State Champ Radio Music News
Page: 99
Trending on Billboard
LiSA and Demon Slayer: Kimetsu no Yaiba: the record-breaking collaboration that established a milestone in the history of Japanese entertainment is back. LiSA’s “Zankoku na yoru ni kagayake” (English title: “Shine in the Cruel Night”) graces the blockbuster animated movie Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle — Part 1: Akaza Returns as one of its two theme songs alongside Aimer’s “A World Where the Sun Never Rises.”
Explore
See latest videos, charts and news
Yuki Kajiura, who composed the soundtrack for the movie with Go Shiina, wrote “Shine in the Cruel Night.” Kajiura is the songwriter responsible for some of LiSA’s biggest Kimetsu collabs that perfectly capture the work’s universe, including “from the edge,” “Homura,” “Akeboshi,” and “Shirogane.” This comeback marks a significant chapter in LiSA’s hits-laden music career.
The songstress saw her singing overlap on screen with the actual movie footage for the first time shortly before this conversation with Daisuke Koyanagi (Interview inc.). Brimming with excitement, she spoke enthusiastically and deeply about the journey that led to her return to the world of the Kimetsu anime.
The movie was amazing, wasn’t it? We just saw it.
LiSA: I thought the animation’s production team was incredible. The way ufotable illuminates the scenes in the movie is just so beautiful. Throughout the entire film, the light in the characters’ eyes, too… the Infinity Castle movie is a work of art that makes abundant use of torchlights and illumination. The skillful craftsmanship of the artists is amazing, and the story is also great.
It really felt like the final battle in Demon Slayer: Kimetsu no Yaiba has begun at last.
Yeah. The story makes it clear that no one can be missing from it.
And this is also your first Kimetsu theme song since the Mugen Train story arc.
While we were working on it, Ms. Kajiura and the team at ufotable talked about making a song that would grace the story. Ms. Kajiura and I wanted to make a song with a quiet chorus that would let everyone reflect on the tale so far and feel emotional, a tug at their heartstrings.
It was amazing. Perfectly intertwined with the story. It makes you wonder what kind of roadmap they created and how much they calculated to achieve that level of precision.
Ms. Kajiura puts thought into how a song will become part of the story, and also writes them with a lot of love for the singer. I think she considered how I could sing it as my own song for a long time to come. We discussed it together, exchanging ideas like, “How about something like this?” or “What about this kind of feeling?”
I’m guessing that until now, the situation was more like “LiSA sings songs written by Yuki Kajiura,” but this one was created differently, with you involved in closer proximity.
I was happy about that, too. Ms. Kajiura believed in me and welcomed me into her circle as someone she could talk to about music. At first, my mind was to just entrust her with (writing the song). In the sense that I have complete faith in her. I can tell that she cares deeply about (Kimetsu) and about me, too, so I thought my job was to interpret that and sing the songs. But after seeing the movie just now, it struck me again that everyone involved poured their hearts into every single scene. I felt that no one wanted to compromise on anything. So they probably also wanted to focus on the music and work closely with Ms. Kajiura to pursue it to the utmost.
Right.
The fact that they took my views into consideration helped me interpret the song with greater clarity when I sang it, and I felt like we were fighting together, which strengthened my commitment towards (the movie).
I get what you mean. How did you feel when you first heard that you’d be working with Ms. Kajiura again on a theme song for Kimetsu?
We last “fought” together on the Mugen Train story arc TV series [televised in 2021, a year after the Mugen Train movie opened in theaters], so being able to work with her again for this felt like we were taking it on together, just like in the story.
It’s been about five years since “Homura” (Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train theme song) and you’ve gone through various phases in your career. Ms. Kajiura is someone who helped you seize a huge opportunity. Working on Kimetsu again with someone who knows you so well must have been both exciting and stressful, stirring up all kinds of emotions.
To be honest, I didn’t feel much stress about it. After all, anything that comes from working with her on a project like Kimetsu is bound to be good. I was just excited to see what kind of song she would give me to sing and what new perspectives the work itself would open up for me.
What was your impression when you first received the demo from her?
When I first heard it, it was a bit darker. It felt like it was a little more in tune with a darker mood.
And that changed with each take?
Right. When I received the song, I wanted to talk to her directly, so I visited her studio. I spoke to her of my resolve to fight alongside her as comrades in the same battle, and how I interpreted the song as “a story about us meeting again and going to defeat Muzan, our final enemy” and that I hoped my resolve would be reflected in it. I think that’s why it became more emotional and dramatic during the process. It was the same way with “Homura,” I was the one who wanted to include bright, hopeful phrases, while Ms. Kajiura wrote about sadness as it is. My impression of her first version of that song was also sadness being depicted as sadness.
That’s interesting.
(For “Cruel Night,”) I didn’t convey any wishes to her or anything, just talked about how I felt as we were about to fight alongside each other, like I mentioned. But I did tell her that rather than singing about sadness in a tragic way, I wanted to convey a bit more hope. From Tanjiro (the protagonist of Kimetsu) and the others’ perspectives, they’re having a rough time, but that’s why they don’t want to give up on victory. Then she arranged it into the chorus we have now.
That means you felt it was perfectly natural to talk directly to Ms. Kajiura about such things, and that you felt a sense of responsibility in being involved with the work.
Yes, and also that she lets me do it. She’s left that door open for me, and after working together on four songs, I feel like we’ve built up a relationship of trust, so I figured she’d be OK with it.
And your vocals on this are incredible too. Starting off with a nuance like it’s blended into (the movie), it gradually becomes the theme song, and then ends up as a LiSA number. I imagine the process of making that happen must have been carried out with great precision and attention to detail. How did you approach it?
When I recorded the demo, I was thinking how the chorus shouldn’t sound too bright, but I have a bright voice to begin with, so no matter how hard I try, it ends up sounding like that. I spoke to Ms. Kajiura about it and she told me, “The brightness of your voice is wonderful and that’s what I love about it.” So I decided to trust her to handle that bright quality of my voice. She also said that I didn’t have to lower it on purpose. Since I was going to sing the chorus like that, I figured I’d sing the other parts as someone other than myself… with various personalities, and then just be me in the chorus. I think I was able to sing with various personalities because she said she loved my voice.
You can hear completely different vocalizations in each part.
It was so much fun. For my performance of “Homura” at Nippon Budokan (May 15), too, I was like, “It’ll be ‘LiSA’ no matter how I do it, so I might as well go all out!” [Laughs] I don’t have to try to be LiSA to make her manifest, so I can focus on the emotions. The joy of singing like that is what I’ve gained from Ms. Kajiura’s music.
That’s true, your performance of “Homura” at the Budokan was different from before. Or rather, it felt like your interpretation of the song has become more multi-layered. Does that have something to do with you having recorded this song (“Cruel Night”)?
Yeah, it has a lot to do with it. If “LiSA” is going to manifest without my being like, “This is LiSA!” then I can enjoy using myself more freely and sing songs that fit the music.
Right. If you let “LiSA” out at full blast even for a second, you can make her manifest throughout. At this point in your career, you just have to let that full blast out once, then the rest will become a proper LiSA number even if you create the story that fits the song. Your methodology is changing and becoming more precise. I’m guessing you’ve felt that way for a while. How has it deepened?
I hope I’m not misunderstood, but one thing is that I’ve gained confidence in expressing “LiSA.” Songs like “Rising Hope,” “Catch the Moment,” and “Gurenge” are examples of this, but the LiSA that manifests through identifying techniques is unbreakable now, no matter what I do. I now have a lot of songs that give me confidence that she’ll never disappear. That’s why I can enjoy other ways of expression and feel the potential. I just finished watching the movie, so I’m really identifying with Tanjiro right now. I think I’ve become really fast with a sword because I’ve trained so much. [Laughs] I’ve grown stronger through training.
You’ve become stronger through training, and faster, and it’s like you have a clear view of your surroundings even while fighting at incredible speeds. Like a heightened awareness… the way you manifest “LiSA” and her world is unclouded now.
Yeah. Today, while watching the movie, there were many phrases that made me go, “I get it!” I’ve read the original manga so many times, but there were still lots of phrases that I wanted to remember as words to live by. I think they resonated with me because I’m in this phase of my life right now.
What I found particularly impressive about “Shine in the Cruel Night” was how bare and raw the vocal mix sounded. The last chorus in particular sounds so raw like nothing was done to it after recording. It feels so realistic that it’s like you sang it and just left it as is.
Ms. Kajiura said, “That’s great!” on the first take, so I think that’s what they used.
She did? That’s amazing. When someone tells you, “That’s great!” when you sing once is the ultimate sign of trust.
I always practice really hard for recordings, but this time I approached it with the mindset of creating something together with Ms. Kajiura. As we went through multiple takes, there were a few instances where she said, “This is it!” And whenever she said that, I was thinking the same thing while singing it. But I’m greedy, so I think, “If I could do it now, I could sing it even better if I try a bit harder,” and record it again, but usually the first take is better. [Laughs]
So you were like, “Oh, this will be the one,” when you’re singing it.
Yeah, exactly. It’s like you’re in the zone at times like that. It’s more of a sensory experience so it’s not like you’re thinking with your brain, and you’re not controlled by your emotions, either. When you sing from your senses, that’s what comes across, I think. It was the same with “Homura.” That’s why I trust Ms. Kajiura so much.
“Shine in the Cruel Night” is one of the biggest and greatest achievements of what Demon Slayer: Kimetsu no Yaiba, Yuki Kajiura, and LiSA have built up over time. The universe that you’ve all created is proof of the wonderful time you’ve spent together.
It really is an all-out battle. Maybe that’s what Demon Slayer: Kimetsu no Yaiba is all about. Everyone strives for that state and pours their love into it. It’s like no one feels anything else.
—This interview by Daisuke Koyanagi first appeared on Billboard Japan
Trending on Billboard
Tyler, The Creator has added “Mother,” which he described as the first song he made for his eighth album, Chromakopia, but took off last minute, to the LP’s deluxe edition on its first anniversary.
In an Tuesday (Oct. 28) Instagram post, the rapper reflected on riding his bike through his old neighborhoods — Inglewood, Hawthorne and South Bay in California — in 2020, and questioning what home really meant. “Is it a feeling i carry or a place? convos with my mother i found out things that was opposite of what i’ve built a narrative around,” he wrote underneath a childhood photo of him and his mother.
The IG carousel also included a photo of his RIAA platinum plaque for Chromakopia, snapshots from his recently concluded world tour with openers Lil Yachty and Paris Texas, and a video of him recording with Thundercat in the studio.
While Tyler said “Mother” is “pretty much the grounding piece of the album,” he also opened up about approaching Chromakopia as his diary. “things ive touched on before, things i havent. the pressure of monogamy, the fear of fatherhood, how i felt about my hair, the judging of sexual freedom, my paranoia, etc. nothing too ‘deep’ or crazy, just thoughts that stay on loop,” he continued. He also said Chromakopia “ended up taking me places the others didnt. 15 years in; biggest its ever been. im in awe of the success…. its been a year since release, time is moving. to those who love this body of work, tell me about it. i hope it holds weight in your life.”
Tyler released Chromakopia one year ago on Oct. 28, 2024, via Columbia Records. The 14-track project spent three weeks at No. 1 on the Billboard 200 and notched three top 10 hits: “Noid” (No. 10), “St. Chroma” featuring Daniel Caesar (No. 7) and “Sticky,” featuring GloRilla, Sexyy Red and Lil Wayne (No. 10). It earned 299,500 equivalent album units in its first week, marking Tyler’s biggest album to date even after arriving on an off-cycle Monday and therefore only having four days of activity in its first tracking week. He wrote on his IG post that he planned on Chromakopia “being my last album for a VERY long time. release it. do the big tour. go disappear and only pop out for movies roles. see what a life is like without work being top of mind. its hard tho, i love making things.”
But in July, he released his ninth studio album, Don’t Tap the Glass, which also debuted atop the Billboard 200 and earned the rapper his fourth No. 1 LP. He’s also making his feature film debut alongside Timothée Chalamet in the Josh Safdie-directed Marty Supreme.
See his post and listen to “Mother” below:
Trending on Billboard
Rising South Korean R&B singer dori is set to release a live recording of his collaborative track “Sketch” with Furui Riho, captured during his first-ever solo show in Japan earlier this year. The EP, entitled dori feat. Furui Riho at Billboard Live, is due Oct. 29.
Explore
See latest videos, charts and news
With a silky, captivating vocal tone and a refined melodic sensibility, dori first made his debut in February 2022 with the single “2 O’CLOCK.” The track has since racked up nearly 20 million streams on Spotify and sparked buzz in Japan as well, after being used on TikTok by acts including JO1 and Local Campione. The 26-year-old has continued to release music at a steady pace, dropping his second EP in 2024 and successfully holding his first headlining concert that year. His work as a songwriter has also earned high recognition, including contributions to the soundtracks of hit Korean drama series Welcome to Samdal-ri and Queen of Tears.
For his first headlining show in Japan, held in May at Billboard Live Yokohama, dori invited singer-songwriter Furui Riho as a special guest. Furui has long been drawn to dori’s music — so much so that she regularly plays his songs as the pre-show BGM at her own concerts. That connection led to a one-night-only collaboration, where their distinct voices intertwined on “Sketch.” The newly released live audio captures the emotion of that moment, bringing the audience right back to the stage.
“A special moment like this release is something I believe will continue to have a big impact on my life in music,” dori shares. “And when things get difficult or tiring in my work, I want to be able to come back to this album and let the memories of this release give me strength.” He also speaks with admiration and respect for Furui as a fellow musician, saying she’s “exactly the kind of artist I used to dream about, like someone I’d see in a movie.” He also goes on to confess to her: “I even feel a little envy knowing you grew up with gospel influences from such a young age. Meeting you, talking with you, and creating music alongside you made me feel your presence and appeal even more strongly.”
This project came to life through the collaboration of Billboard Live — known for hosting leading artists from Japan and abroad — and Billboard Japan Records, working together with ONGRAY. This marks the first time Billboard Japan Records is releasing a project from an international artist. See below for dori and Furui Riho’s comments in full.
dori’s Comment
To be honest, it still doesn’t feel real. It makes me so happy to feel that I’ve been able to follow in the footsteps of artists I’ve long looked up to, even in a small way. Live albums were always something I listened to on CD or streaming, so to release one under my own name — and to do so together with Billboard Japan, a place I’ve often visited — is truly emotional for me.
I know I wouldn’t have made it here without my fans and my team. I’m deeply grateful. A special moment like this release is something I believe will continue to have a big impact on my life in music. And when things get difficult or tiring in my work, I want to be able to come back to this album and let the memories of this release give me strength. Thank you again, from the bottom of my heart.
And to Riho — I truly respect you as a fellow musician. You’re exactly the kind of artist I used to dream about, like someone I’d see in a movie. I even feel a little envy knowing you grew up with gospel influences from such a young age. Meeting you, talking with you, and creating music alongside you made me feel your presence and appeal even more strongly. Your vocal approach — your ad-libs, your melodic lines — are so beautiful that I genuinely want to learn from them. On stage, and even in rehearsal, I was able to be at ease and have so much fun.
Everyone — Riho is truly a captivating artist. Please go listen to her song “LOA” right now. I’m sure you’ll immediately understand what I mean. Thank you, Riho. Let’s keep making wonderful music together — even after I come back from military service.
Furui Riho’s Comment
It was such an honor to be invited as a guest for this special occasion — dori’s first live show in Japan. And the fact that it took place at Billboard Live, the same stage I had the privilege of performing on last year, made it feel even more meaningful. I’m truly happy we were able to share such a wonderful moment there.
I’ve actually been drawn to dori’s music and listened to it a lot since before he came to Japan. So to be able to stand on the same stage and make music together with an artist I’ve admired felt like a dream. He’s so sincere, and his love for music runs so deep. Every piece he creates is both delicate and powerful, and his voice, his sound, and his sense of creativity all hit me right in the heart.
This time, we performed one of my favorite songs of his, “Sketch,” together. I joined by adding original Japanese lyrics. Because I love the song so much, I also felt a bit of pressure — but the experience was incredibly fun and so special to me. I’m now dreaming of the day we get to create new music together and share it with everyone. Thank you, dori, for finding me and for making music with me. I’d be so happy if many people could feel how special this day was for us.
Trending on Billboard
At September’s MTV Video Music Awards, a question about Mariah Carey‘s music videos stumped the members of KATSEYE. Just in time for Halloween, the fast-rising pop group has done its homework.
On Tuesday (Oct. 28), KATSEYE dropped a Halloween-themed music video for “Gabriela,” which peaked at No. 40 on the Billboard Hot 100. Emmy-nominated Saturday Night Live star Bowen Yang kicks off the video spoofing Billboard’s Kyle Denis. “We’re honoring Mariah Carey tonight,” he says. “Do you guys have a favorite Mariah Carey music video? We’ll go one by one — I feel like everyone’s got one!”
When Denis asked KATSEYE the question on the real-life VMAs red carpet on Sept. 7, the KATSEYE members answered with blank stares before quickly coalescing around Lara Raj’s answer of her favorite song — “either ‘Obsessed’ or ‘My All’.” In the “Gabriela” music video’s version of events, Yang’s question gives way to a fashion show featuring the group members modeling Carey’s most iconic music video looks. Daniela delivers a roller rink-ready “Fantasy” fit, Lara Raj bares some skin for her “Obsessed” costume, Sophia nails her sailor-themed take on “Honey,” Manon pulls a gorgeous wedding dress in honor of “We Belong Together,” Yoonchae dons a picture-perfect “All I Want for Christmas Is You” Mrs. Claus bodysuit and Megan brings everything home with a “Heartbreaker” costume that helped Yang introduce Bianca, Carey’s beloved music video alter ego.
How does Bianca fit in? According to Yang, “Bianca … really is the ultimate ‘Gabriela.’” From there, KATSEYE launches into a dance performance of “Gabriela,” with each member flaunting their very own Rainbow tank top to pair with their white booty shorts and black knee-high boots.
“I just asked a very simple question, but, go off, KATSEYE,” Yang concludes the video. “You clearly know and love Mariah Carey. Well, that was six eras, one lamb-approved carpet. Happy Halloween, EYEKONS!”
In addition to proving their Mariah Carey fandom, the new “Gabriela” music video also brings the group’s VMAs debut full circle in another way. At this year’s ceremony, where the ladies won push performance of the year, KATSEYE performed a medley of their Hot 100 hits, “Gnarly” and “Gabriela,” at the pre-show.
Check out KATSEYE’s Halloween-themed “Gabriela” music video below:
Trending on Billboard
At just 23 years old, João Gomes has captured Brazil’s heart — and proved it during a free concert for 80,000 people at the Arcos da Lapa, one of Rio de Janeiro’s most iconic landmarks, this Sunday (Oct. 26). The singer recorded a historic DVD featuring some of the biggest names in Brazilian music, including Ivete Sangalo and Zeca Pagodinho, alongside close collaborators Jota.pê and Mestrinho, as well as Dorgival Dantas, MC Cabelinho, L7nnon and BK’, Rua Vitor Vaqueirinho and more.
Explore
See latest videos, charts and news
The 36°C heat didn’t deter fans who gathered near the big screens. Held in partnership with Riotur, the event featured large-scale infrastructure, including a full stage setup, public services, accessibility measures and a special security and mobility plan for the crowd that packed the Arcos.
Even with a delay of about an hour, the crowd was thrilled by the charisma and easygoing nature typical of the young artist from Pernambuco.
“Calm down, folks! The piseiro is about to start,” João Gomes said as he took the stage.
To open the show, the singer appeared on stage with his son, Jorge, and performed a song dedicated to him. His wife, Ary Mirelle, later joined them on stage.
Next, João invited Tarcisio do Acordeon to join the celebration on a stage designed to resemble a beach, followed by accordionist Mestrinho and singer Jota.pê, close friends who helped create the album Dominguinho. After that, Ivete Sangalo and Zeca Pagodinho made the Rio audience erupt with excitement as they sang samba classics alongside João.
Check out some highlights from João Gomes’ show below.
João Gomes now has over 16.5 million followers. With his charisma and numerous collaborations, the artist is no longer seen merely as a piseiro singer — he has become a kind of “Midas” of Brazilian music. Every project the young artist takes part in turns into a major success.
In early 2025, the project Dominguinho was born, in collaboration with Latin Grammy winner Jota.pê and accordionist Mestrinho. The album inspired a special tour and earned several award nominations.
“João Gomes has a sound that builds bridges between the tradition and the future of Brazilian music,” said Barbara Teixeira, executive producer of Tiny Desk Brasil, in an interview with G1 about João’s selection to open the Brazilian edition of the program.
At the Arcos da Lapa, piseiro echoed like a love cry to the nation — and João Gomes wrote yet another unforgettable chapter in the history of Brazilian music.
Trending on Billboard Sunny day! Elmo and his friends are inviting the world to come and play at the 2026 Winter Olympics in Milan and Cortina in Italy. As announced Tuesday (Oct. 28), the furry red monster is bringing Cookie Monster, Grover and more muppet pals to the Games in February to help with NBCUniversal’s […]
Trending on Billboard
K-pop quintet LE SSERAFIM stopped by the Jennifer Hudson Show on Tuesday morning (Oct. 28) to play some games and perform their spicy new single, “Spaghetti.” Though their collaborator, BTS’ J-Hope, was not on hand to lend his vocals to the track that dropped on Friday (Oct. 24), KIM CHAEWON, SAKURA, HUH YUNJIN, KAZUHA and HONG EUNCHAE had no problem heating up the stage for the studio audience without him.
With the video screen behind them featuring a floating galaxy of veggies, the women, dressed in a wild riot of colorful, mismatched tops and bottoms, wiggled, popped and locked across the stage as they sang the funky bilingual lyrics. “I serve looks like spaghetti/ I serve looks like bon appétit/ All my girls hot and ready/ Eat it up, eat it up,” they sang in unison as the chorus flashed in giant font behind them and the studio audience screamed every time they handed the vocal baton over to a bandmate.
LE SSERAFIM released their J-Hope collab last week, marking the BTS member’s first feature on a track by a K-pop girl group. They also just wrapped the North American leg of their EASY CRAZY HOT world tour, which kicked off in their native South Korea in April.
The women also hung around to play a game of “This or That” with JHud in which they answered a series of (not so) probing questions about their preferences. “I hope you guys know we want to learn as much as we can about you, right?” Hudson asked the super psyched audience before launching into the first softball query: sneakers or heels?
After conferring, the group all agreed on sneakers, also easily choosing late night over early mornings. But when she asked if they’re rather eat spaghetti with their hands or sip soup with a straw, the answer was, naturally, the very on-brand spaghetti. The questions were all pretty easy until Hudson asked them to choose one in a classic fantasy scenario: be invisible or be able to read minds?
“This is a tough one, huh?” Hudson said, as the women appeared to opt for invisibility, arguing “it’s better to not know anything.” And, even though its spooky season, asked to choose between a haunted house and a roller coaster, the group definitely opted for amusement park thrills over ghoulish chills.
Watch LE SSERAFIM perform “Spaghetti” and play “This or That” on the Jennifer Hudson Show below.
Trending on Billboard
The wins keep coming for RAYE. The singer shared that her stolen car has been recovered, with her songwriting books “untouched.”
In an Instagram post last fall, the south London-raised artist revealed that the vehicle containing the books had been stolen on her birthday, adding, “there would be no second album anytime soon.” She shared the news along with a picture of a cake with the words “sorry ur car got stolen” written on it.
At the time, RAYE (real name Rachel Keen) had been working on the follow-up to her multi-BRIT Award-winning debut, My 21st Century Blues, released in 2023. The incident led her to press pause on her recording plans.
Explore
See latest videos, charts and news
Speaking to Capital FM host Will Manning on Oct. 27, RAYE explained that the car has now been recovered. “So it was a rollercoaster journey,” she began. “But what I didn’t tell everyone is that the police called me, maybe like two, three months ago, and they were like, ‘We found your car.’
“Not only did I get it back, not one thing had been taken out of the car. All my songwriting books were there, untouched.” She continued, “Everything ended well. Never give up hope.”
Details for the 28-year-old’s second album, including a title and release date, have not yet been released, though it’s been confirmed it will drop sometime in 2026. Fans can pre-order the record, currently dubbed Album 2, via her official website.
RAYE released the first preview of material for Album 2 on Sept. 19. “Where Is My Husband!” is billed as the record’s lead single, and debuted during her performance with a brass band on Glastonbury’s Pyramid Stage earlier in the summer.
The track peaked at No. 3 on the Official U.K. Singles Chart and No. 67 on the Billboard Hot 100. To accompany its release, RAYE announced a tour titled This Tour May Contain New Music, which is scheduled to pass through the U.K., Europe and North America in early 2026.
The trek will encompass six nights at London’s 20,000-capacity O2 Arena. RAYE spoke about the residency to Billboard UK at the Ivors Academy Ceremony in September, saying that she “hadn’t quite digested” the achievement yet.
“That’s a big job — six nights? I’ve got to deliver,” she said at the time. “I remember when my tours used to be six nights long! But my mind is like, ‘We need to deliver the best show we can possibly deliver.’ My mind is worrying, but I’m really grateful.” Watch the interview clip below.
Billboard’s Live Music Summit will be held in Los Angeles on Nov. 3. For tickets and more information, visit the event’s website.
Trending on Billboard Queen Latifah loves her some Megan Thee Stallion. The “U.N.I.T.Y.” rapper joined The Jennifer Hudson Show on Tuesday (Oct. 28), where she gushed about what Megan’s been able to accomplish and how Latifah ended up on stage alongside the Houston Hottie at Coachella earlier this year. “She’s so cool, she’s so fun, […]
Trending on Billboard As a longtime ally for the LGBTQ+ community, Hilary Duff knows how important her new music is for her queer fan base. In an interview with Variety published on Monday (Oct. 27), Duff spoke about her upcoming return to music after the announcement that she had signed to Atlantic Records in September. […]
