Music
Page: 292
Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered either by networking or coming across their music at a showcase, and beyond. See our recommendations this month below:
Deny K
Country: Colombia / Italy
Trending on Billboard
Why They Should Be On Your Radar: Born in Colombia, but residing almost his entire life in Italy, Deny K (real name: Jhon Daniel Castro) is an artist and producer whose main mission is to shed more visibility on the global reggaetón scene in Europe. At only 23 years old, Deny K is already signed to Empire Records and has released a number of singles that flaunt his experimental versatility, from reggaetón to corridos to urban fusions with Middle Eastern rhythms.
His charming and boy-next-door personality, backed up by his dulcet vocals, can be heard on his most recent collaboration “WOA,” a flirty dembow with Dominican artist Angel Dior. Deny — who fluently speaks English, Spanish, and Italian — lived in the Dominican Republic during the pandemic, where he was able to secure collaborations with key local acts such as Kiko El Crazy and El Cherry Scom, to name a few. — JESSICA ROIZ
Song For Your Playlist: “WOA,” Deny K & Angel Dior
[embedded content]
Doble Sentido
Country: Venezuela
Why They Should Be On Your Radar: The Venezuelen pop group is not entirely new, but it has only recently started to make noise internationally. Doble Sentido started out two decades ago as a family business, playing covers at fairs, weddings and local parties. Over the years, it evolved into an independent band writing its own songs, with a different lineup. Now based in Panama and made up of brothers Ray (voice and keyboard) and JuanMa (voice and guitar) Yepez, Gustavo Calvo (percussion), Erick Reyes (bass) and Fernando Colmenarez (drums), Doble Sentido made its official debut in 2019 with the single “Magia,” produced by Emmanuel Briceño (musical director of Juanes). Since then, they’ve been perfecting their sound in songs like “Mala Vida” and “Para Los Dos.”
“We are influenced by Latin pop, we sing songs of love and heartbreak, combining between ballads, merengue, urban and a little pop rock,” they tell Billboard Español. Their latest single is “No Quiero Perdérmelo” with Argentine rock band Los Rancheros. Released on Aug. 8, it’s an exhilarating breakup anthem about still being in love with the one that got away. — SIGAL RATNER-ARIAS
Song For Your Playlist: “No Quiero Perdérmelo,” Doble Sentido & Los Rancheros
[embedded content]
EMMA
Country: Venezuela
Why They Should Be On Your Radar: As a Latin American trans woman, Venezuelan singer Emma has something to say, and she does it in an honest and eloquent way. “Being myself has been a challenge, but I face it with a lot of dignity and a lot of strength,” she tells Billboard Español, and that is evident in her songs. From the smooth reggaeton “Tantito” in 2020 to 2022’s “Me Puse Mami” to the bachata “No Era Yo” released in January, Emma presents herself as she is, addressing her challenges and professing the importance of self-love.
Living in Mexico for seven years — where she began her career as a singer-songwriter, and also her physical transition — Emma is dedicated to music, “wanting to transform people with my message” and collaborate as a writer with other artists. Last week, she released “Como a Una Mujer,” an emotional pop ballad about how she lives (“locked in a room, hidden”) and the illusion of wanting to live it in freedom (“as every person deserves”). Co-written by Emma with her Venezuelan compatriots Sara Schell and Juan Vegas, it is the first single from a five-song EP titled HEMMATOMA that she plans to release in March 2025. — S.R.A.
Song For Your Playlist: “Como a Una Mujer”
[embedded content]
Little Homie
Country: Dominican Republic
Why They Should Be On Your Radar: Originating from Santo Domingo, Little Homie is carving out a niche in the realm of Spanish-language rap while helping boost drill in his native island. His breakout hit, “Bailando Drill” with fellow rappers Carlos Trvp, Blacky Drippy, Keyviem and Nelly Nellz, established him as a key player in popularizing the menacing trap subgenre.
Known for integrating gritty textures of old-school samples, his latest track “Tengo Eso” interpolates the merengue classic “Suavemente” by Elvis Crespo, blending traditional rhythms with hard-hitting beats. Tonight, he debuts his next single, “X ENCIMA,” through Roc Nation, featuring a soul-stirring sample of Nancy Sinatra’s “Bang Bang (You Shot Me Down)” entwined with punchy 808 drums and fluttering guitar riffs. A vital member of the young rap collective 4TG, with artists like Lismar and Keyviem, Little Homie is definitely a promising star to keep an eye on.— ISABELA RAYGOZA
Song For Your Playlist: “Tengo Eso”
[embedded content]
NSQK
Country: México
Why They Should Be On Your Radar: A few weeks ago, I had the opportunity to meet NSQK in Miami during the listening session of his latest album ATP (acronym for “Aún te Pienso,” which means “I still think of you”). While he passionately explained the album’s creative process, I discovered that the Monterrey-born artist has an avant-garde vision of music. His marketing plan played with nostalgia and created an “imaginary world” that transports his listeners to “Radio ATP.”
With features such as Álvaro Díaz, Paopao, Easykid, El Malilla, and Nina Mínguez, NSQK’s latest set boasts collaborations that boost his project to an international level. The singer-songwriter and producer skillfully navigates through diverse musical genres, including rap, pop, reggaeton, R&B, and even regional Mexican music. These songs serve as melodic vehicles for expressing hope and positive messages through their lyrics. — INGRID FAJARDO
Song For Your Playlist: “Tarde o Temprano”
[embedded content]
The summer may be coming to a close, but the high-profile releases from some of the giants of African music don’t appear to be slowing down at all.
Asake continues pushing his own sonic boundaries, tapping an array of international collaborators — including Travis Scott, the UK’s Stormzy, and Brazil’s Ludmilla — for his third studio album, Lungu Boy, a triumph of both expanding musical horizons and fully embracing your status as an innovator on the scene. The Nigerian hitmaker scored his first No. 1 on Billboard‘s U.S. Afrobeats Songs chart with “Active,” featuring Scott.
And renowned British-Nigerian producer London, whose artist name is Thisizlondon, has been behind some of the biggest Afrobeats hits in recent years, from Rema‘s Billboard Hot 100 No. 3 smash “Calm Down” to Ayra Starr‘s “Bloody Samaritan.” Now, he’s getting in front of them by recruiting Starr and 6LACK for his refreshing debut single “PINACOLADA,” and collaborating with Olamide and Alpha P on the latter’s “W.”
But those are just a few of the artists who have released big tracks in August. We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and find your new summer soundtrack with our Spotify playlist below.
Trending on Billboard
Asake feat. Wizkid, “MMS”
[embedded content]
Asake waxes philosophical on “MMS,” a highlight from Lungu Boy which stands for “Mr. Money Sound.” Asake chants “O ye ọlọun” in the chorus (meaning God understands in Yoruba) over P.Priime’s jazzy production, as he restores faith in listeners who feel overwhelmed with life’s twists and turns by reminding them about the path God has already put them on. Meanwhile, Wizkid reflects on losing himself, especially after the death of his mother last August, and finding his purpose as one of Afrobeats’ brightest stars. “As a young striving artist in Lagos, I have always been waiting for the right song, so when the opportunity came it was a no-brainer,” Asake told Apple Music about collaborating with one of his “musical inspirations.”
JayO, “Suns Out”
[embedded content]
JayO reworks the “suns out, buns out” summer slogan for the hook of his latest seasonal anthem. Skittering hi-hats and hypnotic synths, courtesy of producers WHOSDAT and RZ, underline the British-Nigerian AfroR&B artist’s smooth melodies. “Suns Out” is sure to soundtrack the last day parties of the summer (ugh, don’t remind us it’s almost over).
Efosa, “FEEL IT”
[embedded content]
After co-writing Darkoo’s summer smash “Favourite Girl” – which features Rema on its recent remix – British-Nigerian singer-songwriter Efosa drops his own sensual number. On “FEEL IT,” Efosa makes the case for why a woman should be with him, with his suave vocals doing most of the convincing. The drill-esque syncopated drums mimicking his heartbeat (“Do you feel it?” he repeatedly asks her) give the ballad’s woozy synths an upbeat edge.
Omah Lay, “Moving”
[embedded content]
Omah Lay pursues happiness while struggling with hardships on his latest single “Moving,” from his sophomore album Clarity of Mind, which is slated for release this winter. The propulsive percussion and resonant rhythms drive the track’s sense of urgency, which reaches a fever pitch at the bridge when he chants, “You can tell that I ran out of time/ Unavailable a lot of times.” And the affecting music video gives “Moving” a more profound meaning. “I am telling the story of how illegal immigrants travel to Europe through the desert, through Sahara…. Home is really bad where we can’t stay at home,” he said in a recent Billboard News interview. “I’m telling the story of the whole world, where everybody’s looking for some place to find peace of mind, some place to just call home and feel relaxed.”
Thisizlondon, Ayra Starr & 6LACK, “PINACOLADA”
[embedded content]
Thisizlondon taps frequent collaborator Ayra Starr and 6LACK for his debut single “PINACOLADA,” crafting a tantalizing concoction of Starr’s self-confident, vibrant delivery and 6LACK’s laidback R&B vocals that he’s lent to plenty of other Afropop records, like the remixes of Omah Lay’s “Damn” and Spinall and Fireboy DML’s “Sere.” “I wanted to create a vibe that captures the essence of summer — something that’s both chill and energizing,” Thisizlondon said in a press release.
Asake feat. Ludmilla, “Whine”
[embedded content]
Mr. Money Worldwide has finally arrived at the peak of his powers — and he’s clearly having fun. No song off his excellent new album exemplifies that better than “Whine,” in which producer Sak Pase flips Mary J. Blige’s 1992 classic “Real Love” into a joyful celebration of the ecstasies of love, and Brazilian singer Ludmilla adds a South American flair and a largely Portuguese verse to a track that is positively bursting with vibes. It’s the most euphoric track of his career so far.
Asake feat. Stormzy, “Suru”
[embedded content]
This isn’t the first time Asake has linked up with a British rapper — and not even the only instance on this album — but this collaboration with Stormzy is a deeply emotional appreciation of how far each of them have come to reach where they are, and an acknowledgment of the sacrifices that were made by those around them along the way. It’s summed up by the first line of Asake’s hook — “My mama tell me say surulere,” surulere meaning “patience is rewarding” in Yoruba — and each of their verses, which center on their families’ role in their success. But maybe the best line is in the outro, when Stormzy acknowledges the hard work, too: “This was not a dream, it was more like a plan I believed in.”
Darkoo feat. Rema, “Favourite Girl”
[embedded content]
We featured Darkoo’s original version of “Favourite Girl,” which featured Dess Dior, back in May. But this new remix with Rema brings the track to even greater heights, as the Afro Rave leader adds his own flavor with an exuberant verse that oozes self-confidence. The remix transforms what was already a great song into one that will fill dance floors to capacity for years to come — and is one of the best songs of the summer.
Oxlade & Fally Ipupa, “IFA”
[embedded content]
Oxlade has always had a great ear for melody, and a talent for engaging with unexpected harmonies and layers in his vocals. “IFA” is very much in that lineage, as he croons over a laid-back Afrobeats drum pattern. But it’s the Congolese icon Fally Ipupa who comes through and takes this song to the next level, with his distinctive tenor bringing an entirely different flavor as he croons in French of a woman he would love to keep. It’s a great team-up, and a reminder that Oxlade remains one of the more creative hitmakers of his generation.
Alpha P feat. Olamide & Thisizlondon, “W”
[embedded content]
The young Nigerian singer Alpha P taps two of the biggest names around for this wistful love song, in the YBNL chief Olamide and the in-demand producer Thisizlondon, the latter of whom crafted the perfect vibe for Alpha’s soaring melodies. And Olamide, known for so long for his hip-hop roots, perfectly meets the moment with his verse, both melodic and filled with his patented punch lines. The track is one of the best earworms of the year by far.
Young Miko took the stage at New York’s The Theater at Madison Square Garden for two back-to-back performances on Tuesday and Wednesday (Aug. 27-28), captivating the audience with a one-and-a-half-hour show. As part of her XOXO Tour 2024 across the U.S. in support of her new album, Att., Young Miko delivered numerous highlights on her second day to her eager fans, including appearances from two special surprise guests: Villano Antillano and Tokischa.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Dressed in a pastel-hued, shimmery BMX racing jersey set and with her brown hair slicked back, the rising hitmaker performed through her hits including “Wiggy,” “Lisa” and “Classy 101” originally featuring Feid, as well as “Fina,” originally with Bad Bunny.
The excitement peaked when Villano Antillano entered the spotlight, sending the crowd into a frenzy. Dressed in high leather boots, a black top and a thong, with her long black hair reaching her lower back, Villano exuded a fierce demeanor. The two Puerto Rican rappers teamed up to perform “Madre,” with Villano owning the catwalk across the stage, while Miko showcased some ballroom-style rave moves.
Trending on Billboard
“We have a legend in the house today, New York. She is la foking Villano, baby. Viva PR, queen!” Young Miko commanded, then turned her attention to the guest star. “You know how much I love you. This woman collaborated with me when no one knew who the hell I was. And now I have the honor to call her my sister. I adore you! Te amo, mi amor.”
Villano replied, “I love you, my love,” returning the affection.
Later in the evening, as the hard-hitting reggaetón banger Bad Gyal’s “Chulo pt. 2” started, both Miko and the audience amped up the energy. The crowd went wild as Tokischa hit the stage unexpectedly. Dressed in a short, sporty white skirt and a strapless black halter top, with her hair slicked back in a braid, the Dominican dembow rapper-singer flawlessly delivered every verse, adding some twerking with the night’s star for good measure.
The stage décor was tantalizingly playful. Miko first appeared in a setting resembling perhaps her childhood bedroom — dominated by pink, her favorite color, with a giant tamagotchi beside her on a bed. Later, the scenery shifted to a pixelated outdoor field where she sang atop a log surrounded by plants and flowers, looking exceptionally adorable. She also got naughty — at one point she made a sexual innuendo with her microphone, and briefly showed off her toned abs — sparking screams from her fans.
The Puerto Rican singer-rapper’s NYC performance not only showcased her rapidly ascending career, but also was packed with invigorating moments, including plenty of laughter. At one point, she paused to read some clever and hilarious cardboard signs brought by fans. “When I play with my kitty and think of you, I get a happy ending,” Young Miko read out loud. “I honestly love that for you. We all love a happy ending.”
Watch Young Miko perform with Villano Antillano and Tokischa below:
With the first quarter of the 21st century coming to a close, Billboard is spending the next few months counting down our staff picks for the 25 greatest pop stars of the last 25 years. We’ve already named our Honorable Mentions and our No. 25, No. 24 and No. 23 stars, and now we remember the century in One Direction — who helped to redefine pop music, pop stardom and pop fandom in their brief-but-dominant 2010s run, while also minting five future solo hitmakers (including one absolute superstar).
Explore
See latest videos, charts and news
See latest videos, charts and news
Piles of headshots were accumulating on a table in front of The X Factor judges Simon Cowell, Nicole Scherzinger and Louis Walsh. Tasked with deciding which contestants would make it to the next round of the competition, the panel analyzed each photo – and as they sorted through the contestants, an idea started to form. “You can’t get rid of little stars, you know?” Scherzinger said. “So you put them all together.” And in a twist of fate, five journeys that were in peril merged paths to become One Direction.
Trending on Billboard
As the boys spent more time together, their roles became clearer: Liam Payne, with his standout audition, would be the leader; Louis Tomlinson’s charm would make him the lovable prankster; Niall Horan, the humble boy from Ireland would be the down-to-earth sweetheart; Zayn Malik, reserved with undeniably striking looks, would be the mysterious one; and Harry Styles, with his curly locks, dimples and wide smile, would be the heartthrob. Together, they were 1D, and they would take over the world.
[embedded content]
One Direction’s ascent to global stardom proved that the boy band archetype could still thrive in the 21st century, albeit in a new and distinctly modern way. In just five years, 1D released five albums that brought up-tempo British pop-rock to the States and laid the foundation for today’s international pop groups. A new online community, “stan Twitter,” rallied around the group, and their superfans, called “Directioners,” helped their idols achieve astronomical mainstream success, changing fan-to-fan communication and fan-to-artist relationships forever.
Back in 2011, One Direction won the hearts of The X Factor’s U.K. audience with a mix of pop covers ranging from Coldplay’s “Viva la Vida” to Snow Patrol’s “Chasing Cars” – and even though they didn’t win the competition, they won something bigger: an already-devout fan following, and a contract with Simon Cowell’s Syco Records. Cowell moved swiftly to capitalize on One Direction’s momentum, pairing the group with established hitmakers to churn out their debut single “What Makes You Beautiful.” Savan Kotecha, whose writing credits already included songs for Britney Spears, Katy Perry and Usher, penned the track, and perfected it with the help of fellow writer Carl Falk, who would go on to write for Ariana Grande, Jason Derulo and Madonna.
“What Makes You Beautiful” was a work of bubblegum pop perfection that popped the top 40 bubble. When the track was released in the U.K. and Ireland in September of 2011, pop was dominated by EDM, turbo-pop and Young Money-style hip-hop – but managed to break through the noise and rise to the top of the charts. The single was so commercially successful that it drummed up interest overseas – by the time One Direction’s debut album Up All Night was released in the U.K. and Ireland in November of 2011, #Bring1DtoUS was trending regularly on Twitter, with fans organizing their own marketing efforts to catch the group’s attention, including flash mobs and DIY music videos combining clips from fans from all over the country.
[embedded content]
As soon as One Direction touched down on American soil, the quintet was breaking records and taking names. “What Makes You Beautiful” was digitally released on Valentine’s Day of 2012, debuting at No. 28 on the Billboard Hot 100 and marking the biggest debut for a British act in over a decade. It peaked at No. 4 less than two months later, when Up All Night was released in the U.S. to a No. 1 bow on the Billboard 200, cementing 1D as the first U.K. group to score that achievement with a debut album. When One Direction made their first stateside TV appearance on the Today Show to promote the release of Up All Night, 15,000 fans showed up, comparable to audiences pulled by Justin Bieber and Lady Gaga.
Straddling the line of being child-friendly, brand-safe public figures and being young men in their late teens and early twenties was critical to One Direction’s success, as the lads were ubiquitous in what seemed like every way possible. The group was booked to open for Big Time Rush, a Nickelodeon-bred boy band that was taking off in the states, on their already sold-out tour – but their presence was so overwhelming that they overshadowed their headliner, and the Up All Night Tour sold out in venues across the U.S. soon after.
One Direction had a je ne sais quois that set them apart from other boy bands. Unlike most of their predecessors, the five members didn’t follow choreography or dress alike, but they still possessed the same level of charisma – just in different packages. Their distinct personalities shined in interviews, video diaries and Twitter Q&As, and even more so when they interacted with one another. Watching five young men come together like brothers to live out their dreams was inspiring, and their camaraderie warmed the hearts of millions. The fans treasured the group’s relationships so deeply that they declared allegiance to every possible combination of inter-band dynamics, including “Narry,” “LiLo,” and “Ziam.”
One Direction
FOX Image Collection via Getty Images
Directioners wanted more – and they got what they wished for. A Pepsi Super Bowl Halftime commercial with NFL star Drew Brees aired, guest appearances on iCarly and SNL premiered on the same day in April, and the quintet took the stage at the closing ceremony of the 2012 Olympics. You couldn’t walk into a drugstore without encountering a One Direction toothbrush or turn on the radio without hearing “What Makes You Beautiful” – it was Beatlemania for the 2010s, powered by fans who were online 24/7, 365 days a year and watching their every move – literally, sometimes going as far as hacking security cameras in elevators and airports just to catch a glimpse of their favorite band.
The release of One Direction’s sophomore album Take Me Home ushered in a new era: The set also debuted atop the Billboard 200, making One Direction the first group to best the Billboard 200 with their first two albums since American girl group Danity Kane, and the group became the first boy band in U.S. chart history to land two No. 1 albums in a calendar year. But the accolades were not as significant to the group as how the release helped them evolve their image. Each member had writing credits on this album, showing that they were involved artists who had control of the development of their music; and bolder, more blatantly suggestive lyrics on songs like “Live While We’re Young” and fan favorite “Rock Me” reminded their audience that despite their Radio Disney-friendly appeal, the members were all adults by then, ranging from 18 to 20 years old. While critics were not convinced that One Direction could shake its bubblegum pop sound, fans loved it, and the Take Me Home Tour was the band’s biggest yet, wrapped with an accompanying concert film.
With so much commercial success, nonstop touring and more, fans and critics alike began to wonder: how long can this all be sustained? Repeating the cycle of Take Me Home, One Direction released their third album Midnight Memories in November of 2013, earning their third consecutive No. 1 on the Billboard 200, and highest debut on the Hot 100 (No. 2) with accompanying lead single “Best Song Ever.” The group was making what critics would finally admit was “great rock music” – but fans and outsiders alike could sense that they were tired; this was, after all, their third No. 1 album in just over a year and a half since their U.S. debut. Still, One Direction pushed forward with the Where We Are tour, playing stadiums two years into their careers – and packing them with 3.4 million fans, while also flipping said tour into a concert film. Everything 1D touched turned to gold.
[embedded content]
At the tail end of the tour, One Direction announced their fourth LP, Four. Their aptly named fourth studio album rollout began with “Steal My Girl,” drawing praise and comparisons to Journey. This old-school rock and alt-folk inspiration was present throughout the record, and it made 1D’s music feel more elevated than prior releases. It felt like the group had collectively matured and improved, and the set notched the group’s fourth consecutive debut at No. 1 on the Billboard 200 in November of 2014, making them the first group in history to bow atop the chart with each of its first four albums. Its most critically acclaimed album was celebrated by fans – but what those fans didn’t know was that the LP would also mark the beginning of the end.
Commercial success kept 1D booked and busy, but it couldn’t make up for the toll it had taken on the group’s wellbeing. Shortly after the start of the On The Road Again tour, Malik left for home in hopes of dealing with the stress; less than a week later, on March 25, his departure from the group was announced via Facebook. “I am leaving,” Malik shared, “because I want to be a normal 22-year-old who is able to relax and have some private time out of the spotlight.” At that moment, millions of girls around the world had their hearts broken: not only did Malik’s imminent departure become permanent, but the future of the band officially came into question. The official One Direction account followed Malik’s statement, assuring fans that the remaining four members would continue on and release their fifth studio album, but the plans felt more daunting than reassuring.
The seismic shift caused by Malik’s departure crumbled the foundation that One Direction stood upon, and their final album, Made in the A.M., would ultimately be their swan song. Its lead single “Drag Me Down” was released in July, with an uncharacteristic lack of pre-promotion – and in August, a hiatus was announced for 2016. Made in the A.M. was released in November, and while it was not as commercially successful as their past work, it didn’t matter: It was what the fans needed so that they could say a proper goodbye. “Love You Goodbye,” “History” and the album’s final track “A.M.” memorialized five years of international superstardom and closed the door on a One Direction era for the last time.
Zayn Malik, Harry Styles and Niall Horan
Dimitrios Kambouris/Getty Images for iHeartRadio; Anthony Pham via Getty Images; Dave J Hogan/Getty Images
Freed from the obligations of being in a band, the members of One Direction explored solo ventures. They each released successful top 40 singles: Malik debuted first with “Pillowtalk,” soaring to the top of the Hot 100 in January of 2016 — higher even than 1D ever got as a quintet. Horan followed suit, releasing “This Town” in September with a No. 20 debut, and Tomlinson closed out the year by dropping “Just Hold On,” a collaboration with Steve Aoki, in December, which landed at No. 52. The remaining two members, Styles and Payne, made their solo debuts the year after: Styles’ first single “Sign of the Times” peaked at No. 4 in April of 2017, and Payne’s “Strip That Down” featuring Quavo dropped in May. Payne’s No. 10 debut with “Strip” hammered the final nail into the 1D coffin – and now that each member had their solo debut, the public would decide who would be the most successful outside of the group.
[embedded content]
By December 2019, four of the five former bandmates had released their debut album – all except Tomlinson, who would release his debut Walls in January 2020 – and Malik, Styles and Horan each notched No. 1 Billboard 200 debuts, showing similar promise across the group post-break up. But as Styles’ sophomore album Fine Line began to roll out, with singles like “Adore You” and “Watermelon Sugar” achieving increasingly higher levels of pop success, it was clear that his sustained stardom would be difficult for the other members to match. By the time Harry’s House was released in 2022, Styles was respected by Directioners, new fans and critics alike – so much, in fact, that Harry’s House won Album of the Year at the Grammys the following year. Still, despite Styles’ well-earned superstardom, he always pays tribute to his past, continuing to perform the song that started it all: “What Makes You Beautiful.”
One Direction’s legacy survives in both obvious and unexpected ways. The British pop invasion that the group led in the early 2010s amplified related acts like Ed Sheeran, The Wanted and Little Mix for all the world to hear, and helped bring rock-based pop music back to the mainstream – starting with 5 Seconds of Summer, the Australian band whose hitmaking career skyrocketed after opening for 1D on the Where We Are Tour. The quintet’s greatest contribution, though, was how it changed the blueprint for pop superstardom. While there is no exact formula for fame and success, the Directioners created and normalized a more intense version of “stan” culture than ever before: one that shows devotion through chronic online-ness and community building all day, every day, which has shaped entire industries like K-pop. And even though One Direction only lasted for five years as a group, the impact of its discography — ranging from enduring smashes to beloved deep cuts — continues to shape a generation of pop connoisseurs, and hold a particularly special place in the hearts of Millennials and Gen Z’ers everywhere.
Read more about the Greatest Pop Stars of the 21st Century here and check back on Tuesday when our No. 21 artist is revealed!
Kelsea Ballerini is asking fans for prayers and good thoughts for her dog Dibs, revealing that her beloved pooch has been diagnosed with cancer.
Ballerini wrote on her Instagram Stories on Wednesday (Aug. 28), “The last few days we have discovered that dibby has inoperable cancer in his heart. He’s not in pain and luckily it hasn’t spread further.”
The singer-songwriter adopted the dog in 2015, following the breakthrough success of her debut single “Love Me Like You Mean It.” Her cherished dog shares a name with her hit song “Dibs,” which became a No. 1 Billboard Country Airplay hit in 2016.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
In her post, Ballerini also said that the dog will soon begin taking “‘big’ meds” to ensure he will “have as many comfortable and happy days (weeks, months) left s possible.”
Trending on Billboard
Ballerini had words of praise for the dog’s veterinarians, and added, “My mom is here (he stans grandma), and [Ballerini’s boyfriend] Chase is the greatest dog dad in the world. He is getting extra cuddles and kibbles from his little family.”
Ballerini, who will release her new album, Patterns, on Oct. 25, also told fans, “I feel pretty disingenuous promoting this album and tracklist reveal (which I am so, so proud of) without updating you on my sweet dibs health.” She added, “It’s a complex and emotional time. He’s been my baby and my steady for the last 9 years and very much alongside this whole journey with us all. I know so many of you care about him and are sending him prayers and love, and from my whole heart … thank you. He’s wagging his tail right now no doubt saying thank you too.”
Ballerini had previously shared days ago that Dibs was going through some hard times, with the musician sharing on Instagram that the dog had “made it through the night and is stable enough to run the tests we need to figure out our next steps.” In that same IG story, Ballerini said, “Thank you for all of the prayers and good energy. I made sure to tell him so many people love him and are thinking of him when I got to visit last night.”
While A$AP Rocky delayed his anticipated Don’t Be Dumb album, the Harlem native is still preparing to unleash another single ahead of the years-in-the-making project’s arrival. The Mob frontman announced on Thursday (Aug. 29) that his previously leaked “Tailor Swif” single — essentially named after pop titan Taylor Swift but doesn’t have anything else associated with her — will be released on Friday (Aug. 30).
“SINCE U DUMMIES LEAKED IT ALREADY,” Flacco tweeted matter-of-factly, while noting on TikTok that it would arrive “2MRW.” He gave fans a taste of the visual with a 10-second teaser of the clip, which was shot in Ukraine.
Trending on Billboard
Some fans are hyped that the leak — that was previously titled “Wetty” — will receive an official release. “This a hall of fame music video,” one person tweeted.
However, some Swifties are not exactly thrilled with Rocky using a play on words with the singer’s name. “Why does every male want beef with taylor swift? it’s weird,” they tweeted.
There’s plenty of history with “Tailor Swif.” Rocky debuted the record during a July 2022 performance at Rolling Loud Portugal. Days later, the song and visual leaked.
Rocky seemed to have trepidation about putting “Tailor Swif” on the album following its leak, but he’s apparently had a change of heart and it will release on streaming services. “It’s very important and special if it makes it on the album,” Rocky explained to Apple Music in early August about his new material. “Most of the songs that I usually perform and s–t like that, muthaf–kas leak it. And once it’s leaked, it’s just like, ‘Nah, it’s not on the project.” … I might perform it here or there, but it’s leaked. It is what it is. It’s out already.”
Don’t Be Dumb was slated to arrive on Friday (Aug. 30), but A$AP Rocky delayed the effort until the fall without a concrete date. While describing the project to Billboard as part of his cover story, Rocky said he’s continuing his exploration of German expressionism.
“In this very moment, it’s very grim. That’s an abbreviation,” he said. “It’s infusing German expressionism with ghetto futurism.”
Rocky released his “Highjack” single earlier in August with an assist from Jessica Pratt. The track reached No. 89 on the Billboard Hot 100.
Ariana Grande is one femininomenon Chappell Roan loves. While answering questions on a recent livestream, the 26-year-old star had nothing but kind things to say about the 31-year-old vocalist, from praising Eternal Sunshine to hyping up the upcoming Wicked films.
The topic of Grande first came up when one fan left a comment about Wicked, the first installment of which arrives in November starring the R.E.M. Beauty founder as Glinda opposite Cynthia Erivo’s Elphaba. “Oh my god, I’m so excited,” Roan raved of the film adaptation of the Broadway musical of the same name, which was based off of Gregory Maguire’s novel.
Trending on Billboard
“I’m a really big Ari — I’m an Arianator,” the “Good Luck Babe!” artist added. “I love her album.”
Roan’s comments come nearly two months after Grande sent love to the Missouri native on Instagram Stories, sharing a Wicked-related meme featuring Roan’s 2024 Gov Ball look, which involved painting her entire body green to channel the Statue of Liberty. “I really ♡ @chappellroan,” the Victorious alum wrote at the time.
On Aug. 19, Grande’s friend and Wicked costar Bowen Yang conversed with Roan for Interview magazine, revealing that he was the one to introduce the “Yes, And?” singer to the “Hot to Go!” artist’s work. “I remember drinking a glass of wine with Ariana Grande after we wrapped and being like, ‘You should get on Chappell Roan,” the Saturday Night Live star recalled. “‘She’s f–king awesome. Her live shows are incredible.’”
“I appreciate that,” Roan replied at the time. “I’ve been like, ‘Oh, my god. People are legitimately excited about this album.’”
Roan is currently climbing her way up the Billboard charts, with her album The Rise and Fall of a Midwest Princess recently reaching a new peak at No. 2 on the Billboard 200 a full 11 months after it was released in September 2023. She has seven entries on the Billboard Hot 100 dated Aug. 31, including “Pink Pony Club,” “Red Wine Supernova,” “Casual,” “Femininomenon” and “My Kink Is Karma.”
As her star has rapidly risen, however, Roan recently needed to set boundaries with fans regarding what she called “predatory behavior” in a lengthy statement on Instagram. “Please stop touching me. Please stop being weird to my family and friends. Please top assuming things about me,” she wrote in the post, which followed a TikTok video in which she also expressed her concerns on the same subject. “There is always more to the story. I am scared and tired. And please—don’t call me Kayleigh.”
Seven years after its 2017 release, Clean Bandit’s Zara Larsson-featuring “Symphony” ranks at No. 1 on the TikTok Billboard Top 50 chart dated Aug. 31.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Aug. 19-25. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
Explore
See latest videos, charts and news
See latest videos, charts and news
“Symphony” debuts at No. 1, the first to do so since Bobby Caldwell’s “What You Won’t Do For Love” topped the tally in February.
Trending on Billboard
The seven-year-old song is trending on TikTok thanks to multiple edits using colorful photos and videos of dolphins, with captions and overlays that are generally funny and oftentimes demotivational. Others talk about seeing dolphin images in their everyday life since and being reminded of the new meme.
For her part, Larsson, who is currently on tour, changed the background video of her concert performances of “Symphony” to dolphins as a nod to the trend.
“Symphony” peaked at No. 10 on Billboard’s Hot Dance/Electronic Songs chart in 2017. In the week ending Aug. 22, it earned 784,000 official U.S. streams, up 7%, with more gains likely for the week ending Aug. 29.
The song reigns over Surf Curse’s “Disco,” which jumps from No. 7 to the runner-up spot on the TikTok Billboard Top 50. As noted in the article announcing the Aug. 24 chart, “Disco,” released in 2019, surges due to a dance trend sporting two creators facing each other while performing their moves.
“Disco” leaped 82% in streams in the week ending Aug. 22 to 1.7 million. It’s the second Surf Curse song to sport major attention on TikTok years after the song’s initial release, following “Freaks,” which found so much success that it became a radio single for the band, peaking at No. 15 on Alternative Airplay in 2021.
Jordan Adetunji’s “Kehlani,” which had led the TikTok Billboard Top 50 for the preceding two weeks, falls to No. 3, while DJ Drama and Gucci Mane’s “Photo Shoot” and Hanumankind and Kalmi’s “Big Dawgs” round out the top five.
It’s worth noting too that Tommy Richman’s “Million Dollar Baby,” the chart’s longest-running No. 1 at 10 weeks earlier this year, drops 4-6, marking the first time in its 17 weeks on the survey (dating back to May) that it has not been in the chart’s top four.
Two other songs join “Symphony” as debuts within the top 10, and unlike the No. 1, the ensuing two are brand new songs: Lady Gaga and Bruno Mars’ “Die With a Smile” bows at No. 8, followed by Sabrina Carpenter’s “Taste” at No. 9.
“Die With a Smile” is the first TikTok Billboard Top 50 appearance (the chart began in September 2023) for both Gaga and Mars. The top-performing clip featuring the song so far is an upload on Mars’ own account showing a portion of the music video, while other early successes include fan edits of movies and TV (Tangled, Elemental and more), reaction videos to the song and music video, lip-synch renditions and more.
The tune concurrently debuts at No. 3 on the Billboard Hot 100 with 27.4 million streams, 13 million audience impressions and 21,000 sold, as previously reported.
“Taste,” meanwhile, hasn’t yet made any other Billboard charts – that’s because it was released on Aug. 23, alongside the rest of Carpenter’s new album, Short n’ Sweet. The song benefits from the tracking week for the TikTok Billboard Top 50 being a Monday-Sunday setup (Aug. 19-25) vs. the majority of Billboard’s other charts (Friday-Thursday), though it still needed a hefty amount of attention in those three days to even crack the ranking, let alone the top 10.
According to TikTok, creations using the main “Taste” sound have already surpassed 2 million, with one of the top-performing uploads a behind-the-scenes video of the “Taste” music video uploaded by Carpenter herself, asking, “Am I babygirl?” Others feature lip-synchs to the new track, whose full Billboard chart impact will be known on the tallies dated Sept. 7, utilizing data from Aug. 23 to 29.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
On the Billboard Hot 100 dated May 11, 1959, Edward Byrnes and Connie Stevens’ “Kookie, Kookie (Lend Me Your Comb)” soared from No. 19 to No. 4, where it peaked for two weeks.
The song became a novelty hit, tying into the character that Byrnes played on the TV show 77 Sunset Strip. For all its lightheartedness, it made history: It became the first Hot 100 top 10 by two artists who didn’t regularly record together, dating to the chart’s Aug. 4, 1958, start.
A select few such team-ups hit the Hot 100’s top 10 in the 1960s, before the practice made more inroads in the ‘70s, when high-profile artists sharing No. 1s included Elton John and Kiki Dee (“Don’t Go Breaking My Heart”); John Travolta and Olivia Newton-John (“You’re the One That I Want”); and Barbra Streisand with both Neil Diamond (“You Don’t Bring Me Flowers”) and Donna Summer (“No More Tears [Enough Is Enough]”).
By the mid-‘80s, the Hot 100’s timeline had extended far enough that “That’s What Friends Are For” made its own history: As it marked Stevie Wonder’s 27th top 10 and John’s 20th (as well as Dionne Warwick’s 12th and Gladys Knight’s eighth, all under the billing Dionne & Friends), the all-star charity single became the first top 10 by two acts each adding a 20th hit in the tier.
On the Hot 100 dated Aug. 31, Lady Gaga and Bruno Mars bound in at No. 3 with “Die With a Smile” – Mars’ 19th top 10 and Gaga’s 18th. Even with collaborations now long embedded in hit music, the ballad is an impressive outlier, as it becomes the latest rare song in which at least two acts each up their counts to 15 or more top 10s.
Below, browse (or, in honor of Byrnes and Stevens, comb through) a recap of the select songs with such star power, and acts’ Hot 100 top 10 totals at the time of each entry. Notably, Michael Jackson leads with three dominant duets, while Drake, Gaga, Ariana Grande, Paul McCartney, Rihanna and Wonder boast two each.
“Die With a Smile”
Image Credit: Courtesy Photo
Casual music listeners may recognize Syleena Johnson’s soulful, magnetic voice from “All Falls Down,” her 2004 Grammy-nominated Billboard Hot 100 hit (No. 7) with Ye (the artist formerly known as Kanye West). Yet there is several decades’ worth of music history coursing through those vocal cords.
Johnson, the daughter of the late soul giant Syl Johnson, is getting ready to unleash what she says is her final solo studio album on Friday (Aug. 30). And, as she explains to Billboard over Zoom, the road has not been easy.
“This album is probably my best work, and it is whooping my ass!” she quips. “It wouldn’t be this good if there wasn’t some drama that was attached to it.”
Trending on Billboard
Johnson is frazzled over the final mixes for Legacy, which serves not only as her final solo LP, but also a painstakingly crafted tribute to her late father. Led by the revelatory “Monsters in the Closet,” Legacy combines Johnson’s vocals with that of her late father, setting their tones and styles in conversation across 16 tracks that explore the industry-inflicted scars, the timelessness of soul music and the towering impact of Chicago’s music and culture. Featuring appearances from Twista and Shawnna, as well as fresh takes on Syl Johnson classics like 1968’s “Different Strokes,” Legacy is both a gift from a daughter to her father, and a gift from an artist to the sounds that sustain her.
Arriving in the throes of the ever-challenging balancing act that is being an R&B star and present mother — “[Creating Legacy] took time in the middle of touring, chasing around a superstar athlete kid and another child who is on the spectrum, high-functioning, mind you, and has piano and drawing class” – Johnson’s new record is a wholly family affair. The warmth of those familial ties, as well as the darkness of certain shared experiences, permeates the entire record.
Just as the contributions of her own family remind listeners of our general human connection, so does the album’s exploration of soul music, which marries the late 1950s beginnings of Syl Johnson’s discography with the 21st century sheen of his daughter’s. It’s a winning continuation of Syl Johnson’s own impact as one of the most sampled acts in hip-hop, from Public Enemy‘s “Fight the Power” to The Throne’s “The Joy.”
In a candid conversation with Billboard, Syleena Johnson pulls back the curtain on both her final album and her nearly three decades in the music industry.
[embedded content]
Why was now the time to come back with a new record?
I was already going to come back two years ago, but my father died [in 2022], and that changed things. My father was the legacy, the pinnacle of my music. I feel like [losing him] changed the tone and scope of the album. It changed the intention of the album, and it changed my motivation of why I was creating it. It took two years, which is unheard of for a person like me [who] can create an album in a week or two. Two years means I was mourning.
Every single track has my father in it, so I was trying to make sure that [the album] honored him and highlighted him as well as myself properly. I was okay with taking my time and getting it done right. The time is now, not because I chose it, but because God designed it for this time. Why? I don’t know, but we’re gonna find out.
This is the last Syleena Johnson album. We’re going to work Legacy for as long as we possibly can, because it has so much good material. Sometimes, you let the people catch up to all of the repertoire. I have 14 albums, there’s people that don’t know those records. Hopefully, Legacy will be powerful enough to [spur interest in my back catalog]. I will be doing the Chi album [with Dave Hollister and Carl Thomas], but as far as [my own] albums, I just don’t want to do anymore.
Was there a specific moment in which you knew that this would be the final Syleena Johnson album?
Yes. I recorded eight records, and they were good. We were thinking of just doing an EP, so I went to Chicago to Toxic Studios, my producers, my musical family. I went there to touch up vocals on a record, and they started playing all this music. I just got sadder and sadder because I knew I [was going to] have to record all of these because they were so good. It was like a happy-sad moment. I was like, “Oh my God!” creatively, but the adult in me that has been in this business for over three decades was like, “Again? Okay. I’m not free. We have to continue.”
And then I realized this album is getting ready to go to a different level, That’s when I knew: I’m going to give them 16 records, give them everything I have vocally and lyrically, and I’m out. And I’m going to put my dad in it. Both of us are considered underrated, so I want us to not be underrated together in this space. I’m constantly going to be creating in some way, shape or form, but it’s the work part and [being] independent that’s just too hard.
The album literally blends your vocals with your dad’s. Why did you go for that approach instead of, say, sampling his original recordings?
First, I’m a creative, so I can’t do nothing that’s basic. I don’t want to do anything anybody’s ever done. This hasn’t been done before. Because we own the estate, it’s easier for us to get clearances – these different record companies that [own the song’s] publishing are not going to push back because it brings more money and more eyes to the project and my dad’s records.
I wanted to show people our similarities [and] the best way to show that is to put us right next to each other. There are parts of the record [where] I sound almost like my dad. I wanted to bring him in because I saw him in his last days. I saw him until his last breath. I wanted to remember him in the light that I put him in on this record.
This album has helped me understand how amazing he is as an artist. How he placed a record, why he wrote and sang certain ways, comparing his body movements onstage to my own, etc. There’s also lines on the album where he’s just talking to me and whoever listens to this album.
Did you go into the studio sessions already knowing what songs of his you wanted to bring into the fold?
No! My sister [who is also my manager and the head of our dad’s trust] is directly connected with the record label that bought my dad’s publishing right before he died. She told the producers at Toxic“ Productions, “You can create from these records,” and my dad had a whole box set.
I work with such talented producers, and one of my hopes for this project is that it blows up, gets a Grammy, and does all the things that an album can do. I want the producers to be recognized for this body of work that they helped me to create. Rafael Capone is mixing and mastering the whole project in a two-and-a-half-week period.
What was the first song that you knew was going to be on this album?
My father died on my youngest son’s birthday (Feb. 6). My son was turning 11 with a party at Sky Zone [at 10 a.m.] and my dad died at 2:00 in the morning. I had to go and be a mom, even though I was super sad.
Three weeks after that, I flew to Chicago and started recording. The very first song was “Monsters in the Closet” and the next song was “Watching Over.” Those two songs I knew for a fact were going to make the album. I couldn’t even get through recording and writing those two songs. I would be recording and just break down in tears and everybody would just stop and wait until it passed.
Every time I go in the studio, I don’t have many songs that don’t make it. That’s not my process. I record a specific amount of songs because I’m a storyteller. I don’t need to write a whole bunch of unnecessary records. That’s like if you write a book and go, “Let me write six chapters just in case.” Sometimes you will get some good records that somebody else wrote, and you save those in the vault or for a deluxe. Pretty much everything I recorded made this album except two things. I’m not a big fan of recording, I’m a live girl because that’s where you can really connect the fans with the music.
What was the most difficult part about opening yourself up on a song like “Monsters,” which draws parallels between the experiences you and father had in this industry?
There’s many stages of grieving. I was in a place where I was upset at this industry and what it had done to my father and I and our relationship. It’s an ongoing thing inside of the industry and it does it to all artists. The music business is dirty and cruel. It steals from you. It takes from you with very little deposit back into you. I’m tired of not telling the truth. We have to start telling the truth about what the hell be going on!
I know this is R&B, but we don’t always have to talk about love and pain. That’s what Marvin Gaye and Stevie Wonder and Donny Hathaway and my father did back in the day. I wanted this album to be conscious across all of its tracks.
Artists’ mental health is huge theme on Legacy, and the record drops right before Suicide Prevention Month kicks off. What do you want to see the industry do in terms of better prioritizing artists’ mental health? Have you seen anything get better (or worse) during your time in the industry?
The only that has gotten better is the fact that we [can do so much by ourselves] as independent artists. It’s not at the hands of the marketing department at your label. The flip side of that is very difficult because you have to use your own money and you have to do all the footwork, but at least you know where your money’s going.
In general, people and greed are the basis of the music industry. Because you’re dealing with artists, we are delicate in that way. We want you to like and buy into what we create because it’s tied to our actual livelihood. They don’t like it, we don’t eat. I don’t think people truly understand the depth of how stressful that can be. When you see all of these artists self-medicating, trying to calm themselves down, trying to not have anxiety, then whatever they’re using to self-medicate gets the best of them. It could kill them.
I think we need to do a better job of understanding the artists’ case and having empathy for them. We have to be these politicians and we ain’t politicians! We’re human beings and our job is to create music and soundtrack our lives. You don’t see nobody knocking on the movie score man’s house and cussing him out, and he’s creating the scores for all these movies for us to feel certain ways. But because we’re famous, we should be grateful that people even give us the time of day. Meanwhile, during the pandemic, the artist suffered the most. There’s no empathy for artists. People don’t care what happens to them. You hold us to all these high standards, and then you’re quick to forget us when it’s over.
People don’t value what we put into the world, and I feel like everybody should be valued the same.
“Black Balloon” became your first Billboard chart entry in over a decade. What did that mean to you, especially to do so alongside your dad, who’s officially credited as an artist on that track?
It’s a great moment because I’m 48. I recorded my first album at 15 [and] I am still out here. The people are still out here turning up/ I’m happy that God has allowed me to have this longevity and have and still be here in my right mind and talk regular with you, chile.
What lessons would you say were the most difficult for you to internalize throughout your career?
Trusting myself. Trusting my ears. Trusting what I really want to hear in my records and being adamant about it. I was 21 when Wayne Williams brought me into Jive Records and I would let the last say be someone else’s. Sometimes I might not be happy with it inside, but you just have to let it go. And that was that wasn’t all the time, that was rare. I was given a lot of creative freedom at Jive. It was just certain things [that] when I look back, I’m like “Shit, I should have just listened myself.” [Being an] introvert disconnected me from a lot people in times where I should have been trying to connect more. That’s another lesson: networking. And some of my introversion comes from fear of judgement, but I was very young. When you get older, you don’t give a f—k who’s around and you don’t give a damn. When you’re a young woman and trying to balance male egos, it’s tough. I don’t blame myself.