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Naniwa Danshi’s “Doki it” blasts in at No. 1 on the Billboard Japan Hot 100, dated March 5.
The J-pop boy band’s eighth single is being featured as the theme song for AOKI’s “Freshers Fair” commercial starring the seven members. The single launched with 336,529 copies to rule sales, while coming in at No. 4 for downloads and No. 9 for radio airplay. This is the band’s third single after “UBU LOVE” and “The Answer” to hit No. 1 (and the fourth week, as “UBU LOVE” stayed atop the chart for two weeks). and “The Answer”).
Mrs. GREEN APPLE’s “Lilac” follows at No. 2. Streaming and video for the track are down from the previous week, but downloads gained by 104%, radio by 117%, and karaoke by 107%. The Oblivion Battery opener has coasted along in the top 5 for the 46th consecutive week, with six of them at No. 1.
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Sakanaction’s “Kaiju” slips a notch to No. 3. While overall points for the Orb: On the Movements of the Earth opener have decreased, streaming rises 3-2 (up 119%) and radio jumps 4-1 (up 147%).
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=LOVE’s “Tokubechu, shite” shoots to No. 4 from No. 56. The track marked the girl group’s highest first week sales with 302,589 copies, coming in at No. 2 for the metric.
timelesz’s “Rock this Party” debuts at No. 5. This is the first new song by the now eight-man group formerly known as Sexy Zone, after five new members joined through the audition called timelesz project. It’s also the first digital release by the boy band since their debut as Sexy Zone. The buzz around the new-member audition powered the track to No.1 for downloads, No. 8 for streaming, No. 53 for radio, and No. 86 for video. In addition, the release of the introductory digital compilation album Hello! We’re timelesz including songs from the group’s Sexy Zone years has sent “RUN” and “Jinsei Yugi” back into the Japan Hot 100. It’s been about four and a half years since the former entered the charts (No. 57 this week), and about a year and three months for the latter (No. 95).
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. 24 to Mar. 2, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Bring Me the Horizon has reacted to the unexpected support from Liam Gallagher after covering Oasis’ iconic “Wonderwall” for Spotify Singles earlier this year.
The band, who reworked the Britpop anthem into a heavier, more atmospheric version, admitted they were taken aback by Gallagher’s positive response.
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“It’s a good song, it’s actually one of my favorites. Top five,” frontman Oli Sykes said of the track while speaking to NME on the red carpet at the BRIT Awards 2025. “We always usually cover stuff that no one has ever heard of, so we were like, ‘Now let’s try to reimagine something that everyone knows. Make it easy for ourselves.’ It came out alright I think! It was crazy that Liam didn’t slag it off to the high heavens…”
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Drummer Mat Nicholls echoed the sentiment, acknowledging Oasis’ influence on their generation of British musicians.
“[We grew up] listening to them, definitely. It’s hard to ignore them, especially being our age, because Oasis are a British staple. We were expecting [Liam] to absolutely rinse us, but he said some actually nice things! It was cool and I think it went down as good as we wished it could.”
Gallagher had previously responded to the cover on social media, writing, “I f—ing LOVE it.” When a fan speculated that his brother Noel might be displeased, Liam doubled down: “I’m not, it’s absolutely incredible, made my day. I’m off out on my skateboard, f— y’all.”
The BRIT Awards marked another milestone for the band, who previously won Best Alternative/Rock Act in 2024. This year, they were nominated for Group of the Year but lost out to Ezra Collective.
The band is set to headline Reading & Leeds Festival 2025 alongside Travis Scott, Chappell Roan, and Hozier. It marks their second time topping the bill at the twin-site festival, following their 2022 co-headlining slot with Arctic Monkeys.
While the K-pop scene is an ever-evolving landscape whose definition has expanded beyond a specific genre of music, Yves wants her career to change preconceived notions that tend to separate K-pop idols from being considered complete artists.
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Back in November 2017 when Yves (born Ha Soo-young) was first introduced to the world as the ninth member of LOONA through the dark, atmospheric synth-pop throbber of single “New,” the star may have unknowingly set a standard of experimental excellence that would define her solo career years later. An exploration of newfound artistic expression and identity, a now-unshackled Yves released two EPs last year in Loop and I Did (both of which made Billboard‘s mid-year and year-end best K-pop albums lists) with singles like “Viola” and “Loop” featuring Lil Cherry embracing the club-ready sounds that defined some of 2024’s best records as different album cuts explore everything from racing and acoustic rock as well as airy R&B and soft electronica. To date, I Did has 6,000 equivalent album units of activity through Feb. 20, according to Luminate, with its songs collectively registering five million official on-demand U.S. streams. Furthermore, Yves’ most streamed song in the U.S. is “Viola,” which has 2.16 million official on-demand U.S. streams.
“I always had my own image,” Yves shares backstage at the Brooklyn Paramount ahead of the opening U.S. date of her Apple Cinnamon Crunch tour. “But as my solo career is developing, I think I was able to explore more and show more of myself. I feel like I can express a lot of things now that I couldn’t.”
Embracing the multifaceted flavors of the tour’s unique name, Yves begins the show in a punky, funky black mini-skirt and top for the first half of the show, which includes Madison Beer and Avril Lavigne covers before changing into an all-white ensemble reminiscent of any classic millennium pop star look.
While the 27-year-old connected with fans in person on tour across Europe and the States (and will hit Latin and South America in April), Yves wants all aspects of her career to speak to anyone who feels like an outsider. “What I’m trying to pursue is to become a person where I can freely express myself in the world where there is a lot that can cloud one’s perspective,” she adds. “I really don’t want to put myself in a box.”
As she takes center stage fully on her own as a soloist, Yves seems ready to shine brighter than ever. Read on for more insights from Yves’ concurrent journey of solo stardom and self-discovery.
You’ve performed in the States in the past, but it is your first time as a soloist. How has the tour been going and how are you feeling ahead of your first U.S. concert?
At first, I was very scared. Because on stage all of the members are gone, right? It’s just me. So, I’ve been very nervous, but now I think I can enjoy. I’m 70 percent ready out of 100.
From music to fashion to even social media presence, you’ve been sharing what feels like a totally refreshed person. What has been happening in these past months? Are we seeing the real you?
I always had my own image. Back when I was a part of LOONA, whenever I was wearing my own clothes — so, not the clothes that the company wanted me to wear — my members weren’t able to recognize me in public. But as my solo career is developing, I think I was able to explore more and show more of myself. I feel like I can express a lot of things now that I couldn’t before because I have opportunities, so as I develop more and more, you can see more and more of myself.
One of your biggest changes was signing with PAIX PER MIL. I’ve heard K-pop companies may kind of force an image on an idol or artist, but it seems like they give you a lot of creative freedom?
When I was first searching for agencies to join, most of them told me that I have to be either part of a girl group or they didn’t think I can make it as a solo in meetings. But when I went to PAIX PER MIL, the producer, millic, sent me a long message and told me that I have potential to become a solo artist. So, I was really touched by the message that he sent and also that he believed in my image. So, I trusted him and he trusted me.
I was with my first label for almost eight years and in an idol group so I was obligated to think, “Are these clothes right for me? Can I wear this? Can I pose this way? Can I take a picture like that?” I was unsure about what to do with myself. But the label [PAIX PER MIL] really pushed me to point where I could just express myself and just fully show my version of me. So, I think that’s how my label really supported me. It’s a lot easier to have fun now.
You came out so strong with “LOOP” featuring Little Cherry, “Viola” was one of the best songs of last year but there’s also rock, you’re recording in different languages you, is this the music you personally listen to?
When I was first making the LOOP EP, my musical spectrum wasn’t as big as of now. I used to listen to the same songs that I’ve always listened to, but my producers, millic and ioah, really helped me to expand my musical spectrum. It was kind of like homework, where they’d assigned me to listen to some music that they recommended or sometimes they’d share what kind of music they’re listening to. One thing that I remember is the day that they asked me to make a playlist of what I wanted to do in my solo career so I was able to collect the music that I wanted to perform as an artist and make my choices for my music. So, I think as of now, I can confidently say that I am doing what I want to do in terms of my music taste.
Do you remember what songs were included?
So many songs! When I was a part of LOONA, I felt that I was a member who is good at ballads rather than the kind of dance-pop that I’m doing right now. But when I was collecting the music from my playlist, I was able to collect some funky sounds, alternative sounds, rock sounds, all the different kind of experimental sounds that I’ve never dealt with [as a singer]. That’s when I discovered Caroline Polachek and other artists that I’m into right now.
You have great taste and it’s great you could develop your sound. But on the other side of things, why didn’t you want to go to a group or re-debut in another formation?
During my one year break [in 2023], I was able to interact with my other members of LOONA as well as keep communicating my fans. When I was talking to my fans, they were really the ones who convinced me to pursue a solo career. They really supported me for who I am, my choices, and what I wanted to do. So, I think that kind of really pushed me to become a solo artist. Also, when I was talking to other members of LOONA, we all wanted to reach a happy path for all of us and attempt challenges we hadn’t done before because we were going through a lot together. So, there are the solo artists like me and Chuu, but also other girl groups that were formed with LOONA members.
Despite the hard time, it seems like everyone from ARTMS and Loossemble to even Jade Jeong has loving memories of LOONA. Do you feel the same?
Of course. I’m not sure exactly how to put this in English, but it’s kind of like a sore finger. I feel like, you know, I have to have a finger, but also it kind of hurts and will always give me those memories of my past.
My, one of my favorite lyrics from you is on “Hashtag,” which is “Don’t care what’s fake and who you are/ Yeah, In my world, it is only you and me, babe.” What is your perspective these days on what you wanna personally share, whether it’s your social media, your lyrics, fan interactions?
What I’m trying to pursue is to become a person where I can freely express myself in the world where there is a lot that can cloud one’s perspective. I’m also trying to be a confident person who can make my opinions clear without losing my taste. There is a lot of social media and channels to communicate these days which means there’s a lot of information and opinions. It’s gotten to the point where if you’re a little bit different, people criticize or blame them for being different rather than being accepting for who they are. I think that’s the most important part to consider in this world of social media. I’m sure I’m not the only one who feels like that.
What kind of message would you give to someone who maybe is being criticized or not accepted and needs the kind of confidence you always show?
It’s a huge world. To the people who feel that something is different, even if you feel like you’re alone or you’ve isolated and locked yourselves in, I should share that when you look around, in fact, there are so many people who think like you, share the same beliefs and don’t deny their existence because of people who criticize them. And just like you or I would say, I always want to support you for who you are and don’t feel discouraged or insecure for being different. Don’t stop.
I love that message. Is there anything else you want to share right now?
I don’t know about the mindset abroad, but in Korea there’s a certain boundary of what is an idol and what is an artist. But I’ve honestly always been an artist and an idol equally since I was in LOONA. I want to be in both. It’s an ongoing process and I really don’t want to put myself in a box when I want to be part of both. I think that’s the message that I really wanted to share here.
Canadian music producer Bob Ezrin is coming home.
Ezrin plans to renounce his U.S. citizenship. He’s made a full return to Canada from his most recent U.S. base, Nashville.
In an interview with The Globe and Mail‘s Brad Wheeler, Ezrin explains that the current polarized state of American politics and society is the driving force behind this move.
“In the last few years, it seems as if America is split in half,” Ezrin says. “The voices of a radical right have become so much louder. Conspiracy theories abound, people are armed to the teeth, and it’s just a different place than the place I went to.”
Already a member of the Canadian Music Hall of Fame, Ezrin was recently named as a recipient of the lifetime artistic achievement award by The Governor General’s Performing Arts Awards Foundation, honoured for a legendary discography that includes milestone albums by such international stars as Peter Gabriel, Pink Floyd, U2, Deep Purple, Rod Stewart, Andrea Bocelli, Taylor Swift, Alice Cooper, Nine Inch Nails, Kiss, Lou Reed and many more.
Ezrin and his family moved to Los Angeles from Toronto in 1985, and he became heavily involved in the community of that area. The following decade, he became a U.S. citizen in order to vote.
“I was very engaged, very committed,” he tells Wheeler. “I believed in the country and I believed in the American people, in spite of things like the Iraq War and the income inequality I saw growing, and in spite of the racism that was knitted into the fabric of American life. I still believed the goodness of the majority of Americans would prevail.”
His decision to move back to Canada predated Donald Trump’s inflammatory remarks about annexing this country and his decision to impose excessive trade tariffs, but Ezrin states, “All that underscored the rightness of what I’d decided to do,” he says. “If I’m going to spend time fighting the good fight anywhere, I should do it here.”
Even while spending much of his time in the U.S., Ezrin retained close ties to the Canadian music community. In addition to producing records by Canadian artists, he has contributed immensely to the cause of music education in Canada.
After his induction into the Canadian Music Hall of Fame in 2004, he became involved with the MusiCounts charity, and he helped initiate the MusiCounts Teacher of the Year Award at the Junos. He and his wife Jan are also founding donors of the MusiCounts Leadership Circle.
In the U.S., Bob Ezrin teamed up with The Edge from U2 to co-found Music Rising, an initiative to replace musical instruments lost in natural disasters. He is also a board member of the Mr. Holland’s Opus Foundation, a national initiative that supports music in U.S. schools by donating musical instruments to under-funded music programs.
It is symbolically fitting that one of the blockbuster albums produced by Ezrin was Pink Floyd’s The Wall. With this decision to give up his American citizenship, he has now made it crystal clear which side of the symbolic Canada/U.S. wall he has chosen.
Even while spending much of his time in the U.S., Ezrin retained close ties to the Canadian music community. In addition to producing records by Canadian artists, he has contributed immensely to the cause of music education in Canada.
After his induction into the Canadian Music Hall of Fame in 2004, he became involved with the MusiCounts charity, and he helped initiate the MusiCounts Teacher of the Year Award at the Junos. He and his wife Jan are also founding donors of the MusiCounts Leadership Circle.
In the U.S., Bob Ezrin teamed up with the Edge from U2 to co-found Music Rising, an initiative to replace musical instruments lost in natural disasters. He is also a board member of the Mr. Holland’s Opus Foundation, a national initiative that supports music in U.S. schools by donating musical instruments to under-funded music programs.
It is symbolically fitting that one of the blockbuster albums produced by Ezrin was Pink Floyd’s The Wall. With this decision to give up his American citizenship, he has now made it crystal clear which side of the symbolic Canada/U.S. wall he has chosen.
This article was originally published by Billboard Canada.
With their first anniversary just a month away, UNIS looks back on a year of unforgettable moments and exciting changes. In an exclusive interview, the members share what they have learned, how they’ve evolved, and the new challenges they’re ready to embrace.In about a month, you’ll celebrate your one-year anniversary since debut. What has been the most memorable moment of the past year and why?
HYEONJU: My debut is the moment I remember most. It was UNIS’s very first step, and it remains vividly imprinted in my memory.
NANA: I feel the same way.
GEHLEE: I loved the experience of our very first fan signing at a shopping mall in the Philippines. It was my first time witnessing firsthand how deeply my hometown fans adore UNIS. It was truly an honor.
KOTOKO: For me, the day I first met our fans is unforgettable. Meeting those I had longed to see filled me with immense joy.
YUNHA: I believe our debut moment is the most memorable. Revealing UNIS to our eagerly waiting fans was incredibly nerve-racking!
ELISIA: It was during the KBS Music Festival, sharing the stage with our seniors in our first collaborative performance on such a grand scale. UNIS’s “Curious” featured a fresh, fun intro and an energetic dance break that made it especially enjoyable.
YOONA: I clearly remember when we received our first rookie award. It was a prize we had dreamed of, and it felt like a true recognition of all our hard work.
SEOWON: my birthday in 2025 stands out. It was the day I truly realized how much EverAfter supports me and why I started this journey.
Comparing your early days to now, what has been the biggest change?
HYEONJU: It’s the sense of responsibility. Initially, I felt an overwhelming pressure to “do well,” but now I trust my members and simply think, “We’ll be great.”
NANA: I’d say the biggest change is that I’ve grown 1cm taller since debuting!
GEHLEE: I feel much more relaxed and confident. The training after the debut has helped tremendously, and improving my Korean has made adaptation so much easier. I really feel like I’m on the right track now.
KOTOKO: It seems that everything has changed, especially my ability to express myself through a variety of facial expressions.
Over the past year, is there a particular skill or quality you’d like to pass on to your fellow members?
NANA: I want to learn English from ELISIA and GEHLEE!
KOTOKO: HYEONJU’s charisma is incredibly captivating.
ELISIA: I used to move gently and fluidly, but since coming to Korea, I’ve learned to execute sharper, move quickly.
YOONA: I admire ELISIA’s wide range of expressions on music shows and stage performances. I’d love to learn that from her.
SEOWON: I’d love to learn knitting from the talented YUNHA!
As a multinational group representing Korea, Japan, and the Philippines, how do you integrate this strength into your stage, performances, and music?
HYEONJU: Our multinational makeup naturally enhances our expressiveness.
NANA: Knowing the tastes of each country gives us a unique advantage to incorporate diverse elements into our performances.
KOTOKO: Our ability to cover Japanese, Filipino, and various other songs is a major strength.
YUNHA: Being multinational means we can cover songs from our respective countries and showcase new facets of ourselves in different languages.
YOONA: At fan signings, for instance, many international fans attend. We communicate in three languages and even perform cover dances to foreign songs.
With the fandom name “EverAfter” in mind, what special memories do you hope to create with your fans in the future?
GEHLEE: I dream of holding a concert just for EverAfter. Seeing fans holding light sticks and sparkling like stars on stage would be an unforgettable moment, Everafter our fandom name.
KOTOKO: I want to embark on a world tour and meet EverAfter fans around the globe.
SEOWON: I envision opening a café exclusively for EverAfter fans, staffed entirely by UNIS!
Which cities would you like to visit on a world tour?
HYEONJU: I want to visit countries on the other side of the globe. I’ve been to nearby countries, but I’ve yet to meet EverAfter fans from the farthest corners of the world.
NANA: Japan, since it’s my hometown. It would be a dream to visit on tour someday.
KOTOKO: Me too!
GEHLEE: Personally, I’d love to visit New York or Paris. Their fashion scenes fascinate me and meeting fans there would be incredibly exciting.
YUNHA: I’d go anywhere EverAfter is present. I visited Taiwan briefly for a performance and, although it was short, I loved the city’s vibe and would love to return.
ELISIA: I aim to perform at Japan’s Kyocera Dome. I want to become a world-star artist and take the stage there!
YOONA: I’d like to visit Singapore. It’s a country I’ve always wanted to see, with beautiful scenery and a wonderful atmosphere.
SEOWON: For me, it’s Paris and New York. I’ve always wanted to visit these cities at least once.
What is UNIS’s goal for this year?
HYEONJU, KOTOKO, YUNHA, ELISIA, YOONA, SEOWON: Our goal is to top all the music shows!
NANA: For me, it’s all about meeting as many EverAfter fans as possible!
GEHLEE: It would be amazing to hold a UNIS-only concert this year. Even though each of us brings a unique charm, we’re working together to deliver a spectacular performance.
What new aspects or endeavors can fans expect from UNIS in 2025?
HYEONJU: We plan to showcase many sides of UNIS that we haven’t had the chance to reveal before.
NANA: While we’ve always shown a cool image, we’d also love to show a cuter side of ourselves.
GEHLEE: I believe UNIS won’t be confined to a single concept. We’re ready to display everything from cute and lovable to chic and cool. Fans can look forward to a variety of styles next year.
YUNHA: Now that we’re nearing our first anniversary, we hope fans will see a more refined and dynamic performance that reflects our growth from countless stage experiences.
What must UNIS overcome to be recognized as the representative 5th generation girl group?
HYEONJU: I think it comes down to growth. We must continue to develop and show progress.
GEHLEE: To be acknowledged as the leading 5th generation girl group, we need to better showcase our unique identity. With so many amazing groups out there, it’s vital that we continually cultivate and enhance UNIS’s distinctive charm through our performances, music, and teamwork.
YUNHA: For me, it’s about mastering our mindset and always challenging ourselves with confidence is the key.
ELISIA: We must connect people of all generations through our music.
SEOWON: We need to carve out our own unique identity rather than being just another ordinary girl group. That’s how we can present ourselves as a fresh, innovative act to the public.
Are there any hidden talents or personal skills among the members that fans might not know about?
NANA: My fingers are very flexible!
GEHLEE: I’m not sure if it’s a talent, but I frequently notice “angel numbers” like 111, 2222, and 3737, whether on clocks, license plates, or suddenly appearing in my surroundings.
KOTOKO: I’d say it’s HYEONJU. She’s our very own “food expert” who knows all the best eats!
ELISIA: SEOWON can make the most amazing sauces. They’re so delicious, they completely blew me away!
YOONA
Image Credit: FandF Entertainment
I love it when fans call me: Yoondol-e or Yoondang-e (puppy)
My favorite song at the moment?: “To My X” by KYUNGSEO – The lyrics are so warm, and I’ve always admired this Sunbae!
But my favorite song of all time is?: “Good Parts” by LE SSERAFIM – It’s soft, warm, and uplifting—my perfect combo!
How to “heal” yourself when you’re feeling overwhelmed?: Journaling about my day. If that doesn’t work, I read or listen to music!
My favorite quote or best advice someone gave me: Practice as seriously as you perform—that’s how you master the stage.
SEOWON
Image Credit: FandF Entertainment
I love it when fans call me: SEOWON: Lim-hamkki! (Lim-Hamster)
My favorite song at the moment?: “Just For Today I LOVE YOU” by BOYNEXTDOOR – I’m a fan of this style of music!
But my favorite song of all time is?: “Play Pretend” by Alex Sampson – It comforts me. I still listen to it all the time!
How to “heal” yourself when you’re feeling overwhelmed?: I haven’t found my healing method yet. Maybe someday I will!
My favorite quote or best advice someone gave me: You don’t have to try so hard. If you’re struggling, that’s not happiness. Remember why you started. It’s a journey—perfection isn’t required.
KOTOKO
Image Credit: FandF Entertainment
I love it when fans call me: Ko-chan!
My favorite song at the moment?: “Classified” by OH MY GIRL – It magically melts my stress away!
But my favorite song of all time is?: “Candy Pop” by TWICE – I sang this during my audition. Full of memories!
How to “heal” yourself when you’re feeling overwhelmed?: Putting stickers or playing games!
My favorite quote or best advice someone gave me: Try anything at least once.
GEHLEE
Image Credit: FandF Entertainment
I love it when fans call me: Princess!
My favorite song at the moment?: “Strategy” by TWICE – It’s my confidence anthem! I can’t stop humming it!
But my favorite song of all time is?: “Lovefool” by The Cardigans – My mom and I sing this out daily. Our ultimate bonding song!
How to “heal” yourself when you’re feeling overwhelmed?: I write down my feelings, dance to my favorite song, or vent to someone close. Letting it all out helps me reset!
My favorite quote or best advice someone gave me: When hard times come, remember it’s just a step toward everything you’ve prayed for.
ELISIA
Image Credit: FandF Entertainment
I love it when fans call me: Baby/Ellie!
My favorite song at the moment?: “First Love” by Hikaru Utada – A Japanese song my family and I always sing together. It feels nostalgic!
But my favorite song of all time is?: “Times Are Hard for Dreamers” from Amelie, the Musical – It’s my anthem for chasing my K-pop dreams!
How to “heal” yourself when you’re feeling overwhelmed?: Listening to music or curating new playlists!
My favorite quote or best advice someone gave me: Love yourself first before loving others.
NANA
Image Credit: FandF Entertainment
I love it when fans call me: Nana-chan!
My favorite song at the moment?: “Heroine” by Back Number – It’s a winter song, perfect for this chilly season!
But my favorite song of all time is?: “Last Dance” by BIGBANG – I danced to this as a kid, and it’s been my anthem ever since!
How to “heal” yourself when you’re feeling overwhelmed?: Going outside!
My favorite quote or best advice someone gave me: Nana, there’s something only you can do.
HYEONJU
Image Credit: FandF Entertainment
I love it when fans call me: Jyu!
My favorite song at the moment?: “Toxic Till The End” by ROSE – I’ve always loved this ‘Sunbae(Senior in Korean)’, and now it’s stuck in my head!
But my favorite song of all time is?: “I Hate You, I Love You” by Gnash – My go-to song during my training days. Still holds a special place!
How to “heal” yourself when you’re feeling overwhelmed?: Going outside for a walk!
My favorite quote or best advice someone gave me: You can do anything.
YUNHA
Image Credit: FandF Entertainment
I love it when fans call me: Bbang-ahji! (Puppy)
My favorite song at the moment?: “Gondry” by HYUKOH – I’m obsessed with calm, moody tracks lately.
But my favorite song of all time is?: “New Rules” by Dua Lipa – This song inspired me to become a singer. Life-changing!
How to “heal” yourself when you’re feeling overwhelmed?: Drawing, reading, or crafting—hobbies keep negative thoughts away!
My favorite quote or best advice someone gave me: If you don’t speak up about your hunger, no one will know.
Tate McRae has officially hit a new career high in Australia. The Canadian singer-songwriter has secured her first No. 1 album on the ARIA Albums Chart with So Close To What, marking her third top 10 placement Down Under.
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It follows I Used To Think I Could Fly, which peaked at No. 10 in 2022, and Think Later, which climbed to No. 2 in 2023.
In addition to her album topping the charts, McRae is making waves on the ARIA Singles Chart. “Sports Car,” which previously peaked at No. 10 earlier this month, has rebounded from No. 25 to No. 9, while “It’s OK I’m OK” re-enters at No. 37 and “2 Hands” returns at No. 40.
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McRae also lands a new hit with “I Know Love,” her duet with boyfriend, The Kid LAROI, debuting at No. 17. It marks The Kid LAROI’s 11th top 20 hit in Australia and adds another major moment to McRae’s chart success. In total, she has nine tracks in the ARIA Top 50 this week.
Elsewhere on the Albums Chart, Australian indie outfit Rum Jungle makes a strong debut at No. 9 with Recency Bias, the Newcastle band’s first full-length release. The album arrives following sold-out tours across the U.K., Europe, and Australia.
British singer-songwriter Sam Fender also achieves his highest Australian chart entry yet with People Watching landing at No. 17. His previous best came with Hypersonic Missiles (No. 62 in 2019) and Seventeen Going Under (No. 46 in 2021), both of which topped the U.K. chart.
On the ARIA Singles Chart, Rosé and Bruno Mars reclaim the No. 1 spot with “APT.,” which now boasts 12 non-consecutive weeks at the top. The track has bounced back to No. 1 four times since October 2024, temporarily losing the crown to songs from Gracie Abrams, Mariah Carey, Lola Young, and Kendrick Lamar.
McRae also dominates the Vinyl Albums Chart, with So Close To What debuting at No. 1 ahead of Hit Me Hard And Soft by Billie Eilish and New Love by Ziggy Alberts.
With a No. 1 album, multiple singles in the top 50, and a strong vinyl debut, McRae continues her rapid rise in Australia.
Chris Stapleton isn’t taking part in one of Australia’s most infamous concert traditions.
The 10-time Grammy winner, who is currently on his first-ever tour of the country, has made it clear that he won’t be doing a shoey—drinking beer from a shoe—despite the custom being a fan favorite at major performances.
“I’ve heard about this. I asked somebody before I went on for the first night, ‘Is there anything that I should be prepared for?’” Stapleton said according to news.com.au.
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“And then they’re like, ‘Yes, a shoey. They’ll want you to drink beer out of a shoe’. And I said I will graciously decline to do that. But no one has asked me to do that yet and maybe this interview will make someone want to do that. I don’t know. But I’m probably going to decline that request.
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“I mean is there some kind of penalty if I don’t do it? Are they going to throw things at me?”
The country star joins a growing list of artists who have opted out of the tradition, which has been embraced by performers like Luke Combs, Lainey Wilson, and Morgan Wallen. While Stapleton remains appreciative of his Australian fans, he’s keeping the focus on his music rather than sideline antics.
Stapleton’s tour has been a massive success, with tickets selling out in minutes. His impact on the country music scene has been undeniable, with five No.1 albums and collaborations with Adele, Justin Timberlake, Pink, Dolly Parton, and Taylor Swift. His latest single, “Think I’m In Love With You”, saw renewed success after he performed a special version with Dua Lipa at the Country Music Awards in Texas.
In between sold-out shows, Stapleton has been making time to promote his Traveller Whiskey, which has just launched in Australia.
Partnering with Kentucky distillery Buffalo Trace, he emphasized that this isn’t just a celebrity-branded product, but a passion project.
“I don’t look at it as a side hustle, this is a company that makes some of the finest bourbons in the world and a bottle of something that master distiller Harlen Wheatley has made has been in the studio for every record I’ve ever made,” he said.
“This is a point of passion for me and you know it’s a bit of a hindrance, the perception that it’s a side hustle that somebody makes something somewhere and they get a celebrity to slap their name on it But I’m not into that and I really believe in what’s in the bottle and the people that are making the whiskey and they’re very serious about it and I am too.”
Stapleton’s Australian tour continues with back-to-back sold-out performances at Brisbane Entertainment Centre before heading to Sydney’s Qudos Bank Arena on March 4 and 5.
The third installment of the business conference NOW PLAYING JAPAN, organized by Billboard JAPAN and Luminate, was held on Feb. 6 at Billboard Live Tokyo.
At this event, executives from Billboard JAPAN and Luminate gave presentations on the latest domestic and international trends in music consumption. Additionally, Tatsuya Nomura, Chairman of the MUSIC AWARDS JAPAN Executive Committee, and Yutaka Inaba, Vice Chairman, appeared as guest speakers to discuss MUSIC AWARDS JAPAN, which will be held in May 2025. They focused on Japan’s music market and explained the efforts being made to help domestic artists succeed on the global stage.
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Scott Ryan, Executive Vice President of Luminate, took the podium first to discuss global trends for 2024, including streaming growth, genre trends, and audience insights, using Luminate’s “2024 Year End Report.” In 2024, global on-demand audio streaming grew 14% over the previous year to reach 4.8 trillion streams, which represents an increase of approximately 75% from 2.7 trillion streams in 2022. While 30% of this streaming volume is from the U.S., the growth rate from 2023 to 2024 for countries outside of the U.S. was 17.3%, indicating that the streaming market is growing on a global scale. He also explained that when focusing on Japan, the total number of streaming users (including both premium and ad-supported) grew by about 13%, and the number of premium users grew by more than 10%.
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In addition, Ryan introduced a new metric developed by Luminate, the “Luminate Export Power Score.” This metric is designed to evaluate a country’s ability to export recorded music globally, and is comprised of four data points. The U.S. is ranked first in this metric, with its top importers being Canada, Australia, and New Zealand; Brazil ranks 10th, with Portugal, Bolivia, and Peru being the top importers. Japan ranks 14th in this metric. Ryan also noted the country of origin for artists as a point of interest, and revealed that English speaking markets losing share to imports is becoming a new trend. Meanwhile in non-English-speaking markets, domestically produced works are gaining market share over imports from English-speaking countries (Japan also falls into this category).
Ryan also mentioned that Luminate, now with data enrichment services, has begun to access songwriting works data, and can now share at a broader scale, more information about how songwriters are driving cultural exchange and activity. By taking the top 1,000 global on-demand audio songs and then analyze them using data enrichment services from the team formerly known as Quansic, Luminate can now identify the top songwriters. The top global songwriter was Taylor Swift followed by Max Martin and The Weeknd.
Looking at regional and market based trends, the amount of J-Pop streams outside of Japan was mentioned as a notable trend. The number of premium users is also growing globally, with Asia, Europe, and Latin America showing the largest growth in 2024 from the previous year. While Latin America has been the fastest growing region overall since 2021, when focusing on 2024, Asia and Europe are showing a more rapid growth compared to other regions.
Ryan concluded by listing four key points: “Streaming in Japan and globally continues to grow at double-digit percentages, faster than in Western mature developed markets,” “Share of local content is increasing in Japan and many non-English speaking countries, and declining in English speaking markets like the U.S., UK and Canada,” ”Quansic Music Enrichment and Matching Services now provide new visibility on Songwriter and Recording activity” and ”New Audience Insights information will be coming soon for Japan and other top global music markets, enabling strategic planning.”
Next, Tatsuya Nomura, Chairman of the MUSIC AWARDS JAPAN Executive Committee, and Yutaka Inaba, Vice Chairman, took the stage for a discussion on the theme “The Meaning of Hosting an Awards Show in Japan Today.” Billboard JAPAN’s Naoko Takashima served as moderator.
The inaugural MUSIC AWARDS JAPAN will be held on May 21 and 22, 2025, in Kyoto, with an awards ceremony and performances. The May 22 event will be broadcast on NHK, including some BTS coverage, and will also be available worldwide on YouTube with a delayed stream. Unlike traditional Japanese music awards, MUSIC AWARDS JAPAN has been designed with a global perspective. One of the key reasons for establishing this award was the shift in Japan’s music industry from a CD-centric model to streaming, a transition accelerated by the COVID-19 pandemic, which highlighted the growing international reach of Japanese music.
Nomura and Inaba emphasized that Japan lacked a transparent, democratically structured awards show akin to the Grammy Awards. Nomura explained, “In the U.S., the Grammy Awards recognize the best music of the year, and I thought Japan needed something similar. While Japan has various awards, they often lack transparency and industry participation. We wanted to create an opportunity where people could participate democratically, engage thoughtfully, and vote with genuine interest.” Inaba added, “This award is managed jointly by five major music industry organizations, meaning it exists for the benefit of the industry rather than any single entity. If any revenue is generated, it will be reinvested into Japan’s music industry. Many companies have resonated with this vision and have chosen to support us as partners. The more people take an interest in music, the more it will enrich and revitalize various aspects of society.”
MUSIC AWARDS JAPAN will have six major categories in addition to more than 60 other award categories. The primary selection of nominated artists will be based on Billboard JAPAN’s charts, utilizing publicly available data to ensure an objective and quantitative perspective that fairly captures listener response. Following this, over 5,000 music industry professionals will vote to determine the winners. The voting criteria will shift from quantitative analysis to a qualitative approach, evaluating artists based on their creativity and artistic excellence. Inaba noted, “Even if we narrow down the top five artists based on chart performance, industry professionals might have different opinions regarding who is truly the most outstanding artist, regardless of general fan popularity. We want to encourage deeper discussions about music.”
Nomura also revealed some of the challenges involved, stating, “The more we ensure transparency in the selection process, the more difficult the artist bookings become.” Beyond the awards themselves, the committee announced plans to support the global and digital expansion of Japanese music throughout the year by organizing showcase live performances worldwide. Already scheduled for March is a showcase event within SXSW, which is expected to continue annually, as well as “matsuri ’25: Japanese Music Experience LOS ANGELES” at the Peacock Theater in Los Angeles, featuring Ado, ATARASHII GAKKO!, and YOASOBI. Moving forward, the committee aims to create more opportunities for artists to engage with local J-Pop fans not only in the U.S. but also across Asia, Latin America, and Europe. Additionally, to support the industry beyond live performances and artist activities, a training program for music industry professionals is set to launch in the spring.
Seiji Isozaki from Billboard JAPAN delivered the final presentation under the theme “Reflections on Providing Global Data.”
Isozaki outlined the various services currently offered by Billboard JAPAN, including the “Global Japan Songs excl. Japan” chart, the “Chart Insight Global” data analysis service, and Luminate’s CONNECT service for corporate clients, highlighting their respective benefits. While acknowledging that some companies hesitate due to the high cost of these services, Isozaki pointed out that relying on inexpensive peripheral data often leads to mere “predictions,” which can ultimately put companies at a disadvantage. Isozaki then emphasized the advantages of utilizing accurate data to make informed decisions. He also reiterated the importance of enhancing music and artist identifiers, a topic that had been raised at the previous convention in September. Currently, tens of millions of songs by millions of artists, including their derivative versions, are being streamed across hundreds of platforms in dozens of languages. He expressed concerns that this explosive growth in content has led to lost opportunities and revenue overseas. Isozaki emphasized that improving metadata accuracy can help increase revenue, warning that using lower-cost alternative services with limited coverage rates would require working with multiple providers, ultimately leading to higher costs. He urged consideration of updating metadata through Luminate, which would allow for higher matching accuracy.
Isozaki also discussed the potential impact of MUSIC AWARDS JAPAN, presenting comparative data on streaming trends before and after the broadcast of multiple songs during the 2024 year-end NHK Kouhaku Uta Gassen. The graphs showed a significant increase in streaming numbers for all featured songs following the broadcast. He explained that MUSIC AWARDS JAPAN, like Kouhaku, has the potential to become an internationally recognized program that influences audiences both in Japan and globally. He also reaffirmed Billboard JAPAN’s commitment to fully supporting the initiative and closely monitoring its impact.
—This article by Haruki Saito and Maiko Murata first appeared on Billboard Japan
The Japan Culture and Entertainment Industry Promotion Association (CEIPA) and TOYOTA GROUP are joining forces to launch the Music Way Project, a collaborative endeavor that supports and promotes the globalization and sustainable growth of the Japanese music industry.
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With “Japanese music drives the world” as its concept, this project will focus on “human development” and “place development” for those taking on challenges on the global stage in music. For the former, to be a guiding light for young people with aspirations in music, the project will help refine the talents of those active globally through corporately supported seminars for student talents, training young people in the industry, and workshops with creators. For the latter, the Toyota Arena Tokyo — slated to open this autumn in Japan — will be utilized, and showcases will be held in the United States (Los Angeles), Europe (London) and Asia (Thailand). Toyota Group will offer its overseas bases to “providing spaces for young talent to shine.”
CEIPA Chair of the Board Shunsuke Muramatsu, TOYOTA GROUP Representative Akio Toyoda, and composer/Agency for Cultural Affairs Commissioner Shunichi Tokura took the stage at the joint press conference held in Tokyo Tuesday (Feb. 25). “With the expansion of the streaming business, the market for entertainment content is growing rapidly. Music is always closely linked to contents that Japan excels in, such as games, anime, live-action films, and events. Music has the power to spread without limit,” Muramatsu said, noting that the project is focusing on music first among the many forms of entertainment.
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As a move towards producing artists who reach global audiences, a major showcase event called matsuri ’25: Japanese Music Experience LOS ANGELES, will take place in March at the Peacock Theater, set to feature J-pop stars Ado, ATARASHII GAKKO!, and YOASOBI. Also, the inaugural MUSIC AWARDS JAPAN, the largest music awards in Japan, is slated for May at the ROHM Theater Kyoto.
When comparing export values by industry, automobiles are worth 22 trillion yen, semiconductors 5.5 trillion yen, and steel 4.5 trillion yen, while the content industry, including entertainment, is worth 5.8 trillion yen. Elaborating on TOYOTA GROUP’s intention to participate in this project, Toyoda said, “When I was president of Toyota Motor Corporation, I think my driving force was my love for Japan. That is why I want Japan to continue to be needed by the world.”
He went on to express his hopes for the development of the project, concluding, “There’s a lot of good music in Japan, as well as many talented people. We want them to rock the world with their music, and want to support them so that people everywhere can get to know their talent. If you see someone working hard, please support them. Your support will widen paths and build more of them. When more paths are built, you can climb even the steepest mountains. Please give them that chance.”
MUSIC WAY PROJECT Outline
Promoters: CEIPA x TOYOTA GROUP
Aim: Supporting and promoting the fundamental globalization and sustainable growth of the Japanese music industry.
Human development that refines the talents of those taking on the global stage:
Student Seminars: Courses for students in collaboration with domestic universities, etc.
Professional Seminars: Online courses for young industry professionals, etc.
Co-Write Global CAMP: Hosting cowriting camps where creators from around the world assemble.
Place development to provide spaces for young talent to shine:
Enhancing overseas bases: Utilizing three bases in the U.S. (Los Angeles), Europe (London), and Asia (Thailand), and supporting activities of artists domestically.
GLOBAL SHOWCASE LIVE: Strengthening artists’ footholds and networks by developing showcases in Asia and Europe. Utilizing TOYOTA ARENA TOKYO, slated to open this fall.
At Taemin‘s concert at Kings Theatre in New York, the opening show for the K-pop star’s first U.S. tour as a soloist, the 31-year-old thrusts, lunges, and splays his body in an assortment of impromptu, interpretive positions that captivate the sold-out venue. A less experienced performer could have easily fumbled committing to such dauntless dancing. However, with more than half his life in the K-pop spotlight, Taemin appears as if he’s in complete control of every aspect of the theater stage and his body – seemingly aware of how each strand of his dirty blonde, slightly off-center middle part will land on his head after every move.
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Throughout his 17 years in the game, Taemin has long voiced his adoration of Michael Jackson with hit singles like “MOVE” and “Press Your Number” boasting clear MJ inspiration. But Michael didn’t become the King of Pop simply as a member of the Jackson 5, but years later when he broke out into a solo artist, eventually rising to universal acknowledgment and acclaim with Thriller, his fifth solo record, and solidifying his legacy in music history. Similarly, Taemin’s first U.S. live trek sees the star in a breakout moment of sorts.
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After 16 years signed as a soloist and member of boy band SHINee under SM Entertainment, Taemin opted not to renew his solo contract with the legacy label in March 2024 and signed with the relative newcomer BPM Entertainment. In under a year since his management change, Taemin released his most creatively involved work yet via his Eternal EP, launched his first-ever global trek in the Ephemeral Gaze world tour, and took on his first hosting job for the boy band competition series Road to Kingdom: Ace of Ace. Yet it’s not just the work that defines this past year as Taemin’s breakout moment but a shift in how he approaches work.
“Before, I felt like I was just executing tasks,” a cheery Taemin shares during a morning Zoom call from Seoul during his few days off from touring. “But now, I’m leading it and taking care of the different details…I feel now I’m becoming more independent.”
While feeling more powerful than ever as an artist, Taemin knows loads of eyes are on him, which inspired the concept of the Ephemeral Gaze tour but also serves as a reminder for viewers to see that his attitude has never shifted.
“I’m still doing the same performance, I’m trying to give it my all and I don’t like the attitude of just because you’re popular, you want to take some things easier,” he says. “No, even my body breaks, if I dislocate the shoulder; I want to give it my 100 percent and more as long as people come to cheer and see me.”
With packed houses at the tour’s multiple theaters, as well as one night at the Kia Forum arena in Los Angeles, for Taemin’s first U.S. tour, fans could see his empowered nature, his creative commitment, but also his humbleness to deliver the same amiable aura that resonates through this webcam chat.
After performing the sultry album cut “Not Over You” from 2023’s Guilty EP, Taemin took a breather to speak with the NYC crowd. The artwork for Taemin’s Ephemeral Gaze world tour plastered across the LED screens behind him catches his eyes, and he looks back at the audience and smiles, saying, “I’m Taemin.”
Of course, everyone knew who he was — the screams and cheers confirmed as much — but this new chapter of Taemin’s artist journey could indeed be a new person greeting us. Get to know Taemin today in the interview below.
Billboard: You performed concerts in South America at the top of February, and on Feb. 13, you’ll have five concerts across the U.S., but you’re back in Korea right now. What are you doing between legs?
Taemin: There are many tasks and work that I need to do in Korea that have been piling up, so I’m working on that, having different meetings and going through different schedules during my short time here. This might sound funny, but during my time off, I’m actually adjusting to New York’s time. I had just gotten used to Latin American time, and now I’m in Korea, but I’m about to go to the U.S. soon, so I’m adjusting my body for the New York time zone. But especially for this tour, where there are not many days in between, I had a lot of business I needed to take care of
How has your solo world tour experience been so far?
This is actually really my first time doing this kind of tour as a solo act, so I did have my doubts and concerns, like, “Can I successfully pull this off?” In a way, it is uncharted territory and, as you know, I did tour with groups including SuperM, but it has truly been a while, so I also had concerns about that. However, when I started performing, wow, did the fans embrace me. I felt like I could really feel their love and longing so wholly — like I felt their emotions so directly. So, with this warmth, I’ve been able to really actively interact with fans.
Do you have different versions of the show depending on the continent or country?
There is a certain format, but let’s say depending on the vibe of the place, and especially the attitude of the fans, things change, I guess. I would say my expression or attitude towards the performance can change when I’m singing a ballad or just dancing…maybe today, I feel like taking advantage of the entire stage and walking around and exploring it. Ninety percent of the performance might be set, but it’s the 10 percent that widely differs according to my mood.
You mentioned you toured the U.S. with SuperM, I remember SHINee had some U.S. concerts and appearances, but now it’s a full U.S. tour for Taemin. So, what took so long?
I think my previous company had different market-based investments and made certain decisions. There could have been many different reasons, and that I don’t know clearly, but for some reason, we didn’t go to the States much. You mentioned the SHINee concerts from long ago and when we went there, I was pretty surprised. There were a lot of people waiting for and warmly embracing us. I felt not only touched, but how I really wanted to continue this and it felt like a shame that we didn’t. I was thinking a lot about the foreign fans waiting, which makes me feel thankful. I also don’t want this [experience] to be just forgotten as it would be a shame if it ends like this. So, I want to come back, but not just to have a single event; I’m talking about a series of long-lasting memories with all these people.
In under a year, you’ve performed across new countries, joined a new agency company, participated in new TV shows, and have new collaborators. Is there any big lesson that you’re thinking about throughout the tour?
Yeah, so many things learned. I mean, we can just even talk about what I’ve learned in promoting and the industry’s deeper inner workings. Before, I felt like, let’s say, I was executing tasks and just knowing that task. But now, in a way, I’m leading it and taking care of the different details. Not a whole concert, but I’m really learning the system, even when it comes to just the performance direction. I feel now I’m becoming more independent. Previously, I was a kid and now I’m learning what to do and how to care and think for myself.
Also not to mention, fans were waiting for a global tour and now I believe that it can work. To use a Korean expression, I’m no longer “a frog in a well.” I’m out in the real world. Internally, I feel even stronger and life is all about maturing as you gain experience. I feel like this is true for artists too because this idea of expression or creativity, it stems from experiences and I’ve been having numerous experiences.
We know you shine on stage, but seeing you as a composer on every Eternal song where you wrote more than ever was new. Can you relate anything from the recording process to these touring experiences?
Firstly, if I’m going to use this title as an “artist,” I really need to input the message into my music and express my emotions through this art. Although, of course, I had a great writers and producers helping me to prepare this album. We were tight on time so there are a lot of things I wish we could have maybe spent more time on and such, but one thing I do want to say that I’m very looking at it quite positively is that it is truly an album that I really put my thoughts, my emotions and my experiences onto. And this is how I want to proceed from now on. You could say, I’m not doing albums that I am told to do. I’m not like a student at a school, but I’m really talking about my experiences and thoughts through my art. The tour is the same way, this “Ephemeral Gaze” has a message how people have a lot of different views of me and I’ve done nothing but try to do the best performances, art and make great music. But people can always view me in a skewed way, so, I guess that’s just the life of an artist — you’re receiving infinite love and attention, but along with that you can be seen in a distorted view.
For example, during the concert you’ll see there are many eyes and I am under these in a way; the view and scrutiny of these eyes. But on the stage, you will see me performing and trying to do my best. I haven’t changed. I’m still doing the same performance, I’m trying to give it my all and I don’t like the attitude of just because you’re popular you want to take some things easier. No, even my body breaks, if I dislocate the shoulder, I want to give it my 100 percent and more as long as people come to cheer and see me. I’ll add that age does play a factor on you, but this is how I feel. This is my attitude.
I think it’s a good attitude to have. I remember an interview where you said you want to make classic songs, songs that can be nostalgic for years to come. What makes a song a classic?
So, music for just casual consumption are all great and they exist for a reason. The way I define something that’s, like, classic or everlasting is that it’s music I really feel and really sympathize with; something that gives me strength or comfort, it makes me relive memories. With that, I hope that my music can be a memory someone who can just take it and relive the memories by listening. Every musician has their own color and how you define and work on your color is a journey in itself. Everyone takes this approach differently — there are some people who can change directions, there are some who can explore and experiment, there’s some who keep going deeper into their specific color one piece at a time. I would say I’m more in the latter, going deeper and deeper, carving out a little bit deeper each time. I want to pioneer this as a gen-two [2nd generation K-pop] artist.
I also just want to add that the career of idols can be short and, often, there are a lot of idols that take a different path after. But I want to show that as a musician, you can really have this long run with this distinguished identity and I hope that this music eventually can give someone strength, comfort or hope, and help them relive memories. There are musicians like that for me like Michael Jackson. I mentioned earlier in this interview that I like doing things impromptu on stage and I also really see that in Michael Jackson. He had a song — what was it again? Oh, yeah — “Man in the Mirror,” where he was doing the performances in an impromptu [style] too. In a way, you can say the music wasn’t perfect. But the energy and passion? That was perfect. You don’t need to always be on pitch or on beat to have “perfection.” During those days, when they were lacking [sound] systems, he was just perfect. I would say he’s my role model. I still listen to his work.
Speaking of great performances, and in celebrating your kickoff U.S. date in New York, your first time performing in NYC was SMTOWN 2011 in Madison Square Garden. I was actually there covering for Billboard. Do you have fun memories from then?
I don’t remember the exact details like the press conference, it was over 13 years ago, but I remember Madison Square Garden. Doesn’t New York have those double-decker tourist buses? We rode that. And we went to the Times Square which was fun because we did it with all the artists in SM together. During that time, I was so jet lagged but I was like “No, I must do tourist activities.” My eyes could barely open but I was like “I need to be there. I need to look at Times Square with my eyes.”
Fast forward more than a decade later, it was cool to see you host the boy band survival show, Road to Kingdom: Ace of Ace — perfect name for Taemin. What was your experience as an established senior to these newer generations of artists?
It was interesting to see them because I could see really the determination they had and the pursuit for their dreams. I feel such empathy, sympathy and warmth for them, and also at the same time, I understand the pain and anxiety they live with at the same time; it’s quite a mix. But I admire and respect them doing their best to show the best performance to their fans.
Actually speaking of that, I don’t know maybe it’s the K-pop industry these days or just the whole pop system but, wow, it’s really great how it developed but their skills are. When these guys become older, their skills will be even more extraordinary.
And they can be sensitive; they’re at an age when you’re young and can be sensitive, but I just hope they don’t get hurt because the entertainment business, like any other business, are also in the business to make profit. While artists are in a job where they have to expend their emotions, I just hope they don’t get hurt and I hope they can make connections with their fans or giving positive image to world. That’s the process that I see them going through.
You have wisdom from being in the industry for so long but have made many changes lately. How do you know how to trust people or find those genuinely supporting you in the entertainment business?
So, I used to trust people a lot. I used to believe and rely on people a lot and I think I’ve also been hurt because of that. I’m just trying to believe in myself more. I’m so grateful for the people that are there as the people who support me, and I’ll always be grateful for them, however instead of just simply relying on people and dependent on them, I’m trying to become stronger on my own and stand up with on my two feet.
Looking ahead, what does this year look like for you? Are you preparing things now so that when the tour finishes, you can get back to work?
[Laughs] Um, I have a lot planned. After the tour, I want to finish with the Korean encore concert, which we will have, then the SHINee album will come out and we will have a SHINee show. I will also have my own album coming out…it’ll be quite exciting…it’s not confirmed if it’s a full album yet, but my solo album will come out.
I’m excited for all of it. Your last U.S. stop is in Honolulu. If possible, I hope you get to relax a little in Hawaii.
I would like that too!