Music

25 Jul 2024

How Kehlani Sparked the Biggest Song of Jordan Adetunji’s Career

When 25-year-old Jordan Adetunji stumbled upon Logan Paul’s IMPAULSIVE podcast episode with Kehlani last year, little did he know that the Cali-raised singer would become the unexpected muse for the biggest song of his career.

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“I was watching an interview on [Logan Paul’s] IMPAULSIVE podcast. It was in my living room, and I remember saying to my brother, ‘Damn. [Kehlani] looks great,’”says the Northern Ireland native. “But it wasn’t just that … It was how much she’s done over the years, and still been able to be such an uplifting person and a boss in her own way. I have always wanted to write a song about a woman who is a boss, creative in her way, and leads in her strides. For me, it just made sense. She was the picture of that. That’s why I put her name in there.”

Released in May, “KEHLANI” pays homage to the singer’s boss-like demeanor, and has soared on social media, becoming a go-to summer bop. Adetunji’s shifty vocal mastery over the slippery beat — based on a sample of Summer Walker’s “Potential” — helped spin “KEHLANI” into TikTok gold when the R&B star shared clips of her singing the song herself, igniting the flame for the track.

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“It’s funny ’cause I just kept posting it so many times, and I was like, ‘She’s definitely gonna see it eventually,’” Adetunji remembers. “When I saw the video [of her singing to it], I was sleeping. It was U.K. time. When I woke up, I had seen it in the morning. I was like, ‘Oh damn!’ Someone sent it to me. She actually did two videos instead of one, too. I was gassed.”

With a summer heater and a new deal with 300 Entertainment and Warner Records U.K. in his pocket, Adetunji looks to make his next move as soon as this week, when he unveils the song’s remix — with, you guessed it, Kehlani.

“Working with an artist like Jordan, who has such a strong vision for “KEHLANI” and the music space he is creating for himself, has been amazing,” says Adetunji’s manager, Dan Jenkins. “There have been a few challenges and lessons over the past few years, but I’ve watched Jordan grow massively as an artist and it was only a matter of time before this moment happened for him!”

Billboard spoke to Adetunji about the song’s climb up the Billboard Hot 100, teaming up with Kehlani for his biggest hit, and why he wants to work with Cash Cobain.

Are you from Northern Ireland?

I was born in London and I moved from there when I was 10 years old to Northern Ireland. So I grew up in Northern Ireland. I did all my life in school there — still live there — but I go back and forth from London. That’s currently where I do my music, where I started, and that’s where home is for me for now. 

When was your first period of discovery with music?

[My early days on] the internet. The internet was my best friend. It’s funny because before that, when I first started listening to music, I used to have this green iPod Nano. That’s kind of how I used to listen to music. I used to have a family friend — he would put all these new songs on my thing, like early Drake, early mixtapes [from him] and Meek Mill. That’s how I first listened to [music]. He listened to a lot of R&B from female singers. That’s kind of what I started really listening to at that time a lot. A lot of Jhené Aiko. It was funny. A lot of stuff like that.

Was there a specific Jhené song or project that opened that gate up for you?

I remember hearing “The Worst” for the first time. One of the first projects she did, I really loved. A lot of that stuff. Even The Weeknd, House of Balloons, that was the first kind of R&B stuff I was listening to when I was young.

When did you decide that music was ultimately going to be your life’s passion?

When I was in school and I didn’t like doing work. I was like, “Yeah, I’m gonna be an artist.” That was from then when I was like 15, 16. That was the only thing on my mind. I was like, “I’m gonna make it happen, no matter what.” It’s a thing that I was motivated in. I played the trumpet in school. I only did that to get out of class, so I didn’t have to do school work. I used it as a thing. I enjoyed music. It set me free from anything. At that time, it set me free from school work since I didn’t like to do so.

What were the conversations like with your family about pursuing music, despite your school work suffering?

My mom was always supportive about it. She understands what’s it like to be a creative, because she’s a very creative person herself. So I did have freedom in that. As long as I did try my best, she was always happy and I’d try my best at anything that I put my mind to. As long as I was doing that, I think she was very supportive in that. They’d make sure to have structure in my life. That was always an important thing for her. I always felt like I’ve been able to do that. We’re here now. Everything is timing. That’s my favorite saying. I was ready for this moment and I’m ready for the next moments to come.

“KEHLANI” has climbed to No. 52 on the Hot 100 so far. You recorded that song in your bedroom. Take me back to that day and the creative process behind it.

It’s funny because I was watching an interview on [Logan Paul’s] IMPAULSIVE podcast. It was in my living room and I remember saying to my brother like, “Damn. She looks great,” but it wasn’t just that. It was the fact of how much she’s done over the years and still been able to be such an uplifting person and also a boss in her own way. I always wanted to write a song about a woman who is a boss and also creative in her own way and leads in her strides. For me, it just made sense. She was the picture of that. That’s why I put her name in there.

At the start, I was feeling like, “Ooh. Should I do that? How is it gonna go? This can go wrong,” but I’m a risk-taker. I don’t care. I’m gonna post this. It is what it is today. That’s why I’m happy I took that risk. Writing a song about someone, they might not mess with it, but she was a good sport. She’s really been supportive this whole process. Shout out to her for that, for real.

How did she come across the record? 

I was posting it on TikTok until she seen it. That was my goal, for her to see it and hear it. I remember I posted it on Instagram and I @’ed her account like, “I love you.” That was the first post, and it was an edit I made of her. I made like an Instagram edit, and I think she liked it. I started pushing it on TikTok, and she seen it. That was amazing. It’s funny, ’cause I just kept posting it so many times and I was like, she’s definitely gonna see it eventually. When I seen the video [of her singing to it], I was sleeping. It was U.K. time. When I woke up, I had seen it in the morning. I was like, “Oh damn!” Someone sent it to me. She actually did two videos instead of one, too. I was gassed. 

What was the conversation like after when she finally saw the video?

She was so supportive and showed me so much love. She would tell me to just enjoy every moment. That’s one thing that I really appreciate about her. She took me and showed me that love. Like I said, it could have gone wrong. All these things, I see as a risk, but I’m glad she was able to show me love about it. Even listening to the song and listening to what I’m saying, I’m really trying to show love and uplift her ’cause she’s such a great human being. She was really supportive and sent me a ton of messages. She’s dope. 

Are there discussions about a remix with Kehlani herself?

Yeah, there’s a remix. We’re gonna see how we’re gonna drop it. It’s gonna be an interesting one, but I’m excited for it — because her verse was fire. She was talking her stuff on that. I’m excited to get that one to the people, so they can hear it and really take it in. 

Congrats on signing your deal with 300 and Warner UK. What made you decide to go with them?

It made sense culturally for me. A lot of people that’s been at 300, I’ve listened to them and their music. It really fit. I met Kevin [Liles]. He flew out here. That just showed me alone and it gave me family vibes. I thought that made the most sense to me, because they really felt like a family to me. It was the right move for me. 

Kevin dubs you as a “generational talent.” How do you navigate your young career, trying to manage with those expectations?

I’m ready for that. I’m so ready for that because for me, the world gets to see how much I can give them. I feel like it’s my journey. I feel like it’s my world. Everyone has to come on the journey with you. They’re buying into your world. I’m excited for people to see mine and how I view the world. That’s how I see music and that’s how I see it for me. 

Before the success of “KEHLANI,” you released an EP called Rock & Rave in 2023. What would you want  fans to know about you during that era before all the fame?

It just shows my interests and how I kind of see myself. That’s why I made that. It’s all about the sonics with that mixtape I made and how diverse my music is and showing my influences. From dance music to rock music to R&B, it was about how I was fusing them altogether. That’s what that project was. The cover art is very anime. You see a lot of video games. I’m into video games and I like seeing myself as the main character, sometimes. I like altering the way things are perceived and making people scratch their heads. I feel like we’re in a simulation. I’m playing my own video game. That’s kind of how I wanna show my music. Like with all my visuals, my videos, I want them to buy into my world and see what it is. 

Is there a specific video game or anime character you relate to most?

Itachi from Naruto. I always have this admiration for him. I love his look, I love everything. When it comes to video games, I love Tekken. I love the esthetic of the characters. It’s crazy. Another anime I love is Full Metal Alchemist. I love the storyline and stuff like that, but Tekken, look-wise, that’s always something I loved. I love Japan. I love Tokyo. I love that whole aesthetic. 

What kind of chances are you taking on your upcoming EP on the production side that you weren’t quite able to do on Rock & Rave?

We’re definitely switching it up. It’s gonna be more sexy. You’re gonna still hear elements of Rock & Rave, but it’s just a different take of that in a smoother way. I feel like Rock & Rave is very experimental. It’s a different sound, a bit left, more feeling and a vibe this time.

Are there any features or special producers you’re looking for?

I’m open. I’m open to do features and stuff like that, but right now, I wanna get the songs right. Once I get the songs right, we’ll see about the features. I love what Cash Cobain is doing right now, and the boys in New York. I feel like their sound has influenced this new wave. I have to tap in with them and get that going.

25 Jul 2024

Groups Used to Rule the Hot 100 — Now They’re Endangered on the Chart

Roughly 30 years ago, Boyz II Men seduced and cajoled their way to the top of the Billboard Hot 100 with “I’ll Make Love to You.” They enjoyed the view from No. 1 for 14 weeks — tying a record at the time — before dethroning themselves with another soaring, imploring ballad, “On Bended Knee.” In 1994, it wasn’t unusual for a vocal quartet like Boyz II Men to top the Hot 100, or get close to it; roughly a third of all top 10 hits that year were the work of R&B groups, rock bands, or ensembles in other configurations. 

“When I grew up in the 1980s and 1990s, there was a constant barrage of groups,” says Michael Paran, a manager whose clients include Jodeci, a quartet that vied with Boyz II Men on the charts. R&B-influenced pop groups like the Spice Girls and the Backstreet Boys dominated the late 1990s. But the barrage started to let up in the 2000s, according to an analysis of top 10 hits between 1991 and 2023. Solo artists like Britney Spears and Justin Timberlake — who got his start in a group before striking out on his own — set a new standard for pop stardom, while rappers like Eminem and Nelly helped hip-hop reach commercial peaks that suddenly seemed out of reach for most rock bands.

And on today’s Hot 100, groups are an endangered species: Since 2018, groups account for less than 8% of all top 10 singles. The last ensemble to summit the chart was Glass Animals with “Heat Waves” in March 2022. No group scored a top 10 hit as a lead artist in the first half of 2024, and there is not a single group anywhere on the latest Hot 100.

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There are many reasons for the demise of groups. The decline of rock, a historically group-focused genre, as a commercial force on the Hot 100 has certainly played a big part. But perhaps more important, advances in music technology have given artists in all genres the ability to conjure the sound of any instrument they desire without the need for collaborators. And social media, a key aspect of modern promotion, tends to reward individual efforts rather than collective enterprise. “Social media is about your voice,” says Ray Daniels, a manager and former major-label A&R. “Not y’all’s voice.” 

% of Top 10 Billboard Hot 100 Hits by Groups

% of Top 10 Billboard Hot 100 Hits by Groups

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In addition, aspiring artists have a better understanding of the financial realities of groups, which are costly to develop and then split any profits multiple ways. And labels aren’t matchmaking groups the way they did decades ago. 

“I’ve been in bands, put the bands together, got the record deals, done the whole thing,” says Jonathan Daniel, co-founder of Crush Music, a management company with a roster that includes both major groups (Weezer) and star soloists (Miley Cyrus). “Trust me, if I was a kid now, I would never be in a group — I would be solo all the way. I wouldn’t need these other guys.” 

Groups always used to have a practical purpose: Making a tuneful racket was considerably easier with the help of collaborators playing other instruments or belting harmonies. “Historically you often needed a group to make money — it was almost harder to be a solo artist,” Daniels explains. “You had to have people get together and play the music.”

This has not been the case for some time now. GarageBand hit Mac computers in 2004. Online sites like BeatStars allow vocalists to rent fully formed instrumentals. Artists can make beats and record vocals on their phone. “One guy can go in there and make himself sound like a group if he needs to,” Paran notes.

This can make artists’ lives considerably breezier, because they don’t have to spend time persuading — or arguing with, or massaging the egos of — group members who probably have their own views on songwriting and production. “It’s just much easier to have your own say than to have group members opining on what they want,” says Bill Diggins, longtime manager of TLC.

At the same time that technology has largely nixed the need for musical collaborators, executives believe that the prominence of X (formerly Twitter), Instagram, TikTok and other similar platforms further elevates individuals over groups. “How often are groups doing content together on TikTok?” asks Joey Arbagey, another former A&R who worked with Fifth Harmony, among others.

Even bandmates or singers who are in a group probably work to stoke their own social media presence — which represents a safety net if the group falls apart. “Every artist is focused on building their own numbers,” Arbagey continues. “That kind of destroyed that feeling of creating together.”

And those artists that still want to create with others are often aware of the financial implications of this decision: If they hit it big together, they don’t make nearly as much as if they hit it big alone. “When we were kids, we saw The Rolling Stones and thought, ‘They’re rich, they have a plane,” says Daniel from Crush. “We didn’t go, ‘Well, they have to split all the money five ways, but Elton John doesn’t.’” Today, however, thanks to the internet, “artists are much more cognizant of all facets of the music industry,” Diggins says. 

On the flip side of that, when labels get involved, groups are also more expensive for them to support. “It’s cheaper to be in the business of a solo artist than it is to be in the business of moving multiple people around and styling and marketing multiple people,” says Tab Nkhereanye, a songwriter and senior vp of A&R at BMG.

The heyday of groups also coincided with a time when labels had much more sway over what music was popular — largely because anyone with aspirations to be heard outside their region needed the labels’ deep pockets and close relationships with radio and television. Record companies scouted for talent, helped put groups together, found songs for them to cut, and then pushed them out through dominant mainstream channels. “It was kind of a machine,” Paran says. 

Today, however, U.S. labels aren’t typically involved with artists in the early stages of their careers when they might once have been shunted into a group. Instead, the record company often shows up after acts have already proven their ability to attract a devoted audience, typically through a combination of social media — which, again, caters to individual personalities — and streaming. And on top of that, the influence of traditional outlets like radio and television, which served as the launching pad for so many groups in the past, has nosedived. 

Chris Anokute, a longtime A&R turned manager, points out that “most of the breakout boy bands and girl groups of the last 10 years came from TV shows like The X Factor — One Direction, Fifth Harmony.” “I don’t know if you can break acts like that if mainstream platforms like TV or radio don’t really move the needle in the same way,” he continues. “Everybody was watching when those groups went on TV 10 or 15 years ago,” Arbagey agrees. “Now nobody has cable.” 

There is at least one country where music-based TV shows still drive listening behavior: South Korea continues to pump out groups at a steady clip, and BTS has made nine appearances in the top 10 on the Hot 100 since 2018. (Still, it’s notable that HYBE — the company behind BTS — and Geffen Records are attempting to develop a new girl group in the U.S. via a Netflix series, rather than network television.) In addition, the recent eruption of the catch-all genre Regional Mexican has propelled new ensembles onto the Hot 100, including Eslabon Armado and Grupo Frontera.

And while groups aren’t peppering the Hot 100 with major singles the way they used to, they maintain a prominent presence in another corner of the industry. “The one place that groups still hold a hell of a lot of water is the live experience,” Daniel notes. In the U.S. in the first half of 2024, U2 had the top tour by a wide margin, according to Billboard Boxscore, and Depeche Mode and the Eagles appeared in the top 10 as well. 

While those are all veterans, more recent groups like The 1975 and Fall Out Boy also made it into the top 50. The presence of ensembles on this chart makes sense: On tour, even most solo acts bring backup bands or other musicians to help them bring their songs to life. Musical wunderkinds are few and far between, and crowds aren’t always interested in watching a lone performer sing or rap over a backing track for two hours, so group performance is still common. 

But on the upper reaches of Hot 100, the closest thing to a group is usually a collaboration between two or three high-flying solo acts. “When you don’t see it, then you don’t want to be it,” Nkhereanye says of groups. “These days, it’s sexier to be a solo artist.”  

25 Jul 2024

Santa Fe Klan Postpones Blanco y Negro Tour Due to ‘Unforeseen Delays’ With Work Permits & Visas

Mexican rapper Santa Fe Klan announced that his Blanco y Negro Tour has been postponed. The Live Nation-produced stint was supposed to kick off Friday (July 26) in Salt Lake City’s Maverik Center.

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In a statement posted by the Guanajuato-born artist on social media on July 16, the 25-date trek has been postponed due to “unforeseen delays with the necessary work permits/visas allowing me to perform in the United States,” the 24-year-old hitmaker wrote. “I am sad to announce that my ‘Blanco y Negro’ tour in the United States is postponed. I thank all of those who bought tickets and continue to support me and my music. I promise to see you soon.”

According to Ticketmaster’s website, refunds will be issued to those who had previously purchased tickets.

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The Blanco y Negro Tour was first announced in June, and would follow his 2023 Todo y Nada tour. Billed as his most ambitious tour to date in the U.S., Blanco y Negro would have taken the rapper across major markets including Las Vegas (Bakkt Theater at Planet Hollywood Resort & Casino), Los Angeles (Crypto.com Arena) and Miami (FPL Solar Amphitheatre).

Santa Fe Klan — who in April made his Coachella debut — cracked Billboard’s albums charts when his ninth-studio album, Mundo, debuted at No. 4 on Latin Pop Albums in 2022. Last year, he landed at No. 14 on Billboard‘s 50 Best Spanish-Language Rappers of All Time, and notched his first No. 1 on the Regional Mexican Airplay thanks to “Tú y Tú,” his collaboration with Los Ángeles Azules and Cazzu.

See his official statement below:

25 Jul 2024

Kamala Harris Promises Voters ‘Freedom’ With First Campaign Video Featuring Uplifting Beyoncé Song

Looks like Kamala Harris may have found her official campaign song. After walking out to Beyoncé‘s “Freedom” at her inaugural visit to campaign headquarters earlier this week, the presidential contender has now released the first voter-rousing video of her candidacy, once again featuring the pop superstar’s 2016 hit. 

In the campaign video, which Harris shared to her social media accounts Thursday morning (July 25), the Democratic front-runner for the nomination begins by asking voters a question: “What kind of country do we want to live in?”  

“There are some people who think we should be a country of chaos, of fear, of hate,” she continues in a voice-over as warped photos of Republican opponent Donald Trump flash by. “But us? We choose something different. We choose freedom.” 

Harris continues to paint a picture of her dream future while footage of her speaking to supporters on the campaign trail cuts in between clips of working Americans. Meanwhile, Bey belts out her uplifting lyrics, “Freedom, freedom, I can’t move/ Freedom, cut me loose/ Singing, freedom, freedom/ Where are you?” 

“The freedom not just to get by, but get ahead,” Harris continues. “The freedom to be safe from gun violence. The freedom to make decisions about your own body … When we fight, we win.” 

Beyoncé dropped “Freedom” with Kendrick Lamar in 2016 as part of her critically acclaimed album Lemonade, which debuted at No. 1 on the Billboard 200. The gospel-infused track reached No. 35 on the Billboard Hot 100. 

Eight years later, it seems the 32-time Grammy winner has given Harris her stamp of approval by signing off on the politician’s use of the song. CNN confirmed that Bey was quick to green light the sync ahead of Harris’ headquarters speech, clearing it just hours before the candidate walked out to “Freedom.” 

The “Break My Soul” singer’s mother, Tina Knowles, has also joined dozens of figures in the entertainment world in endorsing Harris. Sharing a photo she previously snapped with the sitting VP, the businesswoman wrote, “New, Youthful, Sharp … Go Vice President Kamala Harris for President. Let’s Go ❤️❤️❤️❤️ #kamala2024” 

Watch Harris’ new campaign video featuring Bey’s “Freedom” below. 

25 Jul 2024

Chart Rewind: In 2009, Lady A Made Its First ‘Run’ to No. 1 on Hot Country Songs

On July 25, 2009, Lady A’s “I Run to You” sprinted to No. 1 on Billboard’s Hot Country Songs chart, awarding the trio its first of six leaders. The act – Charles Kelley, Hillary Scott and Dave Haywood – penned the song with Tom Douglas, and Victoria Shaw and Paul Worley produced it.

“I Run to You” was released as the third single from Lady A’s debut self-titled album. Lead track “Love Don’t Live Here” hit No. 3 on Hot Country Songs, becoming the threesome’s first of 15 top 10s, and “Lookin’ for a Good Time” reached No. 11. The LP arrived at the Top Country Albums summit, giving the act its first of five leaders.

Along with six No. 1s on Hot Country Songs, Lady A has sent 11 singles to the top of the Country Airplay chart, most recently “Champagne Night” in January 2021.

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The band’s hits include crossover smashes “Need You Now” and “Just a Kiss.” The former topped Hot Country Songs for a career-best five weeks beginning in November 2009, becoming the act’s second leader, and the latter led in 2011. Both reached the all-genre Billboard Hot 100’s top 10, climbing to Nos. 2 and 7, respectively.

In June, Lady A released its newest recording, a cover of “Stop Draggin’ My Heart Around,” on Petty Country: A Country Music Celebration of Tom Petty, which topped the Compilation Albums chart. Next up, the group is set to perform at the Ryman Auditorium in Nashville on Aug. 11.

Earlier this year, Lady A signaled that it is working on a new album. “We’re gettin’ our plans together,” Scott told Audacy’s Katie & Company. “We’ll just kind of see how it lays out, and then we’ll release the whole thing.”

“For us, we’re in such an appreciation spot in our career,” Kelley added. “We’re definitely going in a nostalgic direction. I think we tend to do that a lot. It’s a really warm record.”

25 Jul 2024

How Shaboozey Took an ‘Old-Timey’ Yet ‘Modern’ Hit to No. 1: A Sonic Analysis of ‘A Bar Song (Tipsy)’

Shaboozey’s “A Bar Song (Tipsy),” at No. 1 on the Billboard Hot 100 for a second week, is a groundbreaking crossover hit that blends elements of pop, country, folk and hip-hop.

The widespread appeal of the song – the first ever to reach the top 10 on the combination of Billboard’s Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay charts – stems from its seamless blend of genres and influences, which Shaboozey brings together with an engaging vocal performance. The track’s unique production and radio-friendly composition make it appealing to a diverse audience and help it stand out in the landscape of 2024’s other hits.

Here’s a look at the song’s many sonic characteristics.

Pop Influences

“A Bar Song (Tipsy)” is heavily influenced by pop, evident in its radio-friendly qualities. It features catchy “K.I.S.S. ME” (keep it simple, singable and memorable) melodies and the arrangement includes multiple “A.P.M.” (audience participation moment)-primed sing-along moments. In addition, this genre-bending track seals the deal with modern production qualities, relatable lyrics and infectious hooks, all ingredients highly appealing to a pop audience.

Country Influences

Country influences are also prominent throughout, predominantly showcased in the song’s vocals. Shaboozey’s vocal performance includes a Southern twinge, and the lyrics include references to “two-steppin’ on the table” and “a party downtown near 5th Street.” In addition, the use of acoustic and pedal steel guitars, banjo and fiddle in the song’s main “hook centers” (third chorus and post-choruses) heightens its country appeal.

Folk Influences

“A Bar Song (Tipsy)” also draws on multiple folk sub-genres, including stomp ‘n’ holler and bluegrass. The acoustic instrumentation and background vocal textures evoke the communal, rustic atmosphere of an old-timey bar.

The use of a clap-along backbeat and a stomping four-on-the-floor kick drum pattern in such sections as the second post-chorus, third chorus and outro bring these genre influences up to date by filtering them through the lens of modern pop production.

Hip-Hop Influences

In addition to its pop, country and folk influences, “A Bar Song (Tipsy)” incorporates subtle elements of hip-hop, due, in part, to its interpolation of J-Kwon’s 2004 hit “Tipsy.”

Vocally, Shaboozey’s delivery in the second verse takes on a rap cadence, and this style is also present to a lesser extent in the pre-choruses. Later in the song, the background vocals include the use of ad libs, a hallmark of the hip-hop genre.

Lyrically, alongside its theme of partying and living it up, the song also touches on lifestyle, a theme highly commonplace in hip-hop. It also features hip-hop-influenced lyricism including specific references to luxury items (“My baby want a Birkin”), slang (“Tell my ma, I ain’t forget”) and occasional profanity (“We gon’ do this s–t again”).

Overall, “A Bar Song (Tipsy)” has set a precedent on Billboard’s charts and stands out as a masterful blend of disparate genre influences. The song’s ability to seamlessly integrate these diverse elements makes it one-of-a-kind, and that uniqueness has helped drive it to the top of the Hot 100.

David and Yael Penn co-founded Hit Songs Deconstructed. In October 2023, Hit Songs Deconstructed and fellow song analysis platform MyPart publicly launched ChartCipher, an AI-powered platform analyzing a deeper scope of hit songs, as defined by Billboard’s charts.

25 Jul 2024

Mercury Prize 2024: Charli XCX, The Last Dinner Party and Corinne Bailey Rae Lead Nominations

Charli XCX’s Brat was among the albums shortlisted for this year’s Mercury Prize on Thursday (July 25). It’s the second time that the recent Billboard Cover star – whose album recently charted at No. 3 on the Billboard 200 – has been nominated for the prize, following a nod for 2020’s How I’m Feeling Now.

The Mercury Prize is awarded annually and celebrates the best of British and Irish music across a wide range of genres. The Last Dinner Party’s Prelude To Ecstasy, Beth Gibbons’ Lives Outgrown, Corinne Bailey Rae’s Black Rainbows and CMAT’s Crazymad, For Me are also up for the award. The winner will be announced in September.

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The shortlisted albums were announced at a launch event in London this morning. It follows the news that this year’s live event – traditionally held at the capital Eventim Apollo and featuring performances from the nominated acts – will not be taking place. Coverage across the BBC on TV, radio, online and social media will replace the usual live performance.

The announcement comes admidst a huge summer for Charli. Earlier this week, the pop star endorsed U.S. Vice President Kamala Harris following the news that President Joe Biden would not seek the Democratic nomination in this year’s U.S. presidential election. Fans on social media quickly spliced together clips of songs from Brat with footage of Harris, and the presumptive democratic party nominee changed the banner on her campaign’s X feed to the signature Brat green palette and font. In addition, talking heads on CNN, Fox News and late-night talk shows scrambled to clumsily explain this sudden explosion of memes to their audiences. In September, Charli will join Troye Sivan on a co-headline tour in the U.S. before a string of solo arena shows in the U.K. later this fall.

The Mercury Prize was first awarded in 1992. Recent winners include Ezra Collective (2023), Little Simz (2022), Arlo Parks (2021) and Michael Kiwanuka (2020). PJ Harvey, who won the prize in 2001 and 2011, and is the only artist to have won the award twice.

A panel of judges, chaired by Jeff Smith, head of music, Radio 2 & 6 Music, selects the winner and it also includes the following: Danielle Perry – broadcaster & writer; Jamie Cullum – musician & Radio 2 broadcaster; Jamz Supernova – 6 Music broadcaster & DJ; Lea Stonhill – music programming consultant;  Mistajam – songwriter, DJ & broadcaster; Phil Alexander – creative director, Kerrang!/contributing editor, Mojo; Sian Eleri – Radio 1 broadcaster & DJ; Will Hodgkinson – chief rock & pop critic, The Times; Sophie Williams – music writer & broadcaster.

Here’s the complete list of 2024 Mercury Prize album of the year nominees:

  • Barry Can’t Swim, When Will We Land?
  • BERWYN, Who Am I
  • Beth Gibbons, Lives Outgrown
  • Cat Burns, early twenties
  • Charli XCX, Brat
  • CMAT, Crazymad, for Me
  • Corinne Bailey Rae, Black Rainbows
  • corto.alto, Bad with Names
  • English Teacher, This Could Be Texas
  • Ghetts, On Purpose, With Purpose
  • Nia Archives, Silence Is Loud
  • The Last Dinner Party, Prelude to Ecstasy

25 Jul 2024

Can We Get an Amen! Elevation Worship’s ‘Praise’ Hits 20 Weeks at No. 1 on Hot Christian Songs Chart

Elevation Worship’s “Praise,” featuring Brandon Lake, Chris Brown and Chandler Moore, reaches a 20th week at No. 1 on Billboard’s streaming-, airplay- and sales-based Hot Christian Songs chart (dated July 27).

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“Praise,” which was co-authored by Elevation Worship frontman Brown with Lake and Moore, as well as Pat Barrett, Cody Carnes and Steven Furtick, becomes just the ninth title to have dominated Hot Christian Songs for 20 frames or longer over the survey’s 21-year history.

When the song first hit No. 1 in March, Brown told Billboard, “We’re blown away by what God has done with ‘Praise,’ and we’re thankful for everyone who has streamed, tuned in and shared the song. We hope it is a great reminder of all the reasons to praise God not just for what He’s done, but for who He is.”

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Hot Christian Songs, Most Weeks at No. 1:

132 weeks, “You Say,” Lauren Daigle, beginning in July 2018

61 weeks, “Oceans (Where Feet May Fail),” Hillsong United, beginning in June 2013

37 weeks, “What a Beautiful Name,” Hillsong Worship, beginning in February 2017

28 weeks, weeks, “Gratitude,” Brandon Lake, beginning in February 202

26 weeks, “Something in the Water,” Carrie Underwood, beginning in October 2014

24 weeks, “In Jesus’ Name (God of Possible),” Katy Nichole, beginning in March 2022

23 weeks, “Word of God Speak,” MercyMe, beginning in August 2003

20 weeks (to date), “Praise,” Elevation Worship, Brandon Lake, Chris Brown, Chandler Moore, beginning in July 2024

20 weeks, “Thank God I Do,” Lauren Daigle, beginning in May 2023

Meanwhile, as Lake is featured on “Praise,” he earns his second Hot Christian Songs ruler of at least 20 weeks, following his solo single “Gratitude.” The only other artist with such a double is Lauren Daigle, via her crossover hits “You Say” and “Thank God I Do.”

“Praise” tops the latest Hot Christian Songs list with 7.4 million audience airplay impressions, 3.4 million official U.S. streams and 1,000 downloads sold July 12-18, according to Luminate.

25 Jul 2024

How Ryan Tedder, Gwen Stefani and Anderson.Paak Came Together for Coca-Cola and the Olympics’ Song, ‘Hello World’: Exclusive

Coca-Cola has worked with the International Olympic Committee for nearly a century, but for the first time in their 96-year relationship, the brand and the producers of the Olympic games have collaborated on a song that both organizations will use beyond the Paris 2024 Olympics, which start tomorrow (July 26).

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The upbeat, unifying “Hello World,” written by Ryan Tedder with additional lyrics by Anderson.Paak and performed by Gwen Stefani and .Paak, was released by digital service providers around the world on Thursday (July 25). The video, available on the International Olympic Committee’s YouTube channel, features the two artists dancing in front of the iconic five Olympic rings, interspersed with electrifying footage from past Summer Olympics. 

The song and video will be featured throughout the Games as the International Olympic Committee and the Coca-Cola Company will leverage the song across their marketing and communications programming during the two-week Paris competition, with the intention to use it in future Olympics Games as well.

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Instead of picking a specific artist or licensing an existing song for the project, Josh Burke, global head of music and culture marketing at the Coca-Cola Company, and Brian Monaco, Sony Music Publishing’s president/global marketing officer, met over dinner to discuss broader concepts. 

“We were brainstorming ways to work more closely together, and I pitched the idea of creating an original song for the Olympics,” says Monaco. “We chatted over the next few weeks and decided to test out some demos to share with the Coca-Cola team and the International Olympic Committee. I called Ryan Tedder because he is an amazing songwriter and he and I have a solid track record working with some of the world’s top brands. We immediately started hashing out concepts for the song.”

The creative brief for Tedder was simple. “We wanted a song with broad appeal that would resonate worldwide, an uplifting and bright song that would inspire everyday greatness among athletes and music fans,” Burke says. “It was also important to us that we wouldn’t try to create a ‘brand’ song or ‘jingle’, and we’d have to give up some control, which is very difficult to do! We trusted Ryan and the process and that’s how “Hello World” was born.” Tedder has worked with Coca-Cola previously, including on Sprite’s Limelight 2023 program. 

“It’s not every day that you’re given the opportunity to write an official song in celebration of the Olympic Games, and I am grateful to be part of such an incredible collaboration,” Tedder tells Billboard. “The Games are an important way for all of us to come together and celebrate each other globally, and we wrote this song with that in mind. I grew up watching every Olympics since childhood, so this is a lifelong dream. I hope this song inspires and uplifts.  I’m excited to share ‘Hello World’ with all of you, and I want to thank Brian Monaco, and the teams at Coca-Cola and IOC, for their partnership and support.”

Once Tedder finished the song, the search for the right artists began, landing on Stefani and .Paak, both of whom are repped by Full Stop Management. “Gwen & Anderson’s energy together is undeniable, and both have these incredibly unique and iconic voices that were a perfect blend this global track,” Burke says. “ We also loved that this was the first time Ryan, Gwen and Anderson have collaborated, and the story of two very different artists coming together is a nice nod to Coke’s legacy in music and the spirit of the Olympic Games.”

Coca-Cola and IOC worked hand in hand on the project. “The IOC were our partners every step of the way, from concept to execution, and they were incredible collaborators in this process,” Burke says. “Beyond the Olympic rings, the footage is from their archives and also features several athletes that Coca-Cola is collaborating with for our broader Olympic brand activity for Paris 2024.”

Coca-Cola has an existing partnership with Universal Music Group and worked with UMG’s Interscope Records, Stefani’s label home, to release the song. “It was crucial that we treated this release in the most authentic way possible,” Burke says. “And with the same care as any major single.”

Going forward, Sony Music Publishing will administer the majority of the song globally (.Paak’s portion is handled by Warner Chappell) and work with Coca-Cola and the IOC on future projects.

For .Paak, blending their different genres to create something “was the real magic of creating with Gwen and Ryan on our new song,” he said in a statement. “While we hope the song becomes an instant hit and gives listeners worldwide a new sound to groove to, we also hope to inspire fans and athletes to embrace the differences that make them unique as we celebrate the excitement of the Olympic Games.”

25 Jul 2024

SEVENTEEN Announce 2024 ‘Right Here’ World Tour Slated to Hit U.S., Asia and Japan

SEVENTEEN are hitting the road for a global tour this year. On Wednesday (July 24) the 13-member K-pop group announced that they are planning to hit the road in the fall for their Right Here world tour, which will feature gigs in the U.S., South Korea, Asia and Japan.

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While the specific dates and venues for the outing were not announced at press time, a 15-second teaser video promised that the shows were slated to kick off sometime “in October.” The tour will be the sequel to the group’s Follow Again Asian tour, which kept them on the road from July 2023 through April 2024. That run ended with a triumphant gig at Seoul’s World Cup Stadium in April, where they teased the release of their two-CD, 33-track best-of album, 17 Is Right Here, which dropped on April 29.

As CARATs await the details on the 2024 world jaunt, they can begin prepping for the cinematic release of the SEVENTEEN TOUR ‘FOLLOW’ AGAIN TO CINEMAS concert film. Tickets are on sale now for the limited engagement run of the movie that chronicles that Seoul show, with screenings around the world slated to kick off on August 21.

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SEVENTEEN singer/producer WOOZI recently responded to a British new feature’s claim that the K-pop group is using AI when recording its music. The singer who also co-writes many of the group’s songs, clarified that “all of SEVENTEEN’s music is written and composed by human creators,” though he said he has experimented with writing and composing lyrics with AI.

See SEVENTEEN’s Right Here world tour teaser video below.