State Champ Radio Interview
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Matisyahu sat down with Billboard to run through the events that happened in Santa Fe, N.M., and Tucson, Ariz., earlier this month.
The reggae singer’s planned shows at Santa Fe’s Meow Wolf and Tucson’s Rialto Theatre were abruptly canceled due to security concerns, and he ended up performing a show at Tucson’s The Rock for fans to see for free. “There have been protesters at my shows, and two shows got canceled. One of them in New Mexico, where after we had driven hundreds of miles set up, had a sold out show, fans were starting to come, the staff claims that they were afraid to come into the show because of like, tenant protesters,” he says to Billboard. “We’ve discovered that that’s obviously not true and they chose to not come in and to wait untillthe last minute so that we had to cancel the show. The next night, there was a similar situation that happened and when they let us know that the show was canceled, I myself started making phone calls and found another venue, a legendary reggae venue down the street. […] They claimed there that it was a security issue at the Rialto, so we moved everything, found a completely new staff in two hours and had a beautiful concert with no security issues.”
He continued, “People can say what they want, but we know why these shows are being canceled. The bottom line is that we’re going to continue and we’re going to play every show on the tour and any venue that cancels, I have backup venues in every city in America. I’ve been doing 200 shows a year for 20 years in this country, and so we will play our shows regardless.”
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Following the cancellation, Meow Wolf shared a post that read, “On February 14th, we canceled a concert at the House of Eternal Return. Two hours before the show was set to begin, we found ourselves without adequate staff to safely manage the sold out crowd. Meow Wolf will always prioritize the safety of our employees and our guests. We are in the process of refunding all ticket holders […] Meow Wolf believes in free expression, respectful discourse and the power of art to bring people together. We do not tolerate Antisemitism, Islamophobia, hate, racism, discrimination or violence of any kind.”
The Rialto similarly cited “safety concerns and staff shortage” preventing the venue’s ability to “prioritize the safety of [its] employees and [its] guests.”
Matisyahu also opened up about his experience visiting Israel amid the ongoing Israel Hamas War, sharing that he “experienced hope,” which meant a lot “for the Jewish people right now and for a lot of people is this feeling of isolation, separation, anger, fear.”
He continued, “I was feeling really hopeless about what the future is going to look like for all of us and went to Israel and renewed like my faith in humanity and renewed my faith in God. You know, I have to say, I left with this feeling of light and I’ve been trying to take that and really put that into the music and into the shows and we’re facing a lot of tough situations right now. But that’s what I keep going back to. When I think about the people that I met, the survivors of those of that festival, the soldiers that I met, the families of the hostages and what they’re going through, and that’s what’s giving me the strength to to be myself and not be quiet about what’s happening right now.”
Watch Billboard‘s full interview with Matisyahu above.
It takes around 30 minutes, but eventually, TWICE relaxes enough in their New York City hotel room to chitchat and laugh out loud among their nine-member huddle — a stark difference from the professionally guarded and admittedly “nervous” girl group that Billboard spoke with at their first U.S. appearance in 2016.
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Ever the humble professionals, the K-pop heroines and their loyal fans have earned the right to comfortably settle into a new, happier routine after growing for nearly nine years together.
Nearly immediately following TWICE’s entry into the K-pop scene in late 2015, members Jihyo, Nayeon, Jeongyeon, Mina, Sana, Momo, Dahyun, Chaeyeon and Tzuyu became reliable chart-toppers and commanded the industry’s attention with every release. Not only did they set the standard for their generation of K-pop acts with nine consecutive No. 1 singles on South Korea’s Circle Chart, the nontet replicated their prominence in the Japanese market (with 20 top 10 entries in the Billboard Japan Hot 100) with a next natural step in cracking the world’s largest industry, the United States.
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With a lineup from South Korea, Japan, and Taiwan, the U.S. is a trickier and far less obvious market to embrace TWICE. In K-pop’s ongoing global crossover, where more acts have fluent English speakers and Billboard-charting girl groups are trending towards six or fewer singers, TWICE remains strong with all nine of its original members. After taking over K-pop with the viral performances and dances accompanying singles like “Cheer Up” and “TT,” and solidifying a deeper connection with tracks like their biographical “Feel Special” and the encouragement anthem “Talk That Talk,” now is the moment for the group to let the material strengthen the bond with U.S. audiences.
“‘I Got You’ was influenced by TWICE,” leader Jihyo explains of their latest original English single that kicked off their new era in early February. “It’s us speaking to each other and encouraging each other, which is really great that we can do this together because there are members who can help me when I’m having a hard time, there are members who see me when I’m in a good mood — just being together is encouraging…just like how PD [producer-director J.Y. Park] first made ‘Feel Special,’ the album concept itself is putting together our story. We wanted to showcase how the fans look at our teamwork, and that’s why we chose this song.”
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The JYP Entertainment founder and producer behind TWICE hits like “Signal,” “What Is Love?” and “Alcohol-Free,” Park previously told Billboard how a teary meeting discussing relying on their team mates through the hardships of K-pop idol fame inspired him to write the No. 1 single on the spot in 2019. But if “Feel Special” was birthed from TWICE’s hardships and growing pains, “I Got You” and its quick-selling accompanying mini album EP With YOU-th comes from reaching a point of happy stability.
“Up ’til now, we’ve never done a song like this before,” Jihyo adds. “We’ve always been singing songs about the theme of love, and this is more about our friendship, kind of similar to ‘Feel Special,’ and it was really comforting to us because of that…It was actually one of the songs on the album that the members reacted to really well. I thought it was new, but it also felt comfortable. We liked the lyrics [for] the fans and thought the fans would like the lyrics as well.” Momo adds, “While we were performing this song outside [in Mexico City] on tour, the weather was nice, it went so well with the song — just seeing the fans’ expressions was really great to see.”
The sentiment extends to their upbeat lead single, “One Spark,” released alongside With YOU-th on Feb. 23, originally in Korean before the English version dropped days later for maximum global consumption. Lyrics in both versions speak to a unique, undeniable ally through an effervescent tempo-hopping pop jam: “If I lose my rhythm/ Then your beat goes on and on,” Mina and Tzuyu sing on the pre-chorus, with the English version’s chorus shouting out “My favorite person, it’s our golden days/ My heart is burning, burning, burning/ Don’t lose this spark, baby.”
“Actually, we were thinking a lot about which title song [single] we should do between ‘One Spark’ and ‘I Got You,’” explains youngest member Tzuyu, sharing the group’s opinion heavily influences their musical path today, but joke they’ll take 100 percent creative control at 10 years. “We voted between the two songs of what should be the title track single. I think ‘One Spark’ is actually a great song performance-wise and we can put on quite a powerful stage performance.”
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“Compared to, let’s say, ‘Set Me Free,’ the choreo is a bit more complicated with a lot more movement to consider with our stage outfits,” Chaeyoung adds about bringing the new single to life. “It’s a faster song. It’s tough, but we worked hard on this choreo and felt like we grew, so I’m glad we’re doing it. Even in the music video, once we’re together and partying, the mood explodes. Of course, people can take it in this way, and others might see it a little bit differently, but overall, we just wanted to showcase the good energy among us and how much synergy we have within the group.”
But alongside the celebratory mood, a poignant moment in the music video comes during a flashback when viewers see Dahyun crying in the dance studio with several members trying to cheer her up. While Dahyun admits she had a tear dropper on set just in case, she ultimately “really wanted to express my own emotions, so I just cried by myself without any tools.”
“The music video shows us in their past during our trainee times when we were going through a hard time,” Jihyo says. “We wanted to showcase how we push each other throughout those hard times working as a team.”
Admitting that the trip down memory lane brought back “sad emotions,” Nayeon adds how “even if this didn’t happen during that trainee time exactly, we thought about how, throughout our history, there were a lot of these kinds of moments.”
Momo says the new album process brought back her experiences with Sixteen, the 2015 singing competition show that created the group. “I was actually remembering when I was first eliminated on Sixteen and crying,” she shares. “All the members were there with me. And when we were filming, one of us had to go to the emergency room and all the members were together.”
Exploring a deeper connection with each other and their loyal fans — affectionately known as ONCE — is a central theme in With YOU-th.
A teaser video previewing all six new tracks on the EP shows what one might imagine a longtime superfan’s room may look like, with different memorabilia, imagery, and visual references from past eras accompanying the audio. With YOU-th is not just a message of togetherness but marks them moving and maturing through the years.
“Around our debut, or even a few years ago, many of our fans still went to school and now go to work. Or there may have been a few in middle school and now in high school,” Sana reflects. “We take a lot of pride in seeing them and how they grow. We’re really thankful that we have fans who have been with us throughout their time as we grew with our career.” TWICE even know two ONCEs who ended up marrying each other.
TWICE
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Three B-side tracks on With YOU-th feature three TWICE members as sole songwriters sharing their experience of growing more mature and fearless in their creative processes.
“‘Bloom’ is a song about asking someone to wait,” Jeongyeon shares of the track she wrote. “Referencing a flower, the last step would be when the flower blooms, meaning I will come to grab you then and hold you.”
Chaeyoung felt inspired by alt-pop star PinkPantheress while writing “Rush.” “While I was listening, I felt like a Jersey Club rhythm, kind of like PinkPantheress’ music, and thought the sound itself was quite cute and lovely, so I wanted to bring that in the emotions in the lyrics in a fun way,” the Seoul native says. “Lyric-wise, it’s about approaching something or someone, so I wrote it in a more fun way.”
Bringing the record full circle, With YOU-th closes with the Dahyun-penned “You Get Me” that connects to “I Got You” by expanding on a relationship more profound than words.
“The lyrics say how ‘even if we don’t say anything, you already know me,’” explains Dahyun. “It’s a warm, easy-listening song, and I really wanted to write the lyrics as soon as I heard it. I was able to do that, so I’m really happy about that and can’t wait for the fans to listen.”
While teasing that “ONCEs are going to be really busy this year,” there is certainly a concerted focus on ensuring TWICE can and will keep developing.
“The biggest thing is that K-pop has become so global,” reflects Mina, as TWICE moves into contention for their first No. 1 on the Billboard 200 — an arguably overdue feat as they hold the largest U.S. sales week for a female K-pop act when Ready to Be earned 153,000 equivalent album units last year. “I think that teams’ lifespans have generally been extended a lot and that we’ll be able to do much more in the future. There have been a lot more opportunities to take advantage of because of the global expansion of K-pop. If there’s something wrong, we’ll tell the company, but as long as the fans want to meet us, we want to go until the end.”
“There’s not so much meaning behind setting goals now; we put a bigger priority on promoting longer and spending meaningful time with the fans,” Jihyo adds. “Of course, the company might have a goal. But personally, we think that having a happy time with fans is the goal right now.”
Despite the warm contentment felt inside With YOU-th, and within the TWICE members’ tight-knit cluster after nearly an hour of chatting, there’s one quick glimmer of hesitancy from Jihyo after a mention of their exciting chart prospects in their latest crossover push into America.
“You know how you mentioned, ‘Isn’t it time for America to focus on TWICE?’” the group leader says quietly but firmly, as their final word. “Please do focus on us.”
With the ball challenge, a design challenge, an acting challenge and the Rusical under its belt, RuPaul’s Drag Race season 16 still had a major staple to give fans — the Snatch Game.
On Friday’s episode (aired Feb. 23), the nine remaining queens were put through the classic Drag Race gauntlet, as Ru charged them with crafting their best celebrity impressions in a Match Game-inspried show with one very simple rule at its center: “Make me laugh.”
Taking to the Snatch Game stage, Sapphira Cristál impressed Ru with their gut-busting take on the Godfather of Soul James Brown, while Plane Jane took off with her second challenge win for an uproarious impersonation of Serbian pop phenomenon Jelena Karleuša. Meanwhile, Morphine Love Dion couldn’t steal a laugh as fraudster Anna Delvey, while Xunami Muse’s original character the Gold Tooth Fairy found nothing but crickets under Ru’s pillow.
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Lip synching to Whitney Houston’s perennial classic “I Wanna Dance With Somebody,” Morphine and Xunami worked together to make a memorable moment of reality television. Dancing with (rather than against) one another, the pair made good on the promise of Houston’s hit song. But when the song was over, only one could remain — Ru relieved Morphine’s pain by keeping her for one more week, while Xunami’s wave crashed into the shore for the final time.
Below, Billboard chats with Xunami about her Snatch Game performance, her collaborative lip sync, and why she refused to be bothered about constant “safe” placements.
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What has your experience been watching yourself on television for the last few weeks?
It’s kind of like an out of body experience, to be honest — I’ve only watched each episode once because I cannot deal, otherwise. It’s interesting to see myself in that world, and living here now with all of the opportunities and all the things I have to do now, and getting to see the fans in all of their different states. It’s really cool!
Throughout this season, you have become the unofficial hostess of Untucked, now and forever known to all of us as Xunami’s Afters.
[Laughs.] Girl, that was my favorite thing on the show, no lie. It felt iconic.
I love that you took your safe placements in stride and let yourself have fun when it came time for Untucked — why do you think you reacted that way, where others got very stressed about it?
It’s definitely a combination of things. Even though it didn’t show, deep down, I was giving the Arthur fist meme, you know what I mean? You always want to excel, and if it was up to any of the girls, they would win every episode, obviously. But, I couldn’t be upset about being safe every time for a few reasons; it didn’t mean I did bad, and it meant that I lived another week to show another look. No matter the situation, I will always focus on the positive side of it. It came from that, and just being genuinely happy to be there.
Was there any challenge in particular where you felt you should have placed higher?
Oh, girl. I felt like I could have been high for the ball, and maybe for the SNL challenge. But really, it was the girl group challenge. I had a genuinely great week that week, and had it been critiqued individually instead of by groups, I feel like I could have been high. So that’s part of it — going through this experience, being safe didn’t mean you did bad. It’s a big cast, and a lot of these girls are crazy talented. As long as I felt like I was showcasing my drag to the best of my abilities and it was being enjoyed, then it was a success. Getting to watch it now, I’m happy with what I gave, completely.
Fans know that you are the adopted drag daughter of season 13 and All Stars 8 contestant Kandy Muse. Did Kandy offer you any advice before you left for filming?
The main thing she told me was to have fun and to make it my own. Obviously, in your mind, you’re going to win that crown and $200,000. But she really said, “Remember to have fun and leave your stamp.” And you know what, I had so much fun on this show. There was a lot that wasn’t shown, but watching what they did show, you can tell I was having a ball the whole time. Every moment, you could not tell me I wasn’t it on Drag Race.
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In this episode, we arrive and the long-awaited — and for some queens, dreaded — Snatch Game. You chose to perform an original character, the Gold Tooth Fairy. What made you decide to go for something original rather than a classic impression?
Let’s get into it. Snatch Game is my least favorite challenge on the show because it is so hard. I cannot stress enough how hard doing Snatch Game is — being quick and in the moment as a completely different character is a tough skill, and that’s why the ones who do well in the game go on to be so successful. But, I wanted to approach it the best way I could. For years, I auditioned for this show and would show Naomi Campbell and Cardi B and people like that, and it never felt like it was giving!
So when I was cast, I was like, “What if I do an original character? That way I’ll stand out.” I was thinking about how Trinity [the Tuck] and Yvie [Oddly] did their versions of fictional characters like the Boogeyman or the Devil [on All Stars 7] and made them completely their own. But it turns out I bit off way more than I could chew, girl!
Did you have any backup characters ready to go in case the Gold Tooth Fairy wasn’t working?
I would have done Celia Cruz — and you know what, I should have done Celia Cruz. For me it would’ve been all about the “azúcar,” girl! Screaming “azúcar” alone would have kept me safe this week!
You and Morphine winding up in the bottom resulted in one of the season’s best lip syncs. When I was done being shocked that Drag Race has never had “I Wanna Dance With Somebody” as a lip sync song, I couldn’t stop watching the two of you turning the performance into a collaborative dance. What was going through your mind when you decided to dance with Morphine instead of against her?
I think it was the familiarity, being in that moment with someone who is actually my friend. Like, we’d done shows together, we were friends, and there’s just something about performing with your girl where you just want to bounce off of each other. There was this really natural thing between us, and it felt right in the moment. Like, I didn’t want to lip sync against my girl — I didn’t want to lip sync period! But, once I was in the bottom with her, it became, “Oh, okay. We’re going to make this a moment.”
Last thing before you go — what music have you been listening to lately?
To be honest, the song I’ve had on repeat is my new track with Kandy Muse, which I will be premiering live at the Love Ball with Shea Couleé, Luxx Noir London, Tayce, Monét X Change and LaLa Ri, hello! It’s called “It’s Giving C–t,” and I believe it should be up for streaming by March 1, and we’re gonna perform it live first. I’m really excited for it, I’ve just really been bumping along to it all day.
As one of the most influential and outspoken voices in Latin music, Residente has consistently pushed the boundaries of Spanish-language rap. Whether exploring the depths of human emotion and societal issues through his art, or pissing off mainstream reggaetoneros via hard-hitting tiraderas, there’s no denying that one can’t turn a deaf ear to the artist born René Pérez Joglar.
With his second full-length solo album, Las Letras Ya No Importan (or Words No Longer Matter) — released via 5020 Records, following his 2017 eponymous debut — Residente‘s evolution from a genre-bending rapper to a multifaceted artist and cultural commentator is unmistakable. This latest work, released Friday (Feb. 23), embarks on an exploratory journey through sound, emotion and critical opinions, featuring a diverse roster of collaborations that span genres and geographies, from SFDK in Spain to Christian Nodal in Mexico and Amal Murkus in Gaza.
Among the standout tracks, “313” emerges as a deeply personal ode to the passage of time and the preciousness of life, inspired by a friend’s passing and Residente’s own reflections on growing older. “Time is becoming more and more relevant in my life,” he tells Billboard Español.
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“Bajo Los Escombros” offers a poignant look at the Palestinian struggle, crafted amidst the backdrop of conflict with contributions from musicians in Gaza and the voice of Murkus. “Jerga Platanera” dives into the linguistic intricacies of Puerto Rican and Dominican slang, while “El malestar en la cultura” and “Artificial Inteligente,” contemplate the evolution of rap and the intersection of humanity with technology, respectively. This album not only underscores Residente’s commitment to musical and thematic experimentation but also highlights his role as a visionary in the ever-evolving landscape of the música urbana genre and beyond.
During our interview at his home in Lower Manhattan, Residente’s living space mirrors the diversity and depth of his music. Surrounded by an eclectic collection of books — ranging from Apocalypse Now to José Parla’s Segmented Realities, and The Wes Anderson Collection — and art adorning the walls, his environment is a testament to his wide-ranging influences. The skylight and balcony overlooking the Hudson River offer a glimpse into the serene backdrop of his creative process, while his dozens of Grammy and Latin Grammys on display serve as a testament to his enduring impact on the music industry.
Dressed casually in baby blue corduroys, a matching t-shirt, and a baseball cap, accented with a chain and silver whistle, Residente’s demeanor is as relaxed and approachable as it was thoughtful, as he reflects to Billboard the depth and diversity of his latest album. By the way, today (Feb. 23) is his birthday.
You have a lot to celebrate: your new album, your new music video, your debut as a lead film actor, your birthday. How are you going to spend it?
I think I’m going to go to a bar with family and friends, quietly. I am happy with the result of the video and the theme of “313.” It is an example of what I want to do more of. I’m going to celebrate that, the video, the album and what’s coming in the future as well.
Your video for “313” is visually stunning. It also features Penelope Cruz.
I always think about the visuals when I write songs, regardless of whether I make videos for them or not. Some people make videos for the song; I think I make music for the video. All the time I’m thinking visually and that’s where I compose the music. In this case I started to make the music and I was writing the ideas, adjusting to the weather conditions. It was quite difficult to shoot in November in Madrid, there is not much light. It snowed, it rained, everything happened during the shoot. That slows you down and the delay costs money. When you’re directing you have to think as a producer, writer, editor, and actor. I’m thinking about everything at the same time.
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I have Penelope Cruz also in the video, and Silvia Cruz singing. We connected super well when I met [Penelope]. I also met her husband Javier [Bardem], and I’m a fan of both of them. I love what they do, they’re tremendous actors and they have a super nice family. I originally said, “I’d like Penelope to be in it.” I talked to her and she said yes. Little by little she connected with the song.
The inclusion of violins in that track and the guitar strings you use in others are beautiful and show a musical diversity along with some boom-bap beats. How do you decide which instruments or sounds to use in your compositions?
The album has songs that are older, and I had other songs that didn’t [end up on] the album because I didn’t feel they are connected to this moment now. When “René” came out four years ago, I was going to release an album at that time and, well, now I’m releasing them. Now I do have songs that feel like they are more relevant today, like “313,” “Artificial inteligente,” “Quiero Ser Baladista” or “Bajo Los Escombros.” All these have cello, double bass, all this musical stuff. It seems to me that it is an album that marks a transition, as it happened with Calle 13’s second album, Residente or Visitante, which marked a moment. After that, everything was different.
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With your second studio album following your acclaimed 2017 debut, how do you feel your music and message has evolved in this latest work?
In this album I feel that the message comes more from my own experience. It is a very personal album, like “313” which is about enjoying this moment. I had a lot of losses last year and the year before. People I love died and everything I’m talking about enjoying all this comes from that experience in the past. And the last record was world music meets rap. This record is the more vulnerable part, like “Rene,” “313” or “Ron on the Floor.” It’s much more open in soul and spirit than before. I’ve always been open, but this time I’m more with the openness.
Upon entering your home, it is impressive to see the amount of Grammys and Latin Grammys you have won. How do you maintain your passion for music after so much success?
I maintain my passion with therapy, trying to do different, creative things that fulfill me. I feel a little tired as an artist, I’ve been doing this for a long time. I want to dedicate myself more to filmmaking, screen writing, experimenting, acting. Now we have a film out at Sundance, which won the Grand Jury prize. It’s called In the Summers. I’m the lead actor, I’m surrounded by spectacular actors and actresses who taught me a lot. I loved it. And the directing part I always love. I think that’s what keeps me motivated and inspired to keep working. It’s moving, doing other things within music as well.
How do you see the current state of Spanish-language rap and its culture, and how does your album contribute to this conversation?
One is a tool, and the other a genre that has rules and a culture that is respected. The discussion that was unleashed based on the list [of essential rappers in Spanish published by Billboard] seemed immature on the part of some of my colleagues. I think rap deserves to evolve as much as possible. I separate rap from hip-hop a lot. For me, [hip-hop] I see it as a genre where the tool of rap is used. That’s what I do.
I’ve never pretended to be of any specific musical genre, nor do I care. Never, since Calle 13, and right now, I’ve never wanted to be pigeonholed. I’m not a singer because I don’t sing, I rap, so I use the tool of rap. My album is for all the little kids who want to be rappers, who can’t sing but want to say things, and through rhyme is an alternative. And I’m doing well; I’m proof that you can do well doing different things, rapping, making music, making it evolve.
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The future of rap, if it continues to be overprotected — is like protecting a child so much that it won’t know what to do when it grows up. So it’s the same with the music genre. You have to feed it new things, get it out there, let it evolve and move. It will continue to evolve, if not, it will stay there and other genres will come along and pass over it. It’s important, so that it doesn’t overtake it, and so that the kids who want to write rap can experience their creativity to the maximum, and take it to the maximum, as high as they can.
Listen to Las Letras Ya No Importan here:
A lot has happened in Prince Royce’s life since his last studio album, Alter Ego (2020). Along with having his promotion and touring plans derailed thanks to the pandemic, the bachata star went through a divorce in 2022, following a 12-year relationship. Now, Royce presents what is arguably his most personal work to date in Llamada Perdida, his seventh studio album, released Friday (Feb. 16) under Sony Music Latin/Smiling Prince Music.
“I think that at a composition level, it’s very personal. I tried not to overthink the album, to have fun, add personality,” the bachata star tells Billboard Español, confessing that the most difficult thing was not to put his feelings on paper, but to share them with his fans.
“I am kind of shy, I don’t like people knowing that I am suffering, that I’m crying. I like to pretend everything’s fine on the outside, not to be fake but, no one wants to be seen as vulnerable,” he explains. “But you know what? I think it was a way for me […] to let go. The beautiful thing about music is that in the end the audience doesn’t know if its fiction or non-fiction. It could be a little bit true, a little bit of a lie, a fusion of many things. I think that gives me the opportunity to vent, in some ways.”
With 23 tracks (22 songs, actually, plus one skit) fusing bachata with uptempo/disco, regional Mexican, merengue, urbano and more, Llamada Perdida — Spanish for “Lost Call” — is “a celebration of overcoming obstacles, especially in love, [which] represents the end of a life chapter as well as the acceptance of a new beginning,” as described in a press release.
Beyond that, the Royce and D’lesly “Dice” Lora-produced set takes us on a fascinating roller coaster of emotions. It is heartbreaking in “Un Papel and “Frío en el Infierno,” which talk about the pain of a separation and letting the loved one go, respectively; funny in “Los Lambones,” and hopeful in “La Vida Te Hace Más Fuerte.” And it includes a long, eclectic list of collaborators: There are both established and emerging Latin stars like Nicky Jam and Jay Wheeler (“Si Te Preguntan…”), Maria Becerra (“Te Espero,” with a surprising sample of Cutting Crew’s “(I Just) Died in Your Arms Tonight”) and Gabito Ballesteros (“Cosas de la Peda”), as well as less-predictable names like New York rapper A Boogie wit da Hoodie (“Boogie Chata”), Dominicans Ala Jaza (“Sufro”) and Luis Miguel del Amargue (“Anestesiada”).
“I think the overall concept of the album is the form of communication,” Royce says, explaining why he chose its title. “If you take the call, something can happen. If you don’t take it. If you say something; if you don’t say something. If you send a drunk text; if you don’t send it.”
During the interview with Billboard Español, Prince Royce spoke in depth about the album, the lessons he learned over the last four years and — half seriously, half jokingly — the role that alcohol played in his life. Watch the full interview above.
Few artists blend the organic with the electronic as seamlessly and thoughtfully as Roberto Carlos Lange, known by his stage name Helado Negro. With his ninth studio album, Phasor, the Ecuadorian-American singer/producer embarks on a journey that transcends the boundaries of sound, technology, and nature. This voyage is underscored by an unexpected triad: the majestic Smoky Mountains, the humble mushroom, and a supercomputer.
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Following the success of Far In, which peaked at No. 85 on Billboard‘s Top Album Sales chart in November 2021, Phasor emerges as a culmination of the creative’s evolving musical style and thematic exploration, from the drum and bass-leaning This Is How You Smile (2019) to the quarantine reflections of Far In.
Phasor defies easy categorization — a trait Lange himself acknowledges. “The main story can be so elusive,” he muses. “There’s intention, but there’s also obscurity and literal meanings.” This openness sets the stage for an album rich in multifaceted themes, from introspection and personal connection to profound engagements with the natural world.
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Echoes of the Smoky Mountains
The Florida-bred musician’s move from Brooklyn to Asheville, North Carolina, marked a significant shift in his creative landscape. “My connection was water, the beach and mostly city life,” Lange remembers about his upbringing, and evinced in “Colores del Mar.” The Smoky Mountains’ breathtaking beauty and tranquility offered a stark contrast to the urban environments he had previously inhabited. “The mountains are really spectacular. They surround you, going hiking, having all these views and being able to see so much. It really affected me,” the singer mentions, where the serene and the sublime merge, as his “mountainous muses.”
From Fungi to Frequencies
Ahead of Phasor‘s release, Lange piqued interest with a social media post on X displaying a collection of magic mushrooms, suggesting they played a role in the album’s creation. “This album was on heavy rotation while making my new album,” he wrote. While playful, this isn’t far from the truth: The album embodies a psychedelic exploration not just in sound but in spirit (listen to the exploratory sounds of “Out There” and “Echo Tricks Me”), drawing parallels between the mind-expanding journey of psychedelics and the boundless possibilities of musical exploration.
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“There’s this physical space and then this mental and spiritual space that gives me more freedom to feel a little more quiet in my mind,” he tells Billboard Español. “Also having a little more focus and deeper intention with my work.”
Bridging Histories Through Sound
Opening track “LFO” (Lupe Finds Oliveros) connects the legacies of two pioneering women: Pauline Oliveros, an Tejana avant-garde musician known for her philosophy of deep listening, and Lupe López, a Mexican-American Fender amplifier technician from the 1950s whose meticulous craftsmanship has resonated through time. Lange found inspiration in the intersecting stories of Oliveros and López, tying together their contributions to music and sound.
Oliveros’s work in deep listening — a practice of fully immersing oneself in the sounds of one’s environment — and López’s renowned precision in the Fender factory highlight a shared legacy of listening and creating with intention.
Lange was captivated by the narrative of collectors and niche enthusiasts who treasure the unique tone of amplifiers that bear Lopez’s signature “Her amp was on the assembly line where there were multiple workers making them. Each person wrote their name on a piece of masking tape, and put it inside the amp. They call them the Lupe amps,” he shares with admiration. “I think it’s really endearing, and I find it really amazing…the value is really in the appreciation for the care that she put into it.”
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Through “LFO,” the musician not only honors these two figures but also delves into broader themes of listening, identity and the enduring impact of those who’ve shaped the landscape of sound. “I really appreciated… how all those things connected between her, Lupe, and the people who are appreciating Lupe’s work,” Lange comments. This track, and the album as a whole, invites listeners to explore the deep connections between music’s history and its future, reminding us of the power of sound to bridge disparate worlds.
A Symphony with a Supercomputer
The album’s technological heart beats with the rhythm of the SalMar synthesizer, a unique instrument that encapsulates Lange’s fascination with the intersection of music and machinery. Corresponding with the archivist at the University of Illinois since 2019, he spent hours with the SalMar synth, finding inspiration in its capability to create music generatively, using a blend of old supercomputer brains and analog oscillators.
“An Italian-American educator and musician, Salvatore Martirano, invented it for himself to make generative music that constantly changes and evolves. It’s a one of a kind instrument,” he shares. “He would perform with it live, and listen, this thing is huge to travel with. One of the musical pieces he published at the time was ‘L’s GA, Ballad, Octet‘ short for Lincoln’s Gettysburg Address, an anti-war piece against the Vietnam War. I thought it was cool to see all these deeper intentions with it, [denouncing] the corrupt mentality of violence, but then also pushing through with invention, creativity, and inspiration.”
“There’s such a uniqueness to it,” he says, underscoring the instrument’s influence on the album. The SalMar’s “loops, textures and ideas” permeate Phasor, serving as a bridge between the digital and the organic, the past and the present.
Performing Phasor Live and Beyond
As Lange looks ahead, the live performance of Phasor represents an exciting frontier. The dynamic nature of live music allows Phasor to evolve in real-time, offering audiences a unique experience that captures the essence of his creative vision. “Performing this music live has been so fun recently,” says the artist. “What’s really cool about that is that context can’t be changed. To experience live music, you have to be there in person.”
He adds, “I love it when people are able to determine their own [interpretation]. There’s no prescriptive way to listen to this record. I listen to it in so many different formats, at home, in my car, jogging. It’s really important to find connections where you can.”
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It’s a good time to be Benson Boone.
The 21-year-old Washington-born singer-songwriter, who got some early exposure on American Idol and has since gained a following of nearly five million on TikTok, had scored a pair of Billboard Hot 100 hits early in the 2020s with the piano-led ballads “In the Stars” and “Ghost Town.” But for his latest single, the love song “Beautiful Things,” he added some power to his balladry, going electric with a mid-song guitar kick-in reminiscent of Billie Eilish’s “Happier Than Ever.” The single immediately arrived not only as his own biggest hit, but one of the breakout songs of early 2024, debuting at No. 15 on the Billboard Hot 100 and jumping to No. 3 just two weeks later.
Now, Boone, who records for Night Street/Warner Records (signed by executive vp of A&R Jeff Sosnow to the latter label), is preparing to head out on his first U.S. headlining tour as his smash single continues to climb the charts, even topping the Billboard Global 200 this week. And while his first two minor hits gave him a little taste of stardom — momentum which faded about as quickly as it appeared — this time, he says he’s not going to let this opening close again.
“I’m very prepared for this moment — and I haven’t been in the past,” Boone explains. “My two other songs that have done well — I wasn’t prepared for them. I teased them without even having the song fully ready. So much happened so fast, and looking back, I could’ve done a lot better at keeping that moment [going]. But this one, I’m ready. I’ve been ready for this one.”
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Below, Boone talks about the inspiration for his new signature hit, why he thinks the song has already taken him to a new level, and if those inevitable Eilish comparisons were something he had in mind while writing it.
You’ve had this song in the can for a little while now. Do you remember about when you first recorded it, first came up with the idea for it or anything like that?
I wrote it on my piano September 29th. I’d just moved to L.A., and I’d moved my grandma’s old piano up to my living room. I couldn’t sleep one night, and I didn’t know what to do, so I came downstairs and started playing the piano. That’s when I wrote the melodies for “Beautiful Things.” The next day I had a session, and I took it into the studio.
Were the lyrics inspired by any specific relationships in your life?
Yeah, it was inspired by a relationship that I had just gotten into — for the first time in my life, I felt like I was extremely out of control of the way this relationship would turn out. Meaning like, in the past, I feel like I’ve always known that I could be the one to end a relationship. This one felt very different. It was the first time that I’d really been actually, genuinely terrified to lose something.
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The song pivots sonically in the middle. Did you always conceive the two parts as one song, or did you figure out a way to bridge them together?
That night that I wrote it, I couldn’t figure out a chorus for the verse melody, so I moved on to a different idea. I actually wrote both of those ideas as separate songs. When I was in the studio, Jack [LaFrantz] — the guy I wrote it with — was the one who suggested [bridging them], because I showed him both of the ideas. He’s the one that suggested that we make it one [combined song].
The structure of the song did take a long time to figure out because we didn’t know if we should do it all slow, and then do one chorus at the end, or if we should do three choruses. It took us two weeks — after we had already built out production — to redo everything, and that’s where we finally cracked the code. I’m very happy with the way it turned out.
What gave you the confidence that the song could work in this format? Was it the sort of thing where you just heard it once and were like, “OK, this is gonna work”? Could you already start seeing in your head that that moment would sorta play on social media?
I think I knew after I heard the chorus with production that this could be a really big song. With teasing on social media, and with promoting your music, you never really know what’s gonna go. All I can do is try my best to push it. But I was really hoping this one would go, because I do love this song.
And outside of any TikTok video, it just feels like a big change for me — a change in the right direction, that’s more like my other music that will be coming out.
When I’ve been talking about the song with co-workers and friends, a lot of times the song that keeps coming up as a reference point for it is “Happier Than Ever” by Billie Eilish — another song that starts slow, has that big kick-in moment, and then ends on 10. Was that song something that you thought about at all?
I wasn’t really thinking about a particular song when I wrote this song. But that’s an incredible song, and I guess in ways, yeah, “Beautiful Things” has a structure sort of like that. It’s incredible to have songs that change very drastically from beginning to end. A lot of the songs that I’ve written in the past couple months have that — tempo changes and production changes, and everything picks up a little bit, or slows down a little bit. But yeah, I mean — Billie Eilish. That song’s incredible. So good.
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You said that this song is maybe a little more in line with music you have that’s coming out. Is that sort of a specifically guitar-oriented thing? Not many of your songs before this had such a prominent guitar sound to it, but this one is pretty rocking. How does that fit in with the rest of the stuff you have coming up?
A lot of my stuff in the past has been very piano-based. Obviously, I still have a lot of piano in my songs, but there definitely have been more heavier guitar songs, which I’m very happy about.
I love the guitar. But overall, since the last time I released music, my voice has been maturing a lot. My style has been changing just slightly. And I think the songs that I will be releasing in the next couple months are closer to what my future looks like for releasing music. I’m very excited.
Are you already envisioning what kind of a big moment “Beautiful Things” is going to be when you go out and play it on tour?
Yeah, I’ve thought a lot about that, like how cool it’ll be to sing that chorus with everyone. The night of the release I did a pop-up show in Utah — I announced it like an hour before, and a couple thousand people came. It was really awesome: I sung the song for them, and it was so incredible. To hear so many people that screamed that song with me, it’s pretty crazy.
Beyond the tour, is there anything you’re particularly looking forward to this year?
Man, all I’ve been thinking about is the tour, and I’ll be going some places that I’ve never been before. But after the tour, and after all the shows, I’m really looking forward to just being with my friends. I think we’re gonna go on a trip to Greece and have two weeks and just live my life.
A version of this story originally appeared in the Feb. 10, 2024, issue of Billboard.
After watching Barbie fever sweep the nation last summer, RuPaul wanted to help the queens of RuPaul’s Drag Race season 16 live their own life in plastic with the show’s latest challenge.
On Friday’s episode (Feb. 9), the judges tasked the remaining batch of queens with creating their very own limited edition dolls, making a miniature outfit for their made over mannequins as well as a life-sized version that they could model down the runway. Putting the contestants’ business savvy to the test, Ru then asked the girls to brand and pitch the dolls via voiceover.
Crafting two identical high-fashion looks for both herself and her “Fantasy Edition” figurine, Q finally got the A she’s been waiting for all season, scoring her first challenge win. Meanwhile, the self-proclaimed Queen of Flips Mhi’ya Iman LePaige didn’t impress with her clashing bodysuits, while La Diva Más Latina Geneva Karr failed to live up to the judges’ expectations with what guest judge Law Roach called a “horror queen” look.
Lip synching to Janet Jackson’s 1986 hit “Control,” Mhi’ya earned her regal sobriquet; with a series of death-defying handsprings, walkovers and jump splits, the Queen of Flips handily won the battle, sending Geneva Karr driving back to Texas.
Billboard chatted with Geneva about her time on the show, her struggle with sewing challenges, her Untucked reading session with Law Roach, and what it felt like to lip sync in every single episode.
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You had quite the run on Drag Race — what has it been like to watch yourself on the show these past few weeks?
Listen, getting to actually be there and film it and everything felt like a dream. And then I get to re-experience it and watch myself every single week for the past six weeks on television, and I’m just like, “Oh my god, I actually did it. I’m on Drag Race!” It’s just all good emotions and happy thoughts. I feel fulfilled — I feel like I graduated from the school of drag!
Does it ever feel weird watching yourself back on TV?
Oh, yes. It’s definitely weird, and it forced me to realize that I do certain facial expressions that I was simply not aware of. Now, my drag family is saying, “Yeah, you do that literally all the time.” [laughs]
Girl, you have been giving us the best reaction shots all season long.
Honestly, when you’re seeing my face like that, it is 100% natural. That is me being me in a way that I cannot control.
I have to commend you on your stamina, because you lip synched every single episode you appeared in — whether it was for a win, for your life or in a challenge. How the hell were you still standing by the time you finished these five episodes?
Yeah, there was a lot of lip synching. I like to think that Mama Ru and the judges were just taking care of my health — they wanted me to get my steps in! That’s what we’re going to run with.
Of course nobody wants to be in the bottom lip sync, but this is what I do back home. If you come to a show, I’m going to be lip synching. Let’s face it, I’m not going to bust out a sewing machine and sew out and eight count [laughs]. I will be performing, dancing, giving it to you! So, it’s kind of natural for me — if I had the opportunity to not be lip synching every episode that I was in, then I would have obviously chosen not to do so.
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You certainly showed just how good of a lip sync artist you are on the show. For you, what makes a great lip sync performance?
I grew up in the old-school traditional drag style. So to me, what makes a great lip sync is learning to connect with the song and express all your feelings and emotions through the words. You don’t need tricks, stunts, splits, kicks. It’s a lip sync. You have to be able to transport people, and tell the story of the song through your face. That’s what makes a great lip sync.
You had a heartbreaking moment halfway through the sewing challenge, where you decided to fully start over and make an entirely different outfit when you ran out of fabric. What was going through your head when you made that choice?
Yeah, I felt like I had to make an executive decision to either alter the outfit that I was working on and settling for something I didn’t want, or starting over. For some reason, in that moment, with the pressure of looking around and seeing everyone doing the most, it got to my head. I figured, “Maybe I should do the most, and try to find other fabric to come up with something bigger.” I didn’t really understand that a branding challenge doesn’t necessarily mean going big and over-the-top, as long as you actually make a brand. But with the nerves and the lack of sleep, I was just not thinking correctly.
I hear that, but I also appreciated that the queens in Untucked talked about how graceful you are under pressure. You really are a pro at accepting the circumstances for what they are and not allowing yourself to crumble under the pressure!
Thank you! As a former pageant queen, I understood in my early years of doing drag that sometimes, you have to just keep that composed mentality. Even when you see everything around you crumbling, you always have to remind yourself that you are fierce, and you might just be having a bad week. You just have to keep pushing forward and fighting.
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Speaking of Untucked, I must say I was beside myself when you clapped back at Law Roach’s critiques to his face! You are a brave queen, because Law will gather the girls if he needs to.
[laughs] Listen! Ms. Law Roach had her moment already on the judges panel! I got the critiques, and I thought, “I already took it over there, and now you’re in my territory, where I’m supposed to be calm — let’s put a stop to this real quick before you get too comfortable, Miss Thing!”
Let me be clear, I love Law Roach. I genuinely loved getting read by him. He said what needed to be said, and I was honored to get that feedback, truly. I really appreciate the honesty. This was just me having fun and seeing how he would react. Not going to lie, he was a little cracked!
As you head off the show, we’d love to know — what music have you been listening to lately?
As everyone saw on the premiere, I am a big Becky G fan. I have been listening to her new songs with Ángela Aguilar (“Por El Contrario”) and Peso Pluma (“Chanel”), and of course “Guapa.” I mean, and also “Shower,” it was my first lip sync after all! I’m just really gravitating towards her music and taking in the fact that she gave me so much advice when she was on, and I got to give her a hug! Yeah, I’m definitely in my Becky G era.
Teddy Swims notched his long overdue first top 10 hit on the Billboard Hot 100 songs chart with the soulful “Lose Control,” and to celebrate, he sat down with Billboard‘s Tetris Kelly to share the inspiration and lessons from making the track. Explore Explore See latest videos, charts and news See latest videos, charts and […]
“There is a phrase, ‘If you have no expectations, there will be no disappointment,’” (G) I-DLE’s Minnie explains when it comes to her mindset for the group’s newest full-length album. “I actually didn’t want to have high expectations, but it will be great if we get good results.”
In 2022, (G)I-DLE embarked on a bold new chapter with its first full LP, I NEVER DIE from 2022. The pivotal moment marked a creative renaissance for the group — with the single “Tomboy” named Billboard’s best K-pop song of the year — and propelled it to new chart heights with hit albums and signature singles. Less than two years later, (G)I-DLE is already back with its second full-length album, aptly titled 2, that shows the group’s heavy involvement in writing and producing songs discussing female empowerment, trusting one’s instinct, destiny, and love.
“Since a lot of people are waiting for (G)I-DLE music, we wanted to come out with a new concept that no one expected,” leader Soyeon says of the LP promoted by the bold and bass-driven single “Wife” (that’s gone viral for its lyrics and breaking into the general public, more on that below) and the booming, big-room anthem “Super Lady.”
Despite a packed 2023, which included the release of their Korean EP I Feel and their debut English EP HEAT — which peaked at Nos. 41 and 25 on the Billboard 200, respectively — (G)I-DLE wasted no time returning to the studio.
“I started working on our songs when we were heading towards the end of our world tour,” says Minnie. “Although I did not have enough time, I worked on the songs non-stop and was able to make ‘Vision’ and 7Days within 10 days.” Shuhua adds, “Whenever we had a free moment, we practiced and recorded our songs.”
The album also marks a significant milestone for member Miyeon, who contributed lyrics for the first time.
“Excluding my solo songs, this is my first time participating in the lyric-making for (G)I-DLE album,” the vocalist shares. “I had so much fun and was able to work with a lot of excitement since it was my first time. Although some parts were lacking, this whole process was a new experience, and I am really glad that our [fandom] NERVERLANDs liked it as well.”
Throughout the creative process, (G) I-DLE’s members took active roles in also shaping the album’s direction, from refining choreography to fine-tuning the concept.
“We all were involved together,” Soyeon says. “We communicated with the choreographer to revise the details while learning the choreography for our title track single ‘Super Lady’ because I wanted to do something that wasn’t so obvious.” Yuqi adds that “most of the choreography and concept were centered around Soyeon, as she is the producer of the group, but all of our members gathered together to share our opinions.”
While high chart rankings are undoubtedly a goal, the quintet also emphasize the importance of connecting with listeners.
“First, I want to thank you for listening and showing a lot of love towards our songs,” Miyeon says to those tuning in. “When preparing for this album, I thought, more than ranking on the charts, I hope each and every person who listens to (G)I-DLE songs can relate to our songs and enjoy them.”
Yuqi sums things up by saying, “Of course, it would be great to rank high on the charts, but I don’t go around thinking about rankings when making music. I want (G)I-DLE music to be delivered to as many people as possible. That’s the biggest and most meaningful goal!”
Read on for (G)I-DLE to break down every track of their new 2 album, track-by-track, below:
“Super Lady”
Image Credit: Cho Gi-Seok 88Rising
