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After a six-year wait, Snow Patrol is back with The Forest Is the Path, their first studio album since 2018’s Wildness.
Released today (Sept. 13), the 12-track project marks a new chapter for the Northern Irish band, showcasing their signature mix of introspective lyrics and sweeping melodies.
Produced by Fraser T Smith (Adele, Stormzy) and the band, The Forest Is the Path was written by Snow Patrol’s core trio: frontman Gary Lightbody, guitarist Johnny McDaid, and guitarist Nathan Connolly. The album’s lead single, “The Beginning,” offers a taste of the band’s evolution, with its melodic thrum and poignant lyrics: “There is only you and me in this life / And I don’t want to f— it up now.”
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In a previous statement, Lightbody shared how the album reflects on love and memory, saying, “The album is rooted in reflection, introspection, and interrogation, with a key building block being the idea of looking at love from the distance of time passed.”
The Forest Is the Path also celebrates Snow Patrol’s 30-year career. “This album took us on many uncharted routes,” the band wrote on Instagram upon announcing the album.
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“We honor the past, deeply… but while we honor the past, we also want to cherish the present and look to the future.”
The band will support the LP with a tour in 2025, which includes dates in the U.K., Europe, and the U.S.
Snow Patrol has made a lasting impact on the Billboard 200, with two albums landing in the top 10. Fallen Empires (2012) peaked at No. 5, while A Hundred Million Suns (2008) reached No. 9. Their 2006 album Eyes Open spent 66 weeks on the chart, driven by the global smash hit “Chasing Cars,” which became the most-played song of the 21st century on British radio, according to licensing body PPL. The track reached No. 6 on the Official U.K. Singles Chart, and No. 5 on the Billboard Hot 100, powered by a sync in Grey’s Anatomy.
Stream Snow Patrol’s The Forest Is the Path below.
Just over 24 hours after giving “I’m His, He’s Mine” a steamy live debut on the MTV Video Music Awards stage, Katy Perry and Doechii have dropped their saucy new collaboration. Featuring a heavy sample of Crystal Waters’ “Gypsy Woman” — you know, the one that goes “La da dee la dee da” — the […]
Guess who’s back? Eminem is spinning the block for another round of The Death of Slim Shady about two months after his 12th studio album arrived in July. The Detroit legend is getting spooky for Friday the 13th with the release of his The Death of Slim Shady: Expanded Mourner’s Edition. The deluxe edition gives […]
With a breakout hit across international charts this summer, KISS OF LIFE is ready to take an explosive year to the next level with their first-ever world tour.
The girl group’s forthcoming Kiss Road World Tour continues the momentum Julie, Natty, Belle and Haneul gained on the global stage with the infectious single “Sticky,” helping the K-pop act debut onto multiple Billboard charts: The Afrobeat-inspired summer single peaked at No. 7 on the South Korean Songs chart so far, entered the U.S.-based World Digital Song Sales chart at No. 10 in July, while also spending a solid six weeks on the Billboard Global 200 after hitting No. 87, and 10 weeks on the Billboard Glocal Excl. U.S. chart after a No. 47 peak.
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With promising results early just over a year into their career alongside the quartet’s international makeup and range of industry experiences, KISS OF LIFE is proving they’re more than just a rising K-pop rookie—they’re becoming a global-pop force all their own.
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“We love the song ‘Sticky,’ so it was really an honor for it to get into the charts,” says Julie, the group’s dynamic leader who was born in Hawaii, speaking to Billboard for their first-ever interview with an international outlet. “We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news.”
Seattle-raised Belle, who previously worked as a songwriter for other top K-pop groups, believes their authenticity plays a massive role in why global fans connect to them: “We honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform.”
Youngest member Haneul, born and raised in Korea, adds that the KIOF members’ diverse backgrounds fuel their artistry. “We just respect each other,” the 19-year-old says. “We acknowledge our differences and the path we went through to get here, so that makes us learn from each other and grow.”
The upcoming Kiss Road tour kicks off in Seoul with two concerts on Oct. 26 and 27 before coming to North America for an extensive, 18-date trek beginning in Minneapolis, Minn. on Nov. 10. “We are pretty confident in our performing ability,” teases Thailand-born Natty, whom K-pop fans have watched grow up on K-pop competition shows like Sixteen and Idol School before officially debuting onto the K-pop scene as an artist. “Fans can expect a show with high energy and we’re excited to bring our best to the stage.”
Get to know KISS OF LIFE’s Julie, Natty, Belle, and Haneul as the members share more about their process, viewpoint, world tour plans and messages to their fans affectionately known as Kissys, alongside exclusive photos below.
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I want to begin by congratulating you on earning your first Billboard chart entries with “Sticky.” What were your reactions?!
Julie: We couldn’t believe it! We love the song “Sticky” so it was really an honor for it to get into the charts. We were so happy that people were liking it as much as us and we felt so grateful! We really put a lot of effort into the choreography and also the music itself, so it’s exciting to see our hard work paying off. All of us were just hugging each other when we found out the news; as hard as we worked, we also know that we really couldn’t have done it without the support of our fans—love you, Kissys!
KISS OF LIFE
Courtesy of S2 Entertainment
KISS OF LIFE has been rising since your debut last July, but “Sticky” has been a real breakout: Top 10 in Korea, charting in the U.S., your biggest hits on Billboard‘s Global charts. What do you think are some factors that made this such a hit?
Belle: I think we honestly try to be ourselves in all the music we release. By being authentic, I think our fans and listeners are able to resonate more with the excitement we feel when we sing and perform as well. I feel like this song, in particular, really suited all the members, and you could feel that all the members were just having fun and enjoying themselves while recording and performing the song. Also, in regards to the visuals and performance, we focused on just feeling ourselves and being confident which fits well with summer. I mean, it is summer, why not have a little fun with it?!
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I also love your latest B-side, “Te Quiero,” co-written by Belle. What did you want to show with “Sticky” and “Te Quiero” that you hadn’t shown previously in KISS OF LIFE?
Natty: We wanted to show everyone our translation of summer! The cool and refreshing side as well as the hot! We just wanted to send good vibes and make sure everyone could enjoy the summer with us. Both “Sticky” and “Te Quiero” are actually our interpretations of summer: “Sticky” would be the exciting, fun aspect of summer where you enjoy yourself to the fullest; “Te Quiero” would be the cooler, more chill and relaxing version of summer that is equally enjoyable. I don’t think we had some mastermind plan of what we wanted to show with these tracks. We just genuinely wanted everyone to enjoy the music while enjoying their summer. You work hard, you play harder!
KISS OF LIFE
Courtesy of S2 Entertainment
“Te Quiero” is also significant as another English B-side track, just like “Nobody” with “Midas Touch.” Is there a more prominent reason to include these tracks, and even the English version of “Bad News,” in your larger plans as a group?
Julie: Of course! We always want to keep our international fans a big part of our music. For the Kissys all around the world, we want to continue to make music that everyone can enjoy and listen to. We are adamant in making sure our international fans know that they play a big role in our music. Again, we don’t have a master plan on how or a larger picture that we are strategizing for. We really just want everyone to feel included with our music, wherever they are and whoever they are. We just want to make music that everyone can enjoy and listen to without overcomplicating things.
Have you begun preparations and rehearsals for your Kiss Road World Tour? What are you looking forward to the most?
Haneul: We are super excited for the tour. Absolutely, can’t wait to meet our Kissys, who have been supporting us throughout our journey. We’ve been working hard with our team in designing the show so that we are able to give all of our fans an amazing experience. There’s a little bit of pressure to show our fans the best version of ourselves but we promise we won’t let you down. I think the most exciting part about touring is really feeling everyone’s positive energy!
Natty: Well, we are actually pretty confident in our performing ability so fans can expect a show with high energy. We love what we do and we are blessed with so many people supporting us while we do what we love. In return, we want to give them the best version of us, so I hope they will all look forward to it.
Something I always respected about KISS OF LIFE is that you shared yourselves via solo songs from your debut album. Will we get to see more solo stages on tour?
Belle: Don’t want to give too many spoilers so…I think we can say, “maybe?!” We’ve prepared some new stages so make sure you stay tuned for it.
KISS OF LIFE
Courtesy of S2 Entertainment
With that, KISS OF LIFE has also become known for your covers. Your Brown Eyed Girls “Sixth Sense” cover was even officially released, and you’ve done songs by 2NE1, Ciara, Ariana Grande, Nicki Minaj, BLACKPINK, Doja Cat, the list goes on…any special or new covers for tour?
Julie: We always sing, rap, and dance to so many different artists on a daily [basis], so hopefully, we get the opportunity to showcase it to everyone on tour. We just love all different styles and categories of music. For us right now it’s being versatile enough to explore many different types of music and to experiment with sounds so we [can] create our own specific style. There are days we focus on singing, other days we rap, and days we only dance, but we are always working to improve ourselves, so I hope we have the opportunity to showcase it for the world to see!
The four of you came from very different backgrounds and debuted as adults. Sometimes, it can be difficult for adults to pursue their dreams or even make new friends. How did you all connect and learn from each other to make KISS OF LIFE work as cohesively as it is?
Haneul: We just respect each other. We acknowledge our differences and the path we went through to get here so that makes us learn from each other and grow! A key point in any relationship is trust and respect. The respect comes from acknowledging each other’s past experiences that led them on the path for us to be here. I believe that because we are able to share our respective experiences with each other, we are able to learn from each other and grow as a group, not just individually. We all have something to learn from each other and we respect where that knowledge came from.
KISS OF LIFE
Courtesy of S2 Entertainment
Do you have any other messages for international fans waiting to meet you?
Julie: We always want to say thank you so much for sending your love and support. Although we may be far distances, our hearts are always near! We can’t wait to meet everyone in person and I hope the time comes fast. Love you guys so much and see you soon!!!
Courtesy of S2 Entertainment
If there’s anyone who knows about a showstopping kiss on the MTV VMAs stage, it’s Britney Spears — and she had some thoughts on Sabrina Carpenter‘s own viral VMA lip-lock with an alien at Wednesday night’s show.
Spears posted a selfie video to her Instagram account, where she brought up a few Carpenter moments from the awards show.
“Did you guys watch the VMAs?” she asked her 42 million followers. “I didn’t watch the VMAs, but I did see stuff on my phone from YouTube of Sabrina Carpenter. Why is she kissing an alien onstage? I adore her. I love her to death. I didn’t understand that part. Why didn’t she kiss a girl? Like, that was weird. But I also thought that, like, the whole thing was kind of, like, weird.”
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The pop star then went on a tangent about taking a “really long bath” on VMA night and doing some coloring — “I’m into coloring right now. I like to color and I like to trace.” — before circling back to Carpenter.
“This Sabrina girl, she said my name on the red carpet and I thought that was kind of cool,” Spears said. “Because I forget I’m famous sometimes. Because I’m a mom, I’m kind of old, blah-blah-blah, but that was kind of cool. … She made me cool. OK, maybe not,” she laughed.
Spears has had a lot of memorable moments on the VMA stage over the years, including her notorious kiss with Madonna at the 2003 show, when Brit and sometime rival Christina Aguilera joined the Queen of Pop onstage to perform “Like a Virgin” and share a three-way kiss.
Britney’s presence was felt throughout Wednesday’s show, like when host Megan Thee Stallion wore a re-creation of Spears’ 2001 “I’m a Slave 4 U” performance costume — complete with a yellow snake wrapped around her arms — or when Tate McRae paid tribute to the sheer, lacy Dolce & Gabbana minidress Spears wore on the red carpet that same year.
Carpenter herself even had an onstage reference to Spears, when she played an audio snippet from Britney’s “Oops!…I Did It Again” music video during the transition between “Please Please Please” and new single “Taste” for her debut VMA performance.
Watch Spears’ reaction to the 2024 VMAs below:
Eminem opened the 2024 VMAs on Wednesday (Sept. 11) with his recent hit “Houdini.” As it turns out, the show delivered a pretty neat magic trick of its own. In an era of flat, or even declining, ratings for awards shows, the VMAs delivered their biggest audience in four years, with more than 4 million viewers.
MTV reports that combined ratings for the premiere and encore showings were up 8% compared to a year ago (4.09 million vs. 3.78 million). Ratings for the premiere simulcast at 8 p.m. ET/PT were up 25% compared to a year ago (3.11 million vs. 2.49 million).
That premiere broadcast was simulcast across 13 networks in the U.S., the same number as last year – BET, BET Her, CMT, Comedy Central, Logo, MTV, MTV2, Nick at Nite, Paramount Network, Pop, TV Land, VH1 and Univision. That means that the casual music fan who may have been channel-surfing came across the show multiple times. That sheer repetition may have stirred their interest and made it seem like this was an event.
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The black-carpet pre-show at 6:30 p.m. aired on four networks. The first encore at 11:18 p.m. (the show ran over, as awards shows tend to do) aired on 10 networks. (Two other networks started their first encore showings within that hour.) The second encore at 2:34 a.m. aired on four networks.
MTV reports that the 2024 VMAs were the No. 1 most social entertainment telecast in history, with 66.7 million interactions. The only program that beat it was the second presidential debate of the 2024 campaign season, which aired the previous night, between VP Kamala Harris and former President Donald Trump.
The show rang up 829 million video views (an 18% increase over last year) and 76.3 million engagements (a 25% increase over last year) across global owned accounts.
VMAs trended No. 1 worldwide on X (formerly Twitter) for 10 hours. Media impressions were up 8% — 107.5 billion impressions this year vs. 99.5 billion impressions last year.
The 2024 VMAs had an impressive artist lineup, including host/performer Megan Thee Stallion and such other red-hot artists as Sabrina Carpenter, Chappell Roan and Benson Boone. Taylor Swift didn’t perform, but she was in the audience (or onstage accepting awards) from start to finish. It seems fair to say that artists support the VMAs at this point more than MTV supports music videos, other than on this one night a year. Maybe, given these healthy ratings for their flagship program, the channel can address putting music videos back into its programming mix.
The Neptunes are no more. During a conversation with The Hollywood Reporter for their September cover story, Pharrell admitted that he and his former friend Chad Hugo are no longer talking to each other. “But I love him, and I always wish him the absolute best, and I’m very grateful for our time together,” he […]
It’s Valentino Merlo and The La Planta’s winning week on the Billboard Argentina Hot 100 chart as the Argentianians first team-up “Hoy” dominates for an 11th consecutive week (list dated Sept. 14).
With the new week at No. 1, “Hoy” breaks away from a tie with “Una Foto (Remix)” by the all-star team comprising Mesita, Nicki Nicole, Tiago PZK, and Emilia, for the longest-leading song in 2024. Plus, it becomes the seventh-longest run at No. 1 on the almost six-year chart.
Here’s the recap of those longest-leading songs on Billboard Argentina Hot 100 dating back to its 2018 launch:
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Peak Date, Song, Artist, Weeks at No. 1Jan. 11, 2020, “Tusa,” Karol G & Nicki Minaj, 25July 31, 2021, “Entre Nosotros,” Tiago PZK, LIT killa, Nicki Nicole & Maria Becerra, 16Sept. 10, 2022, “La Bachata,” Manuel Turizo, 15May 25, 2019, “Otro Trago,” Sech, Darell, Nicky Jam, Ozuna & Anuel AA, 13Aug. 29, 2020, “Hawai,” Maluma & The Weeknd, 12Jan. 12, 2019, “Calma (Alicia Remix),” Pedro Capo & Farruko, 12July 6, “Hoy,” Valentino Merlo & The La Planta, 10
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Luck Ra and Nicki Nicole add a new top 10 to their chart career with “Doctor,” which arrives at No. 8 as the week’s Hot Shot Debut. While Luck Ra scores his seventh top 10, Nicki Nicole banks her 11th, tying with Karol G for the fourth-most among women. With 11 top 10s each, both trail Maria Becerra, who continues to lead with 28 top 10s, and Emilia and Tini, both with 18 top 10s.
Luck Ra also crosses off a new achievement, as “Hola Perdida (Remix)” with Khea, takes home the Greatest Gainer award, as the song flies from No. 92 to No.19.
Spanish artist Ana Mena earns her first entry with the Emilia collab, “Carita Triste” at No. 26. Meanwhile, Maisak’s “Se Me Olvida,” featuring Feid, debuts at No.45.
Below the top 50, seven other songs make its first chart appearance, starting with Salastkbron and Omar Varela’s “Dímelo Mami” at No. 56.
Elsewhere, Vilma Palma makes its maiden debut thanks to “Auto Rojo,” with Marama, at No. 75. Omar Courtz, De La Rose and Haze follow with “Kyoto” at No. 77, Q’ Lokura and La K’onga’s “La Última Granada” at No. 85, Lisas’ “New Woman,” featuring Rosalia, at No. 88, Ciro’s “Me Gusta” at No. 89, FloyyMenor’s “Tu Ta Rika” at No. 90, while Lira Música and Kingto’s “El Pronóstico” at No. 94.
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Grammy-nominated music producer TOMOKO IDA spoke with Billboard Japan for its Women in Music interview series, featuring female players in the Japanese entertainment industry. The WIM initiative in Japan launched in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work.
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One of the few female music producers in Japan and abroad, TOMOKO IDA co-produced the first track “obstáculo” on Puerto Rican music producer Tainy’s debut album DATA in 2023, which was nominated for Best Música Urbana Album at the 66th Annual Grammy Awards. As the first Japanese woman to be nominated for a Grammy as a music producer, TOMOKO IDA shared her thoughts on why female producers are in the minority in the music industry.
How did you become a music producer?
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My mother was a music teacher and I took piano and dance lessons since I was six years old. When I was in the second or third grade, the (J-pop) dance and vocal group ZOO was popular, and I became interested in 90’s hip-hop and new jack swing. I also longed to go to New York after watching music videos and dreamed of working in the U.S. someday. Time passed and I began DJing, then a few years later, I started performing as a beat maker using a MPC in a two-woman duo. It was rare to see women performing with a sampler at the time, and people were excited to see our shows when we performed overseas. When it was time to find a job after college, I considered working for an ordinary company, but my mother said, “Why not do music?” and encouraged me, so I chose to work part-time and focus on making beats.
Why did you decide to become a music producer rather than an artist that performs in front of an audience, even though you debuted in a duo as a MPC player?
Performing live with a sampler and DJing requires flexibility and instant response on the scene, but I have always loved making things and am better at taking my time to create something. Plus, I hadn’t heard of too many female music producers, so I wanted to spearhead it. By 2016, I started to focus more on producing.
You’ve produced music for famous J-pop artists such as AI, Daichi Miura, SixTONES, and EXILE TRIBE, as well as music for fashion advertisements. Could you tell us what you do as a music producer?
I sense that the definition of a music producer has been changing with the times, and it’s also different from country to country. In Japan, the definition seems to refer to people who produce everything from the concept and selection of members [of an idol group], like Yasushi Akimoto and Tetsuya Komuro, but in the U.S., if someone makes a track, then that person is often called a music producer. In my case, I’m often asked to produce music by artists who’ve already established their careers, so as a music producer I try to produce music that will make those artists shine brighter.
A lot of the songs you produce for Japanese artists are powerful. Do you think there’s a difference in the ideal image of women in Japan and America?
It does feel different depending on the country. For example, I have a feeling Japanese men find fragile women attractive. Maybe that’s why there are lots of songs and lyrics that lean towards that direction. But in the U.S., powerful women are more popular.
You accomplished an extraordinary feat in becoming the first Japanese female producer to work on a Grammy-nominated album. From your position, do you have any thoughts on how things could be improved to make it easier for women to work in the industry?
I still think it’s necessary for forerunners [like us] to pave the way. For example, in Japan’s hip-hop scene, Awich is currently leading the way and doing well as a female rapper. I think opportunities for women will expand if there are more people like her, so I’d also like to do my best as a music producer to make it easier for more women to follow suit. I’d like to see more Japanese people go out into the world because in the community of producers and songwriters in L.A. where I currently live, there are very few of us compared to other Asians.
The skills required for both performing with a sampler and being a music producer don’t seem to be too demanding in a physical sense, so why do you think there aren’t too many women in these fields?
It’s said that female producers make up less than 3% of the total even now. We use machines and computers, so maybe people think it’s mechanical and science-oriented. I don’t think it’s a hard job for women to do, but there are so few women that people seem taken aback to see me in the studio. I also seem to surprise people in a good way for my skill, because apparently Asian women look young for their age.
What advice would you give to yourself in the first year of your career?
I’d say, “Keep making music.” It’s not always easy to get your songs chosen when working as a music producer. Even when you’re personally offered an opportunity, only a few of the songs you write will make the cut. It might seem like a glamorous world, but it takes quite a bit of quiet dedication and you just have to keep at it.
What are your next goals?
I was able to become a Grammy-nominated producer, so I want to become a Grammy-winning producer someday. I don’t know when that will be, but I’ll continue to make music toward that goal.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Tejano hitmakers Grupo Frontera are giving fans an exclusive look at what a typical day on tour looks like, and how they spend the last few hours leading up to the show.
Hailing from the border city of Edinburg, Texas, the six-piece band is currently halfway through its 38-date Jugando A Que No Pasa Nada Tour in support of their 2024 album of the same name, across the United States, Mexico and Canada.
During a recent stop at the Barclays Center in Brooklyn on Aug. 29, the group invited Billboard backstage to share insights into the dynamics of their tour and the deep connection they forge with audiences, particularly the Mexican community.
“Seeing the Mexican flag in an arena like this honestly makes me feel like I’m at home,” shared one concertgoer. Another fan highlighted the unifying power of their music, noting, “I think it’s a very beautiful thing that Mexican music is bringing a lot of people together, people that do not understand Spanish, or speak the language, but they are still here — and they’re listening to our music.” The event also attracted Dominican and Puerto Rican fans, many of whom were introduced to Grupo Frontera through their collaborations with artists like Bad Bunny and Arcángel.
“Meeting a bunch of Mexicans over here in New York, Chicago, Washington or wherever it is that we’re gonna play, I feel like there’s just that connection. O sea, la raza [the Mexican race],” frontman Adelaido “Payo” Solís told Billboard.
“But what’s even more crazy is that everywhere we go — literally every single place that we play — people tell us, ‘Oh, I’m from The Valley too.’ Which is from where we’re from! That’s crazy, because I’m like, ‘What are you doing over here, bro?’ Like, you’re far as hell from home!” he continued, also noting the universal appeal of Mexican music, which unites people regardless of language.
Billboard‘s Tour Stop with Grupo Frontera also captured the band unwinding with a game of basketball and discussed their personal favorites, from Frontera songs to food. They expressed gratitude to their fans, including a touching shoutout to a blind girl who writes them letters in Braille.
Above, watch Grupo Frontera’s behind-the-scenes video of their tour stop in Brooklyn, New York.