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GELO looks to continue the momentum he kicked off this year with “Can You Please?” The hooper-turned-rapper returned with his “Memphis twin” GloRilla to release the raunchy visual on Tuesday (March 18). The Ball brother hops out of the butterfly doors of his exotic orange sports car with his “Tweaker” smash playing on the radio […]
Lady Gaga is joining her Little Monsters on a new dance trend inspired by her recently released album, MAYHEM. The superstar took to TikTok this week to share a 12-second video featuring the chorus from a track off the project, “Zombieboy.” In the clip, she convulses her body to the beat, before stretching her arms […]
Take it from Dax Shepard: Dancing to Sabrina Carpenter‘s music with your kids is super fun. The PG-13 conversations that her songs might inspire afterward? Not so much.
On the latest episode of his Armchair Expert podcast, the actor — who shares 13-year-old Lincoln and 10-year-old Delta with wife Kristen Bell — started out by saying that despite being “so late to the party,” he’s now “an enormous Sabrina Carpenter fan.”
“It started with ‘Bed Chem,’” he shared, referencing one of the steamier tracks on the Girl Meets World alum’s Billboard 200-topping album Short n’ Sweet. “I was driving with Delta to school today, and we listen to it every morning … If a song, it hits, you can’t resist dancing with your shoulders. We were really getting our shoulders active this morning, it was a blast.
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“It’s really fun now that I love her favorite artist,” he added. “It’s fun for her. ‘Cause now I’m on the Sabrina train.”
That said, Shepard isn’t quite as big a fan of one of the other tracks on Carpenter’s LP: “Juno,” the aphrodisiacal chorus of which is inspired by the 2007 film of the same name about a high schooler, played by Elliot Page, who gets pregnant. “I don’t wanna tell [Delta] it wasn’t my favorite, ’cause it’s her favorite — but I’m not gonna lie to her,” he said before explaining the awkward parenting moment the racy song’s lyrics inspired.
“She goes, ‘But do you know what Juno is?’ and I go, ‘No…,’” Shepard recalled. “And she’s like, ‘Well, it’s a movie,’ and I go, ‘The movie Juno? Yes, I know.’ She goes, ‘Yeah … It’s a story about a girl who gets pregnant.’”
“I go, ‘That’s a little nasty,’” he continued. “And she goes, ‘What’s nasty about wanting to have a baby with somebody?’ I go, ‘Well, it’s a teenager. She’s in high school.’”
“The way she phrased it was like, ‘Wait, what’s nasty about wanting to have a baby with someone you love?’” Shepard added. “And I was like, ‘Oh no, there’s nothing nasty about that, I’m just saying, ‘I wanna get pregnant in high school’ is kind of a nasty, fun lyric. It’s a positive ‘nasty,’ I’m saying.”
Full of NSFW lyrics and double entendres, “Juno” is one of the biggest fan favorites on Short n’ Sweet. That’s thanks in part to the fact that each night on Carpenter’s ongoing tour in support of the album, she strikes a different pose on stage to coincide with the suggestive lyric, “Wanna try out some freaky positions?/ Have you ever tried this one?”
At one of her recent shows in Paris, for instance, she paid tribute to the city by contorting her body into the shape of the Eiffel Tower with the help of two male backup dancers.
Listen to Shepard recount his and Delta’s conversation about Carpenter on Armchair Expert below.
Tencent Music Entertainment surpassed revenue of $1 billion in the fourth quarter, representing an 8.2% increase from the prior-year period, while net profit climbed 47.3% to $284 million.
The Chinese music streaming company operates three music streaming services — Kugou Music, QQ Music and Kuwo Music — as well as WeSing, a karaoke app. In recent years, Tencent Music’s business has become increasingly dominated by its music services as its social entertainment business continues to lose business.
Online music revenue grew 16.1% to $799 million due to music subscription gains and growth in advertising revenue, while music subscription revenue jumped 18% to $552 million in the quarter as the number of subscribers increased 13.4% to 121 million. Additionally, gross margin jumped to 43.6% in the fourth quarter from 38.3% in the prior-year period. The company attributed the improvement to strong growth in music subscriptions and advertising revenue and increased usage of owned content, as well as its adoption of the Super VIP program, a subscription tier that costs five times the normal rate. Monthly average revenue per user (ARPU) grew to 11.1 RMB ($1.52) from 10.7 RMB ($1.47) due in part to the expansion of the Super VIP membership program.
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The social entertainment business has suffered a sharp decline since the Chinese government began cracking down on the use of live-streaming apps to enable gambling in 2021. In the fourth quarter, social entertainment revenue fell 13% to $223 million and mobile monthly active users declined 21.2% to 82 million (the number stood at 223 million at the end of 2020). Monthly ARPU fell 9.7% to 70.4 RMB ($9.64), down from 172.1 RMB ($26.38) at the end of 2020, and paying users slipped 3.8% to 7.7 million.
For the full year, revenue increased 2.3% to $3.89 billion while net profit climbed 36.2% to $974 million, and gross margin improved to 42.3% from 35.3%. Online music revenue grew 25.5% to $2.98 billion while social entertainment revenue fell 36.1% to $912 million. Full-year gross margin improved to 42.3% from 35.3% in 2023.
Tencent Music Entertainment’s music platforms have evolved into one-stop shops that also include audiobooks, merchandise, downloads and live-streaming. In 2024, the company produced physical albums for Xiao Zhan and Lay Zhang and boosted album sales for Esther Yu by providing options to purchase merchandise along with her digital albums. It also partnered with the band Mayday for an online New Year’s Eve concert.
The company also announced a $273 million dividend and a share repurchase program of up to $1 billion over a two-year period that will commence this month. A $500 million share repurchase program announced in March 2023 will conclude this month.
Tencent Music Entertainment’s shares, which trade on both the New York Stock Exchange (NYSE) and the Stock Exchange of Hong Kong, had risen 15.8% to $15.12 on the NYSE at the close of trading on Tuesday.
Kazuma Kawamura, a member of the 16-piece Japanese dance and vocal group THE RAMPAGE, has now made his solo debut as L.E.I. with the double A-side single “Delete/Enter.”
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While he’s done some rapping on THE RAMPAGE songs and in live shows, with L.E.I., rap is at the very heart of his art. In an interview with Billboard JAPAN, he discussed the background behind this solo debut. “From the very start, when THE RAMPAGE was formed, our concept always included elements of hip-hop. We’d just assembled as a group, and everyone had different musical tastes, so we made hip-hop one of the cores of the group. That got me interested in hip-hop, and our leader, LIKIYA, knew a lot about U.S. hip-hop and R&B, so I learned a lot from him. Yamasho (Shogo Yamamoto) had been talking about the movie 8 Mile, so I watched it, and it also had a huge impact on me. So I discovered the world of hip-hop a bit at a time, and the more I explored it, the more I got hooked.”
“But it’s not like I’m super-knowledgeable about hip-hop music or artists. I’m still learning. I’ve been really influenced by the culture and philosophy of hip-hop, but not the so-called rapper lifestyle. Drink, drugs, women, partying, violence—those aren’t appealing to me. I’m not interested in bragging about how bad I am or boasting about violence. Instead, I’m interested in the philosophy of hip-hop that’s focused on changing the world. Making it better.”
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“Of course, there have been a lot of rappers who’ve influenced me. Busta Rhymes influenced me with his fast rapping style, while A$AP Rocky has just been an overall huge presence for me. And my long-time favorite, who I still find amazing, is Kendrick Lamar. Needless to say, of the four elements of hip-hop, dance has also had a big impact on me. For example, the krumping of Tommy the Clown and Tight Eyez, who was influenced by Tommy, just reached out and grabbed a hold of my heart. It was like it was saying, ‘Don’t just stand there, get moving!’”
On “Delete,” one of the songs on the single, L.E.I. expresses his frustration and anger with society and the state of things through serious, fiery rap verses, set to a dark trap beat. It has a distinctive structure, challenging the listener about their own beliefs and pushing them to tackle these problems together. “It’s my first song as L.E.I., so I didn’t want to make any compromises. Putting rap front and center, I knew I needed to make something that caused a stir. ‘Delete’ is a powerful representation of that idea. There’s a lot I want to communicate, but the first was a feeling of release from what’s got you trapped, which is why I wrote this song.”
“It’s easy to just shout ‘No!’ But if you want to convince listeners, if you want to convey an effective message, I think you need to raise issues. To get people who listen to the song to think and be more aware, you need to ask questions. I don’t just want to stroke my own ego by spouting things off. And I think the society we live in is one that stops thinking. That’s dangerous. But I didn’t just want to say ‘No!’ or ‘Think!’ Instead, I wanted to reach out to the listener, saying ‘I think this situation is messed up, what about you?’”
The rapping in “Enter,” the theme song of the anime I Left My A-Rank Party to Help My Former Students Reach the Dungeon Depths!, has a lot of variety in its flow. “I tried to change up the flow. I think people will have more opportunities to hear this song, such as through the anime, so I wanted to surprise people, like ‘All these different rap parts are being done by one guy?!’ By changing my approach in each part of the song, I was able to achieve a wider range of artistic expression. It’s like the entire repertoire of my flow as a rapper, all in one song. I did it simply because it’s fun to have a song made up of all these different kinds of rap.”
It’s an anime-themed song, but L.E.I. put his true thoughts into the lyrics. “Sure, there are dark aspects of me, like in ‘Delete,’ but the anime theme brought out the sunnier parts of my personality. I think ‘Enter’ represents my bright side, and the lyrics are all heart-felt. I have a lot of respect for the anime, and I linked keywords that inspired me with my own feelings to create the lyrics. In that sense, as well, I also want to write positive songs that fill you with optimism.”
On inspirations behind his work, he notes, “I’m not the best speaker, but I read a lot of books and manga, more than the average person, and also read a lot through games and anime. So there’s a lot of input, both in the sense of vocabulary and of the beauty of language, and I bring those out in the lyrics. The foundation of the song consists of my own feelings, and then I sift through my vocabulary to come up with ways to express those feelings through rap. When I do that, I think really deeply about what the lyrics will sound like when I rap them. I might write a line a certain way because in that part I’m more focused on conveying my message directly than in the sounds of the words, while in another part I might focus more on the vibe of the sounds.”
Kawamura’s vision is to continue as both a member of THE RAMPAGE and as a solo artist. “Right now, Kazuma Kawamura, member of THE RAMPAGE, is linked to L.E.I., but they may move away from each other over time. I’m also curious and excited to see what form this will eventually take. But as Kazuma Kawamura or as L.E.I., one thing that won’t change is that I’ll always be 100% direct with the people hearing my lyrics. If there’s anyone out there for which L.E.I.’s approach resonates—anyone who I can help through my music—then I want to share my music with them, first. Reaching a wider audience can come later. I want to be an artist that is, first and foremost, a person capable of expressing his own values. I feel like if I can truly accomplish that, then I’ll be unparalleled. I’m striving to be a true rapper with a true message.”
—This interview by TAKAGI “JET” Shinichiro first appeared on Billboard Japan
Tokyo-born singer-songwriter TOMOO — pronounced “tow-mow-oh” — has been playing the piano since she was a child and began working on music in earnest in middle school when she began writing original songs. Her voice has been praised by top Japanese artists and her first full-length album, TWO MOON, reached No. 15 on Billboard Japan’s Hot Albums chart after dropping in Sept. 2023. She was featured in many music programs the following year, and in her MONTHLY FEATURE interview with Billboard Japan, she looked back and shared, “Rather than there being a milestone somewhere like a major change or turning point, 2024 felt like a year when a lot of my activities advanced another step or another level as an extension of the year before, whether it’s about live shows or TV appearances.”
When asked how she would introduce “what kind of artist TOMOO is,” the 29-year-old musician replied, “Yin and yang, old and new. Sometimes people who listen to my music say I seem to have a lot of life experience, but other times they say I still have a boyishness or girlishness about me. That’s an attribute I want to keep. Even when it’s bright, a shadow comes along with it, and even in shadow, a hint of light can be seen in the distance. Having both light and shadow is also my individuality.”
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“Rather than always having something I want to express, I want to be able to give form to the things that come into my mind at any given time,” says the “Grapefruit Moon” artist, explaining that she tries to be like a transparent vessel instead of dyeing herself a particular color. “When I was a teenager, I wanted something that would make it easy to visualize my individuality, but recently I’ve started to think that maybe that’s not necessary. I have the 12 years I’ve been doing this. At the time, I didn’t have a past to look back on and my way of thinking was still very superficial. So I used to think that if I worked hard at something or suffered more, I’d be able to figure out who I am. But it didn’t work that way. I guess that’s why I thought, ‘Then maybe that’s just the way it is.’”
Her latest single, “Contrast,” is currently being featured as the ending theme for the anime series Blue Box Season 2. The show is based on a manga series currently being serialized in Weekly Shonen Jump, and tells the coming-of-age love story of high school students devoted to their club activities. ”I started reading the original manga after being tapped to write the song. I wasn’t sure if I could relate to the transparency and freshness of the story, and to the feelings of the characters who are about 10 years younger than me,” TOMOO admits. “But I really did write songs like that when I was a teenager, and wanted to sing the theme song for a work like that, so I was happy when they asked me to do it.”
“Some people said that the character of the song seemed simpler than usual, and that makes sense in a way,” she explains. “It’s the simplicity of high school students concentrating on the moment in front of them within the limited ‘box’ of their time, season and environment, and it’s also the simplicity of feeling both happy and sad with your whole body when you haven’t yet developed emotional immunity. I thought about the lyrics while reading the original manga, trying to evoke the feelings I had when I was around 15 years old.”
For TOMOO, creating “Contrast” was an experience that took her back to her youth. “I wrote the chorus and the music pretty much at the same time, but wrote the first verse (A-melody) from scratch at the piano,” she shares about the writing process. “It was just like how I used to write music when I was a teenager. It turned out a lot more somber than I’d expected, but I figured that was fine because it was the result of the memories of my five senses having seeped out and not something I’d come up with in my brain. It was like I was facing the piano with nothing in mind, and my senses and the honest spirit of the song took the lead. It’s been a while since I’ve written music like that.”
The singer-songwriter worked with Ryo Eguchi, a music producer and arranger who has worked on numerous Japanese pop, idol and anime songs, for the first time on the song’s arrangement. “I’d been aware of Mr. Eguchi since I was around 20 years old. When I was in elementary and junior high school, I liked a lot of anime music that he’d arranged, so I’ve always wanted to ask him to arrange something for me if I ever had the chance to be involved in anime,” TOMOO recalls, going on to say that “Contrast” started out with a solid band-based sound but turned out to be a dramatic piano ballad with deep, resonant synth and cello tones. “Because it was quite heartfelt when I was composing it, I wanted to add elements that would evoke a sense of environmental coolness, like the wind, the sky, and the shadows of buildings. I asked him to add in some programmed rhythms and electric guitar strumming that sounds like strings in the distance, to give it a slightly structured, cool feel, to balance out the sense of temperature.”
The “Super Ball” singer is set to headline a solo concert in May at the historic Nippon Budokan for the first time in her career. She expresses enthusiasm for the upcoming show, saying, “I want to make this concert even more meticulous than my previous ones. I’ve always done my best within the schedule laid out for each show, but this time we’ve talked it over and set aside as much time as possible to prepare.”
“I always thought that the Budokan would be a kind of culmination, a milestone, a goal of that sort,” the singer-songwriter adds. “But I’ve started to feel that it’s not like that, now that I’m actually going on that stage. I realized it’d be better to leave it up to the feelings and mindset of each person who comes to see me. So I’m going back to my roots. Psychological closeness and sounds. When I first started out, I did a show on the floor. With the audience all around me, it was a bit scary before the show started, but I was really focused during the performance and there was tension in every moment. I want to recall that feeling of being nervous and excited at the same time when I perform at the Budokan.”
—This interview by Takuto Ueda first appeared on Billboard Japan
JoJo Siwa has had her fair share of viral moments over the past year, but now she’s in on the joke.
The “Karma” superstar walked the red carpet at the iHeartRadio Music Awards on Monday night (March 17), where she spotted Billboard‘s Tetris Kelly, with whom she had a controversial interview where she claimed she founded “gay pop.”
“I’m not talking to you,” she playfully told Kelly, before explaining, “You know what today is? It’s not only the iHeartRadio Music Awards, which is where I said ‘dream guest on my podcast’ but it’s also the one year anniversary of GLAAD Awards, which is where with your a— I said, ‘It’s called gay pop.’
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In her original Billboard News interview with Kelly, Siwa said that when she originally signed to Columbia Records, she told the label, “I want to start a new genre of music … it’s called ‘gay pop,’” before going on to compare the genre to the jazz-funk genre of dance. The online community quickly began criticizing Siwa for saying she wanted to “create” this “new genre,” with queer icons Tegan and Sara literally offering the 20-year-old singer some side eye on their TikTok page.
However, Siwa is moving forward, sharing that she has a “big announcement that involves a lot of people all over the world” coming on March 22. She joked that her next musical era will include “something that nobody has ever done before.”
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Her “unexpected” moves she’s planning include that she’s “going to sing,” and “maybe even write my own song for once,” referencing the backlash surrounding songwriter Brit Smith, who recorded Siwa’s track “Karma” back in 2012.
Wrapping up their interview, Kelly told Siwa that another viral moment is likely on the horizon. “We’ll see y’all on TikTok,” Siwa joked, looking into the camera. Watch the full interview below.
Billboard’s Dance Moves roundup serves as a guide to the biggest movers and shakers across Billboard’s many dance charts — new No. 1s, new top 10s, first-timers and more.
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This week (on charts dated March 22, 2025), Zeds Dead, Lady Gaga, GT_Ofice, David Guetta and others achieve new milestones. Check out key movers below.
Zeds Dead
The Canadian electronic duo hits Billboard’s Top Dance Albums chart for the first time in nearly a decade thanks to its new album, Return to the Spectrum of Intergalactic Happiness. Released March 7 via the act’s Deadbeats label, the set debuts at No. 14 with 4,000 equivalent album units earned in the U.S. its opening week, according to Luminate. The pair last appeared on the chart in November 2016 with its No. 6-peaking Northern Lights. Zeds Dead has charted four additional projects on the ranking, including the top 10 Somewhere Else (No. 4 peak, 2014).
Plus, Zeds Dead’s “One of These Mornings” reenters the Hot Dance/Electronic Songs chart at No. 21, boosted by the new album’s release. The track debuted at its No. 15 high in February, becoming the pair’s highest charting entry. – XANDER ZELLNER
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Lady Gaga
As previously reported, the superstar has a monster week on Billboard’s charts thanks to her new album, MAYHEM. The set soars in at No. 1 on both the Billboard 200 and Top Dance Albums charts with 219,000 units. It becomes her seventh No. 1 on the Billboard 200 and her record-breaking eighth leader on Top Dance Albums, as she passes Louie DeVito for the most in the chart’s 24-year history. Notably, her 2008 debut, The Fame, has spent a record 193 weeks at No. 1.
Gaga also charts nine songs from MAYHEM on the Hot Dance/Pop Songs chart, including seven in the top 10. “Abracadabra” rules the ranking for a fourth week. –X.Z.
GT_Ofice
GT_Ofice earns his first leader on a Billboard chart as “Someone Else” ascends a spot to No. 1 on Dance/Mix Show Airplay. The DJ-producer (real name Caine Sheppard; the first three letters of his moniker stand for “good times only”) has charted four songs — all self-released– dating to 2023, reaching a previous No. 26 peak with “Every Thought of You” (with ALWZ SNNY). He also hit No. 30 with his other sole-billed entry, “Never Together.”
“Someone Else” is receiving support on stations including Pulse Radio in San Francisco (more than 850 plays to date, according to Mediabase), Pulse 87 (Hudson Valley, N.Y.; 600 plays) and Revolution 93.5 (Miami; 550 plays). “Dance radio has helped introduce me to listeners who might not be in the club or festival scene,” GT_Ofice says. “I generally mix poppy vocals with dance pop beats. My sound is just a little different.” –GARY TRUST
David Guetta & Sia
Both artists return to the top 10 of Hot Dance/Electronic Songs with their new collaboration, “Beautiful People.” Released March 7, the song debuts at No. 8 with 1.2 million U.S. official streams earns in its opening week. It earns Guetta his 26th career top 10, the second-most in the chart’s history, after Kygo’s 27, and Sia her sixth. It’s also Guetta’s record-extending 94th overall entry. The song concurrently starts at No. 30 on Dance/Mix Show Airplay.
“Beautiful People” marks the latest charted collaboration between Guetta and Sia. The pair previously appeared together on Hot Dance/Electronic Songs (which began in 2013) with “She Wolf (Falling to Pieces)” (No. 8 peak in 2013); “Bang My Head,” also with Fetty Wap (No. 5, 2016); “Flames” (No. 9, 2018); “Let’s Love” (No. 9, 2020); and “Floating Through Space” (No. 11, 2021). They first linked up for the smash “Titanium,” which hit No. 7 on the Billboard Hot 100 in 2011. –X.Z.
Frank Walker & Alexander Stewart
The pair’s single “Crossfire” rises 13-10 on Dance/Mix Show Airplay, reaching the top 10 thanks to a 9% gain in spins. Walker adds his fourth top 10 and first since “I Go Dancing” (with Ella Henderson), which spent a week at No. 1 in 2023. Stewart scores his second top 10, and overall entry, after his team-up with Two Friends, “Wrong Way,” which spent a week at No. 1 in November. –X.Z.
Justin Bieber put his stamp of approval on Playboi Carti‘s JB-name-dropping track “Like Weezy” from the rapper’s latest album, Music. Bieber posted a since-expired Instagram Story of himself with “Like Weezy” playing over it. In the chorus, Carti raps, “I told her I’m big like Bieber, she ain’t believe me.” And the Atlanta rapper put […]
Variety is set to launch its first Power of Women: Nashville issue and event, bringing its Power of Women franchise to Music City to honor a slate of top women country artists and industry members.
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The May 1 event, in partnership with Lifetime, will celebrate the inaugural Power of Women: Nashville honorees, who will each appear on four separate covers of the issue, as well as women profiled in the annual Women’s Impact Report: Nashville, which will highlight the industry’s most philanthropic women who have made an impact through their work.
The Power of Women: Nashville event will honor artists Kelsea Ballerini, Mickey Guyton, Reba McEntire, and Lainey Wilson.
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Country Music Hall of Famer McEntire has earned 24 No. 1 Billboard Hot Country Songs hits and has forged a multi-faceted career that includes movies, television, music, Broadway, book deals, a clothing line and time as a judge on The Voice, among other initiatives. Wilson has earned entertainer of the year accolades from both the CMA and ACM, and released her latest album, Whirlwind, last year. She’s currently headlining her Whirlwind tour, with shows in Europe and North America. With her recent projects including the Grammy-nominated Rolling Up the Welcome Mat and her latest, Patterns, Ballerini has seen her career surge on the strength of heartfelt songs and energetic stage shows, with headlining concerts at Nashville’s Bridgestone Arena, Knoxville’s Thompson-Boling Arena, and New York’s Madison Square Garden. Guyton recently released her latest album, House on Fire, and launched her first headlining tour last year, in addition to garnering an array of high-profile appearances in recent years, including performing the national anthem at the Super Bowl in 2022.
Nine-time Grammy winner Sheryl Crow will host the event, while actress and activist Ashley Judd will be on hand to introduce the upcoming four-part documentary The Judd Family: Truth Be Told, which will premiere on Lifetime on May 10-11, and will profile familial and personal connections within the Judd family, including Ashley, her sister Wynonna Judd and their late mother, Naomi Judd. In addition to her own solo musical career, Wynonna was also a part of the Country Music Hall of Fame duo The Judds with Naomi. In the 1980s, the duo earned 14 No. 1 Hot Country Songs hits.
As has been done with Variety‘s Power of Women celebrations in Los Angeles and New York, each honoree will bring awareness to a charity of their choice, with the publication making a donation to each charity as part of the event. Ballerini will honor the Feel Your Way Through Foundation, which helps nonprofits focused on mental health initiatives. Guyton has chosen to celebrate The Loveland Foundation, which seeks to give opportunities to communities of color, while Wilson will spotlight her own Heart Like a Truck Fund.
“The impact of these extraordinary honorees reminds us that true power lies in uplifting others and creating meaningful change,” Elaine Frontain Bryant, EVP and Head of Programming, A&E, Lifetime & LMN, said in a statement. “This year, as we bring Variety’s Power of Women to Nashville for the first time, we celebrate not only their achievements but also the power of storytelling, community, and advocacy. Lifetime is proud to continue shining a light on these remarkable women with Variety.”
Variety and Billboard are owned by parent company PMC.
