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Gerardo Coronel “El Jerry” rises to No. 1 spot on Billboard’s Regional Mexican Airplay chart as his single “Tutorial Para Olvidar” crowns the list dated Aug. 24. Explore Explore See latest videos, charts and news See latest videos, charts and news “Tutorial Para Olvidar” jumps 3-1 with the Greatest Gainer honors after a 39% surge […]
Asake and Travis Scott’s “Active” jumps 8-1 to rule the Billboard U.S. Afrobeats Songs chart dated Aug. 24. The coronation on the streaming and sales-based charts follows a surge in both metrics, tied to the release of the song’s parent album, Asake’s Lungu Boy, and yields both artists’ first champ on the two-year-old chart.
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In the tracking week of Aug. 9-15, “Active” registered 2.9 million official U.S. streams, according to Luminate, up 198% from 980,000 in the prior week. In addition to the parent album’s release, “Active” enjoyed prominent, top-spot placement on several Afrobeats and African-music focused playlists, including Apple Music’s “Afrobeats Hits” and “New in Afrobeats” offerings. The single also sold 1,500 downloads in the same period, far above a negligible number in the prior week.
Before “Active” unlocked the penthouse, Asake, a Nigerian-based singer and rapper, had previously topped out at a No. 6 best on U.S. Afrobeats Songs with two different tracks. “Palazzo,” a collaboration with Spinall, debuted and peaked at the rank in May 2022 as did his solo track “Terminator” just over three months later.
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Texas-raised rapper Travis Scott, meanwhile, achieves his first No. 1 on U.S. Afrobeats Songs through his first appearance on the list.
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“Active” also shakes up the top spot on U.S. Afrobeats Songs for the first time in nearly a year, as the new champ dethrones Tyla’s “Water,” which had dominated for 44 consecutive frames. At the time of its coronation, “Water,” too, did what almost seemed impossible, closing a 58-week stretch at No. 1 for Rema and Selena Gomez’s “Calm Down.” Thanks largely to monopolies for “Water” and “Calm Down” – both top 10 successes on the Billboard Hot 100 – only four songs have reached No. 1 on U.S. Afrobeats Songs in the last two years: the aforementioned trio and Burna Boy’s “Last Last,” an eight-week champ in July-September 2022.
“Active” leads a parade of Asake titles on U.S. Afrobeats Songs chart from his new album, Lungu Boy, released on Aug. 9. Nine songs debut on the list, while previous single “Wave,” with Central Cee, drives 16-11, nearing its No. 8 peak. Here’s a review of the Lungu Boy track placements on this week’s chart:
No. 1, “Active,” with Travis Scott
No. 7, “MMS,” with Wizkid
No. 11, “Wave,” with Central Cee
No. 12, “Mood”
No. 14, “Fuji Vibe”
No. 16, “Suru,” featuring Stormzy
No. 18, “Worldwide”
No. 20, “Mentally”
No. 22, “Skating”
No. 25, “I Swear”
No. 28, “Ligali”
He may be the son of a sinner, but Jelly Roll‘s relationship with Bunnie XO is surprisingly pure — even when it comes to keeping things “spicy” between them. On the latest episode of her Dumb Blonde podcast posted Thursday (Aug. 22), the influencer addressed a question about how she and her country star maintain […]
With the first quarter of the 21st century coming to a close, Billboard is spending the next few months counting down our staff picks for the 25 greatest pop stars of the last 25 years. We’ve already named our Honorable Mentions and our No. 25 star, and now we remember the century in Ed Sheeran — who went from coffee shops to stadiums without ever changing his fundamental singer-songwriter identity.
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A single person, playing the guitar alone on stage in the middle of a stadium. It’s a fantasy — being an artist whose music and lyrics are simply so undeniable, so unifying, that they leap from the meekest clubs to the most gargantuan venues in the world! — that countless singer-songwriters from all walks of life have attempted to strum into reality over the past 25 years, and almost every single one has come up short. It’s the wrong instrument for this century, really: modern pop does not function like it did back when rock ’n roll was the dominant sound, so this Greatest Pop Stars list does not include a slew of six-string-toting chart-toppers.
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With that in mind, the scale of Ed Sheeran’s 21st century success is even more impressive. In a pop age where singer-songwriters generally bump against their commercial ceiling relatively early in their evolution, this red-headed kid from Halifax kept soaring higher and higher, eventually reaching a space where his longevity, global appeal, influence and multi-quadrant hits allowed him to stand alone. He used to be a teen busking on the streets of London; now, Sheeran often finds himself in the center of 80,000 people, an acoustic strapped to his shoulder, no one and nothing else in his vicinity. And considering everything he’s done, he doesn’t even look that out of place.
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Unlike hitmakers such as John Mayer, Jason Mraz and Gavin DeGraw — singer-songwriters who burst onto the scene in the 2000s with flashy, radio-friendly pop singles — Sheeran began his journey into the spotlight with a quiet, unassuming breakthrough hit. Following years of independent releases in between street performances and open-mic nights across the U.K., Sheeran chose “The A Team,” a pleading folk ballad about a sex worker addicted to drugs, as his debut single in 2011 – betting on its juxtaposition of finger-picked melodies and a soothing vocal tone with dark subject matter and stripped-down production.
The bet paid off: In the heart of the EDM-fueled, turbo-pop assault at the top of the Billboard Hot 100, the minimalist sing-along of “The A Team” counteracted the spastic movement of concurrent megapop hits by LMFAO and Pitbull. There had been no shortage of hushed, bleeding-heart singer-songwriter fare that had found its way to adult pop listeners prior to “The A Team” taking off, but Sheeran’s debut was a touch smarter (“A Team” refers to the “Class A drugs” that the song’s subject has taken), more sincere (the way Sheeran warbles “She don’t wanna go-o-o-o outside, tonight” as a major emotional payoff), and altogether more striking than the soundalike songs around it, climbing to No. 3 in Sheeran’s native U.K. and to No. 16 on the Billboard Hot 100.
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Beyond its chart peaks, “The A Team” introduced Sheeran as an early-twenties troubadour worth investing in long-term. He played the song on late-night talk shows, and later at the Grammys, where it was nominated for song of the year. Sheeran’s debut studio album, +, arrived a few months later in 2011, scoring a respectable No. 5 debut on the Billboard 200. And while third single “Lego House” replicated the gentle guitar-pop formula of “The A Team” (with a Rupert Grint-starring music video, as a play on the Harry Potter actor’s physical resemblance to Sheeran), in between, “You Need Me, I Don’t Need You” shook up Sheeran’s image as a hip-hop-adjacent music industry shrug-off, with the singer-songwriter rapping over drum loops, guitar and piano. The song never reached the Hot 100, but became a live staple and fan favorite; more importantly, “You Need Me” expanded expectations for what an Ed Sheeran song could sound like as his voice was reaching wider audiences.
Soon enough, those wider audiences would include Taylor Swift — a country superstar yet to fully cross over to pop in the early 2010s. Swift tapped Sheeran for the Red duet “Everything Has Changed,” which became a top 40 Hot 100 hit as one of the album’s later singles, then brought him on the road as the opening act on the Red arena tour. Swift’s co-sign was and remains a crucial stamp of approval for aspiring artists, but she went above and beyond as an early Sheeran supporter; the two remain close friends and collaborators more than a decade later, having recently re-recorded “Everything Has Changed” for Swift’s mega-selling Red (Taylor’s Version).
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By the time Sheeran’s stint on the Red Tour wrapped up in September 2013, he was a star in his own right, headlining Madison Square Garden for the first time that fall and picking up a best new artist Grammy nomination. The collaborators on his next album, 2014’s x, demonstrated the glow-up of the busker turned arena headliner: lead single “Sing” was produced by Pharrell Williams, working the same rhythmic magic that he applied to Justin Timberlake’s debut solo single “Like I Love You,” and follow-up single “Don’t” was helmed by the unlikely generation-separated super-producer duo of Rick Rubin and Benny Blanco.
To this end, x functioned exactly like its titular math symbol would suggest, taking Sheeran’s sonic blueprint and increasing its scope and sound: “Sing” was a rhythmic pop cut that brought Ed’s storytelling to the club for the first time, while “Don’t” was a jilted-lover lament (about a fling with a fellow pop star, rumored to be Ellie Goulding) that diced up sighing harmonies among rapped verses. Yet “Thinking Out Loud,” the blue-eyed soul romantic ballad, was bigger than either of them, heightening Sheeran’s earnestness and sentimentality to wedding first-dance proportions. “Thinking” reached No. 2 on the Hot 100, stuck for eight weeks behind Mark Ronson and Bruno Mars’ “Uptown Funk!” — but winning song of the year at the 2016 Grammys, after performing the song alongside John Mayer, Questlove and Herbie Hancock at the 2015 ceremony, made for a nice consolation prize.
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As the wins kept accumulating for Sheeran in the mid-2010s, he started scoring hits that sounded like Ed Sheeran songs but came under the names of other artists. “Love Yourself,” an acoustic kiss-off performed by Justin Bieber, became a downtempo smash from his Purpose album by essentially replicating the Sheeran songwriting formula and serving it as a change-up from Bieber’s trop-pop hits “What Do You Mean” and “Sorry.” In the years leading up to “Love Yourself,” Sheeran also co-penned songs for artists like One Direction and Jessie Ware, but Bieber’s hit (which topped the Year-End Hot 100 in 2016) was an inflection point for the songwriting calls he started answering, and was followed by top 10 hits like Major Lazer’s “Cold Water,” Benny Blanco’s “Eastside” and Liam Payne’s “Strip That Down.” More often than that, the songs co-written by Sheeran smacked of his tone and melodic instincts, a superstar bending other perspectives and sounds toward his own.
Meanwhile, he also established himself as a must-see live performer. The x Tour was Sheeran’s first arena headlining trek, and he successfully translated his long-running stage setup — no backing band, no glitz or glamour, just a collection of pedal loops that allow him to re-create the sonic worlds of his songs on his own — for tens of thousands of ticket buyers. Whether perceived as a gimmick or an act of live-show wizardry, Sheeran’s touring approach gave him an identity in a crowded market as he accrued more hits to play for bigger audiences; no matter who else was out on the road, they weren’t going to put on a show quite like Ed’s.
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If x was the album that elevated Sheeran to pop’s arena class, its follow-up, 2017’s ÷, was the project that made him a no-doubt superstar. That’s mostly thanks to “Shape of You,” the gargantuan lead single that will likely stand as the biggest hit of Sheeran’s career: a tropical house cocktail with a propulsive marimba line, playful falsetto and vocal chants that inject some drama into Sheeran’s tipsy flirtations, the song spent a whopping 12 weeks atop the Hot 100, gobbled up millions of radio spins and billions of streams, and finished 2017 as the biggest song of the year. If Sheeran’s career prior to that moment consisted of revving up his pop bonafides, “Shape of You” slammed down the gas, as a fully inescapable smash that is now officially one of the 10 biggest songs of the Hot 100 era.
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Of course, the success of ÷ wasn’t limited to one song: “Castle on the Hill,” the racing rock single that Sheeran released on the same day as “Shape of You,” became a top 10 hit as well, and stands as one of his most emotionally resonant radio favorites. The Irish folk riff “Galway Girl” never reached the chart heights of its fellow singles on the track list, but quickly became a beloved fan track, and its streams have surpassed the 10-figure mark. And “Perfect,” another wedding-ready waltz in the mode of “Thinking Out Loud,” received a remix featuring none other than Beyoncé that December, which helped the single power to the top of the Hot 100. Toss in “End Game,” Swift’s Reputation track featuring Sheeran and Future, and Ed ended the biggest year of his career as an unquestioned A-lister, capable of leading hits on his own and holding his own alongside fellow superstars on blockbuster collaborations. (In 2019, Billboard named Sheeran the Greatest Pop Star of 2017.)
Topping that 2017 commercial apex was almost impossible to imagine — and to his credit, Sheeran didn’t really try to. His next full-length was 2019’s No. 6 Collaborations Project, a collection of household-name team-ups that was inspired by one of Sheeran’s pre-fame projects. The left turn tempered the sky-high commercial expectations of the proper ÷ follow-up, although “I Don’t Care,” the album’s dancehall-adjacent duet with Justin Bieber, still became one of the biggest pop hits of the year, reaching No. 2 on the Hot 100. Also featuring Travis Scott, Cardi B, Chris Stapleton and Bruno Mars, among many others, No. 6 became another No. 1 album for Sheeran, in the same month that his two-year-plus world tour in support of ÷ finally wrapped up, as the biggest of all time to that point; he largely took the next year off at the COVID-19 pandemic raged, and became a father in August 2020.
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Sheeran’s next proper solo album, 2021’s =, powered him into his second decade as a star, with the singles “Bad Habits” and “Shivers” both riding uptempo pop productions and major hooks toward comfortable stays inside the top 10 of the Hot 100 chart. Swift appeared on a remix of the album’s “The Joker and the Queen,” and Lil Baby stopped by a new version of “2Step”; outside of =, Sheeran swung by a reworked version of “Peru,” from Nigerian star Fireboy DML, to notch another global hit that recalled some of the cross-genre pollination from No. 6 Collaborations Project. After that, a hard pivot: 2023’s – album marked a downbeat reflection on personal tragedies, including the death of Sheeran’s close friend and complications with his wife’s pregnancy, that was primarily produced by Aaron Dessner, who had helped Swift enter indie-folk terrain on Folklore and Evermore three years earlier. Both – and its surprise follow-up/counterpart, Autumn Variations, were too mournful to spawn any hit singles, as Sheeran seemingly issued both projects more for his own peace of mind than for radio gains.
But that’s the good thing about graduating to no-brainer stadium status: Sheeran can easily weather a commercial lull because he’s collected so many hits, and established his brand over the course of a decade-plus, while remaining a road warrior and onstage force. He’s been adjacent to the biggest artists of the 21st century while sneakily out-streaming a lot of them; just take a peek at Sheeran’s Spotify page, and try to count up how many of his songs have crossed the one billion mark. And while Ed has never been the toast of tastemakers, he has unquestionably written songs that are built to last — new wedding-reception staples and tried-and-true pop playlist mainstays — while also influencing the next generation of singer-songwriters, who have their sights set on the biggest crowds imaginable.
Ed Sheeran has transcended every pop trend, succeeded in a variety of styles, and made his voice a familiar sound in every context of modern pop music. He’s still enormous, and probably will be for a long, long time. Not bad for a guy with an acoustic guitar and loop pedal.
Read more about the Greatest Pop Stars of the 21st Century here and check back on Tuesday when our No. 23 artist is revealed!
Halle Bailey is not mincing words in a preview of her upcoming single, “Because I Love You.” The Grammy-nominated Chloe x Halle singer, solo star and The Color Purple actress posted a 13-second preview of the song on Instagram on Wednesday (August 21) and the message is perfectly simple, the meaning transparently clear.
“And it’s all because I love you, babe/ Love you babe, love you babe/ I love you babe, love you babe,” she sings breathily in the sneak peek that appeared to be delivered from the back seat of a moving car. As if to put a finer point on it, she adds, “I motherf–king love you babe/ Love you babe, love you babe/ Love you babe/ And it’s all because…”
Bailey said in the caption — which included a bandaged heart emoji — that the single is out August 30.
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The post was the first taste of new music since Bailey, 24, and partner rapper DDG shared the first picture of son Halo last month while the couple were on a European vacation with their six-month-old bundle of joy. She shared another series of too-cute snaps a week ago, when she twinned with Halo in Canadian tuxedos as she prepared for baby’s first concert experience: a Bruno Mars show.
The new mother has been keeping her musical chops sharp lately, including in a smoldering acoustic guitar cover of Sabrina Carpenter’s Billboard Hot 100 No. 1 summer smash “Please Please Please,” adding in some killer vocal runs, as well as an equally intense cover of Billie Eilish’s “Wildflower.”
“Because I Love You” is the follow-up to “In Your Hands,” a ballad released in March that was accompanied by a video that ends with the singer cradling baby Halo in her arms and sweetly rocking him. “In Your Hands” was the second non-soundtrack solo release of Bailey’s career, follow on the heels of 2023’s “Angel,” which hit No. 6 on the R&B/Hip-Hop Digital Songs chart.
Halle’s name also showed up on the 16-song track list for sister Chlöe‘s upcoming sophomore album, Trouble in Paradise, where the siblings will team up on the song “Want Me” alongside Chlöe’s collabs with Ty Dolla $ign, Anderson .Paak, YG Marley and Jeremih.
Watch the “Because I Love You” preview below.
The 2024 Democratic National Convention has had its fair share of flashy moments – from Lil Jon’s “Turn Down for What” cameo during roll call to Patti LaBelle’s gorgeous rendition of “You Are My Friend” — but the primetime show isn’t the only thing happening in Chicago this week (Aug. 19-22).
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In addition to the main event, which takes place in Chi-Town’s United Center arena, the morning and afternoons are filled with different council and caucus meetings that fire voters up, educate them on grassroots campaign strategies and break down the party’s 2024 platform. Billboard was able to sit in on Tuesday afternoon’s youth council meeting (Aug. 20), where Minnesota Gov. Tim Walz, Vice President Harris’ running mate, made an appearance to remind young voters of their power and responsibility for their own futures now that Dems are seemingly passing the baton along to a new generation.
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Before Walz took the podium, Texas Rep. Greg Casar addressed the room, and by the end of his remarks, nearly every delegate in the room was on their feet. “It is going to be your energy and your work that is necessary to deliver the transformational change that the vast majority of this country wants,” he proclaimed. “Too often we confuse the political center with the moral center!” Casar, who currently represents Texas’ 35th district and was formerly endorsed by the Democratic Socialists of America, was connecting — and he was connecting with the country’s newest and youngest voters.
Though he only joined Congress about two years ago, Casar has certainly made his progressive presence felt – from leading a nine-hour thirst strike in 2023 to urging President Biden not to recognize the coalition claiming victory in the 2024 Pakistani general election.
Billboard caught up with Rep. Casar after the youth council to talk about some key pieces of music legislation currently floating in Congress, his understanding of “brat summer,” and his love for Grupo Frontera and Peso Pluma.
What are your thoughts on the RAP Act? Can you commit to supporting it in the House?
I’m a supporter of the bill. Before being in Congress, I was on the Austin City Council and led on a lot of music issues in what is the live music capital of the world. I really came to understand during the pandemic that supporting both recording artists and live music is important not just for those industries and not just for music lovers but [also] for building community and joy, and making expensive cities worth living in in the first place, you know.
I think Leader Jeffries and Vice President Harris have embraced pop music, and hip-hop in particular, as part of their events, and as a part of their shared identity with so many of our communities. I hope that we can remind them of that as we prioritize bills like the RAP Act, because it’s not only a clear civil rights bill, but we [also] want people to be able to express themselves without being worried that it’s going to be used in a court case against them. I think that Speaker Jeffries and [Vice] President Harris would be supportive, not only because they understand the importance of hip-hop to American culture, but also because they’re civil rights-first elected officials.
In light of the DOJ suing Live Nation-Ticketmaster, where do you stand on the Fans First Act?
I’m trying to remember the details of Fans First versus all the different ideas on how to crack down on monopolies in the ticketing industry, [but] I’m just generally supportive of whatever it is that we can get done to make it easier to buy tickets, and for more of that money to actually get to the people that make the music and do the tour.
I find that people in places like Austin are actually increasingly happy to pay a decent cover if they know that it’s going to the artist then. So whatever it is that we can do to take on monopolies in the music industry I think is really important. It’s the same problem we have with meat; only four companies control nearly 90% of the meat in the country. The same issues we have in tech we have in music as well.
In that vein, what was the last concert you went to?
I always make sure that when I’m back home in Austin, I go see some shows. Last night, [I got to see] my friend Gina Chavez, who’s a Latin Grammy nominee, play live here. The weekend before that, we had Hot Summer Nights in Austin where a bunch of our clubs on Red River were opened up for free shows, so it was awesome to see a bunch of acts play there.
I just missed seeing Grupo Frontera in Austin because I was over here. I’m a big fan of Grupo Frontera and Peso Pluma. It’s just been awesome to see them really break out. Peso Pluma actually went to middle school in my district in San Antonio for a little while; he was between Mexico and San Antonio. A bigger arena show that I’ve been to recently was Burna Boy. For my birthday, we saw Chicano Batman. They played the 9:30 Club. People catch me at the $25 shows! Also, Thundercat! I’ve seen Thundercat twice in D.C.
What do you think of the Harris-Walz campaign’s embrace of pop music? Do you think it ever veers on the side of pandering, or do you think that they have their finger on their pulse in a smart and balanced way?
I think that you just got to have fun with it, man. If a politician likes that song, good for them! I think that the more we can be our real selves and realize that we’re just normal people, that’s gonna speak for itself. If I’m at your house, put on your playlist, don’t put on the playlist you think I’m going to like. Put on your stuff!
You get that feeling from this campaign? That they’re putting on their playlists?
I think they’re putting on what they like, and I would encourage them to really get relaxed with that. I think people are looking for authenticity.
How do you understand “brat summer?”
[Laughs.] I feel like its meaning has been contorted and twisted, you know? It started out [with] Charli XCX having a good time, then it turned into everybody having a good time. And now Kamala Harris might be president!
What is your personal song of the summer of 2024?
There’s this Karol G song, “Si Antes Te Hubiera Conocido,” it’s a great one. I’ve been on some long drives this summer, and it’s one of the ones that I [replayed] a decent amount. It’s hot in Texas, like 105° today, so it’s a good “rolling down the windows” and “chilling on the lawn” song.
A$AP Rocky is still adjusting to life as a dad. Rocky and Rihanna welcomed baby No. 2, RZA’s little brother, Riot, in August 2023, and life has never been more different for the Harlem rapper. Rocky — born Rakim Mayers — serves as the latest cover star for Billboard, which finds him touching on all […]
Jordan Adetunji’s “Kehlani” becomes the first song to remain at No. 1 on the TikTok Billboard Top 50 chart for more than one week since July, reigning for a second straight frame on the Aug. 24-dated tally.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity from Aug. 12 to 18. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Kehlani” is the first song to reign for more than one week since Tommy Richman’s “Million Dollar Baby” led between the May 18 and July 20 surveys. Since then, three tunes – Blood Orange’s “Champagne Coast,” Clairo’s “Juna” and Sevdaliza, Pabllo Vittar and Yseult’s “Alibi” – ruled for one week each prior to the rise of “Kehlani.”
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Chiefly, major uploads using “Kehlani” on TikTok adhere to its dance trend, with Kehlani herself (who was added to a remix of the song on June 20, followed by a music video on Aug. 2) participating in many of the highest profile videos.
“Kehlani” concurrently hits a new peak of No. 25 on the Billboard Hot 100 dated Aug. 24, lifting 26-25 thanks to 13.1 million official U.S. streams, 9.7 million radio audience impressions and 1,000 downloads sold in the week ending Aug. 15, according to Luminate.
The aforementioned “Alibi” holds at No. 2 on the TikTok Billboard Top 50 while Hanumankind and Kalmi’s “Big Dawgs,” following its first time in the top 10 on the Aug. 17-dated ranking, zooms to No. 3.
Many of the top uploads using “Big Dawgs” on TikTok feature emulations of Hanumankind’s stepping dance moves in its music video or reactions to the video itself, as well as soundtracking other general viral content uploads.
For the second week in a row, “Big Dawgs” is the greatest gainer in streaming on the Hot 100, jumping 31-23 via 14.2 million streams, up 18%.
One other song hits the TikTok Billboard Top 50’s top five for the first time: DJ Drama and Gucci Mane’s “Photo Shoot,” which leaps 16-5 in its third week on the list.
“Photo Shoot” was originally released in 2009. Though it’s had occasional blips of activity on TikTok in recent months, its latest rise largely stems from picture-based uploads, highlighting Gucci Mane’s “Come and take a camera flash” lyric.
The song jumps 45% to 324,000 streams in the week ending Aug. 15.
Project Pat’s “Life We Live” and Surf Curse’s “Disco” follow “Photo Shoot” at Nos. 6 and 7, respectively. “Life We Live” debuted at No. 46 on the Aug. 17 tally, while “Disco” is the Aug. 24 list’s top debut.
“Life We Live,” which features Namond Lumpkin and Edgar Fletcher, is the third song from Project Pat to hit the top 10 of the TikTok Billboard Top 50 since the chart’s September 2023 inception, following “Choose U” and “Good Googly Moogly,” both in January. Like that pair of songs, “Life We Live” is an older release, having come out in 2001.
The TikTok trend for the song features its “Gotta take the good with the bad, smile with the sad/ Love what you got and remember what you had” lyric that kicks off its third verse. Creators give a thumbs up or down and smile or frown in conjunction with the corresponding lyrics.
It’s the first time “Life We Live” has ever reached a chart. Its parent album, 2001’s Mista Don’t Play: Everythangs Workin, peaked at No. 4 on the Billboard 200 that March.
As for “Disco,” the rockers’ 2019 track is their first to make the TikTok Billboard Top 50, though Surf Curse had a previous TikTok-fueled resurgence in 2021 via “Freaks,” which peaked at No. 10 on the Hot Rock & Alternative Songs ranking that September.
“Disco” also benefits from a dance trend, generally done between two people while facing each other.
“Disco” sports a 47% bump in streams to 933,000 in the week ending Aug. 15.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
I’m not getting too stressed about bridge lyrics,” says Benjmn, 29. “Because there’s like a 100% chance it’s going to get translated.”
The Los Angeles-based topliner is closing in on his ninth straight hour of songwriting today. And like the 10 other lyricists and producers Universal Music Publishing Group has assembled at Arcade Studios in New York, he won’t stop until he’s achieved perfection. Benjmn, who has written for acts like ENHYPEN and Le Sserafim before, and his cohorts here are all proven K-pop hit-makers, so they’re well aware that much of today’s work will be rewritten in Korean. Still, he and his collaborators on this particular track — 31-year-old SAAY from South Korea and 34-year-old Sandra Wikstrom from Sweden — will continue fine-tuning their already pristine bridge for at least 15 more minutes before moving on. Are there enough syllables? Is it dragging? Can the melody be more expansive?
They know that the punchier the lyrics, the likelier it is that major K-pop labels like HYBE, JYP Entertainment and SM Entertainment will pick up their demos for artists to record. Their current target is a boy band on the rise that UMPG knows is looking for its next hit, although the track — a swaggering dance tune tentatively titled “GLUE” — may very well go to another of the ever-proliferating K-pop groups. (Because of the unpredictable nature of where songs end up and the prejudices a label may have if it sees a song title publicly attached to other acts, UMPG declines to comment on the precise artists for whom the musicians have gathered.)
The three rainy days these writers and producers will spend here mark just the second-ever international K-pop camp UMPG has held in the United States as it pushes to capitalize on the opportunities the genre offers its roster of talent, rounding up its most experienced creatives from all over the world and charging them with completing three songs a day in small groups. After the camp concludes, UMPG Korea senior creative A&R executive Yena Kim will pitch the nine finished tracks to the big three labels, which constantly send her hyperspecific briefs outlining what they’re looking for and for whom; for now, she walks from room to room ensuring everyone understands their assignments.
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“Ultimately, we want releases,” explains UMPG’s head of its global creative group, David Gray. “We can sign K-pop writers and say, ‘Go get us K-pop cuts.’ But we can also be proactive and creative. Let’s put our best K-pop writers together, bring them briefs from Korea and keep it small, focused and strategic so we have the best chance of getting results.”
Benjmn (left) records vocals for an R&B-inspired demo produced by Sam Klempner.
Nina Westervelt
Jeppe London (left) and Lauritz Emil work on a song with guitars.
Nina Westervelt
On day one of camp, delirium is already setting in. “We should do a song called ‘Jet Lag,’ ” Benjmn jokes before he, SAAY and Wikstrom start spitting out catchy rap bars seemingly effortlessly, despite their lack of sleep. “Jet lag, jet lag, gotta go get bags/All around the world, I’m getting whiplash,” they sing, taking turns adding lines.
Down the hall, 28-year-old BLVSH from Germany and London-based Josh McClelland, 27, are writing for the same boy band, penning a punk-rock heartbreak anthem called “Close the Door.” Producer duo Jeppe London, 28, and Lauritz Emil, 26, both from Denmark, speak in rapid-fire Danish while recording electric guitar passes to find a sweet spot between Demi Lovato and Linkin Park, both of whom label SM sent as references. The room’s shared credits include tracks for BTS, ENHYPEN, NCT and TWICE, and an expertise in the subtleties of writing for K-pop artists shows.
“You’re looking for fun keywords instead of poetic structure,” explains BLVSH, who earned a No. 1 on the Billboard Hot 100 last year for her work on Jimin’s “Like Crazy.” “It’s more [about] attention-grabbing visuals and hooky words.”
They also labor over how pleasing each syllable sounds, the cadence and differentiation of each line, whether the melodies will sit in the band members’ varying vocal ranges and how easily choreographers will be able to pair the lyrics with snappy dance moves — all elements they say they don’t necessarily think about when writing for other genres, as many of them started out writing outside K-pop. Phonetics are key, even if most lyrics do end up getting reworked by translators, who generally earn a 12.5% split in royalties when the song is finished; BLVSH and McClelland say Korean labels are more likely to bite when they can imagine from the get-go how a song will sound once translated, which is why the writers make sure to infuse their demos with sharp consonants to mimic the Korean language. (For example: Saying a love interest looks “picturesque” grabs their ears far more than a simple “pretty” or “good.”)
SAAY (left) listens to a demo while BLVSH tinkers on piano.
Nina Westervelt
Max Thulin produces a track in Logic Pro.
Nina Westervelt
It’s also why the writers focus less on storytelling and more on a certain vibe or attitude in their songs, which they strive to convey even when recording their demos. By nature, many of them are far less extroverted than the acts they write for, so it’s entertaining to watch Benjmn cringe as he listens to a take of himself singing with Justin Bieber-esque sultriness, or to see 31-year-old Feli Ferraro of Los Angeles intuitively flip her hair and pop her hips while recording sexy-confident raps for a song called “8” that’ll be sent off to a brand-new girl group SM is developing (the campers know nothing of its top-secret lineup).
The songwriters aren’t fazed when translators alter the meaning of their lyrics; they understand it’s an often necessary part of ensuring they still rhyme and flow well in Korean. Still, it’s always ideal artistically when their work stays as close to the original as possible — and there are ways of increasing the chances that it does: As McClelland puts it, “Let’s make sure this lyric is fire.”
Toward the end of the day, everyone takes a short break to mingle and eat dinner; last year, UMPG learned that the ever-diligent writers prefer bringing in meals to avoid taking time away from their songs, and tonight’s comes from Joe’s Home of Soup Dumplings. SAAY and Wikstrom excitedly make plans to visit the Times Square Disney store while they’re in town. But there’s minimal time for this kind of pleasant catchup. A mountain of empty plastic containers in their wake, everyone instinctively filters back into their respective rooms.
Most end up staying until 10 p.m. There’s more work to be done.
From a publisher’s perspective, everything changed for global K-pop in 2020. That’s when BTS earned its first Hot 100 No. 1 with “Dynamite” — and the genre “exploded, that’s for sure,” quips Daniella Rasho, international A&R executive at UMPG U.S., who oversees the camp alongside Yena Kim.
“People have seen what BTS has done,” she continues. “Now every K-pop label is like, ‘I’m going to have the next BTS. I’m going to have the next one that goes global or is on U.S. radio.’ ”
“[Korean] labels are aiming for hits on the Billboard charts,” Kim adds. “The artists, most of them now all speak English, as well as local A&Rs. The whole thing is changing. It wasn’t like this five to six years ago.”
As K-pop’s global reach has expanded, so too has foreign songwriters’ interest in the genre, which rapidly transformed from one of the least popular international markets for songwriters to one of the most competitive. It’s an appealing space: Western pop stars are often inclined to stick with the same close circle of collaborators, but K-pop labels are quite open to taking songs from outsiders. Thanks to K-pop fans’ propensity for buying multiple physical variants of singles and albums, the royalty checks for songwriters and producers tend to be higher, too.
Western stars like Taylor Swift have also prioritized writing their own music, while K-pop fans value the glossy, high-production performances their idols have spent years training to execute more than the names on a song’s billing, allowing more space for career songwriters to notch credits. Rasho has a theory as to why: “American audiences want to relate to pop stars. For K-pop, people want to be them.”
Front row, from left: Jeppe London, Celine Svanback, Feli Ferraro, Benjmn and Max Thulin. Middle row, from left: Sandra Wikstrom, SAAY, Sam Klempner and BLVSH. Back row: Josh McClelland (left) and Lauritz Emil.
Nina Westervelt
SAAY (left) with Sandra Wikstrom who reads lyrics off her phone.
Nina Westervelt
Plus, the campers say that K-pop labels are in some ways more forgiving than their Western counterparts. They’re used to receiving detailed feedback on their demos and getting ample opportunity to rewrite or add parts to a song, and Ferraro explains that some will “Frankenstein” pieces of different submissions together to achieve the desired result. “They’ll find a home for it,” says the Connecticut native, who co-wrote “Run BTS” and Le Sserafim’s “Unforgiven.” “It doesn’t feel like you’re wasting your time at all.”
Seeing the many opportunities K-pop presents for its roster, UMPG has sprung into action over the past few years organizing writing sessions all over the world. Kim handpicked each creative at this year’s camp based not just on skill, but also on who would be most suited to the song briefs at hand — “Specific labels like some writing styles more than others,” Rasho explains — and who would get along best as collaborators.
Figuring out the latter is an art in itself. At last year’s camp, Gray recalls that “there were tears” during a creative dispute over a song that would turn out to be TWICE soloist NAYEON’s “Something.” It ended up being one of the most high-profile releases the inaugural camp created, with the EP it was on, NA, reaching No. 1 on Billboard’s Top Album Sales chart in June.
Next, Kim tailored small groups around who could best match the demands of the individual briefs, which reflect just how tuned in to global trends K-pop labels are. JYP requested a solo song akin to Tate McRae’s “Greedy” for a member of one of its girl groups, while others cited Sabrina Carpenter’s “Espresso,” Chappell Roan, Caroline Polachek and Charli xcx’s brat as references.
K-pop’s sonic evolution is a big reason why UMPG’s approach, gathering writers from all over the world, works so well. Swedish and British producers like Max Thulin, 30, and Sam Klempner, respectively, “bring their experimental, cool sounds,” while Germans are masters of “fun, electronic pop,” Rasho says.
“The U.S. writers come and do their rap thing — they have that swagger,” she continues. “They bring out something new and different in each other. They bring the best of their territories, too.”
Celine Svanback records vocals for a girl-group demo.
Nina Westervelt
Celine Svanback and Josh McClelland records vocals.
Nina Westervelt
Only at the end of camp, when all of their songs are finished, do the writers let UMPG treat them to dinner offsite — Cecconi’s on Broadway. Over drinks, McClelland jokes that Universal saved money on hotels by having two couples present. Benjmn and Ferraro are married, and Emil is engaged to fellow Dane Celine Svanback, 28; both couples met in past writing sessions. But aside from a few others from the same close-knit territories who’ve worked together before, like McClelland and Klempner, it’s the first time many of the campers have met — although, in the course of conversation, Benjmn and Thulin realize they share credits on a previous song created remotely, Le Sserafim’s “Eve, Psyche & the Bluebeard’s Wife.”
Most of them, it seems, fell into the K-pop world unintentionally, whether they were headhunted by labels or indoctrinated at the nudging of UMPG. It wasn’t the first choice for many but now, it’s become perhaps their best avenue to flex their creative muscles, writing pop, hip-hop, rock and R&B all under the ever-expanding K-pop umbrella.
“It’s not just one sound,” says Wikstrom, who never did come up for air long enough to visit the Disney store. “That’s what I really love — you’re not tied to anything. I used to think, ‘No, I don’t want to do K-pop. I don’t even know what K-pop is.’
“Then, I realized,” she continues, her eyes widening. “K-pop is everything.”
This story will appear in the Aug. 24, 2024, issue of Billboard.
Ariana Grande is giving her fans everything in honor of her sophomore album’s 10-year anniversary.
On Thursday (Aug. 22), the pop star commemorated a decade of My Everything by sharing new vinyl and digital deluxe editions of her 2014 era, a year that found her dominating the Billboard Hot 100 top 10 with hits such as “Break Free,” “Love Me Harder” with The Weeknd and “Problem” featuring Iggy Azalea. The pink-tinted vinyl, which is available for preorder on Grande’s website, features the original set’s track list plus songs that were previously never made available in the format: “Bang Bang,” “Only 1,” “You Don’t Know Me,” “Cadillac Song” and “Too Close.”
The Grammy winner also unveiled a brand new digital deluxe edition of My Everything including “Too Close” and “Cadillac Song,” marking the first time those bonus tracks have ever been available for streaming. The celebration continues next week, with Grande planning to release a limited 7″ vinyl bundle featuring “Problem,” “Break Free,” “Love Me Harder” and “One Last Time” on Monday (Aug. 26), followed by a digital bundle with a capella and instrumental versions of those same singles as well as “Bang Bang” on Tuesday (Aug. 27).
Plus, the star released a new line of anniversary merch on her website, complete with pastel pink, lavendar and black shirts, sweatshirts and sweatpants.
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By the time Grande released My Everything in 2014, opening at No. 1 on the Billboard 200, she was already a full-fledged pop superstar thanks to her debut record, Yours Truly. The latter LP celebrated its 10th anniversary last year, which the Florida native commemorated by releasing filmed live performances of “Honeymoon Avenue,” “Daydreamin,’” “Baby I,” “Tattooed Heart” and “Right There.” She also engaged with fans through Q&As on social media, as well as dropped an extended anniversary edition of the album.
Eleven years ago, Yours Truly also debuted at No. 1 on the albums chart, but Grande told Billboard in 2014 that she allowed herself to celebrate for only about an hour before immediately getting back to work on the project that would become My Everything. “I’m a workaholic, and a perfectionist,” she said at the time. “I never thought I’d be able to say this, but I love this [album] five times as much as I love Yours Truly. They’re different, but I love this one so much more.”
Stream the 10th anniversary edition of My Everything below: