Interview
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In one of the many unprecedented turn of events in K-pop this decade, the beloved girl group LOONA experienced an emotional split after terminating contracts with their label before each of the 12 members landed safely to pursue new K-pop paths. Alongside Chuu and Yves‘ new starts as soloists, to five members reconfiguring as Loossemble, the final step of these re-debuts came in ARTMS, consisting of LOONA stars HaSeul, HeeJin, Kim Lip, Choerry, and JinSoul coming together to rebrand themselves, reimagine their artistry and remember their roots as a new quintet.
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After releasing a series of solo and unit singles, the group launched their debut full-length album, DALL, to return the girls to the Billboard charts (main single “Virtual Angel” cracked the Top 10 on the World Digital Song Sales chart, while DALL itself landed in the Top 10 of World Albums), and to the delight of fans and critics alike (even earning a spot on Billboard critics’ Best K-Pop Albums of 2024 So Far list).
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Riding the exciting comeback success, the group is embarking on their ARTMS World Tour ‘Moonshot,’ which has already wrapped its North and South American legs. As they prepare to conquer Europe, Australia, and Asia this fall and winter, ARTMS is eager to reflect on their journey from LOONA to their current iteration.
Sitting down with Billboard at the New York office of The Orchard, ARTMS shine with a sense of unity, growth, and playfulness. HaSeul, more confident than ever in English, jokes about accidentally spoiling upcoming tour surprises, while HeeJin candidly confesses her hair is mostly extensions, JinSoul speaks about immersing herself into the A&R process, Choerry balances the group’s past with an exciting future, as Kim Lip looks ahead to what’s next for the group’s personal and professional lives.
Despite the challenges faced, ARTMS beam with a sense of pride over their collective growth and how they’ve taken control of their music and artistic direction. Here, the five idols discuss their creative evolution, navigating the K-pop industry post-LOONA, and their deep connection to the fans who have supported them every step of the way. Read on for more below alongside exclusive photos provided for Billboard.
I’m so proud to see ARTMS here in New York. Kim Lip, JinSoul, and Choerry toured as ODD EYE CIRCLE, but all five of you are here now. How do you feel about ARMTS’ first shows outside Asia?
HaSeul: I’m so excited and a little nervous too because it’s ARTMS’ first concert and tour.
HeeJin: Of course it feels great, and we have lots of thoughts on starting off strong as New York, a big city, is our first stop for this tour.
Congratulations on your first album, DALL, which got such great reactions. Was it a relief to get such a positive response?
Kim Lip: Since we’re releasing an album as ARTMS instead of LOONA, I was worried yet excited about how the public would react to our music. But we’re getting on the charts and receiving lots of attention, so we felt at ease, and I’m so happy to go on tour and meet with our fans.
HaSeul
Lauren Nakao Winn
How did you five come together and decide to move forward as ARTMS?
HaSeul: I was the last member to join ARTMS, but all five of us are very passionate about music. I think the members who came together and gathered [here] had the biggest will to bring ARTMS to life. When producing this album, I felt how sincere we all were about music…we had many solo and unit albums when we were promoting as LOONA, and you can see it as us continuing that identity. In a way, [ARTMS] can be seen as us taking back our identity. And since our skills are outstanding, we released solo, unit, and group albums.
It seems like you have more ownership and responsibility this time. There must have been pressure, but did it feel like you could share something more personal under ARTMS?
HeeJin: Usually, the company tells us what to do, but now, since we’re active players and debuting again, we wanted to work on the identity of ARTMS. We gave a lot of input in the songs and concepts. Our company took them positively and reflected them in our work, so I’d say it’s an album we produced all together.
I imagine reuniting with LOONA’s original producer, Jaden Jeong, must have been special. Was it fun to return to this production style?
JinSoul: We have had a storyline in our group [LOONA] and the fans like this aspect. We further developed the storyline by working again with Jaden Jeong, who [first] created this storyline — and it’s great to add ARTMS to it as well. While adding ARTMS’ colors, everything became more diverse. We maintained a bit of tradition for the fans, and it’s great to show more sides of us and go deeper.
HeeJin: I think fans love it the most that we’re going with the storylines and expanding onto it.
JinSoul
Lauren Nakao Winn
While we know about LOONA’s contract story, I’m more interested in how all 12 of you found strength and came out of it together?
JinSoul: The members share lots of conversations together. But during that time, we looked into what we could do and thought of methods to use to go through with it.
Kim Lip: The members cooperate well together, so we tend to respect each other’s opinions since we’re like a family. I think that’s how we came to a conclusion.
HeeJin: It’s also meaningless if we don’t do it together. So, we did it all together.
HaSeul: We are a family.
Putting the past to rest, if there are fans — whether they’re Orbits or OURII — who are still worried about you or want to check in, what words would you share with them?
HeeJin: We’re always simultaneously thankful and sorry to the fans. It took a lot of time for ARTMS to debut. Despite that, I’d like to thank the fans for waiting for us. There are also fans who became our fans as ARTMS debuted. We’ll promote more from now on, so please be at ease and keep an eye on us. Don’t worry…
Looking ahead, what are some of the special aspects of the Moonshot tour?
HaSeul: During our concerts in South Korea and Japan, we performed TWS’ “Plot Twist.” But for the USA, we prepared a different song to perform — “Cruel Summer” by Taylor Swift. I look forward to performing that song the most.
JinSoul: When we performed in Korea and Japan, we changed the choreography of “Sparkle” and “Flower Rhythm” for the concert version. Many fans looked forward to it after seeing the choreography video. We also do different ad-libs at different times, so I’m always looking forward to the various ad-libs we’ll do.
HeeJin: The setlists will be similar, but there are always impromptu changes during our concerts, so the fans can really look forward to it. In Japan, there was a moment we performed the same song twice and a time we’d suddenly go off-stage. I look forward to those kinds of impromptu moments. And, of course, I brought my guitar.
Kim Lip
Lauren Nakao Winn
How has it been reuniting with fans in the States?
Kim Lip: We just had a fansigning today. It was fascinating to hold new events like this fansign during this tour. There was one moment that I remember when one fan started to sing in front of us — the fans are very, how do I say this, open when it comes to expressing their feelings. They’re different from the fans in Korea. I really felt the way they so enthusiastically express their feelings this morning, and it makes me really look forward to our concerts.
HeeJin: That’s why I love it. Even if the fans in Korea really want to express themselves, they are very reserved. But on the other hand, fans in the U.S. openly show their support, so it excites us and gives us lots of strength.
Whether it’s your concerts or album production, what is ARTMS’ creative process nowadays?
HeeJin: We’ve been deeply participating in the process, but shall we start off with an answer from the main A&R member?
JinSoul: Jaden Jeong usually brings forward a lot of the music, but we look into the smallest details of the production. For example, we direct the vocals for each other or select the photos to be included in the album. We also selected the album cover design, hair colors, and styling. We participated in lyric writing this time, too. The company works on big tasks and we give our detailed inputs to showcase the best of us.
HeeJin
Lauren Nakao Winn
What are you really proud of to say you’ve worked on?
Kim Lip: We can proudly say that we wrote the lyrics for “Sparkle.” And the light stick!
HeeJin: We got ideas for the light stick and sent over drafts. The final design was our idea. And personally, during the “Virtual Angel” promotions, I wanted to dye my hair white because I thought an angel had a very white, bright image. So, even though I had to sacrifice my hair, I wanted to do it. I discussed it with my company and went on with it.
You’ve never been blonde; your hair looks great!
HeeJin: This is not my hair. [All Laugh] It’s extensions, my hair looks bad.
I’m sure your hair looks great. But from watching K-pop, it feels like the fans can give artists new chances today. Do you think the industry has changed from when you debuted to today?
Choerry: I definitely wouldn’t have expected this back then. We were very young. The situation the 12 of us went through was saddening, but I’m very satisfied with ARTMS right now. I’m happy to have released great songs with the members, my sisters. I also believe we have lots of time to spend with fans, so I hope we can have fun and come to them with better sides.
HaSeul: I’d say we were able to stand on stage again 100% because the fans were waiting for us. And it was made possible because we have fans. The reason why we look forward to the concerts on tour as the time went by is because we want to show a great performance to the fans who’ve been waiting for two years. We’re really looking forward to this tour.
Choerry
Lauren Nakao Winn
I loved HeeJin’s interview with InternetsNathan when she ranked every LOONA song. To give everyone the opportunity, I’d love for you to choose your “favOriTe” song released from LOONA solo days to ARTMS today.
HaSeul: I think “Virtual Angel.” Since the title song [single] is the song you listen to the most due to promotions, there are times you can get sick of it, but I like the song so much that I can listen to it in the car every day.
Kim Lip: “Hi High”? We had lots of solo and unit songs, but we went a long way to release the “Hi High” album. I think it was a relieving album for the members, staff, and fans who were waiting for a long time. I think it’s the most meaningful album; fans still love this song. I can call this my favorite.
HeeJin: I’m going to choose “Butterfly Effect” because ARTMS is starting anew with Jaden Jeong and he told us the story behind this song. It was one of the songs he wanted to release when we were LOONA. He held onto this song for six years and finally got it on the tracklist for DALL. The song feels like a continuation of LOONA to ARTMS. Some lyrics make you think of the past, so it became a song I love.
Choerry: I choose “Singing in the Rain.“ It’s my favorite song because, during concerts, it has a bursting beat and the sound is full and harmonious. And JinSoul’s vocals suit the song so it’s a song that I always wanted. It’s so good that I want to do a collab stage.
HeeJin: I want to do a collab stage for it too!
JinSoul: I choose “Butterfly.” I think this song really shows LOONA’s identity. When I look at past performances, there were times I looked shy, but I think this song was one I was most proud of. The choreography was amazing. It’ll be difficult for me to perform it again, but I think it was a synergy only we could show during that time.
Others: We can do it again! We can do it!
What can we look forward to from ARTMS from here, the tour, what’s next?
Kim Lip: ARTMS is…
All: Vacation! After tour…
Kim Lip: This is a secret, but I think we’ll prepare for the next ARTMS album after the tour. We don’t know the details, but I think it’ll be an album to really look forward to. But it’s not confirmed…
Both of those are important! Any last messages to fans if they couldn’t see you on tour this time?
HeeJin: Thank you so so much for waiting for us. Fans who attended our concerts will know, but even though we’re fewer members as ARTMS, you’ll be able to see perfect performances. We’ve become very experienced performers. Thank you so much for loving us and coming to see us. I hope the members stay healthy throughout the tour because we wish to promote the group to many people.
HeeJin, Kim Lip, HaSeul, JinSoul and Choerry of ARTMS
Lauren Nakao Winn
It’s been six days and I can’t stop listening to “Groupies & Goofies.”
Sometimes I’ll wake up in the middle of the night and play it on my phone a couple times before going back to sleep. It’s one of the best rap album intros of the year, right up there with the opening tracks of Future & Metro Boomin’s back-to-back collaborative albums. I didn’t know what to expect when Babyface Ray‘s team sent me his latest album, The Kid That Did, but I was immediately grabbed by the intro.
After diving into the rest of the album, I came away thinking that this is the Detroit rapper’s most ambitious project to date. He sounds confident, and with confidence comes big swings. Songs like “I Need Some Motivation” and “Delusional” showcase his versatility, while others like “Watching My Page” and “Nights Like This” “Legacy” show more of his personal side.
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Ray has been prolific over the course of his decade-long career, releasing a slew of mixtapes and EPs as a solo artist and as a member of Team Eastside. The Kid That Did, released on September 13, is his fourth solo album and his first since his Wavy Gang label entered a partnership with Empire earlier this year. With 20 tracks clocking in at under an hour, the album’s already spawned six singles with accompanying videos with more on the way. One notable single is “Count Money,” with BossMan Dlow, which samples the iconic pause music from N64’s GoldenEye 007. “We got the original composer from GoldenEye to do the beat over,” he answers when asked how they managed to get the sample cleared. But there’s much more to the story.
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According to one of his A&Rs, Dre Edwards, Babyface Ray’s team had a hard time clearing the beat (made by producer Rich Treeze), so they decided to reach out to Grant Kirkhope, the original composer of the GoldenEye soundtrack, to see if they could get it cleared. Well, it turns out that Kirkhope was already familiar with Ray’s music and gladly offered to collaborate with Treeze to make a version of the beat that would work for all parties involved. He even posted the video on his Instagram.
I caught up with Ray at the Billboard‘s New York office, where we talked about the making of what is probably the most important album of his career, how his rap style is informed by his parents and how he managed to get Rich Paul on the outro. Check out the interview below.
This album feels like your most ambitious. There are some records that feel big on there. Would you agree?
Yeah, big for sure. I know what you mean. I was just trying to show a little more growth this time and make it sound different from the last projects I put out.
When you were making this album, did you go in with the approach that this was going to be an ambitious record?
I think the records I picked were just more along the lines of what you’re saying. I had other records that I wanted to use, but I went more with that type of style.
Yeah, because some of the beats are different from the stuff you usually rap over. Were you aiming for that sound? Or were they beats that you were coming across that happened to grab your attention?
Yeah, what I was coming across and what I felt like wanting to do at that time.
Detroit has had its rap moments with the likes of Eminem, Royce Da 5’9″, D12, and J Dilla, but the last few years have felt different. What is it about this era of Detroit rap that resonates with fans?
Probably the rawness. Probably being able to connect with the music a little bit more.
What are some of your favorite records from this album?
“Nights Like This,” “High Off Life,” the intro. I like “Delusional.” I like “Stuck in My Ways.” There’s a few on there.
There’s a couple of tracks that you get real personal on. You mentioned a couple of them. Can you talk about why you felt the need to go super personal on some of those?
Really, just updating people on what’s going on with me type stuff. And, really on all my projects, it’s always gonna be a song on there that’s kind of like super personal and I get deeper on what’s going on for real.
The way you rap, it’s like you put people on game. Can you credit your style to your father being a preacher?
Yeah, if you know my dad, it don’t got nothing to do with religion or him being a preacher. That’s just how he comes off, putting us on game and just schoolin’ us and kickin’ it with us since we were little. I can definitely credit that to him, for sure.
Did you spend a lot of time in church when you were younger?
Hell yeah. All the way up until eighth grade, I went to church every Sunday. I wasn’t really too much a fan of church, though. Nothing against religion, but the whole going to church thing — I would just feel burnt out.
Did your parents give you a hard time for wanting to be a rapper at first?
They ain’t know. So, it was like — once I got old enough to get out the house and do my own thing, I was just doin’ that on the low. But I wasn’t a bad kid, so they didn’t have to worry about me too much. I was just doing it. They didn’t really find out until I became poppin’. And then people was telling them, and by that time, it was already too late. They couldn’t really have a conversation with me about it.
How do they feel about it now that you’re successful?
I mean, they ain’t trippin’, they love it, and even my dad, he be talking about it. You know, back then he really didn’t understand, but now he sees what I’ve grown into as a man. He can understand and enjoy my music. He can see where I’m coming from.
When would you say you felt that you was poppin’ as a rapper? When it felt real.
My first feeling was around probably 2011 or 2012. We used to get booked in the city a lot with my group [Team Eastside.]
In earlier interviews you had mentioned that you dropped out of college. Around what year was that?
I graduated [high school] in 2009, so it had to be around 2010.
That’s around the time you said you started poppin’, so you were already rapping?
I was already rappin’ throughout high school and all that stuff. When I got out of school, I was still staying with my parents. My pops was like, “You either gonna get a job or you gonna go to school.” So, I ended up choosing college and when that didn’t work out I just left the house completely.
Word, and you had said that they used church money to help send you to college.
Yeah, for sure. No cap. That really happened.
Rich Paul is on the outro. Can you explain that relationship? How did you guys link up? Was he a fan of your music?
He was a fan of my music. I met him through my partner, V, who owns a clothing line called Jack Ripp. He called me and connected me with Rich Paul, and then we hit it off just conversating about music. He really just wanted to talk about music, for real.
Has he given you any business advice?
Not really, head on. I just watch and learn from what he’s doing.
How do you feel about this album compared to your other tapes?
I feel good. I feel like I got some good records on there. I think people are gonna enjoy it. I’m geeked for it to get out, so I can see how the feedback is going to be.
Gillie and Wallo had mentioned that they noticed the ladies rock with your music on social media. Explain why you like to make records for them.
It’s always good to have a record or two for the ladies when you put a project out, because they’re consumers. And, really, I feel like it’s the women that get the men hip sometimes. You gotta have something that the ladies enjoy too.
Bossman Dlow seems to have that effect too. The ladies use his stuff on social media all the time. He did a show with Teezo for us recently and when he hit the stage, mad shorties ran to see him perform.
That’s fire. Dlow got a strong presence on social media with the women. I feel like the women be on it more than the men these days.
And you guys linked up on this project over the GoldenEye beat. How did that come about?
I had never met him. I was on Live one time just poppin’ shit and I said something along the lines [of] somebody talking to me in the club while the music was loud, and I was saying, ‘Stop trying to talk to me, Bossman Dlow is playing’ blah, blah, blah. And then it reached him and that kind of went crazy and he said something to me, and he came to Detroit, and we met up. We kicked it off like that. I did a song for him first, and then I was sitting on “Count Money” and I was like, ‘I think Dlow would sound good on here.’ I sent it to him and he sent it back.
You’re a video game head, right? What games do you play?
2K, Madden, NCAA. But I had woke up from my sleep, and seen my kids watching some s–t on YouTube, and I ended up downloading this new game called Little Nightmares. S–t fire. It’s like some horror-mystery shit.
You don’t play Grand Theft Auto?
I used to play Grand Theft Auto RP on my PC, but I stopped playing it. l was gettin’ burnt out on it.
You weren’t in Tee Grizzley’s world?
Yeah, I was in there. I was the only one with the Ferrari truck in there. That s–t turnt, for real, but I was getting burnt out.
What else you got planned for this album? You going on tour?
Yeah, I’m going on tour. I’m announcing the tour on Friday with the album [release]. That’s pretty much it. Hopefully, I can get a deluxe out because I do got some more records, more features, some more vibes that I wanna add to it.
You gonna put out more videos?
For sure, 100 percent.
Yeah, because you put out mad s–t already for this album.
S–t, I was just telling them. I got like seven videos already in, but I’m still trying to get at least two or three more.
After gaining momentum as a finalist on music competition show La Banda (where CNCO was born) and later earning his first Billboard entry with debut single “Pretty Girl (Tu Cancion)” in 2016, Johann Vera is entering a new era in his solo career — one that’s powered by authenticity and transparency.
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Last month, the bilingual pop artist of Ecuadorian descent released “Closet,” a melancholy, powerful ballad — where, for the first time, he tells his truth: “Why am I going to hate and fight with myself only because I love differently?/ How can a parent decide to lose a child only because they love differently?” he chants in the heartfelt lyrics. “I’m not going to change for anyone else.”
“It took me two years, but it pushed me to be honest and open with myself,” Vera tells Billboard of his coming out as queer. “[My previously-released single] ‘Cielo’ is talking about that first encounter and discovering this new side of liberty and happiness, and being more real about my sexuality. ‘Closet’ is about acceptance. I want to be as honest as I can be.”
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“Cielo” and “Closet” form part of Vera’s upcoming six-part EP dubbed Nada Importa En Verdad (Nothing Really Matters). “It’s about the struggles and ups-and-downs. Yes, I’m in love but also still have all these issues.”
In an interview with Billboard, the indie Latin artist talks about his coming out process, dealing with family rejection, and finding his purpose, thanks to his new single.
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How was your coming out process, and why was the moment now for you?
It was scary. I realized now that all my life I had this idea that sexuality shouldn’t be touched in my music or my art. I wanted to be a private artist, and not talk about my personal life. It’s not that I wasn’t honest — but there was always a filter, even on my social media, that was very edited and posed.
When I started therapy, almost three years ago, I began to realize a lot of things on how I’ve been handling life. Growing up with my family, I would get along with everyone and never had an issue, but I would hold back a lot of things. I wrote this song before talking to my parents. With family, it was a hard part — because coming from Ecuador, I would see their perspective on the LGBTQ community — so I always had that fear.
You mention living with fear and a filter, but can you take us back to how you felt the day “Closet” was born?
A few years ago, I wrote a letter to little Johann, and that night I had a writing session. Some words I began writing triggered me. I’ve been with girls and loved them, but at that point in my life, I was already with a man for a year. I continued writing the song, but I was struggling. So, I paused, talked to my songwriter and producer about how I was feeling, and “Closet” was born in 30 minutes. I didn’t want to continue living life that way. I had a big realization moment.
It’s a beautiful song, but also ultra-personal and very vulnerable.
I wrote the song for everyone to understand the struggle. All throughout your life, you feel like you have this flaw, deep down it felt like there was an issue. It’s very tough to break that barrier. Now it’s changing, but it’s still, even more on the Latin side, not going to be very accepting. The song happened and it was therapy for me. I didn’t have plans of releasing it, but after I started seeing how my close friends and colleagues began to react to it, I felt that I had to.
You wrote this song before telling your parents you were queer. How’s your relationship with them today?
Still not good. I actually told them two years ago, on Christmas Day, I had no expectations, but I invited them to therapy. However, there were no conversations afterward and it disconnected them even more. Now it’s not even a “How are you?” Before, I was the pride of the family — Viña del Mar, all the awards — and now, they feel like they lost a son. It’s tough.
They’ve also been clear and vocal about not supporting my new single “Closet.” Their side of the story is that I’m influencing people to do something wrong. I couldn’t fight any more. But now I know that it happened this way for some reason, and [my story] is helping people feel that they are not alone. It’s 2024 but apparently, we still need to have these conversations.
Your friends and colleagues have been very supportive.
Mau & Ricky came to my defense and called me when the song came out to tell me that God loves me. I cried so much. Lele Pons and Guaynaa came over too. I’ve been super blessed. After the song was released, I was locked in my childhood room… I just stayed there. The amount of messages and love that started coming in through DMs really helped me. The first couple of nights, I couldn’t sleep — but it was such a beautiful thing to go into my DMs and see how strangers were connecting with the song. The effect is crazy. Even if all of this is happening, I feel very happy. I’m proud.
What do you expect your music be like moving forward?
I just want to do music with purpose. I want to be more honest on that side. If I fall in love with a guy, I’ll sing about that, but it’s more about purpose. I feel that I can make an impact when talking about different topics. From all of this process, I want to be transparent and real. You realize in music how important authenticity is. It’s really about connecting.
As one of modern-day K-pop‘s top-selling soloists, Baekhyun hardly needs an introduction. But with the release of his new solo album Hello, World, the singer-songwriter is signaling more than just another musical comeback — it’s the start of a new era, where Baekhyun is equally involved behind the scenes as he is when performing the songs onstage.
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After his 2023 exit from SM Entertainment, the K-pop label where he spent 12 formative years as a member of EXO as well as its subunit EXO-CBX, and the Billboard 200-topping supergroup SuperM, Baekhyun established a new home at INB100, which also houses fellow EXO members Xiumin and Chen. While EXO’s group activities remain tied to SM, Hello, World is Baekhyun’s first release outside his longtime label, showcasing the growth and independence cultivated as an established idol performer and an increasingly more hands-on K-pop professional.
Hello, World tracks like the bossa nova-inspired “Rendez-Vous” and crunchy-yet-harmonious, electro-pop cut “Woo” strike a balance between the polished, silky R&B and jazz influences Baekhyun first showed in 2019’s City Lights (that peaked at No. 4 on Billboard’s World Albums chart and spent 16 weeks on the chart) to more experimental ideas he’s been eager to explore including a rap-like delivery on “Cold Heart” and the ’80s new wave-tinged departure into synth-pop on the lead single “Pineapple Slice.” Now having a production-heavy hand in everything from musical direction to visual concepts, tracklisting and fan connectivity, the superstar admits that his perfectionist tendencies slowed down the process but ultimately led him to the proper balance.
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“I’m a bit of a perfectionist when it comes to music,” Baekhyun shares during an afternoon Zoom call from a Seoul office. “I think [the album] was delayed because I was trying to find the right feel to release the perfect album, which was really born from the title track ‘Pineapple Slice,’ which ended up being just the song I was looking for.”
The lead single’s sweet-yet-sultry vibe became the cornerstone for the rest of the album, inspiring the 32-year-old to push boundaries and further personalize his creative process.
“Now, I want to express my opinion, my ideas and what I want to try,” Baekhyun adds. “I think it’s fun to build up from the primary stages of preparing for an album and working together with a team where I’ve been able to contribute more is exciting. I feel a bit more ownership.”
While Baekhyun’s comeback may look like a seamless return to form from the outside, Hello, World results from countless hours spent behind the scenes, meticulously crafting his sound and image to kickstart a new chapter with grace. For now, the EP is Baekhyun’s way of saying he’s back and ready to take on even more in his next phase, sharing with Billboard more about the album, the processes behind it, and how he wants to meet fans around the world.
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How are you feeling with this new album release? The album’s title is Hello, World, and the opening song is “Good Morning.” Does it feel like a new day for you as an artist?
I really like new beginnings so I’m very exited about this new chapter in my life and excited to show a greater audience what I’ve prepared. That’s exactly why I put “Good Morning” as the first track on the album and why I named it Hello, World because the first lyrics that start the song are “Hello, world” so I wanted a lot of people to listen and feel like, “Oh, this is the start.” The song was kind of made to feel like preparation for your heart to listen to the rest of the album; it has an overall very soft sound and I thought that it would be nice to build up musically throughout the album. I was very particular with the tracklist, so I’m very happy that the order of songs get progressively more climactic.
This isn’t your first solo album, but your first under your new company in INB100. Has the process been similar or different to past releases?
It’s very different from when I released my previous album. Now, I want to express my opinion, my ideas, and what I want to try, which I think is really good because I can try a lot of big, new ideas. I think it’s fun to build up from the primary stages of preparing for an album and working together with a team where I’ve been able to contribute more is exciting. So, I feel a bit more ownership of the album — I’m excited for it to become one of my favorites.
You enlisted in the military for almost two years, and it’s been three-and-a-half years since your last solo record in 2021. Generally speaking, what took so long?
I’m a bit of a perfectionist when it comes to music, and I think it was delayed because I was trying to find the right feel to release the perfect album, which was really born from the title track [single] “Pineapple Slice,” which ended up being just the song I was looking for. As long as it took, I really put a lot of effort into this to be able to put and show a lot more of the things that I wanted to do.
What kind of things were you able to do this time?
I had a lot of thoughts about wanting to show who I am as an artist in the long term which means that I should focus on the music that I enjoy and artistic decisions that I, as an artist, wish to make. Stylistically, a lot of the music is what I wants to do. The genre is R&B, but there are so many genres that I can branch out to further with that genre as a base. I even tried rapping on this album which was something new for me.
Second off, process-wise — the music video, the recording procedure and the visuals — everything was a little bit more “Baekhyun-centric” and I was able to input a lot more of my opinions. Instead of someone saying, “Oh, this would look good on you,” I was able to, I guess, reverse that process and say, “This is what I’ve been envisioning for myself, what do you guys think?” and move forward from there.
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You say Hello, World is inspired by movie genres with the album description saying, “A world where imagination becomes reality.” How exactly did you show this?
I’ve done a lot of different concepts throughout my career and I believe that the job of an idol is to kind of experience all these different sides you show. So, I thought that [making] the keyword “films” or “movies” would be a good way to put that in like one big box and express all these different things that I’ve done as one big genre. So, pretending that this is all a movie means I can turn my imagination into reality: I can be the stuntman, I can be a writer, I can be the director; there are so many different roles that go into making a movie…the “Pineapple Slice” music video is vampire themed and that also kind of taps into the fantasy and magic genre. But, once again, imagination becomes reality because, unlike the stereotypical vampire who is afraid of the sun and gets burned by the sunlight, my character in the music video does not, so it’s even these little twists that reflect back on the overarching theme of a world that I’ve imagined.
You can be very theatrical in your music, concepts, and even your vocals, but I’ve also read you are very low-key; right now, you’re in a T-shirt and simple hair. Does it feel like you’re acting when you go into K-pop idol concepts? Is idol life like acting in a way?
I think the job of an idol is similar to that of an actor, who acts according to the scene or concept. While I’m very satisfied with my job, I don’t usually like to wear makeup on a daily basis so that’s why I’m a bit more casual today. [Laughs] But on the other hand, I think there are differences. Onstage, I definitely focus on the moment and fully digest the concept in the song, but I don’t really feel like that’s acting — it’s not like I’m putting on a new persona. It’s more so that I focus on the moment and the job of performing the song perfectly more than being fake or pretending to be something.
The first preview we got of the album was the bossa nova-inspired “Rendez-Vous” performed during your Lonsdaleite Asia tour. Why was this song important to introduce your new chapter of music?
I wanted to show the most “Baekhyun-like” style from the songs I had. It’s been a while since I’ve been out [with new music], so I wanted to show fans a sound they were more familiar with instead of something completely new that would feel surprising or distant. I personally really like the song “Rendez-Vous,” like you mentioned it incorporates bossa nova, and that’s what I enjoy about R&B is how it can branch into and be altered in so many different ways depending on what you fuse in it.
Even since your last record, R&B music has changed so much, so it’s cool that you can do areas you’re comfortable with and play with something new in a song like “Pineapple Slice.”
When I first heard “Pineapple Slice, ” I got the feel within the first few seconds that this was the track I wanted to make as my single. I’d been searching for a song that has a very intriguing instrumental and catches the ear and “Pineapple Slice “did that. The bassline is very catchy so when you first hear it, I could kind of envision people listening and tapping their feet to the bass. And it’s different from his first three albums [singles] “UN Village,” “Candy,” and “Bambi” in that it has a stronger sound rather than the smoother, jazzy vibe. But the lyrics are very sweet, speaking about a male character trying to lure and seduce a lover, so I think the contrast is also very charming.
What do you think is the most surprising song on the album for fans?
“Cold Heart” was a track that, when I first heard it, I was very much like, “Oh, would I be able to pull this off?” but I really wanted to give it a shot. It was the first time I chose a song that I wanted to be better at; I chose it because I wanted to kind of prove that I could do it. I’ve spent so long as a vocalist, and this track has a lot of hip-hop influences and references, so finding the correct tone for rap was very difficult. So, I’m still feeling very nervous about this song coming out to the world and that the release day will be my “judgment day” since the fans will then be able to see whether or not I really pulled it off. I believe they’ll think, “Oh, Baekhyun sings this kind of song?”
It’s great to hear you challenging yourself in all these different ways under your new company. Why was it important for you to break out and create a space with your own company?
First of all, I wanted to meet my fans more and get a little bit more closer to them. And I always wanted to participate more in my own album process. With this question, rather than thinking about enjoying a new type of challenge, it’s more so that I really just wanted to get closer to my fans and listeners. Likewise, I believe that now I won’t have to take as long of a break between releases and hope to be able to come back in a quicker time frame. Working with my team and people, more possibilities are open for me in regards to things that I can do in the future, like producing, for example. Although there aren’t any set plans as of now, it’s a dream of mine and I thought this new chapter would open such doors.
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That makes sense because you’re keeping group activities with EXO strong and have EXO-CBX with you at INB100. More K-pop artists are balancing outside solo careers with group activities. How do you personally balance both sides?
Many fans want to continue seeing new sides of the group, so I understand that and we will continue to try new things and meet you in the future together. As for Baekhyun as a soloist, I feel that’s a little bit different from Baekhyun as a part of a group. So, in the future, I’m excited to show three different sides of myself: as a part of a unit, a solo artist, and also as part of a group. So I hope my fans are also excited to witness that journey alongside [me] as it happens.
Anything you can tease for your fans in this new era? Or other messages to the fans?
So, first and foremost, I’ll definitely be working on album promotions. Apart from that, I want to go on a world tour someday — and it’s definitely a possibility that’s, uh, not very far from reach. [Laughs] Since I recently finished my Asia tour, I want to branch out further to fans around the world…
To EXO-Ls who have been waiting for my album for such a long time, I’m so grateful for all of you and I want to promise you that there will never be a break like this again. I’ll show you a lot of great things in the future with new looks, new music, and all the cool things I’m ready to show the world. And like I slightly teased before, I’m ready to go meet more fans around the world so I hope that everyone stays happy and healthy until we meet again.
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For all of his musical accomplishments, Robert Glasper stands as one of the most versatile yet accessible musicians of his generation. In a recent chat, the Grammy Award-winning pianist and composer shared with Hip-Hop Wired his vision of The Black Radio Experience and bringing the soulful vibes to Napa Valley for Labor Day Weekend.
Robert Glasper has over a dozen releases that span the audio expanses of Jazz, Soul, R&B, Funk, and Hip-Hop. By way of the world-famous Blue Note record label, Glasper released Black Radio in 2012 and it was true to his interpretation of what a Black radio station under his watchful direction. The initial concept led to a Black Radio trilogy that concluded in 2022, and he’s still reinventing himself as an artist by way of his latest project, Let Go.
Source: Marc Fong / Marc Fong
Anyone who has ever attended a Robert Glasper show learns swiftly that he is, without doubt, a masterful yet playful showman whose dexterity as a pianist allows him to open his musical sandbox to a wide tapestry of sounds. In our talk with Glasper, we asked him what The Black Radio Experience means to him and how he intends to bring those ideas to life in the Wine Country of Northern California.
“The Black Radio Experience, just like you hear on my albums, it’s just that vibe and you can see the festival will feature artists that have appeared on the Black Radio albums like Common, Jill Scott, Ledisi, Terrace Martin, Derrick Hodge,” Glasper explains.
“It’s not about having the hottest song out or anything but a collection of artists that make songs that bring those good feelings out. These are artists who promote real music, love, honesty, and all of that from a Black and soulful perspective. That’s what The Black Radio Experience is and always will be,” Glasper added.
Glasper shared that while the theme of the Blue Note Jazz Festival in Napa has maintained that creed for the past three years, this year’s festival widens the scope with a focus on Black wine brands, chefs bringing curated menu concepts to light, and making the festival a safe space for celebration of the wide scope of Black creativity that includes the arts and dance as well.
“The festival is just an extension of the love I have for the music and the people and what I set out to do on the first Black Radio album, which is to say this is what Black radio stations could be,” Glasper said.
“When I made that first album, I was already immersed in different styles of music and playing it but committing it to wax was the next step, and over the years with the festival, we’ve been able to bring my vision of Black Radio to the stages and show that there is so much to us as a creative people,” Glasper shared.
Source: Blue Note Jazz Festival / Blue Note Jazz Festival
Among the headliners for The Blue Note Jazz Festival Presents: The Black Radio Experience, which includes the aforementioned acts from the albums, is André 3000. Three Stacks has famously moved on from the rapping portion of his career and leaning into instrumental music by way of his latest album, New Blue Sun. Glasper says that he found the Atlanta artist’s choice to try something new inspirational and that was his thought in creating his latest body of work, Let Go.
“I had so many people tell me that they listened to New Blue Sun and mediated to it or cleaned their house to it, hell, even I did the same,” Glasper said. “I had people tell me that they would do the same to some of my music and that was the reason why I partnered with Apple Music to drop Let Go. I wanted to give listeners something to reset their day to and even to inspire myself to take it slow.”
Robert Glasper will be in Napa, Calif. this Labor Day Weekend for The Blue Note Jazz Festival Presents: The Black Radio Experience.
To learn more about the festival, click here.
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Photo: Marc Fong/Blue Note Jazz Festival
Casual music listeners may recognize Syleena Johnson’s soulful, magnetic voice from “All Falls Down,” her 2004 Grammy-nominated Billboard Hot 100 hit (No. 7) with Ye (the artist formerly known as Kanye West). Yet there is several decades’ worth of music history coursing through those vocal cords.
Johnson, the daughter of the late soul giant Syl Johnson, is getting ready to unleash what she says is her final solo studio album on Friday (Aug. 30). And, as she explains to Billboard over Zoom, the road has not been easy.
“This album is probably my best work, and it is whooping my ass!” she quips. “It wouldn’t be this good if there wasn’t some drama that was attached to it.”
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Johnson is frazzled over the final mixes for Legacy, which serves not only as her final solo LP, but also a painstakingly crafted tribute to her late father. Led by the revelatory “Monsters in the Closet,” Legacy combines Johnson’s vocals with that of her late father, setting their tones and styles in conversation across 16 tracks that explore the industry-inflicted scars, the timelessness of soul music and the towering impact of Chicago’s music and culture. Featuring appearances from Twista and Shawnna, as well as fresh takes on Syl Johnson classics like 1968’s “Different Strokes,” Legacy is both a gift from a daughter to her father, and a gift from an artist to the sounds that sustain her.
Arriving in the throes of the ever-challenging balancing act that is being an R&B star and present mother — “[Creating Legacy] took time in the middle of touring, chasing around a superstar athlete kid and another child who is on the spectrum, high-functioning, mind you, and has piano and drawing class” – Johnson’s new record is a wholly family affair. The warmth of those familial ties, as well as the darkness of certain shared experiences, permeates the entire record.
Just as the contributions of her own family remind listeners of our general human connection, so does the album’s exploration of soul music, which marries the late 1950s beginnings of Syl Johnson’s discography with the 21st century sheen of his daughter’s. It’s a winning continuation of Syl Johnson’s own impact as one of the most sampled acts in hip-hop, from Public Enemy‘s “Fight the Power” to The Throne’s “The Joy.”
In a candid conversation with Billboard, Syleena Johnson pulls back the curtain on both her final album and her nearly three decades in the music industry.
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Why was now the time to come back with a new record?
I was already going to come back two years ago, but my father died [in 2022], and that changed things. My father was the legacy, the pinnacle of my music. I feel like [losing him] changed the tone and scope of the album. It changed the intention of the album, and it changed my motivation of why I was creating it. It took two years, which is unheard of for a person like me [who] can create an album in a week or two. Two years means I was mourning.
Every single track has my father in it, so I was trying to make sure that [the album] honored him and highlighted him as well as myself properly. I was okay with taking my time and getting it done right. The time is now, not because I chose it, but because God designed it for this time. Why? I don’t know, but we’re gonna find out.
This is the last Syleena Johnson album. We’re going to work Legacy for as long as we possibly can, because it has so much good material. Sometimes, you let the people catch up to all of the repertoire. I have 14 albums, there’s people that don’t know those records. Hopefully, Legacy will be powerful enough to [spur interest in my back catalog]. I will be doing the Chi album [with Dave Hollister and Carl Thomas], but as far as [my own] albums, I just don’t want to do anymore.
Was there a specific moment in which you knew that this would be the final Syleena Johnson album?
Yes. I recorded eight records, and they were good. We were thinking of just doing an EP, so I went to Chicago to Toxic Studios, my producers, my musical family. I went there to touch up vocals on a record, and they started playing all this music. I just got sadder and sadder because I knew I [was going to] have to record all of these because they were so good. It was like a happy-sad moment. I was like, “Oh my God!” creatively, but the adult in me that has been in this business for over three decades was like, “Again? Okay. I’m not free. We have to continue.”
And then I realized this album is getting ready to go to a different level, That’s when I knew: I’m going to give them 16 records, give them everything I have vocally and lyrically, and I’m out. And I’m going to put my dad in it. Both of us are considered underrated, so I want us to not be underrated together in this space. I’m constantly going to be creating in some way, shape or form, but it’s the work part and [being] independent that’s just too hard.
The album literally blends your vocals with your dad’s. Why did you go for that approach instead of, say, sampling his original recordings?
First, I’m a creative, so I can’t do nothing that’s basic. I don’t want to do anything anybody’s ever done. This hasn’t been done before. Because we own the estate, it’s easier for us to get clearances – these different record companies that [own the song’s] publishing are not going to push back because it brings more money and more eyes to the project and my dad’s records.
I wanted to show people our similarities [and] the best way to show that is to put us right next to each other. There are parts of the record [where] I sound almost like my dad. I wanted to bring him in because I saw him in his last days. I saw him until his last breath. I wanted to remember him in the light that I put him in on this record.
This album has helped me understand how amazing he is as an artist. How he placed a record, why he wrote and sang certain ways, comparing his body movements onstage to my own, etc. There’s also lines on the album where he’s just talking to me and whoever listens to this album.
Did you go into the studio sessions already knowing what songs of his you wanted to bring into the fold?
No! My sister [who is also my manager and the head of our dad’s trust] is directly connected with the record label that bought my dad’s publishing right before he died. She told the producers at Toxic“ Productions, “You can create from these records,” and my dad had a whole box set.
I work with such talented producers, and one of my hopes for this project is that it blows up, gets a Grammy, and does all the things that an album can do. I want the producers to be recognized for this body of work that they helped me to create. Rafael Capone is mixing and mastering the whole project in a two-and-a-half-week period.
What was the first song that you knew was going to be on this album?
My father died on my youngest son’s birthday (Feb. 6). My son was turning 11 with a party at Sky Zone [at 10 a.m.] and my dad died at 2:00 in the morning. I had to go and be a mom, even though I was super sad.
Three weeks after that, I flew to Chicago and started recording. The very first song was “Monsters in the Closet” and the next song was “Watching Over.” Those two songs I knew for a fact were going to make the album. I couldn’t even get through recording and writing those two songs. I would be recording and just break down in tears and everybody would just stop and wait until it passed.
Every time I go in the studio, I don’t have many songs that don’t make it. That’s not my process. I record a specific amount of songs because I’m a storyteller. I don’t need to write a whole bunch of unnecessary records. That’s like if you write a book and go, “Let me write six chapters just in case.” Sometimes you will get some good records that somebody else wrote, and you save those in the vault or for a deluxe. Pretty much everything I recorded made this album except two things. I’m not a big fan of recording, I’m a live girl because that’s where you can really connect the fans with the music.
What was the most difficult part about opening yourself up on a song like “Monsters,” which draws parallels between the experiences you and father had in this industry?
There’s many stages of grieving. I was in a place where I was upset at this industry and what it had done to my father and I and our relationship. It’s an ongoing thing inside of the industry and it does it to all artists. The music business is dirty and cruel. It steals from you. It takes from you with very little deposit back into you. I’m tired of not telling the truth. We have to start telling the truth about what the hell be going on!
I know this is R&B, but we don’t always have to talk about love and pain. That’s what Marvin Gaye and Stevie Wonder and Donny Hathaway and my father did back in the day. I wanted this album to be conscious across all of its tracks.
Artists’ mental health is huge theme on Legacy, and the record drops right before Suicide Prevention Month kicks off. What do you want to see the industry do in terms of better prioritizing artists’ mental health? Have you seen anything get better (or worse) during your time in the industry?
The only that has gotten better is the fact that we [can do so much by ourselves] as independent artists. It’s not at the hands of the marketing department at your label. The flip side of that is very difficult because you have to use your own money and you have to do all the footwork, but at least you know where your money’s going.
In general, people and greed are the basis of the music industry. Because you’re dealing with artists, we are delicate in that way. We want you to like and buy into what we create because it’s tied to our actual livelihood. They don’t like it, we don’t eat. I don’t think people truly understand the depth of how stressful that can be. When you see all of these artists self-medicating, trying to calm themselves down, trying to not have anxiety, then whatever they’re using to self-medicate gets the best of them. It could kill them.
I think we need to do a better job of understanding the artists’ case and having empathy for them. We have to be these politicians and we ain’t politicians! We’re human beings and our job is to create music and soundtrack our lives. You don’t see nobody knocking on the movie score man’s house and cussing him out, and he’s creating the scores for all these movies for us to feel certain ways. But because we’re famous, we should be grateful that people even give us the time of day. Meanwhile, during the pandemic, the artist suffered the most. There’s no empathy for artists. People don’t care what happens to them. You hold us to all these high standards, and then you’re quick to forget us when it’s over.
People don’t value what we put into the world, and I feel like everybody should be valued the same.
“Black Balloon” became your first Billboard chart entry in over a decade. What did that mean to you, especially to do so alongside your dad, who’s officially credited as an artist on that track?
It’s a great moment because I’m 48. I recorded my first album at 15 [and] I am still out here. The people are still out here turning up/ I’m happy that God has allowed me to have this longevity and have and still be here in my right mind and talk regular with you, chile.
What lessons would you say were the most difficult for you to internalize throughout your career?
Trusting myself. Trusting my ears. Trusting what I really want to hear in my records and being adamant about it. I was 21 when Wayne Williams brought me into Jive Records and I would let the last say be someone else’s. Sometimes I might not be happy with it inside, but you just have to let it go. And that was that wasn’t all the time, that was rare. I was given a lot of creative freedom at Jive. It was just certain things [that] when I look back, I’m like “Shit, I should have just listened myself.” [Being an] introvert disconnected me from a lot people in times where I should have been trying to connect more. That’s another lesson: networking. And some of my introversion comes from fear of judgement, but I was very young. When you get older, you don’t give a f—k who’s around and you don’t give a damn. When you’re a young woman and trying to balance male egos, it’s tough. I don’t blame myself.
The NFL is gearing up for a significant milestone by hosting its inaugural regular-season game in São Paulo, marking a historic expansion of American football into South America.
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Amid this groundbreaking event, Brazil‘s own baile funk superstar Anitta will kick off the halftime show, Billboard can exclusively announce Tuesday (Aug. 20). Her performance is set to meld the vibrant spirit of Brazilian music with the exhilarating intensity of American football. “I am incredibly excited to perform in São Paulo at the NFL’s first game in my home country of Brazil,” the artist tells Billboard Español. The event is taking place September 6 at 8:15pm ET.
Steering Anitta’s presentation are NFL’s head of music, Seth Dudowsky, Senior vp of global event operations & production, Jon Barker, and director of event presentation & content, Tim Tubito, all in collaboration with Production Club. “When we talked about artists that we wanted to work with, Anitta was at the top of that list,” explains Dudowsky. “We don’t want to come in and make this very American and Western. We want it to weave into the culture of the environment that we’re at,” adds Jon Barker.
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In a discussion with Billboard Español, Anitta, Dudowsky, and Barker delve deeper into the preparations and expectations for this unprecedented NFL game, sharing their visions of blending sports, music, and culture to create an unforgettable experience for fans around the globe.
How do you feel about performing at the historic NFL game in São Paulo, the first of its kind in South America?
Anitta: I am incredibly excited to perform in São Paulo at the NFL’s first game in my home country of Brazil. Growing up here has completely shaped me as an artist and, of course, as a person. So it means everything to be able to bring fans around the world the excitement and joy of our amazing music and culture. It’s really a dream come true to be a part of this moment.
Courtesy of NFL
Seth and Jon, how was Anitta decided on for this halftime show at the NFL’s first game in São Paulo?
Seth Dudowsky: We wanted to make sure that coming to Brazil, we were putting on the spectacle and the level of quality that you expect from an NFL event. Also, doing it in a way that felt natural and embracing the culture of São Paulo and Brazil. The most authentic way to do that is to work with artists and performers who are from those places. Artists who have been not only a face of Brazilian music, and what that represents around the world, but also being an icon in America as well. This creates a bridge for us to come from American culture down to São Paulo. When we talked about artists that we wanted to work with, Anitta was at the top of that list. It’s been an amazing opportunity, not only to have her perform at the game and help us create an incredible game-day experience for the fans, but also to help be an ambassador so that fans understand we’re coming down to Brazil. We’re going to do it in a special way that celebrates Brazilian culture.
Jon Barker: American football is becoming a global sport, and we are starting to play more games in different parts of the world. The opportunity to bring our game to São Paulo, Brazil, to South America, is really exciting. When you think about an opportunity to work with an artist like Anitta, it just elevates everything that we’re going to do. We don’t want to come in and make this very American and Western. We want it to weave into the culture of the environment that we’re at, so that fans who are coming to this game can identify with the entire experience. Anitta just brings that one hundred times for us, because she’s such a wonderful talent.
Anitta, have you previously followed American football? If so, what does this sport mean to you personally?
Anitta: I love sports in general, and I’m one of those fans who screams in front of the TV! With American football it would be no different. As a Brazilian, I love getting together with friends and family to have a barbecue and to cheer.
How do you plan to connect with an audience that might be experiencing both Anitta and NFL football for the first time?
Anitta: Music is something that brings us all together, no matter where you’re from or what your background is. Football does the same, so I think that uniting force from both music and football creates a natural connection to the audience. I hope this global audience will really enjoy the performance.
Seth and Jon, how important is local culture in choosing a halftime performer for international NFL games?
Barker: Extremely important. It’s part of the overall environment that we create. I know we’re talking about halftime, about Anitta, but it sits in the way that we think about decor and the use of color and pattern, and how that reflects local culture. It’s in the music selection that we use in pregame DJs and artists who are going to be singing the national anthems for both countries. It shows up in many different ways, not just in the music that we select at halftime. It’s integrated along the journey. When you start to see the decor pattern that we’re using, you’ll see that it’s reflective of Brazilian culture.
Dudowsky: We’re going to make sure that we are representing and being authentic to the culture there. One of the most direct and effective ways to make it feel like I’m seeing something that’s not just another regular season game [with] the way we’re using art, imagery, and music. To go back to Anitta, we’ll have assets that are going to be created both in Brazil and America. For the fans in Brazil, it’s to make sure that they feel like we’re doing something authentic with an artist they recognize and love. But also for American fans to see that content, to see Packers-Eagles highlights. With Anitta and Brazilian music, it gives [Americans] that feeling that this is unique and special, even if [they’re] not actually going to São Paulo to experience it.
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The NFL is focusing on global expansion and bringing American football to new audiences. As a Brazilian artist, how do you see your role in this initiative?
Anitta: Seeing the NFL grow football internationally has been great to watch, and when I saw they announced the first game in South America, I felt like the stars were aligning. I know many football fans out here in Brazil, so having the opportunity to perform for so many of my fans here and beyond is an amazing experience.
Jon and Seth, how do you ensure that the music appeals to both longtime NFL fans but also new audiences?
Dudowsky: On the music strategy point, one of my biggest beliefs is that music is universal, just like sports is. Every country on earth has their own version of what they love in sports and what they love in music. You won’t find a corner of the planet that doesn’t have those two things as part of that culture. While it’s universal, it’s also specific. Everybody’s music choices and opinions on music are personal. So we know not every single piece of music everybody’s going to love, and that’s okay. We try to work with artists that are authentic and are uniquely themselves and represent a space in music. We speak a lot with our office counterparts in Brazil and Latin America. We work with labels and trusted sources, artists, agents, tastemakers, people that really are on the ground and know what’s relevant.
Barker: It’s such a great line that sport and music are universal, and they don’t need to be translated; they just carry over. Who would have ever thought that playing John Denver in Munich, 70,000 people would just stop doing what they’re doing and sing together in unison? It happened! Sometimes we get it right, and sometimes we don’t. We experiment, and we see what hits and what doesn’t. You’ve got a different audience inside the stadium at varying ages, a different audience tuning in television locally, and a different one tuning in the United States.
How do we listen and learn from the local community? And how do we weave that into this game and create the environment that we want new fans in São Paulo to experience? That’s the process we go through, and I hope that each year we get better and better at it.
Anitta, can you give us a hint about what viewers can expect from your halftime show?
Anitta: While I want to keep a lot of elements of the show a surprise, I can tell you I will perform Brazilian funk! I can’t wait to do this in front of so many Brazilians at home, as well as the global audience who will be able to see the show as well. It’s going to be big, and I’m excited for everyone to see what we have in store.
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Last words?
Barker: I don’t want to be hyperbolic but we’re about to do something historic, bringing our game to a place that’s never been played before. The excitement that is bouncing off the walls at our headquarters in New York and Seth’s offices in Los Angeles is palpable. How we’ve been received in [Brazil] from the day we made the announcement that we’re coming has been overwhelmingly welcoming. I’m proud that I can be a part of something like this, being part of the NFL, and being part of a group that’s bringing this game to Brazilians, and have them, hopefully, experience it and love it the same way that we all do here.
Dudowsky: One of the things that keeps me energized and passionate about being at the NFL for over a decade is the opportunity to not only learn about these cultures, but to be a part of something that is happening for the first time. Whether it was in Munich or the first Super Bowl in Las Vegas, when a city gets the opportunity to do something like this for the first time, it just feels extra special. The energy, the passion that especially Brazilian fans come with, we couldn’t be more excited to see it with our own eyes and to be a part of it; and to see what the country and fans of Brazil do with this game going into the future.
Working with a global icon like Anitta has only made everything we’re saying even more tangible. Her team has been amazing. She has been fantastic. We’re excited to have Anitta and all the energy and excitement that she brings. It’s only going to add to what we know is going to be a really special and historic night in São Paulo.
Chayanne strides into a rehearsal space at Blue Dolphin Studios in Miami, dressed in black from head to toe — tight pants and shirt, crisp blazer, formal leather shoes — and warmly embraces his manager, his assistant, his creative director. He then extends his hand to greet the photographer waiting for a cover shoot. “Nice to meet you,” he says with a broad smile. “I’m Chayanne.”
“I think we all know who you are here,” I say lightly, but Chayanne stops and turns to look at me.
“No,” he tells me without reproach, his smile intact and his voice firm. “My dad taught me that no matter where you are, you say hello and introduce yourself. You can’t assume people know who you are.”
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And just like that, this encounter becomes another among a long list of anecdotes about Elmer Figueroa Arce, better known as Chayanne. The artist who goes out to dinner and gets up multiple times to greet his fans. The performer who’s first to arrive at rehearsals and the last to leave. The star who greets housekeepers by name and dances with them in the hallways. The guy who runs in the mornings, alone.
“He is an exemplary father, an exemplary husband; good-looking, tall; he dances; he’s the perfect man,” says Henry Cárdenas, CEO of Cárdenas Marketing Network, which has produced Chayanne’s tours for decades, including his upcoming global arena trek. “He’s been a guy untainted by scandal. [Chayanne has been married to Marilisa Maronesse for over 30 years and has two children with her: Lorenzo and Isadora, the latter also a singer.] I’ve known him for years. I’ve spent a lot of time with him, and what you see is who he is. He’s the guy who interrupts his golf game to take a photo with a fan.”
Today, at this studio in Miami, Chayanne reveals yet another facet of himself: that of the impeccable perfectionist who, at 56 years old — and looking 15 years younger — is preparing to start the longest tour of his career.
The Bailemos Otra Vez (Let’s Dance Again) tour, which takes its name from the hit album released last year, begins Aug. 21 at the SAP Center in San Jose, Calif. It will stop in 40 arenas in 39 cities in North America, ending in Miami on Dec. 15, and then continue to Latin America and Spain.
Chayanne photographed on July 18, 2024 at Blue Dolphin Studios in Miami.
Mary Beth Koeth
“You’re backstage, you haven’t come out, they dim the lights, and everyone starts shouting, ‘Chayanne, Chayanne!’” he replies when I ask how he stays motivated after so many years of performing. He closes his eyes for a moment.
“It’s awesome. Because it’s been many years, but it’s an inexplicable feeling … I started at 10 years old, and I just turned 56. I say it calmly and with joy, because I feel so good, and I have lived the stages of my life with passion, with joy, with emotion. And I have also grown professionally, personally. All of that has shaped the person you have in front of you, but also the people who are going to see the show. Because I didn’t do this alone. They all grew up with me too.”
Talking to Chayanne feels a little like talking to a close friend, albeit a super handsome, super charismatic one who also happens to be among the most revered Latin artists in the world.
Today, we’re chatting in front of a rehearsal stage, designed to exactly replicate his tour set, where he has been practicing seven hours a day for the past six weeks. This interview break is an anomaly, because when Chayanne is in tour prep mode, he shuts down everything else — though he has been preparing for this for decades.
Chayanne began his professional music career at the age of 10. As a member of Puerto Rican boy band Los Chicos, he played stadiums, traveled on private planes and celebrated birthdays in hotels with cakes sent by fans.
But it was later, when he signed with Sony as a solo artist, that he became a true international star. The name Chayanne, which sounds like a stage moniker, is actually his given name (his mother was a fan of 1950s TV show Cheyenne), although it’s not on his birth certificate.
“As a kid, they called me ‘Chancito,’” Chayanne says. “People who really loved me — my mom, my grandma — called me Chancito. You know, the diminutive we use when we’re little. Fortunately, the ‘ito’ eventually dropped out and it became just Chayanne.”
Today, more than 40 years later, Chayanne has accumulated a catalog of hits that includes more than 49 entries and 29 top 10s on Billboard’s Hot Latin Songs chart, a record surpassed only by Enrique Iglesias and Luis Miguel among male artists.
In 2023, Chayanne released Bailemos Otra Vez, his first studio album in nine years (on Sony, his longtime label), which debuted in August in the top 10 of the Top Latin Albums chart, his 15th album to do so — making him only the second artist in history (the other is the late Rocío Dúrcal) to achieve a top 10 on the chart in every decade from the 1980s until now.
Simultaneously, Chayanne’s single “Bailando Bachata” became his seventh No. 1 on the Latin Airplay chart, where he has already placed 35 songs. The track was No. 1 for 15 weeks, marking a resounding return for Chayanne, who hadn’t had a No. 1 on that chart in 16 years.
And yet, Chayanne hadn’t gone anywhere. During the heyday of reggaetón in the early 2000s, his pop sound — a mix of heartfelt ballads and uptempo dance fare — endured, and his tours continued to be enormous and constant. The last one, in 2019, grossed $28.3 million and sold 311,000 tickets across 49 shows, according to Billboard Boxscore, becoming the second most successful Latin tour of that year, after Luis Miguel.
Chayanne photographed on July 18, 2024 at Blue Dolphin Studios in Miami.
Mary Beth Koeth
Plenty of legacy Latin artists tour regularly and sell massive amounts of tickets: Marc Anthony, Ricardo Arjona, Alejandro Fernández and Ana Gabriel, to name just a few. But Chayanne’s fan base, made up largely of women ages 50 and older, is particularly loyal, at least in part, Cárdenas says, because Chayanne’s career has been devoid of scandals. “We Latinos tend to support those idols of ours that have been ‘clean.’ There’s no dirt on Chayanne.”
It also partly explains why Chayanne’s music endures. Beyond their catchiness as hit pop songs, “Tiempo de Vals” and “Yo Te Amo,” for example, are still favorites at quinceañeras and weddings, respectively, passed down from mother to daughter, with multiple generations going together to Chayanne’s shows.
When the COVID-19 pandemic hit in early 2020, Chayanne was forced to cancel his Desde El Alma tour after 113 shows, with all of South America still left to play. There was a silver lining: With a clear schedule, he finally had time to think about an album.
“Chayanne is an artist who focuses on one project at a time, and if he’s in tour mode, everything is dedicated to the tour,” says Patty Vega, his manager of 30 years. And although he hadn’t released new music prior to the trek, “it didn’t mean he wasn’t listening to material or wasn’t doing his homework. Everything was being finessed.”
“When you release an album, you’re always thinking about what’s going into the tour, because touring is part of my life,” Chayanne says. “Performing live for fans is what I’ve enjoyed most in my career. In other words, the tour was planned; we just didn’t know when it was going to happen. A tour demands dedication. You know you’ll need months of rehearsal, exercise, new eating habits. It’s a responsibility.”
The Bailemos Otra Vez tour, like all Chayanne treks, was conceived as an invitation to take a tour of his career. However, because it will promote his new album and follows five years away from the road, as well as a pandemic, the name took on new meaning.
The process began more than a year ago, when Chayanne sequestered himself to review his setlists from over the years, including the order of songs, arrangements, mood boards and stage production for each.
“Chayanne has an extremely extensive catalog. Getting things out of the setlist isn’t easy,” says Cheche Alara, the renowned music producer (Annie Lennox, Camila Cabello, Natalia Lafourcade) who has served as musical director for Chayanne on four of his tours over the past 10 years. He began working on the Bailemos Otra Vez tour months ago, adding five songs from the album to Chayanne’s classic repertoire.
Chayanne photographed on July 18, 2024 at Blue Dolphin Studios in Miami.
Mary Beth Koeth
From a musical point of view, Alara says that this time around “our vision is different. It’s very rare that we do something the same from tour to tour.” Asked to sum up the tour’s concept in a single word, he replies: “Gratitude.”
Chayanne “wants to thank his fans who have been with him for a long time,” Alara says. “He is not only an extraordinary artist but a very beloved artist, and the more you work with him, the more you realize that it’s not a facade.”
And he’s beloved for far more than his artistry. When I ask if at any point in his career, especially after he scored his first big hits, someone sat him down and explained what success entailed and how to behave in the face of it, he looks at me with surprise.
“That’s what I call values, principles,” he says. “That comes from before, from when I was a kid. It’s everything that I try to transmit and have tried to transmit at home with my children. In my career, I always felt support from my parents. From my dad, a home, food, respect. And from my mom, the romantic part: music, parties, the ‘Come, let’s dance.’ It’s been a beautiful balance. But it all came from my childhood.”
From the beginning of his career, for example, Chayanne made it his mission to go to every Latin country in which his music was released and promoted, visiting every major city and each essential music person in it. “It was going to Venezuela and saying hello, to Argentina, to Puerto Rico, Mexico. It meant shaking hands with every label employee, every radio station owner, every promoter.”
That philosophy extends to his daily life today. Although Chayanne keeps his personal life just that, he embraces his role as a public figure with gusto.
Beyond being accessible to fans when he’s out and about, since the pandemic, Chayanne has become an avid social media devotee. A few weeks ago, he even posted a shirtless photo of himself in his bathing trunks on Instagram that generated commotion among his 10 million followers, with nearly a half-million likes and thousands of comments.
“I have a problem, Chayanne used to be my dad. Now, I want him to be the father of my children,” wrote one fan. “Patrimony of humanity!” wrote another. “What a beautifully-done piece.” “The most beautiful man in all Latin America!” The list goes on and on.
“Oh, my God. Let me cover myself!” he says with a laugh. “OK, yes, I read some of the comments,” he admits. “Some were very cute, very lovely. Like, ‘If you’re going to take off your shirt, why stop there?’ I mean, really,” he says, blushing a bit.
How about his daughter, Isadora, I ask. What did she think of posting that photo?
“She took it!” he says, laughing.
Chayanne photographed on July 18, 2024 at Blue Dolphin Studios in Miami.
Mary Beth Koeth
Chayanne keeps those fans in mind when planning a tour. “Chayanne thinks about the audience and the fans first. It’s not about what he wants to do but about what the audience wants,” says Nancy O’Meara, Chayanne’s choreographer and creative director of 27 years.
Choreography in particular is essential to a Chayanne tour. He’s an accomplished dancer and participates in all numbers alongside the eight dancers (four men and four women from all over the world) who O’Meara trains at her Los Angeles studio.
The entire team then moved to Miami to rehearse with Chayanne every day, from 11 a.m. to 6 p.m., here at Blue Dolphin Studios, where he keeps a keen eye on all details of the performance.
“He always rehearses as if he were in front of a live audience,” says O’Meara, who has also worked with John Legend and Charlie Puth. “I don’t know anyone else who has such a level of detail.”
At 56, he can still sing and dance for almost three hours nightly — and on this tour, he’ll do just that for 18 months. His stamina in part comes from the discipline he’s developed since childhood, but at his age, his lifestyle matters as well. An athlete who loves golf and water sports and runs daily (“because I like it — I’m not running away from anything!” he says with a laugh), he has also been doing Pilates for the past three years, “because it stretches my body and strengthens my muscles and that’s what I need.”
He’s quick to joke that he keeps expectations for himself within reason. “What I can’t do, I’m not going to do,” he says, laughing. “But [what] I will say is, it’s a dynamic show.”
Chayanne is not high maintenance on the road. His needs are, for a touring superstar, fairly basic: good transportation (a private plane is standard), a gym (he’ll take weights to his room to work out there) and a good bed, “because after the show what I want is to take a shower and go to sleep.” Perhaps he’ll also indulge in a nice meal: “I like to eat well.”
Before every show, he’ll do a meet-and-greet, take photos with fans and, finally, get a little alone time. But that’s not what he ultimately craves.
“I’m restless, like a lion. I can’t wait to start,” he says, his eyes lighting up. “Look,” he adds, pointing to his leg, which is bouncing excitedly. “I pray and hope that everything goes well, that people enjoy themselves. I pray to my mom, to God.
“And then you go out on that stage and all that love that’s coming at you, you can’t describe it. I literally see my life flash before my eyes, because it has been my life. It is a whole life that I have dedicated to music.”
Once again, Chiquis Rivera is opening a window into her life. But this time, the singer and TV personality, who has appeared with her family in several reality shows, does it through a documentary series titled Chiquis Sin Filtro, meaning Chiquis Without Filter, which premieres Friday (Aug. 16) on the Spanish-language streaming platform ViX.
“This time it’s not a reality show,” explains the two-time Latin Grammy-winning Mexican-American artist to Billboard Español. “It’s a look into my schedule, my personal life, my career, but I’ll also be taking you on a journey into my past.”
Her day-to-day activities as Janney Marín Rivera (her real name) — including the lead-up to her Diamantes Tour and even the preparations for her recent wedding to Emilio Sánchez — are part of the content she will offer her fans. For the first time, she’s speaking almost entirely in Spanish, something she had not done until now.
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“Today I feel more mature and ready to talk about things that before I could not and today I do publicly,” says the daughter of the late Mexican music star Jenni Rivera, whose siblings will also appear at times in the docuseries.
The first of 10 episodes will be available for free on ViX, with the following debuting every Friday through the ViX’s Premium plan, where the first two will premiere at the same time. Chiquis Sin Filtro is produced by JK Media Group and Busy Bee Productions, owned by the singer. Directed by Melissa Bidwell, the series is produced by Tuti Loor and Chiquis herself, who says she has been attentive to all the details.
Chiquis
ViX
Winner of Latin Grammy Awards for best banda album for Playlist (2020) and Abeja Reina (2022), Chiquis has been touring with her most recent album, Diamantes, for which she hopes to receive her third nomination in the category this year. “I feel like it’s the best thing I’ve done so far,” she says. “I feel very proud of this project. I’ve always liked to take risks musically. I’ve done it since the beginning of my career and now even more so. I like my voice; I like what I’m doing.”
The tour, which began on May 30 in El Cajón, Calif., and has made stops in U.S. cities including Houston, Atlanta and Indianapolis, will arrive for the first time at the Auditorio Nacional in Mexico City on Nov. 3.
“I have had the Auditorio in my sights for years, and when I performed up at the Lunario almost two years ago, I said ‘I want that venue,’” Chiquis said. “I didn’t think it would happen this year, but it did, and I’m a woman who likes to take risks and go for it.”
She continued: “It’s very important to me because it’s Mexico, and Mexico is obviously very important to my music, to my genre. So I’m preparing something definitely special that is still Diamantes Tour, but I want to have special guests singing with me songs that I haven’t performed [yet on the tour], add songs that my fans are asking me to this performance.”
Currently, Chiquis is also participating as a judge on TV Azteca’s talent show La Academia, which searches for the best voice among participants from Mexico and Central America.
“I’m having a great time. At first I didn’t know what to expect. I was a little nervous because I know it’s a very big responsibility. I didn’t want to hurt anyone’s feelings, I’m not that kind of person, but I like to be honest,” she says enthusiastically. “So far I feel very good. I feel content and happy to be part of these young people’s career and life who are looking to be singers. Seeing their growth every week inspires me and makes me feel proud of them.”
Watch the trailer for Chiquis Sin Filtro ahead of its Friday premiere below.
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In the early ‘90s, an unlikely Ecuadorian immigrant blasted into mainstream superstardom with his Latin pop-rap sensation “Rico Suave.” The surprising Spanglish banger by Gerardo — which peaked at No. 7 on the Billboard Hot 100, No. 2 on Hot Rap Songs, and 12 on Dance Singles Sales — catapulted him into unexpected icon (and sex symbol) status, marking a significant moment in the cross-pollination of Latin music and the Billboard U.S. charts.
The then-budding star had already appeared in a plethora of big American films, like Can’t Buy Me Love and Colors, and won a national breakdancing contest. After achieving mainstream recognition, he transitioned to working behind the scenes as an A&R for several big music corporations, playing a pivotal role in Enrique Iglesias’ U.S. breakthrough, and later contributing to the rise of reggaetón in the ’00s.
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Today, Gerardo Mejía, once a dynamic performer who danced his way into the hearts of millions, has shifted rhythms — morphing from a pop sensation into a seasoned music executive for UnitedMasters, a pastor, and even a coffee entrepreneur.
In an interview with Billboard Español, Gerardo reflects on the fame that the ’90s afforded him, his groundbreaking journey into Christian rap in Spanish, and his role behind the scenes as an A&R, helping to bring FloyyMenor and Cris MJ’s No. 1 Latin Songs hit “Gata Only” to the mainstream. (Moreover, he shares insights into his latest entrepreneurial venture, launching his own coffee brand — aptly titled Rico Suave — as he leverages his legacy to brew up another kind of success.)
Looking back to 1991 when your hit “Rico Suave” reached No. 7 on the Hot 100 — what were your thoughts about achieving such significant success as a then-new artist?
At that time, I was like a kid in a candy store. I didn’t really know what was actually happening. Nowadays, we see a lot of Spanish songs that have crossed over, and you see them on the [all-genres] Billboard [charts]. In those days, there wasn’t what we call the Latin resurgence, it wasn’t worldwide. It was very regional. You had L.A. and the East Coast where you would hear some of the Latin stuff.
I recently went back and looked at when we got to No. 7. If you look at that chart [dated April 13, 1991], all the top songs were rock [or pop]. There was nothing in there that said that I had to compete with other Latinos [except Gloria Estefan]. In those days, I didn’t know that we were breaking into something new. I was just happy to have my record out there. MTV picked it up and was happy that people recognized me. I felt like Forrest Gump in this new world, walking into situations and meeting the big artists that I used to look up to. I was part of that, which I enjoyed very much.
From the left Peter Lopez, Ted Field, Jimmy Iovine, Gerardo, Sylvia Rhone, Doug Morris at the “Rico Suave” record release party
Courtesy of Gerardo Mejia
Was introducing Spanglish within the mainstream pop landscape a challenge for you?
At first, “Rico Suave” was all in Spanish. I shot the video myself and sent a big ol’ ¾ tape to MTV International. It was the hot stuff back then. I was doing a movie in Acapulco, and I hired a director to film my video. This is before I got my record deal with Interscope Records. I released that song, it got played on MTV International, and then all the labels were trying to sign me.
When I got to the label, which was an all-American label, talking to Jimmy Iovine, he was like, “Man, this song is a hit. It’s taking off. Can we do an all-English version?” I’m like, “I think you’re going to [lose] a lot of what it is if you that. I please you, you please me. Why don’t we do a Spanglish version?” We called it “the Spanglish version.” That’s the one you heard on the radio.
Prior to “Rico Suave,” as an adolescent you won a breakdancing championship. Did winning that contest kickstart your confidence?
Whenever there was something at school, my mom had me do poetry and recite these long things. Since I was little, I was used to being in front of people. I was very comfortable. Then my dad would throw parties at the house when I was young. He built me this dance studio, and he would bring all his friends, and say, “You gotta see my son [dance].” I’d be break dancing, and popping in front of them.
Gerardo Mejía
Randee St Nicholas
There was a dance contest in those days called Dance Fever, in which all the states competed. My friend and I from California won $50,000! I was 19. I was studying to be an accountant, and I remember telling my dad, “Dad, I don’t know if I want to do this anymore. I think this is an open door for me.” He said, “OK.” That’s what I love about my father. I had a big dream, and he just told me, “Listen, study. If any reason this doesn’t work out. You got this.” I guess it worked.
You moved to L.A. at roughly 12 years old from Ecuador. How did this cultural shift tune your musical style and personal identity?
In Ecuador we have a thing called pasillos. There’s a big guy named Julio Jaramillo. I grew up with that. My mom had me when she was 15 years old. When I was little, she would come in with her record player and the 45s. She would play Stevie Wonder’s “Sir Duke” and “I Wish.” She loved American music. Once we came over here [to the U.S.], it wasn’t much of a culture shock, because I was kind of living it over there through my mother. I just totally enjoyed both cultures. Mi país es súper salsero, super duper.
If you hear the “Rico Suave” song, there’s a little sample that goes, “Ahhh, rehh, ari.” That’s from an old song [“Chamo Candela”] from Venezuela by a group called Daiquirí. I used to love that song so much that I [sampled it], which became the part that people chanted. Some people might not know the Spanish lyrics to “Rico Suave,” but they always sing along with that chant.
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You appeared in the 1988 film Colors, about gangster culture in L.A. What memories do you have about being on set or behind the scenes?
Right after breakdancing, I did a movie called Winners Take All (1987), and then Can’t Buy Me Love (1987). The third was Colors. I wasn’t a gang member. I was a break dancer, but I knew every cholo. My friends always be like, “We got you homie.” I was their homeboy.
When I went in for that role, I remember Dennis Hopper and Sean Penn being right in front of me. There was a guy that used to live in my neighborhood in Pomona. They used to call him Trouble. That was his cholo name. I basically did everything Trouble was: I slicked my hair back with Vaseline and put [on] the hair net. I went to that audition, and they actually asked me what side [gang] I was from. I let them buy into it. I remember there was a scene that I improvised where I do the two, one [gang sign], when I did that, Dennis got up, and he was [like], “We gotta call your agent.” They did and I had the role.
Gerardo Mejia
Courtesy of Gerardo Mejia
You then delved into Christian rap with your album 180° (2004) and a compilation, La Iglesia de la Calle (2007). Can you walk us through what inspired this shift to Christian music?
[Making Christian music] is happening to a lot of artists right now; Farruko, Daddy Yankee… Rappers, we don’t depend on our vocal skills, we depend on our experiences. There was a time in my life that I felt like I had lost it all, and I was struggling, trying to maintain the “Rico Suave” persona, but it was just too much, and I couldn’t do it. I gave my life [to God]. I told God that I was going to serve him from then on, and I have never gone back after making that decision. That inspired me to write.
I remember my pastor always telling me, “You gotta do music again.” “Man, I don’t want to get into music again, Pastor,” I said, “They criticized me so much in music. I don’t want to get criticized again. I’m happy being back here.” He was like, “No, you gotta do this.” And out of that, I went 180 degrees. To this day, every day [I get messages from fans] from that video of a song called “Sueña,” which is very inspiring. It’s worth a lot more than these Gold and Platinum records I have in my office. That was a pivotal point of my life. God showed me what was valuable in life and what wasn’t.
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How did your collaboration with Spanish-language rap pioneer Vico C “Raperito” unfold?
He came out with an album called Aquel Que Había Muerto (1998), which inspired me. I used to cry to certain songs on that album. I used to ask God, “Lord, whatever you did with Vico, can you please do it with me?” I started writing 180° which reached the top 5 in Italy, not even “Rico Suave” did those numbers. After 180°, I wanted to do the first Christian compilation. There were a lot of compilations going on those days, and they hadn’t done anything like that. I called it La Iglesia de la Calle.
I reached out to Baby Rasta, Vico, Noriega, and a lot of other artists, and pioneers. I sent [Vico] the hook to “Raperito,” and told him, “My brother, let’s guide the up-and-coming generation that are going through it like we did.” He loved the concept. I flew up to New York to knock out the song. Then we went to Venezuela to film the video with Venezuelan director Pablo Croce. I also went to promote the video with Vico in Puerto Rico.
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Not a lot of artists have gracefully transitioned into music executive roles. How did that happen for you?
I was broke. I didn’t know how I was going to survive, but I knew music. Even when I knew it was my time to give up that “Rico Suave” persona, I went back to the same people that hired me as an artist, Jimmy Iovine and Ted Field. I said, “Listen, give me the opportunity. I know how this crossover business works.” They did. They gave me the chance. Within a year, I signed Enrique Iglesias to Interscope Records. I worked with him on Enrique (1999), where “Bailamos” appears, and then Escape (2001) with “Hero.”
Afterwards, I worked for Univision Records — which is not around anymore, it got pulled in by Universal. At Univision, I got to see the strength of what reggaetón was going to be. I got to be in a spot where I was signing artists. The song that I helped Jowell & Randy and Arcánge put together was “Agresivo” [from the compilation La Calle, Vol. 1, 2007]. I also got to work with Ivy Queen, La Caballota. From then on, I knew that reggaetón is going to grow and it’s not going to stop. After that, I leave because Univision gets bought out.
Jimmy Iovine, Enrique Iglesias and Gerardo Mejía
Courtesy of Gerardo Mejia
Enrique had just put out the song “Bailando” (2014) with Gente de Zona and Descemer Bueno. At that moment, I was going a lot to South America, and I remember Nicky Jam was blowing up in Colombia. I said to Enrique, “Bro, you gotta do something with Nicky.” I talked to Nicky’s management, and Nicky sent me the song “El Perdón” (2017). I said, “Wow, this is a hit.” They were going to put it out, and I said, “No, hold it. Let me call Enrique.” We saw how the [reggaetón] crossover began to happen through Enrique’s pop strength. All the reggeatón started becoming more [mainstream], it wasn’t so street anymore. I got to see that.
Your biggest recent achievement is FloyyMenor’s hit “Gata Only,” with Cris MJ, which impressively topped the Hot Latin Songs chart for 14 consecutive weeks. How did you discover him?
That is crazy! Listen, I don’t want to take credit for that song. Four or five years ago, you saw online rap battles in Chile, and these amazing lyricists coming out, like this guy El Menor who is an amazing battle rapper. So I was looking at [Chile] and how the music was surfacing. Three years ago, I was early on to sign a kid named Nickoog Clk, and he did great for us. I picked up the moment: I said, “Something is happening in Chile.”
When I saw Floyy, I saw a young, hungry kid who had lyrics. This is what drove me to making the deal. He had put out music that millions were listening to, but nobody knew who the heck he was or what he looked like. If you go back on YouTube to his old songs before “Gata Only,” you’re going to see a song called “pa la europa.” Look at the video. It’s a car! That makes me think, these people are loving his music. There’s something that this kid is doing. It wasn’t because he was this pretty boy or this dude with an amazing personality. It was his music. I said, “I need to go see this guy.” I did and I was sold.
Nickoog, Gerardo & Floyymenor.
Courtesy Photo
He showed me that song [“Gata Only”]. [He wanted to release it] by Christmas. “I said, Floyy, nobody’s going to listen to the song during Christmas time. They’re going to be listening to Mariah Carey.” He’s like, “No, yo lo quiero sacar.” “We’re going to waste it,” I said. We first released it in January.
Then, boom! I looked at the data and was like, “This can’t be!” It just kept growing. So I fly to Chile to sit down with him. [I told him] “We need to adapt to what’s happening.” He was very street, so I said, “You gotta do a little more turnaround. This is what’s working for you. We go with what works.” The moment when I arrived, Cris MJ calls, and he tells him, “I want to be on that song.” [Floyy] looks at me, and I said, “Bro, get going now!” He went and got the song with Cris. We took the other one down, put the new one out, and the rest is history.
You launched your own Rico Suave Ecuadorian coffee brand. What inspired that?
I went to Qatar. UnitedMasters distributed songs for FIFA [World Cup Qatar 2022]. When I went, there was a fair. I see all the flags, Mexico, Spain… And I’m looking for Ecuador. Then I smelled coffee and saw the Ecuadorian flag. We have great coffee [in Ecuador]. I sat down with the guy — I’m like, “Bro, this smells amazing. What’s the name of your coffee?” He said, “I don’t [have one]. I sell it by wholesale to brands like Starbucks.” I said, “We gotta talk.” We [eventually] became partners.
There’s no difference in how I promote an artist and my [coffee] product. I treat it just like an artist. Through Amazon, I see where I get my buyers and start pushing those areas, just like I would do a record. I see how the data dictates consumers. I have 30 years in this business, and one thing I’ve learned is I follow the people. We were in Amazon and in South America, but now we got a big distributor on the East Coast. There’s so much competition for people’s eyes nowadays. You gotta put something that takes it to the branding, un café Rico y Suave. I should have thought of that 30 years ago!
Rico Suave Coffee
Courtesy Photo
It’s a great full circle story! With such a diverse career, from a pop idol to music executive and a coffee entrepreneur, what else can we expect from Gerardo?
More artists and more music. I hope to find those stars that are home right now. Artists, oftentimes, one can see them and say, “I wouldn’t have paid a cent for them.” “Why?” “Because he didn’t look the part.” What does looks have to do with anything? Nowadays, it is about music. I listen to the culture. I love seeing how it’s evolving. I’ve been right about a lot of things pertaining to pop. I see several places that are about to boom. Puerto Rico was once the Mecca of [Latin] urban, then Colombia for a long time. Now you got Chile, Mexico, but those other places, they’re not going to stay dormant. They’re about to do the same thing. You will see.