State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show

State Champ Radio Mix

1:00 pm 7:00 pm

Current show

State Champ Radio Mix

1:00 pm 7:00 pm


Music News

Page: 412

No need to panic, but there’s a double dose of “Anxiety” for Doechii on the Billboard charts (dated March 15), as the rapper/singer appears on two different, but related, versions of the similarly named track, thanks to a saga that also involves Will Smith, Gotye and Detroit rapper Sleepy Hallow.
Rewind to 2019, when Doechii recorded the song “Anxiety” and shot a video of the recording in her bedroom for her Coven Music Session, Vol .1 mixtape. “Anxiety” prominently samples Gotye’s “Somebody That I Used to Know,” featuring Kimbra, a 2012 hit that topped the Billboard Hot 100 for eight weeks, was that year’s No. 1 Hot 100 song and won two Grammy Awards, including record of the year, in February 2013.

At the time, when Doechii’s “Anxiety” was only available via YouTube, Sleepy Hallow lifted the song’s hook for the chorus of his own “A N X I E T Y” track. Billed to Sleepy Hallow featuring Doechii, it arrived in 2023, and upon release, reached No. 44 on Hot R&B/Hip-Hop Songs and No. 3 on the Bubbling Under Hot 100.

Trending on Billboard

After a year of dormancy, the song experienced a TikTok-led revival in recent weeks, as users soundtracked the “A N X I E T Y” chorus to a famous scene of Will Smith and Tatyana Ali dancing from an episode of The Fresh Prince of Bel-Air, the Smith-led sitcom that aired on NBC from 1990-96. User @mimeemzyy posted on Feb. 21 what appears to be the trend’s kick-off clip, which has swelled to 2.8 million views on TikTok through March 12.

Growing virality fueled “A N X I E T Y” streams to new highs. While the song hovered between roughly 600,000-700,000 U.S. official on-demand streams each week for the last six months, the total cracked new levels in the last four frames: 890,000 streams in the week ending Feb. 13; 882,000 (Feb. 20), 2.8 million (Feb. 27) and 10.5 million (March 6), according to Luminate. The latest week’s viral-backed surge prompted “A N X I E T Y” to debut on several charts this week, including a No. 45 launch on the Hot 100, at No. 11 on the Hot R&B/Hip-Hop Songs chart and No. 8 on Hot Rap Songs.

[embedded content]

But that wasn’t the only impact: New attention for “A N X I E T Y” sent fans scrambling to Doechii’s solo, YouTube-only version, prompting Doechii to release her track to all digital and streaming retailers on March 4. After the midweek expansion, “Anxiety” spiked to 5.3 million U.S. streams and 2,000 downloads in the latest tracking week (Feb. 28-March 6), sparking a push to No. 3 on the Hot 100’s Bubbling Under chart.

Early signs point to an impending “Anxiety” explosion after its full tracking week. According to preliminary reports submitted to Luminate, the song registered 11.2 million official on-demand U.S. streams for March 7-10. (Next week’s charts, dated March 22, will reflect activity from the tracking week of March 7-13.) Should “Anxiety” reach the Hot 100, it will give Doechii her seventh entry on the list, and with at least a No. 44 start, become her best debut.

The “Anxiety” blowup adds to Doechii’s latest string of triumphs. The rapper won a Grammy Award for best rap album on Feb. 2, for her Alligator Bites Never Heal mixtape. Between the victory and Doechii’s performance on the telecast, the mixtape surged to No. 14 on the Billboard 200. Two singles have also gained traction in recent weeks: “Denial Is a River” cruised to a No. 21 Hot 100 peak in February, while “Nissan Altima” reached No. 73. And Doechii’s already lined up her next big honor: Later this month, the newly minted Grammy winner will be crowned 2025 Woman of the Year at Billboard‘s Women in Music celebration in Los Angeles.

Billboard Japan’s Women in Music initiative launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work, in the same spirit as Billboard’s annual Women in Music honors since 2007. This interview series featuring female players in the Japanese entertainment industry is one of the highlights of Japan’s WIM project.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

The latest installment of the series features Aimi Kobayashi. The 29-year-old classical pianist first performed with an orchestra when she was seven and made her international debut when she was nine. In 2021, she came in fourth place in the International Chopin Piano Competition, attracting attention from around the world. In November 2024, she released her first new album in three years after taking maternity and childcare leave. On behalf of Billboard Japan, the writer Rio Hirai spoke with Kobayashi, who shared her current mindset as she continues to advance her career while enjoying the major changes in her life.

You’ve built a career as a pianist, garnering international attention from a young age. Has your approach to music changed since you got married and became a mother in 2023?

Trending on Billboard

Aimi Kobayashi: My approach to music hasn’t really changed. Of course, the way I use my time has changed dramatically since becoming a mom. I have an adorable little monster at home, so it’s tough to find time to practice for concerts. But when I see how cute my child is, that alone makes me feel like working hard again.

So even after the stage in your life has changed, you continue to be committed to music. Still, there must be difficulties in continuing your career while parenting.

There are many other difficult things in life besides childbirth. So you just have to adapt to the situation you find yourself in and get on with it. You get used to the situation and it becomes the norm, so you don’t have to think too much about it and just do what’s in front of you, thinking “I have to get it done somehow!” I do my best with housework and parenting, but I don’t expect to be perfect at everything. I’m pretty casual about everything except my job. I think the secret to continuing your career is to get help from the people around you like your parents and set up a support system.

Were you good at relying on other people before you became a mom?

No, I was the type who couldn’t rely on others. But after having a baby, I found myself thinking more often that you can’t live on your own, so I started relying on people around me without hesitation. I’m a mom, but don’t think I have to raise my child on my own. Of course I feel that I have to protect my child, but both the mother and father should equally fulfill their parental roles. You share the housework and childcare with your partner, and if that’s still too much, you can ask for help from other people and raise your child together.

That’s true. When you were in your teens or early twenties, did you ever feel anxious about balancing work with marriage and parenting?

No! I didn’t intend to give up either. I think it’s possible to balance both depending on who you marry. I wanted to be a pianist even after I got married and became a mom. That’s why I wanted to marry someone who would understand and support my career.

When you were 17, you took a break from playing in concerts and went to study at The Curtis Institute of Music in the U.S. Did you feel differently then, compared to during your recent maternity and parental leave?

During my time abroad, I only took a break from doing concerts and continued to practice improving my skill, so it felt completely different. As for maternity and parental leave, it was the first time in my musical career that I took a real break. It’s not often that you get a break that everyone around you congratulates you on. I really enjoyed raising our child and doing the housework while waiting for my partner to come home. But as it continued, I really started to feel the desire to go back to work. My partner continued to perform at concerts, so there were times when I felt anxious and wondered, “When will I be able to get back to work?”

I see. How did you overcome that anxiety?

I decided to push my comeback back two months, and that was a big relief. I had concert plans and other things lined up, and had initially decided to return to work as soon as possible because I didn’t want to cancel or postpone. I’d never experienced any major illnesses and was in good health, so I thought I’d be able to manage it if I just worked hard, but giving birth was harder than I’d expected. Even so, I still thought I had to return as soon as possible and ended up getting sick and feeling mentally overwhelmed. Then, the people at my agency and my manager told me, “Your mind and body will be back to normal with time, so take it easy and rest.” Their kind words lifted the weight off my shoulders and eased my postpartum anxiety, and I was able to return to work.

I’m really glad there are people around you who understand. What do you think is necessary for women to continue making music in this industry for a long time after marrying or becoming a mom?

It’s good to have a place to return to after taking maternity leave. Children are a gift, and there will be times you have to cancel shows. I was grateful there were so many people who understood this and waited for me to come back. This isn’t just limited to the music industry, but if there’s an environment that supports women taking maternity leave, then it will make it more enjoyable for them to look after their kids. And although it may be slow, I think that society is changing. Rather than focusing on the things that mothers and women can’t do, I want to believe that the world is becoming a better place and live my life as I wish.

Many women have careers in classical music, but for example, more men have been awarded at the International Chopin Piano Competition, and the ratio of male and female musicians also differs depending on the instrument. What are your thoughts on the gender imbalance in this industry?

I do sense some remnants of history, like the fact that Western orchestras used to be comprised of only male musicians in the past. A friend of mine, a female musician in an orchestra once told me that it’s hard for women to actively participate in orchestras. I do think that it takes intense conviction. The same is true for office workers. Some might imagine that a woman has to work as hard as a man to advance her career in an administrative position. I think I can make the most of my strength as a woman without compromising my identity.

Have you personally been affected by gender inequality?

I do feel it since I became a mother. Being pregnant was a wonderful experience. Only women can experience nurturing a life inside themselves and giving birth. But I also envy men who can pursue their careers without taking time off when they become fathers. 

In addition to motherhood, changes in the stages in women’s lives can sometimes be an obstacle to career advancement.

Women do go through various changes in their lives, like having to raise kids or care for their parents someday. When changes like these happen in the home, more women tend to sacrifice their careers, and it feels like this is linked to gender imbalance in society. Also, women often suffer from physical problems due to hormonal imbalance caused by age. Women have to overcome many obstacles to advance their careers.

Do you have any role models, someone who makes you think, “I want to live my life like this person”?

There aren’t too many (female) classical musicians who continue to be active after having children. So I admire women in any field who flourish in the work they want to do after having kids. But this is my opinion as a married woman who has a child. Whether or not you get married is up to you, and being a mom isn’t everything. I think it’s fine as long as you’re happy.

I think you’re a role model for many people. Do you have any messages for women who might be worried about being able to advance their careers even as changes happen in their lives?

When you can’t find the answer to something even after thinking hard about it, it’s important to summon up your courage and take a step forward. You might gain new perspective, and even if you don’t find it right away, you might be able to arrive at your own answer by taking one step at a time. When I was a teenager, I used to think I had an infinite amount of time, but after becoming a mom, time passes like the wind. So I think it’s better to try the things you want to do now without holding back, and to live your life without regrets.

—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan

Travis Japan’s “Say I do” debuts at No. 1 on the Billboard Japan Hot 100, dated March 12.
This song is being featured as the theme song for Honnou Switch, the drama series starring member Kaito Miyachika and actress Wakana Aoi, and is the first CD single by the seven-member boy band. The track launched with 147,896 copies to rule sales, top downloads, and came in at No. 53 for streaming to give the group its first-ever No. 1 on the Japan Hot 100.

Mrs. GREEN APPLE’s “Lilac” continues to hold at No. 2, extending its stay in the top 10 to 47 weeks. The Oblivion Battery opener rules streaming for the 27th week with 10,034,805 weekly streams, tops karaoke, and comes in at No. 7 for downloads and No. 2 for video views.

Sakanaction’s “Kaiju” also holds at No. 3. Streaming for the Orb: On the Movements of the Earth opener stays at No. 2 (83% week-over-week), and comes in at No. 4 for downloads (54%), No. 4 for radio, and No. 16 for video.

Trending on Billboard

Mrs. GREEN APPLE’s “Darling” rises two notches to No. 4. The track is currently at No. 3 for streaming and has stayed in the top 3 for the metric since its debut on the list. The former No. 1 hit is at No. 19 for downloads, No. 6 for video, No. 16 for karaoke, and moves 74-36 for radio (160%).

SEVENTEEN’s “Shohikigen” returns to the Japan Hot 100 for the fifth time after the CD sold 94,151 copies this week. Kenshi Yonezu’s “BOW AND ARROW” rises 19-6 after the accompanying music video featuring superstar figure skater Yuzuru Hanyu powered the track to No. 1 for video. Aimyon’s “Sketch,” the theme song for the latest Doraemon feature film, Doraemon the Movie: Nobita’s Art World Tales, soars 69-7. The single rules radio, comes in at No. 5 for sales with 9,217 copies sold, No. 13 for video, and No. 90 for streaming.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from March 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.

A$AP Rocky has once again addressed his long-awaited project Don’t Be Dumb. This time, he was stopped by Instagram fashion account The People Gallery and asked directly when he was planning to finally drop the album. “Don’t do me like that,” he replied with a smirk on his face. “A$AP. Listen, don’t make me do […]

Lizzo has new music on the way, with the hitmaker announcing Wednesday (March 12) that her next single, “Still Bad,” is arriving in less than a day. Sharing a red-tinted close-up photo of her face with rosy flecks of light surrounding her eyes, Lizzo wrote on Instagram, “STILL BAD THURSDAY 12PM EST,” with two blood […]

Warner Music Group (WMG) and Boston-based private equity firm Bain Capital are in advanced talks to form a joint venture worth around $1 billion to acquire music catalogs, according to three sources with knowledge of the talks.  
Led by an equity investment from Bain, the joint venture will enable WMG to write bigger checks while spending less of its own money to acquire the catalogs it wants most. 

A representative for WMG declined to comment, and a representative for Bain did not respond to a request for comment.

High interest rates and intense competition to own the rights to music from bands like the Red Hot Chili Peppers is leading major music companies to partner with outside investors to bolster their bids and assuage shareholders who may be put off by the price of a prized catalog.

Trending on Billboard

Some of the biggest catalog sales of all time occurred last year, with Sony Music acquiring Queen’s catalog and other rights for $1.27 billion. Earlier in 2024, Sony also acquired a stake in Michael Jackson‘s catalog for $600 million.

In many cases, music companies are looking to buy out an artist with whom they’ve worked for years and whose catalog they already partially own — like Sony Music did in 2022 when it bought Bob Dylan‘s master recordings. Owning more of the music’s intellectual property not only allows for more control over how the songs are used and licensed in the future, it prevents potentially embarrassing break-ups between record labels and their superstars.

The bidding wars have grown particularly pitched for master recording rights, which are more valuable today because streaming has extended the period that a song remains popular by several years, according to entertainment banking sources. Before streaming provided listeners with easy access to the entire universe of popular music and kept songs in regular rotation through playlisting, the revenue generated by a hit song’s master recording would fall off precipitously after its hype period waned.

A growing number of successful artists are also leaving major music companies to release music independently, have grown entire careers independently or have negotiated more favorable contracts with their major label partners, giving them more ownership of their master royalties. It all has some investors worried that the total addressable market of master royalties will grow more slowly in the future than in prior decades. 

In early 2024, Universal Music Group (UMG) invested roughly $240 million to partner with Chord Music, a catalog investment company majority-owned by Dundee Partners, to give it similar flexibility to acquire catalogs off of its balance sheet and with financial help. The agreement gave UMG the administration and distribution business for the 60,000 music copyrights owned in Chord, and, in exchange for throwing its power as the world’s largest music company behind those assets to make them make more money, Dundee Partners became UMG’s long-term co-investment partner.

Sony Music has also partnered with institutional investors to help finance acquisitions, including Apollo, and WMG has explored investing in catalogs through outside vehicles as an early investor in both Tempo Music Group and Influence Media.

One of the financial engineers involved in structuring UMG’s deal with Chord was Michael Ryan-Southern. At the time, Ryan-Southern led Goldman Sachs’ investment banking team focused on the music industry. WMG hired Ryan-Southern last summer to serve as its head of corporate and business development, overseeing mergers and acquisitions.

Ryan-Southern’s team was key toWMG’s acquisition of Tempo Music, a $450 million deal announced on Feb. 6 that gives Warner the rights to songs by Wiz Khalifa, Florida Georgia Line and Brett James.

WMG’s ties to Bain Capital date back to 2004 when Bain was part of the investor group — also including Thomas H. Lee Partners, Edgar Bronfman, Jr. and Providence Equity Partners — to buy WMG for what was then $2.6 billion cash. 

Time to turn it up to 11. The highly anticipated sequel of the 1984 comedy, This Is Spinal Tap, officially has a release date. Spinal Tap II: The End Continues will hit theaters on September 12 with Bleeker Street gaining the U.S. distribution rights, according to The Hollywood Reporter. Rob Reiner is returning as director, […]

The Driver Era is just a month away from dropping their newest album, Obsession, on April 11. To celebrate, Billboard caught up with brothers Rocky and Ross Lynch amid their global tour to get a preview of one of the project’s unreleased tracks, “The Weekend.” “You know I can’t help it/ But if I’m being […]

Ice Spice has been eating her oats, and now she’s teasing her first single of 2025 with a snippet of a track touting her curves that appears to be titled “Thick Again.”

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

The Bronx native, who was in the City of Lights for Paris Fashion Week, carved out some time to dance to her upcoming hard-hitting track in front of the Eiffel Tower on Tuesday (March 11). “She got thin but she went and got thick again/ Shorty eating her oats/ He stay on my body, it’s hard to get rid of him/ You know that I like him the most,” she raps.

The viral clip sees Ice twerking in a short camouflage dress while giving fans and tourists walking around the Eiffel Tower a glimpse of her bare behind. Her X post currently boasts over 200,000 likes.

Trending on Billboard

Fans were hyped to see Ice regain her voluptuous figure and showed her love in the replies. “Everyone that switched up betta stay in that side,” one person wrote, while another Munchkin added: “Ice Spice finally returned!”

Diplo chimed in on Instagram, hilariously pleading with Ice to “start an oats company.”

Over the summer, Ice Spice pushed back against rumors she was taking Ozempic and sniped at those talking about her weight. “I actually came on here to talk about that real quick. I wish y’all never learned the word Ozempic,” she said in an August Twitter Spaces. “That’s one thing I wish. Oh my God! Like, what even is Ozempic? What the f–k is that? Genuinely, what is that?”

Ice continued: “You lazy-a– b—–s never heard of a gym? It’s called the gym, it’s called eating healthy, it’s called being on tour,” she added. “Like, what the hell? Maybe if I was sitting at home all f–king day, it’d be easier to stay big.”

The “Thick Again” teaser wasn’t the only time fans saw Ice’s backside in the last week as she showed off a wardrobe malfunction featuring a tight Black dress split down the middle. “It was cute too,” Ice Spice wrote to her Instagram Story in disappointment.

Selena Gomez is proud of her Only Murders in the Building co-stars! So much so, that when Steve Martin and Martin Short’s SAG Awards arrived, she wanted to deliver them to the actors herself. In a clip posted to the popular Hulu series’ social media accounts, Gomez is seen with Michael Cyril Creighton and the […]