Music

20 Questions With Mau P: How His Hit ‘Drugs From Amsterdam’ ’Opened Doors I’ve Been Banging on for Years’

A shining example of how one song can launch a career, Dutch producer Mau P hit the stratosphere in 2022 with his “Drugs From Amsterdam,” an omnipresent global club hit since its August release.

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Based on a simple conceptual premise — “Off my face, don’t know where I am/ ‘Cause I got my drugs from Amsterdam” — the sexy tech-house heater helped cement the ubiquity of the genre this year, while also making the 26-year-old producer born Maurits Westveen part of the global conversation. It also garnered him both a flurry of bookings, along with congratulatory DMs from scene titans like David Guetta and Tiësto.

Out via Lee Foss’ Repopulate Mars label, the song hit No. 1 on the Beatport overall chart shortly after its release, currently has 5.6 million official on-demand U.S. streams according to Luminate and is in its 11th week on Hot Dance/Electronic Songs. It also gained additional momentum with a recently released edit from Dutch techno powerhouse Reinier Zonnefeld.

A producer since age 18, Westveen is gearing up to release his followup single in early 2023, and in the meantime will play some of his first U.S. shows over the holidays, with not one but two New Year’s Eve sets in Southern California (at Proper NYE in San Diego and Insomniac’s Countdown in San Bernardino), before a spring run of U.S. club shows — during which Mau P will surely demonstrate how music is the greatest controlled substance of all.

1. Where are you in the world right now, and what’s the setting like?

I’m in Amsterdam right now, working on lots of new music. The weather really sucks, but the vibes are still there.

2. What is the first album or piece of music you bought for yourself, and what was the medium?

I think it was either deadmau5‘s For Lack Of A Better Name or Stevie Wonder‘s Talking Book. Both albums were CDs, and I must have been 13 or 14 years old. I was just getting into dance music, but at the same time I was also super interested in the music that my parents listened to.

3. What did your parents do for a living when you were a kid, and what do or did they think of what you do for a living now?

Both of my parents are musicians actually. My dad was a saxophone player — he contributed to a lot of songs and played with many different live acts. Next to that he was a conductor and later on he mainly worked as an arranger. He met my mom at the conservatory where he taught music, at that time she actually was one of his students! She’s a wonderful singer and has been in a lot of different bands throughout her career.

Sadly, my dad passed away when I was 18, and he didn’t get to witness the things that I’ve achieved, but I still make all of my music in his recording studio. My mom thinks my dad would’ve been really proud. I know that she is. 

4. What’s the first non-gear thing you bought for yourself when you started making money as an artist?

I believe I bought a really expensive backpack for when I would go on tour; I was convinced that I’d make it as an artist and would need that bag. Funny thing, last month I actually got a new backpack because I needed a new one, as this first one started to fall apart. 

5. If you had to recommend one album for someone looking to get into dance music, what would you give them?

Wow, that’s tough. Just one? Daft Punk‘s Homework, Calvin Harris’s 18 Months, Disclosure‘s Settle and the deadmau5 album I mentioned earlier – the one that got me started. Oh and Skrillex’s Scary Monsters and Nice Sprites

6. What’s the last song you listened to?

SIZZLIN” by The Last Days Of Pompeii.

7. If you could go back in time to any era of dance music history, to when would you go and why?

2000s trance era for sure. I’d do anything to be in a crowd for a Tiësto set around that time. 

8. “Drugs From Amsterdam” has been such a massive hit this year. What was the first moment that you knew you had a monster song on your hands?

Probably when I played it for the first time. I did a show at a club in London, and the crowd was really cool, so I decided to try it out. When I dropped it the whole place just turned upside down. After posting a video of that on my Instagram I started to get a lot of messages about it, and from there on the rollercoaster just never ended.  

9. How has the song changed your life?

It opened up a lot of doors for me that I’ve been banging on for years. I’ve been making dance music since I was 18 — I’m 26 now — and I’ve always wondered how the big guys got to where they are. I was like, “Why is it not me?” or “What am I doing wrong?” I guess it’s all about finding your groove and your sound. I am now 100% inspired and comfortable in the music that I make and ready to give the world a lot more. It’s also so cool to see the big DJs and the whole dance music community support me. I feel like we’re all on a mission together to push the scene forward, and I’m super happy to be part of that. 

10.  What would the younger you think about what your life is like now?

He would be screaming and jumping around for sure.

11.  What else do you love about Amsterdam, besides being able to get drugs there?

I love the people and of course all of my friends that live in the city. I love the energy and I specifically love the city at night. 

12. In terms of controlled substances, which one is your favorite?

The ones from Amsterdam. 

13. I know quite a few iconic DJs have hit you up looking to collaborate. Who’s your dream collaboration?

I’d love to work with Skrillex. I’ve been following him for so, so long, and trying to get a glimpse of his production techniques and the way he manipulates sounds. I’ve always felt like he’s been sent from another world to teach us how it’s really done.

14. What’s the best part about being a hugely popular DJ? The worst?

The best part is the feeling that DJing gives me. The feeling when I’m the one building the mood in a room through music. You’re the one taking everyone on a journey, and every time it’s a new challenge of how you’re going to do that.

The worst part probably is having to control your dopamine. You get so much attention from people mixed with adrenaline from actually being on stage. I’m happy that my first real hit song is happening after doing shows for a couple of years. You really need to be mentally strong and stable for this.

15. How do you plan to follow up “Drugs From Amsterdam”? Are you feeling any pressure, given that it’s such a huge track?

Sometimes I definitely feel the pressure, but I always come to the conclusion that the only way to move forward is to get into the studio and have fun. Stop thinking or worrying. Mess around and make new tunes. The follow up to “Drugs From Amsterdam,” “Gimme That Bounce’” was made in the exact same way. I wasn’t thinking about anything. I wasn’t trying to follow any rules. I was just in the moment creating something that I thought sounded really cool. I’ve been playing it in my sets for a while now and the response is insane, I can’t wait for it to be released early next year. 

16. Have you gotten a chance to play much in the U.S. yet, and if so, how do U.S. audiences compare to European audiences?

Not really. Definitely not with this new sound that I’m doing right now, so I have yet to find out. I’m actually going to play Proper in San Diego during NYE. In February I’ll be back for my North America Tour, I’m really looking forward to that one. You can find me in New York, Chicago, Las Vegas, San Francisco, Los Angeles, Seattle and a lot of other cities!

17. How do you unwind after a big show?

You don’t. You keep on partying. 

18. What’s the best business decision you’ve ever made?

Changed my name to Mau P.

19. Who’s been your greatest mentor, and what’s the best advice they gave you?

My dad. He taught me everything that I know about music until I was 18 years old. I don’t really have any best advice from him, but I made him a promise to one day get a gold record plaque for one of my songs so that I can hang it next to his.

20. One piece of advice you’d give to your younger self?

Stop overthinking and just do whatever you think is cool.

Fans React to Taylor Swift’s Surprise Second Round of ‘Eras Tour’ Verified Fan Tickets

Several Swifties woke up Monday morning (Dec. 12) to discover that a new ray of hope had dawned. Weeks after countless dreams were crushed by the catastrophic Ticketmaster presale for Taylor Swift‘s 2023 Eras Tour — which left many fans without tickets to Swift’s first tour in four years in spite of their preassigned “Verified Fan” statuses — the 32-year-old pop star unveiled a surprise second round of ticket sales specifically geared toward those who missed out.

Certain fans found out they were selected for the Verified Fan sale 2.0 upon receiving an email from Ticketmaster. “Congratulations, you have been selected to participate in a limited-time opportunity to request to purchase 2 tickets to Taylor Swift The Eras Tour,” the email read. “You were selected for this opportunity because you have been identified as a fan who received a boost during the Verified Fan presale but did not purchase tickets.”

“We apologized for the difficulties you may have experienced, and have been asked by Taylor’s team to create this additional opportunity for you to purchase tickets,” it continued, noting that the ticket purchasing window will begin sometime before Dec. 23, with invitations issued on a staggered basis by tour date in each city.

Naturally, Swifties far and wide are rejoicing following the news that many of them will get a second chance at attending an Eras Tour show and coming face-to-face with the “All Too Well” singer, who publicly condemned Ticketmaster’s handling of the original Verified Fan sale in November. The ticketing service experienced mass outages caused by a historic amount of hopefuls flooding its site on sale day, a commotion that wasn’t helped by the surplus of fans to whom Ticketmaster had assigned special Verified Fan presale codes.

“Taylor swift going out of her way to make sure ticketmaster gives ALL fans who got a verified boost a chance to get tickets…,” tweeted one Swiftie on Monday. “This is why we love her.”

Other fans, however, expressed disappointment that they had been shut out of the Verified Fan program a second time over. “HOW did i not get chosen for verified fan presale even though i have a boost, not get tickets on capital one presale AND not receive this email from ticketmaster for tickets?” tweeted another. “I’m soooo sad ? anyone wanna help a girl get to nashville :(”

See more Swiftie reactions to Taylor Swift’s surprise second Verified Fan presale with Ticketmaster below.

Watch SEVENTEEN’s Joshua, Dino and Mingyu Nail ‘Wednesday’ Dance Challenge

Calling Carat and all Little Monsters! Over the weekend, SEVENTEEN hit the LA3C Festival, and three of its members conquered the Wednesday dance challenge in the process.

Stopping to chat with Billboard‘s Tetris Kelly, Joshua, Dino and Mingyu positively nailed the viral TikTok choreography set to Lady Gaga‘s “Bloody Mary,” re-enacting the moves of Jenna Ortega’s Wednesday Addams as Mother Monster’s sped-up vocals sang, “I’ll dance, dance, dance/ With my hands, hands, hands/ Above my head, head, head/ Like Jesus said.”

Ortega revealed in a November interview that she was actually ill with COVID-19 while shooting the now-famous dance sequence — which is actually set to The Cramps’ 1981 single “Goo Goo Muck” — but didn’t receive a positive test result until after she’d finished filming the scene.

And while the Born This Way deep cut doesn’t actually appear anywhere in the Netflix series, the TiKTok trend reached a fever pitch when Gaga slipped into her best goth schoolgirl apparel to rock out to the choreography herself.

Meanwhile, all 13 members of SEVENTEEN also hit day one of LA3C to light up the stage with a fiery hourlong set featuring “HOT,” “Left & Right” and “Very Nice” — the latter of which they repeated an incredible six times due to demand from the ecstatic audience.

In September, the K-pop idols unfurled Sector 17, a repackaging of their 2022 studio set Face the Sun with lead single “_World” as well as added tracks “Circles,” “Fallin’ Flower” and “Cheers.”

Watch Joshua, Dino and Mingyu dance it out to “Bloody Mary” below.

LA3C is Penske Media Corporation’s new music, art and food festival celebrating Los Angeles’ culture and diversity. PMC is also the parent company of Billboard.

Jean Dawson On His First Headlining Tour — And What Made It a Success

After being unable to tour behind his 2020 debut album, experimental alt artist Jean Dawson embarked on his first headlining tour this year with second full-length, Chaos Now, which hit No. 35 on Billboard’s Heatseekers Albums chart. Below, he reflects on the experience.

Being that I had no expectations, everything I received was hyper-special. The tour was completely sold out, which was wild, and the audiences were right there with me. I feel like I made thousands of friends in the span of a month. Nothing was expected, so everything was gifted.

The first Los Angeles show [at The Roxy in November] blew — there were so many suits in the building standing in VIP, just staring and analyzing, seeing how they could commodify the energy in the front, where the audience was at full throttle. I hated it. That show stood out because I could clearly see the disparity between love and greed. The true VIP was the pit where people were feeling the push and pull of what we do together. The area where the “important people” stood was a daycare center for those who feel above the true sentiment of what we did that night. The next night in Los Angeles was amazing, though.

When I did meet-and-greets, which was about every night, I got to see how many people felt a kinship with something that just lived in my head until it didn’t. It’s like getting 20,000 hugs all at once. I think I’ll spend my whole life trying to understand it and, moreover, appreciate that feeling. It was love. For the first time in my life, I felt like no one was judging me. The only challenges that felt like hurdles were not getting sick over and over, which ended up happening.

I’m trying to practice having no goals — sounds counterproductive, but I just want to be. Take everything with grace, gratitude and f–king heart. The shows will [continue to] be legendary because it isn’t about me — it’s about them.

This story originally appeared in the Dec. 10, 2022 issue of Billboard.

Amy Grant, Peter Frampton & More to Perform at Rescheduled Music Center Concert Celebrating A&M Co-Founder Jerry Moss

Live at The Music Center: Concert Celebrating Jerry Moss, Co-Founder of A&M Records is back on. The concert was first announced a little more than a year ago and was set to take place Feb. 11-12, 2022, but was postponed due to rising COVID-19 cases at the time. The “re-imagined” concert is now slated for The Music Center’s Mark Taper Forum on Jan. 14, 2023.

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The show will feature performances by Paul Rodgers of Free, whose rock anthem “All Right Now” was a top five hit on the Billboard Hot 100 in 1970; Peter Frampton, whose double-live album Frampton Comes Alive! topped the Billboard 200 for 10 nonconsecutive weeks in 1976; and Amy Grant, whose poppy smash “Baby Baby” topped the Hot 100 for two weeks in 1991.

“Jerry Moss has always been a music lover first,” Frampton said in a statement. “If it weren’t for him, Humble Pie and my own solo career might never have happened. Jerry has been a champion of mine my entire life and I treasure our friendship.”

“My first awareness of A&M Records was seeing the iconic logo on the inside of a Carole King record [on A&M-distributed Ode Records],” Grant added. “A&M Records was known by all to be the ‘artists’ label’ and it was a dream come true when they signed me. In getting to know Jerry Moss over the years, I was amazed by the breadth of his interests. Whether it was music, horse racing or trekking through Africa, excellence defined everything in which he invested his talents and passions.”

The show will also feature performances by Dionne Warwick, who never recorded for A&M, but is forever linked to Burt Bacharach, who did; Morgan James, Nova Payton and Joe Sumner. Additional performers will be announced. Though not performing, Bacharach, Herb Alpert and Misty Copeland will join the live celebration. The event will also feature pre-recorded appearances by Sheryl Crow, Yusuf/Cat Stevens and Sting

The 90-minute concert will be held on Jan. 14 at 7 p.m. PT. A limited number of concert tickets are on sale now at musiccenter.org/moss starting at $43.

The evening will also feature a pre-concert reception and a post-performance dinner. A limited number of VIP tickets including the reception and/or dinner are available by contacting specialevents@musiccenter.org. Proceeds will support The Music Center’s ongoing efforts to provide free and low-cost access to arts experiences for all Angelenos.

Longtime patrons of The Music Center, Jerry and Tina Moss gifted $25 million in 2020 to help support the cultivation of strong arts and culture-focused partnerships and new programming initiatives at Los Angeles County’s premier performing arts center. The Music Center’s three original venues are united by an expansive outdoor area, which is now named Jerry Moss Plaza.

Alpert, Bacharach and Sting were announced as performers at the 2022 event, along with Merry Clayton and Sérgio Mendes, who are not currently on the bill for the make-up date. There are other changes between the scrapped show and the one that is set for next month. There were going to be two dates at The Music Center’s Dorothy Chandler Pavilion. Now there will be just one, at the adjacent Mark Taper Forum. The concert events were going to be produced in collaboration with John Beug, who worked at A&M in its early years. The concert now is produced by The Music Center in conjunction with Nouveau Productions and executive producer and co-founder Robert Pullen.

2022 marks the 60th anniversary of A&M Records, the legendary label that Alpert and Moss co-founded on a handshake and an investment of $200 from both men. Over 25 years, A&M grew into the world’s largest independent record label, signing such iconic stars as The Police, Carpenters, Janet Jackson and Joe Cocker.

Moss won a Grammy for co-producing (with Alpert) Alpert & the Tijuana Brass’ sleek instrumental “A Taste of Honey,” the 1965 winner for record of the year. Alpert and Moss received trustees awards from the Recording Academy in 1997. They were inducted into the Rock and Roll Hall of Fame in 2006, receiving the Ahmet Ertegun award for non-performers.

After selling A&M Records to Polygram in 1989, Moss and Alpert formed Almo Sounds. Moss serves as chairman of both Almo Sounds and Rondor Music Inc., a music publishing company.

For more information and to purchase tickets, patrons can call (213) 972-0711 or visit musiccenter.org.

Mariah Carey’s ‘All I Want for Christmas Is You’ Returns to No. 1 on Billboard Hot 100

Like Santa setting off on his annual airborne sleigh ride, Mariah Carey makes her ascent back to the top of the Billboard Hot 100 songs chart with “All I Want for Christmas Is You.” The modern carol logs its ninth total week atop the Hot 100 and becomes the first song to have led in four distinct runs on the ranking.

The song was first released on Carey’s album Merry Christmas in 1994 and, as streaming has grown and holiday music has become more prominent on streaming services’ playlists, it hit the Hot 100’s top 10 for the first time in December 2017 and the top five for the first time in the 2018 holiday season, before reigning over the holidays in 2019 (for three weeks), 2020 (two) and 2021 (three).

“Christmas” paces five holiday classics in the Hot 100’s top 10, while Metro Boomin debuts two titles in the bracket – “Creepin’,” with The Weeknd and 21 Savage (No. 5), and “Superhero (Heroes & Villains),” with Future and Chris Brown (No. 8) – both from his new album Heroes & Villains, which launches at No. 1 on the Billboard 200 chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Dec. 17) will update on Billboard.com tomorrow (Dec. 13). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a deeper look at Carey’s latest Hot 100 coronation with “Christmas,” on Columbia Records/Legacy Recordings.

Streams, airplay & sales: “Christmas” drew 36.2 million streams (up 19%) and 29.9 million radio airplay audience impressions (up less than 1%) and sold 6,000 downloads (up 23%) in the U.S. in the Dec. 2-8 tracking week, according to Luminate.

The song holds for a 17th total week at No. 1 on the Streaming Songs chart and No. 7 on Digital Song Sales and rises 23-17 on Radio Songs. It also crowns the multi-metric Holiday 100 chart for a 54th week, of the chart’s 59 total weeks since the list launched in 2011. It has topped the tally for 39 consecutive weeks, dating to the start of the 2015-16 holiday season, and rules as the top title on the Greatest of All Time Holiday 100 Songs chart.

No. 1 in a fourth separate chart run: Carey’s “Christmas” first topped the Hot 100 dated Dec. 21, 2019, and led again on the next two lists, dated Dec. 28, 2019, and Jan. 4, 2020.

The following holiday season, it returned to No. 1 on the chart dated Dec. 19, 2020, and, after a week at No. 2, topped the Jan. 2, 2021-dated tally.

As “Christmas” returned to rule the Dec. 25, 2021-dated chart, it became the first song in the Hot 100’s now-64-year history to lead in three distinct chart runs. It held atop the charts dated Jan. 1 and 8, 2022, and now becomes the first title to have led in four separate stays on the ranking.

Longest span atop the Hot 100: Carey’s “Christmas” extends the longest span from a song’s first week at No. 1 on the Hot 100 to its latest: three years (Dec. 21, 2019-Dec. 17, 2022).

Plus, the latest week atop the Hot 100 for “Christmas” extends Carey’s record for the longest span of an artist ranking at No. 1 on the chart: 32 years, four months and three weeks, dating to her first week at No. 1 on the list dated Aug. 4, 1990, with her debut single “Vision of Love.”

Notably, when “Christmas” first hit No. 1 on the Hot 100 in 2019, Carey passed Cher, whose solo leaders span 27 years and five months, from “Gypsys, Tramps & Thieves” (from its first week at No. 1 in 1971) through “Believe” (through its last week on top in 1999). (If Cher’s career as half of duo Sonny & Cher were combined with her solo output, her No. 1 span would cover 33 years, seven months and two weeks, from the twosome’s “I Got You Babe,” which hit the top spot in 1965, through “Believe.”)

Most weeks at No. 1 for a holiday hit: With its ninth week atop the Hot 100, Carey’s “Christmas” expands its record for the most time at No. 1 for a holiday song. The only other seasonal single to lead, “The Chipmunk Song,” by David Seville & the Chipmunks, spent four weeks at No. 1 beginning in December 1958.

Carey’s record 88th week atop Hot 100: With “Christmas,” Carey adds her record-extending 88th week at No. 1 on the Hot 100, dating to the chart’s Aug. 4, 1958, inception.

Most Weeks at No. 1 on Hot 100:
88, Mariah Carey
60, Rihanna
59, The Beatles
54, Drake
50, Boyz II Men
47, Usher
43, Beyoncé
37, Michael Jackson
34, Adele
34, Elton John
34, Bruno Mars

“Christmas” became Carey’s 19th Hot 100 No. 1, the most among soloists and one away from The Beatles’ overall record 20. It also made Carey the first artist to have ranked at No. 1 on the chart in four distinct decades, dating to her first week at the summit with “Vision of Love.”

Brenda Lee’s “Rockin’ Around the Christmas Tree,” originally released in 1958, rises from No. 3 to its No. 2 Hot 100 best (a.k.a., a new old-fashioned way of scaling the chart, as it has reached the runner-up rank in each of the last three holiday seasons). It tallied 34.3 million streams (up 15%), 26.1 million in radio airplay audience (essentially even week-over-week) and 5,000 sold (up 19%) Dec. 2-8.

The late Bobby Helms’ “Jingle Bell Rock,” from 1957, lifts 5-3 on the Hot 100 and the late Burl Ives’ “A Holly Jolly Christmas,” from 1964, climbs 6-4. As with Lee’s Yuletide standard, Helms’ and Ives’ return to their respective highs reached in each of the last three holiday seasons.

Metro Boomin blasts in with two songs in the Hot 100’s top 10, as “Creepin’,” with The Weeknd and 21 Savage, debuts at No. 5 and “Superhero (Heroes & Villains),” with Future and Chris Brown, opens at No. 8. The tracks start at Nos. 4 and 6 on Streaming Songs with 30.8 million and 27.4 million streams, respectively.

Metro Boomin hits a new Hot 100 best and doubles his career top 10 total as a billed recording artist, as he previously debuted and peaked at Nos. 9 and 10, respectively, with “Runnin” (with 21 Savage) and “Mr. Right Now” (with 21 Savage and featuring Drake) in October 2020. Metro Boomin co-produced and co-wrote those songs and has done the same for six other top 10s, including the No. 1s “Bad and Boujee” by Migos featuring Lil Uzi Vert (2017), and “Heartless” by The Weeknd (2019); he also co-wrote Big Sean’s 2017 top 10 hit “Bounce Back.”

Thanks to “Creepin’,” The Weeknd adds his 15th Hot 100 top 10 and 21 Savage, his 14th. With “Superhero,” Future and Chris Brown stretch their top 10 totals to 10 and 17, respectively.

Concurrently, “Creepin’ ” premieres at No. 1 on Hot R&B/Hip-Hop Songs and Hot R&B Songs, while “Superhero (Heroes & Villains)” starts atop Hot Rap Songs, with the charts using the same methodology as the Hot 100. Metro Boomin, The Weeknd and 21 Savage claim their first, seventh and fifth No. 1 each on Hot R&B/Hip-Hop Songs and their first, 10th and first apiece on Hot R&B Songs. Metro Boomin, Future and Brown notch their first, third and fifth No. 1 each on Hot Rap Songs.

Taylor Swift’s “Anti-Hero” falls to No. 6 after spending its first six weeks on the Hot 100 at No. 1 starting in November, with 74.6 million in radio reach (up 8%), 18.6 million streams (down 11%) and 7,000 sold (down 48%).

Sam Smith and Kim Petras’ “Unholy” dips 4-7 on the Hot 100, after it topped the Oct. 29-dated chart, as it rules Radio Songs for a fourth week (78.6 million in audience, up 2%).

Wham!’s “Last Christmas” advances 10-9 on the Hot 100, after the 1984 release first reached the top 10 during the 2020 holidays and hit a No. 7 high last holiday season.

Closing out the Hot 100’s top 10, Drake and 21 Savage’s “Rich Flex” falls 7-10, after it spent its first three weeks on the chart at its No. 2 best beginning in November.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Dec. 17), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Dec. 13).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Diddy Explains How Son King Combs Is Keeping Bad Boy Entertainment Alive

Diddy’s son King Combs is keeping his father’s legacy alive. The father-son duo sat down for an interview with Billboard News, in which they discussed their musical endeavors and how the younger Combs carries on his dad’s Bad Boy Entertainment.

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Speaking with Datwon Thomas, editor-in-chief and vp of cultural media at Vibe magazine, King revealed that he is always “Bad Boy for life,” something that has perplexed his father, given that the label (which was formed in 1993 after Diddy and Uptown Records parted ways) is on a hiatus at the moment.

“I had stopped Bad Boy. Sometimes you gotta leave the game when it’s hot, you know? A lot of things were changing with streaming and everything,” the “Gotta Move On” artist explained. “One day I woke up and he had a Bad Boy chain on. I’m like, ‘Bro, Bad Boy is on pause for a second.’ He’s keeping Bad Boy alive and taking it to the next level without even no coaching or prompting from me.”

The 24-year-old follows in his dad’s footsteps with recent collaborations with Teyana Taylor, Kodak Black and more. Though his late mother Kim Porter often urged Diddy to give their son a leg up on the competition, he insisted that King pave his own way in the industry — something that would make King’s mother “super proud.”

“She’s, like, my biggest fan. I’ve really been working and doing music since I was 16. Like my pops said, from the jump he wasn’t going to help me give me no producer help, writer help, because he didn’t want me to ever have to lean on him or depend on him,” the young rapper noted.

As for what’s next for the father-and-son duo? Diddy stated he’s “dropping [new music] top of the year.” King also plans to follow suit, though his dad insisted they pick separate dates to release their projects.

Watch Diddy and King Combs’ interview in the video above.

Rammstein Sets German Album Chart Ablaze as ‘Layla’ Scores Top Single

BERLIN — It is Rammstein’s time to shine on this year’s German sales charts.  

The veteran hard rock band had the best-selling album in Germany in 2022 with Zeit (which literally means “time”), according to GfK Entertainment, which tracks music sales and streaming in the German market. The most popular single was “Layla,” by DJ Robin & Schürze.

GfK’s “Official German Charts” count streams, downloads and physical sales – which can still be significant in Germany – plus airplay for singles. The annual charts count music consumption from the 50th week of 2021 to the 49th week of 2022.

Like last year, Universal Music Group dominated the market with the four top albums – Zeit, Helene Fischer’s Rausch at No. 2, ABBA’s Voyage at No. 3 and Taylor Swift’s Midnights at No. 4. Two of those – Rausch and Voyage were also on last year’s charts where Fisher’s album also came in at No. 2. 

Universal also had the No. 7 album, Kontra K’s Für den Himmel, durch die Hölle. The top three singles were “Layla,” “Heat Waves” by Glass Animals – boosted to No. 2 by TikTok two years after its release – and “Beautiful Girls” by Luciano at No. 3. UMG also had the No. 9 single, “Cold Heart,” by Elton John and Dua Lipa.  

Two of the other top 10 albums were international hits from Sony Music Entertainment – Harry StylesHarry’s House at No. 5 and Adele’s 30 at No. 10. The company also had Roland Kaiser’s Perspektiven at No. 9.  

The two other top 10 albums came from Warner Music Group. A career-spanning collection from the veteran German punk group Die Toten Hosen came in at No. 6, while Ed Sheeran’s = – released last year – was at No. 8. 

Sony scored three of the top 10 singles – “As It Was” by Harry Styles at No. 6, “Where Are You Now” by Lost Frequencies & Calum Scott at No. 7, and “Wildberry Lillet” by Nina Chuba at No. 10. Warner scored two of the top 10 singles – “abcdfu” by gayle and “Shivers” by Ed Sheeran. The remaining single, the No. 8 “Sehnsucht” by the German rapper T-Low and the production duo Miksu and Macloud, came out on the independent label Future.

James Reid Announces His First North American Tour: Exclusive

One of the Philippines’ breakout music stars is expanding his global reach via a new tour and growing team. Billboard can exclusively share that James Reid will kick off the new year by touring North America for the first time since hitting the entertainment scene more than a decade ago. The singer-songwriter’s LOVESCENE North American Tour takes its name from Reid’s latest album.

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Released in October, LOVESCENE has been promoted with two singles so far: “u & I” and its latest “Lie to Me,” which features California singer-songwriter Destiny Rodgers, also signed to Reid’s Careless indie label.

As part of Reid’s global team, Wasserman will handle the tour (Wasserman Music represents the singer for worldwide booking, minus the Philippines) and join previously announced management Transparent Arts (the company founded by Billboard Hot 100 chart-toppers Far East Movement that spotlights Asian talent on a global scale).

The trek kicks off in late January in Houston, and heads across the U.S. and Canada before closing in late February in Los Angeles. Tickets will be available for pre-sale through James Reid’s Bandsintown page on Dec. 14, and go on sale on Dec. 16. More information will be shared via James Reid’s social media.

See the full list of his concert dates below.

2023 James Reid LOVESCENE North American Tour Dates

  • Jan. 29, 2023 – Houston, TX – Downstairs at White Oak Music Hall
  • Feb. 1, 2023 – Richmond, VA – The Broadberry
  • Feb. 4, 2023 – Ashbury Park, NJ – Asbury Lanes
  • Feb. 5, 2023 – New York, NY – Bowery Ballroom
  • Feb. 7, 2023 – Toronto, ON – The Opera House
  • Feb. 9, 2023 – Chicago, IL – Lincoln Hall
  • Feb. 11, 2023 – Winnipeg, MB – Exchange Event Centre
  • Feb. 14, 2023 – Calgary, AB – AB – Bella Concert Hall
  • Feb. 16, 2023 – Vancouver, BC – Hollywood Theatre
  • Feb. 19, 2023 – Seattle, WA – The Showbox
  • Feb. 21, 2023 – San Francisco, CA -The Regency Ballroom
  • Feb. 24, 2023 – San Diego, CA – Music Box
  • Feb. 26, 2023 – Los Angeles, CA – Troubadour