Music News
Page: 94
04/23/2025
From Ultra South Africa to Afro Nation Portugal, here are the best lineups this year.
04/23/2025
Penn Badgley may be getting ready to say goodbye to You, but so is superfan Cardi B.
And during an interview on The Jennifer Hudson Show Wednesday (April 23), the actor opened up about having had the rapper’s support throughout the hit Netflix series’ run one day ahead of the fifth and final season’s premiere. “We’ve still never met,” Badgley said of Cardi. “It’s a strictly online thing.”
The Whipshots founder has been vocal in her love for You and the Gossip Girl star for years, with the two stars famously fangirling over each other on what was still Twitter in 2021. At one point, Cardi changed her profile picture on the platform to a still of Badgley in the serial-killer drama, after which he returned the favor by switching his own to a snap of the hip-hop titan — an exchange the actor told Hudson was “surreal.”
As rumors of a possible Cardi cameo swirled in the years that followed, You eventually featured the musician’s “I Like It” in the first episode of its fourth season. And in March, Cardi was tapped to announce the trailer for season five, sharing her review: “Girl, I am shook.”
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But given the fact that the show will come to a close Thursday (April 24) and Badgley’s revelation that he and Cardi still haven’t met, hopes that she’ll make an appearance may be dashed for good. “We’ve definitely tried,” he told Hudson. “We’ve even tried to make it a fun, like, capture it, but between our schedules — she’s busier than I am, I guarantee you.”
While on the talk show, the actor also teased how the series — which premiered on Netflix in 2018 and finds Badgley portraying strangely charming stalker-murderer Joe Goldberg — will wrap up. “We’re sending him off in I think the best fashion we can,” he said of his character. “I will inevitably miss him. I’ve gotten to do a lot of bizarre things, a lot of intense things. It’s like, you know what? I can put him to bed, but kind of like a dysfunctional little brother, I’ll miss him a little.”
“It’s a very satisfying ending,” he added. “It does justice to the character, to the show, and also to the viewer.”
Watch Badgley talk about Cardi on The Jennifer Hudson Show above.
Two decades into his decorated career, Wiz Khalifa remains in demand. On the heels of dropping his Kush + Orange Juice 2 sequel, the Taylor Gang boss stopped by The Joe Budden Podcast earlier this week.
Budden inquired about Khalifa’s rates during his hitmaking run of the mid-2010s, which was capped off by the Billboard Hot 100-topping No. 1 smash “See You Again” in 2015. While 10 years have passed, Wiz says his paychecks remain the same when it comes to his guest verses and shows.
“They’re still the same,” he insisted. “250.” Khalifa doubled down on his $250,000 feature price tag and says the six-figure sum doesn’t even come with a music video appearance, just a verse.
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“Shows, honestly, go up to two Ms a show,” he added. “That’s because I have worldwide songs. I got stuff that people sing in China or Brazil or New Zealand and Thailand and Germany [and] Norway and stuff like Korea. I’m talking Saudi Arabia. You know what I’m saying?”
Even though the checks continued to clear, Wiz recently reflected on seeing the industry switch up on him depending on how hot he was at the time in the music game.
“Being in the industry, it’s clear when people are or aren’t f—ing with you,” Khalifa told the Call Her Daddy podcast on the April 18 episode. “When they’re f—ing with you, you’re at every party, every show, every this. When they’re not f—ing with you, you’re calling, and you’re like, ‘Ay, this party’s coming up.’ They’re like, ‘I know, but you don’t have an invite this year.’”
He continued: “You’re like, ‘Damn, they’re really ain’t f—ing with me.’ I didn’t do nothing. I didn’t change. I just maybe didn’t put up the numbers that they wanted me to or they got more people that they’re in line to do things for. So it’s like fighting for that position.”
Fifteen years after his classic mixtape, Wiz Khalifa returned on April 18 with his Kush + Orange Juice 2 sequel. The project features assists from Gunna, Ty Dolla $ign, Curren$y, Juicy J, Chevy Woods, Max B, Luh Tyler, O.T. Genesis and more.
On April 4, BAND-MAID released their new song, “Ready to Rock,” the opening theme for the TV anime Rock Is a Lady’s Modesty. The raging, breakneck instrumentals and emotional vocals that are the quintessence of the band resonate perfectly with the anime’s story and the feelings of its main characters. The collaboration is a match made in heaven.
Billboard JAPAN talked to the five members of the band at length about everything from the process of creating the new song to the band’s nationwide tour, the second anniversary of the new chapter opened by band, which is now in its 12th year, and their aggressive pursuit of their own musical direction.
Your new song, “Ready to Rock,” is the opening theme for the TV anime Rock Is a Lady’s Modesty (referred to from here on as Rock Is…). It tells the story of an all-woman band, so it has a lot in common with BAND-MAID. What led to you work on the song?
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KANAMI (Guitar): We were approached about performing the opening theme, so we started out by all reading the original comic, and then I started writing the music. But there wasn’t much along the lines of “Make it like this,” was there?
SAIKI (Vocals): Not really. They extended the offer to us because they knew what we were like. They said “BAND-MAID is perfect for Rock Is…,” which was great to hear. So the final song ended up being very true to BAND-MAID.
KANAMI: When I read the original manga, my mental image was one of drums and guitars crashing against each other and climbing to new heights. I wanted our song to express that, so I started the song out with this frenzied drumming and guitar playing.
So in terms of the anime, that would be Lilisa Suzunomiya (Guitar) and Otoha Kurogane (Drums).
AKANE (Drums): Right. I was totally influenced by Otoha (laughs). She’s an unparalleled drummer, and I wasn’t about to let her beat me, so I drew on all my drumming technique. It was the technically hardest song we’ve ever done. I just can’t emphasize that enough.
SAIKI: Initially, the drums came in even earlier right?
KANAMI: Yeah. In the first demo, the vocals also started at the same time, but SAIKI and Kobato said that if we wanted to bring out the true qualities of Rock Is… we shouldn’t have vocals right out of the gate but instead should highlight the guitar and drums. So I cut the vocals.
MISA, what approach did you use given what was going on with the guitar and drums?
MISA (Bass): The guitar and drums go wild, so I realized that if the bass went wild, too, then the whole thing would just fall apart. Instead of doing a really intricate bass line, I chose to only have the bass come out in front once the guitar and drums had settled down a bit.
Did you all talk together as a band about the relationship between BAND-MAID and the world of the anime?
SAIKI: Not at all. When I read the manga, I thought the drummer, Otoha, was a lot like AKANE, and the bassist, Tamaki, was a lot like MISA. But above all, the guitarist, Lilisa, was just like KANAMI (laughs). Partly because of that, I was really sucked into the manga. The gap between the way the characters looked and the way they acted was also like BAND-MAID. There were all these elements that resonated with me, so I think I naturally found myself drawn to it.
Miku Kobato (Guitar/Vocals): Having that gap is really important for us, too, so there were a lot of parts which matched up with us, and that’s how it all turned out, po.
SAIKI, what did you have in mind when you were writing the lyrics?
SAIKI: Reading the original manga, there were so many things that resonated with BAND-MAID, like the gap between how they looked and the music and they played, or the pressure that people around them placed because they were expected to be refined ladies. It reminded me of how we were when we started out. Back then, our costumes weren’t as distinctive as they they are now, and there were people who just couldn’t accept the gap between how we looked and the music we played. Sometimes, it was hard, so while I was reading the manga, I was thinking “Don’t let them get you down!” (laughs) When I wrote the lyrics, it was with this idea of “Don’t give up, just believe in yourself.”
Lilisa’s way of thinking also shares a lot in common with BAND-MAID’s direction. That passion burning inside, that hidden fighting spirit, is the same as ours, so it really resonated with me. The lyrics reflect how you might not show it on the outside, but you’re fired up inside.
Did BAND-MAID show that inner fighting spirit from the first time you performed on stage, or was there something that changed and brought it out of you?
SAIKI: Our songs themselves changed a lot, we decided on our direction, and we built up our musical repertoire. And through that process, we finally discovered our own style. That process was also similar, in many ways, to Rock Is….
Kobato: When we started, there were a lot of people who were like, “They’re a band of women dressed as maids, so their music’s not going to be very cool, right?” We wanted them to hear our music and go “Oh, wow!” I think we had that kind of fighting spirit from the very start, and we still do, po.
I’m sure watching Rock Is… while thinking about how it matches up with BAND-MAID would make the viewing experience an even more emotional one.
AKANE: There’s this scene where Otoha says, “Why would you play music for any other reason than your love for it?” That way of thinking about music is the same as how I felt about music when I started, long ago. Seeing that scene made me think again about what kind of drummer I want to be and what kind of music I want to make. One of my skills as a drummer is double kick drumming, so I used double kick pedals on the song. This song brought out my own distinctive style. I’m always taking on new challenges, and with this song, I knew exactly what I wanted to do, which felt great. The song really brims with drive and energy.
MISA: At some point, without me even realizing it, I’d solidified my own style and rules as a bassist—my position in the group, the position of the bass line within a song. The bassists I like don’t play bass lines with a lot of movement, and the music I listen to is really simple, but since joining BAND-MAID I’ve grown a lot with the band, and my bass lines have also grown.
SAIKI: The first song we wrote on our own that got a good reception, “alone” (released in 2016), gave us all confidence in our style. It showed that we were on the right track, and it defined the direction of our band. For the first two or three years, it was all very flexible and dynamic.
Kobato: It’s not like we started out wanting to copy some other artist. From the start, we wanted to establish our own style, and I think it took about two years for us to do that, po.
Your next tour will start with a show at Tokyo’s LINE CUBE SHIBUYA on May 10. What is the theme of the 2025 tour going to be?
SAIKI: Last year, BAND-MAID opened a new chapter in its history. This is the second year of that new chapter, and last September we released our first new album in three years, Epic Narratives, so I want to develop that album further through the tour. We keep talking about our new chapter, and we’re going to be playing across the country, so I want everyone to realize that this isn’t going to be like our past tours.
Do you have a message for your overseas Masters and Princesses?
Kobato: We’ve announced our tour schedule for May to August, which is going to overlap with the summer, so how about coming to Japan and traveling with BAND-MAID, po? (laughs)
KANAMI: We always have a lot of overseas fans in the audience, and I just want to express my deep thanks.
—This interview by Takayuki Okamoto first appeared on Billboard Japan
The second annual I’m Just Me: A Charley Pride Celebration of Inclusion brunch will take place May 6 at the Hall Park Hotel in Frisco, Texas, two days before the 2025 Academy of Country Music Awards.
Mickey Guyton, a two-time ACM Award nominee and the first Black woman to host the ACM Awards, in 2021, will emcee the event that celebrates honorees who represent Pride’s legacy in country music as leaders in hope, advocacy and innovation.
This year’s honorees are country singer/songwriter Brittney Spencer, iconic artist Lionel Richie, Guyton, “A Bar Song (Tipsy)” singer Shaboozey, the Freddy Fender Estate, F2 Entertainment president/CEO Fletcher Foster, Presidential Medal of Freedom recipient and grandmother of Juneteenth Opal Lee, Amazon Music head of country music Michelle Tigard Kammerer, Tennessean country music reporter Marcus Dowling and mtheory CEO Cameo Carlson. (More honorees are to come.)
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The groundbreaking Pride, who died in 2020 at age 86, was country music’s first Black superstar, breaking down barriers despite facing racial adversity and going on to win three Grammy Awards. He was the first Black artist to win entertainer of the year at the Country Music Awards, and he received the ACM’s Pioneer Award and the Recording Academy’s Lifetime Achievement Award. He scored 29 No. 1s on Billboard’s Hot Country Songs chart and was the first Black artist to reach No. 1 on the chart.
The invite-only I’m Just Me event will be presented by Amazon MGM Studios, in partnership with Amazon Music and the Academy of Country Music.
“We’re honored to support this celebration that uplifts trailblazers pushing the genre forward, while reaffirming our commitment to broadening the narrative and welcoming a wider range of voices into the spotlight,” Ryan Redington, GM of Amazon Music, said in a statement.
Reba McEntire will host the 60th ACM Awards, which will stream free live across more than 240 countries and territories on Prime Video and the Amazon Music channel on Twitch from Ford Center at The Star in Frisco, Texas, on Thursday, May 8, at 8 p.m. ET/5 p.m. PT.
Madonna‘s steamy video for her 1987 True Blue single “La Isla Bonita” has joined the YouTube billion-views club. The visual for the song featuring flamenco guitar, maracas and Latin percussion was helmed by prolific film (Pet Sematary Two, Best. Christmas. Ever!) and TV director Mary Lambert, known for her work on music videos for Janet […]
Mrs. GREEN APPLE’s “KUSUSHIKI” holds at No. 1 for the second week on the Billboard Japan Hot 100, dated April 23.
The The Apothecary Diaries Season 2 Part 2 opener debuted at No. 6 on the tally revealed April 9 and hit No. 1 last week. Compared to the week before, downloads for the track are down to 61%, streams to 90%, and video views to 63%, while karaoke points are up to 142% and radio airplay to 292%. The latest hit by the three-man band rules streaming and radio while coming in at No. 3 for downloads, No. 2 for video, and No. 59 for karaoke.
ME:I’s “MUSE” jumps 73-2. The track began streaming March 17 and debuted at No. 59 on the chart released March 26. After falling off the list, it re-entered at No. 85 on April 9, rose to No. 73 the following week, and hits No. 2 this week after selling 234,404 CDs during the chart week.
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HANA’s “ROSE” slips a notch to No. 3. The track continues to rule video for the third consecutive week, while coming in at No. 13 for downloads, No. 2 for streaming, and No. 7 for radio.
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Following at No. 4, also down a spot from last week, is Mrs. GREEN APPLE’s “Lilac.” The song has been particularly popular in karaoke, topping the metric for 15 consecutive weeks since its release on Jan. 15.
Sakanaction’s “Kaiju” stays at No. 5. Points for the track are down in downloads, streaming, radio, and video, while gaining slightly in karaoke (101%) compared to the previous week.
King Gnu’s “TWILIGHT!!!” debuts at No. 7. The track was released on April 18 as the theme song for the animated movie Detective Conan: One-Eyed Flashback. Despite only being counted for three days, the song racked up 14,679 downloads to top the metric, and comes in at No. 25 for streaming, No. 8 for video, and No. 12 for radio. King Gnu surprised fans with a free live performance in Kabukicho, Tokyo on the song’s release day, drawing an estimated 6,000 people to the plaza in Shinjuku, the largest crowd ever for the location.
Outside the top 10, “GBAD (Number_i Remix),” the collaboration between Jackson Wang and Number_i, bows at No. 13. The track comes in at No. 2 for downloads, No. 56 for streaming, and No. 37 for videos.
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 April 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Noah Kahan has long joked that he’s the “Jewish Ed Sheeran.” And this week, the two singer-songwriters finally got together, playing a set of acoustic songs — including one of the British pop star’s unreleased tracks titled “Old Phone” — in a Nashville pub.
In one video posted to Instagram by the “Shape of You” singer Tuesday (April 22), he and the Vermont native sit across from each other on the intimate barroom floor of Santa’s Pub in Tennessee’s capital, both of them wielding acoustic guitars. Smiling, Sheeran and Kahan belt out the chorus to the latter’s breakthrough 2022 smash “Stick Season.”
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“I love Vermont, but it’s the season of the sticks/ And I saw your mom, she forgot that I existed,” they belt, joined by dozens of fans seated around them. “And it’s half my fault, but I just like to play the victim/ I’ll drink alcohol ’til my friends come home for Christmas.”
“Shut down @santaspub in Nashville to do dueling songs with @noahkahanmusic,” Sheeran captioned the performance. “What a night.”
According to other clips posted by guests in attendance, the pair also sang “All My Love” and “Dial Drunk” from Kahan’s Billboard 200 No. 2 album Stick Season. Sheeran also enlisted the folk singer to perform the unreleased “Old Phone,” remarking, “I recorded this song, I was like, ‘I think it kind of sounds like a Noah Kahan song … this is a like a full-circle moment for me.”
“That’s f–king mind-blowing,” Kahan quipped.
“Conversations with my dead friends/ Messages from all my exes,” Sheeran then sang on the track, which he previously performed on The Tonight Show ahead of its May 2 release, as Kahan joined him on guitar. “I kinda think that this was best left/ There, in the past, where it belongs.”
The performance marks just the latest pub pop-up the “Perfect” musician has hosted ahead of his upcoming album, Play, with Sheeran also making headlines for his surprise mini concerts at other bars in Boston and Nashville this year. On that note, Sheeran also built a fully functional bar called the Old Phone Pub in Ipswich, Mass., to promote his new song “Azizam,” which debuted at No. 28 on the Billboard Hot 100 in April. Shortly afterward, he reconstructed the pop-up at Coachella, where he sang duets with Shaboozey and Alex Warren in addition to performing on the Mojave stage at the festival.
Watch Sheeran and Kahan perform “Old Phone” and “Stick Season” below.
France’s biggest pop star, now striking out on her own, continues to challenge the status quo and captivate audiences around the globe.
How do you reinvent yourself after establishing, in less than a decade, a place as one of the cornerstones of the French music scene — with over 6 billion streams and 24 diamond certifications (16 in France, 8 internationally)?
“I’ve already asked myself that question,” Aya Nakamura admits.
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“My answer is that when you’re an artist, you’re supposed to evolve. Otherwise, you stop living your music. At some point, you feel like you’re no longer truly yourself. I believe that as long as you embrace who you are, as long as you’re still living, still feeling emotions, you’ll have no problem channeling that energy back into your music… At least, when you’re passionate.”
At 29, the singer has already left an indelible mark on French pop. Her hits “Djadja” and “Pookie,” sung entirely in French, have travelled the globe — so much so that she’s become the obvious choice to represent francophone music at the upcoming Paris Olympic Games.
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“I wonder if I could have done the same thing had I been born 20 years earlier,” she reflects. “It definitely wouldn’t have been this easy… especially because there’s something new here — a Black woman wanting to sing in her own bold, unapologetic style, without waiting for anyone to open doors for her, and reaching her audience through different channels.”
Now fully independent, Aya Nakamura is turning the page and beginning a new chapter — one that kicks off with her first major signing.
The Beginnings
Born in Bamako, Mali, Aya arrived in France just a few months later. Coming from a family of griots — West African storytellers and musicians — she grew up in Aulnay-sous-Bois, in a household where music was already part of everyday life.
“It’s kind of special, because my mother was a singer and would’ve loved to have a career. Now, I’m doing it in her place — almost like a form of redemption for her. I want to go all the way, and I hope it can inspire other women to pursue their own dreams.”
Her real start came in 2014, when she posted her first track, “Karma,” on Facebook. A fan of the TV series Heroes, she took inspiration from the character Hiro Nakamura to create her stage name.
The turning point came in 2017 with her debut album Journal Intime, now certified platinum. Newly signed to Warner Music France at the time, Aya Nakamura laid the foundation for the signature sound that would come to define her. On the track “Oumou Sangaré,” she paid tribute to her Malian heritage — a connection she’s been feeling drawn to again.
“Lately, I’ve been thinking more and more about doing something like that again,” she says.
Olympic Recognition
Aya Nakamura’s international breakthrough came in 2018 with the release of “Djadja.” The track topped the French charts for two consecutive weeks and quickly crossed European borders. In the Netherlands, it made history: for the first time since Édith Piaf in 1961, a French-language song by a female artist reached No. 1 on the charts.
This meteoric success was cemented with the release of her second album, Nakamura, in November 2018. Fueled by diamond-certified singles like “Copines,” “La Dot” and “Pookie,” the album became a commercial phenomenon unlike anything seen before for a francophone artist. It went diamond in France with over 500,000 copies sold, matched by another half-million internationally. Today, it holds the record as the most streamed francophone album in Spotify history, with over 2 billion streams.
Her trajectory continued with two more albums, AYA and DNK, but it reached a symbolic high point on July 26, 2024, when she performed on the Pont des Arts during the opening ceremony of the Paris Olympic Games. Accompanied by musicians from the Garde Républicaine and the French Army Choir, the performance became the most-watched moment in French television history, drawing 31.4 million viewers.
“What can I say? People often call it ‘iconic.’ It took me six months to truly process what I’d done,” she admits. “In the moment, you’re just pushing forward, head down, working hard to deliver something you can be proud of. Then, when you step back and look at everything — the impact, the debates… it feels like a movie. In the end, I feel like I made it.”
In February 2025, just months after her global triumph, Aya surprised fans with “Chimiyé” — a single that marked a distinct shift in her discography. Collaborating with rapper Alpha Wann and the Don Dada team (JayJay, Selman, StillNas), she ventured into new sonic territory, blending R&B with elements of spoken word and rap.
“I gave myself the challenge of making something more rap-leaning — without actually being a rapper. That’s what pushed me out of my comfort zone,” she explains. “I like working with people who are a bit unexpected. Some of my producers don’t even usually listen to my music — and that keeps things fun. Without those collaborations, I would’ve never made tracks like ‘Djadja’ or ‘Pookie.’”
On Feb. 23, 2025, she broke yet another record: the “Djadja” video surpassed one billion views on YouTube, becoming only the fourth French-language song to reach that milestone — and the first by an African artist to do so.
Next stop, the Stade de France?
“Yes, but not just yet,” she smiles. “I still want to take my time. In France, it feels like the final step — and before I get there, I want to keep sharing other shows, other moments with my audience.”
Beyond Borders
How can one explain such a rare ability to transcend language barriers? Aya Nakamura pauses before answering.
“I didn’t realize right away that I had an international audience — it really happened gradually. People would tell me, ‘You’re being listened to all over the world,’ but it was through interactions with fans on social media and stumbling across videos that I began to understand the scale of it. I found fan accounts in Brazil, in Venezuela… I travel too, and I hear my music everywhere — in the U.S., in Thailand. But I don’t really create my music with a specific place in mind. I just try to offer something that feels real to me — and if it resonates worldwide, that’s a bonus.”
That global reach also shows in her collaborations. After teaming up with Colombian superstar Maluma for a “Djadja” remix in 2020, she joined forces with Nigerian sensation Ayra Starr for a reimagined version of her hit “Hypé” in March 2024 — a track that climbed to No. 17 on the U.K. charts, a rare feat for a song sung mostly in French.
“I think music is energy,” she says. “The songs that connect most are often the ones where I’ve poured the most of myself into them emotionally. People don’t just listen for the lyrics… It’s like when I used to listen to artists like Rihanna growing up, without understanding everything she was singing. What connects with people when they hear certain songs of mine is the energy in that moment — and also the blend of influences inside me that you can hear.”
That emotional authenticity, combined with her distinctive vocal style and a French language she molds into her own rhythm and expression, forms an instantly recognizable artistic identity.
“I don’t know if that’s what makes the songs universal,” she reflects, “but I think it’s the honesty I put into them, the constant search for something new. I’m not trying to ride the latest wave — I just want to offer something I’m 100% proud of, without making any artistic compromises. Maybe that’s why it speaks to people. I try to follow my instincts and creative desires, while keeping my standards high.”
From Music to Fashion
Aya Nakamura’s cultural influence now extends well beyond the realm of music. In February 2023, she was named global ambassador for Lancôme, marking her entry into the exclusive circle of luxury brand muses — a milestone that would open the door to a new world of opportunities.
On May 6, 2024, she received one of the most coveted invitations in fashion: the Met Gala in New York. With her appearance, she became only the sixth French musical artist to walk its legendary red carpet, following icons like Catherine Deneuve, Vanessa Paradis, Lou Doillon, Charlotte Gainsbourg and Carla Bruni.
Just weeks later, on June 23, 2024, Vogue editor-in-chief Anna Wintour personally selected her to perform her single “Fly” at the prestigious Vogue World Paris show, held in Place Vendôme. Dressed in a custom haute couture gown by Jean Paul Gaultier, Nakamura took part in a striking celebration of music and fashion.
“I really love fashion and the creative universe it represents,” she shares. “I’m enjoying getting deeper into it. I absolutely loved performing at Place Vendôme and being part of this blend of music and fashion. I felt completely at ease — and I found the entire production of the event to be incredibly high-quality.”
Independent Now
Alongside her growing institutional recognition, Aya Nakamura has taken control of her professional destiny. After overseeing her own artistic direction as early as “Djadja,” she took the defining step toward full independence by launching her own label.
“It’s a whole different thing,” she admits. “To be honest, I’ve always felt independent — especially when it comes to creative direction. I’m deeply involved in all the strategic decisions, from picking singles and setting release dates to choosing the visuals and producers I work with. Becoming independent has given me a whole new perspective on the business side. Now I can make all the decisions — and take full responsibility for them, whether they lead to success or not.”
“I’m still surrounded by a great team and I know when to let go,” she adds, “but mastering the entire process around the music, not just the creation part, is something I find truly exciting. It matters to me.”
Beyond her own career, Nakamura is also committed to supporting the next generation of artists.
“I’ve already signed someone — though no one knows yet,” she reveals with a smile. “His name is RnBoi. He’s young and just starting out, and it’s going really well. We met about six months ago, after I invited him to perform at my DVM Show. I took the leap — I think he has something special.”
Pop Star and Mother
Behind the icon is a young woman and a mother of two daughters, Aïcha and Ava, born in 2016 and 2022, respectively. Balancing an international career with motherhood is a daily challenge.
“To be totally honest, it’s a bit complicated with fame, but my balance comes from trying as much as possible to live like a normal person,” she shares. “For example, I go to the park with my kids, I cook for them — these moments are precious to me. It’s not always easy, and sometimes I try to be discreet to maintain a sense of normalcy. I’m really determined to preserve that freedom and have moments that I can live fully, away from the spotlight.”
Aya Nakamura
Billboard France
New York’s City Parks Foundation announced the lineup for its 2025 season of Capitol One City Parks Foundation SummerStage series of shows on Wednesday (April 23). The series of 70 free and benefit concerts and performances will bring music to Central Park and 13 other neighborhood parks across all five boroughs this summer, kicking off on June 4 with a New Orleans-inspired show featuring Marcus Miller, Tank and the Bangas and the Soul Rebels in association with the Blue Note Jazz Festival.
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The rest of the eclectic roster for the 39th edition of SummerStage will feature jazz, hip-hop, rock, salsa, reggae, Afrobeat, soul and pop artist, as well as DJs and contemporary dance performers from around the globe.
“I am thrilled to announce our 2025 SummerStage lineup, a stellar reflection of what makes our festival so unique and beloved,” said Heather Lubov, executive director of City Parks Foundation in a statement. “The huge variety of artists we’re presenting and the parks where we’re located reflect our city’s demographic and cultural diversity, but they also serve to unite us as neighbors and as lovers of music, regardless of our differences.”
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Among the other acts slated to take the stage are: The Roots, Soccer Mommy, Femi Kuti & The Positive Force, Rakim, Celia Cruz Centennial Celebration, Big Freedia, Camilo, Jessica Pratt, Bob Sinclair, IZA, Hurray for the Riff Raff, Awich, Frankie Negrón, La Sonora Poceña and Morgan Freeman’s Symphonic Blues, among others.
This season’s events will take place in Marcus Garvey Park in Harlem, Tompkins Square Park in the East Village, Herbert Von King Park and The Coney Island Amphitheater in Brooklyn, Flushing Meadows-Corona Park in Queens, St. Mary’s Park and Crotona Park in the Bronx, Stapleton Waterfront Park on Staten Island, and SummerStage’s flagship venue, Rumsey Playfield in Central Park. Performances are free and open to the public, with the exception of the ticketed benefit concerts in Central Park.
Other 2025 SummerStage highlights include:
The Aussie BBQ: a June 14 celebration of sounds from Down Under featuring father-son hip-hop duo Flewnt and Inkabee, indie pop artist Gordi, singer-songwriter Grace Cummings, EDM duo PINES, garage rockers The Grogans and a special appearance from beloved children’s music group The Wiggles.
Nordic Next: a June 15 show with sounds from Nordic nations featuring singer-songwriter Jakob, Swedish indie-folk singer Sarah Klang and Danish art-pop violinist/singer Astrid Sonne.
New York Sings Yiddish: a June 30 showcase of Yiddish music and folklore with sets from multi-instrumentalist Zalman Mlotek and klezmer/jazz fusion band Frank London’s Klezmer All-Stars.
Canadian music showcase: a July 2 show featuring Toronto R&B singer Charlotte Day Wilson and folk-rock band The Weather Station.
Latin Alternative Music Conference (LAMC): July 9 show with Colombian Latin pop band Morat, with punk/reggaeton band Planta Industrial and a July 12 show with Colombian singer-songwriter Camilo and Colombian pop singer and 2024 Latin Grammy best new artist winner Ela Taubert.
Big Freedia: the New Orleans bounce queen will take the stage at Herbert Von King Park in Brooklyn with Black trans femme choreographer Courtney “Balenciaga” Washington.
Bastille Day Celebration: a July 13 showcase with performances from house DJ Bob Sinclair, hip-hop brother duo Big Flo & Oli, singer-songwriter Patrick Bruel and pianist/singer ESTL.
The Roots: The Philly hip-hop collective and Tonight Show house band will play Flushing Meadows-Corona Park in Queens on July 20.
Femi Kuti: a July 27 show with the Nigerian superstar and his band, the Positive Force, along with New York rap crew dead prez — celebrating their 30th anniversary — and poet Maryam Bukar Hassan.
Frankie Negrón: Tropical/salsa star Negrón will play the Bronx’s Crotona Park on July 31.
Taiwanese Waves: an August 3 showcase celebrating indigenous Taiwanese culture with contemporary dance company Bulareyaung Dance Company, indigenous Paiwan pop star ABAO and singer-songwriter Enno Cheng.
Rakim: The legendary New York MC will take the stage at Stapleton Waterfront Park on Staten Island on August 9.
Celia Cruz Celebration: the tribute to the legendary Queen of Salsa’s centennial on August 9 will feature Cuban singer/pianist Aymée Nuviola and Afro-Cuban singer Brenda Navarrete.
La Sonora Ponceña: The Puerto Rican salsa band will play Stapleton Waterfront Park on August 10.
Soccer Mommy: indie rock band will close out the Central Park season on Sept. 16 with help from Hurray for the Riff Raff and Dummy.
The series will include celebrations of New York’s cultural communities with guest curators including MIKE’s Young World V — with July 12 sets from Roc Marciano and The Alchemist — DJ Rekha’s Basement Bhangra Beyond dance show with London-based Punjabi singer Tara Lily on July 19 and Coney Island’s NEMS’ second GORILLAFEST hip-hop show on July 26. In addition, legendary DJ Funk Flex will celebrate the sounds of hip-hop and R&B across the boroughs on Aug. 1 (the Bronx), Aug. 16 (Coney Island) and Aug. 17 (Central Park) and DJ/producer King Britt will host his Blacktronika Festival with back-to-back shows in Central Park (Aug. 16) and Marcus Garvey Park (Aug. 17).
SummerStage will put the spotlight on a number of female artists as well, with bluegrass/Americana singer Rihannon Giddens playing Central Park on June 25, Indian-American singer-songwriter Asha Puthli taking the stage on July 23 and folk singer Jessica Pratt performing on July 24.
Other artists who will perform as part of the season include: Lettuce with Styles P (June 14), Chris Tomlin (July 11), Cymande (July 23), The Originals featuring Rich Medina, Stretch Armstrong and Tony Touch (Aug. 10) and various artists at the Charlie Parker Jazz Festival (Aug. 22). For the full line-up click here.
Summerstage
Courtesy Photo