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ONE N’ ONLY, the six-member dance and vocal group from Japan, released their third EP, Fiesta, on Oct. 2. In the past, they melded J-pop and K-pop to create a “JK-pop” style, and in 2023 they established a new style, “Jatin pop,” which fused J-pop and Latin music. Their new EP Fiesta has an even freer approach, spanning all kinds of genres, including a foray into amapiano.
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Billboard Japan interviewed the group, which is constantly breaking new ground as a Japanese dance and vocal group. (Note: Member NAOYA was unable to take part in the interview due to a scheduling conflict.)
You’ve made a really lively EP with Fiesta I feel like it has more aggressive songs than your past work. What have your impressions been like?
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HAYATO: Well, first off, when we were creating the EP, we talked about wanting to make songs to lead our autumn tour. We wanted to make something that would get the audience hyped, like “EVOL,” turning shows into real parties. That’s why we made “Fiesta” our lead song. I think it’s an incredibly fun EP.
“EVOL” generates a lot of excitement, so it’s beloved by fans.
TETTA: Right. I think “Fiesta,” like “EVOL,” will turn up the energy levels in our shows.
HAYATO: The chorus is one you never get tired of, the song has a fast tempo, and both the lyrics and the choreography are incredibly upbeat. There’s also a part that we want all our fans to sing along with, so want to build up this song together.
TETTA: KAITA did the choreography for “Fiesta.” A lot of trial-and-error went into the chorus, too, and I think it turned out catchy and memorable. We stripped the choreography down a lot, making it easy to copy, and the dance is a lot of fun.
How many times have you worked with KAITA so far?
HAYATO: This is our fourth song, after “Hook Up,” “OPEN,” and “Last Forever.” The choreography is really catchy and easy to understand, and KAITA’s the same age as us, so he’s easy to talk to. That’s why the end result turned out so well.
REI: Ever since we established the “Jatin Pop” genre by fusing J-pop and Latin music in “EVOL” and “DOMINO,” we’ve written a lot of songs with Latin elements. “Fiesta” is especially catchy, and it has a great call-and-response section, so the audience will get amped up with us. KAITA, the choreographer, is part of RIEHATATOKYO, which has a strong hip-hop focus, so the choreography he created was really groovy. There’s a lot of depth to the rhythm, and that was combined with this Latin feel. They’re a great match. I don’t think there have been any other groups that combined Latin and Japanese elements like we have with Jatin Pop, so, just like our name, I think we’ve created a “one and only” song.
EIKU: And what’s more, it’s a blast to sing. You can really get into it, and I can just imagine everyone going crazy, carried by that Latin sound, so I’m looking forward to performing it live. Also, through our tour of all of Japan’s 47 prefectures, I’ve felt a change in how much more vocal our fans have gotten.
TETTA: Right! There’s this stronger feeling of unity, and in the audience participation parts, the crowd has gotten so much louder that it feels like they’ve all been practicing together in advance.
HAYATO: It’s so much fun sharing that feeling of excitement and energy with everyone.
KENSHIN: I think that by releasing a song like this, we’re helping create an even stronger sense of unity. I love the start of the second verse. It has this speed and this addictive quality that makes you want to listen to it over and over again. The song gets you fired up. The lyrics are also interesting, combining Japanese, English, and Portuguese.
HAYATO: The lyrics are all really easy to understand, too, so they’re easy to absorb.
KENSHIN: Yeah. Through our 47-prefecture tour from October 2023 to April 2024, we improved our live performance abilities. We were able to experience truly hands-on live shows, and we’ve grown so much.
TETTA: But we never had any down time! There were cameras filming us even while we were travelling between shows, so the only time we were truly alone was when we were asleep in our hotels. Partway through, I was like, “Where am I?” “Who am I?” (laughs) But thanks to that, I was able to focus exclusively on our shows, so I refined my vocals, and I grew more confident with each show. It was a great experience.
REI: It really was educational. Playing at small concert venues, close to the audience, I’d look at people further away and think that I needed to make it a fun show for everyone. I think the tour made me much better at performing live.
TETTA: We played several live shows in Brazil, and sometimes there would be a change of venue on the actual day of a show. Coming from experiences like that, the little problems that came up when touring in Japan were a breeze to deal with. (laughs)
KENSHIN: I became a lot more adaptable! (laughs)
That’s great to hear. Going back to the EP, “Burn it out” is a hard rock number, which is unusual for ONE ‘N ONLY. Listening to it, I could just picture you running around the stage.
HAYATO: We wrote that song precisely because we wanted to run around! We have an older song called “OPEN,” which has a strong rock feel. ONE N’ ONLY and rock go together really well. We wanted a song in our set list where we could go wild, so we picked “Burn it out.”
TETTA: I like rock in general, so singing that song is a blast. I feel like with a rock song, the way you perform live is different, so I’m looking forward to doing it live.
REI: The music for “R.U.S.H.” was written by JUNE (ONE N’ ONLY’s music producer) and HAYATO was involved in writing the lyrics. I hope listeners pick up on those creative aspects, as well.
HAYATO: I worked on the rap part. I wanted to use Japanese, too, so I picked words carefully. In JUNE’s songs, it’s pretty common for the Japanese parts to be broken down and given a more Western feel, with English mixed in, but if I was going to be taking part in the writing process, I wanted to have some clearly Japanese parts. I placed a lot of importance on the overall vibe, focusing on creating an atmosphere in which the words were clearly audible.
EIKU: I love “Too Much.” There’s some amapiano in there, so I hope people keep a close eye on our footwork. TETTA and I did the final switch-up, and I love the interplay in that part. It felt like we were jamming together, so I had a lot of fun.
HAYATO: The choreography also had some African dancing, and we’re developing and using some new steps, so I want fans to check out these latest moves, fresh from the floor.
EIKU: These new steps are like nothing I’ve ever seen when practicing the fundamentals. They’re really hard, so I’ve been watching tutorial videos and practicing.
KENSHIN: I like “ALL OUT.” We debuted this song in the final show of the 47 prefecture tour, but we wanted to make it clear in the lyrics that this was just one more step in our journey. NAOYA, HAYATO, and I wrote the lyrics to the song, and I didn’t have much previous experience with writing lyrics, so it was an incredibly fun time.
HAYATO: We wrote lyrics to accompany music from JUNE, and all of us really focused on the details. We’d show each other the lyrics we were working on while on the bus between shows, and we truly put our heart into the lyrics. Because of that, we were able to create a song with a strong message.
—This interview by Kana Yoshida first appeared on Billboard Japan
Shed Seven are on the brink of securing their second U.K. No. 1 album of 2024 as their latest release, Liquid Gold, pulls ahead in this week’s fiercely competitive race for the top of the U.K. Official Albums Chart.
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The U.K. rockers have widened their lead to 2,700 chart units over Bring Me The Horizon and their album POST HUMAN: NeX GEn, according to the midweek blast from the U.K. Official Charts Company.
Liquid Gold, which marks Shed Seven’s seventh studio album, has been a hit with fans, driving both physical sales and downloads. Their creative promotion, including limited edition CDs styled like retro concert tickets, has helped push them to the top.
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Currently the best-selling and most-downloaded album of the week, the band are looking to repeat the chart success they achieved earlier this year with A Matter of Time, which also topped the U.K. Albums Chart. If they hold on, this will be the band’s second No. 1 album in just 10 months.
However, Bring Me The Horizon’s POST HUMAN: NeX GEn isn’t out of the running just yet. Though it trails in physical sales, the Sheffield band is performing exceptionally well on streaming platforms, where they’re outpacing Shed Seven. The album, which is tracking for a new peak at No. 2, initially debuted at No. 5 back in July but has gained significant traction after its release on vinyl and other physical formats this week.
In third place is Nines’ new album Quit While You’re Ahead, making an impressive debut as the rapper looks to land another Top 3 hit after his 2023 release, Crop Circle 2, which peaked at No. 2.
Close behind, Sabrina Carpenter’s Short n’ Sweet, a former chart-topper, is sitting comfortably at No. 4 midweek, thanks to her strong streaming numbers, and could move higher as the week progresses.
Further down the chart, Mercury Prize winners Ezra Collective are holding firm at No. 6 with their jazz-influenced Dance, No One’s Watching, which is on track to become their first-ever U.K. Top 10 album. Also eyeing a Top 10 debut is Smitten, the latest release from Pale Waves, currently positioned at No. 7.
Elsewhere in the Top 10, Ed Sheeran makes a mark with his newly released + – = ÷ x Tour Collection, entering at No. 5, while Maxïmo Park’s Stream of Life is on course to debut at No. 9.
Shed Seven’s lead remains strong, but with streaming continuing to dominate the charts, the race for No. 1 is far from over. Stay tuned until the final chart positions are confirmed this Friday.
Billboard‘s International Power Players list recognizes the leaders that are driving the success of the music business in countries outside the United States. Avex’s CEO, Katsumi Kuroiwa, was chosen from the music industry leaders of the world for inclusion in the list for the second consecutive year. Billboard Japan interviewed Kuroiwa upon his selection for the list and talked with him about the response to ONE OR EIGHT and the issues Avex faces when creating global hits.
You were selected for inclusion in the Billboard International Power Players in recognition of AEGX’s success in bringing artists like Ed Sheeran and Taylor Swift to perform in Japan. It seems like this collaboration with AEG has truly gained steam in the post-pandemic era.
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Katsumi Kuroiwa: In February, Taylor Swift played four days of shows in Tokyo Dome. There was huge demand for tickets, both from Japanese and overseas fans. There was particularly high demand from overseas fans, primarily in China and Southeast Asia, so I think the shows also had a major economic impact.
The newspapers were talking about it, too.
Kuroiwa: Taylor Swift’s only stops in Asia were Tokyo and Singapore, so the shows really drew a lot of attention. We need to make sure that when major artists like that come to Asia on tour, they never skip Japan, no matter what. For artists, performing in Japan is somewhat of a status marker, so we communicated closely with AEG members to provide a high level of hospitality.
In last year’s interview (https://www.billboard-japan.com/special/detail/411), you said “we can shift from these being isolated successes to a tide that creates a new market.” Just recently, boy band ONE OR EIGHT made their debut and took the top spot on Billboard’s Heatseekers chart dated August 28. How do you see the response to the band?
Kuroiwa: Last May, we strategically invested in S10 Entertainment, a U.S.-based management company, through Avex USA, and we reinforced our overseas expansion efforts. As part of that, ONE OR EIGHT has also been coordinating closely with Avex USA. Their debut song, “Don’t Tell Nobody,” was produced by David Stewart and OneRepublic’s Ryan Tedder, and the band is being managed by an international team with members from the U.S., Japan, and Korea.
Creating a global hit song is extremely difficult, but we’re not one of the big three record companies, so without going after foreign revenue, I don’t think we could survive.
Do you think anime tie-ups are essential to producing global hits?
Kuroiwa: I want a hit anime tie-up so badly I can taste it (laughs). I’ve been really impressed with Creepy Nuts and YOASOBI. Of course, simply releasing a tie-up isn’t all there is to it. It’s also important that the tie-up matches the artist’s vibe. The scale of exports from the anime industry is totally different from the music industry, so I think anime plays an important role in expanding the global reach of Japanese music.
In September 2023, we launched the Global Japan Songs Excl. Japan chart, which ranks Japanese music that’s become a hit overseas. I feel like Japan’s music industry has kicked it into higher gear. Physical media sales still account for a lot in Japan. Do you think there’s any potential for physical media sales in the global market?
Kuroiwa: I think it depends on the country and the artist. I recently went to Korea, for the first time in a while. They’ve seen a lot of growth in CD sales over the past few years, but not because people have gone back to listening to music on CD. Instead, CDs are seen as merchandise, and there has been some discussion about whether or not those sales should be reflected in music rankings. I was surprised to hear that one artist recently sold their CD with an artist-branded CD player. I heard that it sold extremely well, and 30 or 40 percent of the people who went to shops to buy it were Japanese. But the values people have, and the way they listen to music, varies by country, so it would be hard to successfully apply that same approach in the U.S., for example.
What potential do you see for Japanese artists?
Kuroiwa: Looking at the Billboard JAPAN charts, I see a lot of different things going on. There are times when an artist will take a top position in the first week after their debut but then fall immediately out of the rankings, but on the other hand you have artists like Mrs. GREEN APPLE that stay on the charts week after week. For Avex, Da-iCE has been releasing steady hits recently.
Going forward, we’ll be putting even more energy into our overseas efforts, but we need to keep creating hits inside Japan, too. I think the biggest pitfall to avoid now is immediately setting out to take on the overseas market as soon as an artist has had a little success in Japan. The approach used in creating a hit in Japan is totally different than that used to create a hit in the U.S., and (the industry) needs to change the way they think about that.
Japanese anime and games have achieved some degree of market share worldwide, but for music, there’s still a long way to go. What challenges do you think the Japanese music industry still faces?
Kuroiwa: Compared to games and anime, Japan’s music industry has only recently really tried to take on the global market. Japan’s video game consoles saw the world as their market from the very start, and the Anime Expo has been going on for over 30 years now. These industries have been engaging with the world and establishing their own cultures.
If I could digress for a moment, we operate Anime Times, an unlimited anime streaming channel, together with companies like Kodansha, Shueisha, and Shogakukan. In expanding it overseas, the biggest challenges we’ve faced have been subtitling and casting voice actors. There have been discussions about the potential for AI to help resolve these problems. If viewers could watch anime in their local languages, but with the voices of the original voice actors, that could further boost exports. So I think the anime industry still has a lot of potential for future overseas growth.
When it comes to music, though, I feel like the number of artists who create music with overseas audiences in mind is still incredibly small. The industry is based around production in Japan—achieve success in Japan and then set your sights on the international market, that sort of thing. I think that’s what’s keeping Japanese music from spreading organically worldwide.
The way you make music differs completely based on what markets the artists and staff are looking to. Over the past few years, a lot of artists have been trying to tackle overseas markets, and those efforts have created a foundation of taking on these challenges. We’re also seeing a gradual increase in the number of successes. As more and more artists achieve overseas success, they’ll form a critical mass that will play an important part in the content industry.
In Korea, this was achieved through the public and private sectors working together. I want us to look to their example as we strive to take on overseas markets ourselves.
Avex has continued to grow by actively partnering with foreign companies like AEG or S10 Entertainment. Are there any philosophies you share with your employees regarding the future growth of your business?
Kuroiwa: Yes, “always generate buzz” and “keep taking on new challenges.” I believe that if our employees do the kinds of things that make friends and family members say “Your company is amazing,” this will, ultimately, contribute to improved business performance. Another is our tag line, “Really! Mad+Pure.” People aren’t receptive to “mad” alone, and “pure” alone doesn’t generate buzz, but I think our company has a good balance of both.
We’re a newcomer to the Japanese recording industry, founded in 1988. We found openings during the height of the CD sales boom, working passionately to do things that nobody else was doing. I tell our employees that it’s vital that we never lose that mentality of looking for new openings and taking on new challenges.
—This interview by Seiji Isozaki and Naoko Takashima first appeared on Billboard Japan
Hoshimachi Suisei surprised passersby in Shibuya, Tokyo on Monday (Sept. 30) by appearing unannounced at Udagawa Crank Street in Center Gai for a compact set promoting her upcoming new single. Explore Explore See latest videos, charts and news See latest videos, charts and news With over 2.4 million subscribers on her channel, Hoshimachi Suisei is […]
Hey! Say! JUMP‘s “UMP” shoots to No. 1 on the Billboard Japan Hot 100, dated Oct. 2, selling 221,762 CDs in its first week.
The lyrics for the eight-member group’s 34th single was written by sumika’s Kenta Kataoka. The track was powered by physical sales (No. 1) and radio airplay (No. 6) and hits No. 1, becoming the group’s 31st chart-topper. The last time Hey! Say! JUMP ruled the Japan Hot 100 was in May 2022, with its single “a r e a.”
Mrs. GREEN APPLE’s “Lilac” holds at No. 2. About six months have passed since the Oblivion Battery opener was released, and while the track is slowing down in most metrics of the chart’s methodology, radio is up by about 1.4 times this week, rising from outside the top 100 to No. 68. The former No. 1 hit continues to dominate streaming (15 consecutive weeks) and video views (three consecutive weeks). The three-man pop band also has another song in the top 10 this week, with “Dance Hall” jumping 20-9.
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back number’s “to new lovers” also holds at No. 3 this week. The final episode of the drama series the song serves as the theme — Umi no Hajimari — aired during the chart week and streaming increased slightly, while other metrics decreased slightly. The former No. 1 song has been charting for eleven weeks and has spent four straight weeks in the top 10.
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Kocchinokento’s “Hai Yorokonde” rises 7-4. Most likely due to the music producer’s appearance on CDTV Live! Live! on Sept. 23, downloads are up 112%, streaming up 101%, and radio up 154% from the week before. The viral hit has remained in the top 10 for 11 straight weeks, coming in at No. 3 for downloads, No. 8 for streaming, No. 3 for videos, and No. 19 for karaoke this week. The track also made headlines recently when the accompanying music video reached 100 million views on Monday (Sept. 30). The singer-songwriter is set to make his second appearance on CDTV Live! Live! on the show airing Oct. 7.
Creepy Nuts’ “Bling-Bang-Bang-Born” rises a notch to No. 5. Radio for the MASHLE Season 2 opener is up 128% and the former No. 1 mega-hit has now been in the top 10 for 37 consecutive weeks.
Kenshi Yonezu’s “Sayonara, Mata Itsuka!” is back in the top 10, after the full version of the animated opening sequence of the highly acclaimed biographical legal drama series it serves as the theme dropped ahead of the final episode last week. All metrics increased from the week before: downloads is at 142%, streaming 105%, radio 480%, video 162%, and karaoke 106% week-over-week.
Billboard Arabia‘s special edition “Jalsat” (session) stands out in form and purpose. The exclusive video series “Jalsat Billboard Arabia” was launched in February 2024 and featured some of the region’s most groundbreaking artists, from Ahmed Saad to Siilawy and Saint Levant. This time, in celebration of Saudi National Day, Billboard Arabia traveled back to the 1980s to revive the voice of an icon—a trailblazer who made music history in the Kingdom of Saudi Arabia, Etab. Released on the 94th Saudi National Day (Sept. 23), Billboard Arabia deployed AI technology to bring Etab’s iconic voice and performance back, with a fresh take on her tribute to Saudi in the song, “Ya Saudi” (Hey Saudi).
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Etab’s legacy as Saudi Arabia’s first female singer and a trailblazer in Khaleeji music continues to shape Arabic music and culture. She broke down barriers in a male-dominated industry and paved the way for generations of Arab women. Her songs are deeply rooted in Bedouin cultural heritage, which still resonates today. To celebrate Etab’s milestones, Billboard Arabia has reintroduced her iconic song with a contemporary remastering of the track. With the help of AI technology, the track was reimagined to showcase how Etab might have performed on the Jalsat Billboard Arabia stage. The new version preserves the timeless essence of Etab’s classic Arabic artistry while appealing to today’s listeners.
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While many know Etab’s famous hits, “Ya Saudi” has not received the same level of recognition. Billboard Arabia aims to change that by using advanced AI and smart technology to remaster her performance and give new life to the track. The song, updated with modern elements, is designed to resonate with longtime fans and new listeners, acting as a bridge between generations. Etab’s story and music are a reminder that cultural authenticity has the power to connect across borders, and this initiative brings her artistry into the digital age for a new generation to discover.
Etab’s career began in the 1950s and continued until her passing in 2007, spanning hundreds of songs and dozens of albums. She collaborated with prominent figures from the Gulf and Egypt while remaining true to the musical styles connected to her culture and homeland. Perhaps there is no better song than her ’80s hit “Ya Saudi” to celebrate her enduring legacy and the national festivities across the Kingdom. The song stands out against other National Day songs for its jubilant lyrics, set to a vibrant, upbeat rhythm, expressing the joy of the people coming together and celebrating their homeland.
In interviews, Etab spoke about her pride in the song and its popularity. She first heard the melody in 1984; created by Talal Maddah, who is considered one of the most impactful Arabic music composers, Talal Maddah, who shared it because of how distinct it was from his usual style. Ibrahim Ghazi penned its lyrics, and Mohammad Shafiq wrote the melody. The song was released on her album Al Qarar Se’eb (Deciding is Difficult), and it also appeared as a duet performed by Etab and Talal Maddah on the album Talal Madah and Etab No. 4. Later, various versions with new arrangements were released, covered by different artists.
“At Billboard Arabia, our goal is to spotlight Arab voices and MENA’s growing music industry, providing a platform and infrastructure to help both established and new artists reach wider audiences,” says Rami Zeidan, Managing Director of Billboard Arabia. “It was only befitting to celebrate Saudi sensation Etab. She was more than just a singer; she was a cultural icon. Her music reflects the rich culture of Saudi Arabia and the Gulf, and her fearlessness as a female artist in a male-dominated industry continues to inspire generations of Arab women in music. By using AI to revive ‘Ya Saudi,’ we are not only celebrating her legacy but also highlighting modern Saudi Arabia – where tradition and innovation come together in harmony.”
Etab and her direct family members have all passed; a surviving relative was informed of this project, however. The song rights for this performance have been secured through the appropriate label.
Central Hall Westminster was alive with the energy of cross-cultural musical exchange as the Saudi National Orchestra and Choir took to the stage alongside the Royal Philharmonic Orchestra to present an evening of musical dialogue. This conversation culminated when both orchestras were joined in concert together in several key moments, chief among them, their rendition of Adele’s “Rolling in the Deep” mashed up with Saudi classic “Adeet fi Marqab” (I Passed in Marqab) to the stunning medleys of iconic Saudi music presented with a Western twist.
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On Sept. 28, London became the fourth stop in the Saudi National Orchestra and Choir’s “The Marvels of Saudi Music” performance alongside the Royal Philharmonic Orchestra in celebration of the 94th Saudi National Day. Under the patronage of Prince Badr bin Abdullah bin Farhan Al Saud, Minister of Culture and Chairman of the Music Commission, the concert was a vibrant tribute to Saudi heritage and cultural diversity, blending authentic Saudi music with top-tier international performances at the iconic Central Hall Westminster, featuring a hundred talented Saudi musicians. Here are some standout moments from the concert.
Tribute to the Late Poet Badr bin Abdul Mohsen
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The concert opened with a heartfelt homage to the late Saudi poet, His Royal Highness Prince Badr bin Abdul Mohsen. The orchestra performed “Ana Min Hal Ardh” (I Am From This Land) , a song originally penned by Prince Badr and sung by the legendary Mohammed Abdo. Abdo was celebrated as Billboard Arabia’s first cover in December 2023, with an interview about the artist’s 60-year legacy and deep impact on Arabic music. In the Saudi Orchestra and Choir performance in London, the tribute of his famed song “Ana Min Hal Ardh” (I Am From This Land) elegantly captured the poetic legacy of the late Prince, serving as a significant gesture of appreciation for one of Saudi culture’s most beloved icons.
Samri Art and Esmahili yal Gharam
The Saudi National Orchestra and Choir delivered a captivating rendition of Samri art, a traditional Saudi folk art, set to the enchanting melody of “Esmahili yal Gharam” (The Wound of Betrayal), another iconic Mohamed Abdo song. This intricate blend of traditional art with a contemporary interpretation stood out as a remarkable moment of the concert, highlighting the rich artistic heritage of Saudi Arabia.
Yanbu Art and Hana Talabana Allah
A highlight of the evening was the performance of the Yanbu art through the song “Hana Talabana Allah” (We Ask God), which showcases the depth of Saudi cultural heritage. This performance underscored the importance of traditional arts in preserving cultural identity and demonstrated the orchestra’s commitment to presenting authentic Saudi music to a global audience, celebrating the richness of the 13 regions that the orchestra has been working to present in the “Marvels of Saudi Music” show.
Saudi Twist on Adele’s “Rolling in the Deep”
In a bold and innovative move, the Saudi National Orchestra and Choir concluded the concert’s first half with a unique Saudi rendition of Adele’s “Rolling in the Deep.” This mash-up creatively fused Adele’s song with the Saudi classic “Adeet fi Marqab,” generating exceptional moments showcasing the orchestra’s talent blending international music with an Arab twist. The song was a breakthrough moment in the performance, when the Saudi Orchestra and Choir entered into a contemporary dialogue with the Royal Philharmonic Orchestra.
Royal Philharmonic Orchestra Plays Zarqa’ al-Yamama
In the concert’s second act, the Royal Philharmonic Orchestra showcased a selection of Western and Arabic classical music pieces, including the composition Zarqa’ al-Yamama. The renowned opera singer, Dame Sarah Connolly, added a special touch by singing in Arabic, enhancing the cultural fusion. The opera originally premiered in Saudi Arabia in April 2024, featuring Dame Sarah Connolly performing alongside Saudi opera singer Sawsan Al Bahiti and Italian soprano Serena Farnocchia.
Collaboration with the Royal Philharmonic Orchestra
In the final act, the Saudi National Orchestra and Choir collaborated with the Royal Philharmonic Orchestra to present medleys of songs by some of Saudi Arabia’s musical icons. They collectively performed various medleys by famed Saudi musicians including Mohammed Abdo, Talal Maddah, Rashed Al Majed, Fawzi Mahsoun, Abdel Majeed Abdullah, Khaled Abdul Rahman and Ayed.
Concert Finale with Ashginag
The concert concluded with Rashed Al Majed’s “Ashginag” (We Loved You), released in honor of the 90th Saudi National Day on Sept. 23, 2020. The song’s lyrics celebrate the beauty and diversity of Saudi Arabia, making it a fitting choice to close the event, spreading the enchantment of Saudi music and culture from the heart of London to the world. It was in these closing medleys that the conversation that was promised between British and Saudi culture culminated with a sense of possibility.
This London concert marked the fourth stop in the “Marvels of the Saudi Music” series, following successful performances in Paris’ Théâtre du Châtelet, Mexico City’s Grand Teatro Nacional and New York’s Metropolitan Opera House. The Saudi National Orchestra and Choir plans to continue its journey, bringing its art to additional locations around the globe. Their mission is to introduce the international community to the masterpieces of Saudi music and foster cultural exchange worldwide.
Shed Seven‘s Liquid Gold shines brightly in the race for the U.K. Official Albums Chart crown this week, but the alt-rockers could face a battle with Bring Me The Horizon‘s POST HUMAN: NeX GEn for the No. 1 spot.
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At the midweek mark on the latest Chart Blast, Shed Seven are currently leading with their seventh studio album and first new release of 2024. If it holds, this will be the band’s second No. 1 album in the U.K., following A Matter of Time earlier this year.
With their debut album being released 29 years ago, they still hold the U.K. Official Charts record for the longest time between a band’s debut and their first No. 1.
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But Bring Me The Horizon are creeping up behind them. Their album POST HUMAN: NeX GEn, which was initially released in May, floats from No. 5 to No. 2 in the latest blast, thanks to its physical release, and is currently sitting at No. 2. With just 600 chart units separating the two, Oli Sykes and company are within striking distance of their third U.K. No. 1.
At No. 3, Nines’ latest album Quit While You’re Ahead looks to debut strong. This marks his sixth studio release and potentially his second U.K. No. 1 album, following Crabs In A Bucket in 2020.
Meanwhile, Sabrina Carpenter’s Short N’ Sweet slips one spot to No. 4 after peaking at No. 1 six weeks ago. Ed Sheeran’s new + – = ÷ x (Tour Collection) is set to debut at No. 5, continuing his chart dominance following his recent tour.
Ezra Collective’s Dance, No One’s Watching eyes a No. 6 debut, marking their highest to date, while Pale Waves’ Smitten is likely to land at No. 7, which would mark their fourth consecutive Top 10 album in the U.K.
Indie darling Chappell Roan sees The Rise and Fall of a Midwest Princess slip from No. 2 to No. 8, while Maximo Park’s Stream of Life debuts at No. 9. Oasis’s Time Flies… 1994-2009 continues its record-setting run at No. 10, holding steady after peaking at No. 2 for its 704th week in the Top 40.
Further down the chart, In a touching posthumous debut, SOPHIE’s self-titled album is set to enter the chart at No. 24, marking the first time the visionary producer has appeared on the Chart. Lady Gaga’s Harlequin, the surprise soundtrack album for the new Joker film and digital-only release, is expected to debut at No. 25, and Michael Bublé’s The Best of Bublé is poised to enter the chart at No. 28, marking his 13th Top 40 album.
With only a few days left in the chart week, it’s still a close race for the top, and the final results could shift dramatically before Friday’s reveal.
In one of the many unprecedented turn of events in K-pop this decade, the beloved girl group LOONA experienced an emotional split after terminating contracts with their label before each of the 12 members landed safely to pursue new K-pop paths. Alongside Chuu and Yves‘ new starts as soloists, to five members reconfiguring as Loossemble, the final step of these re-debuts came in ARTMS, consisting of LOONA stars HaSeul, HeeJin, Kim Lip, Choerry, and JinSoul coming together to rebrand themselves, reimagine their artistry and remember their roots as a new quintet.
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After releasing a series of solo and unit singles, the group launched their debut full-length album, DALL, to return the girls to the Billboard charts (main single “Virtual Angel” cracked the Top 10 on the World Digital Song Sales chart, while DALL itself landed in the Top 10 of World Albums), and to the delight of fans and critics alike (even earning a spot on Billboard critics’ Best K-Pop Albums of 2024 So Far list).
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Riding the exciting comeback success, the group is embarking on their ARTMS World Tour ‘Moonshot,’ which has already wrapped its North and South American legs. As they prepare to conquer Europe, Australia, and Asia this fall and winter, ARTMS is eager to reflect on their journey from LOONA to their current iteration.
Sitting down with Billboard at the New York office of The Orchard, ARTMS shine with a sense of unity, growth, and playfulness. HaSeul, more confident than ever in English, jokes about accidentally spoiling upcoming tour surprises, while HeeJin candidly confesses her hair is mostly extensions, JinSoul speaks about immersing herself into the A&R process, Choerry balances the group’s past with an exciting future, as Kim Lip looks ahead to what’s next for the group’s personal and professional lives.
Despite the challenges faced, ARTMS beam with a sense of pride over their collective growth and how they’ve taken control of their music and artistic direction. Here, the five idols discuss their creative evolution, navigating the K-pop industry post-LOONA, and their deep connection to the fans who have supported them every step of the way. Read on for more below alongside exclusive photos provided for Billboard.
I’m so proud to see ARTMS here in New York. Kim Lip, JinSoul, and Choerry toured as ODD EYE CIRCLE, but all five of you are here now. How do you feel about ARMTS’ first shows outside Asia?
HaSeul: I’m so excited and a little nervous too because it’s ARTMS’ first concert and tour.
HeeJin: Of course it feels great, and we have lots of thoughts on starting off strong as New York, a big city, is our first stop for this tour.
Congratulations on your first album, DALL, which got such great reactions. Was it a relief to get such a positive response?
Kim Lip: Since we’re releasing an album as ARTMS instead of LOONA, I was worried yet excited about how the public would react to our music. But we’re getting on the charts and receiving lots of attention, so we felt at ease, and I’m so happy to go on tour and meet with our fans.
HaSeul
Lauren Nakao Winn
How did you five come together and decide to move forward as ARTMS?
HaSeul: I was the last member to join ARTMS, but all five of us are very passionate about music. I think the members who came together and gathered [here] had the biggest will to bring ARTMS to life. When producing this album, I felt how sincere we all were about music…we had many solo and unit albums when we were promoting as LOONA, and you can see it as us continuing that identity. In a way, [ARTMS] can be seen as us taking back our identity. And since our skills are outstanding, we released solo, unit, and group albums.
It seems like you have more ownership and responsibility this time. There must have been pressure, but did it feel like you could share something more personal under ARTMS?
HeeJin: Usually, the company tells us what to do, but now, since we’re active players and debuting again, we wanted to work on the identity of ARTMS. We gave a lot of input in the songs and concepts. Our company took them positively and reflected them in our work, so I’d say it’s an album we produced all together.
I imagine reuniting with LOONA’s original producer, Jaden Jeong, must have been special. Was it fun to return to this production style?
JinSoul: We have had a storyline in our group [LOONA] and the fans like this aspect. We further developed the storyline by working again with Jaden Jeong, who [first] created this storyline — and it’s great to add ARTMS to it as well. While adding ARTMS’ colors, everything became more diverse. We maintained a bit of tradition for the fans, and it’s great to show more sides of us and go deeper.
HeeJin: I think fans love it the most that we’re going with the storylines and expanding onto it.
JinSoul
Lauren Nakao Winn
While we know about LOONA’s contract story, I’m more interested in how all 12 of you found strength and came out of it together?
JinSoul: The members share lots of conversations together. But during that time, we looked into what we could do and thought of methods to use to go through with it.
Kim Lip: The members cooperate well together, so we tend to respect each other’s opinions since we’re like a family. I think that’s how we came to a conclusion.
HeeJin: It’s also meaningless if we don’t do it together. So, we did it all together.
HaSeul: We are a family.
Putting the past to rest, if there are fans — whether they’re Orbits or OURII — who are still worried about you or want to check in, what words would you share with them?
HeeJin: We’re always simultaneously thankful and sorry to the fans. It took a lot of time for ARTMS to debut. Despite that, I’d like to thank the fans for waiting for us. There are also fans who became our fans as ARTMS debuted. We’ll promote more from now on, so please be at ease and keep an eye on us. Don’t worry…
Looking ahead, what are some of the special aspects of the Moonshot tour?
HaSeul: During our concerts in South Korea and Japan, we performed TWS’ “Plot Twist.” But for the USA, we prepared a different song to perform — “Cruel Summer” by Taylor Swift. I look forward to performing that song the most.
JinSoul: When we performed in Korea and Japan, we changed the choreography of “Sparkle” and “Flower Rhythm” for the concert version. Many fans looked forward to it after seeing the choreography video. We also do different ad-libs at different times, so I’m always looking forward to the various ad-libs we’ll do.
HeeJin: The setlists will be similar, but there are always impromptu changes during our concerts, so the fans can really look forward to it. In Japan, there was a moment we performed the same song twice and a time we’d suddenly go off-stage. I look forward to those kinds of impromptu moments. And, of course, I brought my guitar.
Kim Lip
Lauren Nakao Winn
How has it been reuniting with fans in the States?
Kim Lip: We just had a fansigning today. It was fascinating to hold new events like this fansign during this tour. There was one moment that I remember when one fan started to sing in front of us — the fans are very, how do I say this, open when it comes to expressing their feelings. They’re different from the fans in Korea. I really felt the way they so enthusiastically express their feelings this morning, and it makes me really look forward to our concerts.
HeeJin: That’s why I love it. Even if the fans in Korea really want to express themselves, they are very reserved. But on the other hand, fans in the U.S. openly show their support, so it excites us and gives us lots of strength.
Whether it’s your concerts or album production, what is ARTMS’ creative process nowadays?
HeeJin: We’ve been deeply participating in the process, but shall we start off with an answer from the main A&R member?
JinSoul: Jaden Jeong usually brings forward a lot of the music, but we look into the smallest details of the production. For example, we direct the vocals for each other or select the photos to be included in the album. We also selected the album cover design, hair colors, and styling. We participated in lyric writing this time, too. The company works on big tasks and we give our detailed inputs to showcase the best of us.
HeeJin
Lauren Nakao Winn
What are you really proud of to say you’ve worked on?
Kim Lip: We can proudly say that we wrote the lyrics for “Sparkle.” And the light stick!
HeeJin: We got ideas for the light stick and sent over drafts. The final design was our idea. And personally, during the “Virtual Angel” promotions, I wanted to dye my hair white because I thought an angel had a very white, bright image. So, even though I had to sacrifice my hair, I wanted to do it. I discussed it with my company and went on with it.
You’ve never been blonde; your hair looks great!
HeeJin: This is not my hair. [All Laugh] It’s extensions, my hair looks bad.
I’m sure your hair looks great. But from watching K-pop, it feels like the fans can give artists new chances today. Do you think the industry has changed from when you debuted to today?
Choerry: I definitely wouldn’t have expected this back then. We were very young. The situation the 12 of us went through was saddening, but I’m very satisfied with ARTMS right now. I’m happy to have released great songs with the members, my sisters. I also believe we have lots of time to spend with fans, so I hope we can have fun and come to them with better sides.
HaSeul: I’d say we were able to stand on stage again 100% because the fans were waiting for us. And it was made possible because we have fans. The reason why we look forward to the concerts on tour as the time went by is because we want to show a great performance to the fans who’ve been waiting for two years. We’re really looking forward to this tour.
Choerry
Lauren Nakao Winn
I loved HeeJin’s interview with InternetsNathan when she ranked every LOONA song. To give everyone the opportunity, I’d love for you to choose your “favOriTe” song released from LOONA solo days to ARTMS today.
HaSeul: I think “Virtual Angel.” Since the title song [single] is the song you listen to the most due to promotions, there are times you can get sick of it, but I like the song so much that I can listen to it in the car every day.
Kim Lip: “Hi High”? We had lots of solo and unit songs, but we went a long way to release the “Hi High” album. I think it was a relieving album for the members, staff, and fans who were waiting for a long time. I think it’s the most meaningful album; fans still love this song. I can call this my favorite.
HeeJin: I’m going to choose “Butterfly Effect” because ARTMS is starting anew with Jaden Jeong and he told us the story behind this song. It was one of the songs he wanted to release when we were LOONA. He held onto this song for six years and finally got it on the tracklist for DALL. The song feels like a continuation of LOONA to ARTMS. Some lyrics make you think of the past, so it became a song I love.
Choerry: I choose “Singing in the Rain.“ It’s my favorite song because, during concerts, it has a bursting beat and the sound is full and harmonious. And JinSoul’s vocals suit the song so it’s a song that I always wanted. It’s so good that I want to do a collab stage.
HeeJin: I want to do a collab stage for it too!
JinSoul: I choose “Butterfly.” I think this song really shows LOONA’s identity. When I look at past performances, there were times I looked shy, but I think this song was one I was most proud of. The choreography was amazing. It’ll be difficult for me to perform it again, but I think it was a synergy only we could show during that time.
Others: We can do it again! We can do it!
What can we look forward to from ARTMS from here, the tour, what’s next?
Kim Lip: ARTMS is…
All: Vacation! After tour…
Kim Lip: This is a secret, but I think we’ll prepare for the next ARTMS album after the tour. We don’t know the details, but I think it’ll be an album to really look forward to. But it’s not confirmed…
Both of those are important! Any last messages to fans if they couldn’t see you on tour this time?
HeeJin: Thank you so so much for waiting for us. Fans who attended our concerts will know, but even though we’re fewer members as ARTMS, you’ll be able to see perfect performances. We’ve become very experienced performers. Thank you so much for loving us and coming to see us. I hope the members stay healthy throughout the tour because we wish to promote the group to many people.
HeeJin, Kim Lip, HaSeul, JinSoul and Choerry of ARTMS
Lauren Nakao Winn
A trailblazer in fan communication, Dear U has officially begun the expansion of its messaging platform, Bubble, into the Western market with J Balvin and Peso Pluma.
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Billboard can exclusively share that starting Sept. 30, the Latin music powerhouses will be the “first of many artists outside of Asia” to engage with fans through Dear U’s newly launched U.S. version of the platform. The duo joins a large number of K-pop artists using the Bubble platform (also known as “the bubble”) to share private messages, voice notes, video content, and behind-the-scenes moments with subscribers including chart-toppin acts like Stray Kids, (G)I-DLE, BLACKPINK‘s Jisoo and Lisa, as well as a handful of Korean actors, athletes and content creators.
Since launching its artist-to-fan messaging service in 2020 during the COVID-19 pandemic era of social distancing, Dear U’s various Bubble apps have become a top marketing and social tool in the K-pop and Asian entertainment industries, currently connecting more than 600 artists to communicate directly with some of their most dedicated fans. With the company reporting over 73 percent of its two million paid subscribers living outside of Korea, introducing these two chart-toppers mark a significant shift to expand its offerings to the Western landscape successfully.
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“While the entertainment market continues growing, the service industry leveraging fandoms has not received as much attention,” Chong-oh An, the CEO of Dear U, tells Billboard. “In Korea, where fandom culture is fully established, Dear U has built a business model to harness this culture. Our aim is to introduce a fresh perspective to the global entertainment landscape and bring new excitement to fans around the world.”
While platforms like HYBE’s Weverse launched services like Weverse DM as a paid messaging service in 2023, Bubble was first to market in 2020 in launching the service for a slate of artists under the SM Entertainment roster. Dear U’s major shareholders are SM Entertainment (home to groups and Bubble users like NCT, aespa and Lucas) and JYP Entertainment (J.Y. Park, TWICE and ITZY), with the companies also featuring some of their international acts like SM’s China-focused boy band WayV and JYP’s Japan-based girl group NiziU partaking in the platform.
With a combined 13 No. 1s on the Hot Latin Songs chart, 50 Billboard Hot 100 entries between them, as well as highly dedicated fan engagement across their social media accounts, J Balvin and Peso Pluma are seen as ideal partners for Dear U’s next phase with Bubble.
“For me, it has always been important to be connected to my fans, La Familia,” says current Billboard cover star, J Balvin, in a statement. “I love reading comments and conversations so it’s exciting to communicate with fans no matter what their first language might be. This is why the Bubble is the perfect platform to keep in touch.”
“Peso Pluma wouldn’t exist without our dedicated fans who have supported us since the very beginning,” the 25-year-old Mexican rapper-singer adds. “Even though we don’t speak the same language, our music is crossing borders and I’m always excited to find new ways, such as through this partnership with Bubble, to connect with them.”
Teasing that Bubble’s services will “continue expanding into different genres across Western markets with major superstars,” the international, U.S. app can be downloaded here or for Android here. Fans can subscribe to an artist’s Bubble platform, which costs $4.99 per month per artist. Read on for more insight into Bubble’s big moment from Dear U’s CEO Chong-oh An.
Billboard: Congratulations on the latest news about the expansion and new offerings with Dear U. What does this moment signify for the company?
Chong-oh An: This moment signifies Dear U’s global expansion to the Western market. While the entertainment market continues growing, the service industry leveraging fandoms has not received as much attention. In Korea, where fandom culture is fully established, Dear U has built a business model to harness this culture. Our aim is to introduce a fresh perspective to the global entertainment landscape and bring new excitement to fans around the world.
Why were J Balvin and Peso Pluma the right partners to kick off the expansion?
Both of these artists are extremely popular, beloved, and influential. But they also bring unique cultural significance and strong fan engagement to the table. J Balvin and Peso Pluma frequently interact with their followers on social media, creating a sense of community and loyalty that aligns perfectly with Dear U’s mission to enhance artist-fan communication.
J Balvin and Peso Pluma are huge names in the Latin market and community. Was there a specific reason you wanted to team with Latin artists after primarily focusing on Asian and K-pop talent?
Our goal is to help connect artists with their loyal fans around the world, regardless of genre or market. Latin music has truly gone global over the past few years, and we are providing a platform to connect these passionate fanbases. J Balvin’s contributions to the global reggaeton movement and Peso Pluma’s fresh influence in regional Mexican music will help the platform cater to not only a large number of fans, but also a wide array of music tastes, languages, and cultural backgrounds. They will help us break barriers with fan connection.
Dear U’s story is interesting because it launched Bubble in 2020 when the digital conversation was so prevalent, yet the company continues to expand today. What did the pandemic teach you?
The pandemic required us to create innovative ways to connect artists and fans that we’ve continued to use today. Because artists have fans across the world and can’t always be physically present to engage with them, we’re proud to help bridge that gap and create connection.
In your opinion, what’s a very special or highly engaging moment an artist can have on their Bubble compared to traditional social media platforms?
Artists see their bubble subscribers as true superfans. With bubble, they can share intimate moments – from behind-the-scenes photos, selfies, and audio messages to polls about dinner or outfit choices. Even during [professional] breaks, artists can maintain this closeness by sharing personal snapshots, like photos from family trips. More than public social media, this exclusive content fosters a more personal and intimate connection, allowing fans to feel included in their favorite artist’s life.