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Last year was important for the expansion of SB19. Not only did the Philippines’ reigning pop kings expand their worldview with their first English single, “WYAT (Where You At),” and visited cities throughout North America, Asia and the Middle East on their Where You At world tour, but saw their rising impact on charts like Billboard’s Hot Trending Songs chart when they became just the second-ever act to top the real-time Twitter-powered tally. In 2023, the members have taken it upon themselves to expand their individual music careers, including the solo debut of eldest member Josh Cullen.
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The rapper-singer-dancer showcased his full range of talents on his first single “WILD TONIGHT” while embracing an image much darker than SB19’s beloved Pinoy-pop style. Adopting a vampire concept, the 29-year-old lets loose both visually in the music video and musically by changing his vocal styles and approaches throughout the track. “WILD TONIGHT” marks significant growth from the more restrained energy Josh previously showed when he hopped on the remix to “Sofa,” recorded with his cousin and fellow Filipino musician Ocho the Bullet. Cullen was clearly ready to unleash something much more powerful with the star saying that “WILD TONIGHT” is just the first stroke in his burgeoning solo career.
Just when SB19’s adoring fans—affectionately known as A’TIN—thought they could pin Josh down as P-pop’s dark and wild party boy, the star switched things up with his heavier second single, “Pakiusap Lang,” that embraced edgier hip-hop and R&B beats sound while sharing his acting skills in the accompanying music video that explores the twists and turns in a complicated relationship.
Before the release of “Pakiusap Lang,” and as rumors buzz that SB19 is gearing up to release new music ahead of their fifth anniversary in October, Josh found some time to sit down for Billboard to reflect on his solo career and what makes up his musical viewpoint in these 20 Questions.
“Honestly, if I could have a vacation right now, I totally would,” Cullen laughs when he thinks about how far he and his bandmates have come in these past years. “Still, I love what we’re doing and know I have to work hard to make it happen.”
Read on for more from Josh Cullen including new stories from his career, first musical memories, hints about future releases and more.
1. Where are you living and working from right now?
At the moment, I don’t have a fixed location as I’ve been prioritizing my passion for music and exploring new experiences. Though I’ve come a long way in my personal and professional life, I know that there is still much more to learn, discover, and achieve. I’m eager to see where this journey takes me and I’m committed to working tirelessly towards my aspirations.
2. You’ve made your solo debut with “WILD TONIGHT.” Can you explain the significance of this moment for you and the meaning of the title?
As an artist, I chose to title my solo debut “WILD TONIGHT” because I wanted to convey a sense of unleashing the beast or the fun inside oneself at night. It’s about how a vampire might seek revenge or how a normal person might embrace their wild side. I think the title is significant because it represents a sense of liberation and escape from the mundane aspects of daily life. It also encourages listeners to embrace their individuality and uniqueness. To me, “WILD TONIGHT” conveys a sense of excitement, energy, and a bit of danger. It invites people to join me on a journey of self-expression and exploration.
3. Your fans might be surprised to hear you both rapping and singing. Did you want to make sure of all sides of yourself with this first single?
I wanted to make sure that my fans get a glimpse of all sides of myself with this first single. I wanted to showcase everything—from my music to dance, rap to singing, creativity, choreography and every little detail to be at its fullest potential. I have been working hard, perfecting my craft and waiting for the perfect opportunity to come forward. This is the moment I’ve been waiting for to show the world what I’m truly capable of. I’m excited to share this new chapter of my journey with them and hope they enjoy the music as much as I did creating it.
4. Going off the song title, “WILD TONIGHT,” can you recall your craziest night out?
When it comes to the craziest night out I’ve ever had, one experience definitely comes to mind. It all started innocently enough with my friends inviting me out to chill and grab a bite to eat. However, things quickly escalated when everyone ended up getting super drunk, myself included, and by the end of the night, I found myself in a situation where I was two hours away from home and had no idea how to get back. In the end, I ended up hopping on a bus and riding home, having my autopilot body switch activated. Looking back, it was definitely a wild night and not exactly what I had planned when I first agreed to hang out with my friends. But it’s a story that I’ll always remember!
5. What’s the first album or piece of music you bought for yourself, and what was the medium?
I don’t quite remember the exact title, but I believe it was a Linkin Park album that I bought. I bought it on CD format because that was the most common way to buy music back then. I remember being so excited to have my own copy of the album and being able to listen to it whenever I wanted. It was a really important part of my younger years and I still have fond memories of listening to it on repeat.
6. You wrote and composed “WILD TONIGHT.” Tell us about how you worked on the lyrics.
Working on the lyrics was a bit of a struggle, to be honest. I wanted to make sure the vampire concept was in there, but also have it relate to real life. I was stuck on the first verse for days and couldn’t come up with anything that felt right. But then, one night at 3 a.m., I had this crazy dream with the perfect lyrics and melody for the first verse. I was like, “Oh, shit, I gotta record this now!” And it turned out to be exactly what I needed.
As for the pre-chorus, I also hit a roadblock and was struggling to come up with something catchy. I started brainstorming and thought to myself, “What’s something people will easily remember and sing?” I was running out of ideas and was like, “Fuck it, let’s try this even if it sounds stupid.” That’s when I decided to throw in the “La-la la la” part. It was a crazy idea, but it ended up being the most catchy and memorable part of the song.
All in all, I’m really proud of how it turned out and I hope the people can feel the passion and love that went into creating it.
7. You also co-produced the single. What’s your background with music production?
My background with music production is pretty limited. I don’t really know much about music theory or anything like that. But I’ve dabbled in it a little bit and have been able to pick up some things along the way. I wouldn’t say I’m a pro or anything, but I think what I’m good at is having a good ear and being able to make good judgments about the sounds and overall vibe of the music. And you know what, I’m glad that my cousin Ocho [the Bullet] who is just as crazy as me, has co-produced the single with me. It’s been a fun journey working together and bouncing ideas off each other. We’re not afraid to experiment and push boundaries, which has led to some really unique and exciting sounds in the final product. Plus, being a performer for a long time, I have a good sense of what makes a great song and I think my experience on stage has given me a unique perspective on what works and what doesn’t when it comes to producing music. So even though I don’t have a formal education in music production, I’m confident in my abilities and my passion for music always drives me to learn and improve.
8. There are a lot of interesting concept photography for “WILD TONIGHT.” Tell us about creating the visuals for the single.
For the visuals I really wanted to incorporate a lot of storytelling, representations, and metaphors. I didn’t want to just spoon feed people with the answers. I had a lot of ideas and wanted to make sure every detail had a purpose, even down to the easter eggs. With the help of my production team, we were able to execute everything we wanted to do, from the CGI to the vampire traits. I’m really proud of how everything came together and I think it really adds another layer to the song.
Shout out to my amazing production team, YouMeUs, for bringing my vision to life and giving me the quality that I’ve been longing for. They were able to understand my ideas and help me execute them in a way that exceeded my expectations. Without them, the visuals for “WILD TONIGHT” wouldn’t have been possible.
9. How did your hometown/city shape who you are?
Imus, Cavite is the place where I grew up and it definitely had a huge impact on shaping who I am today. The people, the culture, and the environment all played a role in my upbringing. It’s where I experienced my firsts, my successes, my failures, and my challenges. It’s where I developed my values, my principles, and my perspectives. Living in Cavite taught me to be resilient, resourceful, and determined. It also taught me to be compassionate, empathetic, and understanding. The experiences and memories that I have from my hometown are invaluable and have been instrumental in shaping who I am as a person and as an artist. It is where I began loving street food as well.
10. What was the first concert you saw?
The first concert I saw was the Dream K-Pop Fantasy Concert 2012 featuring Girls’ Generation. As a fan of SNSD, it was a dream come true to see them perform live. They were one of my inspirations as an artist, and seeing them perform gave me a better understanding of the music industry. The concert was a memorable experience, and I still remember the energy and excitement of the crowd. It was definitely a pivotal moment in my music journey.
11. What was the biggest lesson you learned from SB19’s first world tour?
The biggest lesson I learned from SB19’s first world tour was how powerful music can be in bringing people from different cultures and backgrounds together. It was incredible to see how fans from all over the world connected with our music and performance, despite language barriers. The tour opened my eyes to the diversity of music and how it can transcend boundaries.
12. Did SB19’s world tour influence how you approached your solo debut?
Although the tour didn’t directly inspire my current song “WILD TONIGHT” it gave me a lot of inspiration for my future music. Being able to experience the different locations and cultures we visited on tour was a valuable experience that I have already drawn from in my future songs. Overall, the tour was an unforgettable experience that helped shape my approach to music and creativity.
13 Did the other SB19 members share feedback or their feelings about you debuting solo with “WILD TONIGHT”?
To be honest, other members didn’t provide specific feedback or express their feelings about it. However, they were all very supportive and encouraging. They commented positively on the music video and were happy with my solo endeavors.
14. What’s your go-to karaoke song?
My go-to karaoke song is “Martyr Nyebera” by Kamikazee, a popular rock band from the Philippines. The intro of the song actually sounds like The Flintstones theme, which is pretty cool. Whenever I sing this song, I go all out and even do some head banging. It’s a really fun and energetic song to sing; it always gets the crowd going.
15. Are these new singles indicating more solo music is coming from you?
Yes, I’ve been working on a lot of songs. I was actually surprised that I’ve managed to compose a lot of songs in a short period of time. I will be releasing more songs that would allow people to get to know me better as an artist.
16. What’s at the top of your professional bucket list?
My ultimate professional goal is to make a meaningful impact on the Philippine music scene, particularly with OPM [Original Pinoy Music]. I’m passionate about contributing to the growth and recognition of our distinct musical heritage, and I’m determined to share it with a wider audience both locally and internationally. Additionally, I hope to inspire those who, like me, dream big and show them that with perseverance and hard work, anything is possible.
17. What’s one thing even your most devoted fans don’t know about you?
I didn’t make it to the hospital. I was born inside a car, ha!
18. What’s your message to fans who have been supporting SB19 and you?
I just want to say a huge thank you to all the A’TIN and BBQs out there who have been supporting us and me personally. It means the world to me to have such an incredible fanbase behind us, whether it’s for my solo projects or for SB19 as a group. The dedication and love that you have shown us are beyond words. Your unwavering support has helped us reach new heights, and we are forever grateful for your endless encouragement. You guys are the best, and we are honored to have you as part of our family.
19. Can you share anything about SB19’s plans for 2023?
While I can’t spill all the beans just yet, I can tell you that we’re cooking up something big for everyone. You can definitely expect a bigger comeback and possibly a bigger tour. We’re putting in a lot of effort and creativity to make sure it’s a great experience for everyone. We’re really excited about it and can’t wait to share more details soon. So, stay tuned and keep an eye out for more updates from SB19!
20. What else do you want to share with Billboard readers this time?
As a representative for OPM and Pinoy pop, I would like to extend an invitation to all the Billboard readers out there to watch out for more exciting music from us. We are thrilled to bring our unique sound and talent to the global scene, and we can’t wait to show the world what we’re capable of. So, please, lend us your support by checking out other amazing artists and groups from the Philippines as well. We have a lot of incredible talent here, and we’re confident that you’ll find something you’ll love. Thank you for your time and we hope to see you soon!
When the Billboard Global 200 launched in September 2020, a wide swath of international territories across six continents was represented among the world’s biggest songs, led by the United States with 138 artist credits in that first week.
But traveling just south of the border, Mexican artists were notably absent. In fact, no artists from Mexico appeared for the chart’s first 33 editions, until Gera Mx and Christian Nodal debuted in May 2021 with “Botella Tras Botella.” On the April 29-dated survey, that sparse global representation has ballooned to 8% of the entire ranking, lagging behind only the U.S. (46%) and England (11%).
Among Spanish-speaking territories, Mexico is now, thus, the leader, having passed Puerto Rico and Colombia, which had functioned as generators of reggaeton’s biggest acts, including Bad Bunny, Feid and Karol G.
But Mexico’s recent surge is not due to a new wave of native reggaeton stars, although young acts such as Yng Lvcas and Peso Pluma are finding success with “La Bebe,” at No. 3 on this week’s Global 200. More generally, regional Mexican has soared in popularity as a genre, focused on traditional folk styles from rural Mexico and the southwestern U.S., helped along by some more modern pop and rhythmic flourishes, as well as exposure on TikTok and, surely, the increasing Hispanic population in the U.S.
The genre’s quick dash to the head of the pack includes some American acts, in addition to the many Mexican artists that have debuted this year. Grupo Frontera, from the Texas valley, score the week’s highest new Global 200 entry, teaming up with Puerto Rico’s Bad Bunny on “Un x100to.” The track starts at No. 5, becoming the group’s first top 10.
While Bad Bunny’s global superstardom can’t be removed from the equation of the song’s success, it’s noteworthy that he has joined them on a traditional regional Mexican track, rather than the group bending to his proven successful urbana style. Further down the chart, Latin pop act Becky G makes a similar move, joining Peso Pluma on “Chanel,” zooming from No. 141 to No. 85.
Meanwhile, California’s Eslabon Armado and Gudalajara’s Peso Pluma climb from No. 3 to No. 1 on the Global 200 with “Ella Baila Sola.”
Further cementing Mexico’s position of authority among Latin America, Peso Pluma becomes the country’s first act to top the tally, joining a slew of Latin acts who did so previously, including Puerto Rico’s Bad Bunny, Argentina’s Bizarrap and Colombia’s Shakira.
In all, Peso Pluma has nine songs on this week’s Global 200, trailing only Taylor Swift (10). That includes two debuts, at No. 123 with “Igualito A Mi Apa,” alongside Fuerza Regida, and No. 127 with “El Tsurito,” joined by Junior H and Gabito Ballesteros.
Peso Pluma’s huge haul is supported by Grupo Frontera (five entries of its own), and, with three songs each, Fuerza Regida, Junior H, Natanael Cano. With an extended supporting cast, regional Mexican artists put their stamp on 18 songs on the chart this week. Of those, three are debuts and 10 are on the rise, indicating there could be more on the way in the coming months.
Andrew Stone, CEO of Chugg Music, was named manager of the year at the 2023 AAM Awards, held Thursday (April 27) at Sydney’s Crowbar.
Alongside legendary concerts promoter Michael Chugg, Stone guides the Sydney-based independent music company, and manages the careers of Lime Cordiale, Sheppard, Teenage Dads, Mia Rodriguez, Mason Watts, and Casey Barnes.
Managers are the “steady hand” for artists,” Australia’s freshly-anointed top manager explained. “We’re specialized generalists, we’re visionaries in terms of seeing the potential in artists and being able to pull together teams that can turn something that’s almost there to something world-beating, a global phenomenon. That’s an incredibly powerful skill and that’s what people look to us for.” Ask questions of your peers and “stick at it,” he concluded from the podium.
Now in its second year, the AAM Awards are organized by the Association of Artist Managers, to celebrate the domestic and international achievements of the Australian artist management community.
Also during the lunchtime presentation, Young Strangers director Jane Slingo won the community engagement award. Slingo, who manages Sampology and Middle Name Dance Band, led 12 months of consultation across the NSW music sector, and collaboratively developed the “Vote Music” policy paper and election campaign. As a result of her work, the NSW Labor government entered — and won — the recent state election with a pledge to pump $103 million into the music industry.
Slingo also designed and executed the “Cultural Union,” which funded five Australian acts to visit to the U.K. to perform, write and collaborate.
After collecting her trophy, Slingo was promptly invited back to the stage to receive the “Patron’s Greatest Hits” plaque.
The lunchtime ceremony was presented ahead of the 2023 APRA Music Awards, with former triple j presenter Gen Fricker on emcee duties, and special guest performance from singer-songwriters Julia Jacklin and Dean Brady.
Breakthrough manager of the year went to Powerhouse’s Charlotte Ried, who has enjoyed success with Gretta Ray, who she co manages with Jamie-Rose Fowler; and with Blusher, which recently signed to Atlantic/Warner; and with Polish Club, who secured a sync with the NRL/NRLW 2023 season.
Meanwhile, the APRA AMCOS Lighthouse Award went to Sundowner Artists’ Simone Ubaldi, who manages the careers of Amyl & The Sniffers, Grace Cummings, Nice Biscuit, Baby Cool and Girl & Girl. Ubaldi was recipient of the manager of the year at the inaugural 2022 event.
Other winners included Ricky Simandjuntak, who bagged the Patron’s Gift, a cash prize intended to give the recipient a much-deserved leg-up. Simandjuntak was recognized for his work discovering Sampa the Great, developing The Kid Laroi, and guiding the homegrown hip-hop act ONEFOUR.
The big prize, however, went to Melody Management chief Michael McMartin, co-founder of the founder of AAM, Trafalgar Records, and decades-long manager for Hoodoo Gurus, the ARIA Hall of Fame inducted rock.
Fellow artist manager John Watson inducted McMartin, whom he declared the “greatest Canadian export since Neil Young.”
With his acceptance speech, McMartin recounted some his memorable victories in the music industry, and how they were invariably facilitated through collaboration, and a united front.
Check out the 2023 AAM winners below.
Manager of the Year
Presented by Oztix – Andrew Stone, Chugg Music
Breakthrough Manager of the Year
Presented by Select Music – Charlotte Ried, Powerhouse Management
Community Engagement Award
Presented by Live Event Logistics – Jane Slingo, Young Strangers
Legacy Award
Presented by Frontier Touring – Michael McMartin (OAM), Melody Management
Patron’s Gift
Presented by AAM Patrons and 2023 Legacy Award Winner – Ricky Simandjuntak, When Worlds Collide
Dance music reigned at the 2023 APRA Music Awards at Sydney ICC, where Flume and Rüfüs Du Sol scooped several of the industry’s top honors.
With a swag of Grammys, ARIAs and APRAs to his credit, Flume (real name: Harley Streten) is no stranger to awards nights. The producer and DJ was at it again Thursday (April 27), as “Say Nothing” featuring MAY-A won the peer-voted APRA song of the year, the evening’s coveted category.
Flume (in 2017) and co-writer Sarah Aarons (2019) have previously taken out songwriter of the year at the APRA Awards.
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Accepting his latest trophy via a pre-recorded Zoom, Flume pointed out the clubby hit was created through the wonders of technology, as the world’s borders shut fast.
“This song came about during COVID,” he explained. “We were in different places – Sarah was in London, I was in Byron (Bay) and we were just kind of sending stuff back and forth.”
The song, which came in at No. 1 in triple j’s Hottest 100 countdown in January, and is lifted from Flume’s full-length album Palaces, was “done from all corners of the globe,” he continued, “in all different cities and ram shackled together to be something that has obviously connected with people – we’re really grateful to make something that does that.”
Making songs “during COVID was definitely hard,” added Aarons, “and we definitely had a bit of a COVID connection as some would say.”
This time, the songwriter of the year category went to Jonathon George, James Hunt and Tyrone Lindqvist, who together perform as Rüfüs Du Sol. The EDM trio also snagged most performed dance / electronic work for “On My Knees.” Though Rüfüs Du Sol has led the ARIA Albums Chart with three of their four studio album, and won a Grammy Award in 2022, this brace represents their first-ever APRA Music Award wins.
Songwriter of the year “is a pretty ridiculous accolade to get,” enthused Lindqvist in a pre-taped thank-you from South America, where the act is on tour. “We feel really blessed and grateful we can get the nod from the room and everyone in Australia. There’s so much talent coming out of Australia and there has been for as long as music’s been around.”Sydney-raised, Los Angeles-based singer and rapper The Kid LAROI extended his winning streak at the APRAs, as his global hit “Stay,” co-written and performed with Just Bieber, won for most performed Australian work for 2023, and most performed pop work.Unlike his contemporaries, the Kid (real name: Charlton Howard) didn’t prepare an acceptance video, with organizers pointing out he’d lost his voice after performing over two weekends for Coachella Festival.Also on the night, Zambia-born rapper and two-time Australian Music Prize winner Sampa the Great was named breakthrough songwriter of the year by the APRA board of writer and publisher directors.In a taped piece to camera, Sama noted that September 2022 release As Above, So Below is her first album “done fully in my home country Zambia. It also happens to be the first album I have my first producer credits, so this is very special to me. I choose to share my culture. I choose to share stories from my country, and I choose to share them in my language with this album and I’m thankful for APRA for recognising and appreciating that.”
Other APRAs winners included Miiesha, The Chats, Tones And I, Casey Barnes, Xavier Rudd and others. The highlight of the ceremony, however, belonged to Men at Work frontman Colin Hay and the late concerts pioneer Colleen Ironside, both of whom were inducted with the Ted Albert Award for outstanding service to the Australian music industry – arguably the most prestigious award on the industry calendar. It was the first time in the APRAs’ 41-year history that the Ted Albert Award had been bestowed to two individuals.
Legendary concert promoter Michael Chugg was on hand to induct his good friend Ironside with a tribute that was both hilarious and touching, while Hay was introduced by his long-time friend Kim Gyngell, the Australian comedy actor, and via video messages from collaborator Ringo Starr and actor Zach Braff. Hay put the icing on the cake with a speech that poked fun at the Australian vernacular, included a poem on the experience of climbing the summit of pop music, insights on turning failure into victory, songwriting, and a remembrance to his late bandmate Greg Ham. The APRAs found the perfect note to finish on, with indigenous indie-rock outfit King Stingray performing “Down Under,” which they had previously recorded for a national tourism campaign. Hay joined the band on stage, with an acoustic guitar, for the most-Australian musical moment you’re likely to see in this or any other year.See the full list of winners below:
Peer-Voted APRA Song of the YearTitle: Say Nothing (feat. MAY-A)Artist: FlumeWriters: Flume* / Sarah AaronsPublishers: Kobalt Music Publishing obo Future Classic* / Sony Music Publishing
Ted Albert Award for Outstanding Services to Australian MusicColin HayColleen Ironside
Songwriter of the YearRÜFÜS DU SOLJonathon George / James Hunt / Tyrone LindqvistPublisher: Kobalt Music Publishing
Breakthrough Songwriter of the YearSampa the GreatPublisher: Kobalt Music Publishing
Most Performed Australian WorkTitle: STAYArtist: The Kid LAROI & Justin BieberWriters: The Kid LAROI / Justin Bieber* / Isaac De Boni# / Omer Fedi* / Magnus Hoiberg^ /Michael Mule# / Charlie Puth+ / Subhaan Rahman^ / Blake Slatkin*Publishers: Sony Music Publishing / Universal/MCA Music Publishing* /Warner Chappell Music^ / Kobalt Music Publishing+ / Concord Music Publishing#
Most Performed Alternative WorkTitle: HurtlessArtist: Dean LewisWriters: Dean Lewis / Jon Hume*Publishers: Kobalt Music Publishing / Concord Music Publishing*
Most Performed Blues & Roots WorkTitle: We Deserve To DreamArtist: Xavier RuddWriter: Xavier RuddPublisher: Sony Music Publishing
Most Performed Country WorkTitle: God Took His Time On YouArtist: Casey BarnesWriters: Casey Barnes / Kaci Brown* / Samuel Gray*Publishers: Mushroom Music / Kobalt Music Publishing*
Most Performed Dance/Electronic WorkTitle: On My KneesArtist: RÜFÜS DU SOLWriters: Jonathon George / James Hunt / Tyrone Lindqvist / Jason Evigan*Publishers: Kobalt Music Publishing / Sony Music Publishing*
Most Performed Hip Hop / Rap WorkTitle: LET’S TROT!Artist: Brothers & Joel FletcherWriters: Brothers / Joel Fletcher*Publisher: 120 Publishing*
Most Performed Pop WorkTitle: STAYArtist: The Kid LAROI & Justin BieberWriters: The Kid LAROI / Justin Bieber* / Isaac De Boni# / Omer Fedi* / Magnus Hoiberg^ /Michael Mule# / Charlie Puth+ / Subhaan Rahman^ / Blake Slatkin*Publishers: Sony Music Publishing / Universal/MCA Music Publishing* /Warner Chappell Music^ / Kobalt Music Publishing+ / Concord Music Publishing#
Most Performed R&B / Soul WorkTitle: Still DreamArtist: MiieshaWriters: Miiesha* / Lucy Blomkamp* / Stephen CollinsPublisher: Sony Music Publishing*
Most Performed Rock WorkTitle: Struck By LightningArtist: The ChatsWriters: Matthew Boggis / Joshua Hardy / Eamon SandwithPublisher: Universal Music Publishing
Most Performed Australian Work OverseasTitle: Dance MonkeyArtist: Tones And IWriter: Tones And IPublishers: Kobalt Music Publishing / Warner Chappell Music
Most Performed International WorkTitle: As It WasArtist: Harry StylesWriters: Harry Styles / Thomas Hull / Tyler Johnson*Publishers: Universal Music Publishing / Concord Music Publishing*
Licensee of the YearTriple M
Japanese punk rockers Hi-STANDARD announced that their new single “I’M A RAT,” released digitally April 19, will drop as a 7-inch picture disc via their U.S. label, Fat Wreck Chords.
Originally slated for digital release only, the physical version is a tribute to late drummer Akira Tsuneoka, who died Feb. 14 at the age of 51. All proceeds from the disc will be donated to Tsuneoka’s family.
Fat Mike of NOFX, owner of Fat Wreck Chords, first suggested the new single be released on vinyl to the surviving band members in response to the news of the drummer’s death. “This 7 inch means more to me than anyone can know,” he says. “When NOFX first played with Hi-STANDARD in 1995 in Tokyo, we became lifelong friends. I flew them out to SF in 95 and produced their first album. Then NOFX took them on tour for the next year. We were more than close. Hi-STANDARD are a band that I am truly proud of. What people don’t know is that at one point they were the fucking biggest selling band on Fat Wreck Chords. They are the only FAT band that can sell out STADIUMS!”
“This 7 inch is not about that,” the NOFX frontman continues. “This 7 inch is about the last song Hi-STANDARD ever recorded with their drummer Akira Tsuneoka. What a sweet talented man. He always had a smile on his face, and he was always the first to be in the studio. He was an amazing drummer and he will be missed by all who knew him. I hope you’re hangin out with Bohnam, Barnes, and Moon up in drummer hell! Will never forget you Tsune…. RIP.“
According to the label founder, born Michael Burkett, the picture disc will be “specially designed with the cover art of ‘I’m a Rat’ on the A side and a photo of Akira Tsuneoka printed on the B side.“
Among the more unlikely global hitmakers of 2023, Jack Black scores his first entry on the April 29-dated Billboard Global Excl. U.S. chart, one week after debuting on the Billboard Global 200. “Peaches,” Black’s contribution to The Super Mario Bros. Movie, arrives at No. 91 on the former chart and zooms from No. 106 to No. 48 on the latter.
In the week ending April 20, “Peaches” yielded 18.6 million streams and sold 8,000 downloads worldwide, according to Luminate. Those figures represent a 58% streaming increase and a 10% dip in sales from one week prior.
Concurrently, the original motion picture soundtrack for The Super Mario Bros. Movie, which includes “Peaches,” ascends to No. 1 on the U.S.-based Soundtracks chart (9,000 equivalent album units).
“Peaches” was released on April 7, following Mario’s April 5 premiere. In its first week, the song took 70% of its sales and 49% of its streams from the United States. In its second week, those percentages slipped to 68% and 43%, respectively, with the song increasing its international reach as the film continued atop the global box office.
Mario grossed a historic $376 million upon its opening, breaking down to 54% domestic and 46% international. Its second weekend added $194.9 million to its total, and in the weekend of April 21-23, another $132 million. From frame to frame, its international earnings climbed from 46% to 52% to 55%, similar to its standout song’s streams growing from 51% to 57%.
On next week’s May 6-dated global charts, based on the tracking week of April 21-27, international streams for “Peaches” should further outdo its domestic clicks as Mario’s box office followed the same path in its third weekend. The film’s strongest non-U.S. markets include Mexico ($66.2 million through April 24, according to Box Office Mojo), the U.K. ($51.7 million) and Germany ($38 million).
Soundtrack songs have a long history on the Billboard charts. Even within the still-brief two-year-plus history of the Global 200 and Global Excl. U.S., Academy Award winning songs by Billie Eilish, Eminem and a Lady Gaga–Bradley Cooper collab have made their stamp. Meanwhile, Black’s global triumph pairs blockbuster associations with the comedy-tinged success of Bo Burnham’s “All Eyes on Me” and “Bezos I,” both of which hit the Global 200 in 2021 on the back of his Netflix special Inside. Black has a history of his own on Billboard’s comedy charts as a member of Tenacious D, though “Peaches” marks his first solo chart hit.
YOASOBI’s “Idol” holds at No. 1 on the Billboard Japan Hot 100, dated April 26, dominating three metrics of the chart’s measurement this week.
“Idol” continues to soar powered by the popularity of the anime series for which it serves as the opening theme, Oshi no Ko. The track rules streaming (20,366,113 streams, up by 130 percent from the week before), video views (8,388,791 views, up by 94 percent), and downloads (30,505 units, up by 4 percent). It also comes in at No. 4 for radio airplay and No. 52 for karaoke to stay at No. 1 on the Japan Hot 100 for the second week in a row, with over double the total points from the song at No. 2.
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Hinatazaka46’s “One Choice” is this week’s No. 1 song for physical sales with 538,086 copies sold. While the group’s ninth single fared relatively well in the other metrics, coming in at No. 27 for downloads, No. 98 for streaming, and No. 32 for radio, the total wasn’t enough to overturn the huge difference between “Idol,” which racked up points in an extraordinary way this week. “One Choice” launches at No. 2 on the Japan Hot 100.
The girl group’s previous single, “Tsuki to Hoshi ga Odoru Midnight,” launched with 459,613 copies, so the new single tops it by approximately 17 percent, indicating the group’s steadily growing popularity.
Spitz’s “Utsukushii Hiré” (“Beautiful Fin”) is down a notch to No. 3 this week but holds at No. 1 for radio, where it’s rare for any song to stay at the top for consecutive weeks. The theme of the latest Case Closed (Detective Conan) movie also rises 7-2 for streaming with 8,585,967 streams (up by 69 percent) and continues to hold in the top 3 after debuting on the chart at No. 2 last week.
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 to Apr. 17 to 23, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Japanese singer-songwriter Haru Nemuri is the next featured artist in Billboard Japan’s Women in Music interview series. Billboard Japan launched its Women in Music initiative in 2022 to celebrate women in the music industry through a string of projects including this series. Billboard Japan’s Women in Music follows the established example of Billboard’s event since 2007 that has honored artists, producers and executives who have made significant contributions to the music industry and empowered women through their work.
Haru — her name is stylized in Japanese order, surname first — has toured internationally and her music is highly acclaimed outside of Japan. The 28-year-old artist has shared in past interviews that she writes her distinctive style music that shouts anger and indignation “to keep from dying.” Billboard Japan sat down with the outspoken feminist who delivers her messages through song and asked in detail about the inspirations and thoughts at the base of her music.
Are there any female artists who have influenced you?
Haru Nemuri: I tried to think of an answer to this question, but couldn’t come up with anyone in particular. My parents love animated movies by Studio Ghibli and I’ve watched their works since I was a kid, and remember liking Princess Mononoke. I liked the way she was honest about her feeling of wanting to kill her enemies.
Did you consider any particular female figures as your ideal?
I try not to have too many ideals or visions of how things should be. The only ideal I have is to avoid holding on to symbolized motifs like male or female figures in my mind.
When did you begin feeling that such gender biases were symbolic?
I think it was after I made my debut to be exact. I went to an all-girls’ school in junior high and high school, so I was surrounded by girls and didn’t really have the experience of being made aware of my own female identity. After my debut, I became known as a “female college student singer-songwriter,” which made me aware that I’m being labeled as a “woman,” a “female artist,” and a “female college student.” Male artists who also happen to go to college are almost never referred to as “male college student artists,” but women who fit the same criteria are often labeled as such.
You’re absolutely right. No matter what their profession may be, being labeled as a “female college student” is something that happens often in Japan and it must be uncomfortable to be appraised as such. Do you think being a woman affects your activities in any way?
Not really. When I’m asked about my gender in terms of that definition, I say “cis woman.” But if you were to ask me, “What percent female are you feeling now,” my answer would vary from day to day. I might feel like a little boy on a certain day, or might not even feel human on another. I think the self-identifying gender of any person isn’t really fixed and is always fluid. But I do feel that visibility is important, so for example, when I’m asked, “How do you feel about it as a female artist,” I have a responsibility to answer as a person belonging to the majority as a cis-gender woman, and I do so because I believe it’s a task I should be taking on.
When did you start to think that you should be taking on that task?
About 3 or 4 years ago, I think. “Haru Nemuri” to me is the kind of person I wished existed when I was about 14 years old. So I think about the responsibilities I wouldn’t like to see her shirking, then reverse that to find the roles Haru Nemuri should be fulfilling and try to take on those tasks myself.
What do you consider important when sending out messages as someone belonging to the majority in terms of gender identity?
I try to make sure that the voices of the parties concerned aren’t lost in my words. I also try to consider each time whether the anger I’m feeling is really something I should be expressing. For example, when I feel angry about some damage caused by a misogynistic system, I think I should speak out, but I can’t speak for the damage caused by transgender discrimination because I can’t be a party to it. The mechanisms that lead to my anger are similar, but if I’m not a party to the situation, of course I can’t understand everything about the problem. That’s why I think it’s important to listen to the voices of the parties involved.
But to bring about change, allies in the majority need to stand with the minority concerned, don’t you think?
Yes. There are definitely moments when solidarity is necessary, but it can also lead to overgeneralization. That’s why we should listen to what each person has to say. When you’re listening to people’s voices like this, balance will be lost if your own voice becomes louder. But I have a platform as a musician so I have to take on that risk as well. By personally taking on this responsibility, I might be able to prevent overgeneralization.
I see, that’s why you respect the voices of those directly involved. How about you? Do you ever feel discriminated against or find it difficult to live as a cis woman?
Being subtly underestimated is a thing. For example, I write all of my own songs. Recently, I’ve been asking my manager, a guy, to stand in front of my computer and press the play/stop button during my live performances. Then after the show, people would come up to him and say, “Those songs are really good.” He operates the computer behind me and I’m singing with only a microphone, so I suppose I can’t blame people for thinking so, but I’m pretty sure part of the reason why it doesn’t occur to them that I write my own songs is because I’m a woman. Also, people who say that to my manager speak politely to him but use overly friendly language when addressing me.
I can see that happening. You’re also active in the U.S. and have done many interviews there. Do you notice any differences in the treatment of female artists in Japan and the U.S.?
I’m open about the fact that I’m a liberal feminist, so people who defend contrary positions don’t approach me very often. In that sense, I’m not sure I can rely on my experience as a data point, but I had many opportunities (in the U.S.) where I was treated with a sense of empowerment and respect. (Interviewers in the U.S.) aren’t put off when I say I’m a feminist, and in fact, they often ask me to speak in that context.
You’ve said in previous interviews that being a feminist isn’t accepted in Japan. Do you still feel the same way about that?
I think maybe more people are willing to listen to what I have to say now because they’ve done some reading or learned about it on their own. I expressed my messages pretty clearly in my second album, SHUNKA RYOUGEN, and many people seem to have read off of that.
What function does writing lyrics serve for you?
I didn’t become self-aware until fairly late and was quite unaware of my ego until I was about 18 years old. It was between the ages of 18 and 21 when I realized what I didn’t want to do, and ran away from home because I didn’t want to take a corporate job. I began writing lyrics from around that time, and I think I did it then to verbalize, realize, and grasp how I was feeling and what made me sad.
Did anything change when you started putting your sadness and anger into words?
At first I was really happy to be able to verbalize those thoughts and it felt liberating, but as I continued to do so, I was often confronted with the feeling that nothing can be done about what’s causing that sadness and anger until I die. So now it feels more like, “What I’m doing is meaningless but I have to do it anyway.” But after majoring in philosophy in university, I began to think that one’s thoughts and actions can be separated, and learned that they affect each other, so I think that is why I’m able to keep at it.
I’m sure many people are empowered by your music. Is that something intentional on your part when you sing or write your music?
You know what, that’s not really my intention. They’re for me; I write my songs in desperation, in order to survive. Things that are done in desperation has energy, so there might be people who are pulled along by it, and I also believe that writing songs and presenting them is a violent act like hitting someone. I compose and write lyrics feeling pain, coexisting with the thought that “people might be better off not knowing things like this.” It’s almost like I’m experiencing life through pain.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
After succumbing to a fast-finishing Lewis Capaldi last week, Calvin Harris and Ellie Goulding could produce another U.K. chart miracle.
The British duo’s rave-throwback number “Miracle” (via Columbia) returns to No. 1 on the midweek U.K. chart, and remains on track for a third non-consecutive week atop the Official U.K. Singles Chart.
Capaldi broke the streak last Friday when “Wish You The Best” (via Vertigo) overhauled “Miracle,” after trailing at the midweek stage.
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The next-best chart performer is David Kushner’s viral hit “Daylight” (Miserable Music), which lifts 3-2 on the Official Chart Update and is set for a new peak position.
Libianca’s TikTok-fueled Afrobeats hit “People” (5K) completes the midweek podium, up 4-3, while Capaldi’s latest recording looks likely to slip 1-4.
Another dance track is shaping for a top 10 finish. Switch Disco and Ella Henderson’s “React” (Relentless) rises 14-9, for what would be a new peak position in its 12th week on the chart. “React” samples from the late DJ and producer Robert Miles’ classic mid-‘90s house track “Children.”
Based on midweek sales and streaming data captured by the Official Charts Company, three singles are poised for top 20 debuts on the next weekly survey. Nines’ “Tony Soprano 2” (Warner Records) is set to start at No. 11 for the week’s top new entry; The Weeknd and Future’s collaborative number from HBO series The Idol, “Double Fantasy” (Republic Records), is close behind at No. 12; and social media star HStikkytokky and General G are poised to bow at No. 16 with Twust (Hstikkytokky & General G).
All will be revealed when the Official U.K. Singles Chart is published Friday (April 28).
Lewis Capaldi delivered a second-half knockout as “Wish You The Best” (via Vertigo) debuts at No. 1 on the U.K. singles chart.
With his latest feat, the Scottish singer and songwriter bags his fifth U.K. leader after “Someone You Loved” (from 2019), “Before You Go” (2019), “Forget Me” (2022) and “Pointless” (2023).
According to the Official Charts Company, Capaldi now sits alongside David Bowie, Beyoncé, Cheryl, All Saints and the Bee Gees among artists with five U.K. chart-topping singles to his name.
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“With The Best” pulled off something of a miracle. The single, lifted from Capaldi’s forthcoming sophomore album Broken by Desire to Be Heavenly Sent, had trailed previous leader “Miracle” by Calvin Harris, and “Daylight,” by David Kushner, on the midweek survey before storming home in first place.
A special CD single and Capaldi’s Netflix documentary How I’m Feeling Now provide the punch. Almost 16,800 units of the single were shifted, the OCC reports, while two of his former leaders, “Forget Me” (up 8-7) and “Pointless” (up 17-16) are lifted by his emotional doc.
Desire to Be Heavenly Sent is scheduled for release May 19.
Meanwhile, “Miracle” (Columbia) dips 1-2 on the Official U.K. Singles Chart and remains the most-streamed track in the country with 5.6 million plays. U.S. viral star David Kushner makes his top 10 debut on the latest chart, published Friday, April 21, with “Daylight” new at No. 3. Kushner’s only other appearance in the top 40 was 2022’s “Miserable Man,” which got over the line at No. 39.
Post Malone earns his 15th top 20 hit, and just misses out on a ninth top ten, as his new pop-leaning single “Chemical” (Republic Records) blasts to No. 11. It’s his best-positioned single since 2019’s “Hollywood’s Bleeding,” which also reached No. 11.
Finally, rising U.S. rapper Ice Spice enjoys her first U.K. top 40 appearance with “Princess Diana” (10K Projects/Capitol), which has found new life thanks to a remix featuring Nicki Minaj. It’s at No. 22 on the latest tally.
