State Champ Radio Music
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Before the fame, before the crowds, a young Marwan “Nordo” would sneak into Tunisia’s legendary Carthage Festival, hiding near the venue walls just to hear his idols perform. Nearly two decades later, he returned to that same stage—not as a fan, but as a headliner, selling out his debut show days in advance.This month, as he drops his debut full-length album Cotinga, the Tunisian star lands the cover of Billboard Arabia, bringing with him a story of resilience, ambition, and pure love for music.
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For Nordo, his rise to stardom wasn’t just unexpected, it was nearly impossible. Not because he lacked talent, but because of the hardships he endured growing up. The real struggle wasn’t about breaking into music—it was surviving a childhood where even the basics weren’t guaranteed.
In an exclusive Billboard Arabia interview in Dubai, the Tunisian star opens up about it all. “I struggled just to get by. Just to survive. To eat. To sleep without feeling hungry. That’s what wore me down,” he says. “Making music didn’t wear me down. Music was love. Even when we had nothing to eat, I sang.” Over time, he learned to channel that pain into the studio, turning life’s toughest moments into songs that resonate with millions.
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His musical roots run deep: an aunt who taught him Tarab classics, school days spent reciting Qur’an, and a rap crew that gave him the name “Nordo” and shaped his early sound. Though rap launched his career, Nordo refused to be boxed in, absorbing influences from across genres.
Perhaps the most evident mark his hip-hop origins left on his music is his passion for collaboration, even after his solo career took off. Nordo is a people person, driven by emotion and deep bonds. Over the years, he’s teamed up with big names like Sanfara, Blingos, Stormy, Didine Canon 16 and others from across North Africa. His reach even expanded to Egypt, thanks to “Ya 3arraf”—his collaboration with Ahmed Saad and Zaeem, which introduced him to a whole new audience and climbed the Billboard Arabia charts.
But working with Nordo isn’t just about sharing a mic—it’s about real connection. “We’ve got to be friends first,” he explains. “When I collaborated with Didine or Stormy, it wasn’t business. It was brotherhood. We talked, we bonded. That’s how music becomes real. If it’s not honest, it doesn’t work.” He’s got one firm rule: “The thing I hate most? When people hit me up like: ‘Hey, Marwan, let’s make a hit.’ That’s not how it works. It never has.”
Nordo gets that the music industry has its own playbook, but his approach is different. “I need to see the soul behind the song,” he says. “If I don’t believe in the person, the music won’t speak.”
Nordo
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His approach to music mirrors his approach to life: authenticity first. Nordo writes and composes every track himself, determined not to be just another pop act delivering other people’s words. His voice, a smoky, distinctive blend that immediately stands out among hundreds of voices, echoes Turkish vocal tones mixed with North African raï-style soul. Best exemplifying this musical amalgam that’s unmistakably Nordo is “Ya Denya,” which achieved great commercial success and garnered over 100 million views on YouTube.
Now, with Cotinga, Nordo is leveling up. The six-track EP is a kaleidoscope of sounds—flamenco riffs, R&B grooves, Afro-trap beats, Moroccan gnawa rhythms and acoustic pop—all written and composed by Nordo.
The album’s title nods to the cotinga bird: rare, vibrant and fiercely protective of its flock. “Kind of like me,” he says with a laugh. “I care about my people. I want them close, safe.”
Throughout the interview, Nordo oscillates between raw energy and quiet reflection. He shares stories from the studio grind, and how he created Cotinga on little sleep and pure adrenaline. At one point during our conversation, his eyes shifted, gazing into the distance. He told us about the days when making music wasn’t even an option; it was a luxury. The days when he had nothing… except his drive.
Today, as a father of two, he says every lyric, every show, every late night is for his boys – to give them the life he never had. But there’s a catch: “They have to be kind,” he insists. “They have to care about people. Share. Give back. Be there for their friends.”
There’s no manufactured redemption arc here. Nordo’s story is real, and so is his music. It’s driven by real growth. The kind that shapes not only his lyrics and melodies, but also his friendships, his fatherhood, his vision. Above all, Nordo’s mission is simple: to make music that’s honest, tell stories that matter, and remind people they’re not alone.
Nordo
Chady Kal/Billboard Arabia
More news continues to come out of Ye’s recent stream with Sneako and Drake affiliate Top5. Toward the end of the stream, around the two-hour and 14-minute mark, the Chicago rapper talked about Drake’s unique sound and how he found himself borrowing the Toronto rapper’s style. “Another thing about Drake’s music,” Ye (formerly Kanye West) […]
Beyoncé is in proud daughter mode. After Tina Knowles‘ memoir, Matriarch, earned a coveted spot on The New York Times‘ bestseller list, the superstar took to Instagram to celebrate her mom’s accomplishment.
Sharing a poster announcing that “Matriarch is officially a No. 1 New York Times bestseller,” Bey wrote, “The Mama T was that good?? Ha.” The 35-time Grammy winner added, “You deserve it, I’m so proud!”
In the comments, the new author told her daughter, “Thankyou my baby,” with a heart emoji.
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Knowles’ feat comes a little over a week after Matriarch hit shelves on April 22. This week, the memoir tops both the NYT‘s hardcover nonfiction and combined print & E-book nonfiction lists.
The businesswoman covers a lot of ground in the book, opening up about raising Bey and Solange from babies to two of the music industry’s biggest stars. At one point, she writes about navigating a particularly painful time in the “Texas Hold ‘Em” singer’s career: when rumors sparked that Bey was faking her pregnancy with Blue Ivy.
“This child was prayed for and prayed over — a wanted, cherished, real baby, and people were making a living off saying she was a lie,” Knowles wrote, noting how Bey had suffered multiple miscarriages before Blue came along. “I wanted to curse some people out and scream at these losers to set the record straight. They had no idea what she and Jay, and our whole family, had been through.”
The Cécred co-founder also opened up about the much more recent experience of receiving a breast cancer diagnosis last July. She underwent surgery in late 2024 to remove the tumor, recalling that Bey “took [the situation] well, staying positive … I could already feel her mind racing, focusing on this as a task to tackle with precision,” while Solange told Knowles, “We are going to take care of this.”
Lorde opened up in a new interview published Thursday (May 1) about the struggles she experienced with body image while making her 2021 album Solar Power. “I had made my body very small, because I thought that that was what you did as a woman and a woman on display,” she told filmmaker and close […]
Blondshell, the stage name of Sabrina Teitelbaum, says she named her second album, If You Asked for a Picture, after a line from Mary Oliver’s poem, Dogfish, because it’s “about the idea of how much of yourself do you share with other people.”
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“Not in the sense of I’m a musician putting out an album and how much do I share with my listeners,” she explains. “It’s, if I’m talking to you person-to-person, and we’re friends, we’re in a relationship or we’re just meeting, how much do I feel like sharing with you? I love the idea that I can just give you a little snapshot, and you’ll get it.”
If You Asked for a Picture, which drops May 2 on Partisan Records, is a series of brave, bold, frank and largely autobiographical snapshots juxtaposed with her trademark crunchy guitar riffs, a handful of ballads and some seriously gorgeous background vocals by hers truly. Take her latest single, “23’s a Baby,” which angrily questions the choices of a young mother — hints in the lyrics suggest its her own, who died in 2018 — but the honeyed aah-aah-aahs that Blondshell, 28, adds throughout the song offset the rancor in a way that creates a fascinating bit of cognitive dissonance: it’s a tragedy that you want to sing at the top of your lungs.
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Another grunge-flavored earworm, “What’s Fair,” appears to take more direct aim at a mother, and there are songs about ambivalent relationships, body image and identity, but If You Asked for a Picture — which, like her self-titled first album was produced by Yves Rothman — is beautiful, not bereft, an alt-rock catharsis with nods to the ’80s and ’90s. And though Blondshell says that the lion’s share of her songs come from personal experience, the back stories are not up for discussion: She wants her fans to develop their own snapshots with her music.
If You Asked for a Picture is the latest high water mark in a fruitful year for Blondshell. Last spring saw her release “Docket,” a standalone banger with Bully (Alicia Bognanno) that has racked up 4.3 million plays on Spotify, and a hypnotic cover of Talking Heads‘ “Thank You for Sending Me An Angel,” which was among the standout cuts on last year’s Stop Making Sense tribute album.
In this sitdown with Billboard, Blondshell discusses her love for the Heads, her collaboration with Bully and a number of ideas, inspirations and concepts behind her new album. (This interview was edited for length and clarity.)
You’ve said this album is about asking questions of yourself. What state of mind were you in when you wrote these songs?
The first songs on the album are the first songs that I wrote for the album, so I wanted it to feel like picking up where I left off. I wasn’t intentionally feeling like, oh, I want to ask questions in the songs. It was after the fact that I thought, I guess I was asking more questions than making declarative statements. On the first album. I felt, if I’m going to record and put out music, I must be a thousand percent sure about what I’m saying. By nature of being a little bit more confident [this time], I was able to be like no, I don’t have to know one hundred percent. I can ask, is this relationship working? Is this how I want to live my life? All these different things that were coming up.
You’ve established a recognizable sound, and yet, on this album, that sound is more expansive.
Yeah, I did not want to have some huge departure. I needed to think of it as another 12 songs. But there were things [on the last album] where I thought, I would have done that differently. For example, I’m a huge background vocals person. That’s my favorite part of Fleetwood Mac and all these records that I really love. I love how it’s a whole landscape. Before we even started, I knew I wanted that to be a massive part of the record. I also wanted there to be more textures. Last time, we had a couple of textures on the record that helped define that album. I wanted those, but I also wanted new ones.
Were you inspired by any artists you were listening to in the lead-up to writing and recording?
It’s always what I happen to be listening to around that time. I was listening to a lot of R.E.M. Obviously, they’re this celebrated rock band, but it’s really about the songwriting. They’re comfortable having these big, fun, rock songs — but also “Everybody Hurts.” So, I felt I had more permission to do the big rock band thing and ballads, too.
The lyrics on both of your albums paint very personal scenarios. How autobiographical are your songs?
Like 99.9% is autobiographical, and it’s often about people that I love.
So, “23’s a Baby,” is about someone you know having a baby at a very young age?
Kind of. There’s also conceptual stuff that comes up.
You’re being metaphorical as well.
Yeah, that happens, but the only way that I can write is to write about stuff that I feel the biggest feelings about. I wouldn’t personally feel that way if I were able to just pull it out of the air. It all has to come from somewhere.
One of the things that I love about your music is that you use unusual words in your lyrics, like “docket” and “assessment,” “sepsis” and “Sertraline.” Are you aiming for that literary quality?
No. I never think, “Oh, is this how I want to say this?” The way that I write is so stream-of-consciousness — it’s just stuff that comes to mind. It’s as if I were talking to you, but I’m saying things that I wouldn’t feel comfortable saying to you or my friends or my family. They’re unspoken things — concerns that I have never voiced, or the things I’m embarrassed by, or the feelings I’ve never felt comfortable saying to somebody. It’s just done in a really conversational way.
So, it’s easier for you to say things in a song that you wouldn’t say person-to-person?
For sure.
Man, that is brave.
Yeah — and then it sucks, because everyone ends up hearing it. It’s the stuff I wouldn’t have said to my family or somebody I’m dating or somebody I used to date, or my friend who I’m not friends with anymore. It’s stuff that I wouldn’t have said, because it’s harsh or it’s embarrassing or whatever, and then they end up hearing it. That’s the hardest part of the whole thing. In a way, I have to pretend that’s not happening.
So, you’re not thinking about what the reaction might be?
Yeah. Also, I’m friends with a lot of musicians., and everybody knows that’s how it goes.
Speaking of literary influences, I was wondering if your line about “steely danification” in “Toy” is a reference to William Burroughs or the band.
It’s a reference to the band. I love Steely Dan.
There’s a recurring theme in your songs, such as “Docket” and on this album, “Two Times,” about being ambivalent about a relationship. In “Two Times,” you sing, “Once you get me, I get bored.” Do you struggle with that?
If you haven’t historically had the healthiest relationships, being in a healthy relationship can feel like, “What’s going on? What’s missing?” I also think that every form of media tells people that the valuable quality of a relationship is the conflict. Every movie I saw growing up, every TV show I watched growing up, songs — everything — relationships [revolve around] a problem. So, if your relationship is pretty absent of problems, you’re like, “What’s wrong here? We’re supposed to be fighting and then making up. What if we’re not fighting that much? Do we just not care? Is this a tepid kind of situation?” I have struggled with that.
Like the line in “Two Times”: “I’ll come back if you put me down two times.”
Yeah. Maybe if you’re a little mean I’ll be more comfortable.
How did “Docket” with Bully, Alicia Bognanno, come to be? That’s such a great song.
I love Alicia. She’s so good. I went on KEXP in the summer [of 2023], and they were asking me what I was listening to. Her record had just come out, and I was obsessed with the song “Change Your Mind.” I talked about it, and I think people [told] her. Around the time that I made this album, I wrote the first part of that song and thought I should have Alicia on this song. She wrote the second verse, and we recorded it. She has such a good voice. It was maybe the first time that I’ve listened to someone’s voice a lot and then gotten to hear it in the studio and been like, oh s–t, that’s actually her voice! So powerful.
Would you ever consider touring together? That would be an amazing double bill.
I think that would be so cool.
I have to ask you about the line in “Event of a Fire”: “Pin me down with Styrofoam. Cut out one single mouth hole for air.” Can you elaborate on that?
The whole song is about feeling suffocated by normal life. In some ways, the whole album is about how just everyday life can feel suffocating — feeling stuck in patterns and like maybe I don’t have the permission to feel as much as I feel about this thing that everybody deals with. Feeling shame about feeling so much about everyday normal life. In some ways, the song is also about bigger things — being a 16-year-old girl and figuring out how I feel about my body and figuring out how I’m supposed to look and feel. The part you’re asking about — I had written the whole song, and then when we were recording the guitars, I felt kind of inspired, wrote that and tacked it on at the end.
Does any of that struggle have to do with being a public figure?
No. I don’t even feel that way. I’ve always felt this way, and I think everybody feels that way to some extent. Things like body image are such universal struggles for people. It’s helpful for me to talk about these things — and as a listener, it’s helpful if I hear other people talk about it. All the stuff on this record is stuff I’ve dealt with my whole life.
Do you still you struggle with body image?
I think it gets better as you get older. I’m 27. I was 25 when I made the last album, I really attribute all that stuff to a younger voice. I remember watching Eighth Grade. It came out [in 2018]. There’s this scene of her going to a pool party where she panics, and I remember that’s how I felt at that age. For me, that’s gotten a lot better as I’ve gotten older. But it’s such a universal side effect of misogyny.
You identify as queer, and lyrics in “Model Rockets” implies that you struggle with your identity as well: “With a man I’m only gay, when I’m with a girl I’m lying.”
Again, it’s like that same age where I saw gay people, and I saw straight people on TV, but I didn’t see people talking about so much nuance. All that stuff is from the same time period.
What do you make of the Trump administration’s announcement that it recognizes just two genders?
It’s devastating. It’s going to have consequences for so many people in the most truly heartbreaking ways. Tragic for trans people and queer people — tragic for everybody. The loss of culture and safety. There will be effects for a really long time and it’s terrible.
That’s just a start.
And f–k them.
What are you reading these days?
I finished All Fours by Miranda July last night. It’s so good. I had heard so much about it, and sometimes it’s hard to read a book that has all this hype around it. By the end, I was like, “She’s a genius.”
What about watching, listening?
Severance. A new episode tonight. Are you watching?
I just can’t get into it.
Really?
Admittedly I’ve not seen the earlier seasons. For me, it’s Groundhog Day in a sterile setting.
I get that. Yeah, it is so sterile. I’ve heard people say that they don’t feel comfortable watching it because it’s so austere and just angles and cold. But I’m really into it. I’m also watching White Lotus. I’m happy to be in that world. I think the writing is good. I saw Mike White’s season of Survivor recently. It’s tough for people who work in entertainment on Survivor. There’s a target on their back.
Wait a minute. Mike White was on Survivor?
Oh, yeah. You’ve got to watch it. He’s really smart and he’s really good.
Does he win?
I can’t tell you. You’ve got to go watch it. I don’t want to ruin it for you.
Your version of Talking Heads’ “Thank You for Sending Me an Angel” is fantastic. How did that come about?
Someone mentioned to me in passing that they were doing that tribute album, and I am the biggest Talking Heads fan. They’re one of the best bands of all time. And Stop Making Sense is just amazing. I went to see the movie that they had restored in 4K at a place called Vidiots in L.A. I watched the Q&A. Kim Gordon was the moderator, which was so cool. I got to meet them, and everyone seemed chill. They were all really nice. And then, like a week later, someone asked us to do it. I was like, “F–k yes, let’s go.”
Are you looking forward to your tour?
I’m really excited for my tour. When I made the last album, I really wanted it to feel like a live record. I was so excited to play it live, but I hadn’t toured that much. Now I’ve played with the band a lot for the last two years. We played like 90 shows in 2023. And we made this album with touring in mind — the arrangements and the cadence of the album. I’m stoked to play it live.
Alex Warren tops Billboard’s Streaming Songs chart in his first appearance, as “Ordinary” lifts 4-1 on the May 3-dated tally. “Ordinary” reigns with 21 million official U.S. streams earned in the week ending April 24, up 3%, according to Luminate. The song becomes the first No. 1 to rise to the top of the list, […]
Bruce Springsteen: Backstage and Backstreets, produced by ABC News Studios, was nominated for outstanding arts, culture or entertainment coverage at the 2025 News & Documentary Emmy Awards. The nominations were announced on Thursday (May 1).
Springsteen has been nominated for three Primetime Emmys, but has yet to win. He was nominated for outstanding variety, music or comedy special for Bruce Springsteen & The E Street Band (HBO, 2001), outstanding special class – short-form live action entertainment program for Bruce Springsteen & the E Street Band Super Bowl Halftime Show (NBC, 2009) and outstanding variety special (pre-recorded) for Springsteen on Broadway (Netflix, 2019).
Springsteen has won 20 Grammys and an Oscar. He received a Special (honorary) Tony Award in 2018 to honor his show Springsteen on Broadway, which played in 2017-18 and again in 2021.
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Celine’s Story, an NBC News special with Hoda Kotb, Celine Dion’s first TV interview after being diagnosed with Stiff Person Syndrome, is nominated for outstanding edited interview.
As We Speak: Rap Music on Trial is nominated for outstanding arts and culture documentary. In the doc, which premiered on Paramount+ in February 2024, Killer Mike sat down with rapper Kemba to delve deeper into the criminalization of lyrics in hip-hop.
The 46th annual News & Documentary Emmy Awards honor programming that originally premiered in calendar year 2024. The 2,200 submissions were judged by a pool of more than 980 peer professionals from across the television and streaming/digital media news and documentary industry.
The 46th Annual News & Documentary Emmy Awards will be presented live at the Palladium Times Square in New York City, and will be streamed live on The Emmys website and via The Emmys apps for iOS, tvOS, Android, FireTV and Roku.
The awards will be presented in two ceremonies:
News ceremony – Wednesday, June 25, at 7 p.m. ET
Documentary ceremony – Thursday, June 26, at 7 p.m. ET
Here are the nominees in categories most relevant to the music community. The complete list of nominees is available on The National Academy of Television Arts & Sciences’ website:
Outstanding arts, culture or entertainment coverage
10 Million Names, ABC News Live, ABC
Bruce Springsteen: Backstage and Backstreets, ABC News Studios, ABC
“Finding His Voice,” CBS Sunday Morning, CBS
“Illegal Gambling,” Trafficked: Underworlds with Mariana van Zeller, National Geographic [Muck Media]
“The Last Heroes of Normandy,” ABC World News Tonight With David Muir and Nightline, ABC
“Netflix Is Betting Big on Latin America,” The Circuit With Emily Chang, Bloomberg
Outstanding arts and culture documentary
As We Speak: Rap Music on Trial, Paramount+ [MTV Entertainment Studios, District 33, Park Pictures, Strike Anywhere]
Butterfly in the Sky, Netflix [Sidestilt Films, Window Pictures, XTR]
Hollywood Black, MGM+ [Radical Media, Culture Machine, Significant Productions]
King Coal, POV, PBS [Narrow Vision Endeavors, Cottage M, Drexler Films, King Coal Productions LLC, Fishbowl Films]
Madu, Disney + [Disney Branded Television, Hunting Lane Films]
Outstanding edited interview
“Celine’s Story: An NBC News Special with Hoda Kotb,” NBC News Special Report, NBC News
“The Democratic Ticket,” 60 Minutes, CBS News
“Ketanji Brown Jackson,” CBS Sunday Morning, CBS
“Pope Francis,” 60 Minutes, CBS News
“Prisoner in Russia: The Brittney Griner Interview,” 20/20, ABC
Outstanding music composition – documentary
Billy & Molly: An Otter Love Story, National Geographic [Silverback Films]
“Dan Winters: Life is Once. Forever,” Photographer, National Geographic [Little Monster Films]
Endurance, National Geographic [A Little Dot Studios, Consequential, History Hit Production, Little Monster Films, National Geographic Documentary Films]
Frida, Prime Video [Imagine Documentaries, TIME Studios]
Mafia Spies, Paramount+ [CreativeChaos vmg]
Playing one-on-one with Kobe Bryant was a hooper’s dream while growing up, but that quickly turned into a nightmare for Bow Wow, who got shut out 10-0 when facing the Mamba Mentality.
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Bow Wow joined Club Shay Shay for an interview on Thursday (April 30), during which he reflected on having the chance to play Bryant one-on-one back in 2011 when Bow pulled up to the Lakers superstar’s day camp.
As far as the stakes, Bow had to pay $1,000 in cash if he lost, but if he could’ve just scored a single bucket on Bryant, the Hall of Famer would’ve gifted the Like Mike star a pair of floor seats to every home game for an entire season.
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“He took it for real. I left that gym and I said, ‘I will never play in the NBA, nor do I want to,’” Bow said before being pressed by Shannon Sharpe about how many points he scored. “None! He smothered me. He had his thumb in my waist. He was hand-checking.”
Bow continued: “He was telling me, ‘You’re gonna go wherever the f–k I want you to go.’ … What was so dope about the one-on-one was people got to see Kobe in a light that they never got to see Kobe in. You hear about the Mamba Mentality, but it’s tough to hear on TV. You hear ’em in the one-on-one … He talking to me crazy like I’m not Bow.”
Even though it’s been 14 years, Bow Wow still recalls the one chance he had to make an open jump shot, but Bryant’s 6’6″ frame closed quickly, and the glance at a clean basketball was gone within seconds. “By the time I raised up, it was no time. The way he closed out, that 6’6″ turned into 7’1,” he said.
Bryant ended up dishing out the $1,000 to his campers, and even with the loss, Bow has a memory he’ll cherish for a lifetime.
“That right there is like a bucket list [goal],” Bow Wow said. “Every kid would love to play Kobe Bryant one-on-one. And then for [his death] to tragically happen, that’s something I’m going to hold dearly to my heart.”
Bryant, his daughter Gigi and seven others were killed in a helicopter crash on Jan. 26, 2020. Bow Wow paid tribute to Kobe shortly after his death by posting a photo with his own daughter along with the hashtag “Girl Dad,” which went viral as Bryant was a father to four girls himself.
Watch the full interview and one-on-one game with Bow Wow below.
HANA‘s “ROSE” returns to No. 1 on the Billboard Japan Hot 100, logging its second week atop the tally released April 30.
The major-label debut single by the septet born from the No No Girls audition show dropped digitally on April 2 and debuted at No. 1 on the chart dated April 9. The CD version launched with 46,866 copies after being released April 23 and hit No. 3 for sales. The single ruled video views this week while coming in at No. 13 for downloads (2,741 units), No. 3 for streaming (8,369,460 streams), and No. 9 for radio airplay. The track has been dominating the video metric for four straight weeks.
&TEAM’s “Go in Blind” soars 66-2 this week, selling 620,541 CDs in its first week, marking the group’s biggest sales week to date. The track also ranks at No. 15 for downloads, No. 58 for streaming, No. 45 for radio, and No. 28 for video.
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Mrs. GREEN APPLE’s “KUSUSHIKI” follows at No. 3, down two notches from the week before. But the track continues to rule streaming for the third week in a row with 10,607,816 weekly streams.
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King Gnu’s “TWILIGHT!!!” rises 7-4. Streams for the Detective Conan: One-Eyed Flashback theme song are up to 227% (No. 4 for the metric), radio airplay to 280% and video views to 188% compared to last week. Mrs. GREEN APPLE’s “Lilac” follows at No. 5 on the Japan Hot 100, showing strength in karaoke, streaming and video, with karaoke holding the top spot for 16 consecutive weeks since the chart released Jan. 15.
The two debuts in the top 10 this week were CANDY TUNE’s second single, “Oshi Suki Shindoi” at No. 7 and RADWIMPS’ “Tamamono” at No. 9. The latter is the theme song for the ongoing NHK morning drama series Anpan.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from April 21 to 27, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Kid Cudi is teasing his return with a new song called “Neverland.” On Thursday (May 1), Cudi shared a cryptic teaser on social media that merely shows some amusement park rides before posting the link to the rapper’s website. “Pre save NEVERLAND, my first single from my new album, NOW!” Cudi wrote on X. The […]
