Music

23 Feb 2024

Pharrell Teases Upcoming Miley Cyrus Collaboration Is Coming ‘Soon’

Pharrell and Miley Cyrus have another banger on the way. Skateboard P teased a collaboration with Cyrus that appears to be titled “Doctor” on his Instagram on Friday (Feb. 23).

Pharrell gave listeners a snippet of the groovy tune while driving but only hinted that the track would be coming “soon.”

“I could be your doctor and I could be your nurse/ I think I see the problem, it’s only gon’ get worse/ I need my medication just show me where it hurts/ I need to rock you baby before your body burns,” Miley sings.

This isn’t the first time Pharrell has previewed “Doctor”: The song was played as part of Louis Vuitton’s Men’s Fall-Winter 2024 Collection presentation in Paris last month.

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Per Rolling Stone, the track was possibly meant to land on Miley’s Bangerz album from 2013 but didn’t make the cut. An unedited demo version of the song leaked in 2017.

The Neptunes legend produced a handful of songs from Bangerz and the duo reunited a year later in 2014 for G I R L‘s”Come Get It Bae.” The funky anthem peaked at No. 23 on the Billboard Hot 100.

“I have this theory about Disney artists: They have the best work ethic ever,” Pharrell told The Hollywood Reporter of linking up with the Hannah Montana star in 2013. “She had inquired about working with me, but I had inquired about looking for her—we found each other at the same time.”

The year is off to a fantastic start for Cyrus, who took home her first two Grammy Award victories earlier this month when her Hot 100 No. 1 hit “Flowers” won record of the year as well as best pop solo performance. Cyrus had previously been nominated for two Grammys before collecting her first trophies this month.

Listen to a preview of the upcoming Pharrell and Miley collab below.

23 Feb 2024

Normani Opens Up About Parents’ Cancer Treatments: ‘All I Wanted to Do Was Be There for Them’

Normani is gearing up to release her long-awaited debut solo album, and opened up about the ups and downs of her past few years in a new Who What Wear profile.

In the wide-ranging interview, the star revealed that while her solo hits like “Motivation” and “Love Lies” were taking off, her parents were privately battling cancer. “F— all of this,” she said of her career after learning of the diagnoses. “This is bigger than the music. It’s bigger than what I’m trying to accomplish. This is life or death. All I wanted to do was be there for them.”

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However, she added that her music ultimately ended up being a positive part of healing. “Honestly, music got them through the cancer treatments,” Normani recalled. “I remember being on FaceTime with my mom while she was undergoing chemo and her asking me, ‘How’s the studio today? How’s the music coming?’” she says. At this moment, tears start to form in her eyes. She stammers a bit but goes on to say, “As hard as it was for me to not be with them as much as I wanted to, ultimately, pushing through made the circumstances of the last few years feel a bit lighter for my parents.”

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Normani announced last week she’ll be releasing her debut album, Dopamine, this year. She posted the album artwork on Instagram, which features the black-leather bikini-clad singer riding on top of a black rocket. “cryingg typing this rn. DOPAMINE THE ALBUM,” she captioned the post. The announcement of her long-awaited first full-length project arrives after fans noticed the ex-Fifth Harmony member had cleared her Instagram.

Normani has yet to reveal Dopamine‘s release date, but according to the rapidly changing date counter on the aforementioned website, it will be released in 2024.

23 Feb 2024

From AI to Spanish-Language Rap’s Evolution: Residente Talks ‘Las Letras Ya No Importan’

As one of the most influential and outspoken voices in Latin music, Residente has consistently pushed the boundaries of Spanish-language rap. Whether exploring the depths of human emotion and societal issues through his art, or pissing off mainstream reggaetoneros via hard-hitting tiraderas, there’s no denying that one can’t turn a deaf ear to the artist born René Pérez Joglar. 

With his second full-length solo album, Las Letras Ya No Importan (or Words No Longer Matter) — released via 5020 Records, following his 2017 eponymous debut — Residente‘s evolution from a genre-bending rapper to a multifaceted artist and cultural commentator is unmistakable. This latest work, released Friday (Feb. 23), embarks on an exploratory journey through sound, emotion and critical opinions, featuring a diverse roster of collaborations that span genres and geographies, from SFDK in Spain to Christian Nodal in Mexico and Amal Murkus in Gaza.

Among the standout tracks, “313” emerges as a deeply personal ode to the passage of time and the preciousness of life, inspired by a friend’s passing and Residente’s own reflections on growing older. “Time is becoming more and more relevant in my life,” he tells Billboard Español.

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“Bajo Los Escombros” offers a poignant look at the Palestinian struggle, crafted amidst the backdrop of conflict with contributions from musicians in Gaza and the voice of Murkus. “Jerga Platanera” dives into the linguistic intricacies of Puerto Rican and Dominican slang, while “El malestar en la cultura” and “Artificial Inteligente,” contemplate the evolution of rap and the intersection of humanity with technology, respectively. This album not only underscores Residente’s commitment to musical and thematic experimentation but also highlights his role as a visionary in the ever-evolving landscape of the música urbana genre and beyond.

During our interview at his home in Lower Manhattan, Residente’s living space mirrors the diversity and depth of his music. Surrounded by an eclectic collection of books — ranging from Apocalypse Now to José Parla’s Segmented Realities, and The Wes Anderson Collection — and art adorning the walls, his environment is a testament to his wide-ranging influences. The skylight and balcony overlooking the Hudson River offer a glimpse into the serene backdrop of his creative process, while his dozens of Grammy and Latin Grammys on display serve as a testament to his enduring impact on the music industry. 

Dressed casually in baby blue corduroys, a matching t-shirt, and a baseball cap, accented with a chain and silver whistle, Residente’s demeanor is as relaxed and approachable as it was thoughtful, as he reflects to Billboard the depth and diversity of his latest album. By the way, today (Feb. 23) is his birthday.

You have a lot to celebrate: your new album, your new music video, your debut as a lead film actor, your birthday. How are you going to spend it?

I think I’m going to go to a bar with family and friends, quietly. I am happy with the result of the video and the theme of “313.” It is an example of what I want to do more of. I’m going to celebrate that, the video, the album and what’s coming in the future as well.

Your video for “313” is visually stunning. It also features Penelope Cruz.

I always think about the visuals when I write songs, regardless of whether I make videos for them or not. Some people make videos for the song; I think I make music for the video. All the time I’m thinking visually and that’s where I compose the music. In this case I started to make the music and I was writing the ideas, adjusting to the weather conditions. It was quite difficult to shoot in November in Madrid, there is not much light. It snowed, it rained, everything happened during the shoot. That slows you down and the delay costs money. When you’re directing you have to think as a producer, writer, editor, and actor. I’m thinking about everything at the same time.

I have Penelope Cruz also in the video, and Silvia Cruz singing. We connected super well when I met [Penelope]. I also met her husband Javier [Bardem], and I’m a fan of both of them. I love what they do, they’re tremendous actors and they have a super nice family. I originally said, “I’d like Penelope to be in it.” I talked to her and she said yes. Little by little she connected with the song.

The inclusion of violins in that track and the guitar strings you use in others are beautiful and show a musical diversity along with some boom-bap beats. How do you decide which instruments or sounds to use in your compositions?

The album has songs that are older, and I had other songs that didn’t [end up on] the album because I didn’t feel they are connected to this moment now. When “René” came out four years ago, I was going to release an album at that time and, well, now I’m releasing them. Now I do have songs that feel like they are more relevant today, like “313,” “Artificial inteligente,” “Quiero Ser Baladista” or “Bajo Los Escombros.” All these have cello, double bass, all this musical stuff. It seems to me that it is an album that marks a transition, as it happened with Calle 13’s second album, Residente or Visitante, which marked a moment. After that, everything was different.

With your second studio album following your acclaimed 2017 debut, how do you feel your music and message has evolved in this latest work?

In this album I feel that the message comes more from my own experience. It is a very personal album, like “313” which is about enjoying this moment. I had a lot of losses last year and the year before. People I love died and everything I’m talking about enjoying all this comes from that experience in the past. And the last record was world music meets rap. This record is the more vulnerable part, like “Rene,” “313” or “Ron on the Floor.” It’s much more open in soul and spirit than before. I’ve always been open, but this time I’m more with the openness.

Upon entering your home, it is impressive to see the amount of Grammys and Latin Grammys you have won. How do you maintain your passion for music after so much success?

I maintain my passion with therapy, trying to do different, creative things that fulfill me. I feel a little tired as an artist, I’ve been doing this for a long time. I want to dedicate myself more to filmmaking, screen writing, experimenting, acting. Now we have a film out at Sundance, which won the Grand Jury prize. It’s called In the Summers. I’m the lead actor, I’m surrounded by spectacular actors and actresses who taught me a lot. I loved it. And the directing part I always love. I think that’s what keeps me motivated and inspired to keep working. It’s moving, doing other things within music as well.

How do you see the current state of Spanish-language rap and its culture, and how does your album contribute to this conversation?

One is a tool, and the other a genre that has rules and a culture that is respected. The discussion that was unleashed based on the list [of essential rappers in Spanish published by Billboard] seemed immature on the part of some of my colleagues. I think rap deserves to evolve as much as possible. I separate rap from hip-hop a lot. For me, [hip-hop] I see it as a genre where the tool of rap is used. That’s what I do.

I’ve never pretended to be of any specific musical genre, nor do I care. Never, since Calle 13, and right now, I’ve never wanted to be pigeonholed. I’m not a singer because I don’t sing, I rap, so I use the tool of rap. My album is for all the little kids who want to be rappers, who can’t sing but want to say things, and through rhyme is an alternative. And I’m doing well; I’m proof that you can do well doing different things, rapping, making music, making it evolve.

The future of rap, if it continues to be overprotected — is like protecting a child so much that it won’t know what to do when it grows up. So it’s the same with the music genre. You have to feed it new things, get it out there, let it evolve and move. It will continue to evolve, if not, it will stay there and other genres will come along and pass over it. It’s important, so that it doesn’t overtake it, and so that the kids who want to write rap can experience their creativity to the maximum, and take it to the maximum, as high as they can.

Listen to Las Letras Ya No Importan here:

23 Feb 2024

Billy Strings on His Triple-Header of Nashville Shows, Headlining Arenas: ‘I Want to Blow the Roof Off of Bridgestone’

Billy Strings wants a second chance.

Last year, the 31-year-old Strings played two headlining shows at Nashville’s 18,500-capacity Bridgestone Arena, and followed with a show at country music’s “Mother Church,” the Ryman Auditorium. Tonight (Feb. 23), he returns to Music City for a repeat trio — two headlining stints at Bridgestone (Feb. 23-24), followed by a sold-out headlining set at the Ryman (Feb. 25).

“Bridgestone last year was sort of like a fickle mistress or something,” Strings tells Billboard. “I don’t think we blew Bridgestone up. The show was good, but as soon as I played the gig, I was instantly like, ‘We need to come back and try again.’ I just want to blow the roof off of Bridgestone. I’ve done a year of playing arenas now and Bridgestone is really important, because I live here [in Nashville]. That’s where I see all the bands that I like, that’s where I go see $UICIDEBOY$, it’s my hometown arena. So I put a lot of pressure on myself about Bridgestone.”

Strings, who won a Grammy for best bluegrass album for his 2021 album Home and reigns as both the current entertainer of the year at the International Bluegrass Music Awards (IBMA) and artist of the year at the Americana Music Awards, advanced to playing arenas over the past year. His current trek includes multiple nights at arenas in Atlanta (State Farm Arena), New Orleans (UNO Lakefront Arena) and Pittsburgh (Petersen Events Center).

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According to figures reported to Billboard Boxscore, Strings — who since 2017 has been one of the key leaders in the ongoing progression of bluegrass, with his expansive guitar playing and quick-fire improvisational style — grossed $10.8 million and sold 174,000 tickets across 28 reported concerts in 2023, with many of those being arena shows. Those figures average out to $386,000 and 6,200 tickets per show.

The notion of a bluegrass picker ascending to performing multiple nights at arenas places this guitar master on a level of some bold name country and rock acts who regularly pull such double-headers. But a glimpse into Strings’s genre-eschewing shows offers a reasoning behind his appeal as an artist, one who has grown beyond a strictly bluegrass audience. A freewheeling, genre-melting show where Strings is just as likely to deliver a bluegrass standard as throw out a transcendent, high-octane, metal-infused guitar riff — and often in the same song. That’s by design, says the Michigan-raised Strings.

“Growing up, I listened to heavy metal, I listened to bluegrass, jazz, rock and rap,” he explains. “I’m not trying to be bluegrass. I’m not trying to be this or that, I’m just playing. I grew up playing bluegrass, so that’s kind of the medium I paint with — but I just play music, and whatever comes out is what happens. I don’t know what the hell kind of music it is.”

He’s also collaborated with everyone from mainstream country artists Dierks Bentley and Luke Combs to R&B artist RMR and rock band Fences. Combine that with the freewheeling, jamband feel his shows put forth, and it’s understandable that a Strings show draws a wide spectrum of concertgoers, from bluegrass aficionados to Deadheads, teens and older hippies.

“It might be young folks that are just getting into bluegrass and people who are into psychedelia, it’s all over the board,” Strings says. “You look out and see a guy headbanging wearing a Slayer shirt at a bluegrass concert. That’s freakin’ cool.”

The buildup to playing arenas has been steady, and conscientiously through out.

“We’ve always tried to be careful,” Strings says. “We toured in a van for as long as we could before moving to a bus, just stuff like that. I think we could probably play two or three nights at some of these places — but we choose to do only two, just to make sure they are full.”

Though Strings playing the 2,362-capacity Ryman is an underplay at this point, he says performing at the 132-year-old historic venue is always special. “Last time, we did all bluegrass songs, wore suits and played a bluegrass concert, which was so fun,” Strings recalls. “This year, I don’t know what we’ll do. Maybe an MTV Unplugged vibe, something stripped down. That’s what’s so cool about Nashville — like last year, we went from Bridgestone to the Ryman and then to Roberts [Western World on Lower Broadway]. So it goes from the biggest stuff ever to the funnest stuff ever.”

He also notes that, as with nearly any solid Nashville show, fans can expect some surprises.  “We’ve got some friends coming down,” Strings teases.

Longtime Strings fans and music aficionados might also notice some fresh nuances to his guitar playing–the results of this naturally-talented, playing by ear guitarist taking his first-ever guitar lessons.

“Last April, I started getting sick of myself and felt like I was on a plateau,” Strings says. “I’ve never taken lessons, I don’t know anything about music theory, and I’m in these sessions with Bela Fleck and people who are very well-versed in harmony and theory — and I’m just sitting here, some old country bumpkin, playing by ear, which is great. But now I have a guitar teacher and he’s got me learning jazz and classical and Charlie Parker tunes, stuff I never really play as a bluegrass musician, and it’s opening up my brain to different harmonic avenues. I can feel my fingers starting to reach for notes that weren’t there before. I never had a deliberate practice routine, ever, but I was building a career. Now that I have a career, it’s like, ‘There’s so many people that have practiced more than me and I’ve just been out here ripping gigs.’ So I’m having fun kind of starting over from the beginning.”

It is likely that somewhere in his three-night span of shows, Strings’ setlist will include his Grammy-nominated Willie Nelson collaboration, “California Sober,” which Strings released in honor of Nelson’s 90th birthday last year, and which marked Strings’ first release since partnering with Reprise Records, following a long association with Rounder. Strings says the collaboration was set in motion after Strings performed as part of Nelson’s Outlaw tour nearly two years ago.

“I got to hang out with him on that tour, and I was so inspired just by being around him,” he says. Later, Strings wrote the song and realized, “This is such a Willie song that I can’t record it without him.” He sent the song to Nelson, who agreed to record it. Strings went down to Luck while Nelson recorded his vocal.

“Just sitting there in the studio and making the song was amazing,” says Strings, noting that they followed the session with a game of poker at Nelson’s house. “He took a thousand bucks from me, real quick … I had no idea what I was doing, and he had no problem with that. His wife was like, ‘Man, this is gross. This poor kid doesn’t even know how to play poker.’ And Willie’s like, ‘Well, he shouldn’t have sat down.’ I would’ve spent another thousand just to sit there at that table.”

While Strings’ current tour runs through May, followed by some summer festivals, Strings has also been in the studio recording and says a new album is likely on the way this year.

“We got a record coming out probably in the fall,” he says. And it sounds like those sessions –- just like his live shows — are centered on chasing the muse and challenging himself musically. 

“I’ve been working on it a little bit between touring. I’m recording at home for the first time ever. Me and the band, sometimes we’ll work for 12 hours, sometimes we’ll work for three. Not having a time limit, no restraints, has been awesome, just for the vibe.”

23 Feb 2024

Billy Strings, Molly Tuttle & Golden Highway Win at 2024 International Folk Music Awards: Full Winners List

Less than three weeks after winning the Grammy for best bluegrass album for City of Gold, Molly Tuttle & Golden Highway won album of the year for that same Nonesuch release at the 2024 International Folk Music Awards. The awards were presented at the Westin Crown Center Hotel in Kansas City, Missouri, on Wednesday (Feb. 21), which was the first day of the Folk Alliance International (FAI) Conference. The event, now in its 36th year, continues through Sunday (Feb. 25).

Tuttle, who won in the same category last year for Crooked Tree, accepted her award remotely, saying, “I feel so lucky to be part of this folk music community. I draw so much inspiration from the folk tradition when I was writing this album. I imagined these songs being played by folks around the campfire. Music really is my City of Gold.”

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Billy Strings won entertainer of the year. “I’m incredibly honored,” he said. “The fact that my name even comes up in conversation with the other nominees just blows my mind. I made so many great friends at FAI in 2013-14 when I was ripping showcases and pickin’ all up and down them hallways and hotel rooms. I’d like to say thanks to Folk Alliance for giving us artists a place to come together and make lifelong friends, showcase our music, bump elbows, meet the right people, and start to grow our careers in an organic and natural way.”

Strings, who won a Grammy for best bluegrass album three years ago, has spent nearly a year atop Billboard’s Bluegrass Albums chart combining the runs of three of his albums – Home (25 weeks at No. 1), Renewal (nine weeks) and Me/And/Dad (16 weeks). In addition, all three albums received Grammy nominations for best bluegrass album. Home won.

“Workin’ on a World,” written and performed by Iris Dement, won the International Folk Music Award for song of the year.

Tracy Chapman, whose 1988 song “Fast Car” became a pop and country smash in 2023 for Luke Combs, received a lifetime achievement award. Joy Clark performed Chapman’s “Give Me One Reason” in tribute.

Other lifetime achievement award recipients were the late Chilean songwriter and activist Víctor Jara and McCabe’s Guitar Shop in Santa Monica, California, which has been hosting concerts in Southern California for more than 50 years.

Alynda Segarra of Hurray for the Riff Raff received The People’s Voice Award, which is presented to an individual who “unabashedly embraces social and political commentary in their creative work and public careers.”

“I started writing songs as a way to have power in this world,” Segarra said in accepting the award. “I started a band to create a family. Since my first days playing music on the street in New Orleans, I’ve turned to the mysteries of songwriting to document, honor, and defend the people on the outskirts of society. Folk music drew me in because it tells the truth, it disgraces the warmongers, and it defends the innocent. It’s been enlivening to watch folk music become more visibly queer and radical.”

The Rising Tide Award went to Guatemalan songwriter, vocalist and activist Sara Curruchich, who is the first musician to use the Kaqchikel language of her people in popular music for an international audience.

“Being the first Maya singer-songwriter to be recognized with this prestigious award is a dream come true,” Curruchich said in accepting her award. “This award not only represents a personal achievement but is also a step and a testament to the diversity and richness that we, as indigenous artists, bring.”

The Clearwater Award, presented to a festival that prioritizes environmental stewardship and demonstrates public leadership in sustainable event production, went to LEAF Global Arts Festival.

The Spirit of Folk Awards went to Lead Belly Estate’s Terika Dean; Amanda Rheaume, an artist from the Métis Nation of Ontario, Canada; Jim Fleming, founder of the booking agency Fleming Artists; and FAI’s conference director Jerod Rivers.

Newly minted Folk Radio Hall of Famers include Folk Alley’s Linda Fahey; roots music and folk expert Jan Vanderhorst, host of “Just Us Folk,” Mountain Stage founder Larry Groce; Bob Sherman, whose “Woody’s Children” show graced New York City’s airwaves for nearly 55 years; and Celtic music ambassador Brian O’Donovan.

Other performances included The Steel Wheels (also the house band), Kaia Kater singing Odetta’s “Moving It On”; Latin Grammy winner Mireya Ramos singing Victor Jara’s “Manifiesto,” which was first released in 1974, shortly after Jara’s death; and Willie Watson and Malena Cadiz (McCabe’s tribute).

NPR Music and World Cafe live-streamed the awards show.

In a sad sign of the times, a moment of silence was observed at the outset of the evening to acknowledge the shooting that happened across the street at last week’s Super Bowl victory celebration event in Kansas City.

Folk Alliance International interim director Jennifer Roe announced from the stage that next year’s conference will take place Feb. 19-23, 2025, in Montreal, Quebec, Canada at the Queens Elizabeth Hotel, where John Lennon and Yoko Ono recorded “Give Peace a Chance.”

Here are the finalists for the Best of 2023 awards, with winners marked:

Album of the year

Amatssou – Tinariwen (Wedge Records)

WINNER: City of Gold – Molly Tuttle and Golden Highway (Nonesuch)

False Lankum – Lankum (Rough Trade)

Stand in the Joy – William Prince (Six Shooter Records)

Welcome to Whatever – Rainbow Girls (self-release)

Artist of the year

WINNER: Billy Strings

Digging Roots

Gaby Moreno

Nickel Creek

Madi Diaz

Song of the Year

“Changes,” written by Joy Oladokun & Dan Wilson, performed by Joy Oladokun

“Keep It on a Burner,” written and performed by Margo Cilker

“Tears Run Dry,” written by Abraham Alexander, Ian Barter, Leo Stannard, performed by Abraham Alexander

“The Returner,” written by Allison Russell, Drew Lindsay, & JT Nero, performed by Allison Russell

WINNER: “Workin’ on a World,” written and performed by Iris Dement

23 Feb 2024

Big Machine Label Group’s BMLG Records Rebrands as Nashville Harbor Records & Entertainment

Big Machine Label Group revealed the next chapter of its BMLG Records imprint, which has rebranded as Nashville Harbor Records & Entertainment. The imprint was initially founded as a joint venture in 2009 as Republic Nashville; in 2015, Big Machine Label Group took full ownership of the imprint and renamed it BMLG Records.

Nashville Harbor Records & Entertainment’s roster includes Riley Green, Brett Young, Chris Janson, Lady A, Greylan James and Shane Profitt. Jimmy Harnen will remain as president/CEO, with operations continuing as normal.

“Under Jimmy’s leadership, this imprint has built an incredible reputation with the monstrous success of Florida Georgia Line and Lady A, more than 40 No. 1 hits, countless RIAA certifications/awards and impressive team of music executives that share in his passion,” Big Machine Label Group chairman/CEO Scott Borchetta said in a statement. “Since its inception, this label has been an exercise in experimentation and innovation and I have no doubt that the possibilities are endless for this team.”

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“This label has always given artists the freedom to create music that is true to them and we want to double down on that and continue to create even more of a haven for creativity and an environment that fosters development,” Harnen added. “We want to take the time to nurture talent and provide a place they can call home.”

Janson’s upcoming single, “Watcha See is Whatcha Get,” which releases March 8, will be the first release under Nashville Harbor Records & Entertainment.

“This rebranding is EXCITING, and I’m very happy to be first out of the gate, with ‘Whatcha See Is Whatcha Get,’” Janson said in a statement. “The entire team has my utmost respect, confidence, and gratitude. They have shown me what a winning team is, and I’m more than proud to be here and to be recognized on Harbor’s amazing artist roster.”

23 Feb 2024

Goyo, WOS & More: Which Is Your Favorite New Latin Music Release This Week? Vote!

This week, Billboard‘s New Music Latin roundup and playlist — curated by Billboard Latin and Billboard Español editors — feature fresh new releases from artists such as Goyo, WOS, Wisin and Gabito Ballesteros, and more.

The regional Mexican music takeover continues. This time, it’s reggaeton star Wisin who experiments with the gene in “Un Shot,” a collaboration with emerging música mexicana artist Gabito Ballesteros. It’s Wisin’s first-ever regional Mexican track, which comes as the genre globalizes thanks to a new generation of acts, which includes Ballesteros. The track is a corrido tumbado with hard-hitting urban beats that also meshes Ballestero’s dulcet vocals and Wisin’s raspier tone. “Un Shot” narrates the story of a man who’s drinking his sorrows away after a break up.

Meanwhile, Peruvian icon Gian Marco teams up with Catalina García (Monsieur Periné’s lead vocalist) in the captivating ballad “Tú.” The acoustic collaboration, a fourth preview of Gian Marco’s upcoming album Aún Me Sigo Encontrando, fuses the pair’s voices in a sublime performance, giving life to a beautiful Andean song accompanied by the distinctive sound of the charango, a typical instrument of this South American region.

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Other new releases include Goyo’s edgy hip-hop song “Insomnio,” WOS and Gustavo Santaolalla’s cumbia masterpiece “Melancolía,” and LAGOS and Elena Rose’s pop release “Blanco y Negro.”

Last week, Farruko’s “Rasta Reggae (Jamming)” won the poll with over 50 percent of the votes. Gaby Moreno’s new album, Dusk, followed with 33 percent of the votes. Which your favorite new Latin music release of this week? Vote below!

23 Feb 2024

New Music Latin: Listen to Releases From Wisin & Gabito Ballesteros, Plus More

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.

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Wisin, Gabito Ballesteros, “Un Shot” (La Base Music Group/WK)

Who would’ve ever thought — Wisin tapping into the música Mexicana realm? The Puerto Rican hitmaker has swapped his baseball cap for a cowboy hat for his latest single “Un Shot,” in collaboration with Gabito Ballesteros. Lacing the best of both worlds, the track is a corrido tumbado with hard-hitting urban beats that also meshes Ballestero’s dulcet vocals and Wisin’s raspier tone. “Un Shot” narrates the story of a man who’s drinking his sorrows away after a break up.

But beyond that, it’s an homage to the regional Mexican genre, according to Wisin. “For us urban artists, it was a dream to enter Mexico and receive the support of all Mexicans,” he told Billboard during rehearsals at the 2024 Premio Lo Nuestro. “More than a fusion and a rich song, musically speaking, it is a tribute to the people of Mexico and a way to enter their world and let them know that we respect what they do, respect their music.” — JESSICA ROIZ

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LAGOS & Elena Rose, “Blanco y Negro” (Warner Music Mexico)

After sharing the best pop-rock song Latin Grammy award with Lasso for the hit “Ojos Marrones” last November, the duo LAGOS — made up of Venezuelan musicians Luis Jiménez and Agustín Zubillaga — joins forces with another compatriot for a new pop anthem: “Blanco y Negro,” with prominent singer-songwriter Elena Rose. The song, which talks about the difficulty of having to say goodbye to a loved one in the midst of complex circumstances, offers an infectious melody and Spanish lyrics sprinkled with English that go straight to the heart. “If it’s not a yes, it’s a no, I don’t want to let you go/ But what do we do if life got in the way?/ If it’s over, put up with it/ I’m looking for another color in this black and white,” they sing in the chorus, creating beautiful harmonies at times. It’s a pop track that can take you to moments that you may not even experienced in your own life. — SIGAL RATNER-ARIAS

Goyo, “Insomnia” (Sony Music Latin)

The first 20 seconds of Goyo’s “Insomnio” sound like a total rock anthem, with the strumming of an electric guitar. “Everyone wants to attack, but nothing will get me,” Goyo declares. What starts as a rock jam quickly evolves into a hip-hop beat that only speeds up as the song continues. Soon, Goyo’s rapid-fire lyrics take center stage, matching the song’s intensity. While Goyo has been at the forefront of the Latin hip-hop movement, this song is a slight departure from her signature bright and uplifting anthems, edgier with an almost haunting vibe. “Of all the panthers I’m the blackest one,” Goyo raps. “I like to hang out with those that respect me.” — GRISELDA FLORES

WOS & Gustavo Santaolalla, “Melancolía” (DOGUITO Records/DALE PLAY Records)

Bolstered by the strumming of a charango and festive wind arrangements, “Melancolía” delves into themes of mortality, resilience and melancholy against the riveting backdrop of Andean cumbia. With WOS’ energetic delivery and the powerful sonic architecture of Gustavo Santaolalla — also co-produced by Evlay and Francisco Azorai — the chorus “Será melancolía/ de una vida sin receta” encapsulates the song’s theme of navigating a world without instructions. Ultimately, it explores the human experience of finding light amid darkness. — ISABELA RAYGOZA

Gian Marco & Catalina García, “Tú” (Altafonte/Enjoymusic Studios LLC)

Peruvian music icon Gian Marco teams up with talented Monsieur Periné vocalist Catalina García on the captivating ballad “Tú.” The acoustic collaboration, which is the fourth track previewing the Peruvian artist’s upcoming album Aún Me Sigo Encontrando, masterfully fuses their voices together in a sublime performance, giving life to a beautiful Andean song — accompanied by the distinctive sound of the charango, a typical instrument of this South American region. “In ‘Tú’ we once again include the colors of Andean folklore. The charango gives it a very special color. It is a song for everyone, for whoever wants to feel it, sing it, and dedicate it,” Gian Marco says in a statement. “I am like this because now you are/ I can love because only you/ You fill me with good things / I give you my whole life” the pair sings in the chorus of the Julio Reyes Copello-produced song. — LUISA CALLE

Sergio George & Jay Wheeler, “La Puerta” (Sony Music Latin)

Sergio George has released “La Puerta” in collaboration with Jay Wheeler — the first single off of his new album ATACA SERGIO, URBAN SALSA SESSIONS. The innovative song combines catchy salsa melodies with immersive urban rhythms to tell a cautionary story about the consequences of letting pride interfere with love. “I told you to leave when I wanted you to stay/ D–n the pride that screwed me in its web/ Making me believe that you weren’t going to leave, that you wouldn’t dare,” Wheeler chants with his high vocals. — INGRID FAJARDO

Listen to more editor’s Latin recommendations in the playlist below:

23 Feb 2024

Ace Frehley Says He Doesn’t ‘Believe’ Kiss Is Truly Retired From Touring


As he brings out his latest solo album, 10,000 Volts, out Friday (Feb. 23), Ace Frehley is also ready to wave the Kiss flag now that his former band has retired from the road.

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“I’m the only game in town because Kiss is supposedly retired — which I don’t believe is gonna happen,” Frehley tells Billboard. “But be that as it may…I actually added two more Kiss songs to my set. We added ‘Shout It Out Loud’ and ‘Rock and Roll All Nite’ because talking to people, they go…you gotta do those songs live — and I did and it went over fantastic. We ended the night with three Kiss songs: ‘Shout It Out Loud,’ ‘Deuce’ and ‘Rock and Roll All Nite,’ and everybody was singing along and it was great.

“As far as I’m concerned it doesn’t even matter who wrote the song. I played the guitar solos on those records, and that’s good enough for me.”

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And, as Frehley indicated, he’s not sure how long he will be the only game in town.

“I wouldn’t be surprised if they reformed,” says Frehley, who was part of Kiss from its formation in 1973 through 1982, then rejoined from 1996 through 2002. “There were times when I had enough and I had to leave and do my own thing,” he adds, though band leaders Gene Simmons and Paul Stanley have indicated that Frehley was dismissed. They did not include Frehley (or drummer Peter Criss) on any of the dates of their farewell End of the Road World Tour.

“I really don’t want to trash those guys,” Stanley said last year, “because we wouldn’t be here today if not for them, if they hadn’t been in the band, and we wouldn’t be here today if they still were. They’re part of the foundation, but at some point, the foundation turned out to be faulty and you have to make repairs…and did.”

For his part, Frehley feels that “Paul and Gene are driven by different things than me. I’m driven by the quality of the music and in some cases they’re driven by money and that doesn’t sit well with me. But they’ve admitted it, so it’s no big deal.” In fact, Frehley says his relationships with his former bandmates are not as rancorous as is often reported.

“We’re still friends,” he says. “I know a lot of people think we hate each other, but that’s not true. We’re just like a family, but sometimes brothers and sisters have arguments and so on. But when the sh-t hits the fan, we’re there for each other. I just wish them the best.” He is not, however, particularly optimistic about the avatar performance concept that Kiss announced during its final show on Dec. 2 in New York, which is expected to roll out in 2025.

“Deep in my heart I have a feeling it may not be as successful as they think it’s gonna be,” Frehley predicts. “That’s not just me talking; a lot of people I’ve talked to feel that way but let them prove us wrong. I want them to be happy and doing their thing, But as far as I’m concerned, there’s nothing like a live band on stage with real amps and singing into the microphone. That’s just my opinion.”

Frehley will be doing plenty of that in support of 10,000 Volts, his first album since the covers set Origins Vol. 2 in 2020 and his first of original material since Spaceman in 2018. Save for “Life of a Stranger,” originally sung by French actress Nadia for the 2002 action film The Transporter, Frehley wrote and produced 10,000 Volts‘ 10 other tracks with Steve Brown of Trixter; the two played most of the instruments on the album, joined by a handful of drummers and other musicians.

“Steve and I clicked so magically that I really can’t put it into words,” notes Frehley, whose fiancée introduced him to Brown. “He lives, like 40 minutes from me. He has a studio in his basement; I have a studio in my basement. We bounce back and forth. He’s a great engineer, a strong writer, singer, guitar player. Every song just came together really easily. If I couldn’t come up with a great solo he’d plays something that was real similar to the way I would’ve played, and sometimes I’d double it or duplicate it. I think I left one or two of his solos on the record because they were so good.”

10,000 Volts ends with the album’s lone instrumental, “Stratosphere,” although Frehley says he had more of those pieces around that the two were working on.

“I had three or four instruments that are probably just as good,” Frehley says, “but the record company was getting nervous. The record was really behind It was due months ago. So I just said to Steve, ‘What’s the instrumental you want to do?’ He said, ‘Let’s do ‘Stratosphere’ and I’ll try to do some interesting guitar work under the guitar that you wrote,’ and boom, we had our song.”

Frehley predicts the other instrumentals “will probably be used on a future record,” although he next has his sights on a third Origins volume, covering songs by artists who influenced him. He’s already signed Brown on to work on that and hopes to put it out during 2025. This year, meanwhile, will be all about 10,000 Volts and an anticipated worldwide touring to support it.

“Y’know, here I am at age 72 and I’m putting out one of the best records I’ve ever recorded. The playing is great and the singing is some of the best vocals I’ve ever done. It really doesn’t make any sense, but I’m the kind of guy that’s always broken rules, y’know?”

23 Feb 2024

Doja Cat Extends Record for Most Pop Airplay Chart No. 1s This Decade With ‘Agora Hills’

With her latest hit “Agora Hills,” Doja Cat scales new heights on Billboard’s Pop Airplay chart. The song, available via Kemosabe/RCA Records, becomes her eighth No. 1 on the survey, dating to her first in 2020, extending her mark for the most leaders this decade. She boasts twice as many as runners-up Justin Bieber, Dua Lipa and Harry Styles, each with four No. 1s in that span.

Doja Cat is also the only act with at least one new Pop Airplay No. 1 each year so far in the ‘20s.

Dating to the Pop Airplay chart’s 1992 inception, Doja Cat ties Justin Timberlake for the ninth-most No. 1s. Taylor Swift leads with 12, followed by Maroon 5, Katy Perry, Rihanna (11 each), Bieber (10), Ariana Grande, Bruno Mars and P!nk (nine each).

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(The Pop Airplay chart reflects plays on over 150 reporting mainstream top 40-formatted stations. Airplay is monitored by Mediabase and provided to Billboard by Luminate.)

Here’s a recap of Doja Cat’s eight Pop Airplay No. 1s:

  • “Agora Hills,” one week at No. 1 to date, March 2, 2024
  • “Paint the Town Red,” seven weeks, beginning Oct. 28, 2023
  • “Vegas,” four weeks, beginning Oct. 22, 2022
  • “I Like You (A Happier Song)” (Post Malone feat. Doja Cat), three weeks, beginning Oct. 1, 2022
  • “Woman,” two weeks, beginning April 9, 2022
  • “Need To Know,” one week, Feb. 5, 2022
  • “Kiss Me More” (feat. SZA), one week, July 10, 2021
  • “Say So,” six weeks, beginning May 16, 2020

“Agora Hills” previously spent two weeks at No. 1 on the Rhythmic Airplay chart, where it became Doja Cat’s 11th leader.

The song has also hit No. 7 on the all-genre, multi-metric Billboard Hot 100, marking Doja Cat’s ninth top 10.

“Agora Hills” and previous single, and fellow Pop Airplay No. 1, “Paint the Town Red” are from Doja Cat’s album Scarlet, which debuted as her third top 10 set on the Billboard 200 in October 2023.

All Billboard charts dated March 2 will update on Billboard.com Tuesday, Feb. 27.