Music

QUEEN BEE’s Avu-chan on ‘Mephisto’ & Her Vision for the Band’s Global Future : Interview

QUEEN BEE’s “Mephisto,” the ending theme for the smash hit anime 【OSHI NO KO】, has itself become a long-running hit song. The video for “Mephisto” performed by “Avu-chi, the Idol from Hell” on the YouTube channel THE FIRST TAKE reached 4.57 million views in less than a week.

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The heart of QUEEN BEE, vocalist Avu-chan, who is responsible for both the lyrics and the music to “Mephisto,” spoke with Billboard Japan for the first time. In this wide-ranging interview, she discusses 【OSHI NO KO】 and “Mephisto,” performing in a band, and QUEEN BEE’s full-fledged start as global band.

“Mephisto” is the ending theme for the anime 【OSHI NO KO】, and the song has become quite the hit.

Avu-chan: I think the anime introduced a lot of people to “Mephisto,” but even more than that, I think there were people who had heard of QUEEN BEE before, and “Mephisto” reinforced for them what a tremendous band we are. It was wonderful that Aka Akasaka and Mengo Yokoyari, who created the original manga, and the creators of the anime all supported us in handling the ending theme. It’s a strange feeling, like they recognized and validated the approach we take to life.



The new song has given people an opportunity to see what an amazing band you are.

Avu-chan: Right. Just look at how many people are listening to our music. We’ve lit the flame of QUEEN BEE and kept it burning, and now we’ve been given this opportunity by something even bigger than us. But we’re not going to burn out, and we’re not aiming to fan these flames in new directions, working toward some new goal. We’re not going to allow ourselves to get swept away, we’re just going to quietly keep pushing forward.

Without getting anxious or restless.

Avu-chan: We knew that we could achieve synergy by pairing up with 【OSHI NO KO】. We’re very grateful for that. However, in the end we just want to do what we think is interesting — what we find wonderful. That’s going to be the path we continue to follow in the future. All that said, I’m amazed that “Mephisto,” which is just brutally honest, has been so widely accepted. It’s not just about idols, it’s about every kind of work. It’s about how we stake our lives on our work, how once you start there’s no turning back. It tells these truths in uncouth, unvarnished words. If people are enjoying it by making vocal covers and dance videos, I don’t know what to say.

What are your impressions of 【OSHI NO KO】, which recently aired its final episode?

Avu-chan: I think it’s wonderful how the original creators of the comic have enjoyed the anime adaptation, which has become a social phenomenon. But what 【OSHI NO KO】 is really depicting is a serious message of social reform, set on the stage of the entertainment industry. It’s so ironic that it became a hit overseas and people are like “Japan is so fascinating.” I guess one saving grace, in a way, is that the people who made it are brimming with love, and that our own music is part of it.

The love and passion the creators feel for their work is making the serious message of social reform into a hopeful message.

Avu-chan: Right. There are people who, when they talk about the entertainment industry, are like “Your job is being on stage, so you need to just grin and bear it.” They want to treat the entertainment industry as if it’s an anomaly.  【OSHI NO KO】 is directly challenging that idea, saying “This is a story that relates to everyone.” I think it challenges the viewers. But there are a lot of people who aren’t seeing it as a battle, which may be a reason for its popularity.

“Mephisto” is the name of a demon in German folklore, and appears in Goethe’s drama Faust. I’ve heard that you developed the concept of the song some time ago.

Avu-chan: From the time of the decision for the tie-in, I thought that the theme of “Mephisto” would be a great match for the anime. I was sure the anime would be great, and I was so confident that I cried with joy on being selected to provide the ending theme. I drew the motif from Goethe’s Faust, and I was influenced by authors who richly depicted the doings and passion of people — authors like Go Nagai, who I’ve enjoyed since I was little, and like Yukio Mishima and Shakespeare. I think those sensibilities lie at the heart of “Mephisto.”

So you’re expressing the doings and passion of people through music.

Avu-chan: I feel the same kind of passion in 【OSHI NO KO】 as I feel in the works of those authors, so “Mephisto” was a great fit for it. However, the music drew on that passion more than it drew on any specific information about the anime, so I didn’t think that many people would realize the intent behind it.

If you look at YOASOBI’s “Idol” as broadening the world of the anime, it would seem to me that “Mephisto” deepened it.

Avu-chan: Thank you for saying that. Drawing out context from a work of art — that’s our specialty. YOASOBI and QUEEN BEE have really just blown the lid off this! (laughs) I don’t think if this would’ve happened if our musical styles hadn’t been so different.

I’d like to talk to you for a moment about the band as a whole. You performed two live shows in the U.S. this April. Do you have your eyes set on establishing a full-fledged global presence?

Avu-chan: We hadn’t originally been thinking about that. I love the Japanese language and I’ve always felt it was important to sing in Japanese, so starting all over from the ground up, writing lyrics in English — that’s a decision I’ve struggled with.

Sure, but the situation in the North American market is changing. Song lyrics used to have to be in English to be successful, but now it’s no longer that hard to compete even when singing in your own native language.

Avu-chan: True. When we played in America in spring, I started to think that the passion and strength of Japanese could serve as our passport. We performed in Seattle and Los Angeles, and when we put on the kind of show QUEEN BEE usually does, the venues went wild.

Even though there were a lot of people who didn’t speak Japanese?

Avu-chan: Right. And another thing that people who praised the show all mentioned is that the audience had people of all races. There were senior citizens and little kids, and looking at how much fun everyone had, I thought “QUEEN BEE really needs to go international.” Of course, succeeding in Japan is itself no easy matter. However, I recognize that I myself am a melting pot of races. At the two shows, I got a glimpse of just why I should be performing to overseas audiences.

You want to be someone who stands on stage surrounded by people of every race.

Avu-chan: I just bare my heart for all to see. I think overseas success is still a major challenge, but I hope to stir up some chaos on a global scale.

Is there anything that you’d change in your efforts to go global?

Avu-chan: If I changed anything, people would notice immediately.  In our case, if you change yourself in order to curry popularity, then you’re left with nothing. We don’t want to use that kind of marketing approach.

Because that wouldn’t be true to QUEEN BEE.

Avu-chan: I’d like to think that we just can’t do things like that, and that’s one of our strengths.

I’ve heard that you already have plans for future overseas shows.

Avu-chan: Decisions about overseas shows are starting to get made, so in the future I think we’ll be playing abroad more and more.

In Japan, you’ve got plans to perform in festivals and events, and in November you’ve lined up a performance hall tour, “Juni-jigen + 01.”

Avu-chan: We’ve decided how we’re going to present ourselves in our shows, so now we’re working on internalizing that at the physical level. There’s a lot we still want to do, and we’re always thinking about what challenges to take on next. I feel like we have to keep updating ourselves, stimulating our own cycle of creativity, shedding our skin. If we don’t, we’ll die. I wonder what kind of beast we’ll have become at the end of this transformation.

It’s like QUEEN BEE’s own theory of evolution.

Avu-chan: The end result of evolution is collapse, so what I’m talking about isn’t quite evolution. What will lie at the end of this cycle of metabolism? I’m not going to hazard any specific guesses, but I’m really looking forward to seeing how it all turns out.

I’m sure there are a lot of people who are encouraged by how QUEEN BEE refuses to simply be satisfied with how things are, but instead is always taking on new challenges.

Avu-chan: Looking back, from two or three years ago until just recently, there were no discussions about tie-in songs. But even during that time, we were making our own music videos and keeping our focus on QUEEN BEE in all that we did. I think that all combined to put us where we are today. Right now, people are enjoying “Mephisto,” but I don’t see this as our peak. No matter what the situation, we’re just going to keep being on stage — that’s what we’ve made up our minds to do.

This interview by Itsuki Mori first appeared on Billboard Japan

ONE N’ ONLY Talk Brazilian Tour, New Single ‘EVOL’ and More: Interview

Japanese dance and vocal group ONE N’ ONLY dropped its new song “EVOL” digitally on Wednesday (Aug. 16). The latest track is an upbeat, passionate reggaeton-flavored number fitting for where the ever-evolving band currently stands.

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Billboard Japan chatted with the six members of the group celebrating its fifth anniversary this year — HAYATO, REI, TETTA, NAOYA, EIKU, and KENSHIN — about “EVOL” and also asked them to share their impressions from the group’s headlining Brazilian tour from earlier this year.

You toured Brazil this spring and performed for your fans there at last. Could you share your thoughts on the trek?

HAYATO: We were really happy to be able to go there to do our own shows instead of being part of a bigger event. We came up with a setlist with about the same number of songs as we do in Japan, and spoke to our audience completely in Portuguese. But when we first decided to tour three cities in Brazil, we weren’t sure just how many SWAG (ONE N’ ONLY fans) would be there. It felt so moving on our first day of the tour in Sao Paulo when we saw the faces our fans, knowing so many people had been waiting for us to come.

REI: Their reactions were amazing too, weren’t they?

HAYATO: Yeah. Everyone reacted so enthusiastically to what we did onstage. Everyone sang and danced and all those reactions were just awesome, so it was a lot of fun to do.

What about you, TETTA?

TETTA: To tell you the truth, I’m not completely used to performing live yet. [Laughs] I guess I’ll just have to keep doing it to feel truly comfortable with it. It was such a great experience, though, and I really felt the energy of the people of Brazil. SWAG in Brazil were so energetic and I couldn’t outdo them in that regard! I’ll do better next time!

HAYATO: Yeah, they were so full of energy.

NAOYA: I got injured a few days before we left for Brazil and couldn’t be a part of our performances. But everyone over there gave me such a warm welcome and I felt what a generous country it is. I actually wasn’t sure until shortly before we departed if I could come along or not, so I was so glad to have been able to be a part of it. And the band members all stepped up for me so I really appreciate them.

At what point did you feel they stepped up for you?

NAOYA: I had a chance to see them performing onstage when I couldn’t join in, and felt so proud to see the five of them commanding the stage with such vitality. Our SWAG had such power and passion, too. They let us know they were having a lot of fun, just like we thought they would!

EIKU: I thought it was a country overflowing with love. There was no reserved seating in the venues we played in, and everyone ran to grab the seats up front. When I saw that, it really hit home just how much our fans love us. Oh, and whenever one of our crew members crossed the stage before we went on, the crowd made so much noise!

HAYATO: Oh, yeah! Our crew was so pleased about that.

EIKU: Yeah. They went up there about four times on purpose and seemed to revel in all that attention. [Laughs] Each of the three cities we visited had different vibes and that was fascinating, too.

KENSHIN: When you stop and think about it, being able to tour on the other side of the planet is such an amazing thing. We had a special place in our hearts for Brazil, and it was such a happy feeling sharing the same space with our SWAG in that country.

You had two Portuguese-language songs in your set. Were your fans excited to hear them?

KENSHIN: They loved those the most! The way they expressed their excitement was awesome. But they were also hyped about our Japanese songs as well, so I felt that our songs were getting through to the audience. I’d love to visit again.

REI: Everyone was so upbeat! Their reactions to every single thing we did were just awesome and it was a lot of fun.

The group’s new song “EVOL” dropped this month. It’s also a really upbeat number.

HAYATO: I wish we could have performed this one during our Latin American tour!

Sounds like it would have been a lot of fun! Did you start discussing what kind of music to release next around the end of your 5th anniversary tour?

HAYATO: Yes. We’ve gone into depth about the concept for each song we’ve been releasing lately every time we produce a new one. For this we decided to come up with a summery track and incorporate a Latin flavor as one of the group’s new distinctive styles. It turned out to be a song with a catchy chorus over Latin and reggaeton beats, which suits us.

REI: When I first heard it, it took me by surprise because I’d never heard anything like it before. But I knew we’d able to express it and that we were the ones who could do it justice because of where we currently are as a group right now.

KENSHIN: I’m in charge of the opening lines and the rap part of the second verse. The track is built to hype people up and plunge them into the music. The sultry vibe of the second verse also has a summery feel to it, so I hope people enjoy that.

You’ve all probably matured as you’ve grown older since you first got started. Which member do you think has changed the most in that regard?

REI: I think EIKU is more attractive now.

TETTA: I know what you mean! EIKU is the youngest and it’s like he’s upgraded. First of all, he’s bigger in physique. Which means his style of dancing has changed and he has a man’s face now.

HAYATO: He’s gone from cute to cool.

REI: EIKU is probably the one who’s changed the most both externally and internally. He used to be the quiet type before, but now he steps forward a lot more.

TETTA: Oh, I know! That’s probably because he changed his bangs and began parting it in the middle. And then he changed again by dyeing his hair and stuff. By the way, I was the one who said he’d look better if he parted it like that.

So you’re saying he changed thanks to you?

TETTA: Yeah!

REI: Why do you always try to take credit for everything? [Laughs]

TETTA: I’m the type who says, “I knew them before they were big” more than anyone! [Everyone laughs]

EIKU, are you aware of these changes they’ve pointed out?

EIKU: I guess I am. I think the changes in the kind of songs we do now might have something to do with it, but I do think I express myself differently now… from around when I began parting my hair down the middle. [Laughs] I also study videos of other people performing in different ways.

What will the choreography for the new song be like?

NAOYA: We just began learning the moves. MONA, the choreographer who came up with the dance for Na-Yeon from TWICE’s “POP!,” is handling the dance for this one.

TETTA: We often had male choreographers handling our performances in the past, so I hope everyone enjoys our new catchy dance moves that are different from before. We’d love to see you dancing on TikTok!

NAOYA: Yeah, since the song is so catchy, too. It’d be great if you all have fun with it!

This interview by Kana Yoshida first appeared on Billboard Japan

Jerry Moss, A&M Records Co-Founder & Rock Hall of Famer, Dies at 88

Jerry Moss, a music industry giant who co-founded A&M Records with Herb Alpert and rose from a Los Angeles garage to the heights of success with hits by Alpert, The Police, the Carpenters and hundreds of other performers, has died at age 88.

Moss, inducted with Alpert into the Rock and Roll Hall of Fame in 2006, died Wednesday (Aug. 16) at his home in Bel Air, California, according to a statement released by his family.

“They truly don’t make them like him anymore and we will miss conversations with him about everything under the sun,” the statement reads in part, “the twinkle in his eyes as he approached every moment ready for the next adventure.”

For more than 25 years, Alpert and Moss presided over one of the industry’s most successful independent labels, releasing such blockbuster albums as Albert’s Whipped Cream & Other Delights, Carole King’s Tapestry and Peter Frampton’s Frampton Comes Alive! They were home to the Carpenters and Cat Stevens,Janet Jackson and Soundgarden,Joe Cocker and Suzanne Vega, the Go-Gos and Sheryl Crow.

Among the label’s singles: Alpert’s “A Taste of Honey,” the Captain and Tennille’s “Love Will Keep Us Together,” Frampton’s “Show Me the Way” and “Every Breath You Take” by The Police.

“Every once in a while a record would come through us and Herbie would look at me and say, ‘What did we do to deserve this, that this amazing thing is going to come out on our label?’” Moss told Artist House Music, an archive and resource center, in 2007.

His music connections also led to a lucrative horse racing business that he owned with his first wife, Ann Holbrook. In 1962, record manufacturer Nate Duroff lent Alpert and Moss $35,000 so they could print 350,000 copies of Alpert’s instrumental “The Lonely Bull,” the label’s first major hit. A decade later, Duroff convinced Moss to invest in horses.

The Mosses’ Giacomo, named for the son of A&M artist Sting, won the Kentucky Derby in 2005. Zenyatta, in honor of the Police album “Zenyatta Mondatta,” was runner-up for Horse of the Year in 2008 and 2009 and won the following year. A hit single by Sting gave Moss the name for another profitable horse, Set Them Free.

Moss’ survivors include his second wife, Tina Morse, and three children.

Born in New York City and an English major at Brooklyn College, Moss had wanted to work in show business since waiting tables in his 20s and noticing that the entertainment industry patrons seemed to be having so much fun. After a six-month Army stint, he found work as a promoter for Coed Records and eventually moved to Los Angeles, where he met and befriended Alpert, a trumpeter, songwriter and entrepreneur.

With an investment of $100 each, they formed Carnival Records and had a local hit with “Tell It to the Birds,” an Alpert ballad released under the name of his son, Dore Alpert. After learning that another company was called Carnival, Alpert and Moss used the initials of their last names and renamed their business A&M, working out an office in Alpert’s garage and designing the distinctive logo with the trumpet across the bottom.

“We had a desk, piano, piano stool, a couch, coffee table and two phone lines. And that for the two of us worked out very well, because we could go over the songs on the piano and make phone calls to the distributors,” Moss later told Billboard. “We also had an answering service at the time. I’d do all my own billing.”

For several years they specialized in “easy listening” acts such as Alpert and the Tijuana Brass, Brazilian artist Sergio Mendes and the folk-rock trio the Sandpipers. After attending the Monterey Pop Festival in 1967, rock’s first major festival, Moss began adding rock performers, including Cocker, Procol Harum and Free.

One of their biggest triumphs was Frampton Comes Alive! a live double album from 1976 that sold more than 6 million copies in its first year and transformed Frampton from mid-level performer to superstar.

“Peter was a huge live star in markets like Detroit and San Francisco, so we made a suggestion that he make a live record,” Moss told Rolling Stone in 2002. “What he was doing onstage wasn’t like the records — it was outrageously better. I remember being at the mix of Frampton Comes Alive! at Electric Lady studios, and I was so blown away I asked to make it a double album.”

A&M continued to expand their catalog through the 1970s and ’80s, taking on The Police, Squeeze, Joe Jackson and other British New Wave artists, R&B musicians Janet Jackson and Barry White and country rockers 38 Special and the Ozark Mountain Daredevils.

By the late ’80s, Alpert and Moss were operating out of a Hollywood lot where Charlie Chaplin once made movies, but they struggled to keep up with ever-higher recording contracts and sold A&M to Polygram for an estimated $500 million. They remained at the label, but clashed with Polygram’s management and left in 1993, one of their last signings a singer-musician from Kennett, Missouri: Sheryl Crow. (Alpert and Moss later sued Polygram for violating their contract’s integrity clause and reached a $200 million settlement.)

For a few years, Alpert and Moss ran Almo Records, where performers included Garbage, Imogen Heap and Gillian Welch.

“We wanted people to be happy,” Moss told The New York Times in 2010. “You can’t force people to do a certain kind of music. They make their best music when they are doing what they want to do, not what we want them to do.”

Bruce Springsteen Postpones Philadelphia Concerts Due to Illness

It looks like the “Streets of Philadelphia” will not be welcoming Bruce Springsteen & The E Street Band on Wednesday night (Aug. 16) as planned. Springsteen, via his X (formerly known as Twitter) page, announced that he had fallen ill and would be postponing his Aug. 16 and Aug. 18 shows at Citizens Bank Park in Philadelphia as a part of his & The E Street Band’s 2023 Tour.

“Due to Bruce Springsteen having been taken ill, his concerts with The E Street Band at Citizens Bank Park in Philadelphia on August 16 and 18 have been postponed,” he wrote. “We are working on rescheduling the dates so please hold on to your tickets as they will be valid for the rescheduled shows.”

Springsteen & The E Street Band’s 2023 Tour launched on Feb 1.

Initially announced in 2020 in support of his chart-topping Letter to You album, Springsteen & The E Street Band were forced to delay their tour twice because of the COVID-19 pandemic. The tour eventually kicked off at Amalie Arena in Tampa, FL for a 28-show U.S. leg, before launching a 31-show European leg at Estadi Olímpic Lluís Companys in Barcelona, Spain. The most recent leg of Springsteen & The E Street Band’s 2023 Tour began on Aug. 9 at Wrigley Field in Chicago, IL. This is the second time Springsteen has had to postpone shows on this tour. Back in March, Springsteen postponed and rescheduled three shows due to an unspecified illness.

When asked to comment, Springsteen’s reps referred to his X post.

The 2023 tour marks Springsteen’s first major worldwide tour since The River Tour six years ago. The Boss has earned several chart-toppers across the Billboard charts. His most recent studio album, 2022’s Only the Strong Survive, peaked at No. 8 on the Billboard 200.

Oliver Anthony’s Viral Success Has Already Spread to His Whole Catalog

Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.

This week: Oliver Anthony Music’s new runaway smash also leads to gains for his older songs, the latest Taylor’s Version already has fans feeling nostalgic, hip-hop’s 50th anniversary gives a streaming bump to some of its greatest practitioners and more.

Oliver Anthony’s Viral Breakout Is More Than Just One Song 



Not many folks would’ve predicted Oliver Anthony would be likely to crash a Billboard Hot 100 race this week including superstars Taylor Swift and Morgan Wallen. But that’s exactly what the Appalachian country singer/songwriter (who officially records as Oliver Anthony Music) is doing with his breakout hit “Rich Men North of Richmond,” which is riding waves of working-class frustration, social media virality and critical backlash to the top of the charts this week. 

“Richmond,” an acoustic protest song featuring only Anthony’s voice and his guitar – and decrying the rich, the politicians, and (most controversially) the country’s welfare system – first caught national media attention on Friday (Aug. 11) when it zoomed to No. 1 on the iTunes chart. It’s stayed atop of the iTunes chart since – and has also taken off on streaming, with its daily official on-demand U.S. streams growing to over 3 million on Monday (Aug. 15), according to Luminate. 

What really separates Anthony from other conservative-leaning chart successes of the past few years by Aaron Lewis, Bryson Gray and (most recently) Jason Aldean, though, is how interest has also already spread to the rest of his catalog. “Richmond” is just one of seven of his songs currently in the iTunes top 20 as of publishing – and even discounting the plays of his biggest hit, Anthony has racked up streams in the millions each day since its release, with “Ain’t Gotta Dollar” and “Ive Got to Get Sober” each notching hundreds of thousands of daily plays. (As recently as last Tuesday, Aug. 8, his total daily streams were still under 20,000.) 

In other words, while many of those aforementioned hits burned bright and faded out quickly – even Aldean’s “Try That in a Small Town” fell out of the top 20 just a week after hitting No. 1 – Anthony is the kind of wide-reaching phenomenon who seems likely to continue generating streams, label interest and discussion (both positive and negative) for many weeks to come. – ANDREW UNTERBERGER


Taylor Swift’s ‘1989’ Soars at Streaming Thanks to ‘Taylor’s Version’ Announcement 



One week ago, during her final performance in a six-night run at SoFi Stadium outside of Los Angeles, Taylor Swift proved widespread fan speculation correct on the dates of 8/9, by officially announcing 1989 (Taylor’s Version) onstage. The fourth album in Swift’s six-part re-recording project will be released on Oct. 27 – but following the announcement, fans simply couldn’t wait that long to hear their favorite songs from the superstar’s landmark 2014 album. 

The news sent “Blank Space,” which previously spent seven weeks at No. 1 during its original chart run in 2014-15, back onto the Hot 100 at No. 49. Yet the biggest hit from 1989 wasn’t the only one to receive a streaming boost: “Style” was also way up in official on-demand U.S. streams, from 955,000 on Aug. 8 (the day before the announcement) to 1.65 million on Aug. 10 (the day after), according to Luminate. Meanwhile, “Welcome to New York” enjoyed an even bigger percentage bump, from 204,000 streams on Aug. 8 to 716,000 on Aug. 10 – a 249% spike. 

Zooming out, the announcement of 1989 (Taylor’s Version) sent overall listenership of 1989 skyrocketing, to the point where its U.S. streams more than doubled between 8/9 and 8/10. Here’s a look at a full week of official on-demand U.S. streams of 1989, with the re-record announcement taking place on the night of Aug. 9: 

Aug. 8: 5.81 million 

Aug. 9: 6.63 million 

Aug. 10: 13.68 million 

Aug. 11: 10.15 million 

Aug. 12: 8.14 million 

Aug. 13: 6.97 million 

Aug. 14: 6.97 million  

Although fans have to wait more than two months to hear 1989 (Taylor’s Version), the excitement could send the original version of the album, which comes in at No. 13 on this week’s Billboard 200, climbing back even higher next week. Swift already has four albums – Speak Now (Taylor’s Version), Midnights, Lover and Folklore – occupying the top 10 of the Billboard 200; perhaps there’s still room for a fifth? – JASON LIPSHUTZ 


Lancey Foux Logs Huge Streaming Gains for Self-Referential “Lancey or Lancey” 



From Beyoncé to Ariana Grande, musicians and their biggest fans clarifying the pronunciation of their names is nothing new. In the case of Lancey Foux, however, the British rapper (signed to Human Re Sources) took that confusion to the recording booth and crafted a streaming breakout in the process. According to Luminate, “Lancey Or Lancey,” logged 732,000 official on-demand U.S. streams total between this Friday and Monday (August 11-14), a whopping 1,395% increase from just under 50,000 combined streams during the four-day period a week earlier (Aug 4-7). 

Bolstered by a viral trend based on the closing line of the song’s first verse, “Lancey or Lancey” has been used in over 730,000 videos on TikTok. In the trend, users pair two photos that showcase different sides of their persona with the lyrics, “Said she love me, which one, Lancey or Lancey?” The trend originated from a fan edit of a webtoon entitled Operation: True Love. On Tuesday (Aug. 15), Lancey himself hopped on the trend, posting a shirtless clip of himself bopping and lip-syncing along to the TikTok sound.  

The success of “Lancey Or Lancey” comes nearly a full year after the song’s release in September of last year. The song served as the third single from Life in Hell, Lancey’s sixth solo studio album, and currently ranks as his most popular song on Spotify. The Stratford-bred rapper’s recent streaming gains come on the heels of “MMM HMM,” his collaboration with another TikTok-conquering 2023 breakout star, Sexyy Red. – KYLE DENIS


Zeddy Will’s “Freak You” Rides Jersey Club Wave to Streaming Surge 



After helping Coi Leray’s “Players” become the biggest Billboard Hot 100 hit of her career with his Jersey Club Remix of the single, DJ Smallz 732 looks set to have a similar impact with Zeddy Will’s “Freak You.” According to Luminate, “Freak You” has scored considerable streaming gains over the past few weeks: During the period of July 28 to August 3, “Freak You” earned 360,000 official on-demand U.S. streams, an 86.5% increase from the period of July 21-27. The song then earned over 531,000 streams between August 4-10, rising a further 47.4% in overall streaming activity. 

Multiple parts of the song have gone viral on TikTok. In one section, which Zeddy himself has repeatedly used on the app, users film themselves dancing along to the song as they either generally anticipate imminent events or yearn to be freaked (or freak someone else). “I wanna freak you/ As soon as it can be/ I wanna know/ You leaving with your friends after this/ Or you coming with me?” Zeddy raps in the opening of the song’s first verse. The other section of the song that has gone viral is the opening of the second verse: “You told me that you wasn’t a freak/ And now I don’t believe you/ Cause the way you got me feeling right now/ Every day, girl I wanna see you.” Users generally use both sections of the song for the same thing, although some have adopted Zeddy’s “’memba that?” and “mmm mmm” ad-libs to respond to things that they suspect to be untrue. The three most popular “Freak You” sounds on TikTok boast a combined total of over 481,000 videos. 

Zeddy Will, an unsigned Queens-bred TikTok star who previously had viral success with 2022’s “Confidence Is Key,” first teased “Freak You” on TikTok on May 6. Following a positive response to the snippet, the rapper and TikTok personality continued to promote the song with a series of videos highlighting the beat (along with a Jersey-inspired “Freak Walk” dance and a move called the “Zeddybounce”), the lyrics, and the all-around comedic vulgarity of the song. He officially uploaded the song to streaming and digital download platforms on July 11.  – K.D.


Q&A: J1, Vice President Hip Hop Programming at SiriusXM, on What’s Trending Up in His World 

As hip-hop celebrates its 50th anniversary this year, how do you think we will look back on the year in hip-hop?  

I think we will look back at this year in amazement, reverence and appreciation for how far hip-hop has come, its contributions to society, as well as the impact it’s had on us as individuals. 

What hip-hop trends do you think will define the rest of 2023?  

Bold fashion has always been synonymous with hip-hop, so as the weather hopefully cools down and we transition into fall and winter wardrobes, we’ll see new fashion styles that will be adopted by pop culture. 

Which new artists have been particularly intriguing to you?  

Ice Spice has been so intriguing to me, because of her movement and passionate fan base. She’s tapped into something which is undeniable and has gained a massive, diverse group of followers. I’m also intrigued by Domani, T.I’s son. Even though his father is one of the pioneers of trap music, Domani has found his own lane and style, very different from his pops.  

Fill in the blank: this fall, hip-hop listeners will be obsessed with ________. 

Nostalgic and classic rap music, due to all of the great 50th anniversary tributes and highlights we’ve seen throughout the year.  – J.L. 


Season’s Gainings: Legends Celebrated on Hip-Hop’s Milestone Birthday

The celebrations of hip-hop’s 50th anniversary were everywhere last Friday (Aug. 11), as countless institutions, publications (including this one) and longtime fans took time to pay tribute to the storied genre officially hitting the half-century mark. The impact of Hip-Hop 50 could be felt on streaming, as well. While most music listeners don’t need an extra reason to listen to contemporary superstars like Drake, Cardi B or Kendrick Lamar, daily official on-demand U.S. streams were noticeably up for many acts from the genre’s older legends on Friday – including extra respect paid to LL Cool J (up 13% to 43,000), Public Enemy (up 24% to 162,000) and Hip-Hop 50 Live headliners Run-D.M.C. (up 21% to 380,000). – AU

Laure Shang Calls ‘Follow Your Heart’ a ‘Summary of My Own Music Journey’: Billboard China Cover Story

“Follow Your Heart,” the first single from Laure Shang’s new project, has been climbing the charts in China and is also a major move for the artist after not releasing an album for five years. Her last original electronic album, The Puzzle Pieces, was released in 2018 and was described by Shang as “an album that completely disregards market factors.”

So how has her thinking changed after five years?

In the past half-decade, Shang has been an ever-present force in Chinese music. She has consistently released a variety of singles, pushing her creative boundaries and exploring her potential. These songs range from film and television soundtracks to public welfare songs, and even to works related to TV shows that Shang has participated in, such as her 2020 original innovative electronic EP Ode.

Shang has been devoted to music for 17 years since she won season 3 of Super Girl in 2006, and “Follow Your Heart ” proves her unwavering passion. After years of careful consideration, Shang has crafted a song that is both an expression of her love for music and a declaration of her aspirations. With this single, listeners can gain a deeper understanding of Shang’s journey and her commitment to music.

“I was first known to the audience as a love-song singer,” Shang tells Billboard China for their latest cover story. “However, after debuting in the talent show, I entered a rebellious period, which eventually helped me find my true passion in electronic music.”

The year 2009 was the period of her greatest struggle and self-doubt, which she calls the “exploration period.” Shang remembers the most difficult year of her life like it was yesterday. With a burning desire to transition into electronic music, she was met with a dramatic moment of clarity – a voice inside her head that said, “You must persist in your creation, even if you don’t know anything and even if you have to overcome all difficulties.” This voice was so strong and it was a very real instinct, telling her that she had to finish this.

Shang’s music has inspired countless fans to recognize her as an “original electronic singer/songwriter.” From her cutting-edge electronic albums in and Ode to the Doom to her other heartfelt projects, she has captivated fans with her unique style. At the peak of her creativity, Shang was fueled by her emotions, writing songs with a passion and intensity that was unmatched. She recalls her 20s fondly, saying, “My head was full of emotions, and I would write songs regardless of many emotions. When I was young, the anger was like atomic-level fuel, strong creativity and productivity. This is a very rare state.”

Although her albums were well-received by niche audiences, the mainstream public’s reaction was mixed. She realized that she had entered a somewhat contradictory stage in her thinking about her own creative style. “On one hand, I hope that more people would have the opportunity to hear my work. On the other hand, the market’s perception of ‘Laure Shang’ conflicted with the direction of the music I wanted to pursue in the future.”

Shang is on a mission to find the perfect “connection point” with her audience. Although her bitter love songs have been her most popular, with the highest play rates on major platforms, these “big songs” may not be her personal favorites. Shang is determined to stay true to what she’s “particularly good at,” and “Follow Your Heart” is a testament to this commitment.

Shang has been keeping a close eye on Billboard and other European and American music charts, and she’s had a new idea. “I have noticed that many overseas musicians who stick to their favorite styles can still connect with larger audiences. With this in mind, I made a new attempt with my latest work, ‘Follow Your Heart,’ which I hope will be more popular. I am also challenging myself to create electronic works that are slightly more mainstream.”

With the attitude of “otherwise I’ll give it a try,” Shang has successfully attracted new listeners with “Follow Your Heart.” Even those who aren’t part of “Sesame” (Shang’s fanbase) have fallen in love with this song. Although it hasn’t been out for long, “Follow Your Heart” has already been featured in many mixed-cut short videos, and its playback data on major platforms is impressive. It’s an EDM song with great potential for popularity, and some have even called it Shang’s most “approachable” electronic music to date.

“’Follow Your Heart’ is a reflection of my observations of the world around me and my personal experiences over the past few years,” Shang says. “And it is also a summary of my own music journey. The success of the song since its release has been a great encouragement for me to write more. After writing songs for so many years, I am eager to find a new creative direction and discover my true musical value in this new and different environment.”

Laure Shang

Laure Shang

Tianyao Wang/Billboard China

Learning to Be a Relaxed “Newcomer”

To promote her long-awaited new song “Follow Your Heart,” Shang visited the Tencent Music Entertainment Group building to hand out cookies. She suddenly realized that she had become a passionate “newcomer” in the music industry again, just like she was 17 years ago.

During her collaboration with TME for the intensive online and offline promotion of “Follow Your Heart,” Shang – who had grown accustomed to a Buddhist state-of-mind – felt like she had wound up the clockwork and was ready to go. “For me, it’s been more than 10 years since I’ve had such a deep collaboration with a platform,” Shang says. “It’s been five years since I’ve released a new album. Everything feels like I’m starting from scratch again.”

Shang says that promoting her music in this way, working with the media and fans to introduce her hard work, and experiencing this old-school style of promotion is something she hasn’t tried in many years. “At my age, suddenly going all out to promote my new song feels great,” she says. “It’s like starting over and getting back to business!”

Back in the day, when the Internet wasn’t as developed, Shang remembers doing all kinds of old-school promotional tactics, including running to radio stations, TV programs, newspaper interviews and touring the country to perform at music festivals. “As a newcomer back then, I felt that these promotional tasks were very complex,” she says. “But now that I’m trying to do this again and tell everyone the stories behind our music creation, it’s quite an interesting experience.”

Promoting her new song during the TME “building sweep,” Shang also observed those around her. “The TME colleagues responsible for technology are a bit shy and hesitant to say hello, while the marketing department is more outgoing and enthusiastic. Seeing these people working behind the scenes and quietly supporting my music, our relationship is very special. It’s because we have music as a bond that we’re connected.”

After promoting “Follow Your Heart” like a newcomer would, Shang also tried to treat every performance from a rookie perspective too. Shang, who rarely practiced her singing before going onstage, released a video on the studio’s Weibo account showing her seriously rehearsing backstage at TMEA in Macau. She received a lot of applause from fans. “This is the first time I’ve publicly sung this song, so I’m a little nervous about the first performance.”

Live performances are unpredictable, even if you’ve rehearsed everything to perfection. However, as a “newcomer,” this is the most exciting part because you can learn how to sing freely onstage. During the debut of “Follow Your Heart” at TMEA, Shang encountered a sudden situation that required her to improvise: The elevator platform under the stage suddenly stopped, and only half of Shang’s head appeared onstage.

Remaining calm under pressure, Shang used the emergency method of turning danger into opportunity and adapted to the situation to deliver an exceptional performance of the new song. Uninformed audiences even thought it was a special stage design. Reflecting on this performance, Shang admitted that her mind was “a little muddled” at the time: “But I’ve experienced it before when the timing of the elevator was too fast or too slow, and sometimes the elevator didn’t even lift up during the whole song. As long as there are no accidents, it’s fine.”

Also as a “newcomer,” the best thing is that because you don’t have too many burdens, you can have the courage to make fun of yourself. Shang chose to post a picture of herself with only half of her head onstage on Weibo, naming it “entrance into the pit,” and even calling on everyone to come and “whack-a-mole” with a hammer. Now, Shang can laugh at herself and is no longer as “stiff” as before.

As the lyrics of the new song are straightforward and honest, Shang realized that she has finally reached a creative stage where she “wants to be more straightforward” too. “My mind-set has changed now,” she says. “It makes me really uncomfortable to write things that are as stiff as before. We’ve finally made it through difficult times, so let’s love openly and do whatever we want without too many twists and turns. Don’t be too stiff and let yourself think too much.”

Similar positive energy was rare in Shang’s past works. Looking back at her earlier music’s “stiffness,” Shang admitted that it was a kind of emotional expression that released inner-depression. “At that time, the collapse, uneasiness and anxiety in my heart prompted me to find different ways to make music,” she says. “It’s different now.”

Shang says that like “Single Boy” in 2018, “Follow Your Heart” also has the same core spirit of “boldly abandoning worries, loving whoever you want and doing whatever you want.” She adds: “Creativity should still follow the emotional needs of different periods. When I wrote this song, it was one of the most challenging phases in recent years. We’re all tired now, so we might as well follow the more real emotional needs of the present moment in music.”

Shang is currently implementing this “relaxed” spirit in her upcoming music. “Compared to my other songs, ‘Follow Your Heart’ is relatively simple, with a strong live feel and not much technicality,” she says. “You don’t need to think about anything complicated; whether you’re singing or listening, just move freely and bounce along, sing along and release emotions together with everyone.”

Accepting the Limitless Possibilities Within Yourself

“Follow Your Heart” delivers a powerful message: Love yourself. By embracing who you are, you can find true happiness and the courage to love this imperfect world. Shang has her own unique take on this topic: “Loving yourself means letting go, being brave and boldly following your heart. This way, you’ll have fewer regrets in life.”

While creating “Follow Your Heart,” Shang learned to focus on the present rather than dwelling on the past or worrying about the future. She hopes that this song will inspire listeners to have confidence in themselves, embrace life’s ups and downs and accept the limitless possibilities within themselves.

During her five-year hiatus from music, Shang discovered a passion for AI technology. She’s collaborated with Fudan University’s AI research institute and is excited about the potential of AI in music creation and entertainment. Her obsession with AI technology is unparalleled in the Chinese music industry. “AI is on the verge of a major breakthrough, and in the future, it will be a powerful tool for music creation and have a greater impact on the entertainment industry,” she says.

Compared to relying on flashes of inspiration in the past, Shang now longs for a more stable creative source. “I hope my thinking about music can become more mature, while also entering into deeper levels of thought,” she says. Shang emphasizes that some of her experimental electronic music may be even more “abnormal” than her previous work in, but the quality will be even higher.

Shang’s upcoming project will showcase her entire creative worldview, including her unique take on love songs. While some listeners may prefer her classic “Shang-style love songs,” she’s exploring new ways of expressing love through music.

At home, Shang writes songs facing a white wall, where she can focus on her creative process. With her strong academic-research spirit, she’s become a real scholar studying “Shang-style music.” She hopes to organize her own unique creative ideas during her research process, find connections between different songs and create new works with a more rigorous theoretical system. Looking around the Chinese music industry, there probably isn’t another scholarly singer like her.

Just like everyone talks about Shang’s “foreign-language learning method,” she also has her own secret formula for memorizing lyrics. “Every time a singer looks up at the prompter, I can tell at a glance. It’s really obvious,” she says. “So I try to avoid looking at the prompter. I memorize the lyrics in advance and let my mouth form muscle memory, while my ears also need time to practice. When I sing, I especially like to watch the audience’s reactions. It’s a shame if I don’t look at them.”

Whether on stage or off, Shang loves to look directly into the eyes of her fans. The eyes are the most honest, and this kind of “eye contact” that cannot be replaced is probably the most equal and direct communication between two souls. In the “after-work video” filmed by fans backstage at TMEA, we were deeply moved by the interaction between Shang and “Sesame” (the nickname of her fanbase).

In Shang’s home, there is a painting gifted by a fan who is deaf and mute from years ago. “Although this fan needs a hearing aid to speak, he has learned to draw on his own and can still create very realistic paintings on his computer,” Shang says. “These things often inspire me to be more confident in what I am doing. Look, he has so much perseverance! This is the positive energy given to me by my fans, and it is also a confirmation of my current different attempts. The life status of my fans also inspires me a lot.

“There are some older fans who have been with me for over 10 years,” she adds. “They were originally high school students, and now they are already mothers holding their babies coming to see me. I have witnessed them growing up, falling in love, getting married and having children. We think of each other in our hearts, and our relationship has lasted for so many years. It is truly a rare and great fate.” In Shang’s heart, these original “Sesame” are more like old friends she has known for 17 years than just fans. Even if they haven’t seen each other for a long time, they never grow apart.

Shang once wrote this touching sentence on Weibo: “I’m lucky that I can still write, and I’m lucky that there are still people who can understand!” Over the years, the relationship between her and her “Sesame” has only grown. No matter how unconventional her “weird electronic music” is, her fans are still waiting by her side, never leaving or abandoning her. Since the release of “Follow Your Heart,” fans have been sharing messages of understanding.

Some fans wrote Shang into their graduation thesis, some successfully confessed their love because of “Follow Your Heart,” and some were inspired by Shang’s story of being accepted to Fudan University and getting into their dream company. Shang said that compared to the general sense of being a fan, this is the real “mutual inspiration”: “Their success makes me feel that I am useful to some people, and what I am doing is valuable.

“Music is originally an intangible subject that cannot be seen or touched,” she continues. “How can we as musicians determine that what we are doing is valuable? Once I know that someone will become more determined to improve themselves and achieve something because of my music or what I do, this is mutual inspiration for me. Fans’ achievements on their life paths actually give me great courage and motivation.”

Talking about mutual inspiration between people reminds Shang of her encounter with Coco Lee on the show Praise the Program. At that time, Coco Lee encouraged Laure, who was sitting in a wheelchair due to an injury. “Coco Lee’s care for others comes from the heart. A great musician like her must have a lot of love. When exhausted, what can support a musician to keep going is the love that comes from the bottom of their hearts.”

Shang, who lives a new life in music, is also practicing the philosophy of life she expressed in “Follow Your Heart,” pouring all her self-love, love for others, love for the world, and her most passionate love for music into her work.

–This article was written by Jifan Wang for Billboard China

Laure Shang

Laure Shang

Tianyao Wang/Billboard China

Brent Faiyaz Launches ISO Supremacy Creative Agency, Releases ‘Jackie Brown’ Music Video

Brent Faiyaz officially launched his own creative agency, ISO Supremacy, on Wednesday (Aug. 16).

Billboard announced back in May that the R&B star and UnitedMasters had struck an unprecedented partnership to start the agency. “Brent Faiyaz is one of the most prolific independent artists today, and we are extremely excited to embark on this new partnership with him,” said UnitedMasters founder/CEO Steve Stoute in an exclusive statement at the time. “It’s been inspiring to watch his journey as an artist over the years, and with this partnership we look to further amplify his creative vision and support his entrepreneurial ambitions.”

ISO Supremacy, which stands for In Search of Supremacy, is a creative network with the mission of executing visual and sonic art. Faiyaz leads as CEO, with Darren Xu as COO, Ashani Allick as head of A&R, Michael Alexander as project manager and Zac Matias as art director.

In other news, Faiyaz released the official video for “Jackie Brown,” which comes from his sophomore album Wasteland that he released on July 8, 2022, via Lost Kids, Venice Music and Stem. The set had an impressive start for the independent artist, debuting at No. 2 on the Billboard 200.

Partly inspired by the 1997 Quentin Tarantino crime drama of the same name, the “Jackie Brown” visual opens with Faiyaz on a plane, cruising and snoozing through the clouds. Even if “life moves fast” for him, as his famous falsetto heard all throughout TikTok indicates, it’s filled with the finer things, from yacht rides with a woman on either side of him to custom-tailored suits to endless glasses of champagne, and wealth that can’t buy his leading lady.



Jackie Brown was one of the movies I was watching during COVID on repeat. Besides the fact that Pam Grier was fine as sh-t in that movie, I also liked the fact that they stay by the beach in L.A., and I stay in Venice,” he told Variety in an interview last year. “Cinematically, I liked the shots and I liked the colors. For whatever reason, when I watch Tarantino films, it just makes me want to make music. Something about the images just puts sounds in my head. Tarantino’s the GOAT. Cold as f–k.”

Faiyaz is currently on his F*ck the World, It’s a Wasteland Tour; the U.S. portion wraps on Sept. 15 in L.A., while the entire jaunt ends on Nov. 20 in London.

Morgan Wallen Just Tied Mariah Carey for This Chart Record

Morgan Wallen’s “Last Night” ties Mariah Carey’s “All I Want for Christmas Is You” for the second-most weeks spent atop Billboard’s Streaming Songs chart in the tally’s decade-long history, crowning the Aug. 19-dated survey. Meanwhile, the songs share the record for the most time on top, 18 weeks each, among hits billed to singular acts and no collaborators.

“Last Night” leads Streaming Songs for an 18th nonconsecutive week with 26.3 million official U.S. streams in the Aug. 4-10 tracking week, down 2%, according to Luminate.

The song first crowned the Streaming Songs list dated March 18, its sixth week on the ranking, boasting 47.5 million streams that week. It has not fallen below No. 3 since.

An 18th week at No. 1 ties Carey’s holiday anthem, which first led Streaming Songs upon the Jan. 5, 2019, chart and has returned each year since for anywhere between three and five weeks at No. 1 during the holiday season.

The overall record for most weeks at No. 1 belongs to Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus: 20 weeks in 2019.

Most Weeks at No. 1, Streaming Songs:

  • 20 weeks, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus (2019)
  • 18, “Last Night,” Morgan Wallen (2023)
  • 18, “All I Want for Christmas Is You,” Mariah Carey (2019, 2020, 2021, 2022)
  • 16, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber (2017)
  • 14, “Rockstar,” Post Malone feat. 21 Savage (2017-2018)
  • 14, “Panda,” Desiigner (2016)
  • 13, “We Don’t Talk About Bruno,” Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto Cast (2022)
  • 13, “The Box,” Roddy Ricch (2020)
  • 13, “Fancy,” Iggy Azalea feat. Charli XCX (2014)
  • 13, “Wrecking Ball,” Miley Cyrus (2013-2014)

“Last Night” remains Wallen’s only Streaming Songs-topping tune. He first appeared on the ranking with “Whiskey Glasses” in 2019 and rose as high as No. 3 twice, with “Wasted on You” in 2021 and “Don’t Think Jesus” in 2022, prior to the reign of “Last Night.”

“Last Night” concurrently spends its 27th week at No. 1 on Country Streaming Songs, which is nearly halfway to the overall record, kept by Bebe Rexha and Florida Georgia Line’s “Meant To Be,” which ruled for 55 weeks in 2017-19.

As previously reported, “Last Night” spends a 16th week at No. 1 on the multi-metric Billboard Hot 100, rewriting the mark for the most frames at the summit among non-collaborations.

Tori Kelly to Embark on 2023 Take Control Tour Following Health Scare: ‘It’s Been Too Long’

Tori Kelly will be hitting the road this fall. Just weeks after her hospitalization following a health scare, the Grammy-winning singer took to social media on Tuesday (Aug. 15) to announce that she will be going on tour starting next month.

“It’s been too long! the #takecontroltour is here,” Kelly said, sharing a tour poster along with the list of dates for the trek.

The tour will kick off on Sept. 10 in Toronto and will make stops in New York, Boston, Atlanta, Chicago, Denver and San Francisco before concluding with a pair of dates in Los Angeles on Sept. 25-26. Tickets are currently available for presale through Ticketmaster and the singer’s website.

Fans in the comments section expressed excitement for the singer getting back on the road and begged for additional dates and cities, while others expressed concern for her health. “She just had a major health scare so stop harassing her about not doing more dates/ not coming to your city!” one Instagram user commented.

The American Idol alum was reportedly rushed to the hospital in July while out to dinner in Los Angeles with friends.

Kelly addressed the health scare in a note shared to her Instagram on Aug. 1, and wrote, “Hi friends…As you may have heard, I’m dealing with some unexpected health challenges. It’s been a scary few days but I can feel your prayers & can’t stop thinking about you. I’m feeling stronger now & hopeful but unfortunately there are still some things to uncover. I’m so grateful for the amazing doctors & nurses who have been looking after me.”

See Kelly’s Take Control tour dates below.

How Pedro Capo Rediscovered His Sound After ‘Calma’ & Returned to His Roots

Pedro Capó is currently on the road with his La Neta Tour — his first official trek since the pandemic — which kicked off in May in Spain and is en route to Latin America and the United States this fall. 

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“I’m happy that we finally got here. They all sold out,” he tells Billboard. “La Neta is the little boat that could.” 

The tour backs up Capó’s sixth studio album, La Neta, which was released in December 2022 via Sony Music Latin. The ultra-personal 10-track set finds the artist navigating emotions of honesty and vulnerability, and delving deeper into lyrics about  love, happiness, loneliness, life and death. The title track, he says, is “a different sound.” 

“It marks a road ahead for me because sonically I was coming out of the whole ‘Calma’ thing, which was beautiful, amazing. The pandemic came, I kinda got lost in my sound a little bit, which is kind of the process,” he explains. 

Although “Calma” gave the Puerto Rican artist many first-time milestones in his career, including his first-ever Billboard No. 1 hit, a Latin Grammy for song of the year, and the opportunity to travel the world, Capó admits that all the success was new to him. 

And suddenly, on the heels of his first big hit at 38 years old, the pandemic hit. 

“That silence was necessary for me to come back to my roots,” he recalls. “What would have been of Pedro without that in the middle? Where would he go naturally as a creative? And that’s what ‘La Neta’ was for me.[…] The album is something I recorded, produced, and wrote in its entirety in my house. Very personal. It’s a pandemic album, a picture of everything that happened to me in my life.” 

Capó’s North American leg of his tour kicks off October 21st in Orlando and will visit Miami, New York, Los Angeles and Chicago. He also promises more new music in the works. 

“I spent about a month locked myself in Nashville and we put forth a great number of songs that would be coming out by the end of the year,” he notes. “There’s a little bit of country with what I bring to the table, and I couldn’t be happier. I think it’s going to be a special one.” 

Watch Capó’s interview with Billboard News in the video above.