Music

14 Jul 2023

The 23 Best Latin Songs of 2023 So Far: Staff Picks

07/14/2023

From Bad Bunny’s “Where She Goes” to Yahritza y Su Esencia’s “Frágil,” see below.

07/14/2023

Young Miko, Shakira, Carin Leon and Bad Bunny

Joshua Rivera; Jaume de la Iguana; Jesus Fernando Espinoza; Eric Rojas

An unprecedented avalanche of Latin songs was released in the first six months of 2023, underscoring the music’s booming popularity at a global scale, the speed of which is outpacing every other genre. While the year kicked off with Bad Bunny still entrenched as Latin music’s top hitmaker, things quickly evolved to bring other genres into the fray — most notably Mexican music, which is currently the dominating Latin presence on the Hot 100 and which even fused with Bad Bunny in the Grupo Frontera/Bad Bunny hit “un X100to.”

The result is an eclectic mix of 23 songs that span a wide array of genres. Música urbana continues to beat, but so does tropical, Mexican and, refreshingly, an increasing dose of pop and singer/songwriter driven fare. The versatility underscores and increasingly vast and eclectic Latin music fan base that is ready and willing to consume all styles of music. Predictably, several of the songs on the list fall under the regional Mexican, or música mexicana label, whose vast umbrella covers from corridos to romantic cumbias on this list.

By the same token, there are songs from icons like Juanes and Marc Anthony, who embrace their roots in rock and salsa, respectively. But there are also a slew of newcomers like Young Mike and María Becerra, who have demonstrated time and again that they are willing to push boundaries in their search for distinctive sounds. Although chart position was a consideration, our choices were guided by many factors, most importantly, memorable lyrics and standout melodies.

Enjoy!

From Bad Bunny’s “Where She Goes” to Yahritza y Su Esencia and Grupo Frontera’s first collaborative effort in “Frágil,” see the list in alphabetical order by artist name, below.

Bad Bunny, “Where She Goes”

Last year, Bad Bunny told Billboard he was going to take it easy in 2023. “I’m taking a break. 2023 is for me, for my physical health, my emotional health to breathe, enjoy my achievements,” he said. But that didn’t stop him from dropping the certified club banger “Where She Goes,” produced by MAG. Inspired by the Jersey Club beat (a hybrid of house and hip-hop), the track is a sensual song about chasing that person you like. On the Billboard charts, it peaked at No. 2 on Hot Latin Songs, No. 8 on the Hot 100, and reached No. 1 on the Billboard Global 200 chart, making Bunny the first soloist with as many as three No. 1s since the survey began in 2020. — JESSICA ROIZ
Bizarrap & Shakira, “Shakira: BZRP Music Sessions, Vol. 53”

A much-needed musical therapy session, Shakira teamed up with Argentine hitmaker Bizarrap for the scorching club banger “Bzrp Music Sessions, Vol. 53.” “I’m not getting back with you, don’t cry for me, nor beg me/ I understood that it’s not my fault that they criticize you/ I only make music, sorry that it bothers you,” she chants in the nearly four-minute dance-pop track, where she disses her former partner Gerard Piqué and his new girlfriend Clara Chia Marti. The unapologetic banger crashed the top 10 of the Hot 100, and also hit No. 1 on Billboard’s Hot Latin Songs chart, Shakira’s 12th No. 1 on the listing and first since 2016. — J.R.
Caloncho, “Superdeli”

Caloncho kicks off with the words “I want to be a good memory for you/ A beautiful place in your brain,” in a track that looks back at lost love with warmth, rather than regret. In “Superdeli” (slang for something very tasty), the Sonora-born singer-songwriter deepens his signature indie-pop sounds within the tropical realm, blending retro piano melodies with modest hints of bachata. Penned by Caloncho, Kurt, and Pepe Portilla, the lyrics are just another beautiful reminder to live in the present and always welcome your feelings with an open heart. — INGRID FAJARDO
Carin Leon, “Primera Cita”

The Sonora-born Leon is a regional Mexican star through and through, but this song further proves his versatility and ability to thrive in other genres outside of música mexicana. The first single off Colmillo de Leche, this stripped-down R&B/soul track spotlights Leon’s deep, raspy vocals, with pathos-filled lyrics about falling out of love, when the familiar becomes foreign. “From loving each other too much, we became two strangers,” he sings poetically over the power ballad, an almost gospel-like song. — GRISELDA FLORES
Christian Nodal, “Cumbión Dolido”

In true Nodal fashion, “Cumbión Dolido” can be described as a cumbia that carries a melancholy or painful tone rather than a happy one. This song reflects the fact that heartbreak is an inevitable part of love, but even when you’re hurting, you can still dance. This mariacheño track (blend of mariachi and norteño) finds the 24-year-old singer-songwriter “toasting to the memories you’ve left/ Singing songs of spite at the top of my lungs.” The heartbreak anthem was written by Nodal in collaboration with Edgar Barrera and Lucas Otero, cementing his record for the most chart-toppers among soloists with 15 No. 1s on the Regional Mexican Airplay listing. — I.F.
Emilia, Ludmilla, Zecca, “No_se_ve.mp3”

Emilia, the Argentine pop singer and the self-proclaimed Queen of the Favelas, Ludmilla, are dynamite in “No_se_ve.mp3,” an instant banger at first stream. The Portuguese/Spanish-language cut sees two femme fatales slicing through a Latin pop and baile funk reverie with boss-b–ch attitude, favela-style. “[‘No_se_ve.mp3’] is a party,” Ludmilla told Billboard Español in April. “We mixed our two musical styles, Emilia with hers and I brought a little bit of funk from Brazil. It was a great combination.” If this doesn’t get you to hip thrust, then we don’t know what will. — ISABELA RAYGOZA
Eslabon Armado & Peso Pluma, “Ella Baila Sola”

Bolstered by requinto-brass interplay and the artists’ passionate vocal delivery, Eslabón Armado and Peso Pluma’s “Ella Baila Sola” further propelled música mexicana into the mainstream. Ushering a new Latin music movement after one decade of reggaetón dominance, the traditionally styled anthem is a flirty sierreño party about developing a new crush on the dance floor. The song became the first No. 1 regional Mexican hit ever in the history of Hot Latin Songs, with 13 weeks on top and counting. “Ella Baila Sola” also soared to No. 1 on the Billboard Global 200, becoming the first leader on the list for each act, as well as an unprecedented first for the genre. — I.R.
Feid, Young Miko, “Classy 101”

In March, two of the hottest urbano acts of the moment, Feid and Young Miko, unleashed “Classy 101.” The hard-hitting, edgy perreo fusion laces Feid’s distinct vocals and Miko’s dulcet range for a song about a girl who’s so fine that it’s impossible to ghost her. “You have a face that you like it freaky and nasty/ Nothing romantic/ You look expensive, b–chy, classy, in four fantastic/ More than problematic/ You touching yourself, I’m crazy to enter/ You know what I like/ Keep flirting that I’m not going to ghost you/ I’m going to charge you the fine,” goes the chorus that went viral on TikTok (currently with over 350K video creations). “Classy 101” earned the Puerto Rican newcomer Miko her first-ever Hot 100 chart entry. — J.R.
Grupo Frontera x Bad Bunny, “un x100to”

2023 marked the year Bad Bunny dipped his toes further into the música mexicana realm (after hopping on the remix of Natanael Cano’s 2019 “Soy El Diablo”). This time, he steered away from corridos tumbados and experimented with cumbia and norteño on Grupo Frontera’s “un X100to.” The wistful heartbreak track, co-produced by Edgar Barrera (the pop and Mexican music hitmaker who writes most Grupo Frontera fare) and MAG, narrates the emotions of someone calling their ex to beg for forgiveness, despite having only one percent phone battery left. “Un X100to” proved to be a memorable fusion of genres, and peaked at No. 5 on the Hot 100 and No. 2 on Hot Latin Songs. — J.R.
Juanes, “Gris”

A melancholic and introspective indie-rock song, “Gris” (which means Gray), from Juanes’ new album Vida Cotidiana, was born in a time of desperation during the pandemic, when Juanes’ relationship with wife Karen Cecilia Martínez was going through a rough patch. “The gray weather/ Knew how to get me further away from you,” the Colombian star sings, capturing the sadness of that moment. “Sometimes I listen to it and I’m like, ‘My God, I love this song, but I can’t believe what I went through to make it’,” he recently told Billboard Español. It’s a beautiful yet haunting track that lingers and makes you yearn for love. — SIGAL RATNER-ARIAS
Kany García, “Fuera de Servicio”

The Puerto Rican singer/songwriter is one of those artists who can go pretty much anywhere musically and still sound genuine. Accompanied only by guitars, García steers out of her traditional pop to gives us a tropicalized mariachi in “Fuera de servicio (Out of Service),” lamenting the fact that she can’t get over her old love. The lyrics are, as always, brilliantly crafted (“I’m the remix no one wants to hear anymore/ I speak about the same thing, and the same thing to exhaustion”), the melodies are perfect and García’s vocals are full of pathos. — LEILA COBO
Karol G, “Amargura”

With her powerful vocals and emotional delivery, Karol G has effectively captured the rawness of heartbreak in “Amargura”. Salsa masterpiece “La Cura” by Franke Ruiz opens the production, to give all the feeling to a track that explores the emotions of heartbreak and betrayal. The lyrics describe a person’s pain and bitterness of seeing their ex-partner with someone new. Although they try to hide it, it’s a confession to feeling shattered emotionally. This relatable anthem speaks to anyone who has experienced the pain of a broken heart. — I.F.
Karol G, Shakira, “TQG”

“TQG” is what happens when two empowered women join forces. A masterclass in how to effectively get back at your ex, “TQG” — an acronym for “Te Quedó Grande,” which loosely translates to “Too Big for You” — may come across as a spiteful, revenge track. But in reality, it’s a declaration of self-worth: I leveled up. “Why are you looking for me on the side when you know I don’t make the same mistake twice?” Colombian stars Karol G and Shakira sing. The song became an instant hit, thanks to its catchy lyrics and thumping reggaetón beats — topping Hot Latin Songs and both the Billboard Global 200 and Billboard Global Excl. U.S. charts. — G.F.
Los Angeles Azules, Santa Fe Klan, Cazzu, “Tú y Tú”

Los Ángeles Azules helped globalize Mexican cumbia, de Iztapalapa para el mundo, as they say. While the trailblazing ensemble continues to modernize the traditional style, the musicians revamp their approach on “Tú y Tú” — an accordion- and güiro-driven dance song that features Guanajuato rapper Santa Fe Klan and Argentine trap star Cazzu. Together, the tattooed pair lend their vocals to convey the healing power of love. SFK continues to demonstrate his ability to hop between Mexican-rooted genres seamlessly; meanwhile, Cazzu, who emerged from the booming Argentinian trap scene, smoothly adapts to the cumbia sonidera rhythm. “For you I turn night into day, just for you,” she sweetly croons. It’s a mesmerizing take where all musicians showcase their capabilities to intertwine the música méxicana and música urbana genres. — I.R.
Maluma, Marc Anthony, “La Fórmula”

Puerto Rican salsa singer Marc Anthony merges his powerful voice with Maluma’s playful and urban touch, creating a danceable melody and a welcome tropical hit. Combining the best of the two Latin music icons in a romantic salsa pop song, the pair sing about the inability to forget a lost love, lamenting in the pre-chorus: “There is no formula to erase your kisses/ Not an equation that can achieve that.” Produced by both artists, in collaboration with Edgar Barrera, Rude Boyz and Sergio George, the song reached No. 2 on Billboard’s Tropical Airplay chart and No. 9 on Latin Airplay. — LUISA CALLE
Maria Becerra, “Desafiando el Destino”

María Becerra shows a steady willingness to experiment and go out of her comfort zone as she searches for her own sound. In the poignant “Desafiando el destino,” a bonus track to her previously released La nena de Argentina, she displays a softer (and frankly more powerful) side. A love letter written to her parents, it begins with a slow, bluesy piano intro that gives way to Becerra’s vocals, tinged with melancholy as she sings to a video of old home movies that’s hard not get teary-eyed about. Backup gospel-choir touches, tastefully placed over the sparse arrangement, lend even more pathos to this very beautiful track. Parents will be proud, and Becerra would do well to explore more material of this ilk. — L. Cobo
Marshmello, Manuel Turizo, “El Merengue”

An infectious EDM-merengue fusion about drinking your sorrows over a broken heart away, “El Merengue” reached No. 1 on Tropical Airplay, sending Turizo’s own “La Bachata” to No. 2 after 14 weeks in charge, and spending almost as much time — 13 weeks — at the top of the ranking. Through lyrics like “I said drunk that I already forgot you, but I hadn’t forgotten you” and “ask me whatever you want except to forget you,” the Colombian singer regrets not having done enough for his ex when he had the chance, making you feel his pain while you hold on to your dancing partner a bit tighter. — S.R.A.
Miguel Campello & Nya de la Rubia, “Rumbacumbia”

“Rumbacumbia” is an invigorating listen from start to finish which sees Elche, Spain-born singer Miguel Campello and Sevilla’s own Nya de la Rubia in an electrifying rumba song that feels as uplifting as the sun’s warmth. Flamenco guitar fretwork and silky-smooth percussion take the fore, as the former El Bicho frontman’s and Nya’s voices both invigorate with their poetic verses of love and embrace. — I.R.
Oscar Maydon x Junior H, “Fin de Semana”

Powered by a vibrant accordion beat, this uplifting song is a departure from the swaggy, marijuana-centric corridos that we’re accustomed to hearing nowadays. A fusion between norteña and sierreño, which doesn’t sound forced at all, “Fin de Semana” is a sweet declaration of love and about having an epic weekend with a significant other. The pair start off singing about how they got the girl in the first place: buying her the nicest flowers at the club. Then, they pick her up for an unforgettable weekend at the beach: “Don’t give me excuses, don’t tell me you have things to do/ We’re two people that just connect.” But, at the end, they say, if the feeling isn’t mutual, they won’t beg either. — G.F.
Peso Pluma, “Bye”

In the midst of his global success with songs like his Eslabon Armado team-up “Ella Baila Sola” and the reggaetón anthem “La Bebe Remix” with Yng Lvcas, Peso dropped the sobering “Bye,” a gut-wrenching heartbreak track powered by a melancholy trumpet melody. “Bye/ Better be on your way/ Being with you no longer suits me/ Bye/ And I could care less/ I get distracted by princesses/ And your kisses don’t interest me anymore,” he confesses bluntly, evidently hurt by the twist of events. The song is Peso’s first solo track since “Por Las Noches,” after a handful of collaborations with artists like El Alfa, Becky G and Blessd. — G.F.
Rosalía & Rauw Alejandro, “Beso”

“I need another kiss, the type only you give me,” sing Rosalía and Rauw over a hypnotizing reggaetón beat. “Beso,” one of the three tracks on the duo’s joint EP RR, is a sincere declaration of love in its purest form. The lyrics are simple yet relatable, making it an anthem we all can adopt. “Amo siempre que llegas y odio cuando te vas (I love always when you come, and hate when you leave),” they sing, trading vocals over sparse chords. Along the way, “Beso” became the third top 10 for both artists on the Billboard Global 200. — G.F.
Tego Calderón, “La Receta”

Oh, Tego, how we missed you. The Puerto Rican rapper’s return, after nearly a decade-long hiatus, is sheer fun, with a blast of a music video set at both a golf course and a tennis court. It’s the lighter side of Tego, a saucy, bouncy reggaetón with touches of merengue ripiao that are easy on the ear and immediately catchy. It’s also a clever way for Calderón to ease back into pop culture. We’re eager to see the next steps. — L. Cobo
Yahritza y Su Esencia & Grupo Frontera, “Frágil”

Backed by a weeping acoustic guitar, Yahritza Martinez’s soft-but-raspy vocals start this track in a lower vocal range, then gets a response from Grupo Frontera’s vocalist, Payo. Charged with soul, emotion, and many unanswered questions, “Fragil” then transitions into an infectious norteño and cumbia fusion — a sound that’s become a signature for Frontera, but new for the siblings group that’s known for their sad sierreño style. Most notable are the heartfelt lyrics, penned by Keityn, about having a fragile heart and not knowing how to handle a breakup: “Why don’t I have a heart like that?/ Like the one they gave you/ Because the one I have is fragile, that’s why you easily broke it.” — J.R.

14 Jul 2023

The Clipse, Rick Ross & Wale to Perform at NYC’s Pier 17 for Amazon Music’s ’50 & Forever’ Series

Amazon Music is looking to give back to the culture in a massive way as hip-hop’s 50th anniversary inches closer. Beginning July 17, Amazon Music will launch its celebration 50 & Forever, which includes a string of performances, in-depth discussions and broadcasts from live festivals.

See latest videos, charts and news

Fans can enjoy various performances in NYC on July 20 and July 28. The first date will feature a live performance from Wale and a special guest at The Rooftop at Pier 17 at the Seaport. The second will spotlight The Clipse and Rick Ross at the same location, with tickets to both events available on Ticketmaster for $10. The livestream performances will reside on Amazon Music’s channel on Twitch. The proceeds will go toward the artists’ charity of choice.

Fans will also enjoy Group Thread conversations hosted by Speedy Morman every Monday, and Breakthrough Live performances from rising hip-hop talent each Tuesday. Lastly, episodes of Rotation Roundtable featuring Morman, Nyla Symone, Gabe P and Rob Markman will air every Wednesday. Then, Rolling Loud Miami will air on Amazon Music’s channel on Twitch July 21-23.

Check out the entire schedule below.

July 17 – Group Thread: The Blog Era Live from the Seaport
July 18 – Breakthrough Live: New Voices in Hip-Hop Live from the Seaport
July 19 – Rotation Roundtable: Live from the Seaport
July 20 – Wale & Special Guest – City Sessions New York: “50 & Forever” Live from The Rooftop at Pier 17
July 21 – Rolling Loud: Day 1
July 22 – Rolling Loud: Day 2
July 23 – Rolling Loud: Day 3
July 24 – Group Thread: The Brick Tape Live from the Seaport
July 25 – Breakthrough Live: New Voices in Hip-Hop Live from the Seaport
July 26 – Rotation Roundtable: Live from the Seaport
July 28 – City Sessions New York: “50 & Forever” Live from The Rooftop at Pier 17
July 31 – Group Thread: The South Has Something To Say Live from Atlanta
Aug. 1 – Breakthrough Live: New Voices in Hip-Hop Live from Atlanta
Aug. 2 – Rotation Roundtable: Live from Atlanta
Aug. 3 – City Sessions Atlanta: “50 & Forever”
Aug. 7 – Group Thread: Ladies First Live from the Seaport
Aug. 8 – Breakthrough Live: New Voices in Hip-Hop Live from the Seaport
Aug. 10 – City Sessions New York: “50 & Forever” Live from The Rooftop at Pier 17

14 Jul 2023

Demi Lovato Reveals She Still Has Hearing Loss & Vision Impairment Following 2018 Overdose

Demi Lovato was lucky to survive her 2018 drug overdose, immediately after which the musician suffered three strokes and a heart attack. But in a raw new interview with Andy Cohen for SiriusXM, Lovato shared that almost exactly five years out from the near-fatal incident, they still experience hearing loss and vision impairment as a result.

“I wouldn’t change my path because I don’t have any regrets,” the 30-year-old “Cool for the Summer” singer began. “When I think about things, the closest thing that I get to a regret is when I overdosed … that overdose caused me a lot of … it actually caused a disability. I have vision impairment and hearing impairment to this day.”

“I don’t drive because I have blind spots in my vision,” she continued. “It’s a daily constant reminder. You know, anytime I look at something, like, I have blind spots in my vision when I look at your face, and so it’s a constant reminder to stay on the right path because I never want that to happen again.”

Lovato was rushed to the hospital July 24, 2018, after overdosing on heroin, having relapsed earlier that year after six years of sobriety. The former Disney star is now sober, revealing last year they completed another round of treatment in 2021 before starting work on 2022 album Holy Fvck.

“Luckily in the mind state that I’m in now — you know, being sober, having a clear head — I just think in a more positive mind space and I’m not focusing on the shame at all,” she reflected. “I know I have a lot of sympathy for where I was at that time and the choices that I made and I understand why it happened and what happened, but there’s no shame that comes with it because it was just a life lesson that I had to learn.”

In recent years, Lovato has pivoted from pop to rock music — even holding a “funeral” for their former genre — and recently announced that an album of rockified versions of older pop hits such as “Heart Attack” and “Sorry Not Sorry” called REVAMPED is dropping in September. But Lovato also told Cohen that she’s not necessarily done with pop music forever and even dreams of collaborating with Kelly Clarkson someday.

“I never say never because you never know what’ll happen, but I’ve just been really influenced by rock music and it’s what I have fun performing live,” Lovato shared. “It was just the path that I took at that time and then when I started, I got sober and I was reevaluating everything in my life including my music and I was like, ‘What makes me happy?’ Like, that’s the most important question and I was like, ‘What makes me happy is listening to rock music and performing rock music.’”

Watch Lovato on SiriusXM above.

14 Jul 2023

Juanes, Elena Rose, Edgar Barrera & More Songwriters Who Could Score Big at the Latin Grammys

So strong and deep is the tradition of the cantautor, or singer-songwriter, in Latin music that the Latin Recording Academy is carving out more space for such multifaceted artists. This year, it debuts its best songwriter of the year category as part of the also newly created songwriting field. As with the mainstream Grammy Awards, the category recognizes songwriters credited as writers or co-writers on at least six tracks where they are not the performer, producer or engineer.

In addition, another new category, best singer-songwriter song, will fall under the singer-songwriter field (which has existed since the inception of the Latin Grammy Awards almost 25 years ago and has included the best singer-songwriter album award). To be eligible for this new award, at least 51% of the lyrics on singles or tracks must be in Spanish, Portuguese or any native regional dialect and must be from a singer-songwriter album competing in the best singer-songwriter album category that year. Below are six songwriters who stand a good chance of landing in one — or both — of the newly unveiled categories.

Elena Rose

As fans wait for Elena Rose to drop her long-awaited debut album, the Venezuelan singer-songwriter has kept busy with a string of singles recorded under her own name, plus a plethora of hits in the pop and urban realms. As one of the first women to actively collaborate with reggaetón stars, Elena Rose has opened the door for a new generation of women songwriters — making her a prime pick for the first class of best songwriter of the year nominees. The prolific collaborator has co-written massive hits like Karol G and Becky G’s “MAMIII,” Bad Bunny’s “Party” and, this year, TINI and Maria Becerra’s “Miénteme.”

Edgar Barrera

Perhaps the most versatile songwriter in Latin music today, Barrera has spent over 100 weeks on Billboard’s Latin Songwriters chart, second only to Bad Bunny, thanks to credits on cross-genre hits. In the past 12 months alone, the 32-year-old has worked with regional Mexican act Grupo Frontera on all of its hits, including blockbusters like “un x100to” with Bad Bunny and “Frágil” with Yahritza y Su Esencia. He also boasts credits on Manuel Turizo’s global smashes “La Bachata” and “El Merengue,” as well as multiple singles performed by longtime collaborators Maluma and Christian Nodal, among others, making him a shoo-in for the best songwriter of the year category.

Edén Muñoz

The former frontman of norteño group Calibre 50 has emerged as a successful solo artist and a sought-after songwriter for artists like Pepe Aguilar and Christian Nodal, among others. In June, the SESAC Latina Awards honored Muñoz as regional Mexican songwriter of the year for the fourth consecutive year thanks to a long string of hits. At this year’s Latin Grammys, Muñoz may be a contender in the best singer-songwriter album and song categories with his first solo studio album, Consejos Gratis (for which he wrote 13 out of its 14 tracks), boasting clever lyrics full of wordplay with uptempo fare and romantic ballads.

Gale

The Puerto Rican singer-songwriter got her start writing for other artists while she honed her solo chops. Now, in the wake of the release of her debut album, Lo Que No Te Dije, Gale could be nominated in all three songwriting fields. Her personal strain of alt-rock and pop was highlighted throughout her album and best heard on the uptempo, rock-leaning “Problemas” (making her a likely nominee in the best singer-songwriter album and song categories). She could also be a contender in the best songwriter category thanks to co-writes for the likes of Manuel Turizo and Marshmello (“El Merengue”), Juanes (“Ojalá”) and Aitana, Emilia and Ptazeta (“Quieres”).

Juanes

The Colombian veteran arguably reshaped the singer-songwriting mold when he burst on the scene with his 2000 debut album, Fíjate Bien. In 2023, he’s still innovating, albeit in a more collaborative fashion. On his new album, Vida Cotidiana, Juanes brings in many co-writers, including Tomás Torres and Alexis Díaz-Pimienta. But the album’s standout song, “Gris,” a revealing look into his longtime marriage, is his alone. A Latin Grammy favorite, Juanes is a contender for the best singer-songwriter album and song categories.

Keityn

The Colombian songwriter-producer was ASCAP’s 2023 songwriter of the year — a perfect setup for his inclusion in the inaugural group of best songwriter nominees. A favorite co-writer for two of the biggest Colombian stars of the moment — Shakira and Karol G — he worked alongside Bizarrap and Shakira on the surprise smash “Shakira: Bzrp Music Sessions, Vol. 53,” which spent five weeks at No. 1 on Billboard’s Hot Latin Songs chart earlier this year. Keityn also has songwriting credits on Shakira and Karol G’s “TQG,” which peaked at No. 7 on the Hot 100. It’s no small feat for a 26-year-old — nor is regularly writing hits for Manuel Turizo, J Balvin and Maluma (including the global smash “Hawái”).

This story will appear in the July 15, 2023, issue of Billboard.

14 Jul 2023

Could Regional Mexican Music Finally Dominate the Latin Grammys?

Regional Mexican music — an umbrella term given to the broad range of subgenres with folk roots that include banda, mariachi, norteño and corridos — has long been absent from the main categories of the Latin Grammy Awards. Though regional Mexican has its own field with five categories, a living regional Mexican artist hasn’t taken home the trophy for album, record or song of the year in the 23-year history of the Latin Grammys. (Juan Gabriel won posthumously in 2016 for Los Dúo, Vol. 2.)

The absence reflects an unspoken stigma: Regional Mexican is considered unsophisticated music for the masses and, therefore, unworthy of a win in the Big Four categories. Only one act associated with the genre — Monterrey, Mexico, DJ collective 3BallMTY — has won a Big Four award (best new artist), and that was over a decade ago in 2012.

But now, with a 42.1% increase in consumption of regional Mexican music year over year, according to Luminate, the genre’s crossover may be impossible to ignore. The growth started in May 2021, when Gera MX and Christian Nodal’s collaboration “Botella Tras Botella” became the first regional Mexican song to enter the Billboard Hot 100 in its 63-year history. Two years later, regional Mexican is the dominant Latin genre on the Hot 100: For the week ending June 25, 13 of the 17 Spanish-language tracks on the chart fell under the regional Mexican umbrella as acts like Grupo Firme and Fuerza Regida sell out arena tours alongside veterans like Pepe Aguilar. Also in June, Génesis, the new album from ascendant superstar Peso Pluma, debuted at No. 3 on the Billboard 200.

“Regional Mexican is no longer seen as the ugly duckling,” says Maria Inés Sánchez, head of marketing at AfinArte Records and a vocal advocate of the genre, on its potential presence at the Latin Grammys. “This will definitely be the year — and it’s just the beginning.”

Following are 10 regional Mexican acts that have a chance at a main-category nomination.

Yahritza y Su Esencia

The Washington state family band is fronted by Yahritza, whose glorious voice floats over the guitars of her brothers Mando and Jairo. Nominated last year for best new artist, the trio stands a chance in the song and record of the year categories this year, with a new Columbia Records deal and a poignant single, “Frágil,” featuring Grupo Frontera.

Carín León

León’s velvety voice, melodic approach and outside-the-box collaborations with C. Tangana and Matisse make him better known in pop and alternative than other regional Mexican acts. His new album, Colmillo de Leche, arrived in May just ahead of the eligibility cutoff, making him a top candidate for an album of the year nod.

Eslabon Armado

Last year, the Mexican American group known for its romantic sierreños was shut out of the Latin Grammys, even though the band’s 2022 album, Nostalgia, became the first top 10 regional Mexican title ever on the Billboard 200. This year, the act returned with a vengeance: Its runaway smash, “Ella Baila Sola” with Peso Pluma (a No. 4 hit on the Hot 100), should be a contender for both song and record of the year.

Edén Muñoz

The former Calibre 50 frontman has emerged as a formidable solo artist who collected his fourth consecutive SESAC Latina songwriter of the year award in June and is also making waves as a producer. (Credits include Ángela Aguilar’s “Qué Agonía.”) His first solo album, Consejos Gratis, arrived in October and could be a contender.

Grupo Frontera

The sextet from the border town of McAllen, Texas, got its start late last year covering pop songs to its Mexican cumbia beat, but with the help of a mentor in songwriter-producer Edgar Barrera, the band has quickly evolved. Hit singles with Bad Bunny (“un x100to”) and Carín León (“Que Vuelvas”) should give the act a shot at both song and record of the year, as well as best new artist.

Ángela Aguilar

The 19-year-old daughter of ranchera icon Pepe Aguilar lost best new artist to Karol G in 2018, but that hasn’t stopped her from bringing traditional Mexican music to the masses. In the five years since, she has become a fixture of the Latin Grammys telecast, while also touring alongside her famous father and releasing major collaborations with artists like Steve Aoki and Fito Páez. “Qué Agonía,” her successful duet with Yuridia, could get a nod for song or record of the year.

Fuerza Regida

The quintet from San Bernardino, Calif., is known for bold music that straddles Mexican and U.S. sensibilities, mixing tuba and guitars with delicious crunch. Although the act’s in-your-face sound and cheeky lyrics may not suit all voters, Fuerza Regida has a finger on the pulse of the streets — don’t discount the group for album of the year with its back-to-back releases Pa Que Hablen and Sigan Hablando.

Peso Pluma

The 24-year-old from Guadalajara, Mexico, is the genre’s current golden boy, debuting just one year ago and already charting 11 tracks on the Hot 100 and 20 on Hot Latin Songs. A disruptor who collaborates both within and outside the genre, Peso Pluma could take home best new artist.

Natanael Cano

Since bursting onto the scene three years ago, the 22-year-old has been considered by many to be the originator of the current corridos tumbao movement — and yet he has not received a single Latin Grammy nod. While his new album, Nata Montana, released in June, didn’t make the deadline, a trio of singles on the Hot 100 do: “PRC” (with Peso Pluma) and “Pacas de Billetes” and “AMG” (with Peso Pluma and Gabito Ballesteros).

Christian Nodal

Widely seen as a successor to the grand ranchera tradition of Alejandro and Vicente Fernández, Nodal may be the most versatile regional Mexican singer today. Although he has already won Latin Grammys in the regional Mexican field, newfound awareness (including a single with Romeo Santos, “Me Extraño”) may boost his chances at main category nods.

This story will appear in the July 15, 2023, issue of Billboard.

14 Jul 2023

Taylor Swift Ties for Most No. 1s on Pop Airplay Chart Thanks to ‘Karma’

Taylor Swift ties the record for the most No. 1s in the history of Billboard’s Pop Airplay chart, as “Karma” ascends to the top of the list dated July 22. The song becomes her 11th leader on the list, matching the marks of Maroon 5, Katy Perry and Rihanna.

(Justin Bieber, with 10 Pop Airplay No. 1s, is the only other act with a double-digit total.)

Meanwhile, dating to the Pop Airplay chart’s inception in October 1992, Swift and Maroon 5 are the only acts to have reigned in the 2000s, ‘10s and ‘20s.

Here’s a recap of Swift’s 11 No. 1s on Pop Airplay, which measures songs’ weekly plays, as tabulated by Mediabase and provided to Billboard by Luminate, on over 150 U.S. mainstream top 40 radio stations.

Title, Weeks at No. 1, Year(s):

“Karma,” one (to date), 2023
“Anti-Hero,” three, 2022-23
“Delicate,” one, 2018
“Look What You Made Me Do,” one, 2017
“Wildest Dreams,” two, 2015
“Bad Blood” (feat. Kendrick Lamar), five, 2015
“Style,” three, 2015
“Blank Space,” six, 2014-15
“Shake It Off,” two, 2014|
“I Knew You Were Trouble,” seven, 2013
“Love Story,” one, 2009

Also notably, “Karma” is the second Pop Airplay No. 1 from Swift’s 2022 album Midnights, following “Anti-Hero.” The set is her third to generate multiple leaders, after Reputation (two, 2017-18) and 1989 (five, 2014-15).

Contributing to airplay for “Karma,” which gained by 1% in plays on Pop Airplay reporters July 7-13, is its remix featuring Ice Spice. The song (all versions combined) hit a No. 2 high on the all-genre, multimetric Billboard Hot 100 in June. It originally debuted, at No. 9, on the Hot 100 100 dated Nov. 5, 2022, as Swift made history as the first artist to monopolize the chart’s entire top 10 in a single week, with all tracks all from Midnights.

Swift concurrently ascends to the Pop Airplay top 10 with “Cruel Summer,” which surges 14-8 as the list’s Greatest Gainer (up 29%). The song becomes her 22nd top 10, tying Maroon 5 for the second-most, after Rihanna’s 30.

Originally released on Swift’s 2019 album Lover and now being promoted by Republic Records as a new single, the song has been gaining momentum in recent weeks, as Swift has been performing it on her current The Eras Tour, her first in which she’s been able to spotlight songs from Lover, which was released shortly before the onset of the COVID-19 pandemic. Each concert on the tour is divided into 10 acts, encompassing nine of her LPs; the Lover era kicks off the show, with “Cruel Summer” performed in the opening set.

The song becomes the third Pop Airplay top 10, and second-highest-charting, from Lover, joining lead single “Me!,” featuring Brendon Urie (No. 7 peak, May 2019), and “You Need to Calm Down” (No. 9, August 2019). The set spun off two other top 20 hits: the title track (No. 16, November 2019) and “The Man” (No. 20, April 2020).

14 Jul 2023

Get to Know the Three New Major Grammy Categories

The Recording Academyhas added three new categories for the 66th Annual Grammy Awards,which are set for Sunday Feb. 4, 2024 — best African music performance, best alternative jazz album and best pop dance recording. This brings the total number of categories to 94, the highest total since the number reached an all-time peak of 109 in 2010.

“By introducing these three new categories, we are able to acknowledge and appreciate a broader array of artists,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “We are excited to honor and celebrate the creators and recordings in these categories, while also exposing a wider range of music to fans worldwide.”

Here’s a closer look at the three new Grammy categories. —Paul Grein

Best Alternative Jazz Album

From swing to bebop to fusion, evolution has defined jazz throughout its history. The Grammys’ new best alternative jazz album category acknowledges that constant change, as a new generation brings the storied genre into the 21st century.

In recent years, the Grammys’ existing best jazz instrumental album category has recognized esteemed musicians of yesteryear, awarding the likes of Ron Carter, Wayne Shorter and Chick Corea — who all played with Miles Davis in the late 1960s and early ’70s. By contrast, less conventional jazz artists such as Kamasi Washington and Makaya McCraven, and bands such as Sons of Kemet and The Comet Is Coming (both led by acclaimed British saxophonist Shabaka Hutchings), have remained absent from the category’s nominees. Robert Glasper, the genre-hopping musician who has played with artists from Herbie Hancock to Mac Miller, received a single jazz category nomination in 2016, but snuck into the best R&B album category last year; his surprise win with Black Radio III caused fellow nominee Chris Brown to infamously remark: “Who the f–k is Robert Glasper?”

In its announcement of this new category, the Recording Academy noted that alternative jazz “may be defined as a genre-blending, envelope-pushing hybrid that mixes jazz … with other genres,” including R&B, hip-hop, classical, rap and dance music. As genre distinctions become less rigid, the category’s value rests in how it will allow musicians like Washington — who earned recognition outside the jazz community for his contributions to Kendrick Lamar’s 2015 album, To Pimp a Butterfly — to be honored without conforming to more traditional conceptions of jazz.

Contenders may include Dinner Party, the collaborative project of Washington, Glasper and fellow jazz-meets-hip-hop traveler Terrace Martin; Angel Bat Dawid, the clarinetist-composer signed to influential contemporary jazz label International Anthem; saxophonist Sam Gendel, a prolific puveyor of ambient jazz; and the trio comprising Vijay Iyer, Shahzad Ismaily and Arooj Aftab for Love in Exile. (Aftab was nominated for best new artist and won for best global music performance in 2022.). —Eric Renner Brown

Best African Music Performance

From Afrobeats crossover hits like Burna Boy’s “Ye” and Wizkid’s “Joro” in 2018 and 2019, respectively, to more recent smashes like Rema’s “Calm Down” and CKay’s “Love Nwatiti,” the myriad sounds of Africa have become increasingly dominant in the U.S. and U.K. mainstream markets. After the broad best global music performance category flattened the diversity of non-Western musical stylings, the Recording Academy’s new best African music performance category aims to respond to the explosive growth of the continent’s music.

In 2021, the Grammys awarded the inaugural best global music performance trophy to Arooj Aftab’s “Mohabbat” — a shock to those betting on Wizkid & Tems’ “Essence,” by far the most commercially successful song in the category. The following year, “Bayethe,” a collaboration among South African artists Wouter Kellerman, Zakes Bantwini and Nomcebo Zikode, beat out Burna Boy’s cultural and commercial juggernaut, “Last Last,” yet another marker that an adjustment was needed to properly recognize Afrobeats and its impact.

From its inception, the global music category was an attempt to recognize hundreds of genres across a plethora of languages, cultures and countries. But the rise of Afrobeats, Afro-pop and, more recently, amapiano, has become undeniable. Thanks to a Selena Gomez remix, Rema’s “Calm Down” holds the longest reign on the Billboard U.S. Afrobeats Songs chart (45 weeks and counting, as of the July 15 chart).

On the Hot 100, it peaked at No. 3. In July, Burna Boy became the first Nigerian artist to headline a U.S. stadium with his stint at New York’s Citi Field as a part of his Love, Damini tour.

The new best African music performance category seeks to honor “recordings that utilize unique local expressions from across the African continent, highlighting regional melodic, harmonic and rhythmic musical traditions.” The award will highlight subgenres including, but not limited to, Afrobeats, Afro-fusion, Afro-pop, alté, amapiano, genge, fuji, Ghanaian drill, Afro house, South African hip-hop and Ethio-jazz.

As the eligibility period draws to a close, keep an eye on these potential best African music performance nominees: “2:30” by Asake; “Sittin’ on Top of the World,” Burna Boy; “Charm,” Rema; “People,” Libianca; “Unavailable,” Davido & Musa Keys; “Soweto,” Victony; “Party No Dey Stop,” Adekunle Gold & Zinoleesky; “Reason,” Omah Lay; “Mnike,” Tyler ICU, Tumelo.za, DJ Maphorisa, Nandipha808, Ceeka RSA & Tyron Dee; and “Amapiano,” Asake & Olamide. —Kyle Denis

Best Pop Dance Recording

The Recording Academy has long attempted to cram dance and electronic music’s disparate styles into an all-encompassing pair of categories: best dance/electronic recording and best dance/electronic album. The collision of house, EDM, intelligent dance music and other subgenres has made for strange nominee bedfellows over the years — like in 2022, when Tiësto’s pop-centric crossover smash, “The Business,” competed against the delicately experimental “Loom” from Icelandic composer Ólafur Arnalds featuring Bonobo.

But nowhere has the Grammys’ dance/electronic culture war been so acute as with pop dance (or “dance pop,” as it’s more commonly called), the style that rides the line between the two genres with big melodies, center-of-attention vocals and traditional pop structures. In 2005, Britney Spears’ “Toxic” triumphed over songs like The Chemical Brothers’ “Get Yourself High” for best dance recording. While the categories started shying away from pop stars amid the EDM boom of the 2010s, the pop structures inherent to EDM presented their own challenges.

The dance screening committee, which employs a panel of experts to review submissions to the two dance categories that may be better suited elsewhere, historically struggled with where to place dance pop songs. A source on this committee says it was always hard to classify songs with, for example, a house beat but otherwise fully pop production. Which is why the Grammys have taken an overdue step in their acknowledgment of the music’s wide appeal with its addition of best pop dance recording. The change also earns the genre at large a greater Grammys presence with the addition of five more nominees.

The pop dance category would neatly fit a few early front-runners, including Illenium and the output from his self-titled rock/EDM hybrid album and Jessie Ware’s disco-infused set, That! Feels Good! The category will also likely be the new home for major pop stars making dance-centric songs, with Kylie Minogue’s thumping “Padam Padam” a contender for 2024. While the dance genre is dizzyingly eclectic, the addition of pop dance is one thing everyone can agree on. —Katie Bain

This story will appear in the July 15, 2023, issue of Billboard.

14 Jul 2023

Taylor, Beyoncé & Beyond: Who Could Challenge Elton John’s Boxscore Record?

07/14/2023

Now that the Farewell Yellow Brick Road Tour has ended, a slew of competitors is racing up the road to $940 million.

07/14/2023

Chris Martin, Coldplay, Elton John, Beyoncé, Taylor Swift, BTS — Clockwise from left: Chris Martin of Coldplay, Elton John, Beyoncé, Taylor Swift & BTS.

Ole Jensen/Getty Images; Leon Neal/Getty Images; Kevin Mazur/WireImage; John Shearer/TAS23/Getty Images; Kevin Winter/Getty Images

Elton John played the last of 330 shows on the Farewell Yellow Brick Road Tour last Saturday night (July 8) in Stockholm. In doing so, he further extended his record for the highest grossing tour of all time, closing out at $939.1 million.

John secured the record earlier this year, bypassing Ed Sheeran’s The Divide Tour and U2’s U2 360 Tour. With one last leg of almost 50 arena shows in Europe, he’s now $150 million ahead of those two tours, with almost another $150 million separating them from the rest of the all-time leaderboard.

That sounds like a secure lead for Sir Elton, but even his old competitors can’t be counted out. Sheeran is on the road again with The Mathematics Tour. It launched last year and continues throughout the summer in stadiums.

In fact, there are a number of artists eyeing John’s record. The inner circle of stadium acts is constantly expanding as more contemporary artists seek to maximize their touring business. Tours are seemingly getting longer, with Sheeran himself releasing another new album mid-tour. In addition, ticket prices, particularly in arenas and stadiums in North America, are surging thanks to platinum and dynamic ticketing, plus primary market re-sale.

All of that is combining to create an era in the concert business that allows for eye-popping Boxscore reports across genres and generations. John proved patience is key, touring arenas and stadiums for almost five years (including during the COVID-19 blackout) to reach $900m-plus heights. On that note, we look to the second half of 2023, and further into 2024, and 2025 as we speculate on future contenders for the crown.

Scroll through some of the most likely challengers to see how the all-time Boxscore top 10 could shift in the months and years to come.

Taylor Swift: The Eras Tour

Image Credit: John Shearer/Getty Images for TAS Rights Management

When? 2023-24

Taylor kicked off The Eras Tour in mid-March and will continue in North America until mid-August. That’s about five months of domestic stadium shows. She recently announced international legs in Asia, Australia, Europe and South America through next year.

What do we know so far? A lot and also very little. From its controversial on-sale to the constant rollout of secret songs, The Eras Tour has dominated headlines. But while its commercial prowess is clear, no actual Boxscore reports have materialized yet.

Can she get there? Probably. When the tour was announced in November, Billboard speculated that it could generate more than $300 million. That’s a huge number, but less than a third of Elton’s total. But that was before more U.S. shows were added, let alone international dates, let alone the federal emergency surrounding the tour’s demand. After the on-sale, Billboard’s North American projection nearly doubled to $591 million. With almost 80 extra dates across four more continents, the literal sky is the limit.
Ed Sheeran: The +–=÷× (Mathematics) Tour

Image Credit: Erika Goldring/Getty Images

When? 2022-23

After setting the all-time high in 2019 with The ÷ (Divide) Tour, Sheeran returned to the stage last Spring in support of 2021’s = (Equals). After spending the year in Europe, he played 12 shows in Oceania before launching a North American stadium run in May. Simultaneously, he is mounting a whole other tour, the more modest – (Subtract) Tour in support of the newly released namesake album. Both runs are projected to end in September, though the latter clearly isn’t meant for all-time lists like these, given its intentionally intimate theater settings.

What do we know so far? You’re not gonna believe this, but Sheeran is doing quite well. The Mathematics Tour has grossed $417.1 million through July 8, situating itself just outside the all-time top 10. There are 11 North American shows left.

Can he get there? Unlikely. Those 11 remaining shows should add $65-75 million, bumping the tour’s total close to $500 million. If he crosses that threshold, he’ll be the third act with multiple $500M tours, but still more than $250 million away from his previous run, and $400 million away from the Yellow Brick Road. If he announces legs in South America or Asia, or returns for a victory lap in Europe (like he did on The Divide Tour), the conversation changes. But for now, the mathematics are simply not mathing.
Beyoncé: The Renaissance World Tour

Image Credit: Kevin Mazur/Getty Images for Parkwood

When? 2023

Queen Bey kicked off her tour just two months ago, opening in Sweden on May 10. She finished the European leg at the end of June and kicked off the North American shows last weekend. The tour is scheduled to finish in Kansas City on October 1.

What do we know so far? We have about half of the story. The Renaissance World Tour is split into two legs, and the first one grossed $154 million. The North American leg is longer (35 shows vs. 21 in Europe) and most A-listers score bigger grosses stateside due to more elastic ticketing.

Can she get there? If she wants to, yes, but she’d need to add more shows. You can count on Beyoncé doubling up (and then some) her revenues past $300 million. Given the extra shows and higher projected pricing, $400 million is more than likely. But her 56 shows can’t compete with Elton’s 300-plus haul. Like with Sheeran (and many acts on this list), she’d be a contender with a broader international scope.
Coldplay: Music of the Spheres World Tour

Image Credit: Ole Jensen/Getty Images

When? 2022-24

Coldplay kicked things off on March 18, 2022 with a batch of shows in Latin America. Then, they came to the United States. Then, Europe. Then, back to Latin America. Then, in 2023, more in South America. Now, they’re in the middle of another European leg. Next, it’s a return to North America, plus shows in Asia and Australia.

What do we know so far? Through July 6, the Music of the Spheres World Tour has grossed $561.2 million. That puts it in sixth place so far, passing the band’s A Head Full of Dreams Tour ($523.3 million) from 2016-17 to become its highest grossing tour yet. Another 33 shows are left to be reported before its scheduled end on February 4, 2024.

Can they get there? Actually, maybe. Based on the last year of reports, the scheduled 33 shows could add anywhere from $165 million to $215 million, placing it within striking distance of Sheeran and U2’s previous record holders in the $700 million-plus range. But demand for the band’s much-anticipated return to Asia and Australia could open up that window further.
Harry Styles: Love On Tour

Image Credit: JMEnternational/GI

When? 2021-23

Styles was one of the first acts back on stage after venues opened post-pandemic. The sprawling two-year tour will end later this month, closing on July 22 in Italy.

What do we know so far? Right now, Styles is winning this race. Love On Tour has earned $590.3 million through July 8, making it the fourth-highest grossing tour of all time.

Can he get there? Nope. He’s closer than any other act on this list, but only four shows remain to be reported before he goes home to presumably prepare for the next album cycle. Styles upgraded to stadiums for the final European leg and that strategy has worked, highlighted by a $36 million run in London. While Love On Tour won’t cross the finish line, consider his last two months of shows a tease for whatever global stadium plans he has for the near future.
Madonna: The Celebration Tour

Image Credit: Ricardo Gomes

When? 2023-24

The Celebration Tour was scheduled to kick off on July 15 but her recent hospitalization caused a last-minute change. The European leg will begin as planned in mid-October in London, with 16 shows in North America to follow in December and January. The original 41 dates in the U.S. & Canada are postponed indefinitely, presumably for 2024.

What do we know so far? Nada. The tour hasn’t begun. Thus, there are no Boxscore reports to dissect yet.

Can she get there? It’d be difficult. The 84-date trek is an ambitious start but unlike the other acts we’ve previewed, Madonna will be playing arenas instead of stadiums (she’s played stadiums and theaters in the last decade). On one hand, she’ll benefit from exclusivity, potentially pushing ticket prices higher for a (relatively) intimate experience. On the other hand, she’s selling one-third or one-fourth of the tickets each night as Swift, Sheeran and the lot. Of course, Elton and Ed’s record-holders started off in arenas too, so who knows what the future holds for this greatest-hits party.

Plus, so far, she’s only announced dates in North America and Europe, despite robust history in Asia, Australia and Latin America.
Eagles: The Long Goodbye

Image Credit: Roberto Ricciuti/Redferns

When? 2023-25

As one farewell tour ends – on top – another appears in the horizon. The Eagles’ farewell tour kicks off in September. Only 15 shows have been announced so far but the band says its plan is to “perform as many shows in each market as their audience demands” through 2025.

What do we know so far? Same as Madonna, but even less. Without any shows, there is no hard data. More, we can expect the tour to play through ’25, but what does that mean? Where will they play internationally? How long will breaks be between legs?

Can they get there? Based on everything above, it’s hard to say. The Eagles have been a consistent touring presence, so it’s difficult to project the supposed Farewell effect, especially for a band that has played farewell concerts before. Still, with reports of more than $1 billion and 10 million tickets, the Eagles are one of the most successful touring acts ever, and saying goodbye after a half century should spark a great deal of excitement.
Drake: It’s All A Blur Tour

Image Credit: Prince Williams/Wireimage

When? 2023

Drake and 21 Savage kicked off the tour on July 5 in Chicago. It’s planned to run through October 9.

What do we know so far? Again, little. The tour has started but early reports haven’t come in yet. The last time Drake toured in North America, he scored the highest-grossing rap tour of all time, passing the $100 million mark.

Can he get there? Almost definitely not. To circle the billion-dollar mark, it’s got to be a long world tour and hip-hop artists have historically been hesitant to plot sprawling international routings. Plus, as one of the most successful artists of his era (or ever), Drake tends to keep himself busy releasing an album (or two) every year. Might not leave so much time for an intensive world tour.
Plenty of Other Artists With As-Yet-Unannounced Tours

Image Credit: BIG HIT

When? TBD.

What do we know so far? Literally nothing.

BTS was the first K-Pop act to scale American stadiums, with BLACKPINK and TWICE following this summer. Bad Bunny broke records in 2022 with a one-two punch of tours that brought him from arenas to stadiums and made him the biggest live act of the year. Rihanna hasn’t launched a tour in seven years, building breathless anticipation for what will surely be a triumphant comeback.

The next several years will surely introduce more contenders, both contemporary acts like those named here, and new tours by previous record-holders like U2 and The Rolling Stones.

Can they get there? With endless options for the titular ‘they,’ yes! Records are meant to be broken.

14 Jul 2023

Demi Lovato Prepping ‘Revamped’ Album With Rock Versions of Her Hits

Demi Lovato is ready to rock. On the heels of releasing a rocking version of her 2017 hit “Sorry Not Sorry” featuring Guns N’ Roses guitarist Slash on Friday (July 14), the singer also announced that she’s prepping an entire album featuring amped-up versions of some of her biggest hits.

REVAMPED is slated for release on Sept. 15 and it will feature the reimagined guitar-heavy versions of “Sorry,” as well as the previously released “Heart Attack (Rock Version)” and “Cool For the Summer (Rock Version).” The news was accompanied by a grungy 40-second video cued to the new “Sorry,” as well as the near-metal “Summer” revamp and the relentless version of “Heart Attack.”

In a message accompanying the teaser, Lovato wrote, “Breathing new life into the songs that played such a huge role in my career has allowed me to feel so much closer to my music than ever before. I can’t wait for you to hear REVAMPED.” At press time Lovato had not revealed the full track listing for the 10-song album, which a release promised would feature all new vocals and production on tracks that find Demi reimagining her “career-defining songs with a fresh perspective that reflects her current artistic vision.”

She also weighed in on teaming up with legendary GNR guitarists Slash on “Sorry,” which was originally released six years ago as the lead single from Demi’s sixth studio album, Tell Me You Love Me. “Slash is an iconic artist who I’ve been a fan of for years, it’s an absolute honor to have such a legend like him on the rock version of ‘Sorry not Sorry,’” she said in a statement.

“With REVAMPED, I wanted to pay homage to the songs that resonated the most with fans and played a big role in my career by breathing an exciting new life into them. Creating this project has been incredibly fun and allowed me to express my passion for rock music in a new way, and I feel so much closer to my older music because of it. I can’t wait for everyone to hear more!”

The singer began performing the rocked-up versions of her songs featured on REVAMPED on her 2022 tour in support of the HOLY FVCK album. That collection marked a return to Demi’s rock and pop-punk beginnings thanks to assists from Yungblud, Royal & the Serpent and Dead Sara; the tour also featured an all-female band led by acclaimed rock guitarist Nita Strauss (Alice Cooper).

Watch the REVAMPED video teaser below.

14 Jul 2023

Grammys 2024 Big Four Predictions: Who Could Score a Nomination?

When the nominations for the 66th annual Grammy Awards are announced Nov. 10, Taylor Swift and SZA are each likely to receive nods for album, record and song of the year. It will be a bit harder to crack the Big Four categories than it was the last two years: The Recording Academy is cutting the number of nominees in each of those categories from a bloated 10 to eight, which was the magic number from 2018 to 2020. (Before that, it was generally five.)

And this year’s eligibility period closes two weeks earlier than usual, running from Oct. 1, 2022, through Sept. 15, 2023. Following are Billboard’s best bets for who will be in contention.

In a welcome change, the academy reinstituted a baseline of involvement needed to receive a nomination in this category. Credited and featured artists, songwriters, producers, engineers, mixers and mastering engineers must have worked on at least 20% of an album’s playing time to receive a nod. This is up from no baseline the last two years, when the academy handed out nominations in this category like they were Halloween candy.

Boygenius, The Record

The trio, consisting of Phoebe Bridgers, Julien Baker and Lucy Dacus, co-produced its long-awaited debut album with Catherine Marks. Previous “supergroup” collaborations to be nominated in this category include Crosby, Stills & Nash; the all-star Trio consisting of Dolly Parton, Linda Ronstadt and Emmylou Harris; Traveling Wilburys; and The Three Tenors. Billboard 200 peak: No. 4.

Drake & 21 Savage, Her Loss

This year’s 50th anniversary of hip-hop has received yearlong coverage, which boosts the already good chance that at least one rap album will make the finals. Her Loss was up for album of the year at the BET Awards in June. This would be the third album of the year nomination as a lead or co-lead artist for Drake (following Views and Scorpion) and the first for 21 Savage. Billboard 200 peak: No. 1 (one week).

Lana Del Rey, Did You Know That There’s a Tunnel Under Ocean Blvd

Del Rey’s ninth studio album could yield her second nod in this category, following Norman F–king Rockwell! four years ago. Del Rey co-produced the album with Jack Antonoff, Benji, Zach Dawes, Drew Erickson and Mike Hermosa. Billboard 200 peak: No. 3.

Foo Fighters, But Here We Are

One of the Grammys’ favorite bands collaborated with one of the Grammys’ favorite producers, Greg Kurstin, a two-time winner for producer of the year, non-classical. The Foo Fighters’ 11th studio album — their first since the death of drummer Taylor Hawkins in March 2022 — could yield their third nod in this category. Billboard 200 peak: No. 8.

Olivia Rodrigo, Guts

Rodrigo’s upcoming second album could very well follow her debut, Sour, to an album of the year nod. It was produced by Dan Nigro, who also did the honors on Sour. This would be the second time Rodrigo has been nominated alongside one of her idols, Taylor Swift, in this category. Sour competed with Swift’s evermore two years ago.

SZA, SOS

This tied for album of the year at the BET Awards with Beyoncé’s Renaissance (a Grammy nominee in this category last year). SZA’s second studio album had multiple producers, including Babyface, Jeff Bhasker, Benny Blanco and Shellback. Billboard 200 peak: No. 1 (10 weeks).

Taylor Swift, Midnights

This would be Swift’s sixth nomination in this category, which would put her in a tie with Barbra Streisand for the most nods by a woman in Grammy history. Swift co-produced Midnights with Jack Antonoff, Sounwave, Jahaan Sweet and Keanu. She could make history when the Grammys are presented Feb. 4, 2024, becoming the first person to win album of the year four times. She’s currently tied with Frank Sinatra, Stevie Wonder and Paul Simon with three wins each. Billboard 200 peak: No. 1 (six weeks).

Morgan Wallen, One Thing at a Time

This would be the first country album to be nominated in this category since Kacey Musgraves’ Golden Hour five years ago (which won) and the first by a male country artist since Chris Stapleton’s Traveller eight years ago. Joey Moi, Cameron Montgomery, Charlie Handsome and Jacob Durrett co-produced the collection, which is Wallen’s third studio album. Billboard 200 peak: No. 1 (15 weeks — longer than any other album since Adele’s 2011 release, 21).

Within Reach: Luke Combs, Gettin’ Old; Miley Cyrus, Endless Summer Vacation; Jelly Roll, Whitsitt Chapel; Noah Kahan, Stick Season; Karol G, Mañana Será Bonito; Lil Baby, It’s Only Me; Metro Boomin, Heroes & Villains; Janelle Monáe, The Age of Pleasure; Paramore, This Is Why; Ed Sheeran, – (Subtract); Sam Smith, Gloria; Tanya Tucker, Sweet Western Sound; Lainey Wilson, Bell Bottom Country

Sound, Big Four, Grammy First Look, Luke Combs, Miley Cyrus, Taylor Swift, Rihanna — Clockwise: Luke Combs, Miley Cyrus, Taylor Swift and Rihanna.

Illustration by Andrei Cojocaru. Jeremy Cowart; Brianna Capozzi; Christopher Polk for PMC; Ezra Shaw/Getty Images.

Swift is still looking for her first win in this category, as are past contenders such as SZA and Rihanna. “Calm Down” by Rema & Selena Gomez, which would have been a strong contender, was released before the start of the eligibility year. Rema’s solo recording of the song was entered, but not nominated, for best global music performance last year.

Miley Cyrus, “Flowers”

Cyrus’ father, Billy Ray Cyrus, has received two record of the year nods — for “Achy Breaky Heart” and “Old Town Road,” his collaboration with Lil Nas X. The Cyruses would become just the third parent and child to each receive record of the year nods, following the Sinatras (Frank and Nancy) and the Coles (Nat “King” and Natalie). Billboard Hot 100 peak: No. 1 (eight weeks).

Luke Combs, “Fast Car”

Tracy Chapman’s original version of this song was a 1988 record of the year nominee. This would become only the second song in Grammy history to be the basis of two singles that received record of the year nods. The first was “Mack the Knife.” (Bobby Darin’s recording was the 1959 winner, while Ella Fitzgerald’s was a 1960 nominee.) Hot 100 peak: No. 2 (so far).

Lil Durk & J. Cole, “All My Life”

The melodic chorus on this hip-hop smash gives it broad-based appeal. This would be the first collaboration by two rappers to receive a nod in this category since DaBaby’s “Rockstar” (featuring Roddy Ricch) three years ago. J. Cole finally won his first Grammy (after amassing 12 nominations) four years ago for “A Lot.” Lil Durk is still looking for his first win. Hot 100 peak: No. 2.

PinkPantheress & Ice Spice, “Boy’s a Liar, Pt. 2”

This is vying to become the third collaboration by two women in the past four years to land a nod in this category. Megan Thee Stallion’s “Savage” (featuring Beyoncé) was nominated three years ago, and Doja Cat’s “Kiss Me More” (featuring SZA) was a contender two years ago. Hot 100 peak: No. 3.

Rihanna, “Lift Me Up”

This soulful ballad from Black Panther: Wakanda Forever arrived at the start of the eligibility year. This would be Rihanna’s fourth record of the year nominee, and her first on her own. She was previously nominated for collaborations with Jay-Z (“Umbrella”), Eminem (“Love the Way You Lie”) and Drake (“Work”). Hot 100 peak: No. 2.

SZA, “Kill Bill”

This would be SZA’s third record of the year nominee, and her first on her own. She was previously nominated for collaborations with Kendrick Lamar (“All the Stars”) and Doja Cat (“Kiss Me More”). Hot 100 peak: No. 1 (one week).

Taylor Swift, “Anti-Hero”

This would be Swift’s fifth nod in this category. She was previously nominated for “You Belong With Me,” “We Are Never Ever Getting Back Together,” “Shake It Off” and “Blank Space.” Swift would be the first artist whose first five nominations in this category were for solo recordings (and not collaborations or group/duo recordings) since Frank Sinatra in the ’50s and ’60s. Hot 100 peak: No. 1 (eight weeks).

Morgan Wallen, “Last Night”

This single and/or Combs’ “Fast Car” would be the first country single (going by Grammy performance category placements) to receive a record of the year nod since Lady A’s “Need You Now” 13 years ago (which won). Taylor Swift’s subsequent “We Are Never Ever Getting Back Together” topped Billboard’s Hot Country Songs chart, but vied for a performance nod in the pop field at the Grammys. Hot 100 peak: No. 1 (13 weeks).

Within Reach: Zach Bryan featuring Maggie Rogers, “Dawns”; Lana Del Rey, “A&W”; Jelly Roll, “Need a Favor”; Labrinth, “Never Felt So Alone”; Coi Leray, “Players”; Lil Uzi Vert, “Just Wanna Rock”; Dua Lipa, “Dance the Night”; Janelle Monáe, “Lipstick Lover”; Paramore, “This Is Why”; P!nk, “Trustfall”; Olivia Rodrigo, “Vampire”; Ed Sheeran, “Eyes Closed”; Toosii, “Favorite Song”; Tanya Tucker & Brandi Carlile, “Ready As I’ll Never Be”

Sound, Big Four, Grammy First Look, Tanya Tucker, Brandi Carlile, Jelly Roll, Lil Durk — From left: Tanya Tucker & Brandi Carlile, Jelly Roll & Lil Durk.

Illustration by Andrei Cojocaru. Gary Miller/WireImage; Chum Daddy; Katie Jones for WWD.

Last year, six of the 10 record of the year nominees were also nominated for this songwriter’s award. This year, five out of eight could double up. Luke Combs’ “Fast Car” won’t be eligible because it was already well-known. Tracy Chapman was nominated in this category in 1988 for writing it.

“A&W”
Songwriters: Lana Del Rey, Jack Antonoff, Sam Dew

Del Rey and Antonoff were nominated in this category four years ago for co-writing “Norman F–king Rockwell.” He won this honor 11 years ago for co-writing fun.’s “We Are Young” (featuring Janelle Monáe). This would be Dew’s first nomination in the category.

“All My Life”
Songwriters: Lil Durk, J. Cole, Dr. Luke, Rocco Did It Again!, Ryan OG, LunchMoney Lewis, Theron “Uptown AP” Thomas

This would be Dr. Luke’s third nomination in this category following nods for Katy Perry’s “Roar” and the Doja Cat-SZA collaboration “Kiss Me More.”

“Anti-Hero”
Songwriters: Taylor Swift, Jack Antonoff

“Anti-Hero” could give Swift a record seventh nomination for song of the year, which would surpass Paul McCartney and Lionel Richie for the most nods in the history of the category. Surprisingly, this would be the first Swift-Antonoff collaboration to be nominated for this award.

“Flowers”
Songwriters: Miley Cyrus, Gregory “Aldae” Hein, Michael Pollack

This would be the first nod in this category for all three co-writers. The song is a modern twist on such hits as “You Don’t Bring Me Flowers,” a nominee in this category 45 years ago, and Bruno Mars’ “When I Was Your Man,” a nominee for best pop solo performance 10 years ago.

“Kill Bill”
Songwriters: SZA, Carter Lang, Rob Bisel

This would be SZA’s third nod in this category; she was among the co-writers of “All the Stars” and “Kiss Me More.” Lang was also nominated in this category for co-writing the latter. Bisel was nominated for record of the year as an engineer-mixer on the irresistible pop smash.

“Lift Me Up”
Songwriters: Ludwig Göransson, Rihanna, Tems, Ryan Coogler

This would be the first nomination in this category for Rihanna, Tems and director Coogler. Göransson won this award five years ago for co-writing Childish Gambino’s “This Is America.” “Lift Me Up” would be the first Academy Award nominee for best original song to also be nominated for the top songwriting Grammy since “Fight for You” from Judas and the Black Messiah two years ago.

“Need a Favor”
Songwriters: Jelly Roll, Rob Ragosta, Joe Ragosta, Austin Nivarel

This song, released as the lead single from Jelly Roll’s breakthrough album, Whitsitt Chapel, has a refreshingly honest and affecting chorus, which begins: “I only talk to God when I need a favor/And I only pray when I ain’t got a prayer.”

“Ready As I’ll Never Be”
Songwriters: Brandi Carlile, Tanya Tucker

This would be Carlile’s fifth nomination in this category and Tucker’s second. They previously collaborated on “Bring My Flowers Now,” a nominee here two years ago. “Ready As I’ll Never Be,” which was featured in the 2022 documentary The Return of Tanya Tucker, could also receive a nod for best song written for visual media.

Within Reach: “Boy’s a Liar, Pt. 2,” PinkPantheress & Ice Spice; “Dance the Night,” Dua Lipa; “Dawns,” Zach Bryan featuring Maggie Rogers; “Eyes Closed,” Ed Sheeran; “Growin’ Up and Gettin’ Old,” Luke Combs; “Last Night,” Morgan Wallen; “Lipstick Lover,” Janelle Monáe; “Never Felt So Alone,” Labrinth; “Players,” Coi Leray; “Thank God,” Kane Brown & Kaitlyn Brown; “This Is Why,” Paramore; “Trustfall,” P!nk; “Vampire,” Olivia Rodrigo

Sound, Big Four, Grammy First Look, Gracie Abrams, Ice Spice, Peso Pluma, PinkPantheress — Clockwise: Gracie Abrams, Ice Spice, Peso Pluma and PinkPantheress.

Illustration by Andrei Cojocaru. Mark Horton/Getty Images; Mike Coppola/Getty Images; Jerry Budar; Mia Teresa.

Though The Record is boygenius’ first album, the trio won’t be eligible here because one of its members, Phoebe Bridgers, is a previous Grammy nominee. She received four nods, including best new artist, three years ago.

Zach Bryan and GloRilla probably won’t be eligible because they were nominated in performance categories last year. The Grammy rulebook makes an exception for such artists, provided they hadn’t at the time of those nominations released enough material to be “eligible in this category for the first time.” Bryan and GloRilla were both eligible and entered for best new artist last year.

The Grammy screening committee will have the final say on whether Coi Leray and Jelly Roll are eligible. Neither has been nominated before, but both have been around awhile. Leray was nominated for best new artist at the BET Awards two years ago, and Jelly Roll has been releasing records since 2011.

Gracie Abrams

Aaron Dessner and Matias Tellez co-produced the singer-songwriter’s first studio album, Good Riddance. Abrams has served as an opening act on Olivia Rodrigo’s Sour tour and Taylor Swift’s The Eras Tour. Fun fact: Abrams’ father, J.J. Abrams, won two Primetime Emmy Awards as executive producer/director of Lost.

Ice Spice

The rapper, born Isis Naija Gaston, has landed four top 10 hits on the Billboard Hot 100 in 2023 thanks to collaborations with PinkPantheress (“Boy’s a Liar, Pt. 2”) and past best new artist nominees Taylor Swift (“Karma”) and Nicki Minaj (“Princess Diana,” “Barbie World”). Ice Spice was nominated for best new artist at the 2023 BET Awards.

Jelly Roll

The rapper turned country artist had a star-making night in April at the CMT Music Awards, where he performed “Need a Favor” and won three trophies. Jelly Roll, born Jason Bradley DeFord, will turn 39 in December, which would make him the oldest individual nominee in this category since Andrea Bocelli, who was 40 when he was nominated 25 years ago.

Coco Jones

Jones won best new artist at the BET Awards, beating GloRilla and Ice Spice. The former child star was featured on Radio Disney’s The Next Big Thing in 2010-11 and starred in the Disney Channel film Let It Shine in 2012. Her breakthrough track, “ICU,” reached No. 63 on the Hot 100 in May. Jones was also featured on a track on Babyface’s 2022 album, Girls Night Out.

Noah Kahan

The singer-songwriter’s third album, Stick Season, vaulted to No. 3 on the Billboard 200 following the release of an expanded edition in June. It will probably be nominated for best Americana album or best folk album.

PinkPantheress

The British singer-songwriter was nominated for the rising star award at the Ivor Novello Awards in 2022. She won the BBC’s Sound of 2022 poll and has been nominated for three NME Awards. “Boy’s a Liar, Pt. 2” reached No. 3 on the Hot 100.

Peso Pluma

The Mexican singer-songwriter-rapper born Hassan Emilio Kabande Laija is vying to become the third Latin artist to be nominated in this category in the past five years, following Rosalía and Anitta. Génesis, his third studio album, entered the Billboard 200 at No. 3, becoming the highest-charting regional Mexican album to date.

Bailey Zimmerman

The singer-songwriter’s first studio album, Religiously. The Album, reached No. 7 on the Billboard 200. Zimmerman was nominated for new male artist of the year at the Academy of Country Music Awards in May.

Within Reach: Lola Brooke, Doechii, Fifty Fifty, FLO, HARDY, JVKE, Kelela, RAYE, Rema, Toosii, The War and Treaty, Hailey Whitters

This story will appear in the July 15, 2023, issue of Billboard.

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Music

Bad Bunny, “Where She Goes”

Bizarrap & Shakira, “Shakira: BZRP Music Sessions, Vol. 53”

Caloncho, “Superdeli”

Carin Leon, “Primera Cita”

Christian Nodal, “Cumbión Dolido”

Emilia, Ludmilla, Zecca, “No_se_ve.mp3”

Eslabon Armado & Peso Pluma, “Ella Baila Sola”

Feid, Young Miko, “Classy 101”

Grupo Frontera x Bad Bunny, “un x100to”

Juanes, “Gris”

Kany García, “Fuera de Servicio”

Karol G, “Amargura”

Karol G, Shakira, “TQG”

Los Angeles Azules, Santa Fe Klan, Cazzu, “Tú y Tú”

Maluma, Marc Anthony, “La Fórmula”

Maria Becerra, “Desafiando el Destino”

Marshmello, Manuel Turizo, “El Merengue”

Miguel Campello & Nya de la Rubia, “Rumbacumbia”

Oscar Maydon x Junior H, “Fin de Semana”

Peso Pluma, “Bye”

Rosalía & Rauw Alejandro, “Beso”

Tego Calderón, “La Receta”

Yahritza y Su Esencia & Grupo Frontera, “Frágil”

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Elena Rose

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Yahritza y Su Esencia

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Edén Muñoz

Grupo Frontera

Ángela Aguilar

Fuerza Regida

Peso Pluma

Natanael Cano

Christian Nodal

Best Alternative Jazz Album

Best African Music Performance

Best Pop Dance Recording

Taylor Swift: The Eras Tour

Ed Sheeran: The +–=÷× (Mathematics) Tour

Beyoncé: The Renaissance World Tour

Coldplay: Music of the Spheres World Tour

Harry Styles: Love On Tour

Madonna: The Celebration Tour

Eagles: The Long Goodbye

Drake: It’s All A Blur Tour

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