you’ve tried it and what you think of this new flavor?
All: Yeah, tastes good!!!
Hyunjin: It’s really very nice. The taste was refreshing, a little like bubblegum, and a somewhat cloudy or misty feeling.
Seungmin: One of the best Cokes in the world.
You and several of your JYP Entertainment artists participated in this campaign that honors K-pop fandom. What’s your overall take on it?
Bang Chan: You know how you just mentioned how this campaign “honors K-pop fandom,” right? But it’s really an honor for us to be able to be in the campaign that honors K-pop fandom, you know what I mean? I feel like it’s just really a good opportunity for not only us, but the other artists in JYP to really spread out the word about K-pop and, that itself is just something that we are very honored to do. And hopefully, people out there can really look forward to the K-pop wave.
Changbin: I usually drink one or two Cokes a day—two Zero Cokes a day, that is! I’m so happy to be able to host this campaign with the actual drink and our JYP family; I think it’s very meaningful. I believe that Zero Coke can unite us all—K-pop fans, JYP family, and Stray Kids. I’m looking forward to continuing that love.
You all participated in the song and video for “Like Magic” alongside J.Y. Park, ITZY, and NMIXX. Changbin wrote alongside JYP, and Bang Chan is a vocal arranger. What was the process of working together?
Bang Chan: Vocal arranging is something that I’ve always done, especially with our own music and everything. But JYP himself was like, “Oh, Chan, you can just direct by yourself; you know the members better than I do, so just get all the vocals done.” And then with like the tuning, editing, the arranging — I figured that out myself as well, and it was a pretty cool experience because usually, we work on music on our own, but to do it for someone else like JYP, it was a great honor, and it was overall very, very fun.
Changbin: When I first heard the song, it was quite new and had kind of a fun feeling to me. So, I was really contemplating and thinking a lot about how to reflect and meld my rap style on it. I’m really happy that the results seemed really fine and Mr. JYP also said he’s happy with that. Also, getting to work with him after a long time, I was really thrilled because it’s been a while since I worked with him as the producer.
Moving from the production, how was it to collaborate on a song with so many of your fellow JYP artists?
Bang Chan: Our company is very much a “family-ship,” you know what I mean? We all looked out for each other, and having a chance to work on something together was really, really fun. I mean, we didn’t actually get to see each other at the music video set and everything — because everyone’s schedules are very, very busy and different — but it kind of felt like as if we were doing like JYP Nation [the name for company-wide JYP Entertainment songs or concerts].
Some of the members spent time as kids in different countries. Are there any special Coke flavors you remember loving as kids?
Felix: When I was younger, I remember drinking a lot of Vanilla…
All: Wow!!!
Felix: I remember I was at a party one time, there was a whole crate of Vanilla Coke and I was drinking, like, six at a time. I think that’s my biggest memory and that was with Vanilla Coca-Cola.
Coca-Cola also announced a K-Wave Concert for Inkigayo scheduled for June 2, where you will perform. Is there a chance fans can look forward to new Stray Kids music by then?
Bang Chan: It’s only March and we have so much to do for this year. Look, Jeff, I’m not going to spoil too much, but we have a lot prepared. I’m pretty sure you’re going to be surprised, but I can say we have many things prepared — very different from what we’ve done so far. So, hopefully, people out there can really, I guess, take it all in with our stuff that we’re going to come out with and everything goes well. Hopefully, STAYs really enjoy what we are going to bring out and 2024 can be another great year for Stray Kids.
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To expand slightly, the “2024 STEP OUT” video teased a lot. Is there anything else you can share?
Bang Chan: We’ll let your imagination get you there. [Laughs]
Fair enough. What else do we need to know as you begin 2024 with this first big collaboration?
Bang Chan: We’re always processing everything, but we’re just really confident and feel really great that we have STAYs out there because it’s all because of them that we’re getting all these great results. It’s a gift from STAY, and we just want to create more gifts for STAYs out there — 2024 is “the year of giving.” Hopefully, us Stray Kids can give more to not only STAYs, but to everyone out there. So, thank you Billboard for everything, and thanks to Coca-Cola for giving us this great experience and opportunity to work on a very great campaign.
Felix: And we look forward to the future! Today was very fun having to answer a lot of good questions and talk about the Coca-Cola campaign; it was great to get in-depth with it. We just hope that our messages can very clearly spread to the world and show a lot of positivity. We hope that [everyone] can enjoy this year’s Coca-Cola K-Wave edition — just can’t wait.
Japan born singer-songwriter Fujii Kaze is set to drop his new song “Michi Teyu Ku (Overflowing)” being featured as the theme of the upcoming movie called April Come She Will on March 15 and shared the cover art for the track. The new movie due in Japanese theaters Mar. 22 is a love story based […]
Creepy Nuts’ “Bling-Bang-Bang-Born” stays atop the Billboard Japan Hot 100 for the sixth week on the chart dated March 6.
The MASHLE Season 2 opener slips to No. 2 for downloads with 16,031 units, down by about 17.8% from the previous week, while streaming remains almost unchanged at 21,256,220 streams (No. 1), down by about 1.8%. The track comes in at No.11 for radio airplay and No. 3 for karaoke, maintaining a strong lead on the Japan Hot 100.
A number of new releases have entered the top 10 for the first time this week. Debuting on the list at No. 2 is SKE48’s “Ai no Hologram,” launching with 399,984 CDs — the second highest first-week record for the group after their previous release — to hit No. 1 for sales. The group’s 32nd single also comes in at No. 4 for radio.
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Bowing at No. 3 is NCT WISH’s “WISH.” The global boy band’s first single in Japan sold 93,186 copies in its first week to come in at No. 3 for sales. The track rules radio and comes in at No. 68 for video views, which helped overturn the difference in CD sales between the track debuting at No. 4 on the Japan Hot 100 this week, ATEEZ’s “NOT OKAY,” which launched with 307,329 CDs (No. 2 for the metric). This figure for the eight-member K-pop group’s third single in Japan (and the first in about a year) is a career high. It also comes in at No. 48 for downloads with 1,011 weekly units.
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Vaundy’s “Time Paradox” moves 25-9. The “Kaiju no hanauta” hitmaker’s latest release is the theme song for the latest animated Doraemon feature film called Doraemon the Movie: Nobita’s Earth Symphony that hit domestic theaters Mar. 1. After first charting at No. 39 on Jan. 17, the track gradually climbed the tally and broke into the top 10 this week after the CD dropped Feb. 28. First-week sales for the track totaled 5,286 copies to hit No. 13 for the metric, while also coming in at No. 13 for downloads with 2,625 units and No. 11 for streaming with 5,532,741 weekly streams. It also hits No. 3 for radio and No. 23 for video with 530,108 views.
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While still outside the top 10 on the Japan Hot 100 at No. 12, BE:FIRST’s “Set Sail” is this week’s No. 1 song for downloads. The latest release by the seven-member J-pop boy band was written as a collaborative effort with ONE PIECE CARD GAME, and is the lead track off the group’s upcoming concept single called “Masterplan,” due Apr. 24. The track debuts on the charts after being released Feb. 26, coming in at No. 24 for streaming, No. 53 for radio, and No. 37 for video.
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 Feb. 26 to March 3, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
One of the most remarkable parts of the recent Milano Fashion Week was Missoni’s tribute to its iconic striped style and creative history, which the Italian brand has carried forward with courage and innovation over the decades. That began in 1958 when Ottavio and Rosita Missoni created a provocative fitting at the Rinascente mall in Milan, covering the eyes of the mannequins with colored, striped scarves.
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It is from a harsh comment of that time (“Poor girls, luckily they are blindfolded — if they could see themselves”), that the fashion show of Missoni (“those of the stripes”) began. The models paraded on the catwalk, with the stripes moving in rhythm and appearing to expand on the clothes, dancing from head to toe, contracting and then slowing down.
The purpose is clear, the stripes help to understand it: everything is matched rather than mixed. To underline the models’ steps, Filippo Grazioli, creative director of Missoni, decided to have one long music track specially created by producer Andrea Mangia (aka Populous). Billboard Italy, Missoni’s music consultant and media partner for the show, sat down with Grazioli a few hours before the opening.
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Why did you call this new collection “The Ones of the Stripes”?
Since I arrived at Missoni almost three years ago, I have faced many challenges, both personal and professional. One of the main ones was to fully understand the essence of the brand and make it evolve. I spent a lot of time immersing myself in the archives of the historic Missoni headquarters in Sumirago and establishing a strong connection with the legacy of the company, which is a continuous source of inspiration. Working with such an iconic brand also means balancing respect for its history and the desire for innovation and change. In an unstable context like the one we live in, I wanted fashion to maintain a sense of fun – especially in the case of Missoni’s style, which is very colorful. My idea for the FW 24/25 women’s collection was to pick up Missoni’s old striped style and reinterpret it in a contemporary way.
What innovations do you think you have brought in these three years? On what principles was the concept of this collection formed?
My goal was to bring modernity, contemporaneity, desire, femininity and lightness to fabrics and graphics. In creating the collection, I tried to express a concept of freedom and femininity, playing with a contrast between masculine and feminine with silhouettes that mark the body and lengthen it and strong volumes that envelop it. To me, Missoni represents a style of “bien vivre,” in harmony with the values of “Made in Italy.” I am convinced that Missoni’s code suits many women well, offering a variety of styles that allow each to find their own unique expression.
You have a great passion for music. Who are the Italian singers who fascinate you and stimulate you the most for your work?
I have always wanted to link my work to the Italian and international music scene. Having lived in France for many years, I didn’t know Italian music that much, but when I returned to Italy, I immediately started working with Lazza, Elodie and Mara Sattei on their projects for Sanremo 2023, and then on those of Rose Villain, Emma and Negramaro for Sanremo 2024. The unique aspect of music is that it is borderless. As Missoni, our projects have opened up internationally, with Sabrina Carpenter, Beyoncé, Rita Ora and Suki Waterhouse.
How important is music for the success of a fashion show?
It is essential for its success. Music is the part that creates emotions. It must integrate perfectly with the collection, in order to convey a consistent message. Lou Reed is often my starting point. His songs always inspire me in so many different ways.
It was precisely by talking about “Walk on the Wild Side” that your creative interaction with Populous began. What did you find special about working with him?
He is a very inspirational professional. It was nice to talk to a creative mind who interpreted in music what I wanted to convey in the show. The exciting aspect was that it was the first time he wrote music for a fashion show, and he was excited. Having this type of exchange between creatives is essential.
Have you chosen an Italian artist to underline the sense of “Made in Italy” or do you not preclude collaborations with international artists?
I think it is essential to value Italian artists. We wondered whether to have an Italian voice in the show’s music precisely to emphasize the Italian identity, then we opted for lyrics in English to be able to reach the entire audience. But I don’t preclude myself from collaborating with international artists in the future.
John Richmond is a product of the British resourcefulness that has not stopped leaving its mark on fashion and music since the post-war period. An internationally renowned fashion designer, the fashion press associates him with rock n’ roll and punk, but with his works he embraces all the British musical genres that have influenced the rest of the world.
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He arrived in Italy in the early ’80s after earning a degree in Fashion Design at London’s Kensington University, and collaborated with brands that, in those years, were anticipating trends: Armani and Fiorucci. English individualism, which he himself talks about in the interview, is probably the reason why in 1987 he created the brand that bears his name.
He has a style that still influences international fashion today, thanks to his now iconic jeans model with the writing “RICH.” In the early 2000s, logo mania swept through many other brands.
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John Richmond, however, is not just fashion. Artists who perform with his clothes have included Madonna, George Michael, David Bowie, Mick Jagger, Annie Lennox, Axl Rose, Bryan Adams, Michael Jackson, Britney Spears, Lady Gaga and many others.
What is the song that most represented your youth?
It’s still one of my favorite songs of all time: “Life on Mars?” by David Bowie.
What musical memories do you have from your adolescence?
If you grew up in the early ’70s you can only have fond memories. We went dancing in teenage discos where Northern Soul reigned, a fantastic genre popular in the north of England. In particular, I used to go to the Wigan Casino, a renowned venue at the time. It was all a combination of things: music, clothing, appearance, style, attitude. A poor country can give you opportunities: in those years the youth were very disillusioned. Since then, all the things I’m interested in are driven by music. I grew up in Manchester, a very post-industrial, depressing place, but the great thing was we had some amazing clubs and a great music scene. After punk came new wave and then the New Romantic movement. There were artists for whom style, appearance, clothes were really important. Everyone knows Bowie’s songs, but they also know everything about his style: clothes, hairstyles, accessories, makeup. Bowie wasn’t just a singer: he embodied a powerful style.
Why has the United Kingdom, which sometimes appears to be such a detached country, been able to strongly influence the world of style, also in music?
First of all, we are able to laugh at ourselves, and that’s important. Then we live on an island, so we are completely isolated. When you have nothing else, you are forced to be creative. There were a lot of young people who didn’t have many opportunities. I think they were courageous, because they found within themselves the strength to move forward, not to remain isolated. If I look at other countries, there are great leaders in various sectors and people follow that one model, as if they don’t want to dare. In Italy, for example, there is a well-defined style. In England, if I see someone doing something in a certain way, I will do everything I can to do it better, certainly to do it my way: we English have an attitude for individuality.
As an expert in both sectors, what is the relationship between music and fashion?
I summarize it in one of my slogans: “Punk is an attitude, not a trend.” Punk is now much better known as a fashion style than for music. Punk music didn’t last long, but it never stopped permeating fashion. It came to life in the years when the fashion press was starting to become important. People who knew music well worked there. It was therefore easy to find mutual contamination in those pages. London was the site of these changes. I think of Terry Jones who, with Face and then i-D, was one of the most famous and innovative editors-in-chief. At the end of the ’80s music videos arrived, which had the same impact on the audience that TikTok has today. There was no artist who didn’t accompany his or her songs with a music video. We can therefore imagine the importance of clothes, makeup and hairdressing. In those years, if an artist needed an outfit, he or she would go and get it personally. You didn’t go to artists and say, “Here’s my dress, I’ll pay you to wear it at the Oscars.” Musicians would come to my shop, buy clothes and wear them. I remember funny things: the New Kids on the Block arrived on a small street getting out of a white limousine that couldn’t turn the corner and had to reverse. I worked with people like Depeche Mode, Eurythmics, George Michael. Now we realize that we were lucky protagonists of moments that changed the history of these two sectors: we were in the right place at the right time.
If you had to choose one music artist to best represent you, who would it be?
For me there is no absolute icon. I like to see how my clothes are interpreted by those who buy them. I’d rather think of a style. Rock n’ roll is certainly what has most pervaded my works. But I always want to evolve in line with what music offers: today I look a lot at hip-hop.
When do you listen to music?
Always. I only work with music in the background. I particularly love Gilles Peterson from BBC Radio 6 because he’s always looking for new things. Compared to before, I also changed the listening mode. I used to buy – let’s say – Horses by Patti Smith, come home, lie down in a dark room and listen to it for hours without stopping. Today I prefer to listen to what is offered to me by radio and platforms.
Besides “Life on Mars?”, what are some other songs that you would never delete from your playlist?
I would choose an album, The Dark Side of the Moon by Pink Floyd. Also, a few weeks ago there was an incredible Brazilian song featured on Gilles Peterson’s show. It is “Vento de Mayo” by Seu Jorge, produced by Miguel Atwood-Ferguson. I would add another album: Roxy Music’s debut, that really changed British music. And then the Sex Pistols, who influenced music all over the world.
If you wrote a song, what lines would it start with?
I could make the first line of Patti Smith’s “Gloria” my own: “Jesus died for somebody’s sins, but not mine.” As a boy who grew up in a Catholic context, attending a Roman Catholic school, these words had a strong impact on me. It was a powerful and liberating realization, taking away that sense of having to carry the sins of others on my shoulders.
Liu Lian’s debut solo EP, Don’t Speak, Just Kiss, unveils her exploration of love through three self-penned and composed songs. Departing momentarily from the familiar jazz stylings of the band Mr. Miss, Liu Lian ventures into the realm of self-expression as a solo artist, unveiling a profound understanding of self-love through forays into new musical genres like dream pop.
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As a maiden voyage into solo artistry, Don’t Speak, Just Kiss encapsulates Liu Lian’s current authentic essence. Having become accustomed to the vocal intricacies and creative trajectory as the frontwoman of Mr. Miss, Liu Lian’s transition from the security of the band into the uncharted waters of her solo career has been a transformative journey of self-discovery and self-acceptance.
Symbolized by the “Love Airline” motif in Don’t Speak, Just Kiss, she encourages listeners to embark on a proactive journey toward self-discovery and fulfillment. The EP cover’s re-creation of the iconic “victory kiss” scene within an airplane cabin symbolizes the transformative power of decisive action over passive waiting.
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In Liu Lian’s vision, each seat within the cabin represents a microcosm of life’s diverse experiences. From solitary travelers finding solace to lovers entwined in intimate whispers, each vignette reflects facets of human existence. Notably, the blurred figure embraced by Liu Lian on the EP cover hints at a symbolic embrace of her own multifaceted identity within this tableau.
Lian Liu for Billboard China
Yaxin Liu
Love Others, Speak Less, Kiss More
In the EP’s standout title track, Liu Lian beautifully captures the essence of love and longing: using our bodies to embrace, kiss and love passionately. Embracing the idea that love may not last forever, why not enjoy the present, live fully, speak less, and kiss deeply – this is what life is about. In Liu Lian’s touching lyrics: “The most profound expression of humanity is found in kissing.”
In China, talking about desires can be uncomfortable. Some fans hesitated to share a song titled “Don’t Speak, Just Kiss” on social media. The reactions not only surprised Liu Lian, but also highlighted the EP’s importance. It helps people overcome their inhibitions from a new perspective. Liu Lian said, “It’s a great achievement. There’s no shame in desires; love is what matters most.”
In Chinese, the word “we” sounds the best. Love is about moving from “I” to “we,” from being alone to being together. Liu Lian believes that to love others, you must first love yourself. Courage isn’t always needed to love. When you truly care for someone, courage comes naturally when showing that love. If you struggle with courage, it might be because you don’t love yourself enough or feel unworthy, which can make it hard to give or accept the love you deserve.
The upcoming romantic movie You Whom I Lost, set to premiere in March, will feature Liu Lian in her big-screen debut as the female lead’s best friend. Having released an EP centered around love and starring in a romantic film, Liu Lian, acclaimed as an intellectual in love relationships, reflects on the word “love” feeling somewhat distant from her: ” It feels like it’s been a while since I’ve thought about love. I admire people who do crazy things for love; they seem really happy. Love can make you feel obsessed and act impulsively, unlike how you normally would. But it seems like I can’t act like that anymore.”
Lian Liu for Billboard China
Yaxin Liu
Loving Music Takes Action
Since 2017, on each anniversary of her birth, Liu Lian has unveiled a solitary opus that leans more toward personal introspection. Don’t Speak, Just Kiss signifies Liu Lian’s inaugural venture into complete artistic autonomy as a soloist.
“When I start creating music on my own, some traces of the group’s style may still be present,” Liu Lian says of her time in Mr. Miss. “While working alone, I focus on crafting melodies with precision, similar to performing surgery. My creative process is not just about reflecting on myself; it also involves exploring imagination and fiction to express my thoughts and observations from that time.”
Transitioning from nostalgic ’90s vibes to contemporary atmospheres prevalent in today’s musical landscape, when discussing the trajectory of her forthcoming debut full-length album, Liu Lian candidly concedes that she is still in the process of exploration: “Truthfully, I am most intrigued to discern the musical path preferred by my audience after this EP. I aspire for the album’s thematic essence to be more defined than that of the EP. This year, my aim is to compose and release additional compositions to delineate a distinctive musical signature for ‘Liu Lian.’”
To promote this EP, Liu Lian orchestrated an online collaborative initiative titled ” Don’t Speak, Embrace Creation,” where enthusiasts collectively contributed to a single document that has garnered thousands of submissions thus far. “Numerous young individuals expound upon facets intimately entwined with their existence—be it parental wake-up calls at dawn or anecdotes pertaining to exam preparations—rendering their narratives relatable and vivacious in both prose style and lyrical cadence.”
Liu Lian had perennially navigated the musical landscape under the guise of an autonomous ensemble, seldom venturing into other facets of the recording industry. This occasion marked her deep-seated partnership with Tencent Music Entertainment Group, embracing a more industrialized production approach to unveil a personal EP, affording Liu Lian an immersive involvement in every facet of the album: from inception to production to dissemination… Truly an invigorating firsthand encounter for Liu Lian.
“I tried to handle everything on my own, from making music to working with producers. This helped me learn a lot about making albums, the Chinese music industry, and solve many mysteries. Working with TME has been great; they help me choose songs and remind me of what to do next in the production process. Brainstorming about music with someone who thinks like me is really valuable.”
–Written by Jifan Wang for Billboard China
Lian Liu for Billboard China
Yaxin Liu
As twilight adorns the sky with its ethereal canvas, the horizon’s resplendent clouds mirror the trilogy of Xiao Xia albums reflecting upon Huang Qishan’s midlife journey. Literary aficionados have long employed the expression “the sunset’s lingering glow weaves a tapestry of magnificence” to metaphorically depict the enduring allure that graces the conclusion of a literary masterpiece. In the wake of experiencing Xiao Xia 3.0, listeners are left in awe, echoing a sentiment of profound appreciation akin to that sublime celestial phenomenon: The Sunset Radiance Transformed Into Exquisite Grandeur.
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Spanning the better part of a decade, Qishan Huang, born as Huang Xiaoxia, has serenely completed her Xiao Xia musical saga. As if charting the cartography of her soul from her vivacious 20s through the profound 30s to the contemplative 40s, each iteration of Xiao Xia encapsulates the multifaceted essence of a woman’s pilgrimage through life.
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The limited-edition vinyl version of Xiao Xia 3.0 swiftly sold out after its online release. The vinyl format, with its rich warmth and pristine clarity, seems destined to align seamlessly with the very essence of Xiao Xia, fully embodying its serene beauty and introspective tranquility.
Unlike CDs, vinyl records were once a less popular medium for music consumption, much like the initially underestimated Xiao Xia album. With the resurgence of vinyl records in recent years, Xiao Xia, like vinyl, has once again emerged as a coveted trend, a development that seems utterly unexpected to Qishan a decade ago.
Upon closer examination of the album cover of Xiao Xia 3.0, one discerns a tearful Xiao Xia bidding farewell to her youth. Intriguingly, at the very moment when tears fall, Qishan also smiles and playfully sticks out her tongue, serendipitously catching the tear that glides down from her eye. This subtle yet powerful touch silently and eloquently conveys the album’s central theme.
Commencing with 1.0, each cover of Xiao Xia has consistently incorporated the image of a headscarf. “I have experienced marriage before, but I have never had a formal wedding ceremony. The headscarf worn by Xiao Xia means that even if women choose not to pursue marriage, it does not necessarily imply a disinterest in wedding dresses. Ultimately, women retain their belief in love, but is marriage an indispensable requirement? Not necessarily. This represents a form of acceptance; each individual possesses the autonomy to determine how they wish to navigate their life.”
In Time, We Laugh With Tears
From the Xiao Xia 3.0 album, the song that most profoundly moved listeners to tears is undoubtedly the title track “Xiao Xia.” Huang Qishan candidly admits that when it comes to shedding tears, she possesses no semblance of personal boundaries: “I am completely uninhibited when it comes to crying; I readily share my entire spectrum of emotions with others, whether they be joyous or sorrowful. This is because the song ‘Xiao Xia’ is profoundly worthy of our tears. It transcends the realm of a mere musical composition; it embodies something that appears simultaneously simple and insignificant, yet also grand and magnificent.”
Spanning the journey from the southbound train in the 1990s to the transoceanic taxi ride, the intricate interweaving of time and space in “Xiao Xia” possesses an enchanting quality. A substantial segment of a woman’s life is encapsulated within the song’s stream-of-consciousness lyrics. Life follows a predictable trajectory—beginning with unwavering certainty, it gradually transitions into uncertainty. Xiao Xia’s perception of herself and the world around her underwent profound and transformative changes. Having reached the age of self-awareness, Qishan can finally affirm with unwavering conviction: “This version of you is valiant.”
The lyrics of “Xiao Xia” include the line: “Swiping through social media, everyone is discussing my appearance.” From her vibrant pink hair and provocative miniskirts to her energetic dance moves, Qishan’s fearlessly transformative appearances in recent years have undoubtedly subverted everyone’s preconception of her “After joining the dance troupe at the age of fifteen, I never danced again. Rediscovering the joy of dance at the age of 50 feels simply marvelous. Life should be an engaging experience; continuously learning new skills is essential. Maintaining a zest for life enables you to grasp the fleeting essence of youth”
Qishan Huang for Billboard China
Yaxin Liu
Let Us Move On Together
Another emotionally resonant moment in “Xiao Xia” occurs towards the end of the song, when a chorus of backing vocals gradually joins in, transforming the initial soft solo into a powerful collective voice. This transition amplifies the emotional impact of the line, “Oh, so many people love me.” These backing vocals symbolically represent the music colleagues and loyal audiences who have steadfastly accompanied Qishan throughout her career. It is because of the unwavering love and support from countless individuals that Qishan has garnered the strength and courage to declare, “Let’s move on together.”
While many yearn for another album of Xiao Xia, Huang Qishan asserted during this interview that 3.0 will serve as the definitive conclusion. Although a prequel, Xiao Xia -1.0, may emerge in the future, recounting her childhood experiences from before the age of 20 to her teenage years, there will not be a Xiao Xia 4.0. “There won’t be a 4.0; in life, it is sometimes necessary to conclude at an appropriate juncture. I am uncertain when this childhood Xiao Xia album will materialize; perhaps I will create it when inspiration strikes.”
Nevertheless, the Xiao Xia that Huang Qishan has bestowed upon the world and herself is already deeply embedded in the hearts of every attentive listener. As a heartfelt gesture, the behind-the-scenes team of Xiao Xia prepared a unique surprise for her — each member inscribed their signatures on the covers of the three Xiao Xia albums. Qishan was overwhelmed with emotions, “there has been an empty wall in my house for several years, and now suddenly there is something to adorn it. It feels as though this wall has been eagerly awaiting the arrival of these precious gifts.”
–Written by Jifan Wang for Billboard China
Qishan Huang for Billboard China
Yaxin Liu
2024 is shaping up to be an even more exciting year for Internet-based music such as Vocaloid, utaite, and VTuber music. Holohoneygaoka High School, the first album from hololive and HoneyWorks, is filled to the brim with every fascinating aspect of this culture.
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Holohoney is a new musical collaboration between hololive production, a VTuber groupwith over 50 streamers, and HoneyWorks, a group of creators. The album is a double album consisting of Holohoneygaoka High School -Originals-, new songs written for the album, and Holohoneygaoka High School -Covers-, covers of HoneyWorks songs by hololive members. Altogether there are a total of 20 songs (not counting the CD bonus tracks), which are presented in detail below.
Holohoneygaoka High School -Originals-
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1. Kawaiko Check! by Inugami Korone
“Kawaiko Check!” is Holohoney’s first original song, released in September 2023. The song is about Inugami Korone, disguised as a school teacher, scouting cute girls to liven up the school’s culture festival. The speedy tune, livened up with accents like a brass section, emphasizes the cuteness of Korone, a character with a dog motif, as she races around, tail wagging.
2. Idol 10 rules by Nekomata Okayu, Himemori Luna
This punk tune, almost ska-core, depicts the hard work the two singers do to become top idols while always obeying the 10 rules of idols.
3. Tokyo Wabi-Sabi Lullaby by Gawr Gura
This mellow, mid-tempo number is sung by a member from hololive English. The lyrics are evocative of an exchange student thinking of home, and the modern R&B sound of the song is blended with Japanese instruments such as bamboo flutes and sound effects like railroad crossings and fireworks, painting a picture of summer in Tokyo and a feeling of wabi-sabi. You can feel the Japanese city pop flavor that Gura is so fond of.
4. Bridal Dream by Usada Pekora, Houshou Marine
“Pekomari,” the duo of Usada Pekora and Houshou Marine, is the most popular and well-known hololive duo, made up of two members of the third generation of hololive. “Bridal Dream” is an official B-side for the duo’s wedding…or, at least, that’s what it appears like, until you discover that it was all just Marine’s dream. There are wedding-like melodies sprinkled throughout and a frantic feel that’s a perfect fit for the duo, which always whips up a storm when they’re together.
5. Utage☆Dokudanzyou! by Nakiri Ayame
Sharp, strummed guitar lines drive this fast-paced song, an up-tempo tune with a post-Vocaloid rock pop feel and an exhilarating, breakneck pace.
6. Outsider plan by La+ Darknesss, Takane Lui, Hakui Koyori, Sakamata Chloe, Kazama Iroha
The five members of Secret Society holoX shares the pride of outsiders who can’t, or don’t want to, fit in with their classmates, carried by a powerful rock tune. What they’re actually doing — eating lunch before lunchtime, reading comics in class — is cute, and the heart of this song lies in how it uses pop to express the feelings of these outcasts.
7. PAKU-PAKU-SEIBAI by Hakos Baelz
“PAKU-PAKU-SEIBAI” is a dance-pop song with a “girl crush”-like sound rooted in EDM and trap music that highlights the cool vocals of Hakos Baelz, who plays a student with a powerful sense of justice.
8. Hero for a day by Kobo Kanaeru, Takanashi Kiara
hololive Indonesia’s Kobo Kanaeru and hololive English’s Takanashi Kiara sing about the joy of being a “hero for a day” up on the culture festival stage, backed by a sunny pop-rock melody. They also provide a glimpse of the wistful side of the event, singing that “the magic will vanish soon,” but in the end they look back on their experience fondly as another chapter of their youth.
9. Riazyuu★Bokumetu movement by Murasaki Shion
“Love and that tingling feeling you get inside, they’re just illusions.” That’s the message behind this ska-punk song by the angsty Murasaki Shion, who is doing all she can to block those around her from having rich, fulfilling lives.
10. Kyoushitsu ni Ao / Hoshimachi Suisei
This song is like the campfire at the end of the culture festival. It reminds the listeners that the time young people have to make memories and develop strong bonds with their friends will come to an end on the day of their graduation. It’s an emotional rock song that conjures up images of the starry night sky. Hoshimachi Suisei’s emotional, bright singing voice unlocks a flood of emotions.
Holohoneygaoka High School -Covers-
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1. Fansa by Yozora Mel, Shirakami Fubuki, Natsuiro Matsuri, Shiranui Flare, Shirogane Noel
Five artists cover this passionate idol song from the solo artist mona, which was released as part of the HoneyWorks project Kokuhaku Jikko Iinkai: Ren’ai Series (Confession Executive Committee: Love Series). The original song was already an emotional one, but when the voices of the five singers come together in the chorus, the feelings run even deeper as you viscerally feel the strength of the bonds between them.
2. Inokori sensei by Tsunomaki Watame, Tokoyami Towa
These two artists from the fourth generation of hololive have burgeoning solo music careers and exceptional voices. In this song, they’ve come together to perform a popular, wild rock tune that tells the dark story of a teacher (Saku Akechi) and his student (Haruki Serizawa).
3. motto ichigo ore by Sakura Miko
Sakura Miko is one of hololive’s generation zero members, with a sweet, slightly lispy singing voice. In this rock number, she covers a song with a distinctly mona-like feel that depicts the heroic ideals of an idol. Miko’s sweet vocal qualities and the powerful song combine in a wonderful blend of sweet and spicy. The lyrics were also tweaked for Sakura Miko, such as by changing “mona wink” to “miko wink.”
4. Hokori Takaki Idol by Tokino Sora
This song by mona is one of pride in the face of the people who look down on idols. Here, it has been covered by Tokino Sora, a pillar of hololive since debuting as its first virtual idol.
5. Sis x Love by Kureiji Ollie, Anya Melfissa
This song by the sisters Sena Narumi and Mona Narumi has been covered here by a close-knit duo of second generation members from hololive Indonesia. The lyrics, about the powerful bonds between sisters that grew up together, convey a different sense of bonding when sung by Ollie and Anya. The scintillating string parts and uplifting sound bring tears to your eyes.
6. Daikiraina Hazu datta by Shishiro Botan, Omaru Polka
This bittersweet love song, originally sung by Kotaro Enomoto and Hina Setoguchi, is famous for a version sung by members of Nogizaka 46. In this cover by a duo of fifth generation hololive streamers, Botan plays Hina’s part and Polkaa plays Kotaro’s part, backed by a piano rock tune that is the embodiment of glittering youth — a duet that paints a picture of pure, bashful love.
7. Tokyo-Summer-Session by Oozora Subaru, Amane Kanata
This cover of a popular song depicts a scene of youth in full bloom — a couple, more than friends but less than lovers, realize their mutual attraction at a fireworks festival one summer night. Subaru plays the boy’s part and Kanata plays the girl’s part in a song that sets the listener’s heart fluttering with lyrics like lines from a drama and nuances that evoke the innocence of a young couple.
8. Kessen Supiritto by Moona Hoshinova
This beloved song by CHiCO with HoneyWorks was the ending theme to the TV anime Haikyuu!! To the Top. Here, it is covered by Moona Hoshinova, one of hololive Indonesia’s finest vocalists. The energetic performance is a perfect encapsulation of the drive to always keep pushing forward, using failure as a springboard for future success.
9. Doutan Kyohi by Momosuzu Nene
Momosuzu Nene, a fifth generation hololive member who is always bubbly and full of energy, sings this pop number, a straightforward declaration of devotion by Chu-tan, from the Heroines Run the Show series, to her favorite idol.
10. Senpai by AZKi, Ookami Mio, Yukihana Lamy
This song, originally performed by the voice actor unit TrySail, was the opening theme song of the anime movie The Moment You Fall in Love: Confession Executive Committee. Here, it has been covered in pure, three-part harmony. The song dramatically depicts the powerful romantic feelings of a student for an upperclassman that go tragically unnoticed.
—This article by Hajime Kitano first appeared on Billboard Japan
Shinichi Osawa (MONDO GROSSO) has had a profound impact on Japan‘s music scene through his musical sensibilities, focused on the newest and most creative dance music and his collaborations with a wide range of artists. RHYME is an Australian artist (poet, performer, DJ, and beatmaker) based in Japan. These two contrasting creators, with their differing backgrounds, nationalities & musical careers, make up the dance music duo RHYME SO.
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They debuted in 2019 with the 88rising single “Just Used Music Again.” Then in the spring of 2020 they dropped “Fashion Blogger.” The music video featured MILK, who rose to popularity on RuPaul’s Drag Race, and the song’s title itself, “Fashion Blogger,” is deeply intertwined with the RHYME SO concept.
Osawa: “I think it was back in 2017, when I was getting my hair cut, I saw some video on my iPad of this woman overseas talking about the outfit she was wearing that day. When the interviewer asked her what her job was, she said “fashion blogger.” I don’t think she was actually writing a blog, but she was making a living sharing her fashion on Instagram. That came as a bit of a surprise to me. The internet and social media permeate our society, but there are a lot of things that we take for granted that make me think ‘Is this really an everyday thing?’ I think it would be interesting to use music to pose questions like ‘What do you think of this situation?’ Not as criticism, just as questions. That’s the concept behind RHYME SO.”
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RHYME: “RHYME SO sounds like ‘I’m so.’ ‘I’m so happy,’ ‘I’m so sad,’ ‘I’m so hungry.’ I, I, I… Sometimes that (showing off on social media) is a positive, but sometimes it’s not. That’s one of the statements that RHYME SO is making.”
RHYME had been exposed to Japanese culture since she was a high school student, and she was an avid MONDO GROSSO listener. You can see this in a line she sings on MONDO GROSSO’s song “BIG WORLD,” “I saw MONDO GROSSO back in high school, I used to cry listening to life.”
RHYME: “I listened to MONDO GROSSO’s back catalogue and watched videos of his live shows. It stirred up all kinds of emotions. I’m Osawa’s pupil, and he’s my teacher. It’s an honor to be able to make music with him.”
RHYME SO has continued to release exciting music. It’s a unique group, set apart by its genre-spanning production and its cynical and poetic lyrics about modern society. In November 2023, it released its first album, IAFB.
The first thing to note about the album is the rich diversity of its production. It freely flits between genres and decades, touching on everything from acid house, industrial techno, and trap to Eurobeat, making it a microcosm of Japanese culture and society.
Osawa: “I did have Japan in mind when making the songs. However, I didn’t really think about current trends. Honestly, I don’t know if I’m even good at identifying them. It even feels a little like I’m ignoring them.” [Laughs]
RHYME: “RHYME SO’s sound is a fusion of dance music, new age, post-punk, electro, para-para, festival music, and more. That, and word play.”
The core of RHYME SO’s concept, bring up questions about modern society, is highlighted even more vividly on the album. The first song, “ACT THE SAME,” is the antithesis of the music scene, which places so much value on doing the same thing as what’s already being done by other hit songs.
Osawa: “It’s become a fundamental part of the music industry to assign artists to create music that sounds like what’s already out there, based on the existing market. And that’s not a current development. But is that really what we should be doing?”
RHYME: “Doing the same thing as everyone else is the safe approach, but that’s not art. The people who sing songs like that aren’t artists, they’re more like puppets. What’s even the point of doing that? That’s what the song is about.”
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“UNFOLLOW YOU” samples Seiko Matsuda’s “Akai Sweet Pea.” It puts a modern twist on the lyrics of the original song, “I will follow you,” turning it into a song about following influencers and popular artists. At its heart is the idea that “Instead of following trends and hype, shouldn’t you be following what you truly like, and what you think is genuine?”
RHYME: “I used auto-tune on my voice, which I don’t normally use, for a bit of irony (because it’s not even my real voice).” [Laughs]
Osawa: “‘UNFOLLOW YOU’ started out as a remix of ‘Akai Sweet Pea’ for Kayokyoku Night, an event put on by photographer tajjiemax (Issei Tajima) and my friend Toba. When I first made it, it was just for fun, but then when I listened to it with RHYME, we were like ‘Wouldn’t this track make a good RHYME SO song?’ However, the lyrics make fun of the modern music scene and culture, so we decided to send out letters to Takashi Matsumoto and Yumi Matsutoya to get their permission. I thought it would be hard to get, but the person at the record label that was the go-between got their willing permission right away. It went surprisingly smoothly. I’ll bet nobody has ever sampled ‘Akai Sweet Pea’ before, and nobody has sampled it since us, either. Of course, Seiko Matsuda isn’t actually singing on it. That’s me on the vocals.” [Laughs]
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The song “I AM FUCKIN’ BRILLIANT,” from which the album title, IAFB, was taken, is an up-beat tune with a 90s alternative rock feel. Osawa explains that “this song represents the whole album.”
Osawa: “The theme of the song is the need for recognition from others. It’s something that we’ve always had, but with the widespread penetration of social media, it’s become even more pronounced. Now, it even feels like you’re forced to express an even stronger desire for approval. Back in the day, you could just go home and pet your cat and feel fulfilled. If you helped out an older person, you would feel fulfilled, thinking ‘I did something good today.’ In other words, we all knew that we were the coolest.”
RHYME: “I think there are people who are happy when they’re outside but who feel down when they’re at home. There are a lot of people who are pretending or just putting up with things. When that happens, we’re saying ‘Imagine you’re the only one in the world.’ This is my favorite song on the album, and I want to make it a global anthem.”
The album also contains “SHIBUYA PARAPARA,” a para-para song whose theme is Shibuya at night, along with “SILENT” and “PICTURESQUE,” which feature Seiko Omori. The album art, showing a woman in traditional Japanese garb taking a selfie with her smartphone, also vividly reflects modern Japanese society.
RHYME: “The next thing I want to do is live performance. I want a big stage, a gorgeous set, tons of dancers, and, if possible, figure skaters. [Laughs] I want to put on an amazing show. I’d love to tour the world with great Japanese artists. Dongurizu, Seiko Omori, Kazuo. There are a lot of artists I’d like to introduce to overseas audiences, to show them ‘JAPAN POWER’. I want there to be a shock factor to everything I do. I want to start a revolution.”
—This interview by Tomoyuki Mori first appeared on Billboard Japan
