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Yoshida Yasei’s “Override” easily took the top position in the Niconico VOCALOID SONGS TOP20 of 2024, announced by Billboard Japan on December 6. The song, which came out in November 2023, generated buzz thanks to its MAD or remix videos. Billboard Japan talked to Yoshida Yasei about how he felt about the success of the song.
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What led to “Override” racking up the views it did and becoming such a massive hit?
Yoshida Yasei: Of all the songs I’ve released so far, “Override” had the fastest growth immediately after release. I thought that it had the potential to surpass “Laughin’,” which was my most famous song at the time. Then the number of plays started rising even faster at the start of this year, from around January 7. I was looking at the analytics info on Niconico and YouTube, and thinking, “Huh? Something’s going on here.”
So you started to notice the memes.
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Yoshida Yasei: From around December, people started to create “Override” music remix videos, so I had this feeling that a derivative work boom might be coming on. The sudden increase in the number of remix videos at the start of the year caused the number of plays to rocket upward, and the buzz became a reality.
After that, “Override” took the top position in the Niconico VOCALOID SONGS TOP20 for the first half of 2024, announced on June 7, and then in the Niconico VOCALOID SONGS TOP20 for 2024. Honestly, how did that make you feel?
Yoshida Yasei: I was very happy. It felt like my song had become part of the culture. I thought that, given the amount of growth, this was a song that would live on in Vocaloid history. You know how on X (formerly Twitter), there are those posts that are like “Do you know this song?” and they have images of famous songs from each year? I was excited by the idea that “Override” would be used on one of those posts. It would be an honor to have one of my own songs included among all the distinguished famous songs on those lists.
Looking at the lyrics, there’s a line that goes “It seems that a life of struggle, taking it to your very limits, is even crazier than what I’d imagined.” This feels, to me, like a very direct expression of frantic frustration.
Yoshida Yasei: I made “Override” last October, over a year after leaving my previous work. At the time, I was truly desperate. “Override” was a song created by the physical embodiment of desperation. But, after the release, the song became a hit and I experienced being able to make a living from music. That gave me this tremendous sense of stability. The creation process was impulsive, so I didn’t really struggle with the melody that much. On the other hand, I did have to think deeply when I was writing the lyrics. Because of that, I have a lot of emotional investment in the song.
So you worked through the difficult progress of writing the lyrics, but than people focused on the catchy melody and the distinctive choreography of the animated music video. They started meme-ing off them, which generated buzz. How does that make you feel?
Yoshida Yasei: When I first started out as a Vocaloid producer, I wanted to make songs that led to the creation of a lot of derivative works and music video remixes. So, setting aside the issue of whether or not people’s creations matched the lyrics, I was happy about the whole phenomenon. I was watching like, “Huh, so this is another way things become popular. That’s pretty interesting.”
The title “Override” is an IT term that refers to disregarding settings, properties, and the like and using different ones instead, right?
Yoshida Yasei: Right. Once I’d decided on the title “Override,” I wrote lyrics that matched that aesthetic. Back when I was writing programs, I had this vague feeling that “life is all functions.”
A function?
Yoshida Yasei: Yes. A function is a system where you input something and the system outputs something else. In our lives, it’s like our birth supplies the input conditions and our death is the output of the function. Everything that happens in our lives—every event and every outcome—are a series of causes and effects. There are a countless number of these functions, chained together, so each person is like a program. I think some of those functions work against us. For example, your cultural capital differs depending on whether or not you were born in Tokyo. There are also functions that block access to things because of your bad luck. That’s where the concept of “Override” comes from. Overriding is like using a function with the same name to perform completely different operations. I think you can override these programs if you make enough of an effort, though.
I see.
Yoshida Yasei: I moved to Tokyo from Hokkaido last June. “Override” has the frantic frustration that I felt before I came to Tokyo and before “Override” became a hit. Living out in countryside, you face this downward spiral of “I don’t have access to this and I don’t have access to that.” By coming to Tokyo, I wanted to break this cycle. In other words, I wanted to overwrite the function that said “Input: You live in the countryside → Output: You have no access” with one that said “Input: You live in Tokyo → Output: You have access.” But, to be honest, when I had just moved, I was still in the same desperate situation I had been in before moving.
You uploaded “Override” last November, and then the number of plays started skyrocketing. Although it did take a little time after coming Tokyo, it feels like you really did “override” your life.
Yoshida Yasei: Indeed. Perhaps I overrode my fate.
The chorus to “Override” has a very distinctive choreography that has quite a visual impact, so there are tons of people copying it. Where did that choreography come from?
Yoshida Yasei: From the start, I had this mental image of meme-like movement, so I talked with illustrator Sisia, going into a lot of detail about what I wanted, like “I want an illustration like this” or “I want to keep this material separate from that material.” Sisia worked on the illustrations without knowing what the completed video would be like. I provided a lot of detail about the little jokes to be included and the way the art should look, and I’m really thankful about what wonderful illustrations they created.
It sounds like you had a perfect balance of lyrical urgency and humor, which is what led to “Override” becoming the hit it’s become.
Yoshida Yasei: Tongue-in-cheek memes were just right for balancing out the barbed lyrics, making it more joke-like. The music itself also has a light feel, but the sharp lyrics fit in smoothly. I feel like there was just this miraculous balance of different elements. I don’t think “Override” would have had the same feel if it were missing the memes or if the melody were different.
Another thing that stood out is that after you uploaded the song, both in the comments on your own video and on X (formerly Twitter), you were actively encouraging people to make derivative works.
Yoshida Yasei: I simply wanted there to be more derivative works, so I provided materials people could use and I shared works they made. It also felt a little like an experiment: “What would happen if a creator were actively involved in derivative works?” Ultimately, that generated buzz, and, like when the song broke the record for consecutive weeks in the charts, I was like “Oh, so this is how the story turns out.” As always, I looked at the whole thing from a third person perspective (laughs).
2024 was a year of overriding for you yourself, and it’s also the year in which “Override” carved its name in the Vocaloid charts. How do you feel looking back on this past year, in which “Override” led to so much creation?
Yoshida Yasei: I experienced a lot of things this year that I’d never even imagined before. It was a year of major change for me. I was even surprised about how making new connections and meeting new people changed. So I really haven’t fully gotten my head around this year of tremendous change. In 2025, I hope to look back on my social media and photographs and gradually make some order out of all of it.
—This interview by Mio Komachi first appeared on Billboard Japan
Rosé & Bruno Mars’ “APT.” returns to No. 1 on the Billboard Japan Hot 100, on the chart released Dec. 25, logging its fourth week atop the tally.
Compared to last week, the global hit shows signs of slowing down with streams and radio airplay down to 96% and 44%, respectively, but downloads gained (101%) and video views are also up slightly. The track comes in at No. 1 for downloads and streaming, No. 2 for video, No. 20 for radio, and No. 42 for karaoke this week. “APT.” has also led Billboard’s Global 200 for nine consecutive weeks.
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Mrs. GREEN APPLE’s “Lilac” rises 4-2. Downloads for the Oblivion Battery opener are up to 131% week-over-week, streaming to 105%, video to 104%, and karaoke to 104%.
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Aqours’ “Eikyu hours” debuts at No. 3. This is the title track off the single containing the theme song for the group’s last headlining concert with all nine members, called Love Live! Sunshine!! Aquours Finale LoveLive! Eikyu Stage, set for June 2025. The CD launched with 179,390 copies to hit No. 1 for sales, and the song also comes in at No. 82 for downloads and No. 41 for radio.
Creepy Nuts’ “Otonoke” rises two notches to No. 4, and Mrs. GREEN APPLE’s “Bitter Vacances” holds at No. 5. Also, a wide range of Christmas favorites have also returned to the chart in droves this week, with back number’s “Christmas Song” climbing 7-6, Mariah Carey’s “All I Want For Christmas Is You” jumping 30-19, and Keisuke Kuwata’s “White Love” moving 48-32.
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 Dec. 16 to 22, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
With a career spanning over four decades, Abdul Majeed Abdullah has become a cornerstone of Arabic music, and his influence shows no signs of fading. Revered as “The Prince of Tarab,” Abdullah continues to captivate audiences with his unparalleled artistry, bridging generations and defining the sound of Khaleeji music while shaping the broader Arabic music landscape.
For Abdullah, 2024 was yet another landmark year, as the inaugural Billboard Arabia Music Awards in Riyadh, Saudia Arabia, honored the iconic artist with multiple awards. At this groundbreaking event — a milestone for the region that took place at King Fahad Cultural Center on Dec. 11 — he received artist of the year in the Khaleeji dialect genre and top male artist in the Khaleeji dialect, alongside a prestigious lifetime achievement award, which recognized his profound and lasting impact on the Arab music world and on Khaleeji music in particular.
The ceremony celebrated the rich diversity of Arabic music, showcasing a wide array of subgenres, including the winners from Billboard Arabia’s various dialect charts: Khaleeji, Egyptian, Moroccan and Levantine. The awards also highlighted distinctive local cultural genres such as Mahraganat, a progressive and energetic contemporary iteration of Egyptian shaabi (popular folk) music, and Shelat, an evolving genre that has transformed from a poetic tribal chant to drive a new wave of Khaleeji music. In addition, the event spotlighted the dynamic rise of Arabic hip-hop and Arabic indie sounds, where global musical influences merge seamlessly with Arabic lyricism, creating a vibrant fusion of styles that reflects the evolving regional landscape. Sherine Abdel Wahab, recognized as a Global Force honoree at Billboard’s Women in Music event in March, was named artist of the year at the Billboard Arabia Music Awards.
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Since the launch of the Billboard Arabia charts in December 2023, Abdullah has consistently appeared on both the Billboard Arabia Hot 100 and Billboard Arabia Artist 100 charts. His track “Ya Ibn Al Awadam” from the 2021 album Aam Mouazy marked his debut on the charts, where it remained for nine weeks. Later in the year, he returned to the charts with songs from his latest album, including “Haki Wajid” and “Ya Meniti,” and with his pre-album single, “Lak Saqni Al Rab.” Throughout 2024, his presence on the Artist 100 chart was particularly remarkable: He only missed one week on the list, underscoring his enduring popularity and influence, and cementing him as the artist for Billboard Arabia to spotlight for this year’s Global No. 1s series.
With the launch of Billboard Arabia’s subgenre charts in August, which featured various musical genres and dialects, Abdullah quickly emerged as the dominant force in the Khaleeji category. He made an impressive debut, securing 11 songs on the Top 50 Khaleeji dialect chart in its first week. His record peaked at 12 songs in a single week, and throughout the year, the number of his songs on the list never dropped below seven — remarkable consistency and dominance that earned him the artist of the year - Khaleeji dialect award in 2024.
It’s noteworthy that Abdullah’s songs featured on Billboard Arabia’s Top 50 Khaleeji chart span four different decades. His track “Sahit Jamra,” from the 1990s, made an appearance, as well as “Insan Akthar” from the early 2000s. Additionally, his song “Ruh Al-Ruh” from the 2010s, along with multiple tracks from his album A Parallel World and his latest release, reflect his continued relevance and influence in the current decade. Meanwhile, Abdullah’s recognition with the inaugural lifetime achievement award honored his extraordinary career and lasting impact on the Khaleeji and Arabic music landscape. Over the past four decades, he has remained influential, continuously releasing music and performing to sold-out audiences. His most recent album, Abdul Majeed Abdullah 2024, further cemented his legacy, achieving widespread popularity and showcasing his ability to innovate within his genre. The honor celebrated Abdullah not only for his artistic excellence but also for his profound and enduring influence on the cultural consciousness of the Arab world.
Dom Dolla has once again proven why he’s one of the hottest names in EDM, wrapping up a record-breaking Australian tour that saw over 170,000 tickets sold across four cities.
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The achievement makes it the largest-ever tour by an Australian electronic artist, with every show selling out almost instantly—a feat that proves his place as a trailblazer in the live music scene.
The tour spanned iconic venues and greenfield sites, with performances at Melbourne’s Flemington Racecourse, Sydney’s Domain, Brisbane’s Riverstage, and Perth’s Wellington Square, and fans witnessed a four-hour back-to-back set with Solomun as part of Untitled Group’s 10-year anniversary celebration.
“Today was the last show on this tour,” Dom told the 9,000 strong audience towards the end of his set in Queensland, as per The Music Network. “This tour has changed my life.”
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“It’s been an incredible journey working with Dom over the past 10+ years, and this tour is the culmination of all the hard work, passion, and dedication we’ve put into building something special together,” Nicholas Greco, Co-Founder and Managing Partner of Untitled Group, shared. “Watching Dom connect with fans on such a massive scale, and seeing his music resonate with so many people across the country, is an experience I’ll never forget. This tour was a record-breaking moment not just for Dom, but for the entire Australian electronic scene.”
This monumental tour follows a remarkable year for Dom, who recently added an ARIA Award for Best Dance/Electronic Release for his infectious track, “Saving Up,” which peaked at No. 25 on Billboard’s Hot Dance/Electronic Songs.
The Melbourne star’s success isn’t confined to Australia. His momentum shows no signs of slowing down as he gears up for a packed 2025 schedule, starting with a headlining slot at the Palm Tree Music Festival in Aspen, CO, on Feb. 21, followed by the official afterparty later that night.
The Aussie DJ will then take the stage at Madison Square Garden in New York for two highly anticipated shows on March 7 and 8. These performances sees him join the ranks of John Summit, Black Coffee, and the trio of Skrillex, Four Tet, and Fred Again.., who have all transformed the iconic venue into major rave experiences.
It’s the season of giving, and the ARIA Charts are delivering plenty of musical cheer. Taylor Swift and Rosé are unwrapping some major milestones just in time for the holidays.
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Swift continues her record-breaking year at the top of the ARIA Albums Chart, while Rosé holds strong at No. 1 on the ARIA Singles Chart, with Christmas classics also shaking up the scene. Swift’s The Tortured Poets Department is unstoppable, spending its eighth consecutive week at No. 1 on the Albums Chart. It marks 18 weeks in 2024 that Taylor has ruled the ARIA charts across multiple albums, including 1989 (Taylor’s Version), Midnights, and Lover.
That’s right—she’s managed to outdo even herself, beating her 17-week streak from 2023.
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Adding to the excitement, Stray Kids storm in at No. 4 with their mixtape Hop. With Aussies Felix and Bang Chan leading the charge, the K-pop superstars prove they’re a force to be reckoned with, following the success of last year’s 5-Star.
Meanwhile, Michael Bublé’s Christmas makes its festive return, climbing back into the top 10 at No. 9, because let’s face it—Christmas isn’t complete without Bublé crooning in the background.
On the Singles Chart, Rosé and Bruno Mars’ smash hit “APT.” is showing no signs of slowing down, claiming its seventh non-consecutive week at No. 1. With just one more week, it could tie Sabrina Carpenter’s “Taste” as 2024’s longest-running No. 1 single. And speaking of holiday magic, Mariah Carey’s “All I Want For Christmas Is You” rockets from No. 8 to No. 3. The Queen of Christmas does it again, with her timeless anthem on track for another festive chart takeover.
Holiday cheer continues to sprinkle across the charts. Wham!’s “Last Christmas” jingles its way up to No. 7, while Brenda Lee’s “Rockin’ Around the Christmas Tree” cracks the top 10 at No. 10.
Not to be left out, Bobby Helms’ “Jingle Bell Rock” rises to No. 14, and Ariana Grande’s “Santa Tell Me” climbs to No. 18, proving that the season of giving is also the season of charting. Lola Young shakes things up with her breakout hit “Messy,” which leaps from No. 18 to No. 6, marking the U.K. singer’s first top 10 in Australia.
When he was about 12, Giorgi Gigashvili discovered the Argentine pianist Martha Argerich. A young pianist himself, Gigashvili had recently realized he wanted classical music “to be a part of my life,” and when he came across a YouTube video of Argerich performing Prokofiev’s Piano Concerto No. 3, “I fell in love with both the piece and Martha Argerich,” he says.
Argerich became an idol for the aspiring Georgian musician — and, just a few years later, they crossed paths under auspicious circumstances. In 2019, the then-18-year-old Gigashvili won a piano competition in Spain, and he got to meet the head of the jury: Argerich. “That was the moment I truly believed that what I was doing was the right choice,” he says.
Such is the life of one of the global classical music community’s most lauded emerging talents. Now 24, Gigashvili has already amassed a long list of achievements: performing to a sold-out Carnegie Hall in New York, being among the 2023 winners of the world-famous Arthur Rubinstein International Piano Master Competition in Israel, earning the distinction of resident artist at the 2024 Beethovenfest in Germany and much more.
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But notably, Gigashvili hasn’t limited himself to the genre where he first made his name. Instead, he’s incorporated pop, electronic and experimental music, because he believes that each musical genre has a unique charm — and that none of them should be underestimated.
Ninutsa Kakabadze
Gigashvili’s eclectic taste dates back to his childhood. Long before he was playing to sold-out concert halls and amassing accolades, Gigashvili’s mother and aunt nurtured his love of classical music. “Classical music was always playing in our home, on vinyl or the radio,” he recalls. “The sound of this genre and the works of great composers became part of my memory. We had an old piano at home, and since childhood, I was drawn to touch its keys. I loved its sound.” At age 6, he started taking lessons. “For many children, learning classical music can feel like a stressful process,” he says, “but for me, it was a source of great joy.”
But, concurrently, he was developing an interest in other types of music — and the 2006 musical film Dreamgirls was a major catalyst. An older friend gave him a copy of the film, which he says he watched “several times a day.”
“The music in it was very different from classical music, but it made a huge impression on me,” he says. “This is where the period begins when my love for music and my interest in it were no longer defined by genre. The idea that classical music is isolated and its love excludes the love for other genres is a snobbish approach and has nothing to do with understanding the phenomenon of music. I think it’s wrong to believe that there is no serious genre other than classical music. I don’t divide music into serious and nonserious genres. Every genre, for me, is serious and unique.”
Ninutsa Kakabadze
In turn, despite his recognition in the classical world, Gigashvili has ventured into other genres. He’s drawn on pop, electronic and other modern styles in his repeated collaborations with the young Georgian artist Nini Nutsubidze, which have included modern interpretations of Georgian retro songs — nostalgic for older generations and an engaging way to introduce younger audiences to their culture’s musical heritage. Listeners of all ages have gravitated to the recordings.
At Beethovenfest, Gigashvili performed with Nutsubidze, where they delivered a unique amalgam of classical, folk, electronic, pop, hip-hop and Georgian retro music. “The fact that I, as a classical music performer and pianist, am involved in creative, modern experimental projects makes it even more interesting to Western audiences,” he says. “The global audience today is more curious and interested in experimental approaches.”
Gigashvili says that the creative process differs with each genre — but that these differences are what make his work interesting and diverse. “When you play classical music, the opportunities for interpretation are more limited,” he says, explaining that because classical performers “can’t subtract or add notes,” the genre relies on more subtle differences in aspects like technique and emotion. “I enjoy this limitation because it makes me think more about what I can break and where I can push boundaries. When it comes to performing contemporary music and I am at the keyboard, I am completely free. There’s no need to add my personal signature to specific pieces because I am already the author. These two experiences together create Giorgi Gigashvili.”
Ninutsa Kakabadze
Meanwhile, as Gigashvili’s platform has grown, he has used it to advance causes beyond music. Gigashvili is one of those artists who stands out for his active civic position. With Georgia’s relationship with the European Union at a crossroad, Gigashvili has spoken out supporting the country’s European future and protesting injustice.
“When I express an opinion on social issues, first and foremost, I am a citizen, not an artist,” he says. “This is my primary status. Even on the day I stop performing, I will still speak up and I will still express my position. Today, when Georgia’s European future is at risk, I believe it is every citizen’s duty to clearly express their civic position. This is especially their responsibility if they have a large audience and the right platform. If someone doesn’t have a correct civic position, for me, their art, including music, loses value.”
As Gigashvili anticipates a busy 2025 — he embarks on a tour of America, Asia and Europe in January, and he’ll soon begin recording his second album, which will feature Prokofiev’s Piano Sonatas Nos. 6, 7 and 8 — it is music’s utility as an inspirational tool that continues to motivate him.
“Once, after a concert, an audience member came up to me and said, ‘It seemed like I had forgotten I had emotions, but today, this music made me remember that I am human,’ ” he recalls. “I will never forget this comment. If a performance can make you cry, laugh, feel sad, make you happy or even angry, it means it is real. For me, that is the purpose of music.”
Argentina and Uruguay are two nations with deep-rooted connections to cumbia. Throughout history, artists of the genre have emerged from both sides of the Río de la Plata, becoming the soundtrack of daily life for millions of families in both countries. This past year, that cultural legacy was further strengthened by Valentino Merlo and The […]
K-pop tracks continues to dominate playlists and charts worldwide with 2024 being no exception. This year, top artists delivered an incredible array of songs that define the genre’s innovative spirit, emotional depth and increasing international appeal. As the year winds down, Billboard wants to know which track resonated with you the most. 2024 saw major […]
Nogizaka46’s “Hodoukyo” tops the Billboard Japan Hot 100 chart released Dec. 18 tallying the week from Dec. 9 to 15.
The popular girl group’s 37th single dropped on Dec. 11 and launched with 609,776 CDs to hit No. 1 for sales, while also coming in at No. 11 for downloads and No. 6 for radio airplay.
Rosé & Bruno Mars’ “APT.” holds at No. 2. The pop-punk hit continues to rule streaming and video views with slight gains in both metrics, while radio is up to 114% compared to last week (moving 6-4) and karaoke to 125% (67-60). Rosé’s first solo album rosie, which includes this track, debuted at No. 3 on the Billboard 200 this week.
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LE SSERAFIM’s “CRAZY” follows at No. 3. The title track off the group’s fourth mini-album was released in August and debuted at No. 67 on the chart released Sept. 4 and shot to No. 8 the following week. The CD version sold 142,223 copies to power the single to No. 3 this week.
Mrs. GREEN APPLE’s “Bitter Vacances” drops to No. 5 after topping the tally last week. The track is down in downloads (64% week-over-week), streaming (82%), radio (42%), and video (66%).
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back number’s “Christmas Song” (released Nov. 18, 2015) climbs eight notches to hit No. 7 this week. The seasonal favorite by the three-man band has returned to the top 10 every year since 2021 near Christmas, but the only time it’s been in the top 10 outside of the week including Dec. 24th was in Jan. 2016. Looking at the number of streams for the track from Dec. 1 to 14 since 2021, using Luminate’s analysis tool CONNECT, streams have been increasing every year, indicating that this yearning love song has taken hold as a holiday season staple in Japan. Streams for the track during the Christmas period have also increased in other Asian countries, with South Korea at 103% compared to last year and Taiwan at 108%.
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 Dec. 9 to 15, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
There’s been no shortage of excellent K-pop albums this year, and now that 2024 is winding down, Billboard wants to know which record has defined your year the most. Three K-pop artists earned career milestones on the Billboard 200 with projects this year: TWICE earned their first chart-topper in March with the girl group’s personalized […]