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While her October performance at London’s Royal Albert Hall was a one-night-only affair, Dua Lipa wants to make sure that her performance doesn’t go “Houdini.” On Tuesday (Nov. 19), the pop star announced the release date for her first-ever live album, Dua Lipa Live From The Royal Albert Hall. Recorded during her Oct. 17 performance […]

David Foster spent his 75th birthday how he has undoubtedly spent many before it: working. Sunday night (Nov. 3), Foster celebrated his milestone at a sold-out Hollywood Bowl show (to be fair, his actual birthday was Nov. 1) with many of the artists who he has worked with as a songwriter, arranger or producer. According to a sign flashed on the giant screens at the Bowl, the music he has helped create has sold more than half a billion records.  

From Whitney Houston and Celine Dion to Michael Bublé, Josh Groban, Andrea Bocelli, Toni Braxton, Barbra Streisand and so many more, Foster is practically responsible for his own lush, romantic  adult contemporary genre. Or as he put it, “I write songs you make babies to.”

The evening, which he said, “sort of feels like my funeral while I’m alive,” featured many of those bold-type names (sorry, no Dion or Streisand), but it was Foster’s birthday, and he could do whatever he wanted. And what he wanted to do was spend some of the first hour of the nearly three-hour show focusing on new talent (he did discover Groban when Groban was still a teenager, after all). That included  Britain’s Got Talent 2024 winner Sydnie Christmas performing “My Way,” which she sang on the series’ semi-finals (the song’s writer, Paul Anka, was on the poster as a guest, but wasn’t there. Same with Kenny G), as well as an 18-year old pianist Brandon Goldberg, who performed a jazzy version of Chaka Khan’s “Through the Fire” with trumpeter Chris Botti, and Jasmine Rogers, who will play Betty Boop in Foster’s forthcoming Broadway musical, Boop!, previewing a spirited number from the show.

While those are for sure names to watch given Foster’s pedigree for working with young talent, it was the established names that provided the fireworks and really showed over and over that among all his many, many talents, first and foremost may be Foster’s gift for working with great singers.  

Below are some of the highlights of the evening.

 Music Hath Charms to Soothe the Savage Breast

After much fun and many late nights, the 2024 Ibiza season has come to a close. Some tracks commanded the dance floor more than others, with the 40 most-played songs over the summer at island clubbing mecca Pacha counted down below.
While the list includes a few global hits, like Tyla’s “Water,” and a few classic capital-B bangers (see: Beyoncé’s “Crazy in Love”), the list is largely composed of underground dance music made by known stars and emerging producers alike.

“Pacha Ibiza has its own singular sounds, driven by the world’s best DJs, and is where music lovers first discover new artists and new, previously unheard of, tracks” Aloki Batra, FIVE Hospitality and The Pacha Group CEO, tells Billboard.  

The data that created this list was collected by KUVO in partnership with DJ Monitor, which installs technology in clubs like Pacha that functions much like Shazam, identifying tracks within its library. This library is comprised of a database of nearly 80 million songs submitted to DJ Monitor by PROs, which allows DJ Monitor to create setlists with 93% accuracy, the company reports.

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FIVE Holdings acquired the Pacha Group in 2023 in a deal worth approximately $330 million. The deal encompassed the Ibiza flagship club, which opened in 1973, along with two hotel island hotel properties, Toy Room Club, which has multiple locations in Europe, India and the Middle East and WooMoon Storytellers, a party that happens primarily in Ibiza and Tulum. 

2024 resident DJS at Pacha included Solomun, Marco Carola, Bedouin and many more. This year the club was also graced with the presence of stars including Katy Perry, Rita Ora, Jason Statham, Naomi Campbell, Spanish tennis player Carlos Alcaraz and many others, the club reports.

“Pacha Ibiza believes in the universal language of music uniting a global community of music lovers for over 50 years. The central ethos of Pacha Ibiza remains the same as we move into a new chapter of our time tested values of love, joy, connection, celebration, inclusiveness and diversity. This is evident in Pacha Ibiza’s legendary Flower Power party that is reimagined for a new era in 2024 while preserving its core essence. Evolving from its roots, today’s Flower Power celebrations blend nostalgia with contemporary happy house sounds, offering an immersive experience that transcends generations.” 

The Top 40 Songs Played at Pacha Ibiza in 2024

“Move” – Samm (BE)

“Pick Up the Phone” – Pawsa Feat. Nate Dogg

“Last Night” – Serite

“Nocturnal” – Joezi

“See You Sweat (Extended Mix)” – Genesi & Max Styler

“Sweet Moment” – Snirco

“Walk In Amsterdam” – Ugo Banchi

“It’s That Time (FISHER Remix)” – Marlon Hoffstadt

“Sing It Back” – Moloko

“Fuma Ernesto” – Carrera (ve)

“Love Desire” – Cassimm

“Miss You” – DJ Agos

“Umbrella” – Oppaacha

“We Are The People” – Empire Of The Sun

“Dance With Ibiza” – Ugo Banchi

“Famax” – Raffa Guido

“Freddie’s Warmup” – Vlado

“Hope” – Camelphat Feat. Max Milner

“On My Mind” – Ajna (BE)

“Pakit” – Ban Marian

“Somebody That I Used To Know” – James Cole

“Spektrum” – Camelphat

“Still Pushin’” – Youniverse

“Water” – Tyla

“At Night” – Shakedown

“If You Want My Loving” – Prospa

“Kill The Vibe” – David Guetta, Mason & Princess Superstar

“Last Night (Anyma x Layton Giordani Remix)” – Loofy

“Se Acabo” – Cid & Guz

“Shook Part 3” – Nick Morgan

“4Real” – Piem

“Asa” – Âme

“Crazy In Love” – Beyoncé

“Miriam (Extended)” – Robin M

“No Guest List San” – Pacho

“The Rhythm Of Dancing” – &lez

“Work” – Chris Lorenzo

“Black Dress (Anyma Remix)” – 070 Shake & Anyma

“Chase The 80’s” – Ugo Banchi

“House Anthem” – Clüb De Combat

The thing about Portola that’s emerged over the festival’s three years of existence is that if you’re there, you feel like you’re in on the joke. And everyone likes being in on the joke.

Through its stylish and legit funny social channels and wry on-site messaging (“we know that music feeds your soul or whatever, but please remember to eat some actual food” implored signage), the event has developed a trait that can often feel scarce at big festivals: actual personality. Portola is your dryly funny and sort of silly, but also extremely intelligent friend with low-key style and impeccable taste in music.

“This is a festival where it’s not about spectacle, it’s about vibe,” Portola founder Danny Bell told Billboard onsite at the fest.

This appealing amalgamation of traits brought roughly 45,000 attendees a day and a motherlode of artists to third edition of Portola, which took over San Francisco’s Pier 80 this past weekend, Sept 28-29. Primarily presenting the styles of electronic music commonly grouped together as indie or alt or just non-EDM, the lineup gathered some of the scene’s biggest, buzziest and most respected artists for a show that also, like in years past, featured a powdered sugar sprinkling of pop (in the form of Rebecca Black, Natasaha Bedingfield, etc.) and a bit of hip hop.

But the emphasis was dance music, with the stature the Goldenvoice-produced festival has gained over its three years of existence emphasized by the fact that people are now flying in for it from across the U.S., Australia and Europe. Rüfüs du Sol played their only set of the year, debuting new music from their comign album and playing the hits for one of the weekend’s biggest crowds. On the mainstage, Disclosure reminded everyone that they’re simply, consistently the best, playing many of their biggest songs, bringing out a brass section for the feel-good “Tondo,” closing with the classic Flume remix of “You & Me” and giving each other a big old brotherly hug at the end. Two more of the many (many) Brits on the lineup, Chase & Status played a satisfying, tough as nails set that included their new hits (“Disconnect,” “Baddadan”) and classics like their 2008 “Eastern Jam.” (“This is for my original Chase & Status fans,” the pair’s Will Kennard announced before dropping the track.)

While often overlooked on the global circuit, San Francisco has a rich and mighty electronic history, and certainly the many locals in attendance demonstrated that the Bay Area parties hard, and also well: the crowd was loose but from our vantage point never out of control, stylish in mostly non-cliché ways and generally friendly, with none of the too cool (or too self aware) atmosphere that elsewhere can, and does, stifle the dancing.

“It’s a work hard play hard town,” says Bell. “When people here come to play, they’re out just to have a good time; there’s no agenda.”

The weather was also classically San Franciscan, with each day’s morning fog burning off for sunshine daydream afternoons that maintained enough of a chill that many attendees who didn’t bring layers were spotted buying hoodies from the merch stand. The site, an actual working shipping pier, created a built-in industrial aesthetic, with the looming crane and hulking naval ship doing a lot of the heavy lifting in terms of decor. The vessel even blew its horn daily, to wide applause.

These are ten of the best things we saw over the weekend.

Jesse Ware Takes a Victory Lap

Image Credit: Courtesy of Goldenvoice

With a breakout hit across international charts this summer, KISS OF LIFE is ready to take an explosive year to the next level with their first-ever world tour.
The girl group’s forthcoming Kiss Road World Tour continues the momentum Julie, Natty, Belle and Haneul gained on the global stage with the infectious single “Sticky,” helping the K-pop act debut onto multiple Billboard charts: The Afrobeat-inspired summer single peaked at No. 7 on the South Korean Songs chart so far, entered the U.S.-based World Digital Song Sales chart at No. 10 in July, while also spending a solid six weeks on the Billboard Global 200 after hitting No. 87, and 10 weeks on the Billboard Glocal Excl. U.S. chart after a No. 47 peak.

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With promising results early just over a year into their career alongside the quartet’s international makeup and range of industry experiences, KISS OF LIFE is proving they’re more than just a rising K-pop rookie—they’re becoming a global-pop force all their own.

Trending on Billboard

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“We love the song ‘Sticky,’ so it was really an honor for it to get into the charts,” says Julie, the group’s dynamic leader who was born in Hawaii, speaking to Billboard for their first-ever interview with an international outlet. “We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news.”

Seattle-raised Belle, who previously worked as a songwriter for other top K-pop groups, believes their authenticity plays a massive role in why global fans connect to them: “We honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform.”

Youngest member Haneul, born and raised in Korea, adds that the KIOF members’ diverse backgrounds fuel their artistry. “We just respect each other,” the 19-year-old says. “We acknowledge our differences and the path we went through to get here, so that makes us learn from each other and grow.”

The upcoming Kiss Road tour kicks off in Seoul with two concerts on Oct. 26 and 27 before coming to North America for an extensive, 18-date trek beginning in Minneapolis, Minn. on Nov. 10. “We are pretty confident in our performing ability,” teases Thailand-born Natty, whom K-pop fans have watched grow up on K-pop competition shows like Sixteen and Idol School before officially debuting onto the K-pop scene as an artist. “Fans can expect a show with high energy and we’re excited to bring our best to the stage.”

Get to know KISS OF LIFE’s Julie, Natty, Belle, and Haneul as the members share more about their process, viewpoint, world tour plans and messages to their fans affectionately known as Kissys, alongside exclusive photos below.

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I want to begin by congratulating you on earning your first Billboard chart entries with “Sticky.” What were your reactions?!

Julie: We couldn’t believe it! We love the song “Sticky” so it was really an honor for it to get into the charts. We were so happy that people were liking it as much as us and we felt so grateful! We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news; as hard as we worked, we also know that we really couldn’t have done it without the support of our fans—love you, Kissys!

KISS OF LIFE

Courtesy of S2 Entertainment

KISS OF LIFE has been rising since your debut last July, but “Sticky” has been a real breakout: Top 10 in Korea, charting in the U.S., your biggest hits on Billboard‘s Global charts. What do you think are some factors that made this such a hit?

Belle: I think we honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform as well. I feel like this song, in particular, really suited all the members, and you could feel that all the members were just having fun and enjoying themselves while recording and performing the song. Also, in regards to the visuals and performance, we focused on just feeling ourselves and being confident which fits well with summer. I mean, it is summer, why not have a little fun with it?!

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I also love your latest B-side, “Te Quiero,” co-written by Belle. What did you want to show with “Sticky” and “Te Quiero” that you hadn’t shown previously in KISS OF LIFE?

Natty: We wanted to show everyone our translation of summer! The cool and refreshing side as well as the hot! We just wanted to send good vibes and make sure everyone could enjoy the summer with us. Both “Sticky” and “Te Quiero” are actually our interpretations of summer: “Sticky” would be the exciting, fun aspect of summer where you enjoy yourself to the fullest; “Te Quiero” would be the cooler, more chill and relaxing version of summer that is equally enjoyable. I don’t think we had some mastermind plan of what we wanted to show with these tracks. We just genuinely wanted everyone to enjoy the music while enjoying their summer. You work hard, you play harder!

KISS OF LIFE

Courtesy of S2 Entertainment

“Te Quiero” is also significant as another English B-side track, just like “Nobody” with “Midas Touch.” Is there a more prominent reason to include these tracks, and even the English version of “Bad News,” in your larger plans as a group?

Julie: Of course! We always want to keep our international fans a big part of our music. For the Kissys all around the world, we want to continue to make music that everyone can enjoy and listen to. We are adamant in making sure our international fans know that they play a big role in our music. Again, we don’t have a master plan on how or a larger picture that we are strategizing for. We really just want everyone to feel included with our music, wherever they are and whoever they are. We just want to make music that everyone can enjoy and listen to without overcomplicating things. 

Have you begun preparations and rehearsals for your Kiss Road World Tour? What are you looking forward to the most?

Haneul: We are super excited for the tour. Absolutely, can’t wait to meet our Kissys, who have been supporting us throughout our journey. We’ve been working hard with our team in designing the show so that we are able to give all of our fans an amazing experience. There’s a little bit of pressure to show our fans the best version of ourselves but we promise we won’t let you down. I think the most exciting part about touring is really feeling everyone’s positive energy!

Natty: Well, we are actually pretty confident in our performing ability so fans can expect a show with high energy. We love what we do and we are blessed with so many people supporting us while we do what we love. In return, we want to give them the best version of us, so I hope they will all look forward to it. 

Something I always respected about KISS OF LIFE is that you shared yourselves via solo songs from your debut album. Will we get to see more solo stages on tour? 

Belle: Don’t want to give too many spoilers so…I think we can say, “maybe?!” We’ve prepared some new stages so make sure you stay tuned for it.

KISS OF LIFE

Courtesy of S2 Entertainment

With that, KISS OF LIFE has also become known for your covers. Your Brown Eyed Girls “Sixth Sense” cover was even officially released, and you’ve done songs by 2NE1, Ciara, Ariana Grande, Nicki Minaj, BLACKPINK, Doja Cat, the list goes on…any special or new covers for tour?

Julie: We always sing, rap, and dance to so many different artists on a daily [basis], so hopefully, we get the opportunity to showcase it to everyone on tour. We just love all different styles and categories of music. For us right now it’s being versatile enough to explore many different types of music and to experiment with sounds so we [can] create our own specific style. There are days we focus on singing, other days we rap, and days we only dance, but we are always working to improve ourselves, so I hope we have the opportunity to showcase it for the world to see! 

The four of you came from very different backgrounds and debuted as adults. Sometimes, it can be difficult for adults to pursue their dreams or even make new friends. How did you all connect and learn from each other to make KISS OF LIFE work as cohesively as it is?

Haneul: We just respect each other. We acknowledge our differences and the path we went through to get here so that makes us learn from each other and grow! A key point in any relationship is trust and respect. The respect comes from acknowledging each other’s past experiences that led them on the path for us to be here. I believe that because we are able to share our respective experiences with each other, we are able to learn from each other and grow as a group, not just individually. We all have something to learn from each other and we respect where that knowledge came from. 

KISS OF LIFE

Courtesy of S2 Entertainment

Do you have any other messages for international fans waiting to meet you?

Julie: We always want to say thank you so much for sending your love and support. Although we may be far distances, our hearts are always near! We can’t wait to meet everyone in person and I hope the time comes fast. Love you guys so much and see you soon!!!

Courtesy of S2 Entertainment

In Korea’s pop culture scene, Lee Youngji is a name now synonymous with vibrant and unfiltered entertainment, best seen through her viral Nothing Much Prepared YouTube series, where she shares drinks with members of K-pop supergroups like BTS, BLACKPINK and SEVENTEEN. However, 2024 marks a significant year for the 21-year-old as she looks to return to her roots in music and spotlight her talent as a performer and musician. Even if many fans might recognize her first as the comedic force behind some of K-pop’s most unforgettable interviews, Youngji’s journey in entertainment began with music — and she’s determined to remind everyone of that on her ongoing world tour that hits the U.S. at the end of August.

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The release of her debut album, June’s 16 Fantasy, marked a bold statement of her artistic identity and the promise shown for her musical future. The lead single, “Small Girl” featuring EXO’s D.O., not only topped the charts in South Korea but also broke into the Top 40 of the Billboard Global 200. Meanwhile, b-side cuts like Lee’s “ADHD Girl,” plus her hit collaborations with top acts like Dynamicduo and BSS, all display her versatility and abilities to step up and level up for each new song release.

Trending on Billboard

“This year is really important for me musically,” Youngji reflects during an evening FaceTime call from Seoul ahead of the U.S. leg of her tour. “I’ve had a lot of collaborations and I have a variety show on my YouTube channel, so many people know me through lots of jobs…but I want to spotlight my musician mode this year.”

As she embarks on the U.S. leg of her All or Nothing World Tour, Lee Youngji is eager to connect with fans in a more intimate setting, bringing not just her music to the stage but the unique personal energy that’s made her such a breakout star among the next generation of Korean-pop entertainers.

“I tend to try to really communicate with the audience, ask them questions, just try to talk to them and I think that U. S. fans are going to like that a lot,” she says, hinting at the interactive and personal nature of her stage setup. The All or Nothing Tour is more of an invitation for fans to experience Lee Youngji in her purest form as a musician and entertainer. And while she might not be able to indulge in her famous on-camera drinking with her audience — even though she tells Billboard that she really wants to — she’s ready to bring that same spontaneous and genuine connection to every show.

Read on for more with Lee Youngji sharing about her Stateside tour, her big year in music, memories with some top K-pop stars and what’s coming next.

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Congratulations on all the recent successes, Youngji. There’s a lot to discuss, but it’s been a really important year for you as a musician. Is this why you’re going on your first U.S. tour?

Like you said, this year is really important for me musically. I’ve had a lot of collaborations, and I have a variety show on my YouTube channel, so many people know me through lots of jobs. First, they knew me as a YouTuber; then they might have known me as a celebrity friend; they knew me as all different types of things, but I want to spotlight my musician mode this year. And gratefully, “Small Girl” had a great response and boom, even in the U.S., so I thought that this was a great opportunity for me to be more confident on what I’m doing right now as a musician.

You do so much, and people know you for many different reasons, but where does music align with your overall world?

In my childhood era, I would always believe, “I think I’m gonna be a famous person, but I don’t think that I could be a musician.” But the first time people got to know me was in the survival show High School Rapper 3 [in 2019]. At that time, rap was the only thing I was competent in any type of musical talent, but I didn’t necessarily want to be only a rapper.

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Did you find your confidence to pursue music through rapping?

Yes, but I don’t think that it’s my only talent. Rapping definitely requires talent, but I don’t think that’s all I have. So, when I won the rap survival show, I was always thinking, “Oh, so is ‘rapper’ my job now?” I didn’t want to start my career as a rapper. I said, “Oh, I got [to show] more than rapping.” But it was my best talent, so I was always curious…

Is that why we only got your first album five years after High School Rapper? You share a lot of different sides and styles on the record. What’s your favorite song?

Yep, yep. And not because that song got so much fame, but I eventually really loved “Small Girl.” It’s an honest, honest, honest song; a real story about myself. I love those kinds of songs. There are some tall, tall girls…ah, how should I say this? Everyone has a part of themselves that they lack confidence in, but this song can honestly melt that complex. I thought that “Small Girl” was a song I could make for everyone to be more confident. So, I really cherish “Small Girl” as a song that I made for everyone who might have lower or might not have self-confidence.

One of my favorites is “ADHD Girl” because I actually have ADHD. What inspired this song?

Ever since childhood, I’ve been hearing a lot of people, like my teachers and my parents, saying that I have ADHD — and that was before many people became really aware of it. But I have a lot of friends around me who do have ADHD and take medication for it. It’s a song I wrote based on my experiences as well as my friends’ experiences, some of them who are really struggling with ADHD.

What is your songwriting or creative process?

Well, there is a lot of great technology and stuff for music these days, you know? But I love iPhone and iPhone memos. I’m always recording on my iPhone: a little gibberish, little unknown sounds, guides for songs. I always write keywords with my iPhone. Actually, that was the exact process for the song “Not Sorry.” When I went through the competition show, Show Me the Money, I suffered a lot from this hate train. So, I wrote on my iPhone that said, “Not sorry, not sorry at all,” and I asked my producers — Jay Park, Zion.T and Slom — I asked them, “What about this subject for the title of this song” and they were like, “Oh, that’s dope and that’s something you can do right now.” My music-making process is always, always like that. I write a title on my phone and I do a gibberish recording.

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And “Not Sorry” was a hit!

[Laughs] Yeah!

I’ve always appreciated your attitude. I’m sure it’s not easy for you, or anyone, but you have a refreshing attitude about criticism and “hate comments.” We even saw your “liking” tweets that have criticized you. How do you keep this strong mindset?

When I get hate, I try to understand them. “Why do you hate me?” “Oh, because of that point?” “Okay, I understand that — but I do not agree at all.” I can understand you, but I don’t have to agree with you. I always think about how nobody knows me better than me. So, you know when I “like” [hate comments] — I really don’t know how the internet system works — but I don’t care unless I do something that’s really a bad thing or crosses the line legally. I also reply [to] them when they send me DMs that say, “I hate you, go kill yourself” or something. I always reply to them and always like their messages because they never think that if they send me a message, I can see them; they don’t know that I can see them. So I want to let them know that I see everything.

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So, what are you preparing for the U.S. leg of your All or Nothing Tour?

I always hoped that if I had a chance, I want to meet everyone in the world and music is my chance. So, yes, I wanted to use this as my opportunity. I’ve already toured Asia, but you know what? The mood is kind of different compared to America. My performance [style] is usually to get people crazy. On this tour, I especially want to have more direct communication with the audience and to introduce who I am, that I make this kind of music, and that I introduce myself as an artist to the U.S. audiences. Compared to Asia, there’s more participation in the U.S., whereas direct communication is lower in other countries. I made a lot of changes to my songs. I’m planning to bring the audience up to the stage actually, and maybe dance or perform together; I’m trying to plan those kind of things.

Like you said, you’re not just known for music but for your personality too. Are you preparing funw ways to share that side of yourself too?

I think that my personality shows up while I’m talking with another person. So, I tend to try to really communicate with the audience, ask them questions, just try to talk to them. And I think that U. S. fans are going to like that a lot. I really want to drink with them. I mean, I really want to get drunk with them, but I can’t. [Laughs]

Maybe we can take a secret shot together since the tour’s last show is in New York…

HA ha. I hope so! [Laughs]

But I do want to highlight how, in your five years since High School Rapper, you’ve done a ton of collaborations across many genres: K-pop idols, rappers, indie musicians, R&B, older generation artists, chart-topping artists. How do you connect with so many different sounds and styles?

I’m so thankful that they always reach [out] to me and ask me to feature with them or collaborate. I’ve been really active with video and media contents in Korea for four, five years now and, thankfully, that’s shown my personality and skills in Korea and to audiences. So, I think a lot of artists feel like I’m someone who’s familiar and for them to reach out and connect with me to do other projects. But anytime when I get asked for a feature, I always think, “How can I beat them in this song? How can I do better in this song?” [Laughs] But features and collaborating really force me to go to the next level of myself.

I think that’s what Nicki Minaj said. She needs a “sparring partner” to level herself up.

She’s my goal.

Are there any last messages for fans or what to expect on the U.S. tour? And with Nothing Much Prepared‘s return, can you share some spoilers?

Well, yes, I can give you a lot of spoilers, but the first episode is with Lisa and she’s so smart, pretty, young, rich, and a hilarious person. I love her. As of mid-August, I already recorded, like, six or seven episodes so we’re going to see a lot of idols and a lot of actors.

But what else should I say? I think U.S. fans are not prepared for what’s coming to them! I want to promise to the U.S. fans that I will be working hard to be able to see them more often. I actually have a lot of songs ready to be released, and I want to watch U.S. fans react. I’ve got a long way to go. This tour is not even the first step. I have big ambitions.

Attending Burning Man is an investment. There’s the $575-plus needed for a ticket; more for the flight or long drive to Nevada’s remote Black Rock Desert, where the event takes place each August. There’s the money for food, outfits, a bike and the many other supplies needed to survive in the barren setting. Most attendees take time off from work, including a few days on the back end to get home and recover. It’s hot, dusty and often mentally, emotionally and physically draining. A lot of people love it; others say they’d never go, and some simply don’t have the resources to make it happen.
But while the Burning Man Project’s famous mothership event is happening this week (Aug. 26-Sept. 2), another 85 official global Burning Man events, called “Regionals,” have long offered people around the world a chance to Burn more locally. In 2023, 93,000 people attended these global Regionals. There’s Kentucky’s Singe City; Michigan’s Lakes of Fire; and events in Arkansas, Utah, Virginia and approximately 70 other U.S. sites. The biggest Regional, AfrikaBurn, draws roughly 10,000 to Cape Town, South Africa every April. Taiwan’s Turtle Burn launched in 2019. Each July, roughly 400 people gather in the Romanian forest for RoBurn.

Trending on Billboard

Burning Man 2024 has made headlines for not selling out for the first time in years, with tickets usually very difficult to get. (Sources close to the event estimate that roughly 10,000 tickets went unsold this year, bringing the attendance number down to approximately 70,000.) But while many Burners say the extreme heat of 2022 — when daytime temperatures reached 106 degrees — and the headline-making rain of 2023 are reasons many veteran Burners are taking this year off, Burning Man CEO Marian Goodell also points to the generally soft festival market, and to the Regionals.

“The goal has always been to decentralize this, because Black Rock City was never going to have the capacity,” Goodell says. “And with travel challenges, the cost, the heat — it isn’t for everybody. But when I meet people that tell me, ‘Are you f–king kidding me?’ [in regard to going to Black Rock City], I’m like, ‘Well, where do you live?’”

Goodell and Burning Man Project — the San Francisco-based 501(c)(3) nonprofit that produces Burning Man and supports the global Burning Man community — has been directing Burners to Regionals since 2007, when the first official offshoot launched. Regionals had been germinating since 1997, when representatives for Pershing County, where Burning Man is held, sent organizers a huge bill for county services at the end of the event. Groups of Burners offered to fundraise, including one based in Austin, Texas. The internet had just come online, so Goodell created austin@burningman.com to help facilitate the fundraiser, and the first Regional group was born.

“Then I did New York, Canada and Seattle,” she says. “The internet allowed people to leave Burning Man and say, ‘Where are the other Burners?’”

As it turned out, with the global Burning Man network growing in tandem with the growth of the main event, they were everywhere. Soon, groups of Burners were meeting up across the country, placing glowsticks on bar tables to identify themselves and, in doing so, living out the Burner philosophy that it’s not just an event, but a culture that can exist anywhere.

Argentina’s Fuego Astral

Courtesy of Ignacio Roizman

Ignacio Roizman has traveled to Black Rock City from his home in Buenos Aires, Argentina many times over the years. Wanting to help bring Burner culture back home, he co-organized Argentina’s Regional, Fuego Austral, in 2016, when two groups of Argentinian Burners who’d been gathering for meetups joined forces to put on a multi-day campout.

“It’s very expensive to get from Argentina to the U.S.; you need a visa, you need the supplies,” Roizman says. “It’s basically an economic and logistical challenge.”

The most recent edition of Fuego Austral, in February, brought roughly 1,000 people to a swath of verdant farmland four hours outside of Buenos Aires. Like in Black Rock City, there was art, music and the ritualistic burning of a man made from wood. (In the past, Israel’s Midburn has set fire to both a man and a woman.)

“The biggest difference between Regionals and Black Rock City,” Roizman continues, “is the intimacy you can create in a space where you have 1,000 people instead of 80,000. By the end of the week, everybody knows each other.” Most Fuego Austral attendees have never been to Black Rock City, although Burners from countries like Brazil, Israel and the U.S. have flown in to attend.

Representees from The Org (as Burning Man Project is called in Burner parlance) advise Regionals on how to organize, with a few primary requirements. One is that events start small, with Goodell saying that even 1,000 people is too big for an inaugural year. Organizers need to have gone to Black Rock City at least once. Like Black Rock City, Regionals must allow children.

“We have a team that decides if the intention is in the right direction and if the people are skilled enough to do it,” says Goodell. “We’ve taken permission away when events looked more like a rave.”

Aspiring Regionals must also abide by Burning Man’s 10 Principles, the social guidelines for existing at a Burning Man event; these rules were in fact created in 2004 as a response to the Regionals. When the Regional network was taking shape in the late ‘90s and early ‘00s, Goodell put groups on an email thread with late Burning Man co-founder Larry Harvey, who answered their questions. Over time, the Principles — which include radical self-reliance and leaving no trace — developed as, Goodell says, “a direct response as to what kind of guidelines would help facilitate a Burning Man event.”

“One of the first questions was, ‘Why can’t we do vending? We want to be a Burning Man event, but we want to sell hot dogs or whatever,’” Goodell recalls. Harvey’s response spurred a discussion that ultimately created the “gifting” and “decommodification” Principles, the latter of which states that “our community seeks to create social environments that are unmediated by commercial sponsorships, transactions, or advertising.”

The Org also offers practical support, helping Regionals write press releases or find an attorney if legal advice is needed. They step in if a death happens at a Regional (which has happened a handful of times over the years), provide advice on creating a business entity like an LLC and, Goodell says, “sometimes go in to help with drama.

“Different cultures deal with different problems differently,” she adds. “The folks in Sweden, for instance, lean towards more socialist solutions when making decisions. Parts of the United States might be more hierarchical.”

Argentina’s Fuego Astral

Courtesy of Ignacio Roizman

In a more obvious way, most Regionals look very different than Black Rock City, which is famous for its barren environment. For many, this singular landscape is what makes Burning Man Burning Man.

“We’ve asked ourselves that a lot,” Goodell says of whether the intensity of the desert defines the event. “When I first joined the organization, I asked Larry, ‘Why the Black Rock Desert?’ He said it was a practical thing; that when you’re in nature and forced to reflect on yourself and your role in nature, you can see how small you are. Plus [the environment] makes you band with others for your own survival.” 

The philosophy here is thus that Burning Man is not defined by being caked with a layer of dust, but being in the middle of nowhere. (To wit, Spain’s Regional, which takes place in the Monegros Desert, is called Nowhere.)

“Through the evolution of the Regionals, we’ve discovered you really should be as remote as you can, but it can be green rolling hills,” Goodell says. ‘You should not be walking to a store or gas station. To me, that’s more important than the weather being hard.”

A Las Vegas Regional she attended was visible from the road, which, she says, “was a negative.” Miami’s Love Burn, which takes place on the city’s Virginia Key, also has “a lot of challenges” given that attendees can Uber there and stay for a day. Goodell says these shorter experiences are “just not as transformative” as a multi-night event.

But Regional organizers do find ways to build in challenges. Fuego Astral requires attendees to be dropped off at the front gate and then walk across the sprawling site to get to their camp, which makes it so, Roizman says, people “have experienced that sense of overcoming a challenge.”

But while Black Rock City is remote, given that tens of thousands of people arrive there and build a bustling and often very noisy city, it’s not an ideal setting for those who prefer country life.

“Black Rock City has a culture that’s sometimes very urban,” Goodell says. “A lot of people will tell you they’d rather go to Michigan’s Lake of Fire that has 2,500 people instead of 80,000, because they live rural.”

A young Burning Man staffer recently attended Lake of Fire, which happens in Rothbury, Michigan, to help The Org figure out why young people aren’t going to Black Rock City in high numbers. “She feels like the cost is one of the reasons,” says Goodell, who teared up when seeing photos of lights reflecting on a lake at Lakes of Fire in a way that reminded her of Black Rock City. “You don’t have to go to Black Rock City to be touched, create new community, collaborate on art and be together.”

Goodell says for her it’s especially satisfying to see Regionals develop in places like the former Eastern Bloc, where creativity has often been stifled by socio-political circumstances. She says while the Russian and Ukrainian groups are both currently “a bit stunted” because of the war, people from these countries are in attendance this week at Black Rock City. Israel’s Midburn, the second largest Regional after South Africa, typically brings 10,000 people to the desert, but scaled down to about 1,500 this year due to the war. The Thai and South Korean Regionals are produced largely by expats, although Goodell says that “we really would prefer locals produce the Burning Man culture and not the traveling expats.”

The goal with the Regionals is simply to keep growing them. This past April, the European Leadership Summit Gathering happened in Talinn, Estonia and brought 30 staffers and 200 Burners from Europe and beyond together for panels and networking. Estonian Burner and Summit attendee Pille Heido says the experience provided the education and inspiration to “make sure people don’t just focus on that one event in the desert in August, which is great, but make sure there’s other things you can do outside of it as well.”

Goodell says additional funding for Burning Man Project would help spur the Regionals network, with South America and Asia being regions “that could use more encouragement.”

But where this money will come from is, she says, “the 10-million-dollar question.” While Burning Man Project raised $8 million in 2023 through ticket sales and philanthropy, “We’re absolutely at a point where we’re going to need to have a conversation about the longer-term method.” Goodell says a donation model “is the next bridge. Someone who doesn’t go to Back Rock City might still give $250.”

But while that evolution of that issue is yet to be seen, Goodell says Black Rock City being down in population this year is, in a way, a sign of health. “We’re proud of the fact that people are like, ‘I went to my Regional this year, so I’m taking a year or two off.” 

Modestly titled The Girls Aloud Show, the reunion tour for Girls Aloud has been one of the most anticipated music events of the year for pop fans worldwide, marking a powerful and emotional return to the stage for the beloved U.K. girl group. The outing is the band’s first since disbanding in 2013 and their first time together since the tragic loss of bandmate Sarah Harding, who died from breast cancer in 2021.

With multiple Guinness World Records for chart dominance on The Official U.K. Singles Chart, Girls Aloud has solidified their place in British pop music history. Yet, the years following their breakup allowed personal feuds, mainly between Cheryl, Kimberly Walsh and Nicola Roberts on one side against Nadine Coyle on the other. However, Harding’s death served as a catalyst for reconciliation, with one of her final wishes to bring the women back together as bandmates and friends willing to put the past behind them.

Following the reconciliation and subsequent tour announced at the end of 2023, The Girls Aloud Show tour has grossed $19.1 million from 200,000 fans filling arenas across the 20 dates reported so far to Billboard Boxscore. But beyond the numbers, the real impact of The Girls Aloud Show lies in the heartfelt moments that have defined this reunion.

From emotional tributes to Harding in the show, where the group paused to honor their late friend with tearful speeches and a poignant video montage, to a reimagined Pride concert in August that celebrated the LGBTQ+ community with vibrancy and love, the tour has been a testament to the enduring bond between these women, their fans and the critically acclaimed music from their seven LPs together.

Beyond the celebration, the tour also helped bring awareness and donations to the Sarah Harding Breast Cancer Appeal created by her bandmates in April 2023. As one of Sarah’s parting wishes, the foundation developed the Breast Cancer Risk Assessment in Young Women to find new ways to spot the disease. With its second phase of research funded by initiatives in place during the tour, the show also marked a way to honor Harding beyond the stage.

As Girls Aloud take their final bow this month, the members leave behind a legacy not just of chart-topping hits, but of resilience, forgiveness and the power of friendship. The Girls Aloud reunion felt like more than a comeback; it was a celebration of life, great pop music and the memory of a superstar friend who will never be forgotten.

Read on for the best moments from the reunion.

The Ethereal, ‘Untouchable’ Tour Opener

Image Credit: Courtesy Photo

For every superstar artist who takes the stage at an arena or stadium show, there’s a legion of backup musicians, dancers, sound technicians, builders and other crewmembers who make that show happen. And after every performance, they all need a place to sleep.
That’s where Rob DelliBovi comes in. As the founder and CEO of RDB Hospitality, DelliBovi and his team coordinate travel logistics for major global tours by some of the world’s biggest artists, who in the past have included Miley Cyrus, Radiohead and Kaskade. (Presently “under a ton of NDAs,” DelliBovi says he’s unable to comment on current clients.)

“We’re moving, on average, 50 to 100 people to 40 cities in 60 nights,” he says. “There’s a million moving parts.”

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While few fans ever consider the logistical aspects of touring operations, it’s a crucial part of the business that involves its fair share of high-stakes drama and over-the-top personalities. For RDB, 2024 has seen its highest volume of business ever, along with its most diverse collection of clients. During peak touring season, the company has as many as 40 tours on the road, with 5-10 touring during slower months.

The coordination process starts when RDB is contracted by a tour manager, the person hired by the artist to handle the logistics — flights, buses, hotel reservations, etc. — of putting a tour on the road. This tour manager presents tour dates to DelliBovi, who then gets to work with his team to hammer out the particulars.

“We arrange add-ons like bus parking that most regular travel people would never handle,” he says. “We need hotels with an underground entrance so no one sees the talent, and it all has to be seamless and not annoying for them.”

After launching the company in 2009 and doing a major expansion in 2017, RDB Hospitality now has a staff of 25 working across touring and related arms of the business, like its car service, and DelliBovi says that overall business doubled after the company added something that few other companies offer: 24-hour support. Staff in Australia field situations that arise in what’s the middle of the night in the U.S. and Europe; weekend staff ensure there’s no minute of the day when someone isn’t available to help with canceled flights or other situations.

“People can call at three in the morning or at 2 p.m. on a Saturday and the person they talk to is not going to be grumpy, they’re going to be ready to go,” he says.” Christmas at two in the morning, we’ve got someone working.”

DelliBovi and his team typically have one to three months to make arrangements after getting the tour schedule. They first coordinate transportation, determining which members of the crew will travel by bus, commercial flights and private jet, although not all famous musicians are as picky as one might think.

“I’ll have the most famous person in the world texting me directly saying, ‘I love Delta,’” says DelliBovi. “Then someone who’s not that famous, like a reality star, and I’m talking to their eighth assistant and they need a private jet.”

After transportation is scheduled, several different types of hotels in each city are booked. Crew members like bus drivers, what DelliBovi calls the “D-party,” will stay in a hotel like a Courtyard by Marriott. The stage crew and others at this level, known as “the C party,” will stay in a Hilton or somewhere commensurate. The “B party” — typically backup musicians — will stay in a more upscale hotel, while the A party, composed of the artist and their core team, will stay in a hotel like the Four Seasons or Ritz Carlton. Options across all four tiers are presented to the tour manager, who makes final decisions, with RDB then booking hundreds of rooms on a credit card provided by the tour manager.

DelliBovi says one of the trickiest elements of the job is when artists request same-day reservations if they’ve decided to take a last-minute one-off trip during off days in a tour, for example.

“People will say, ‘I’m going to Philadelphia right now, where am I staying?’ I’m like, ‘I like the Four Seasons in Philadelphia,’ so they’ll go to the Four Seasons,” he explains. “Then they’re like, ‘I think I like the Ritz better,’ so I’ll cancel the Four Seasons, and they’ll pay a $25,000 penalty for doing that. Then they’ll go to the Ritz and call and say, ‘I was wrong. It’s the Four Seasons I like,’ so we’ll cancel the Ritz and they’ll go back to the Four Seasons. It’s just part of this job.”

DelliBovi says it’s a misconception that artists get rooms for free, particularly at luxury hotels that cater to an exclusive (and rich) clientele that includes politicians, executives and other members of the elite. These hotels charge more not only because they’re luxe, but because they’re built specifically to accommodate the needs of famous people with features like private entrances, secluded restaurant tables and elevators one can enter without passing through a lobby and attracting unwanted attention.

Of course, some artists are harder to please than others.

“Punk bands are always the coolest,” says DelliBovi. “They’re always like, ‘Yeah dude, whatever.’ Most bands are much easier. The big megastars, they’re naturally more high maintenance and choosier about where they want to be.”

He recalls having lost sleep over things like whether an artist would like the types of cheeses on the cheese tray provided in their room, witnessing debauched behavior with drugs and alcohol, helping a boy band deal with 5,000 fans waiting outside their hotel and providing hotels with photos of known stalkers as a safety precaution. (“If you see any of these people anywhere near the hotel, call the police immediately,” he advises hotel security while delivering these photos.) He even uses an alias himself while traveling with clients. Among the wilder requests he’s fielded was a celebrity who asked him to find someone to give them a last-minute colonic in their hotel room.

For that one, he says, “I charged a very high fee.”

But in terms of unsavory behavior on the road, the days of trashing rooms and throwing TVs off the balcony are largely over. “It’s moved more to green juices and yoga and the health and wellness factor,” DelliBovi says. “There are more sober people on the road and more sober tour managers who are specialists in keeping talent sober, too. It’s a good thing.”

Generally, he says, A-list artists fall into two camps in terms of where they prefer to stay. Luxury travelers like a quiet hotel like the Four Seasons that’s very “buttoned up and neutral,” says DelliBovi, while lifestyle travelers want to be in the “cool, hot, fun hotel with a bar that’s always in Page Six.”

Older clients prefer luxury while younger clients choose lifestyle, although, he says, “DJs usually want the peace and quiet of a luxury hotel. DJs produce the most noise in the world for a living, so our DJ clients are always telling us that they have to have quiet.”

Meanwhile, A parties on stadium tours typically include not just the artist, but massage therapists, life coaches, pilates instructors and nutritionists, along with the inner circle of assistants, managers and boyfriends and girlfriends. For RDB, arena tours are the best type to book, given that stadium shows “are so big that they change the way a city works,” making it harder to find the necessary accommodations.

Rob DelliBovi

Courtesy of RDB Hospitality

Given the logistics at play with having multiple tours on the road simultaneously, the most important part of RDB’s work is simply making sure it’s correct. The team includes one staff member whose only job is checking every single reservation 72 hours prior to ensure bus parking spaces will be ready, that the right credit cards are on file and that the overnight hotel manager will be waiting with a stack of keys so the tired crew can go straight to their rooms.

“We can’t make mistakes in this industry,” says DelliBovi. “If a superstar artist shows up to a hotel and their room is not ready, it’s over for us; we’re fired.”

Part of this process also involves preparing staff for who’s showing up. “We sometimes tell hotels, ‘This person’s difficult, just put a very hard-chinned front desk person in place that day, because they’re going to get it.’”

RDB’s concierge service will arrange reservations to an artist’s restaurant of choice in any given city, even (and especially) the ones that are hard to get into. Other facets of the company include a car service and a corporate events arm that leverages RDB’s relationships with big-name clients to book them at private corporate gigs. (“Rob already knows their routing, so I can go to my corporate client and say ‘We can walk this act in here with minimal travel because they’re already on the Eastern Seaboard, as opposed to Rio de Janeiro,” says Elana Leaf, who heads up the RDB events division.) RDB now has roughly 1,000 clients, half of them musicians and the other half made up of sports teams, comedians and more. DelliBovi estimates that his business has 25 global competitors.

DelliBovi got into this niche after running luxury hotels in New York, Los Angeles and other major cities. His job was attracting entertainment business, including music tours, to these hotels. In doing so, he got to know tour managers, and from his vantage point, “I didn’t think it was being done efficiently,” he says. “There were too many times where the travel agent wouldn’t send me the right list of names or arrival time, or didn’t tell me who was who, so we were putting an assistant in a suite and the talent in a regular room.”

He also saw a gap in the market, finding that while a lot of established acts had a travel person they’ve been working with for a long time, no one was catering to the new generation of artists.

“There were no young, fun people doing this,” he says. “We’re a young team who are out there. Most of our competitors aren’t. We’re backstage at concerts. We’re wining and dining. We’re a very sales-heavy company, so we grew this company just by networking within that community and understanding their needs.” 

Bruce Springsteen made a surprise appearance at Zach Bryan’s concert in Philadelphia on Wednesday (Aug. 7) after the previous night’s wild weather saw his Tuesday (Aug. 6) show delayed.

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The “Pink Skies” singer had quite the surprise in store for fans who attended his The Quittin’ Time Tour concert at Philadelphia’s Lincoln Financial Field, bringing out guest performers Bruce Springsteen, The Lumineers, and Shane Gillis, who performed with Bryan throughout the show.

Springsteen, who recently collaborated with Bryan for “Sandpaper” on his latest album, The Great American Bar Scene, joined Bryan on stage to perform “Atlantic City”.

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Fans were delighted over the surprise appearances, with one taking to Twitter to write, “Hearing that Bruce Springsteen, The Lumineers, and Shane Gillis got on stage for Zach Bryan’s finale tonight in Philly and lightning could have struck me down leaving in the parking lot and that would’ve been a-okay with me.”

Another added, “Witnessed Bruce Springsteen and Zach Bryan blow up the Chicken man in Philly tonight. Then we had an all night Revival with Zach, Bruce, and The Lumineers—it was Spotless.”

It’s not the only time The Boss has joined Bryan for a surprise performance. He also joined the rocker on stage at Brooklyn’s Barclays Center on March 27, where they performed two tracks, including the pair’s collaboration “Sandpaper”.

Following the album’s release on July 4, the country crooner thanked Springsteen for his feature.

“Thank you for the day @springsteen. thank you for your kind words. thank you for letting me take this picture,” Bryan captioned a photo of Springsteen on X (formerly Twitter). “thank you for making my whole life a dream of a younger me. a reason to believe.”

Fans of Springsteen’s “I’m on Fire” will instantly recognize the chugging beat on “Sandpaper,” which is identical to the feel of his 1984 hit.

Bryan has also previously covered Springsteen’s Born in the U.S.A. classic “I’m on Fire” on several occasions, live and in the studio.