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Entertainers need to be well-versed in business, and rappers like Lil Baby understand that — especially in today’s music industry. Earlier this year, the Atlanta rapper recently graduated from the Harvard Business School Program “Launching New Ventures” and his family celebrated with a party. A video surfaced online showing Lil Baby attending class and then […]

Megan Moroney is just 27, but she already knows all about the ups and downs of awards shows. On Nov. 8, she learned that she had been passed over for a Grammy nomination for best new artist. Just 12 days later, she won the CMA Award for new artist of the year.
Moroney’s situation isn’t unique. Since 1981, when the Country Music Association introduced its horizon award (renamed new artist of the year in 2008), most of their winners haven’t received Grammy nods for best new artist. Even such giants as Randy Travis, Garth Brooks, Keith Urban, Rascal Flatts and Morgan Wallen were passed over for Grammy best new artist nods.

The situation has improved markedly in recent years, as the graphic below shows. But the Recording Academy still has work to do to make sure that country artists are getting a fair shake in the marquee categories.

Here is every CMA winner for the horizon award and new artist of the year, divided into four categories – those who also won the Grammy for best new artist; those who were nominated for the Grammy for best new artist but didn’t win (and who won in that category!); those who were not eligible for a new artist Grammy nomination that year (because of prior Grammy nods or wins); and those who were eligible for the Grammy, but were simply not nominated. The year shown is the year of the CMA ceremony where the artist won.

We cap this discussion by showing the four CMA winners for the horizon award/new artist of the year who have yet to win a Grammy in any category. (Moroney has lots of time to move off this last list.)

One lesson from this list is that we need a variety of awards shows – all-genre shows like the Grammys and genre-specific shows like the CMA Awards and their country brethren. What one show misses, hopefully, the other catches.

Won CMA Award; Won Best New Artist Grammy

1997:   LeAnn Rimes 2006:   Carrie Underwood2010:   Zac Brown Band        

Won CMA Award; Nominated for Best New Artist Grammy, But Lost

1984:   The Judds (lost to Cyndi Lauper)1998:   Dixie Chicks (lost to Lauryn Hill)2000:   Brad Paisley (lost to Shelby Lynne)2004:   Gretchen Wilson (lost to Maroon 5)  2007:   Taylor Swift (lost to Amy Winehouse)2008:   Lady A (lost to Adele)2011:   The Band Perry (lost to Bon Iver)     2012:   Hunter Hayes (lost to fun.)2013:   Kacey Musgraves (lost to Macklemore & Ryan Lewis)2016:   Maren Morris (lost to Chance the Rapper)    2018:   Luke Combs (lost to Dua Lipa)         2021:   Jimmie Allen   (lost to Olivia Rodrigo)2023:   Jelly Roll (lost to Victoria Monét)     

Won CMA Award; Not Eligible for Best New Artist Grammy That Year

1983:  John Anderson (had been nominated for an early solo hit at the 1982 ceremony)     2009:   Darius Rucker (had won two Grammys with Hootie & the Blowfish)         1995:  Alison Krauss (had won three Grammys – one solo and one each with The Union Station and The Cox Family)2015:  Chris Stapleton (had received three previous Grammy nods with his group, The SteelDrivers)

Won CMA Award; Not Nominated for Best New Artist Grammy

1981:  Terri Gibbs      1982:  Ricky Skaggs  1985:  Sawyer Brown1986:  Randy Travis   1987:  Holly Dunn     1988:  Ricky Van Shelton      1989:  Clint Black      1990:  Garth Brooks  1991:  Travis Tritt       1992:  Suzy Bogguss 1993:  Mark Chesnutt1994:  John Michael Montgomery     1996:  Bryan White    1999:  Jo Dee Messina           2001:  Keith Urban    2002:  Rascal Flatts    2003:  Joe Nichols     2005:  Dierks Bentley2014:  Brett Eldredge 2017:  Jon Pardi         2019:  Ashley McBryde         2020:  Morgan Wallen2022:  Lainey Wilson 2024:  Megan Moroney

Won CMA Award; Has Yet to Be Nominated for a Grammy in Any Category

1993:  Mark Chesnutt2014:  Brett Eldredge 2017:  Jon Pardi         2024:  Megan Moroney

The 2024 MAMA Awards have arrived!
Going into the three-day international K-pop awards ceremony taking place at Hollywood’s Dolby Theatre (on Nov. 21) and the Kyoawea Dome in Osaka, Japan (Nov. 22-23), aespa is the leading nominee, racking up eight nods, including multiple recognitions in the night’s “Grand” awards like the Visa Artist of the Year, Visa Song of the Year, and Visa Album of the Year. Following the girl group is JENNIE with seven nominations, with the BLACKPINK star’s solo work earning her recognition in Grand award categories like Artist and Song of the Year.

Acts like Girls’ Generation’s TAEYEON, SEVENTEEN, (G)I-DLE, IVE, LE SSERAFIM, and RIIZE all scored multiple nods across the Grand awards as well.

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The MAMAs officially kicked off in Los Angeles on Thursday, Nov. 21, with a morning media press conference with US performers J.Y. Park and RIIZE previewing their performances. In sharing details about his Anderson .Paak collaborative performance night, Park teased a slightly impromptu performance with his “favorite drummer” where the two focused more on feeling out the performance in the moment. Meanwhile, RIIZE shared their stage invoked Michael Jackson with eldest member Shotaro teasing a dance section between himself and member Wonbin that drew inspiration from an “eclipse.”

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Who will emerge the big winners across three nights of awards, performances and more surprises? Follow along with Billboard throughout as we keep track of the winners, updating live. 

Best New Male Artist82MAJORALL(H)OURSAMPERS&ONENCT WISHNOWADAYSTWS

Best New Female ArtistBABYMONSTERILLITMEOVVQWERUNISYOUNG POSSE

Best Male GroupENHYPENNCT DREAMSEVENTEENStray KidsTOMORROW X TOGETHERZEROBASEONE

Best Female Group(G)I-DLEaespaIVELE SSERAFIMNewJeansTWICE

Best Male ArtistBAEKHYUNJiminJung KookLim Young WoongTAEMIN

Best Female ArtistIUJENNIENAYEON (TWICE)TAEYEONYUQI ((G)I-DLE)

Best Dance Performance Male SoloJimin– WhoJung Kook – Standing Next to YouKEY – Pleasure ShopTAEMIN – GuiltyTAEYONG – TAP

Best Dance Performance Female SoloHWASA – NAJENNIE – You & MeNAYEON (TWICE) – ABCDSUNMI – Balloon in LoveYUQI ((G)I-DLE) – FREAK

Best Dance Performance Male GroupNCT 127 – Fact Check RIIZE – Love 119SEVENTEEN – God of MusicStray Kids  – LALALALAENHYPEN – Sweet VenomTWS – plot twist

Best Dance Performance Female Group(G)I-DLE – Super Ladyaespa – SupernovaILLIT – MagneticIVE – BaddieLE SSERAFIM – EASYNewJeans – How Sweet

Best Vocal Performance SoloBIBI – Bam Yang GangIU – Love wins allLEE MU JIN – EpisodeLim Young Woong – WarmthTAEYEON – To. X

Best Vocal Performance Group(G)I-DLE – FateAKMU – HeroDAVICHI – A very personal storyPLAVE – WAY 4 LUVRed Velvet – Cosmic

Best Rap & Hip-Hop PerformanceDEAN – DIE 4 YOULee Young Ji – Small girl (Feat. D.O.)Leellamarz -Boys Like Girls (Feat. Gist, Jayci yucca)RM – LOST!ZICO – SPOT! (Feat. JENNIE)

Best Band PerformanceDAY6 – Welcome to the ShowHYUKOH, Sunset Rollercoaster – Young ManLUCY – The knight who can’t die and the silk cradleN.Flying – Into YouQWER – T.B.H

Best CollaborationGroovyRoom – Yes or No (Feat. HUH YUNJIN of LE SSERAFIM, Crush)Jay Park – Taxi Blurr (feat. NATTY of KISS OF LIFE)Lee Young Ji – Small girl (Feat. D.O.)Sung Si Kyung, Naul – Even for a momentZICO – SPOT! (Feat. JENNIE)

Best OSTCrush – Love You With All My Heart (Queen of Tears OST)ECLIPSE – Sudden Shower (Lovely Runner OST)LEE CHANGSUB – Heavenly fate  (A Not So Fairy tale OST)Roy Kim – Whenever, Wherever (My Demon OST)TAEYEON – Dream (Welcome to Samdal-ri OST)

Best Music Videoaespa – ArmageddonIU – Love wins allIVE – HEYAK.Will – No Sad Song For My Broken Heart (Prod. Yoonsang)SEVENTEEN – MAESTRO

Best Choreographyaespa – SupernovaILLIT – MagneticLE SSERAFIM – CRAZYNewJeans – SupernaturalRIIZE – ImpossibleTAEMIN – Guilty

Visa ARTIST OF THE YEAR

Visa SONG OF THE YEAR

Visa ALBUM OF THE YEAR

Visa FANS’ CHOICE OF THE YEAR

FANS’ CHOICE MALE / FANS’ CHOICE FEMALE

In just two months, MEOVV has leaped onto the K-pop scene by showcasing a promising range and bold artistry set to claw out a legacy all their own.
The five-member girl group is the first-ever launched by THEBLACKLABEL, the agency founded by legendary producer Teddy with over 25 years in crafting K-pop classics by the likes of BIGBANG, 2NE1, PSY and BLACKPINK, that now houses top talent like Rosé, Taeyang, Jeon Somi and more. The excitement around MEOVV’s debut translated into a record deal with Columbia Records, millions of views on the group’s intriguing, fashion-forward teaser visuals, and bold debut single “MEOW” roaring onto Billboard’s World Digital Song Sales chart at No. 10 in September.

Despite the ultra-polished visuals and Teddy’s guiding hand, MEOVV balances raw confidence and relatability as seen in their two new singles: the energetic anthem “BODY” and emotionally charged “TOXIC.” The songs establish the five-piece’s immense range of potential, effortlessly transitioning from a fierce, pump-up track to a throbbing, electro-pop midtempo with universal emotional resonance.

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MEOVV members Sooin, Gawon, Anna, Narin and Ella’s impressive multilingual abilities — able to communicate in English, Korean, Japanese, Chinese, and Spanish — are matched by an undeniable warmth and relatability. Speaking with Billboard from Seoul during an evening Zoom call, the members spoke mostly in English but flowed seamlessly between languages, exuding a genuine camaraderie that belied their relatively short time as a group. Even with just months under their belts as a team, the group spoke about the pride they had in their music (especially as “TOXIC” was co-written by Gawon and Narin) and hoping to be a place of comfort for fans (emphasizing how they want to be relatable and authentic).

Trending on Billboard

As MEOVV continue to prowl forward on their journey together, get to know the K-Pop Rookie of the Month for November 2024 as they share details about how they formed, advice from BLACKPINK, their inner cats and more.

MEOVV just debuted in September with two new singles in November. How have these past couple of weeks and months been for you?

GAWON: Wow. Super hectic, but very exciting.

ELLA: Where we came out with our debut only about a month ago, we got to see a lot about how we kind of are on stage in front of people so it was really a good learning period of time to see what we could do better, what we could maybe work on or keep doing. It was like a good time to learn and grow. And now we’re ready for our next release.

Can you tell us how MEOVV formed and what it was like when the five of you came together?

NARIN: We all come from different backgrounds and have lived very different lives. So when we first met at THEBLACKLABEL, we were like complete strangers. But I think we also had that strong connection to each other since we all love music — we have a strong, shared passion for music, shared vision, common interests and everything. I think it was very natural for us to connect to each other and really become a team.

GAWON: Yeah, I think that just brought us together. And then one day we just found ourselves recording “MEOW,” filming videos, preparing, and rehearsing. SOOIN unnie and I knew each other from a few years back and then we reunited at THEBLACKLABEL and it was like, “Oh my God, what the heck, you’re here!”

NARIN: And I think when we first started recording our first debut song, “MEOW,” we all have so different voices and it’s very unique, but when recording, it was all just like becoming one song.

GAWON: And I think we started to feel like, “Oh, this makes so much sense.” Like, when we were also in the studio, we just sonically made sense. At that time, we didn’t really like, know each other on a deeper, deeper level so I think through those kind of processes and preparing for our debut, we got to know each other and we bonded over that. I think it just felt right. Yeah, it felt right. 

You are the first group from THEBLACKLABEL, millions of people have viewed just your trailer teasers, the “MEOW” music video earned over 30 million views. Did you feel pressure to live up to any expectations?

ELLA: I think there definitely was times of pressure, but I think it was mostly, like, excitement — we were excited to finally put out music now. But when there were moments of pressure, I think we channeled it well into working hard.

GAWON: Yeah and when there were moments of pressure, it was mostly just excitement. Like, “Yeah! We’re gonna debut! Yeah!” I think we were able to turn that into motivation and just fuel for the fire that we had while preparing to be out in the world.

MEOVV is the newest girl group produced by Teddy, a legendary producer. Were you Teddy fans or fans of any of the artists he worked with in the past?

SOOIN: We were all definitely fans.

GAWON: I came from the States, but I was still surrounded by his music growing up. It’s just everywhere.

NARIN: And his music is just so iconic.

GAWON: With the legacy that he created in music, we’re just so excited to be able to continue that as MEOVV. I love everyone and everyone he worked with — even 1TYM!

K-pop fans may have knew ELLA’s background and being close with the BLACKPINK members. How did you get to know them?

ELLA: It just came naturally because when I first came to THEBLACKLABEL, I met them when I was really young, just one time in the studio when they were working. Then while we were preparing for our debut, we got a lot of tips and advice from them so they’re really supportive. It’s kind of crazy thinking like, “Oh, I met them kind of doing what we’re doing now.”

GAWON: It really puts things into perspective. They’re so sweet and give such such great advice.

ELLA: They’ve been doing this for so long — it’s like, what better person to get advice from than them? They know it best.

In September, “MEOW” debuted at No. 10 on the World Digital Song Sales chart. Did you see the news?

NARIN: I definitely remember the moment when GAWON unnie found it out and then she told us — I think we were in the elevator, yeah —

GAWON: I was just scrolling and I was like, “Huh? What?”

ELLA: We didn’t believe her at first!

NARIN: We said, “What do you mean Billboard? What do you mean?” And then we all started cheering.

ALL: Yay, Billboard! [Cheering and laughing]

Let’s discuss the new singles “TOXIC” and “BODY.” What do these songs mean to MEOVV?

GAWON: Well these two new releases are very different from “MEOW.” The two songs are very contrasting to each other. But at the same time, they’re able to simultaneously compliment each other in a way where it just balances everything out.

NARIN: “TOXIC” is very emotional and very honest; it’s more vulnerable. We’re also more emotionally attached to this one because we wrote the lyrics. It’s been a minute since we wrote, but GAWON and I were in the studio and they just put on a random song, which was just the beat and maybe melodies for the chorus on “TOXIC.”

GAWON: Yeah, melodies for the chorus and a theme of “toxic.” This song is about being toxic and then, um, he [Teddy] left us in the studio. He was like, “Oh, I have to go do something. You guys do whatever you want with it. Have fun.” [Laughs]

NARIN: I love how the emotions that we had while writing lyrics are now for everyone to share with us.

GAWON: It shines in the music video too, it’s just a lot of shared emotions. It’s kind of like a full circle moment. We love “TOXIC.”

Would it be safe to say “TOXIC” is everyone’s favorite single over “BODY”?

NARIN: Oh, that’s very tricky because “BODY” feels like one of our members now — it’s like our friend. It’s always there in the practice room…

ELLA: It’s always there…

GAWON: …in the car. It’s this kind of energy that we just hold with us everywhere we go. Especially moments before stage, we’re like, “Let’s go, let’s go!”

How was shooting the music videos?

GAWON: Oh my god, it’s so special…both videos for each of the songs hold a very special place in our heart because It was very natural; it was very pure. Like us in our purest forms [for “TOXIC”].

ELLA: It wasn’t even like a music video shoot. It was just like, “Oh, it was like a hangout moment” and they were just capturing the moment. And then with “BODY” it’s just like, we just had so much fun; we just had so much fun having a party. We were bonding after that.

ANNA: There was a scene [in “TOXIC”] where we were just like running around the street, just playing like little girls, Everyone was watching us. Actually. It wasn’t like a set, It was just [outside] on the street and when the light green, It was like, “Let’s just go!” and then we started running, jumping, lying down. It was really nice.

ELLA: It wasn’t a [traditional music video] set, we were outside and when recording started, it was like, “Let’s just go!” and we started running, jumping, lying down.

What messages do you want to share with “TOXIC” and “BODY”?

NARIN: They’re both about our raw emotions and our authenticity. 

GAWON: They’re very honest so I feel like people could look forward to that and we hope that a lot of people can resonate with both songs in these different aspects of being confident but also at the same time being able to be more vulnerable about your true emotions and your experiences.

ELLA: I hope that when people watch the music video, they’re entertained by watching us and our sort of vulnerability and emotion, but they are also like they also can kind of find that with themselves.

GAWON: Yeah, I hope they see themselves in us.

As a fun question about your concept, I’d love to know what kind of cat your members identify with one another.

ELLA: Starting with GAWON unnie, she’s such a big cat — like a leopard.

SOOIN: Or a cheetah! She has long legs too, she’s big and tall.

ELLA: And she likes cheetah print so it’s your vibe.

NARIN: And Anna Jang?

ELLA: She’s like a kitten!

NARIN: You’re like a little, white English Shorthair; that’s what you are!

ELLA: But it has to be a baby,

SOOIN: A small, shy baby, kitten.

ANNA: I agree with that. [Laughs]

NARIN: I feel like SOOIN needs blue eyes, because she loves blue, she’s obsessed with blue…

SOOIN: I love blue. [Shows blue accessories, notebook and blue phone case]

ELLA: So, a Siamese cat with blue eyes.

SOOIN: I like it.

ELLA: And for NARIN, I think you’re not a regular cat but from The Aristocats animation, what’s the one with the pink bow’s name? Marie from The Aristocats, yeah.

GAWON: She is so Marie.

NARIN: Thanks, I like that.

GAWON: You know what you are, ELLA? You are Puss in Boots — like a tabby cat.

NARIN: With the smirk.

ELLA: Yeah, I like the orange ones — that’s my personality too. I like it.

Thank you for the very satisfying answers across the board. To wrap up, looking at MEOVV overall, what are your goals and dreams as a group?

ELLA: I just hope that people will get inspired listening to our music and maybe discover more about themselves and their emotions. 

GAWON: Being able to connect with more people through our music, I just want people to feel something when they see us. Whatever emotion that may be, just to share experiences and feelings together. In terms of goals, I think we just want to establish MEOVV further and just create our identity and while also keeping our own individuality.

What else should we look forward to, or do you want to share with fans now?

SOOIN: We have so many songs that we’re working on and we picked the best out of the best for this release. So, it’s just only a bit of what they’re about to show to the world. We hope that people are looking forward to us in the future!

ANNA: This time, our songs are really good so I want to show a better performance while preparing for it. In the future, I hope I can show it to the fans around the world soon.

GAWON: One last thing I would like to say is that we’ll just thank you for your continued support — all the fans and everyone who is tuning into our music.

The party’s just getting started. Juice WRLD’s team released the trailer for the late rapper’s final posthumous album The Party Never Ends on Thursday (Nov. 21). The Party Never Ends is set to arrive just days ahead of the fifth anniversary of Juice’s death on Black Friday (Nov. 29). “Been 5 years kid, still missing […]

Mac Miller‘s family is planning on releasing a second posthumous album on the fifth anniversary of 2020’s Circles —his first posthumous album in which the late rapper was working on prior to his untimely passing in 2018. Explore Explore See latest videos, charts and news See latest videos, charts and news The Pittsburgh rapper’s family […]

While Lil Wayne won’t be rocking the Super Bowl halftime show next year, the New Orleans icon is set to perform in Atlanta alongside the likes of Camila Cabello and GloRilla at the College Football Playoff to kick off 2025. AT&T revealed its lineup for the Playoff List Live! concert series on Thursday (Nov. 21), […]

Guadalajara, Mexico-born singer-songwriter Jasiel Nuñez scores his first entry on a Billboard albums chart with La Odisea, his second studio effort, which launches at Nos. 8 and 6 on the Top Latin Albums and Regional Mexican Albums charts, respectively (dated Nov. 30).
La Odisea, a double album comprising 20 tracks, was released Nov. 7 on Double P Records, home to Tito Double P, who also placed a top 10 debut on both charts in 2024. The set starts with 9,000 equivalent album units earned in the tracking week of Nov. 8-15, according to Luminate.

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Streaming activity contributes to the majority of La Odisea’s first week-sum, which equates to 12.7 million official on-demand streams of the album’s songs, while the remaining units stem from a negligible amount of activity from sales and track-equivalent album units. On Top Latin Albums, one unit equals to one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.

In addition to label mate Tito Double P, Nuñez follows the footsteps of the eight other regional Mexican soloists who achieved a top 10 debut album this year. In total, 19 albums across Latin genres launched in the top 10 on Top Latin Albums in 2024, 12 of which (by groups and solo singers) belong to the regional Mexican genre.

Here is that striking list of regional Mexican top 10 debuts on Top Latin Albums and Regional Mexican Albums charts in 2024:

Debut Date, Debut Pos., Title, ArtistJan. 6, No. 9, Distorsión, Oscar MaydonJan. 20, No. 5, Corridos Bélicos, Vol. IV, Luis R ConriquezFeb. 24, No. 7, Dolido Pero No Arrepentido (EP), Fuerza RegidaMay 25, No. 10, Jugando A Que No Pasa Nada, Grupo FronteraJune 8, No. 5, The GB, Gabito BallesterosJune 15, No. 8, Boca Chueca, Vol. 1, Carin LeónAug. 3, No. 1, Mirada, Ivan CornejoAug. 10, No. 2, Pero No Te Enamores, Fuerza RegidaSept. 7, No. 2, Incómodo, Tito Double POct. 26, No. 9, Next, XaviNov. 2, No. 7, Que Sigan Llegando Las Pacas: Extended, Chino PacasNov. 23, No. 8, La Odisea, Jasiel Nuñez

With La Odisea, Jasiel Nuñez scores his first entry on his first try on any albums chart, after placing six songs on the multi-metric Hot Latin Songs chart, five through Peso Pluma partnerships.

In addition to two Peso Pluma collabs, “Bipolar,” which also features Junior H, and “Me Activo,” 24-year-old Nuñez places a third song from La Odisea on the tally–which combines radio airplay, streaming activity and digital sales into its formul–, there, “En Mi Mundo,” also with Pluma, debuts at No. 31.

Nuñez also steps onto the all-genre Billboard 200, where La Odisea starts at No. 167.

Bruno Mars is a supportive friend! The superstar took to his Instagram Stories on Wednesday (Nov. 20) to share a series of accomplishments from his latest collaborations with Lady Gaga (“Die With a Smile”) and BLACKPINK’s Rosé (“APT.”). “My girls Gaga and Rosie out here making history,” he wrote on the final slide, which you […]

With three full-length albums and two EPs under his belt, Mac Ayres has been extremely prolific since he first started releasing music in 2016. For his latest project, the Sea Cliff, NY, native pumped the brakes, rolled up his sleeves and dug into his archive to dust off some of his earliest cuts from his SoundCloud days. 
The earliest of the songs date back to 2016, when Mac was contemplating dropping out of his songwriting major at Berkeley College of Music in Boston, Mass. Wracked with anxiety and struck with an instantly recognizable yearning for stability, the songs on Cloudy float. In these early cuts, Ayres prioritizes contouring his sweeping melodies with ethereal arrangements over verbose lyricism. 

 With all his influences on full display, Cloudy offers a rare peek into the formative years of one of R&B’s most interesting and most underrated singer-songwriters, now 27. He’s not just revisiting his roots; he’s fully entrenching himself and his audience in the throes of those turbulent times. 

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In celebration of the compilation’s release (Nov. 8), Ayres performed an intimate piano-and-mic set at New York City’s LPR. He played tracks from Cloudy, his most notable hits, and a few covers that allowed him to recapture the freedom of his years as a bar musician. 

“[By the time my first EP] Drive Slow came out, I was 20. I had eight years of practicing being in front of people and performing,” he tells Billboard. “It’s a really important part of my artistry. That was the most fun to get back to. This has been a very musically liberating experience.” 

In a self-reflective conversation with Billboard, Mac Ayres talks about all things Cloudy, the emotional weight of revisiting your past, and his plans for 2025. 

What exactly do we call this project? Is it even important to you to properly demarcate what kind of project this is? 

Amongst my team, there has been some discourse. [Laughs.] I’m not too big on, “Is this an album versus an EP” or whatever, but this project feels like a compilation. I made the last five albums with the goal of having an album at the end. These songs are all old and from the SoundCloud time of my life. Not only did I not think I was making an album, I thought nobody would ever hear them. That makes this project separate from the other albums, at least in my head. 

What was it like revisiting your SoundCloud era from a 2024 perspective? 

It’s been a really healing time for me. I went back to Boston – I wrote a lot of these songs when I was at school there – and to be in the physical space I was in, it was interesting to think about where I was mentally back then. 

I had no idea what was next for me. I was ready to find another avenue in music, whether it was teaching or being a bar musician like I was in high school. I was down to keep that going, we make okay money sometimes! It’s a full-circle moment for me to come back to these tunes. I have changed so much as a musician, but mostly as a person. 

When was the earliest of these songs written? 

In the fall of 2016, then the latest one couldn’t have been later than the top of 2018. There were some mild reworkings I had to do. I had to recreate an instrumental for one of them to get around clearing a sample of Chaka Khan’s “Everywhere” that was on the SoundCloud version.  I wound up replaying a lot of it this year on what I had at home – guitars, keyboards, etc. I really didn’t want to get rid of it. 

Vocally, it’s all the original takes. We had to do some deep diving for those old sessions. It’s also mostly the original, shitty mixes I did in my college apartment. 

Why was it important for you to keep those original vocal takes? 

I think there’s a lot of magic in what some people would call the “demo track.” I’m not in the business of making a perfectly polished thing. I’m in the business of catching lightning in a bottle and making sure that when you’re listening to it, you can hear all of my stuff that I put into it emotionally and spiritually. I guess it helps that these songs have been out on SoundCloud, and I [didn’t] want to make a regurgitated version of them. I wanted them to be the songs that people enjoyed. 

Did you hear anything in those original tracks that might have made you cringe? Or were you surprised at any choices you made back then? 

[Laughs]. I’d say [there were] a couple of cringes here and there. But I think that’s also a beautiful part of coming back to these songs. Maybe the shit that I think is cringey now as a 27-year-old was really cool to a 20-year-old. I find that as you make more and more stuff, you find yourself falling into patterns. I was such a blank canvas back then that there were a couple of decisions I probably wouldn’t make today. 

What were some of those specific sonic impulses that were more apparent in your earlier songwriting? 

Compared to my last record, this project feels very wordy to me. Some of the songs on this project are literally five words total; it’s just a hook or a musical motif that just feels good. I almost feel like it’s teaching me to go back to my impulses a little bit. Sometimes all you need to do is say one word. Or all you need to do is say three words. The last record was more so me ripping out of my journal, and with Cloudy, you just gotta catch the feeling. 

Talk to me a bit more about the emotional space you were in when you wrote these songs. 

I was in my junior year at Berkeley College of Music in Boston. I had fallen really out of love with everything about school. It’s not like I was ever a great student, but I was really into it my first couple of years as a songwriting major and then I fell out of love with the classroom [environment]. 

We were doing a lot of homework assignments like, “Write a song about your favorite childhood pet!” And I’d be like, “I don’t want to.” [Laughs.] So, I would stay in my apartment and work on the songs that I wanted to write. I was learning how to produce for myself at the time; I was in a new relationship; I was in the process of calling my entire family (who are all lawyers) and telling them that I was dropping out of school. 

I was a lot of uncertainty. I didn’t know what was next. It was a very leap of faith moment for me; I trust myself. To this day, I trust the work that I put in, and everything worked out for me. Me and that girl are celebrating our eight-year anniversary in March! 

What’s the most interesting memory these songs brought back up to you? 

I used to ride my bike to school a lot. I lived in an apartment half a mile from campus, but I rode my bike so I could get home as fast as possible. I remember when I was first writing these songs, it was 2016 – the year the first NxWorries album came out. That album did so much for me, not only as a writer but also in the way I treated myself and my dreams. .Paak was really talking hit shit on there; Knxwledge is one of my favorite producers. I used to ride my bike to “Get Bigger / Do U Luv” all the time. I always think about that kid on the bike and how badly he wanted to make art. He’s still an important part of me today. 

From an archival standpoint, why was it important for you to make sure that all of these songs can be found in one place for your fans? 

I’m paying homage to the people who have stuck around as long as they have. For them, Cloudy is old and nostalgic; they have their own memories attached to it. At the same time, there’s people who may have just heard me for the first time yesterday and Cloudy is what they’ll hear. It’s an important little square on my quilt of artistry. Even though it’s not necessarily “me” right this second, it’s still an important piece of the foundation to get an idea of who I am both musically and personally. 

How did you land on this title? 

There’s the SoundCloud tie-in, but I was just writing a lot about skies. I have “Blue Skies” on there – that’s a really important one. There was a lot of metaphor there. I think there’s something to be said about the clarity you get when the clouds go away, or how you might feel when the clouds are out. There’s a lot to play with there. 

Which of these songs do you think was most indicative of where your sound is today? 

I feel like “Love Somebody” is probably in that group of songs. “Blue Skies” too. Even songs like “She Just Wanna See Me Right Now,” pay homage to all of my favorite genres of music. There’s jazz, hip-hop elements, R&B influence, folksy singer-songwriter stuff. And melodically and lyrically, it’s a big mush of all the people that inspire me. But those three songs definitely were pointing to where I was headed. 

Would you ever sample yourself and if so, what song on Cloudy would you sample? 

Maybe I could try “Somebody New” or something that doesn’t already have drums and it’s just me and the piano. I might have to do that when I get home, just to see if it works. [Laughs.] 

What songs hurt you the most to leave off this project? Will they ever come out? 

I have a song with an old friend of mine named Raelee [Nikole] called “Just What You Say,” and I wanted that to be on Cloudy, but we just couldn’t make it work. I also have a couple of beats – my vocals aren’t on there – and stuff from the SoundCloud era where I’m sampling stuff like Ne-Yo or [Common’s] “Like Water for Chocolate.” I think they tell a little bit more of the story of my producer side, but, for the most part, we got all my favorites on there. 

You’re hitting the road soon. What can you share about that? 

At the end of November, I’m going to Europe for a couple of days and opening for Keshi. We’re only doing three or four shows out there, but we’re also going to Hawaii, Australia and New Zealand together next February. I haven’t been to any of those places so I’m excited. Next summer, I’m doing a few North American shows with him too. We’re playing The Garden — and as a lifelong Knicks fan, I’m definitely freaking out. 

I always tell people: I sang the National Anthem at one of the Knicks games last season, and it was far and away the most nervous I’ve ever been. Because these are people I watch every single night. Singing at a venue of 1,000 people is whatever; singing in front of Jalen Brunson was the most stressed I’ve ever felt in my life. 

When did you decide that you were going to go the compilation route?  

I had always wanted to do a compilation at some point. I’m always working on stuff. Nothing really solid yet, but I’ve got some ideas. People on social media have always been like, “We need these on DSPs!” and my fans seriously mean a lot to me. They are entirely why I’m where I’m at today, so I always want them to feel like I’m listening and providing the things that they want and like. A lot of this art is for me, but at the end of the day, I’m not me without all of them. 

Where’s your head regarding new music? 

I’m always writing and working on new stuff. I’m always listening to new stuff and trying to grow and see where music takes me next. It always has taken me to places I did not expect. When it’s ready, it’ll be ready. But there’s always more music to make.