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After sweeping the 2023 Eurovision Song Contest with “Tattoo,” Sweden’s Loreen has another prize in view — a U.K. top 10.
Loreen’s Eurovision winner is making a charge. After appearing at No. 28 on the U.K.’s First Look chart, which measures the popularity of songs after the first 48 hours of the cycle, “Tattoo” climbs to No. 9 on the midweek chart.
If it continues to stick in the days ahead, “Tattoo” will give Loreen her second U.K. top 10 after 2012’s “Euphoria” went to No. 3. “Euphoria” won Eurovision that year, held in Baku, Azerbaijan.
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At Liverpool’s M&S Bank Arena on Saturday night (May 13), Loreen became the first female artist to win Eurovision, with 583 points.
Meanwhile, Mae Muller continues on her mission for a maiden U.K. top 10 appearance with her own Eurovision entry, “I Wrote A Song.” Though Muller’s song wasn’t a hit with the Eurovision jury and viewers, limping-in second-from-last (with 24 points), the English artist’s song rises to No. 6 on the Official Chart Update.
Co-written by Mae, Karen Poole of Alisha’s Attic and Lewis Thompson, “I Wrote A Song” should convincingly outperform its No. 30 peak, set in March of this year.
According to the Official Charts Company, two other Eurovision numbers are set to crack the U.K. top 40. Norway’s Alessandra could nab her first U.K. top 40 appearance with “Queen of Kings,” new at No. 18 on the chart blast. Alessandra and “Queen of Kings” placed fifth in the grand final.
Also, Eurovision runner-up Käärijä of Finland could make a top 40 debut with “Cha Cha Cha,” new at No. 21 on the chart update.
At the top of the chart blast is “Miracle,” Calvin Harris’ hit collaboration with Ellie Goulding which is targeting a sixth non-consecutive week at the summit.
All will be revealed when the Official U.K. Singles Chart is published Friday (May 19).
Billboard’s Women in Music event has celebrated artists, producers and executives who have made significant contributions to the music industry and empowered women through their work since 2007. In 2023, Noriko Ashizawa of Spotify Japan was recognized on this esteemed list.
Billboard Japan launched its Women in Music initiative last year, highlighting women in the country’s music industry through projects including interviews by leading figures in their respective fields. As the next featured guest in this series, Ashizawa spoke about working to support up-and-coming artists as Spotify’s Head of Music Planning and Operations in Japan. She also shared the company’s efforts to expand the reach of domestic artists and their work beyond borders to new listeners and fans. As the one who has been involved in the process that the streaming service has become the mainstream way of listening to music in Japan, how does she see the future of the music industry?
Congratulations on making Billboard’s Women in Music list for 2023. Could you tell us how you feel about this honor?
Noriko Ashizawa: Honestly, I was surprised to hear the news because I never expected to be chosen for such a prestigious award as someone who works in Japan. It still feels kind of unreal, but if it means that Spotify’s various efforts in Japan were acknowledged, I feel very honored about that.
Spotify encourages the activities of female creators in music through its global EQUAL project. What have been the results so far?
Spotify’s EQUAL program has selected 700 women around the world across various genres as ambassador artists, and more than 4,000 acts have been featured in the related playlists. We launched the localized program, EQUAL Japan in 2021, continuously spotlighting the works of Japanese female artists and creators and their voices through playlists. So far, a diverse range of female acts including the all-women band CHAI, rapper Awich, and Utaha of WEDNESDAY CAMPANELLA have been also highlighted as ambassador artists in the project. Moving forward, we’d like to further raise awareness of the program itself and make it more meaningful for artists to participate in it.
When a platform highlights that many artists, it definitely creates more opportunities for users to discover them. By the way, the year-end Billboard Japan top 100 chart for 2022 shows a noticeable gender imbalance with 58 male artists, 27 female artists, and 15 mixed groups. Spotify also has its own annual rankings. What trends do you see?
Spotify releases various annual rankings at the end of each year. Looking at last year’s ranking from the perspective of gender balance, there were 11 female acts including solo artists and groups on the “Top 50 Most Streamed Domestic Artists in Japan” list and 3 mixed groups with women as main vocalists. The “Top 50 Most Streamed Domestic Songs in Japan” tally saw similar results, with 10 out of the 50 songs by female acts. The ratio of women announced globally the year EQUAL launched was one in five, so it could be said that gender imbalance still exists on a worldwide level.
But there were some major differences between the global and domestic rankings. Looking at the “Top 5 Most Shared Artists” globally, female artists ranked in the upper tier with Taylor Swift at No. 1 and Lana Del Rey at No. 4. In Japan, the top 3 were boy bands — JO1, BE:FIRST, and INI — and the “Top 10 Most Shared Songs” list was dominated by tracks by these three groups.
That’s an interesting result. Do you know the demographics of their fans?
The majority of listeners supporting these boy bands are women. Supporting your favorite artist or act in a tangible way is called “oshikatsu” in Japanese, and especially during the pandemic, momentum rose to support those artists by listening to their music on streaming and then sharing it proactively via social media. In fact, when this ranking was announced, female fans of these groups posted many comments on social media expressing their joy. Looking over at K-pop, many female artists are also very popular among women in Japan, but it seems that in such cases, it’s more of a “listening for themselves” kind of mentality at work, encompassing feelings of empathy and admiration, rather than actively expressing their support for those artists.
It’s interesting to hear that men are dominating the charts fueled by the power of women. How do you analyze the current situation where women account for only one-fifth of the most played songs and artists on Spotify, both in Japan and globally?
I think there’s probably a gender imbalance in the number of creators to begin with. Many next-generation artists aspiring to become stars like Taylor Swift and Billie Eilish are emerging, but I think it’ll still take a bit more time to change this situation in a significant way.
What do you think about the gender balance on the production side of the music and entertainment industry?
Many women work at Spotify and looking around the workplace, not only at Spotify but also at other companies in Japan, I don’t see any significant lack in the number of women these days. But if you look at the industry’s senior management, it still feels like it’s mostly men, and I think there is a difference between the state of frontline workers and that of management.
Could you share some of your background? Did you envision a particular kind of woman you wanted to be growing up?
I don’t think I’ve ever thought about men and women in a separate way. I don’t personally share the view that being a woman should be given special weight, so I respect the type of woman who can assess any given situation to realize her goals as an individual human being.
You’re certainly someone who has stuck to that value of making decisions as an individual person, transcending labels and existing frameworks imposed on you by others. How did you come to work in the music industry?
I’ve been loving music since I was a child, and always vaguely wanted to make a career of it. I listened to Western music (along with J-pop), so I became interested in English and studied abroad during my college years. After joining Sony Music Entertainment Japan and building my career in the International music division, I gradually became more interested in production work, so I chose to move to a domestic label where I was in charge of A&R for a number of years. Then, when I got transferred to Sony Interactive Entertainment in 2014, I became involved in the formation of the PlayStation Music. Until then, I’d only been involved with the artists and labels that created and delivered the music, but I had an opportunity for gaining a new point of view by working on the side of a digital platform for the first time in my life.
That was just at the time when people in Japan were starting to think that the ways of listening to music might shift from physical formats to streaming. After a while, I was fortunate to get involved in the launch of Spotify in Japan as an external partner at PlayStation Music, and although I then had to return to my previous workplace as my transfer period came to an end, I decided to work at Spotify considering much potential in streaming as a game-changing platform for bringing more opportunities to various creators by enhancing discovery between listeners and artists.
Reaching out to a global audience, which had been a high bar in the past, is now relatively easier to achieve through streaming. For instance, Fujii Kaze’s “Shinunoga E-wa” hit No. 1 on Spotify’s viral chart in 23 markets outside Japan last year and spread throughout the world. The more successful cases of Japanese artists I actually see, the more I believe there’s a lot of potential in the Japanese music industry and that we can work together to make unprecedented dreams come true.
That must have been the period when people thought it’d be hard for streaming to penetrate the Japanese market, but it turns out you made a bold decision. And since then, you and your team have supported a variety of artists to build a career in a way that might not have been possible before. Are there any female artists or acts you’d like to shout out at the moment?
Rina Sawayama’s work has been particularly remarkable lately, and her message of inclusiveness of diversity has encouraged many people. In 2020, she was selected for Spotify’s “RADAR: Early Noise,” a year-round emerging artist support program in Japan, and now she’s a superstar with a global following. Haru Nemuri is one of this year’s RADAR: Early Noise artists, and it’s really encouraging to see Japanese artists like her who convey strong messages from various angles being supported overseas even more so than in Japan, and I’d like to see this movement spread domestically as well.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Europe didn’t care much for it, but the British are falling for Mae Muller’s “I Wrote A Song.”Muller had the honor of representing her homeland, the United Kingdom, at the Eurovision Song Contest, the grand final of which was presented Saturday night (May 13) at Liverpool Arena.The U.K. so often flounders at Eurovision, and Muller’s entry had an underwhelming reaction from the Eurovision panel and with viewers, coming second-from-last with just 24 “public” and “jury” votes, well off the pace of winners Sweden with 583 combined points. Despite that lackluster feedback, Muller’s song is heading for its first U.K. top 10 appearance, and should handsomely beat its No. 30 peak, set in March of this year.Based on sales and streaming data captured from the first 48 hours of the chart cycle, “I Wrote A Song” is on track to lift 36 places to No. 9. If it holds its chart tune, the song, co-written with Karen Poole and Lewis Thompson, will give Mae her first top tier appearance. Meanwhile, Sweden’s Loreen should experience that winning feeling all over again on the U.K. chart, as her Eurovision winning song “Tattoo” is poised to debut at No. 28. On the weekend, Loreen became the first woman to win Eurovision twice, and the second artist overall after Johnny Logan, the Melbourne-born Irish singer. At the pointy end of the chart blast, Calvin Harris and Ellie Goulding are shuffling to a sixth non-consecutive week at No. 1 with “Miracle”. It’s one of several dance music tunes on the way up, including Switch Disco and Ella Henderson’s “React” (No. 6) and David Guetta, Anne-Marie and Coi Leray’s “Baby Don’t Hurt Me” (No. 10), while K-pop girl group Fifty Fifty is flying to a new high of No. 7 with “Cupid”.
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All will be revealed when the Official U.K. Singles Chart is published Friday (May 19).
With a blockbuster sales week, Ed Sheeran‘s – (subtract) flies to No. 1 on the U.K. albums chart, extending his perfect streak.
The English singer and songwriter’s sixth studio LP notches 76,000 combined sales in its first seven-day cycle, easily the fastest-selling album in the U.K. this year, blitzing the 41,000 chart units shifted by Lana Del Rey’s Did you know that there’s a tunnel under Ocean Blvd.
According to the Official Charts Company, physical copies account for 71% of the Asylum set’s total, with an additional 10% from downloads. Subtract is also the best-seller on wax.
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In the end, Subtract won the chart race in a canter. By the midweek point, the LP had moved into a near-unbeatable position with more than 56,000 combined units.
Sheeran now boasts a perfect six No. 1s, dating back to his 2011 full-length debut +, then x (from 2014), ÷ (2017), No. 6 Collaborations Project (2019) and = (2021).
And with that unbroken string of leaders, Sheeran climbs the ranks of acts who’ve scaled the summit with every studio album. The “Shape of You” singer scoots past the 1975 on the list. Only Noel Gallagher with 10 albums, including his recordings with Oasis and as frontman of Noel Gallagher’s High Flying Birds; Brandon Flowers and Coldplay (with nine); and the Killers and Oasis (seven) are ahead of him.
Also new to the Official U.K. Albums Chart, published May 12, is Tunde with First Lap (via Tunde). It’s new at No. 4, for the Manchester rapper’s first top 10 appearance.
Also enjoying his first solo top 40 appearance is former Kasabian frontman Tom Meighan, with The Reckoning (Destruct). It’s new at No. 17. Meighan split with Kasabian in 2020 to deal with “personal issues,” he said at the time, leaving a group that had reigned over the chart with five albums. With guitarist Sergio Pizzorno taking-on vocal duties, the band last year added another No. 1 with The Alchemist’s Euphoria.
When Taylor Swift speaks, she scores. That’s precisely what happened when the superstar U.S. singer announced Speak Now would be the next to undergo a full rerecording. The 2010 collection (via Mercury) rebounds into the top 40 for the first time in 13 years, the OCC reports, up 54-23, and is one of six Swift albums impacting this week’s U.K. top tier. Speak Now peaked out at No. 6 following its original release. Speak Now (Taylor’s Version) is due out July 7.
Finally, Northern Irish rock trio Therapy? bags a sixth top 40 album and highest-charting title in 25 years, as Hard Cold Fire (Marshall) debuts at No. 29 on the latest tally.
Since their debut two years ago, multi-national Chinese boy band INTO1 have released four albums and made impressive progress in music, thanks to their unique charms.
Meeting in early spring 2021 and disbanding in late spring 2023, the group’s 11 members from all over the world have made an indelible impression on their fans with their devotion to music.
INTO1 released their final album, Grown Up, in March. Whether it’s a gentle croon or an impassioned, rocking melody, every song captures INTO1’s growth from young men to adults.
Here are five questions and answers from their recent Billboard China cover story, translated to English, about their two-year group career and new album Grown Up.
From the first album to the latest one, you have tried many music styles, such as Chinese operas, hip-hop, electronic dance and so on, and you are becoming more and more mature in your musical performance. How did you grow musically while recording Grown Up?
Liu Yu: My biggest growth in music is learning how to listen to the story behind the voice and hear how the singer handles fine details, timbre control and creativity through the voice.
SANTA: When recording the album, I felt like I was watching a movie about the two years of INTO1, so my biggest gain was to be reminded of these precious memories.
RIKIMARU: When I first listened to the demo, I was worried about whether I could sing the high notes well. But when practicing before recording, I found that I could give it a try.
Mika: For me, my biggest growth was that all the songs on the album contain our shared emotions, and it is a perfect graduation gift of INTO1.
Nine: We can show our growth in two years through these songs.
Lin Mo: We try new styles on every album. I can also find a different self.
Bo Yuan: I learned how to release my emotions and began to understand that volume and pitch are not the only things that determine emotional performance.
Zhang Jiayuan: I think I made great progress in aesthetics and new style, like a cappella and indie rock. And I experienced different emotions through music.
Patrick: In our new song, “Grown Up,” there are many harmonic elements. I learned a lot about harmony during the recording and understood the layers of music better.
Daniel Zhou: I’ve learned a lot of different things from recording each album over the past two years, because album recording involves different aspects of music. For example, we can convey the emotions of the music through our dance, our voice, our performance and so on. I think I can find different possibilities in different styles of songs every time I record.
AK: My biggest gain is that I wrote a whole song for INTO1 and our team for the first time: the harmony, lyrics, music and some ideas on the arrangement. In this process, I think I made some progress in comprehensive aesthetics and music production.
You started out in a closed environment on the talent show, and after you became a group, you started living together. After getting to know each other for a while now, who is the most different from your first impression of him? How is he different from who you though he was?
Liu Yu: I think it’s AK. The first impression he gave me was that he looked like someone not to be messed with. After getting to know him, I think he is a simple boy with a playful side and can write some very delicate songs.
SANTA: I think it is Liu Yu. My first impression of him was that he was professional and serious-minded. In fact, this has not changed even now. But after getting to know him for a long time, I found that he also likes to joke around, and it is relaxing to be around him.
RIKIMARU: I think it is Bo Yuan. I never thought we could be such good friends now. We are very comfortable chatting with each other, and we think alike in many ways.
Nine: I think Daniel and Mika. My first impression of them was that they were cold and distant, but they are actually very cute and lively.
Bo Yuan: I think Mika and Daniel. They both transformed from the reserved cool guys to jokesters.
Zhang Jiayuan: I think it is Liu Yu. I used to feel that he was cold and distant, but now I think he is rather funny.
Daniel Zhou: I think it is Mika. When I first met him, he was very cold and quiet, so I thought he may not be so easy to get along with. However, after two years of getting along with each other, I found that he is the most easygoing. I think he is a combination of very cold and very cute.
AK I think it is me! [Laughs] In the past two years, I have tried many new styles in terms of music and styling and grown up a lot.
In two years, you have created four albums together, collaborated on many stage performances and participated in many variety shows. You have brought many surprises to your fans, and you have become the pride of your fans. What has been your most fulfilling moment as a member of INTO1?
Lin Mo: When we were rigged on wires [for a performance] for the first time. It was so cool.
Daniel Zhou: We went to the Super Novae Games, and each of us participated in a different event. Even though we represented ourselves as an individual, the rewards we won belong to the team. During the process, we felt a strong sense of collective honor and we were proud to be part of the team.
AK: The most fulfilling moment may be when I wrote the song “Grown Up.” I wrote about regrets and sadness, and also wrote about positive wishes for the future. I hope that all 11 of us will have a bright future. That is what the song is about.
INTO1 was born in the stage performance competition, and in two years, you have also created many stage performances. What has been the group’s most impressive stage performance so far?
Daniel Zhou: What impressed me the most was when we performed “Shanhe Tu” at a big party in 2021. During the performance, we were rigged on wires and hung in the air about 20 meters [66 feet] off the ground. Eleven of us hung in different corners in midair and then convened on a stage covered with water. I have never been on such a well-equipped stage before, and I was filled with uncertainty and excitement, so I think it was the most impressive performance for me.
AK: It was when we sang “We Are the Youth” onstage for the first time. At that time, our group had just been formed and did not have enough time to try to bond with each other and rehearse, so the final stage performance was not so good. I always remembered this stage performance, reminding myself that I must do my best to prepare for every stage in the future.
You have been working as an idol group for two years. Which field of work would you like to continue to pursue in the future?
Liu Yu: I will continue on the road of music. Of course, I would like to try out other fields.
SANTA: I would like to continue to work in dance, music, variety shows and new opportunities in China and explore more possibilities in myself.
RIKIMARU: Find my own unique music style.
Mika: I hope I can improve my stage performance, dance and singing to be a better performer.
Nine: I will not give up the stage, and I will try harder in acting.
Lin Mo: I will try everything if there’s an opportunity. I won’t set any limits for myself.
Bo Yuan: I would like to continue singing. Besides singing, I also like live broadcast. Both performing live onstage and chatting on a live broadcast in real time is challenging.
Zhang Jiayuan: I will work harder on music, variety, film and TV, art and so on.
Patrick: I played a role in a movie before, and I like the feeling of learning about a character and then embodying it, so I hope I can make more film and TV works in the future. At the same time, I also hope to make my own album and sing on programs or in concerts for everyone.
Daniel Zhou: There are many things that I have not tried yet, so I hope to have more opportunities to try different things.
AK: I will definitely stick to music. As a next step, I am particularly interested in enriching my life experience, improving my emotional perception and expression, and recording what I see. Currently, I am also planning my concert tour, music festival and EP.
Billboard China
After two years of training, the team members of INTO1 have all grown up. For them, farewell is also a new beginning, and each of them will also embark on a new stage of their career. Mika, Lin Mo and Daniel Zhou have all released new projects; Bo Yuan and AK will also start their own tours. There is reason to believe that whether they are members of INTO1 or developing independently, they will all shine brightly.
Billboard Japan launched its Women in Music initiative last year, highlighting various trailblazing women in the music industry in a string of projects, including interviews by leading figures in their respective fields. The initiative follows the established example of Billboard’s Women in Music event that has honored artists, producers and executives who have made significant contributions to the music industry and empowered women through their work since 2007.
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Akiko Nakajo is next up in the Japan Women in Music interview series. Currently, the Japan country representative of YouTube Japan, Nakajo studied abroad as a student and began her career at a TV station. Overcoming biased opinions at various points in her life, such as “Why should a woman study abroad?” and “Women can’t read the news,” she paved her way to her current position. Now that she is involved in the management of a platform for creators and artists to communicate with audiences around the world, what does she think needs to be improved and what does she feel hopeful about?
Were there any women you looked up to growing up?
Firstly, my mother was always there for me when I came home. She was that kind of mother who made me feel safe and protected. I was grateful for her love and support. Secondly, I admired female broadcasters. When I was a child, women working as broadcasters began to emerge and I was inspired by their courage and determination. I thought it was wonderful to see them using their voices to communicate and to make a difference in society. Thirdly, I also admired artists and creators. I have always been drawn to all forms of entertainment. I was fascinated by the way artists could express themselves through their work. I loved a Japanese TV music show called the Best Hit USA that was very popular in my time. Because it showcased their music, their words, and the way they express themselves all leave a lasting impression on me.
You saw the various sides women have and were impressed by those different strengths.
I believe so. I have always enjoyed creating things, too. There is something magical about being able to take nothing and turn it into something. That is why I admire artists, creators, and filmmakers so much as they have the ability to take their imaginations and make them real.
Has your idea of an ideal woman changed over time?
My respect for people who express themselves has never wavered. Creators and artists of all kinds make things despite their hardships, and they give us inspiration and hope for the future. I feel empowered by their works, too. Through my own experiences, I’ve come to believe that everyone — whether they’re artists, business leaders, journalists or mothers — contributes to society and the community. I’m also inspired by people, despite how they identify themselves, who pick themselves up after they fail and achieve something new. Failure is something that happens to everyone, but it’s how we respond to it that matters.
So you’ve gained more people you respect. Of the many new artists rapidly emerging on YouTube, are there any female creators that you find worthy of note?
YouTube is home to a wide variety of content creators and artists, and they can leap to go beyond borders. In the past, it was a major challenge to expand your audiences internationally, but now, expressing your work on YouTube means “making a global debut.” The popularity and reach that people like Hyakumantenbara Salome and P Marusama have are tremendous. When seeing the diverse expressions of these creators, it’s encouraging to see that it’s OK to decide with your own expression and identity.
What were you like as a child growing up?
I recently met with my elementary school classmates and they said I used to “dress in freedom” back then. I think I was trying to free myself from something. At the time, it was common for girls to be told how to act and have their actions restricted. For example, women weren’t allowed to read the news on TV, and they were only seen as weather forecasters in most cases, or hosts of segments within a program. This was the world I lived in, and I was determined to do things as I wanted to do them. I just couldn’t give up.
What did you do to keep from giving up what you wanted to do? You could say that studying abroad and getting a job as an anchor person freed you from that “something” you mentioned.
First and foremost, I had to convince the people around me. When I told my parents that I wanted to study abroad, not only my parents but also somehow my relatives and neighbors joined in the discussion of why a girl should leave her hometown to study abroad, and they thought a local school would be good enough. It took me two years to convince them all, but I eventually succeeded. On the day of my departure, about 30 people — including my teachers and vice principals from each of my elementary, junior high, and high schools, my relatives and friends — came to Narita Airport to see me off. Looking back, it’s an unbelievable sight, but I think the long discussions were their way of showing me love and support. That’s why I think it’s only natural to give back to society, my own children, and to the team I work with.
You’re now the mother of two sons. How did motherhood affect your career?
I got married early and didn’t plan on working for long, partly because I was raised by a stay-at-home mom. I was 26 years old when I married and wanted to have kids quickly and be there for them as a mother, but we weren’t blessed with children for over ten years. At one point, I even wondered if I’d ever be a mother in this lifetime. I had no long-term vision for my career and time sort of passed as I just kept working hard every day and took on whatever challenges came my way.
There was also a positive side to experiencing motherhood at a later age. I was in a different phase of my career, and I felt more prepared to handle parenting because I had a better understanding of my job. No matter how old you are when you become a parent, there will always be things you don’t know about raising a child. But if you don’t know how to do your job, managing both parenting and work will be chaotic.
Throughout my journey, I’ve made a conscious effort to engage in multiple activities simultaneously. For instance, I have been involved in non-profit work alongside my career, taught at schools, and pursued further education. Juggling multiple projects at the same time became second nature to me. When I eventually became a mother, I was able to redirect some of the time and energy I’d invested in those personal projects towards parenting. I believe that my experiences allowed me to apply the lessons I’d learned to parenting and vice versa, looking at the positive side of becoming a mother after gaining experience.
What you just shared may encourage people who are trying have children at an older age. What do you think is necessary to make it easier for women to work, society-wise?
Information is now much easier to access than when I was in my 20s and 30s. I think this saves time and makes it easier to design one’s daily life. On the other hand, something that can’t be solved through technology is one’s mindset and the mindset of the people around them. Even if a system is in place, it will be difficult to achieve a working style if the right mindset is not present.
What do you mean by “mindset”?
I believe that many solutions can be found in society, companies, and other organizations if we properly address the basic issue of “creating an environment where people can be themselves, respect each other, and contribute to each other.” Simply put, this means “psychological safety.” For example, we often hear from parents who find it difficult to tell their colleagues that they have to leave early because their child is sick. This is a sign that the workplace may not have a culture of psychological safety. I’m sure some aspects have improved in recent years, but it’s still far from enough. It is important for individuals to take professional responsibilities as well as be responsible for their own set of rules and for those around them to respect and support them.
We’re in the midst of a major shift in values as a society in Japan. As a parent, is there anything you try to be conscious of regarding gender inequality?
Actually, my sons are quick to point out any stereotyping if I might have. They will say, “Mom, isn’t that stereotyping?” It seems that the schools they attend proactively engage in discussions on gender inequality and other social issues. I think it is great that they are aware of these issues, and I am glad they feel comfortable speaking up frequently, and I find myself learning from my sons everyday.
It’s encouraging to hear that efforts are being made in schools to eliminate gender bias. What do you think needs to be done to promote gender equality in the Japanese music and entertainment industry?
I think it’s safe to say that there are signs of change in gender equality. In the past, I often found myself in situations where I was the only woman in a meeting, but that’s becoming rare. We’re also seeing more and more women in decision-making positions, where they weren’t given the opportunity before.
For example, gender inequality in higher education, especially in the sciences, is a problem that’s being addressed at last in recent years. But until fairly recently, parents and teachers would often say things like, “Girls are better suited for the liberal arts.” These words are imprinted in our minds. While the concept of “women belong in the home” is considered outdated, I was influenced by my mother and had no intention of pursuing a career when I was young. This shows the immeasurable influence of mindsets unknowingly imprinted by our environments, such as family and society.
There are still many obstacles that need to be overcome, but I am hopeful because in addition to individual efforts, positive efforts by society as a whole are being made. This includes programs encouraging the growth of the next generation. It goes without saying that gender has nothing to do with how talented someone is. We should remain optimistic and work towards accelerating this change.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
From a musical and commercial perspective, SEVENTEEN’s best-ever chart rankings and sales numbers all feel wholly deserved for their 10th mini album FML.
With 135,000 equivalent album units earned in the United States in the week ending May 4, according to Luminate, the set marks the K-pop group’s biggest sales week, plus a new chart peak of No. 2 on the Billboard 200. (With just 3,000 units separating them from ending Morgan Wallen’s two-month run atop the chart). As the top-selling album of the week, as well as the fourth-largest sales week for all of 2023, SEVENTEEN also notch their fifth No. 1 on Top Album Sales as well as seventh No. 1 on World Albums.
After FML racked up over a reported 4.64 million in pre-orders globally to be the most-ordered album in K-pop history, SEVENTEEN tell Billboard that their latest accomplishments are hardly comprehensible.
“I think [our debut album] 17 CARAT sold 1,400 copies and we were really grateful,” Mingyu reflects. “So, 4.64 million is a number that’s really difficult to grasp. [Laughs] It’s close to 3,000 times how many were sold for our debut album—it’s all very surreal. It makes me think a lot about what we need to do to return this enormous amount of love.”
Throughout FML, the 13-member boy band share with fans—known affectionately as CARATs—how they remain honest about life’s hardships but also offer hope.
“Within our album, we offer two ways of defining the expression ‘FML,’” Joshua explains. “There’s ‘F*ck My Life,’ which is what the acronym usually means, and we also offer ‘Fight for My Life,’ which is what we want the acronym to mean. There are multiple other ways to turn the expression ‘FML’ around to mean something else other than ‘F*ck My Life,’ and that’s what we hope our fans, CARATs, and listeners will also take a stab at after listening to the album.”
Adds Woozi, who wrote on every track on FML and co-produced five songs, “From a macroscopic view, we often only see the good parts, the picturesque parts of everyone’s lives, but there are so many battles that are not visible to the naked eye. Everyone goes through rough times, fiercely fighting to live their lives. We wanted FML to be a reflection of these different layers.”
The guys recognize an uncharacteristically boldness in the group’s two new K-pop singles, “F*ck My Life” and the anthemic, energizing “Super,” the latter of which marked SEVENTEEN’s first Top 40 hits on the Billboard Global 200 and Billboard Global Excl. US, but say it’s necessary in order to express themselves genuinely.
“These are our honest thoughts without an attempt to dress them up,” Wonwoo shares. “By letting everyone know the things we feel and asking ourselves to fight for our lives, we hope those listening will also gain a bit more energy to do the same together with us. I think it’s a mindset that we all relate to even if the trailer and our song might not look like they offer the most pleasing or comforting set of words.”
Through SEVENTEEN’s hard battle as K-pop underdogs—with twice as many members as most groups—members S.Coups, Mingyu Joshua, Woozi, Woowoo, Jeonghan, Hoshi, Jun, DK, The 8, Seungkwan, Vernon and Dino rose to the top ranks of the global charts motivated not just by their inherent talent to express themselves creatively as a “self-producing” group but find peace from delighting their supportive fans around the world.
“We always work to make our CARATs proud,” SEVENTEEN’s leader S.Coups says. “And I think they would be the most proud of us now.”
Read on for the exclusive track-by-track breakdown with SEVENTEEN below.
“F*ck My Life”
Image Credit: PLEDIS Entertainment
Written by: BUMZU, WOOZI
Composed by: BUMZU, WOOZI
WOOZI: It’s the first time ever that SEVENTEEN is singing a lead single of this tempo, I think. But I don’tthink that it’s any less “SEVENTEEN” than our previous lead singles. We might make different choices each time when it comes to how we express what we think and feel, but at every song’s core, it remains the same that we just present and perform what feels true to us at that point in time.
THE 8: At first, the track might be surprising both sonically and because of its title, but “F*ck My Life,” aswell as “Super,” were just the songs we wanted to share with everyone at this time. We really liked them both so couldn’t single one out to be the lead single either. I think the contrast between the two lead singles makes the album more fun, and actually works to better articulate the overall message of the album.
“Super”
Image Credit: Courtesy of PLEDIS Entertainment
Written by: BUMZU, WOOZI, S.COUPS, VERNON
Composed by: BUMZU, WOOZI, Agust Rigo
WOOZI: Initially, we just had the vague idea of highlighting a strong image of SEVENTEEN through the lead single for this album. Thinking about superheroes for that reason, we started pulling together ideas from the many versions of heroic figures we know of and that eventually turned into “Super.”
MINGYU: I also really like the lines “I love my team, I love my crew!” I think it accurately expresses where our heads are right now.
HOSHI: It’s also the perfect song for a performance—it’s exhilarating when over 200 dancers’ footwork begins to sync up and without even thinking, you just know that your entire crew is acting in unison. It’s a different type of energy, which I hope will be passed onto our audience too!
WOOZI: “Super” is also our answer to the question that follows the first track of the album, “F*ck My Life.” If you ask “So, how is SEVENTEEN fighting for ‘your’ life?” “Super” provides our answer by talking about how SEVENTEEN has fought our way through, for whom and with whose support, all of which also continue to propel us forward.
“Fire”
Written by: BUMZU, MINGYU, S.COUPS, VERNON, WONWOO, WOOZI
Composed by: BUMZU, VERNON, WOOZI
VERNON: “Fire” was a fun song to work on. I threw in the idea of adding in the bells, went on the keyboard and asked [producer] BUMZU if he could make it sound this way. Hopefully it will be a song that gets everyone dancing.
S.COUPS: I’m sure all of the Hip-Hop Unit members have already imagined what it’ll be like to put “Fire” on stage. It’s an addicting sound, one that sort of just hooks you on. It’ll be so much fun to enjoy it with our CARATs at a show, I really can’t wait.
WONWOO: In the midst of the addicting sound, I think the Hip-Hop Unit members’ distinct characters also stand out in each of our verses. It adds a great extent of diversity within the track, and it’s fun because we all sound very different and each have a very different [verse].
“I Don’t Understand But I Luv U”
Written by: BUMZU, DINO, HOSHI, WOOZI
Composed by: BUMZU, WOOZI, Nmore
HOSHI: “I Don’t Understand But I Luv U” is our letter back to the heartwarming and beautiful message from our CARATs. When you’re performing in front of thousands of people that have gathered at that precise moment in time and location just to see you perform, and you feel that pure feeling of joy and love in the air; it’s not a feeling and a sight you can ever forget. That air of affection is not something that can be described in words, as is the connection we have with our fans across the world regardless of the language any of us speak. I hope knowing that brings comfort to everyone listening.
JUN: We recorded this song over multiple sessions, starting with a session before the tour and continuing on after as well. I didn’t realize it at the time, but after touring around all over the world, the music must have hit me differently. BUMZU said I sounded different, that there was a change in how I sing the song.
DINO: We have had the privilege of getting to experience these powerful connections firsthand touring around countries and, because of that privilege, I think we need to try harder to make it known how beautiful these emotional connections are.
JUN: Adding on, we are the Performance Unit after all! We’ve never really set a limit to the type of music we perform. The future of our team lies in performances that sound great, look great and something everyone watching can also become a part of.
“Dust”
Written by: BUMZU, WOOZI
Composed by: BUMZU, WOOZI, Kitae Park
WOOZI: The melody came together first, and I thought that there was a sense of loneliness and longing that came with the sound. Outside the bounds of this song too, I think it’s often the case that we feel a mixture of these sentiments all at once—putting the two together didn’t feel difficult or like a struggle.
JEONGHAN: From our point of view, this track is very classically WOOZI, and has SEVENTEEN written all over it. We’ve been seeing a lot of fan responses that say the song sounds like it could be a soundtrack to a cartoon series, which I agree with! I’m happy to see our fans also enjoying and digging into the song.
“April Shower”
Written by: BUMZU, WOOZI, Kareem James, Softserveboy
Composed by: BUMZU, WOOZI, Kareem James, Softserveboy
DK: Looking back, we also made our debut in May, so the saying “April showers bring May flowers” is something we really resonate with! We wanted our 10th mini album FML to console those listening, even if it’s just a little bit. Everyone has troubles of their own, so whatever it is that you’re going through, we hope you will be able to feel a little better and come to have a little bit of hope that brighter days will come after listening to our album.
DINO: We weren’t originally supposed to say it but since it’s been spoiled already by some of our members… We are planning on another comeback later this year. We hope you’ll join us then too!
YOASOBI’s “Idol” continues to rule the Billboard Japan Hot 100, holding at No. 1 for the fourth consecutive week on the chart dated May 10.
While figures for both metrics are down slightly from the previous week, the Oshi no Ko opener continues to rule streaming with 25,433,131 streams and video with 8,570,370 views. The track also returned to No. 1 for downloads this week with 32,878 units, up 7 percent from the week before. These results show the diversification of fan activity in terms of contact and ownership, indicating that this latest hit could be expanding the fanbase of the breakout duo itself.
Additionally, the song rises 9-3 for karaoke with a 90 percent increase, also showing the rapidly expanding fanbase of the “Monster” pair. The track’s point total is more than double that of the song at No. 2 this week and its domination of the Japan charts is likely to continue.
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THE RAMPAGE from EXILE TRIBE’s “16BOOSTERZ,” the song at No. 2, and Sexy Zone’s “Cream” at No. 5 were the two new singles vying for No. 1 for physical sales this week, and the four-man Johnny’s group’s 23rd single came out on top with 227,372 copies, ahead of the 16-member LDH group’s 19th single, which launched with 197,450 copies. But “16BOOSTERZ” racked up points in other metrics, coming in at No. 2 for radio, No. 86 for downloads, and No. 45 for streaming, overtaking “Cream,” which only added points through radio airplay (No. 10) and video (No. 55).
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 May 1 to 7, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Ed Sheeran’s sixth U.K. chart title is within reach, as – (Subtract) stockpiles a massive midweek lead.
Based on sales and streaming data at the halfway mark, Sheeran’s Asylum LP is already the U.K.’s fastest-selling album of 2023, the Official Charts Company reports.
With no major new titles threatening Sheeran’s pursuit of the crown, the English singer and songwriter should nab his sixth consecutive U.K. No. 1 – a streak that includes all four of his mathematics-themed sets, and 2019’s No. 6 Collaborations Project.
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Subtract has already racked-up more than 56,000 combined units, more than any album has notched during a full-frame this year, according to the OCC.
The previous mark was owned by Lana Del Rey’s Did you know that there’s a tunnel under Ocean Blvd, which accumulated 41,000 chart units during its first week.
Sheeran appears to be everywhere, all at once. The singer and songwriter performed on American Idol last Sunday, he won a high-profile copyright lawsuit last week, he’s the subject of a special four-part Disney+ docuseries, The Sum Of It All, he’s set to perform at the 2023 ACM Awards, and, yes, he’s currently on tour.
Also eyeing a U.K. top 10 debut is Manchester rapper Tunde with First Lap (via Tunde), new at No. 3 on the chart blast; former Kasabian frontman Tom Meighan’s first solo album The Reckoning (Destruct), at No. 4; and Therapy? with Hard Cold Fire (Marshall) at No. 9, which could net the veteran Northern Irish rock outfit a third career top 10 album, and highest-charting effort since 1995’s Infernal Love.
Finally, Katy Perry’s performance at King Charles III’s Coronation Concert over the weekend has handed an immediate boost to the U.S. pop superstar catalog. Perry’s sophomore set Teenage Dream (Virgin), a leader following its release in 2011, is set to reenter the chart at No. 40. Teenage Dream features “Firework,” with which she closed her set and dedicated to the king, saying, “Thank you for bringing out the firework in so many young people.”
All will be revealed when the Official U.K. Albums Chart is published Friday (May 12).
BTS has been a dominant act on Billboard’s global charts since the group’s launch in September 2020, with the most chart-toppers on both lists — six each on the Billboard Global 200 and Billboard Global Excl. U.S. — among all acts. Beyond the group’s many achievements, its members have notched an additional 26 entries on Global Excl. U.S., including debuts on May 6-dated lists.
Suga, performing under the alias Agust D, scores four debuts on Global Excl. U.S., including the chart’s highest new entry as “Haegeum” starts at No. 12. “Amygdala,” “Huh?!” with fellow BTS member J-Hope, and “D-Day” follow at Nos. 127, 182 and 200, respectively.
Add in “People Pt. 2,” Agust D’s duet with Iu, bouncing back from No. 108 to No. 64, and he tallies five songs on this week’s Global Excl. U.S. ranking. That’s more songs in one week than any BTS member has simultaneously charted as a soloist, passing Jimin’s recent haul of four songs on the April 8 chart.
The rush of activity for Agust D follows the release of his latest solo album, D-Day. The set debuts at No. 2 on the U.S.-based Billboard 200 with 140,000 equivalent album units, according to Luminate. Globally, the LP’s 10 songs drew 131 million streams and sold 98,000 downloads in the week ending April 27. Those totals fall in line with Jimin’s 133 million streams in the week ending March 30, the debut frame for his FACE EP.
The 10-song tracklist for D-Day averaged 15.6% of its streams from the U.S. and 84% from outside, a near dead-ringer for Jimin’s 16.1% U.S. share. With most of Agust D’s activity coming from outside the U.S., it makes sense that his songs perform better on the Global Excl. U.S. chart than the Global 200, where he lands three entries. “Haegeum” leads his titles there as well, but a few notches lower at No. 15 (outpaced by The Weeknd’s Hot Shot Debut, “Double Fantasy” featuring Future, at No. 12).
Beyond the No. 58 debut on the U.S.-based Billboard Hot 100 for “Haegeum,” the track cracks four of Billboard’s Hits of the World rankings. It debuts on Indonesia Songs (No. 19), Singapore Songs (No. 20), South Korea Songs (No. 24), and Philippines Songs (No. 25). “People Pt.2” spent one week on the April 22-dated Indonesia, Singapore and South Korea charts.