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It’s been an action-packed year for Amir Eid, the lead singer of the groundbreaking Arabic rock-pop band Cairokee, who just released several tracks off his debut solo album, which came in parallel with season two of the hit show, RIVO. Created by Mohamed Nayer and directed by Yahya Ismail, the show premiered on Watch It, starring Amir Eid as Shady, the lead member of a fictional indie band shrouded in mystery.
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Much like Cairokee’s journey to success, and particularly that of lead singer Amir Eid, RIVO depicts the arduous road of a band determined to change the musical landscape in which it exists. We hear this all packed into RIVO’s brilliant soundtrack. Meanwhile, the deep nostalgia for the glory days of the ‘90s was perhaps another factor behind RIVO’s mass appeal.
Amir says the idea for RIVO began with his friend, script writer Mohamed Nayer, who kept trying to sell him the character of Shady for years. For the Cairokee lead singer, the decision to embark on this new experience was not an easy choice to make.
“[Mohamed] would always tell me: ‘You will play the role of Shady,’ and I would respond by saying: ‘My son, I do not want to act,’” Amir explains. But it seems that seven years of preparation were enough for Amir to change his mind. “I met Nayer by chance, and he told me you have to read this script,” he recalls. “I read the script and loved it, because it had a band and music and ‘90s and playing, so honestly, I fell in love with the role, and wanted to go through with it.”
In terms of the music, Amir manages to yet again deliver a set of songs that exhibit his resonant ability to blend alternative rock and pop, with his self-contained style of songwriting — in this case, songs that are at the heart of both Shady’s life and Amir’s career. Four tracks were enough to leave the audience with a sonic token from the show, as heard in “Tayer” (“Flying”), where the mood is immediately set by means of a bemoaning guitar line and delicate drum pattern that gives space for Eid’s vocals.
Later in “Wahshteny” (“I miss you”), Amir’s pop sensibilities and musical storytelling come in with an upbeat production juxtaposed against lyrics of an untimely love. “Lw Kan” (“If Only”), in collaboration with producer Sary Hany, offers the fullest sound, while in “Metkatef” (“Tied Up”), the keys and trumpet-driven track delivers a melancholia cushioned by rich instrumentation. In the track, we hear Amir in his most controlled vocal delivery situated within the tragic closing scene of RIVO‘s series finale.
The show weaves the music into its narrative to convey meaningful messages and ignite conversations about mental health. Within its script, the series spotlights issues like depression, a dialogue that Amir aspires will resonate profoundly with the audience.
Amir says that his approach to crafting music content for RIVO is a complete departure from his usual songwriting process for Cairokee — in this case, a largely solo driven process, but also conceived for an entirely different time period. The songs he writes for RIVO are based on a script set in the 1990s, whereas his songs for his band Cairokee are born out of pure imagination.
“First thing I do is I read the scenario really well,” he says. “Then I put it aside and go about my life normally, as we do tours and a lot of concerts, so I think, ‘What would Shady do in this situation? If he was to sing, how would he sing? If he was to write, how would he write?’ So the idea gets refined in my head, so I go back to the scenario and start working on Shady’s songs and character in the second season of RIVO.”
Looking back, a blending of Western rock and Egyptian folk music is carved in Amir’s memories of his childhood and teenage years — a fusion that would eventually shape his own music to a great extent. When revisiting this period of his life, Amir, a huge fan of the Rolling Stones, often remembers his Beatles-loving older brother. To justify his own preference, Amir says he liked the Stones’ rebellious nature and signature look.
“I would love for Cairokee to keep performing when its members are 60 or 70, touring and writing songs and living this life regardless of their age. It goes beyond just looks and fashion style – it’s that forever-young attitude that I admire most in the Stones.”
Since their debut self-titled album in 2009, the band has released eight albums, with songs that continue to find a home on the Billboard Arabia newly launched Hot 100 chart. Amir also landed a spot in Billboard Arabia’s Top 100 Artists with his solo work, while closing out the year with two epic performances with Cairokee: MDLBEAST’s Soundstorm in Riyadh, followed by their show in Egypt’s El Gouna Film Festival.
Through Amir’s musical journey, the timeless essence of rock and the resonance of his songwriting continue to permeate his melodies. Be it in his solo work or the rich portfolio he’s created with Cairokee, Amir maintains his ability to create music that speaks to the human experience, with songs that are helping to shape the new sound of Arabic pop.
This article is a translation of a piece that originally ran on Billboard Arabia.
Amir Eid
Abdulla ElMaz/ Billboard Arabia
From TikTok to touring the world with the Grammy-nominated pop-rock band OneRepublic, Mishaal Tamer continues to find ways to elevate his position in the global pop pantheon. Singing in English, Arabic and Spanish while mixing guitars with a self-made modified electric oud, not to mention a poignant songwriting and performance style that is entirely his own, Mishaal represents a rising generation of trilingual pop stars that are not only bridging cultures but sonic references to create something entirely new.
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Since childhood, Mishaal has been driven by making the impossible possible. When he was nine years old, Mishaal broke his arm, suffering nerve damage that would have left him handicapped had he not found the guitar. Powered by his dreams, he used the instrument as part of this physical therapy, which eventually built the foundation for his songwriting and artistry.
In 2016, Saudi Arabia saw a major turning point with the announcement of the 2030 vision, with music, art and entertainment at the forefront. During this transformative period, Mishaal emerged onto the scene, establishing his presence through his first Instagram post with a self-reflective, somber guitar clip of “Can’t Love Myself.” Producer Monty Datta later found the track, sampled and released it, propelling the track to amass almost upwards of a billion views across platforms.
2019 witnessed Mishaal’s evolution as an artist with the release of his debut music video for “Arabian Knights.” Filmed in his hometown of Jeddah, Mishaal kicked off the trilingual trend by singing in Spanish, Arabic and English, cushioned within a Spanish strummed guitar and a lo-fi beat.
Afterwards, Mishaal went on to release an outpouring of singles, culminating with his debut EP, Life’s a Ride, in 2020 through RCA Records. Driven by indie-pop and genre-bending aesthetics, heard chiefly in tracks like “Friends,” Mishaal found his voice and self-contained style of songwriting.
In this behind-the-scenes video, Mishaal explains to Billboard Arabia what it means to be a songwriter from Saudi Arabia on the brink of global stardom and the importance of dreaming big. On the tour, Mishaal also teased several singles from his forthcoming album, Home is Changing, a double entendre for undeniable progress happening in the Kingdom, but also deep within the artist. The album consists of five EPs that collectively tell a story of transformation and personal growth. Thus far, the lead singles include the self-reflective “Superman,” followed by “Disco Cowboy,” a blending of post-punk guitar lines, momentous drums and anthemic lyrics.
This notion of change is ever present in Mishaal’s work, particularly when looking at his early work and the evolution of his songwriting leading up to getting signed by Empire, and Home is Changing. It is perhaps out of his ability to embrace change that the young artist continues to rise. For example, in the process of receiving his visa in the United States, Mishaal spent many nights sleeping under a table in a recording studio in New York, unable to return home to Saudi during COVID, and instead writing through his homesickness. The outcome was a body of work that continues to flourish.
In the summer of 2023, Mishaal joined OneRepublic as the opening act on their multi-city tour across Europe, and in this video, he takes Billboard Arabia behind the scenes and through the many milestones reached along the way. The tour came after singing with Empire and co-headlining the 2022 iteration of MDLBEAST’s SoundStorm in Riyadh alongside stars like Bruno Mars, DJ Snake, Post Malone, David Guetta and more.
Building off the momentum of the tour, OneRepublic teamed up again with Mishaal in a partnership between Interscope and Ubisoft to release the track “Mirage” for the video game Assassin’s Creed Mirage. “To be featured on a song with my musical heroes, OneRepublic, that soundtracks my favorite video game, is a dream come true,” says Mishaal Tamer.
The song dropped in the lead up to the game’s release, with the lyrics co-written by Ryan Tedder, and a feature by Mishaal singing in Arabic, where both verses take inspiration from the video game. A week later, Mishaal dropped another single, “Painful Paradise,” paired with a music video made of footage from the tour with OneRepublic.
Last December, OneRepublic announced a Dubai stop on its Artificial Paradise world tour on Jan. 25, with Mishaal Tamer set to open up the stage with tracks from his new EP, The Deep. In his rapid rise to the global stage, Mishaal’s trilingual prowess and genre-blending continue to push the boundaries of indie-pop, where his lyrics echo personal and cultural growth, while his collaboration with OneRepublic heralds a new era for the artist and musicians from Saudi Arabia.
This article is a translation of a piece that originally ran on Billboard Arabia.
LONDON — Paid-for streaming revenues grew to a record high of £1.86 billion ($2.4 billion) in the United Kingdom last year, helping drive a 9.6% rise in overall music spending, according to year-end figures from the Digital Entertainment and Retail Association (ERA).
In 2023, British music fans spent a total of £2.2 billion ($2.8 billion) on music purchases via subscriptions to music streaming services like Spotify and Apple Music, and vinyl and CD purchases. That’s more-or-less equal to 2001’s total, the historic peak of the CD era, when U.K. music sales stood at just over £2.2 billion, reports ERA. When compared to 2019, the last full year pre-pandemic, music sales have climbed by almost 39% in the space of four years.
Driving the growth was a 9.8% year-on-year rise in subscription streaming revenues, while spending on physical formats was up 10.9% to £311 million ($395 million) the London-based organization says in its preliminary annual figures published on Tuesday (Jan. 9).
Breaking down physical music revenues, vinyl album sales grew 18% to £177 million with Taylor Swift’s 1989 (Taylor’s Version), The Rolling Stones’ Hackney Diamonds and Lana Del Rey’s Did You Know There’s A Tunnel Under Ocean Blvd among the year’s best-selling titles.
Despite CD sales falling 7% year-on-year in volume terms to 10.8 million units, revenue from the long-written-off format actually rose 2% in 2023 to £126 million ($160 million), marking the first increase in CD revenue in two decades.
ERA says the growth can be attributed to the format’s continued popularity among dedicated music fans, keen to buy their favorite artists in multiple and deluxe formats, as well as a rise in the number of Gen Z and Millennials buying CDs.
This Life by British pop group Take That was 2023’s top CD album in the U.K. with just over 127,000 units sold. Swift’s 1989 (Taylor’s Version) was the year’s second most popular CD release.
Streaming now makes up more than 88% of all music sales in the U.K., compared to 64% five years ago, with physical formats accounting for 9.4% of today’s market, according to labels trade body BPI, which released its year-end listening figures last week.
BPI reports that more than 179 billion music tracks were streamed in the U.K. in 2023, up 12.8% on the previous year’s total, with the equivalent of 182.8 million albums streamed or purchased in 2023 across digital and physical formats, up 10% on the previous 12 months.
In a statement, ERA CEO Kim Bayley said the year-end figures represented a “red letter day” for the U.K. music industry with the rise in revenues “a testament not just to the creativity of artists, but to the entrepreneurial drive of digital services and retailers.”
Although both ERA and BPI use Official Charts Company sales data as the basis for their reporting, the two organizations take different approaches to measuring the health of the recorded music business. ERA’s figures are based on retail spending in the U.K., whereas BPI’s measure music consumption levels. (ERA’s subscription streaming numbers are estimates based on information provided by digital services and label trade income reported to BPI). BPI and ERA are both due to publish their full annual reports later in the year.
Overall, revenues across the U.K. entertainment market – comprising of music, video and games retail sales – were up 7% on 2022’s total to a record high of £11.9 billion ($15.1 billion), marking the eleventh successive year of growth. Streaming and digital services accounted for almost 92% of entertainment revenue, reports ERA.
Of the three sectors, recorded music sales are in third place, trailing both games and video (comprising of video-on-demand subscription services such as Netflix and DVD sales), which totaled £4.7 billion ($6 billion) and £4.9 billion ($6.2 billion) respectively.
The U.K. is the world’s third biggest recorded music market behind the U.S. and Japan with sales of just under $1.7 billion in trade value, according to IFPI’s 2023 Global Music Report.
Warner Music Group and Red Light Management have entered into a strategic partnership designed to help Red Light artists better target the world’s second-biggest music market, Japan.
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Under the pact, Warner Music Japan’s international marketing and ADA divisions will work with Red Light to build a marketing and label channel for Red Light artists. They will also work to foster collaboration between Red Light artists and domestic performers in Japan.
The partnership kicks off with the promotion of Ghostly Kisses, the musical project of French-Canadian singer-songwriter Margaux Sauvé, who is signed to British label Akira Records. She performed for the first time in Tokyo in December ahead of her new album release set for early this year.
Red Light Management’s roster of artists, writers and producers includes Dave Matthews Band, Punctual, Enrique Iglesias, Brittany Howard, Lady A, Lionel Richie, Interpol, ODESZA, Phish, The Strokes, Sabrina Carpenter, Chris Stapleton, Danny L Harle and Lewis Thompson.
James Sandom, managing partner at Red Light Management, said in a statement, “We’re super excited to partner with Warner Music on this initiative to help our artists with a dynamic new route into Japan. The Japanese market has unique characteristics, a landscape requiring bespoke attention and knowledge of the local music and entertainment sector. Bringing this knowledge together with our artists will help them build fan communities in this special market, with the aim of enabling a new generation of artists to find success in Japan.”
Kaz Shimada, COO of Warner Music Japan, added, “In recent years we have worked hard to help international artists connect with local fans as we transitioned from physical to digital. This exciting new partnership is another significant step forward, as we combine our experience promoting some of the biggest global stars in Japan with Red Light Management’s super-talented managers and amazing roster of artists.”
Pinpointing the exact moment when Mohammed Abdu earned the title “Artists of the Arabs” proves challenging, yet it undoubtedly reflects his remarkable contributions to the pantheon of Arabic music. His unwavering commitment to evolving his artistic style and craft over the past six decades cemented his legacy. Abdu introduced the inaugural musical experience from the Gulf, specifically from Saudi Arabia, reaching audiences in Egypt and the Levant, and later, performances on distinguished global stages.
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In this realm, his artistic resonance mirrors that of other Arabic music icons such as Umm Kulthum in Egypt and Fairuz in Lebanon. Abdu’s music stands among these trailblazers, transcending boundaries of geography, dialect and cultures. It continues to be cherished, remembered and echoed across the Arab world, ingrained in the collective memory to this day.
When asked about the artistic activity closest to his heart, Abdu’s response is swift and confident: “The stage!” Abdu has always been passionate about bringing his art to the masses. “We started with open-air public theaters,” he says, a sentiment that defines the nearly sixty years he has been active in the music scene. Over this time, he has observed significant changes in the music industry, not only in Saudi Arabia but across the GCC and the Arab region as a whole. At just 14 years old, he experienced the proliferation of traditional Arabic music in Saudi Arabia and had the opportunity to learn from and train under the leading composers and musicians of the time.
While theater holds a special place in his heart, radio was the first and most influential platform in Mohammed Abdu’s artistic journey. He fondly recalls his time at Saudi Broadcasting Authority, reminiscing about the memories it holds. Abdu joined the station in its early days in the ‘60s, describing it as a pivotal moment filled with both fear and excitement. He recalls, “When the Saudi Radio aimed to contribute to the elevation of [Khaleeji] art, the Radio sought to adopt an artist whose work it would produce based on a refined culture.”
This leads him to remember his greatest moment of sadness. “One of the saddest moments in my life was when I heard my voice on the radio. Sadness and crying took over me, and maybe even depression to a certain extent.” However, fear and sadness became drivers of hope for him, and hope was always a source of joy. Hearing his voice on the radio marked the official recognition of his status as a professional artist, ushering in a feeling of facing the unknown and newfound responsibilities. To ease his nervousness, he even explored alternative career options alongside his music, but ultimately his drive toward music persevered.
It’s crucial to note that radio in that era, especially in the Kingdom, served as more than just a broadcasting platform; it was an artist’s home, production company, recording studio and distribution platform—all functions that are now separated. Mohammed Abdu emphasizes the revolutionary role of Saudi Radio in popularizing traditional Arabic music to Saudi Arabia in the early 1960s by bringing in musicians from the Levant. Before this, traditional music in the Gulf mainly consisted of collective chanting of poetry, including what we know today as Saudi Sheilat music.
After the foundational phase marked by fear, sadness, responsibility and personal struggles, Abdu entered another phase in his career characterized by collaboration with fellow artists, influencing and drawing inspiration from them. A significant figure in shaping Abdu’s musical journey was the late composer Omar Kadars. Abdu expresses, “I gained a wealth of knowledge from him. His openness to traditional Arabic melodies, their intricacies and his mesmerizing oud playing greatly benefited me. As an amateur with modest talent in the beginning, I ended up benefiting immensely from his guidance.”
It was during this time that music in Egypt opened up even more. In the 1970s, young Abdu set off to Egypt, ready to take on the world as a budding artist and expand his horizons. He went with a clear purpose in mind, saying, “When I went to Egypt, I had a plan. I brought my tunes and my vision. I wanted to bring fame to my country’s art. You could say it was a fully integrated Saudi artistic project…. My first trip to Egypt was in 1969 and I can confidently say that I benefited from the musical workshops they used to organize, which helped me showcase the true colors of the Gulf.”
Proving himself as a serious artist, Abdu collaborated with legendary Egyptian composers like Riad Al-Sunbati, singing his compositions in a national operetta. He also worked with the late Egyptian poet Ismat Al-Habrouk, co-writing a eulogy song for Umm Kulthum called “Bulbuli Al-Sadah” when she passed away. This moment deeply affected Abdu, a devoted fan of Umm Kulthum who attended her concerts across the Arab world whenever possible. As he continued his music journey in Saudi Arabia and made regular trips to Egypt, he produced songs resonating throughout the Arab region in the 1980s, such as “Aywah,” “La Treddin Al Rassayel” and “Markab El Hind.”
In the 1990s, the Artist of the Arabs began reaping the rewards of his years of hard work in music, performing his rich repertoire on some of the world’s most prestigious stages as the pioneer of Saudi song. His voice brought people together with heartfelt songs like “Baad Kuntu Wala Garibin,” which he dedicated to expats. Abdu performed in major Arab and European cities as well, as part of the Weeks of Cultural Exchange that Saudi Arabia used to organize.
After reflecting on his long journey, we must also explore Mohammed Abdu as an artist in the present day, while considering how production techniques and methods have evolved. In this context, he emphasizes that today’s generation of aspiring musicians is incredibly fortunate. “Nowadays, demand is higher than supply,” he stated, referring to the numerous radio stations and platforms that give emerging talent the chance to showcase themselves to their audience. “An artist without an audience is an artist without art. The audience isn’t ignorant; they need to see something valuable in the artist,” he explained, sharing his perspective on the special relationship between an artist and their audience. However, certain aspects that define an artist’s essence remain constant regardless of the era. According to Abdu, “An artist is composed of two layers: natural talent and the mastery of it. Talent is innate, while mastery is acquired.”
In the interview, Abdu also compares yesterday’s music with today’s. He acknowledges the changes in composition and recording techniques, pointing out that technology has made things easier. “I’ve always been a bit slow with composition, but nowadays, technology is a real time-saver,” he admits. However, he also sees a downside to this convenience. He believes that artists have become a bit lazy due to the ease and speed it brings. Previously, music recording required effort, focus, discipline and a respect for time.
When it comes to AI and the future of the music industry, Abdu doesn’t shy away from expressing his support for technological advancement: “Scientific progress in general should never stop,” he says. However, upon closer examination, he also recognizes that AI-generated sounds, especially in traditional Arabic music, are still far from perfect. Particularly in genres that rely on improvisation and creativity, there’s still work to be done.
When asked about the wave of openness toward art and music in the Kingdom, and whether it aligns with Saudi Vision 2030, Mohammed answers, “What we are witnessing today is a culmination of past efforts, with officials knowing exactly when to seize the moment and launch us into this smart era. We’re picking up where others left off, and it’s a remarkable time to be part of the scene.”
This article is translated from the original on Billboard Arabia.
Nile Rodgers is one of three recipients of the 30th annual Crystal Award, the World Economic Forum announced on Monday (Jan. 8). The others are Michelle Yeoh, who last year became the first performer of Asian descent to win a best actress Oscar for her role in Everything Everywhere All at Once, and architect and educator Diébédo Francis Kéré.
The winners will be honored at the opening session of the Forum’s annual meeting in Davos-Klosters, Switzerland, on Jan. 15. The award celebrates “the achievements of leading artists who are bridge-builders and role models for all leaders of society,” according to a statement.
Rodgers receives the 2024 Crystal Award for his efforts to make the world a more peaceful, equal and inclusive place through his music, his commitment to fighting systemic racism, inequality and injustice, and by championing innovative youth voices.
Rodgers’s activism began as a teen Black Panther in New York. He participated in Live Aid in 1985 and the Concert for Ukraine in 2023. After 9/11, he co-founded the We Are Family Foundation (named after the 1979 classic that he and Bernard Edwards wrote and produced for Sister Sledge), promoting cultural diversity while empowering young people to change the world.
“My parents socialized me to care about people and give to others though we were ourselves financially poor,” Rodgers said in a statement. “When music gave me the opportunity to reach hearts the world over, I realized I’d been given a priceless gift. When I give that gift to others, I get back more than the wealthiest person on earth.”
Rodgers has received numerous prestigious awards in the past decade. In 2016, he was inducted into the Songwriters Hall of Fame. The following year, he received the award for musical excellence from the Rock and Roll Hall of Fame. In 2023, he received a lifetime achievement award from the Recording Academy. He is an Apple Music producer-in-residence, Songwriters Hall of Fame chairman, and Hipgnosis Songs co-founder.
With CHIC, Rodgers pioneered a musical language with “Le Freak” and “Good Times,” both of which topped the Billboard Hot 100. The latter was later interpolated in The Sugarhill Gang’s “Rapper’s Delight,” which in January 1980 became the first rap track to make the top 40 on the Hot 100.
Rodgers’ work in The CHIC Organization – including Sister Sledge, Diana Ross (“I’m Coming Out”), David Bowie (“Let’s Dance”) and Madonna (“Like a Virgin”) – led to a string of top-selling albums and singles. He has won four Grammys in the past decade for collaborations with Daft Punk (Random Access Memories and its smash single “Get Lucky”) and Beyoncé (“Cuff It” from Renaissance).
The Crystal Award is presented at Davos each year by Hilde Schwab, chairwoman and co-founder of the World Economic Forum’s World Arts Forum.
Alfredo Delgadillo has been appointed president and CEO of Universal Music México, Billboard can exclusively announce.
Previously Universal Music México’s managing director, Delgadillo’s newly-expanded role includes Universal Music Group’s regional Mexican label, Fonovisa-Disa. The Mexico City-based executive will continue to report directly to Jesús López, chairman/CEO, Universal Music Latin America & Iberian Peninsula.
“We are in a unique moment of growth for Latin music and Regional Mexican music, so this new responsibility comes with an even stronger commitment to continue growing the success and reach of our artists both in Mexico and around the world, alongside growing our live and management businesses,” Delgadillo said in a statement.
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“Now with the addition of the Fonovisa-Disa labels,” he continued, “I am looking forward to working closely with its leader Antonio Silva, for whom I have absolute respect and their entire team, to ensure that the legacy of Fonovisa-Disa, as the symbol and leader of Regional Mexican music, continues to grow and expand to the rest of the world.”
After a 10-year run with EMI Music México, Delgadillo returned to Universal in 2013 (when UMG acquired EMI) as general manager of Universal Music México, and in 2017 was promoted to managing director where he was key in the development of local acts, such as Mon Laferte and Caloncho, while contributing to the growth of international acts in Mexico like J Balvin, David Bisbal, Metallica, U2 and Taylor Swift, among others.
During his time with the label, the industry veteran, who began his career at Universal Music México in 1998, has overseen strategies to “take UMG’s international acts to the top of the Mexican charts” and “was responsible for the development and consolidation of Global Talent Services (GTS),” according to a press release.
“Alfredo is an executive with extensive experience in all fields of entertainment, including records, management and touring,” added Jesús López, Universal Music Latin America and Iberian Peninsula chairman and CEO. “He has incredible leadership capacity and a great track record of developing and integrating young executives into his teams. These are among the many reasons for his ongoing success at Universal Music Mexico. I wish him every success in his new mission within the company. He has the support of our entire team.”
Now that 2023 has come to a close and the year-end charts have been digested, it’s time to look ahead. 2024 is already looking to be a big year for music in Canada.
Upcoming Canadian album releases include a double album from long-running pop-punk band Sum 41, a new album from long-running rock band Mother Mother that follows the huge TikTok resurgence of their older song “Hayloft,” plus new ones from well-established bands like The Strumbellas, Chromeo, off-kilter pop artist Allie X, country singer Corb Lund and more. There are also plenty of albums from up-and-coming artists to keep an eye on.
Promising B.C. rapper Boslen’s Conversations Over Dinner project is tentatively scheduled for March. Singer/poet Mustafa announced his debut album is coming this year. Montreal rapper Lou Phelps announced his forthcoming album Chélbé, executive-produced by Kaytranada. Speaking of that in-demand Montreal producer, he closed out 2023 with a pair of new solo songs following his collaborative album as Kaytraminé, which seem to signify something new on the horizon.
Indigenous hip-hop duo Snotty Nose Rez Kids could have a big breakout year coming. They signed to Sony Music Canada last year and announced their major label debut will come out this summer. And after appearing on Billboard Canada’s Punjabi Wave cover, Jonita Gandhi has her first EP on 91 North Records set to release in February.
Some major tours are hitting Canada in 2024 as well.
Diljit Dosanjh is set to play the biggest Punjabi concert outside of India at Vancouver’s BC Place in April. That Vancouver venue is surprisingly the only Canadian host for the Rolling Stones’ Hackney Diamonds tour. And aside from the six dates at Toronto’s stadium Rogers Centre, Vancouver will get the only Canadian dates on Taylor Swift’s record-breaking Eras Tour.
Pop-punk has reached its stadium era. Veterans Blink-182 and Green Day will both play Toronto’s Rogers Centre (home of the Blue Jays) this summer. Green Day is also joining SZA and Noah Kahan as headliners for Montreal’s biggest music festival Osheaga.
Head to ca.billboard.com for a full list.
Two Canadian Cities Establish Music Strategies
Canadian cities are getting strategic when it comes to promoting and supporting their music scenes.
Following the lead of its neighbour Toronto, Kingston, Ontario is moving forward with a music strategy and establishing an official music office. The Kingston city council approved $200,000 in funding from the capital budget in a meeting just before Christmas. The funding will establish the music office and support music programming in the city for the year. The city will also hire and appoint a music officer in charge of the office.
“The strategy hopes to improve living and working conditions for musicians and industry workers while also better leveraging Kingston’s existing music scene as a piece of the city’s tourism tapestry,” reports Yahoo’s Local Journalism Initiative.
Kingston is the 12th most populous city in Ontario but has a notable music history. It’s home to Queen’s University, which has made it a popular location for student bars and student bands. It’s also famously the city that spawned The Tragically Hip, one of Canada’s most beloved bands. Establishing a music strategy codifies music as a major identity for the city and helps it market its music scene while supporting the artists and infrastructure of those who play there.
Vancouver also has a music strategy and has just appointed a music task force to help the city implement it.
A press release explains that the task force will help the City “celebrate the sound of Vancouver and the music of the Musqueam, Squamish and Tsleil-Waututh peoples.” It will also aim to attract and retain artists, businesses, tourism and events that strengthen the local economy.
The city aims to build a music sector that thrives year-round. – Richard Trapunski & Kerry Doole
Rising TikTok Star Alexander Stewart Makes His Billboard Canadian Hot 100 Debut
Canadian singer-songwriter Alexander Stewart is starting 2024 off with a bang, making his debut on the Billboard Canadian Hot 100 with the explosive “i wish you cheated,” off of his new EP, if you only knew. The lovelorn single arrives on the Jan. 6 chart at No. 100 after gathering steam since Stewart’s October performance on The Tonight Show Starring Jimmy Fallon.
Starting off with mournful piano and Stewart’s voice, the song has a strong premise: Stewart wishes his ex had cheated on him so that he could have clarity and a simple justification for feeling angry and upset. The piano cuts out at the end of the chorus as Stewart asks: “how do I move on / when you did nothing wrong?” Then, Stewart ramps up the energy with backup vocals, dropouts and a theatricality that calls to mind Olivia Rodrigo’s “drivers license.”
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The Toronto-born musician is now based in L.A. and has built up an impressive online fanbase, with six million followers on TikTok and 2.5 million subscribers on YouTube. He released if you only knew with entertainment company FAE, and according to a press release the initial TikTok campaign for “i wish you cheated” amassed more than 43 million views. Stewart was the second-most popular artist on TikTok in Canada in 2023, behind Lauren Spencer Smith, who charted on the Billboard Hot 100 last year with “Last Christmas.”
This is Stewart’s first time on the Billboard Canadian Hot 100, and he could be poised to climb higher if he can gather momentum as holiday music drops off the charts in the coming weeks. The top 10 of this week’s Billboard Canadian Hot 100 are all holiday songs. – Rosie Long Decter
Hit singles by Miley Cyrus, Taylor Swift and SZA helped lift the U.K. streaming market to a record high last year with more than 179 billion music tracks streamed across the 12 months, up 12.8% on 2022’s total, and nearly double the volume of audio streams registered five years ago, according to year-end figures from labels trade body BPI.
Female artists fueled the growth in streaming consumption, spending an unprecedented 31 weeks at No. 1 on the United Kingdom’s official singles chart – the highest total since the charts launched in 1952.
Leading the pack is Cyrus’s “Flowers,” which spent 10 weeks atop the U.K. charts and was the year’s biggest song with 198 million streams.
In total, seven of the ten most popular songs in the U.K. in 2023 were by female acts with SZA, Swift, Cameroonian American singer Libianca and U.K. artists PinkPantheress, RAYE and Ellie Goulding (in collaboration with Calvin Harris) joining Cyrus in the annual best-sellers list. BPI reports it is the highest number of female artists in the year-end top 10 in more than 70 years.
The rest of the top 10 was made up of tracks by British rappers Dave and Central Cee, Nigerian singer Rema and Harry Styles.
Across the year, almost half (48.5%) of the songs that entered the top 10 of the U.K.’s weekly official singles chart were by female acts, either solo or in collaboration with other artists.
Jo Twist
Courtesy Photo
Reflecting on a record-breaking year for female artists, BPI chief executive Jo Twist said the achievements of stars like Miley Cyrus, Taylor Swift and RAYE should be celebrated, but cautioned against complacency in the industry “to ensure that this becomes the norm.”
BPI reports that streaming now makes up more than 88% of all music sales in the U.K., compared to 64% five years ago, with physical formats accounting for 9.4% of today’s market.
The trade body says that more than 2,500 tracks generated over 10 million audio and video streams in 2023, compared to around 1,100 songs reaching the same total in 2018.
Overall, music consumption rose for a ninth consecutive year with the equivalent of 182.8 million albums streamed or purchased in 2023 across digital and physical formats, up 10% on the previous 12 months.
Vinyl album sales rose for the 16th consecutive year, growing at their fastest rate this decade (up almost 12%) to 6.1 million units and marking the highest level of vinyl purchases in the country since 1990, when Phil Collins, Elton John and Madonna were among the year’s best-selling 12-inch releases.
In 2023, that accolade was won by Swift, who holds three places in the year’s top-selling vinyl album charts, including the No. 1 spot with 1989 (Taylor’s Version). Other entries in the top 10 included records by The Rolling Stones, Lana Del Rey, Fleetwood Mac, Blur, Lewis Capaldi and Olivia Rodrigo.
CD sales dropped 6.9% year-on-year to 10.8 million units, while cassette sales stayed broadly level with recent years at 136,000 units. Digital album sales dropped 4.6% to 3.5 million units with best-sellers including Trustfall by Pink and But Here We Are by Foo Fighters.
Despite the dominance of streaming, BPI reports that physical format sales made up more than half of all chart-eligible sales for the vast majority (86%) of albums that debuted at the top of the U.K. charts last year.
Across digital and physical formats combined, The Weeknd’s The Highlights was the year’s most popular album in the U.K., followed by Swift’s Midnights and her 1989 (Taylor’s Version) set. Elton John’s Diamonds, which was first released in 2017, ranked at No. 4 thanks to the singer’s farewell tour and high-profile Glastonbury headline performance in the summer.
Harry Styles’ Harry’s House secured fifth place in the overall year-end albums tally, while Barbie: The Album was the year’s top compilation.
BPI’s preliminary year-end report, published Wednesday (Jan. 3), doesn’t include financial sales data. Instead, it uses Official Charts Company data to measure U.K. music consumption in terms of volume.
The London-based organization will publish its full year-end report, including recorded music revenues, later this year. Another British trade body, the Entertainment Retailers Association (ERA), is due to report on annual music retail spending later this month.
The U.K. is the world’s third biggest recorded music market behind the U.S. and Japan with sales of just under $1.7 billion in trade value, according to IFPI’s 2023 Global Music Report.
U.K. OFFICIAL ARTIST ALBUMS CHART 2023
1. The Weeknd – The Highlights
2. Taylor Swift – Midnights
3. Taylor Swift – 1989 (Taylor’s Version)
4. Elton John – Diamonds
5. Harry Styles – Harry’s House
6. Fleetwood Mac – 50 Years – Don’t Stop
7. Eminem – Curtain Call – The Hits
8. SZA – SOS
9. Arctic Monkeys – AM
10. ABBA – Gold – Greatest Hits
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U.K. TOP TEN OFFICIAL SINGLES CHART 2023
1. Miley Cyrus – Flowers
2. Dave & Central Cee – Sprinter
3. RAYE ft 070 Shake – Escapism
4. Taylor Swift – Anti-Hero
5. Calvin Harris & Ellie Goulding – Miracle
6. Rema – Calm Down
7. SZA – Kill Bill
8. PinkPantheress – Boy’s A Liar
9. Harry Styles – As It Was
10. Libianca – People
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