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Touring can bring its fair share of unexpected adventures, but for British rockers The Wombats, a night out in Rio de Janeiro took an unnerving turn when an argument with the wrong person led to a high-stakes chase back to their hotel.
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Frontman Matthew “Murph” Murphy explained the incident to The Daily Star’s Wired column, revealing that drama unfolded during a night out when tensions escalated between someone in the band’s group and a local they had unknowingly crossed paths with.
“We got chased in Rio by a gang. We were out, someone said the wrong thing, we were doing the wrong thing,” Murphy told the newspaper as per Music-News. “Somebody – I won’t say who got into an argument with this other guy, and didn’t realise who he was, or what he was in.”
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The moment of confrontation quickly turned into something more sinister. As the band piled into a taxi, they realized they were being followed. “Our taxi was chased back to the hotel by these two Land Rovers,” Murphy revealed. “I ran up to my hotel room, and our tour manager had to diffuse the situation.”
He added, “Apparently, it was pretty freaky.”
While the Rio incident might have been their most alarming encounter, it wasn’t the only dramatic moment the band faced while touring in Brazil. Just days earlier, The Wombats had to cut their set short in São Paulo after a cyclone wreaked havoc mid-performance.
“When we played in São Paulo, a freak cyclone hit the stage in the middle of our third track and completely soaked us,” Murphy told NME in Oct. “Wrote off all the gear. Some steel split, and the stage we were on had folded down.”
Despite the mayhem, the festival carried on, with The Strokes headlining later that night under far-from-ideal conditions.
Murphy explained, “We were on the other stage, but it was facing the main stage where The Strokes were headlining. They went on that night, but all the drapes had come off, there was no screen, they were just playing against scaffolding. It was pretty ridiculous.”
The Wombats will soon kick off their upcoming arena run across the U.K. in March 2025. The band will take the stage in cities including London, Nottingham, Cardiff, and Manchester, with additional festival appearances lined up later in the year, following the release of their sixth studio album, Oh! The Ocean.
Mrs. GREEN APPLE’s “Lilac” returns to No. 1 on the Billboard Japan Hot 100, dated Feb. 19, adding another week to its record atop the chart.
The single was digitally released on April 12, 2024 and hit No. 1 for the first time on the chart dated July 17. This week, it rises a notch to rule the tally for the sixth time after hovering for three weeks in the top 3.
Streaming and downloads for the Oblivion Battery opener remain largely unchanged compared to the week before, while karaoke increased by 15%. The track hits No. 1 for streaming, video views, and karaoke, while coming in at No. 4 for downloads.
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The three-man band dominates the top two slots on the Japan Hot 100 this week, with “Darling” rising 3-2. Video for the track gained 10% and downloads 28% from last week.
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Rosé & Bruno Mars’ “APT.” climbs 5-3. The global hit is slowing down in most metrics except karaoke, which increased by 14%. The track comes in at No. 9 for downloads, No. 3 for streaming, No. 26 for radio airplay, No. 9 for video, and No. 24 for karaoke. The catchy pop-punk single has been charting for 16 consecutive weeks on the Billboard Global 200 and is at No. 3 on the chart dated Feb. 22.
BE:FIRST’s “Spacecraft” is at No. 4 after debuting atop the chart last week. The single sold 5,664 copies on the second week after its release and hit No. 9 for sales, No. 2 for video (down by 27%), and No. 18 for streaming (down by 24%).
Kenshi Yonezu’s “Plazma” slips to No. 5. The Mobile Suit Gundam GQuuuuuuX -Beginning- theme song topped downloads for the first time in three weeks with figures down by 22% compared to the previous week, a smaller decrease than the 37% drop the week before.
Takanori Iwata’s “Phone Number,” the EXILE member’s first release after transferring to Universal Music, bowed at No. 11 on the Japan Hot 100 after launching with 51,209 CDs to top sales, while coming in at No. 46 for downloads.
In other news, Kendrick Lamar’s “Not Like Us” makes its debut on the Japan Hot 100, coming in at No. 86. This is due to a surge in radio airplay after the single won five Grammys — including Song of the Year and Record of the Year — and was featured in the Compton rapper’s electrifying Super Bowl halftime show performance. The track is also back atop the Billboard Hot 100 for the first time in 29 weeks, logging its third week at No. 1.
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. 10 to 16, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
02/18/2025
The BLACKPINK superstar delivers sonic surprises, confident vocals and radio-ready tracks to prove her global pop star status.
02/18/2025
Billboard has announced the launch of its first French edition. The new venture is licensed by So Press. Billboard France marks the 12th global edition of Billboard.
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In the Parisian night, an imposing entourage makes its way to the photo studio. About 10 people – assistants, photographers, and collaborators – orbit around a familiar silhouette. The studio door opens to reveal Burna Boy, accompanied by his sister Ronami, an inseparable figure in his success, who combines the roles of manager, stylist and advisor with unwavering conviction. There’s an obvious quality to his charisma – the kind that shifts the energy of a place as soon as the person enters.In recent years, Burna Boy has been particularly prolific, allowing himself few moments of respite. Born in Port Harcourt, Nigeria, he comes from a family deeply rooted in music (his grandfather was the manager of legend Fela Kuti).
From promising beginnings in 2012 with the single “Like To Party” to a noteworthy first album, L.I.F.E, released in 2013. However, it was from 2017 that his career took on an international dimension. Mainstream global audiences discovered him during a collaboration with Drake on “More Life” in 2017. He followed with three major albums (Outside, African Giant, and Twice as Tall) while delivering well-chosen features like “Jerusalema” with Master KG and Nomcebo Zikode, and “Be Honest” and “Location” with British artists Jorja Smith and Dave, respectively.
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After filling La Défense Arena and its 40,000 seats in May 2023, the Nigerian artist is preparing to take on a new challenge: the Stade de France, on April 18, 2025, the starting point of a European tour of about 10 dates.
France holds a special place in Burna Boy’s career. It’s the third country where he’s most listened to, behind the United States and the United Kingdom. According to the SNEP (Syndicat national de l’édition phonographique, in English National Syndicate of Phonographic Publishing), the has 11 certified singles in France and has already been streamed more than 700 million times there.
“It’s a celebration of African excellence and proof that our music knows no boundaries,” he confides, showing pride in being the first non-French-speaking African artist to perform in the legendary venue. ” It’s not just about me as an artist but about representing a continent, a culture, and a people whose stories deserve to be heard on the biggest stages in the world.”
Figurehead of Nigerian Music
In 2019, he proclaimed himself African Giant. Today, the title seems trivial compared to the scale of his triumph. Burna Boy’s journey illustrates that of an outsider, a meteoric rise from Port Harcourt to the heights of international music. Initially an English-speaking breakthrough that today knows no boundaries.
More than a decade after Burna Boy’s rise with L.I.F.E, Nigerian music has established itself as a major force in global popular culture. Afrobeats, a genre of which he has become the most respected ambassador, transcends geographical, linguistic and cultural boundaries. Vevo even reported that in 2023, views of Afrobeats and Amapiano tracks increased by 61%, exceeding four billion. As reported by IFPI, Sub-Saharan Africa is the region with the fastest-growing music industry (the only one exceeding 20% growth in 2023).
Burna Boy’s Grammy Award, which he keeps on a dedicated table at home, also demonstrates a new American appetite for the Nigerian sound. “It’s not just about recognition—it’s what it symbolizes. It represents the power of staying true to yourself, breaking boundaries, and proving that African music belongs on the global stage. It’s a reminder that our culture and art are worthy of the highest honors.”
He returns this new American recognition well by inviting GZA for a feature on the title track of his latest album, I Told Them. On this album, he openly samples great American artists (Toni Braxton, Brandy, Jeremih, among others). “Yes, it’s intentional. Sampling is a way to pay homage to the sounds that shaped me while creating something new. It’s about bridging cultures and showing that music is a universal language. I’ll continue to experiment because growth and creativity go hand in hand.”
Burna Boy
Xiaoyi Dai/Billboard France
The Anglo-Saxon World As a Leitmotif
Having studied in London during high school, then briefly at Oxford Brookes during university, the English scene opened its doors to him first, and he’s always known how to reciprocate. He looks fondly on this ecosystem whose Nigerian roots are also illustrated in music (he mentions J Hus, Dave, NSG, and Not3s). “They’re carrying the torch in their own way. The UK has always had a deep connection with African music, and these artists are blending their experiences with Afrobeats influences to create something unique. It’s a beautiful exchange of cultures, and it shows how far-reaching Afrobeats’ impact is.”
African Music Conquering the World
The resonance of Burna Boy’s music is part of a larger movement. Since 2020, Afrobeat has spread westward thanks to crossover hits like CKay’s “Love Nwantiti (Ah Ah Ah)” or Rema’s “Calm Down,” which have exceeded a billion streams on Spotify. Nigeria is now the sixth best music-exporting country, and Burna Boy serves as the figurehead of a scene that has definitively conquered the world.
He enthusiastically discusses this new generation of Nigerian artists who are breaking codes. “[They’re] fearless,” he states. “They are experimenting with sounds and taking risks. It’s interesting to see how they’re building on the foundation. They’re proof that Nigerian & indeed African music has no limits.” As the genre gained popularity abroad, more Afrobeats artists began their first U.S. tours after lockdown.
Among all of them, Burna has performed on the biggest stages – where real superstars are born. But this consecration can be frightening too, as Western stars have almost immediately embraced Nigerian sounds. An observation that doesn’t scare Burna Boy: “In 10 years, if we are mindful to keep putting in the work, Afrobeats will be even more global, influencing every corner of the music industry. It will evolve, incorporating new sounds and ideas, but its essence—our African roots—will remain intact. I see it being a dominant force in shaping global pop culture.”
His view isn’t limited to Nigeria. He observes with interest the emergence of French-speaking West African scenes: “[They] are incredibly vibrant and full of talent. Artists from Ivory Coast, Senegal and Mali are creating something powerful by mixing their musical traditions with modern sounds.”We take the opportunity to ask his view on French artists in general. The answer will surprise many: “I’ve always admired artists like Stromae, Matt Pokora, Tayc & Aya to mention a few. Their ability to tell stories and push creative boundaries resonates with me. French music has a unique depth, and it’s influenced how I approach my own storytelling.”
Refocusing on Raw Emotions
“When you’re honest in your music, people feel it, no matter where they’re from.” His extraordinary ability to transform personal experiences into anthems, as exemplified by “Last Last,” born from a romantic breakup, has indeed played a crucial role in Burna Boy’s rise. His tracks are imbued with raw emotions of universal dimensions, explaining his global success.
His next project (perhaps named “No Sign of Weakness” if we believe some cryptic messages sent to his fans before Christmas), promises to explore new horizons and unprecedented spirituality in his music. “It’s extrospective,” he reveals. “It’s not just about me but about looking outward, reflecting on the world, and how my experiences connect to the bigger picture. It’s about growth, understanding, and challenging perceptions while staying true to who I am.”
The Pillars of His Life
He supports organizations like R.E.A.C.Hng that work with disadvantaged communities in Nigeria and created the ProjectPROTECT fund which helps those wrongfully detained in cases of police violence. “I’ve been blessed,” he acknowledges, “and I believe it’s my responsibility to use my platform to uplift others.” Politics permeates Burna Boy’s tracks, particularly through his songs “Wetin Man Go Do” and “Another Story.”
This social consciousness comes with a deep sense of family. His mother Bose and sister Ronami play crucial roles in his career. “They’re my pillar,” he affirms. “They understand me not just as an artist but as a person, and they push me to be the best version of myself. Working with them is natural because we share a bond and a vision that goes beyond business. It also has its headaches as do all relationships but I’m the better for it.”
As his French fans await a historic show at the Stade de France, Burna Boy more than ever embodies an era where African music dictates global trends. But it’s almost carried by an uncontrollable wave that his eighth album arrives, to once again redefine the limits of the genre.
Burna Boy
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Kendrick Lamar has officially dominated the ARIA Charts this week, reclaiming the No. 1 spot on both the Albums and Singles rankings.
Following his GRAMMY wins and a high-profile Super Bowl LIX performance, GNX vaults from No. 15 back to the top, while “Not Like Us” returns to No. 1 on the Singles Chart. This marks the first time Lamar has held both positions simultaneously in Australia.
The Compton rapper now boasts three No. 1 albums in the country, with To Pimp A Butterfly (2015) and Mr. Morale & The Big Steppers (2022) also reaching the top.
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Meanwhile, Taylor Swift makes her presence known with the debut of Lover – Live From Paris at No. 14. The concert recording, initially released as a Valentine’s Day vinyl exclusive in 2023, gets a fresh boost with its reissue on heart-shaped vinyl this month. With 18 albums making the ARIA Charts throughout her career, Swift has landed at No. 1 an impressive 13 times.
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On the Singles Chart, Australian DJ Dom Dolla scores a Top 40 debut at No. 33 with “Dreamin,” featuring Daya. The ARIA Award-winning producer last cracked the Top 10 with “Saving Up” in 2023. Daya, known for her breakout hit “Hide Away” (No. 6 in 2015) and The Chainsmokers collab “Don’t Let Me Down” (No. 3 in 2016), returns to the Australian charts after nearly a decade.
Bruno Mars continues to rewrite streaming records, becoming the first artist to hit 150 million monthly listeners on Spotify. His collaboration with Rosé, “APT.,” holds steady at No. 2, while his Lady Gaga-assisted track “Die With A Smile” lands at No. 6 this week.
Speaking of Lady Gaga, the pop icon makes magic as “Abracadabra” shoots from No. 50 to No. 12. The track is the latest preview of her upcoming album Mayhem, set to drop next month. If it reaches the Top 10, it will be Gaga’s 15th ARIA Top 10 single.
GRAMMY momentum continues to propel Chappell Roan, who now holds two Top 10 ARIA singles. “Pink Pony Club” gallops from No. 22 to No. 7, while “Good Luck, Babe!”—a former No. 4 hit—remains strong at No. 10.
The Prodigy’s Liam Howlett has spoken out about the group’s absence from the Rock and Roll Hall of Fame, urging for their inclusion in the prestigious institution.
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Speaking ahead of the band’s upcoming Disrupta Tour in Australia, Howlett admitted that the Hall of Fame hadn’t been on his radar—until now. “It’s not something I’ve ever thought about, but yeah, as you spoke about it we should be up there. Make it happen!” he told Rolling Stone AU/NZ.
While The Prodigy didn’t make the 2025 class, which features fellow British acts like Oasis, New Order, and Billy Idol, the Essex-born electronic pioneers make a strong case for future recognition. Their 1997 album The Fat of the Land became a landmark moment for electronic music, breaking barriers in the U.S. by debuting at No. 1 on the Billboard 200—an unprecedented achievement for a band in their genre at the time.
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Two of the group’s defining singles, “Firestarter” and “Smack My Bitch Up,” cracked the Billboard Hot 100 in an era when electronic music wasn’t widely embraced by the mainstream American industry.
“I’ve said before, I never gave a f* about the charts,” Howlett recalled. “But somehow Fat of the Land going to No. 1 in the USA felt different. It had an extra ‘f*** you-ness’ about it as only a few British bands had ever done that. So yeah, you could say it gave me a certain cheeky pride for a while.”
In their home country, The Prodigy have dominated the U.K. charts, racking up seven No. 1 albums, including their most recent studio effort, No Tourists, in 2018. Their career tally also includes 11 top 10 hits on the Official U.K. Singles Chart, with “Firestarter” and “Breathe” both reaching No. 1 in 1996.
The Rock and Roll Hall of Fame requires nominees to have released their first single or album at least 25 years before the induction year. The Prodigy, who first hit the U.K. charts in 1991 with “Charly,” easily meet the eligibility criteria, making them potential contenders for future classes.
As the group gears up for their first Australian tour in five years, fans are eager to see Howlett and Maxim back on stage. The Disrupta Tour, which kicks off Feb. 13 in Sydney, is also their first major run since the passing of frontman Keith Flint in 2019.
AJ Tracey and Jorja Smith have linked up once again for an absolute banger. The pair started promoting the Rhythm & Grime song earlier this week with a clip on social media, with Jorja rapping her verse in a driveway with a beautiful money-green BMW E30 and AJ Tracey dipped in a pink Palace and […]
BE:FIRST’s “Spacecraft” debuts at No. 1 on this week’s Billboard Japan Hot 100, dated Feb. 12.
The sixth single by the seven-member boy band dropped Feb. 5 and launched with 104,639 CDs to hit No. 1 for the metric. The track also dominates downloads (26,475 units), radio airplay, and video views to top the Japan Hot 100 with a big lead on the runner-up. This is the ninth No. 1 single by the group, including “Hush-Hush,” its collaborative track with ATEEZ.
Mrs. GREEN APPLE’s “Lilac” rises a notch to No. 2 this week. Although overall points are down, the track continues to show strength in several metrics including streaming (No. 1 for 23 weeks total) and karaoke (No. 1 for 5 weeks in a row). Dropping 2-3 is “Darling” by the three-man band, which currently boasts 18 singles charting on the Japan Hot 100 with five in the top 10 this week.
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Kenshi Yonezu’s “Plazma” rises 5-4. Streams for the Mobile Suit Gundam GQuuuuuuX -Beginning- theme song is at 88% and video views at 86% compared to the week before, and the single comes in at No. 2 for downloads, No. 4 for streaming, No. 32 for radio, and No. 8 for video.
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Rosé & Bruno Mars’ “APT.” rises 3 slots to No. 5. After more than 3 months since its release, the global hit is currently at No. 9 for downloads (3,233 weekly units), No. 3 for streaming, No. 23 for radio, No. 9 for video, and No. 23 for karaoke.
In other chart moves, Lady Gaga & Bruno Mars’ “Die With a Smile” returns to the Japan Hot 100 for the first time in about five months at No. 83, after winning the Grammy for best pop duo/group performance at the ceremony on Feb. 2.
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. 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
In another testament to SB19‘s unwavering global appeal, the Phillippines’ boy band sensation is gearing up to dominate new U.S. stages as part of their much-anticipated Simula at Wakas World Tour.
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Fresh off being crowned winners of the Billboard Fan Army Face-Off for both 2023 and 2024, the group’s global fanbase — affectionately known as A’TIN — can look forward to Pablo, Josh, Stell, Ken, and Justin visiting even more of them this year while hitting new cities and countries.
Billboard can exclusively reveal plans for the SB19 Simula at Wakas World Tour, which will showcase not only their dynamic live performances of the P-pop boy band but, inevitably, the latest evolution of their sound as they gear up to drop their new EP, Simula at Wakas, on Friday, April 25.
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Simula at Wakas promises to push the guys further into the global-pop conversation as the final chapter in their musical trilogy following 2021’s Pagsibol and Pagtatag! from 2023. SB19 first teased fans with a new trailer video on January 31, 2025 (below) that featured visual callbacks to previous hits like “What?” and “Gento” (which hit No. 8 on Billboard’s World Digital Song Sales chart in 2023) to signal a fresh, new musical direction for their soon-to-be revealed new single set for a February 28 release.
Soon afterward, the Filipino sensation will hit the road with a series of concerts, including U.S. stops in San Francisco, Los Angeles, Honolulu, and more, alongside international dates in cities like Toronto, Tokyo, Sydney, Taipei, Doha, and more.
“We’re really excited to meet everyone,” Ken tells Billboard. “We’ve been preparing for unlimited surprises for you guys.”
While Justin promises that fans will hear new songs from Simula at Wakas for the first time, Josh is sure to add that A’TIN should “stay tuned for new genres and performances, plus fresh arrangements of our older tracks!”
While the guys are laser-focused on releasing their new music, they say bringing those songs to life in new countries and territories is equally exciting to the quintet.
“We’re thrilled to finally share what we’ve been working on over the past few months,” Stell says. “After a long break as a group, our main focus is now on the new EP, and we can’t wait to reconnect with our fans — especially in places we haven’t visited before. We’re really excited to meet everyone there.”
In addition to the world tour dates already set between May-August, as well as October 2025, SB19 say “more cities will be announced soon” with dates coming soon for their Sydney, Melbourne, Tokyo, and Hong Kong stops.
“We are pushing the boundaries and we want the best for all of the fans,” leader Pablo shares before Josh adds, “We think from our last tour they have seen more of our individuality but this time, we will be coming stronger.”
Stell concludes by speaking to SB19’s larger ambitions, saying “We really want our fans to connect with our stories since we did it with all our hearts. Our goals are not only for SB19 but for the entire Philippine music industry.”
See below for the Simula at Wakas World Tour poster and stay tuned for more information from the band.
SB19
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When BLACKPINK was gearing up for its highly anticipated debut in 2016, rising creative director SINXITY was adamant the group needed an unexpected sound to distinguish itself. Alongside the group’s explosive EDM-trap banger “BOOMBAYAH,” the young exec at YG Entertainment pushed for a secondary, simultaneous single in the minimalist-yet-emotionally tinged “Whistle” to show their wider, “magical” range to distinguish them from YG’s other female outfit, 2NE1. Nearly a decade later, BLACKPINK remains one of the most successful acts from South Korea, and SINXITY is overseeing a new female quartet made for the global stage while emphasizing that “identity and diversity are important.”
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Seven years after exiting YG Entertainment and launching AXIS as a multi-operational label, production house and creative incubator for internationally minded projects, SINXITY (neé SJ Shin) is the executive producer for the freshly debuted cosmosy. The act consists of four Japanese singers who trained in Korea under the K-pop system and sing in a mix of English, Japanese and Korean to appeal to the global pop market. Two members, De_Hana and Kamión, rose to recognition after competing on Produce 101 Japan The Girls (a local spin-off of the Korean singing competition series that created Billboard Japan Hot 100 chart-toppers JO1, INI and ME:I), are joined by relative newcomers Himesha and A’mei, respectively the eldest and youngest member, who trained in dance since childhood (while idolizing the likes of British superstar Dua Lipa and BLACKPINK’s Thai icon Lisa).
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Executing the internationally minded group brings NTT Docomo Studio & Live (the entertainment wing of Japan’s major mobile carrier) together with Sony Music Korea (the Seoul-based label that recently signed multilingual Monsta X member I.M in 2022 for his solo work). The move isn’t entirely without precedence with XG (the Japanese girl group based in South Korea that sings in English with a mix of U.S., Japanese and Korean management), or the likes of HYBE’s KATSEYE and JYP Entertainment’s VCHA girl groups (both Los Angeles-based acts sing in English but have performed across Asia and the Americas). Leading all of cosmosy’s creative and professional decisions, SINXITY proudly says this is a group where the members’ “natural talent should be what’s emphasized.”
“I really want to open up a new path for the girls for them to be able to do a lot of different genres and try different concepts,” he shares during an afternoon video call when he’s taking a break from putting the final touches on cosmosy’s first music video before it goes live at midnight. “Inevitably, people are gonna compare the girls to groups like XG, NiziU, and the other Japanese girl groups, but I want to do something for them that is new and different. Whether it’s K-pop, J-pop, pop, hip-hop, R&B, I want to incorporate various music genres and create a new path for them.”
SINXITY and cosmosy both describe the group as having a “girlish crush” concept, inspired by the girl crush image that K-pop acts like BLACKPINK, ITZY, and (G)I-DLE embody with cosmosy peppering in additional sprinkles of mystique, innocence and even a little devilishness blended into “a group that has never existed before,” according to De_Hana.
“Unlike the typical girl crush everyone knows, our concept includes both cool and cute elements,” explains Kamión, an Osaka native who spent time studying abroad. “There is also a touch of mystery, which evokes the atmosphere of Japanese horror or anime.” Meanwhile, Himesha and A’mei use “mysterious” to describe the group.
After unveiling cosmosy’s debut single “zigy=zigy” alongside its music video on New Year’s Eve, the track was released globally on Feb. 7 to kick off the first of multiple digital singles the act will drop throughout the year with an EP potentially eyed for spring. With Korean television appearances and fashion-magazine features on the horizon, SINXITY emphasizes that as important as new cosmosy content is, the next, urgent priority is to meet fans in person.
“They’re super talented, really pretty, such nice and charming girls; I really want people and fans to meet them directly,” the producer adds. “The key factor is how to meet core fans.”
Showing up to work as one’s true self and connecting to others authentically is personally important for SINXITY, who says he’s finally at ease in a professional environment where he’s comfortable to fully focus his energy on the work at hand.
“The Korean entertainment industry has become safer than in the past,” he shares. “Because I am gay, identity and diversity are very important to me and something I’m trying to build on…it’s still not widely accepted to be in the LGBT community since there are restrictions and laws for gay people, but it’s more accepted and it’s a safer, better space compared to others. But it’s still not a thing to come out and be openly gay.”
Noting the three women assisting him during this video call in Seoul, SINXITY estimates that 90 percent of the crew that works with cosmosy are women. That’s a rarity in Korean entertainment, and an even bigger percentage than AXIS’ division focused on producing Boy Love (also known as BL) television, the popular genre of same-sex drama series that boasts majority female audiences. With works including the 2022 breakout hit Semantic Error and FC Soldout currently airing, SINXITY and AXIS are inevitably shifting the norms of what and how Korean-pop entertainment operates simply in the name of creativity — and openly support other industry shakers.
“I’ve worked overseas, I’ve done a lot of projects with YG in Japan and Korea,” says SINXITY, who also worked with YG Entertainment’s actors roster during his time. “I have a unique identity, so I can’t help but talk about it and share myself here anyway. I just want to be free to create, reach more people and show them even more in these creative areas.”
SINXITY smiles before asking to include an additional note before the call wraps and he goes back to color-correcting the “zigy=zigy” video.
“One more thing: wait for NewJeans and stand up for Min Hee-jin,” SINXITY says, with a visibly surprised translator noting that he may be the first Korean executive to support the embattled former CEO of ADOR publicly. “I really admire Min Hee-jin and respect her. She’s the one and only best producer in this K-pop industry, so I really [want to] stand with her and really pray for NewJeans to have more free activities. We’re in some of the same networks, but I’m really just a fan. She’s really the one-and-only qualified producer.”