Music

13 Feb 2024

Gerardo Ortiz Adds 13th No. 1 on Regional Mexican Airplay With ‘Ahí No Era’

Gerardo Ortiz picks up his 13th No. 1 on Billboard’s Regional Mexican Airplay chart as “Ahí No Era” advances 4-1 on the list dated Feb. 17.

After a week in the top 10, the single crowns the list following a robust 40% gain in audience impressions, to 7.5 million, earned in the U.S. in the tracking week ending Feb. 8, according to Luminate.

As “Ahí No Va” advances, it unseats Xavi’s “La Diabla” from the lead after one week in charge. The latter dips 1-2 with 6.7 million, that’s a 29% decline from the week prior.

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With 13 No. 1s to his account, Ortiz still has the second-most among soloists, behind Christian Nodal’s 15 No. 1s. Among all acts, Calibre 50 has the most, with 24.

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Here’s the list of the acts with the most No. 1s since the Regional Mexican Airplay chart launched in 1994:

24, Calibre 50
19, Banda MS de Sergio Lizarraga
18, Banda El Recodo de Cruz Lizarraga
18, Intocable
17, La Arrolladora Banda el Limon de Rene Camacho
16, Conjunto Primavera
16, Los Tigres del Norte
15, Christian Nodal
13, Gerardo Ortiz
12, La Adictiva Banda San Jose de Mesillas

As “Ahí No Va” lands at the summit, Ortiz becomes just the sixth soloist to rule Regional Mexican Airplay in the past year. He joins Christian Nodal (“Un Cumbión Dolido” in June 2023), Alejandro Fernández (“No Es Que Me Quiera Ir” and “Difícil Tu Caso,” last Aug. and Nov. respectively), Carin León (“Indispensable,” last Aug-Sept.), El Fantasma (“La Vida Cara,” last Sept.), Eden Muñoz (“Como En Los Viejos Tiempos,” Jan. 27-dated list), and Xavi (“La Diabla,” chart dated Feb. 10).

Elsewhere, “Ahí No Va” pushes 14-4 on the overall Latin Airplay ranking, for Ortiz’ 17th top 10. The song becomes his highest peak since “Regresa Hermosa” reached an equal No. 4 high in 2016.

13 Feb 2024

Elyanna: The Future Sound of Arabic Pop

As Elyanna steps into a warehouse in downtown Los Angles for Billboard Arabia’s February cover interview and shoot, the weight of anticipation hangs heavily in the air. Despite battling nerves a mere 24 hours before her Dallas gig, the first show in her debut North America tour, Elyanna exudes a quiet determination characteristic of her rapid ascent in the music industry. With only two EPs to her name and a handful of singles, she’s already achieved the remarkable feat of selling out nearly every venue on her tour circuit – a testament to her burgeoning fanbase, undeniable talent and her unique sonic proposition, driving a future sound of global pop music unbound by language.

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Guided by her artist management team at SALXCO and her family, Elyanna navigates the shoot with a delicate balance between preparation and preservation, immersing herself in a playlist with unreleased tracks off her forthcoming LP, shuffling alongside tracks by Ice Spice, Sherine and Doja Cat. The 22-year-old artist starts to find her groove, but she does this silently. In the hush of a prescribed, pre-tour vocal rest, moments of introspection emerge – and it is in these moments of silence we hear Elyanna’s message to the world.

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Elyanna aims to elevate Arabic pop music onto the global stage while using her art to depict her homeland and culture beyond the lens of conflict. Born in Nazareth, Palestine, and moving to L.A. with her immediate family at the age of 15, she seeks to showcase her culture’s beauty in its entirety – its layers, textures, multi-colors and history – countering the media’s portrayal, dominated by the specter of war and destruction.

This carries into every one of her songs and live performances. Whether expressed through her instrumentation, lyrics or Arab-inspired fashion and accessories, we see Palestine through Elyanna’s eyes but also through that of her family. One cannot tell the story of Elyanna without also talking about how each family member plays a pivotal role in her career. Her sister Tali is her stylist, her brother Feras is her co-producer and video director, whereas her mother Abeer contributes to her songwriting. Meanwhile, her father, Amer, is the glue that holds the operations together.

“I would say that takes people who believe in you,” says Elyanna. “So I just surround myself with people that believe in me…. Like my family, like my friends, the people that believed in me and put time in me.”

It is not an exclusively Arab thing to keep your family close by, but it is very Arab to tell a story of generations in one song. We hear this in many of Elyanna’s tracks, first with the ambitious cover of Abdel Halim Hafez’s “Ahwak” (I Love You), a song that consistently permeated every generation since it was released nearly six decades ago. Elyanna’s rendition of “Ahwak” is a mesmerizing homage that breathes new life into the classic by setting the original lyrics against an acoustic piano, as her reverent vocals feel as though they are coming from another time.

“I know it’s a cover,” she says. “But I felt I brought it into my own world. I think that was the point where I knew what I should do next.”

On her 2019 debut original release, “Oululee Leh” (Tell Me Why), Elyanna unveiled her sonic potential to the world. Co-written by her mother Abeer Margieh, her brother Feras Margieh and songwriters Nasri Atweh, Sari Abboud and Martine Sinotte, the song delves into the profound loneliness born from loss and distance. Its poignant lyrics and haunting instrumentation evoke an intimacy that resonates with anyone who has ever felt like a stranger, offering solace in shared experience through a chorus that sings, “Ouloulee lee” (tell me why).

When I asked Abeer, her mother, whether the song was about the loss of a place or a person, she quickly responded with “a place.” But for Elyanna, it has a double meaning, one that the listener is left to decode independently. It is in this co-writing with her mother and brother that Elyanna’s songs cut across the temporal spectrum, collapsing past, present and future in a single note.

In 2020, Elyanna released her debut album, a self-titled body of work made up of six songs, including “Ouloulee Leh,” “Ahwak” and viral hit “Ana Lehale” (I’m on my Own) feat. Massari, showing an artist on the brink of finding her voice. Two years later, Elyanna dropped her follow up EP, Elyanna 2, driven by hits like “Ala Bali,” also featured in Mo Amer’s Netflix show, and “Ghareeb Alay” feat. Balti, which went on to amass over 50 million views on YouTube with its blend of Latin rhythms and relatable lyrics. With a steady flow of singles, including Elyanna’s 2023 release of “Sokkar,” an Arabic cover of the song by Zubi and Anatu, followed by “Mama Eh,” she continued to underscore her budding pop prowess.

In a short time, the artist managed to land a coveted spot in Coachella’s April 2023 lineup, where she performed the first ever complete Arabic set in the festival’s history. In another milestone moment, Elyanna’s heart-wrenching original song “Olive Branch” (co-written with her brother Feras) was performed live at the 2023 edition of the El Gouna Film Festival. It spotlighted the artist’s unique ability to use her music to drive awareness, while celebrating the richness and beauty of Palestinian culture.

When asked about her role as an Arabic artist, Elyanna articulates a pressing imperative: to disseminate her culture worldwide. While such inquiries often provoke polarizing responses, she gracefully infuses each of her songs with glimpses of cultural richness of her heritage, but she does so in an accessible way.

Much like the intricate stitches of “tarteez” (Palestinian embroidery), Elyanna’s music weaves various influences into a harmonious whole. Each musical passage is akin to uncovering a hidden image as if each thread holds a story waiting to be explored, inviting listeners around the globe to find the patterns that speak to them while resonating with the whole. Now, on the brink of releasing her debut LP, Elyanna continues to blend her multiple cultural influences, be it the Latin textures inherited from her Chilean grandmother or the power of her Palestinian grandfather’s pen, all the while creating an entirely new pop sound.

“It’s really just taking things from life that I love, and now I want to do it in a project that I would call a piece of art,” says Elyanna. “And this project is really experimental.” Lead single “Al Sham” from her upcoming album embodies various cultural elements from the region, showcasing her spirit of experimentation. Fueled by electronic-dabke rhythms, she ingeniously interprets lyrics from Syrian singer Sabah Fakhri’s classic “Khamrat El Hob.” In Elyanna’s version, we dive into the song’s iconic line, “A life without love is like a river without water.” But it’s somewhere within the music video where we get a sense that Elyanna is not a victim of unrequited love or anything else. Instead, she is a formidable force, surrounded by her crew and imagery evoking empowerment, marking a pivotal moment in the lead-up to her debut North America tour.

“I’m on a Billboard cover, and we have a sold-out tour, and I have an album coming,” says Elyanna. “It feels insane to me. I’m doing things I dreamt of my whole life.” She goes on to mention that the tour has the ability to gather Arabs in America together, which is something she looks forward to most.

After postponing her debut tour due to the war in Gaza, Elyanna eventually announced new dates, with 10 stops through the U.S. and Canada. Within 20 seconds of watching her perform, Elyanna’s star potential is undeniable. It’s not just her voice, message or rich influences, but the combination that shapes her artistry, its impact and the future sound of Arabic pop.

This is a translation of a cover story that originally appeared on Billboard Arabia.

Elyanna

Elyanna

Billboard Arabia

13 Feb 2024

Latin Artists Who’ve Scored Major Movie & TV Roles Since 2020 (Updating)

Musicians launching a career in acting isn’t anything new.

In fact, it’s more common than ever, and Latin artists are no exception as they make their way to the big screen or score a role in a popular television series. Over the past four years, a handful of Latin artists — from Karol G to Bad Bunny, Maluma and Residente — have made their acting debuts.

In January, Karol G showed her acting chops for the first time on Netflix’s Griselda opposite Sofia Vergara, and Bad Bunny booked back-to-back film projects — Bullet Train and Cassandro — after making his acting debut on Netflix’s Narcos: México in 2021.

Meanwhile, Puerto Rican hitmaker Residente made his acting debut in the indie film In the Summers, which premiered earlier this year at the 2024 Sundance Film Festival. The project, directed by Alessandra Lacorazza, won the U.S. Dramatic Grand Jury Prize.

As for Maluma, he starred alongside Jennifer Lopez and Owen Wilson in Marry Me, which was released in 2022. “As a Latino from Colombia, Medellin, who was going to think that my first movie was going to be a Hollywood movie with Owen Wilson and Jennifer Lopez? We’re making history right now as a Latin community, and I feel very proud of being part of this big, big movement that we’re having right now,” he previously told Billboard.

A few other Latin acts, like Becky G, Leslie Grace and Lucero, who had already been part of a series or film before 2020, returned with new projects. Becky, who made her acting debut in 2017 as the Yellow Ranger in Power Rangers, had a few projects under her belt, including Good Mourning in 2022 and Blue Beetle in 2023.

Below, here are a handful of Latin artists who’ve scored major onscreen roles since 2020 (in alphabetical order):

13 Feb 2024

10 Taylor Swift Albums Among 44 Projects to See a Billboard 200 Bump After 2024 Grammys

On the Billboard 200 albums chart (dated Feb. 17), 44 albums post unit gains thanks to exposure during the CBS broadcast of the Grammy Awards on Feb. 4. (Any artist who was a presenter, performer, on-air winner or a nominee mentioned during a presentation of an on-air award was considered in our research.)

See the full list of Grammy gainers below.

The highest-ranked Grammy gainer on the chart is SZA’s former No. 1 SOS, which climbs 6-3 with 53,000 equivalent album units earned in the U.S. in the week ending Feb. 8 (up 27%), according to Luminate. On the Grammy Awards, SZA won the best R&B song award for “Snooze” and performed a medley of “Snooze” and “Kill Bill.” The latter was also nominated for record of the year and song of the year. (SZA additionally won Grammys for best progressive R&B album [for SOS] and best pop duo/group performance for the set’s “Ghost in the Machine,” featuring Phoebe Bridgers, but those awards were not presented during the TV broadcast.)

SZA’s previous album, 2017’s Ctrl, also logs a gain, rising 38-30 with 20,000 units (up 12%).

Taylor Swift, who was a multiple nominee and two-time winner at the 2024 Grammy Awards, has 10 gaining albums on the chart, with three in the top 10. Swift took home the prizes for album of the year and best pop vocal album (both for Midnights). With the album of the year win, she became the first act to claim the trophy four times. She was nominated for four more awards – record of the year, song of the year, pop solo performance (all for “Anti-Hero”) and best pop duo/group performance (“Karma,” featuring Ice Spice). Swift’s highest-ranked gaining title on the Billboard 200 is her former No. 1 Midnights, which rises 9-5 with 51,000 units (up 35%).

Here’s a recap of all the artists that post gains on the Billboard 200 (dated Feb. 17) following their exposure on the Grammy Awards. On the broadcast, nine competitive award categories were presented (in chronological order): best pop solo performance, best música urbana album, best country album, best R&B song, best pop vocal album, song of the year, best new artist, record of the year and album of the year. There are a total of 94 competitive categories in total. The vast majority of awards are not presented during the television broadcast.

Performer and winner SZA sizzles with SOS (rising 6-3 with 53,000; up 38%) and Ctrl (38-30 with 20,000; up 12%).

Noah Kahan, who was among the best new artist nominees, sees his Stick Season post an increase, but is pushed down the chart 7-4 (49,000; up 4%).

Swift has a whopping 10 titles on the chart, all of which gain: Midnights (9-5 with 51,000; up 35%), 1989 (Taylor’s Version) (5-8 with 48,000; up 7%), Lover (7-9 with 45,000; up 13%), Folklore (13-14 with 32,000; up 15%), Reputation (16-15 with 30,000; up 15%), Speak Now (Taylor’s Version) (26-25 with 23,000; up 10%), Evermore (34-26 with 21,000; up 11%), Red (Taylor’s Version) (33-28 with 21,000; up 8%), Fearless (Taylor’s Version) (73-63 with 14,000; up 12%) and 1989 (67-65 with 14,000; up 7%).

Zach Bryan, whose self-titled album was among the nominees for best country album, posts a unit gain with that set (8-10 with 42,000; up 5%), Elisabeth (113-116 with 10,000; up 2%) and Summertime Blues (159-154 with 9,000; up 2%). The best country album prize was won by Lainey Wilson’s Bell Bottom Country. Bryan, however, did win a Grammy this year (his first ever), but it was not presented on the broadcast. He won for best country duo/group performance for his first Billboard Hot 100 No. 1 hit, “I Remember Everything,” featuring Kacey Musgraves. (As for Wilson, Bell Bottom Country flies 118-95 with 11,000 units; up 10%).

Travis Scott, who performed a medley of three songs from his Utopia album (“My Eyes, “I Know?” and “Fe!n”) with Playboi Carti, sees Utopia hold steady at No. 12, though with a 10% unit gain (to 36,000). Utopia was also a nominee for best rap album, which was won by Killer Mike’s Michael. Scott also gains with his prior albums Astroworld (69-68 with 14,000; up 5%) and Rodeo (195-187 with 8,000; up 3%).

Performer and multiple nominee Olivia Rodrigo rises with a pair of albums: Guts (17-16 with 28,000; up 10%) and Sour (32-31 with 20,000; up 5%). On the show, she performed Guts single “Vampire.” Rodrigo was nominated for six Grammys this year, including album of the year and best pop vocal album (for Guts), record of the year, song of the year, best pop solo performance (for “Vampire”) and best rock song (Guts’ “Ballad of a Homeschooled Girl”).

Performer Luke Combs, who sang his nominated cover of Tracy Chapman’s “Fast Car” with Chapman herself on the show, sees gains for three of his albums on the chart. Gettin’ Old bumps 31-22 (24,000; up 25%), This One’s for You rises 49-45 (17,000; up 8%) and What You See Is What You Get climbs 82-75 (13,000; up 7%). “Fast Car” was nominated for, but did not win, best country solo performance.

Meanwhile, Chapman re-enters the Billboard 200 at No. 59 with her 1988 self-titled chart-topping album (which contains her original version of “Fast Car”), earning 15,000 units (up 658%). It’s the album’s first appearance on the chart since 1989. It’s also Chapman’s first visit to the chart with any album since the Dec. 12, 2015-dated chart, with her Greatest Hits album spent one week on the list at No. 105.

The Barbie soundtrack bounces 35-32 on the Billboard 200 with 20,000 units earned (up 8%). The album basks in the glow of a pair of performances on the show – Dua Lipa’s show-opening medley (which included a small segment of the album’s “Dance the Night”) and Billie Eilish’s “What Was I Made For?” Both songs earned multiple nominations this year: “Dance” for song of the year and best song written for visual media, “What Was I Made For” for record of the year, song of the year, best pop solo performance, best song written for visual media, and best music video. Mark Ronson, who presented the record of the year award on the show (with his mother-in-law, Meryl Streep), was a five-time nominee this year for his work on the Barbie album. Of the five nominations, he took home the trophy for best compilation soundtrack for visual media for Barbie. (Streep herself is a seven-time Grammy nominee, and scored a nod this year for best audio book, narration, and storytelling recording for Big Tree.)

Speaking of Lipa and Eilish, Lipa’s Future Nostalgia rises 126-108 (10,000 units; up 9%), while Eilish’s Happier Than Ever climbs 136-132 (10,000; up 4%) and When We All Fall Asleep, Where Do We Go? steps 124-112 (10,000; up 6%).

Miley Cyrus, who performed on the show and won two awards, vaults 139-37 with Endless Summer Vacation (18,000; up 101%). Cyrus won her first Grammys this year: best pop solo performance and record of the year for “Flowers,” which she performed.

21 Savage, who joined Burna Boy and Brandy for a medley performance, sees two of his albums post gains: Her Loss, with Drake (48-49 with 17,000; up 1%), and Savage Mode II, with Metro Boomin (99-100 with 11,000; up 2%). 21 Savage also scored five nominations this year, though none of the categories he was competing in were presented during the show.

Lana Del Rey, who scored five nominations this year, including for song of the year (“A&W”) and album of the year (Did You Know That There’s a Tunnel Under Ocean Blvd.), has a trio of albums that gain on the chart. Born To Die bolts 65-51 (16,000; up 18%), Did You Know re-enters at No. 97 (11,000; up 50%) and Ultraviolence re-enters at No. 189 (8,000; up 21%). Del Rey was also brought up onstage by Swift when the latter won album of the year for Midnights. (Del Rey is featured on a song on Midnights, and was also vying for album of the year with Did You Know.)

Karol G, who won her first Grammy Award during the broadcast, for best música urbana album for Mañana Será Bonito, logs a pair of gaining albums on the chart. Mañana moves 64-67 with 14,000 units (up 1%), while Mañana Será Bonito (Bichota Season) rises 94-87 with 12,000 units (up 6%).

Rounding out the chart’s gainers are: best new artist nominee Jelly Roll (Whitsitt Chapel, moving 60-58 with 15,000 units; up 6%), performer Billy Joel (The Essential Billy Joel rises 171-107 with 10,000; up 23%), nominee Doja Cat (nominated twice this year, including for best pop solo performance for “Paint the Town Red,” sees her 2021 album Planet Her post a 1% gain to 10,000 units, though falling 117-124); nominee Ed Sheeran (nominated for best pop vocal album for Subtract, but gains with Divide, rising 151-141 with 9,000 units; up 4%); nominee Tyler Childers (five nominations, including for best country album, for Rustin’ in the Rain; though he gains with Purgatory, climbing 150-149 with 9,000; up 1%); and winner Boygenius. The rock trio was nominated for six awards (including album of the year, for The Record, and record of the year) and won three trophies that were not televised. The Record re-enters at No. 191 with 8,000 units and a gain of 59%.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

13 Feb 2024

Ai Higuchi Talks New Album ‘Miseisenjo,’ Writing Songs that Last a Lifetime: Billboard Japan Women in Music Interview

Billboard Japan spoke with singer-songwriter Ai Higuchi for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan began last year to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai.

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Higuchi was in high demand last year and brought her music to a wide range of listeners through numerous opening and ending themes for movies and TV, plus songs accompanying commercials. What she values in her songwriting is being true to her honest feelings, and the 34-year-old artist — who dropped her fifth album Miseisenjo (“On the Unfinished Railway Line”) on Jan. 24 — opened up about her stance on what she considers to be her mission in work and the feelings of hesitation she currently faces.

Tell us about your latest album, Miseisenjo.

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It’s a bright album that’s like a collection of singles, with many tracks that were featured as tie-ins. Ever since I released “Akuma no Ko” (“Devil’s Child”) in January 2022 as the ending theme for the Attack on Titan The Final Season Part 2 anime series, the range of people who listen to my music has expanded immensely. I’ve enjoyed opportunities to write music for movies and other projects, and received requests for songs that make moviegoers feel cheerful when they leave the theater. So the album is a collection of songs that let listeners settle into a mellow mindset without making them feel all doom and gloom.

How do you feel about the increase in new listeners?

At first I was really just happy, but I did feel pressure at one point and it was hard for a while. I was brought up as the eldest daughter in between two brothers, so personality-wise, I have this sense of responsibility to balance things out between people and feel a strong urge to do things properly. I worked really hard to live up to expectations from 2022.

I get the impression that you carefully deliver the voices of women as they really are in your songs, even in the ones meant for a wide audience. What are you mindful of in music production?

At the very least, I try to be careful not to use strong language and force my way of thinking on others. Personally, I’m not good at dealing with people who use strong language or express anger. Trying not to make enemies is a weakness of mine, but I think there are many people who feel the same way, so I want to be careful about that.

When I read your lyrics, I can see that you have your share of conflicting thoughts, but you express them with great care. So you consciously avoided using strong language when writing them.

I think you should try to find your own answer when forming an opinion on something. Having someone else’s idea forced on you isn’t a good influence, both for the person hearing the song and for myself as a songwriter. So my stance is to simply present options, and then let each listener make their own choices. I try not to give too many answers.

I also want to avoid imposing ideas about how women “should be” in these interviews. The reason we’ve been collecting many women’s voices is because our intent is to visualize the diversity of opinions. When we ask the same question to 30 people, we receive 30 different answers. And this next question is one I’ve asked everyone throughout the series: Has being a woman affected your current activities?

Well, I’m not sure because I’ve never been a man, but… I’m fortunate in that I’ve never been slighted because I’m a woman. I have a hard-featured face so maybe people don’t bother messing with me. But I have felt that it’s hard to ask men in high places in the industry out to chat about work over dinner or something and thought that if I’d been a man, it might have been easier to get along with such people without giving it so much thought. “Going out to dinner one-on-one with a man” could be taken in a different way, and I sometimes give up on the whole thing because it’s too much of a hassle. So I do feel inconvenienced by the fact that most of the people in upper management are men.

Why do you think there are so few female executives in the Japanese music industry?

I think the reality is that women leave the industry when they become a mom. Even if they return to work, I imagine parenting gets in the way of career advancement. When I look around, a lot of the women in their 50s or so who are successful in their careers are really tough. I think it demonstrates that they had to become tough in order to make it in an environment full of men.

As a female singer, what do you take care to do so you can keep working for a long time?

I try to take care not to write “fast-food” songs. I want to write songs that I can sing for the rest of my life.

When did you start thinking that way?

I’ve always thought that way. I’m very bad at keeping up with trends and find it hard to change my mind quickly. I’ve always made songs by thinking about what my point of view is, and don’t think that will change anytime soon. As a result, I think I’ve created songs that can be listened to years from now.

The drama series such as Hatsukoi, Zarari and Ikiru toka Shinu toka Chichioya toka that you wrote ending themes for depict different types of women, and your independent project called Ufufu Project* also collects many women’s voices. Have you found themes you’d like to write songs about through these projects?

(*Ai Higuchi’s independent project launched at the end of 2019. She has published magazines featuring interviews and essays and also runs a cultural salon.)

I want to shine a light on young people who normally wouldn’t think of themselves as being in the spotlight and turn their thoughts into songs. I’ve always wanted them to know that life can be a song. If the people who live and work in ordinary ways give up, then the things that need to change will never change.

For example, this is something my mother told me, but she quit her job when she had her first child. She said, “I didn’t even question (quitting her job) because that was the norm at the time.” If a person thinks that the thing that happened in their life is insignificant, then nothing will change from there.

I think you’re creating a really nice cycle by writing songs based on what you hear in your interviews which then change the mindset and actions of those who hear them. Is that something you aimed for when you started the Ufufu Project?

Yes. When I turned 30, I made a magazine about the Ufufu Project, and I was dealing with my own loneliness at the time. While more and more of my friends and peers were starting a family, I was on my way to living on my own as a singer-songwriter without getting married or having kids. When I thought about this, I felt myself being shaken by the loneliness inside. No one could show me the way, so I wanted to hear from different people.

Did the loneliness disappear by hearing people’s stories?

Four years have passed since then, and I don’t feel lonely as much anymore. I’ve been fortunate enough to continue my career and have come to realize that I’m the kind of person who’s dependent on work. So as I feel less lonely, I may start dwelling on futility next. [Laughs]

I guess you won’t run out of inspiration for new music then.

Actually, futility can’t be made into song. People gravitate toward things with energy, so if something is too lifeless, I have a feeling they’ll think it doesn’t matter. I’d have to extract vitality from the futility.

Related to what you mentioned earlier, I think there are many people out there who feel exhausted in the face of strong language or who think they don’t deserve to be in the spotlight and have given up. I kind of feel that songs about loneliness or futility would be a lifesaver for such people. Do you feel that you are empowering others by writing songs and singing?

Well, to begin with, I feel like I’m excluding a lot of things when I write a song. For example, when I sing, “I want to walk hand in hand with you,” that excludes people who don’t have arms, right? If the “other person” in a love song by a male protagonist is clearly a woman, then it’s not about homosexual love, and it’s definitely not about someone who doesn’t fall in love in the first place. I’m aware that I write songs for the majority by cutting out a lot of things and it’s scary. So it’s more of a negative thing for me than trying to empower people, but I have to come to terms with that feeling. I write about my own feelings, so I can’t make something that will be understood by everyone.  As long as I’m in the majority, in that I identify as a woman both in body and mind and that I’m heterosexual, I have to cut off minorities to write about my feelings.

When did you start seeing things that way?

Probably the last few years. As more and more movements properly focusing on the rights of minorities started taking place, I also began noticing and thinking about it more. I said at the beginning of this interview that I’m not good at dealing with people who use strong language or express anger, but I also understand that there there must be many things that have changed for the better because of people who can use strong language or express their anger, so I also feel like saying thank you to those people who got angry for the right reasons. But while I’m sometimes encouraged by such expressions when I have the energy, they scare me when I’m not feeling very energetic.

So for you, people who can use clear-cut, strong language are like double-edged swords in that they give you courage but are also sometimes a little hard to accept.

I find myself thinking, “I’m feeling bad about myself because I don’t feel so strongly about such-and-such.” Maybe not so much feel bad about it, but just that I can’t be that way. So I feel like I’m in charge of taking the first step, then maybe walking three steps up the staircase. I want to ask someone else to take it from there to the 100th step or so. In other words, I’ll leave the leadership to someone else and keep up from the back, and be like, “Let’s climb together and one day reach the top, even if we’re slow.”

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

13 Feb 2024

LiSA Announces First Asian Tour in Six Years

LiSA recently announced that she will be visiting fans in Asia starting in June for her tour entitled LiVE is Smile Always～ASiA TOUR 2024～.

The “Homura” songstress had been touring internationally, focusing around Asian countries, on a regular basis since her solo debut in 2011, but this will be her first trek in the region in about six years. 

“I will be doing the ASiA TOUR for the first time in 6 years,” says the “Gurenge” singer in her English message to fans. “This is a continuation of the dreams that have [been] made true one by one together with fans around Asia. I can finally meet you all! I’m going to sing for you! Thank you for waiting so long!”

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She adds, “To those who have been to my concert, I’ll be meeting you again! To those who’s new, nice to meet you!”

See the set dates below. A show in Shanghai, China is also scheduled, with details to be announced soon. More cities and dates for LiSA’s Asian tour will be announced later.

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June 1 NTSU Arena (Linkou Arena), Taipei

June 15 AsiaWorld-Expo, Hall 10, Hong Kong

13 Feb 2024

From the Ring to the Booth: WWE Superstar Montez Ford Details the Making of His New EP ‘God Is Good’

Before Montez Ford grappled with heavyweights for a living, he wrestled with his love for hip-hop and whether he could make his rap dreams a reality. Today, the WWE superstar is certified in both arenas: He’s one-half of the tag-team group The Street Profits and is now a burgeoning MC looking to suplex the competition with his newest mixtape, God Is Good. Ardent supporters of Ford shouldn’t be surprised by his mixtape title, being that he’s posted the phrase on his Twitter timeline every day for over seven years and counting. 

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“That God Is Good mentality applies throughout life in general, from being a kid to growing up now and putting the best foot forward and just putting positivity out there,” says Ford. “That’s usually what drives not just me and my wife, but our brand. That is a mentality. It’s not just a saying. It’s a lifestyle.”

With an unyielding faith in God, Ford’s acceleration in wrestling doesn’t surprise many. He’s received praise from The Rock, was previously a tag-team champion, and has the biggest support from one of the top stars in the company, his wife, Bianca Belair. The latter plays the duel role of fighter and cheerleader for Ford, and has done wonders for his confidence, as he pulls inspiration from her inside and outside of the ring. And though his animated demeanor remains his calling card amongst wrestling enthusiasts, God Is Good finds Tez in more of a reflective bag. In “Through the Valley,” Ford’s affinity for Sunday Service is the theme, as he and former WWE superstar AJ Francis take listeners to church. On the flip side, he flexes his rap muscles and channels the spirit of former NBA MVP Derrick Rose on this braggadocios effort “09 D. Rose.”

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“You’ll [hear] these conversations, songs, and melodies about different experiences that go through our minds and the conversation within ourselves. We may feel three different ways about something, and they all might be justified,” says Ford.

Billboard spoke to the WWE superstar about his new project, God Is Good, his love for Little Brother and Common, living up to his potential inside the ring, and who he would collaborate with on his dream album.  

When did you first fall in love with hip-hop?

Montez Ford: I can go all the way back to even like grade school. At the time, when I was in middle school, high school, I was listening to people like 9th Wonder [and] Little Brother because they were based out of the state I was growing up in North Carolina. I heard Drake before Comeback Season because he used to do work with 9th Wonder who was a professor at the university where my sister was going. All these links made me have a hand in it. I loved recording. Listening to J Dilla for instrumentals and beats [and] Kanye when it comes to the tools. I been in love with it for as long as I remember. 

I remember the deep-rooted stuff like listening to Common’s Be album, and I saw Common last week when we did Hot 97. I was like, “Bro, I just want to tell you that Be album changed my life.” At the end of every one having this long monologue about what you should be. I remember one of the kids said, “Be a wrestler.” See, I’m like, “This is it.” Hip-hop has this way of motivating you, but also getting you amped at the same time. It’s for the soul. I been in love with it as long as I can remember.

What other albums did you lean into when creating God Is Good?

Pretty much all of them. Stevie Wonder’s Songs in the Key of Life because he’s got a funk type of groove but you don’t realize Stevie raps and got melody. He can do everything. I would definitely say Common’s Be album and pretty much everything Nas does.

Nas is actually my favorite of all-time. Kanye’s The College Dropout because pretty much when I did this College Dropout and Late Registration they have skits. I’ve always been a huge fan of concept albums because I ain’t the best rapper. If I can tell a story, then I feel like the concept of the album is better and it makes more sense. Just like in wrestling, if we’re telling a story with what we’re doing then everybody can relate to it more. I’m not just throwing out random bars because I only got so many bars. 

You’ve been tweeting God Is Good the last seven years. Talk about that concept and why you ran in that direction.

I been in the church for as long as I can remember. My mother had us in New Friendship Baptist Church in Chicago. Church put us in the choir and we always been heavily based in the church. Our whole family is very church-oriented. Even after I moved to the south I was pretty much getting groomed to become a pastor. Who knows? When I retire I might pull a Ma$e. 

I always been heavily rooted in the church and in the year 2000, I lost my sister to a car accident. The night she passed I was actually gonna be in the vehicle with her but she told me, “No.” Not only her being my savior, but just like reminiscing even this interview of us having right now, how every day is precious. Even me, I’m guilty of it and we take advantage of it. So I say God is good every morning because I have a chance to get it right and put positivity and happiness in the world. Maybe to correct a wrong or if I said something wrong to somebody yesterday, I have a chance to get it right.

Which songs on the album best define where you are right now?

It’s like a concept. Basically, it’s a conversation between a couple individuals and it’s their testimonies. It shows all of us have flaws. All of us have good and bad thoughts and that’s normal. All of us have perspectives and ideas and we’re all justified in everything we saw. Nobody is essentially really wrong but this is their viewpoint. That’s what these songs are. Just showing these different melodies and the experiences of the guys in the songs. I have artists on there but they’re not “mainstream.” It’s some guys I wrestle with and guys who have the same talent and love for this. It’s a chance for them to show that. It’s only so many bars I have out there.

Tougher experience for you: First time in the booth or getting in the ring?

That’s crazy. I would say I was actually more nervous getting inside the booth than getting inside a ring. I been doing crazy stuff my whole life from climbing trees to the military to going out with a beautiful woman. Also, filled with music that’s when you’re the most vulnerable. Having a conversation and then you’re opening up to the world with these intimate thoughts and ideas and emotions within yourself. 

Unmasking yourself like that can be pressure at first. It’s also how you deliver it. It’s one thing how you rap or sing a song – anybody can say words – but it’s how you say it. Not just the person you saying it to but are they getting the message? I would definitely say stepping in the booth is more nerve-racking. I been doing crazy stuff all the time. I don’t have to think when I do crazy stuff, I just do it.

In the booth, you get multiple takes. If you fumble one word, you can go back in and fix it up. Wrestling, hell nah. What y’all see is what y’all get. We have to fix it versus in the booth it’s just multiple takes. It doesn’t take away from an artist’s craft, but in regards to wrestling and preparing me for the booth it’s different.

Wrestlemania, for example, it’s 88,000 people out there and another 16 million people watching live. You go out there and you have your match entertaining the fans and everything is live. If you fall or break something, you still go. In the booth, it’s the same thing. You have your words and you’re vulnerable with your lyrics, but if you mess up a word you can go back and can deliver it even better. With wrestling, that intent has to be all there at once. It does help me prepare more when I do have to go to the booth because now I’m so used to doing things rapid at one shot.

When you played Bianca [Belair] your music for the first time, what was that moment like for you? Having somebody so close listen to you in that light.

I’m so glad you asked that question because she was actually the person I was the most nervous to let listen to it. Because this is the person I’m the most vulnerable with. I remember every time I’d go with her to something and make sure it’s polished and if there’s something I need to fix I’m like, “It needs a little bit more pitch there.” She’s the most nerve-racking person I’d want to listen because this is the person I want to please all the time and make happy. Also, I’m giving her my most vulnerable state of opinion, but I also trust it too. I’m not looking for her to tell me things I want to hear. 

I know she’s gonna be very raw and honest if that ain’t it. She’s gonna be like, “Babe, that ain’t it. Re-do that.” She’s also the person I trust the most. That is nerve-racking itself. Especially the person you love and you gonna show her this thing and you saying these words in that tone. It’s like, “Okay!” She’s always been raw and honest. That’s why I choose her initially like to put it out there before I send it to anyone else. She might be like, “Alright babe, you might need to fix this.”

If you could pick one rapper and one producer to make the ultimate album with you, who would you choose?

I would say Alchemist and for the rapper Nas. If I can do two I’d say Hit-Boy and Nas. Nas has been my favorite. I always feel like his storytelling has been the absolute best, along with Common’s as well. Nas’ delivery, swag, intensity and the fact he can rap on anything. 

I feel like Nas is one of the first guys to actually do the jazz beats and rapping over them and incorporating people like De La Soul and a lot of other individuals did as well. He’s one of the first people I heard. 

Another one is Q-Tip. Nas is one of my favorites because of his delivery and presence. On a special note, I think “Blue Benz” is one of the greatest songs. If I had theme music for my life it would probably be “Blue Benz.” If me, [Angelo Dawkins] and Bobby [Lashley] had to get a commercial theme that would be our theme it’s so nasty.

Have you thought about taking any of the records from God Is Good and using them as your entrance music? 

Yes. I would definitely use one. It’s one called “Through the Valley.” It’s crazy, we having this interview and the whole album is finished, and that’s the one I’m perfecting right now. That’s the one I’ve put the most energy into. It just reminds me of everything from childhood. From choirs to singing in the church and just God himself. Feeling the presence of everything in music.

“Touch the Sky” by Kanye West is one of my favorite songs of all-time. Just the band, the horns and how grand everything sounds. I’m not comparing myself to Kanye, but just how grand the music sounds. I’ve always been a fan of grand-sounding music in hip-hop. Nas can attest to that. Rick Ross’ music is very grand.

I spoke with Jey [Uso] about him and Jimmy [Uso] going one-on-one at Wrestlemania. That would be his dream match. Have you and [Dawkins] ever spoke about what a one-on-one match would look like if it ever came down to it?

Yes, 100 percent we have. We definitely would steal the show. We would literally steal the show and good luck to anybody that would try to follow us. I know him so well and he knows me so well. 

When I first got signed, I used to go over to his apartment and Sami Callihan’s apartments to watch wrestling before I got signed to WWE. I knew [Ricochet] and you guys knew them and all them were in the business. That’s how I met all of them before I got heavy into wrestling. They’re like “You know to wrestle?” I’m like, “I’m signed but I ain’t gonna be able to have no two-minute sequence with you.” 

Now it’s 2024 so it’s been over eight years. They say if you get to 10 that’s a lifetime. It’s already past lifetime. With my wife and Dawks, this is all I know. We always talk about how it would be so stellar and people would see the contrast in styles and we’d feed off each other so well. Speaking of Jey and Jimmy, they know each other longer than us so I only imagine the type of magic they could put on.

Potential is a word I love and hate because people can just hang on to it and never breakthrough. I feel like for you everyone is saying the potential is through the roof if you go into singles competition. How are you fighting against just living in a world of potential and hoping to crack that ceiling of being a WWE champion?

It’s being prepared. At this point, the only person I could feel sorry for if I don’t reach my potential is myself. Without being egotistical, if you know something for yourself, you know it. The worst thing you can not be is prepared. I feel like I would not even do myself injustice but I would do you all an injustice by believing and knowing and having so much faith in myself knowing I have these capabilities and knowing I didn’t fulfill them because I didn’t take advantage of those things or I wasn’t prepared. 

I feel like, for me, it’s always being prepared when it comes to promos, appearances or my shape, ideas how I want to present myself. If I’m not prepared, then I’m failing myself. If you’re failing to plan, then you’re planning to fail. While having all this potential and insight, I thank God so much. For me, it’s like don’t just hear that, stay prepared because at any time – you know how opportunity is – if it comes knocking and you’re prepared, you’re ready. It’s like, “You’re good, you can do this.” Then the blessing comes by your door and you don’t answer it or you too late or you still thumbing up the papers because you not prepared. It’s only my fault that I just let it waste because it was there. 

I feel like, for me, just always being prepared, which I am. I’m ready. For me, to handle it is always being prepared. Anybody with potential can get mad and say, “It should be happening.” If you’re not ready and they came right now it doesn’t matter how much potential you have. For me, it’s always being prepared when it’s time.

13 Feb 2024

Los Tigres del Norte Talk Trends, Longevity and Upcoming Tour: ‘The Most Important Thing Is to Be Honest With Your Fans’

“La Reina del Sur” will be heard again in Europe with the arrival of Los Tigres del Norte in Spain on April 4, when the “Jefes de Jefes” return to the country after 14 years as part of a tour that will take them to Madrid, Barcelona and Pamplona. The first show will be at the capital’s Wizink Center, with capacity for more than 17,000 people. They will also perform for the first time in England, at the Eventim Apollo in London, 10 days later.

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After 55 years since their formation, the icons of norteño music maintain a solid, current career, releasing new music and touring constantly throughout the U.S., Mexico, Central and South America. Their current tour, Siempre Contigo, began on February 2 at the Kia Forum in Inglewood, California and will keep them busy for most of 2024. It is something they do with the best attitude towards their fans.

“Love must always be present in everything you do,” says Jorge Hernández, frontman of Los Tigres. “The most important thing is to be honest with your audience.”

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With hits including “La Puerta Negra,” “Contrabando y Traición,” “Jefes de Jefes,” the Billboard Hot Latin Songs No. 1s “El Acaudalado Mojado” and “El Circo,” and many others, Los Tigres del Norte — who have seen many musical trends come and go over the years — are pioneers of traditional corridos, with the authority that time, accolades and fans have conferred on them.

In an interview with Billboard Español, Hernández spoke about the key to their longevity, his opinion on the new artists who are globalizing música mexicana, their return to Spain and upcoming projects.

Why did it take you so long to return to Spain?

In 2001 we started going to Spain every year and a half, or every other year. Then we were going to release an album and go there before the pandemic, but in the end it couldn’t be scheduled. Now that everything has been falling into place, promoters from Europe called us and the tour was finalized. It begins on April 4 in Madrid and ends on the 14th in London.

Will you have musical guests at the concerts in Spain?

We want to invite several female artists to sing with us. We’ll tell you who they are soon.

At a crucial time for regional Mexican music, it is important to perform in as many places as possible.

That’s right. The work that other colleagues have done has great validity for us and we all have to take advantage and be present so that our music takes this boom full force for which we have fought so hard for a long time.

In fact, we plan to record several videos of our upcoming singles there.

You travel thousands of miles every year to entertain your fans in different countries. How do you prepare physically and mentally to live constantly on the road?

There is always a discipline. Above all, taking care of your health, sleeping the necessary hours, taking care of your body, taking care of how you live. Always go on stage consciously to have the respect of the audience. You must do this from the beginning of your career for it to last. You must be prepared so that vices don’t win over you. All of this is part of taking care that your path is as clean as possible.

The music of Los Tigres del Norte is already part of the Mexican culture. What do you think of the new trends?

Trends will always exist because they are part of the growth of music. I give as an example a tree that has many branches: Norteño music is the base and there are musical currents that come and go over time, different styles, but in the end everything goes back to normal because the essence or base is solid. Young people look for what gives them joy, music to have fun, and there are artists for everyone.

There are young artists who prefer traditional norteño music. Any in particular that you like?

They all deserve our love and respect. I couldn’t name any single name. For me, music is all of us who make up this union. We all work with the same goal: To be relevant.

And what has been the key for Los Tigres del Norte to remain relevant?

The most important thing is persistence. Love must always be present in everything you do, you must be in love with your work. The honesty with which you do your work. One of the main things to stay relevant is to finalize your plans, not leave them halfway. But the most important thing is to be honest with your audience.

You’ve been to some South American countries, but there are many that are still waiting for you.

We have constantly gone to Colombia, to Bolivia, we were recently in Chile. Now we are going to take the tour to Argentina, Peru, Paraguay, which are the countries we were missing.

Will there be any collaborations with other artists this year?

Yes, there will be collaborations. Our label, Fonovisa Records/Universal Music, has some options for us that we will be reviewing. We will have several surprises this year.

13 Feb 2024

Who Should Replace Katy Perry on ‘American Idol’? Vote!

American Idol‘s 22nd season is premiering on Sunday (Feb. 18), marking Katy Perry’s seventh and final season as a judge.

The “Teenage Dream” star revealed that she’s leaving the show on Jimmy Kimmel Live on Monday night (Feb. 12). “I love the show so much,” she told the host, “but I want to go see the world and maybe bring new music.”

She continued, “I think this will probably be my last show, my last season for Idol. I love Idol so much. It’s connected me with the heart of America, but I feel like I need to go out and feel that pulse to my own beat.”

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Perry has been a judge on the show since 2018, alongside Luke Bryan and Lionel Richie. With a spot on the judges panel now open, we at Billboard are curious as to who will take Perry’s place. Maybe Nicki Minaj can return to the show for the first time since 2013? Or Jennifer Lopez could make her return to the show for the first time in a decade.

Maybe Idol could take on a brand new judge like Miley Cyrus or Shakira, who both already have judging experience from The Voice. Another pop star like Doja Cat or Dua Lipa could also be great options for the show.

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Who do you think should replace Katy Perry on the Idol judges panel? Let us know by voting below.

13 Feb 2024

Watch Travis Kelce Thank Taylor Swift for ‘Making it Halfway Across the World’ to 2024 Super Bowl

Taylor Swift and Travis Kelce‘s already iconic post-Super Bowl kiss has been analyzed from all angles — but now, thanks to the NFL, fans are getting to hear exactly what the couple said to each other minutes after the Kansas City Chiefs triumphed over the San Francsico 49ers Sunday (Feb. 11).

In an emotional TikTok posted Tuesday (Feb. 13) by the NFL, a mic’d up Kelce wraps Swift in a hug and tells her, “Thank you for coming, baby.”

“Thank you for the support,” he continues, before acknowledging the 12-hour flight his superstar girlfriend had to take in order to make it there from her Eras Tour show in Tokyo the day prior. “Thank you for making it halfway across the world. You’re the best, baby. The absolute best.”

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The “Anti-Hero” singer joined Kelce down on the field shortly after the tight end helped lead the Chiefs to a 25-22 victory — the team’s second Super Bowl win in a row — at Las Vegas’ Allegiant Stadium. Previous clips from the moment revealed that Swift had gushed to the Ohio native, “I can’t believe you. How did you do that?”

After the game, which Swift watched from a private suite with Ice Spice, Blake Lively, Lana Del Rey and more, the couple attended a high-energy afterparty in Sin City and adorably danced along to remixes of some of the pop star’s songs. Later, Swift shared a hilarious TikTok explaining that she thought the rager was going to be a “family party,” so she brought her parents with her to the club where it was located on accident.

Listen to Kelce thank Swift for her support at the Super Bowl below.