State Champ Radio Music
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Mrs. GREEN APPLE’s “KUSUSHIKI” holds at No. 1 for the second week on the Billboard Japan Hot 100, dated April 23.
The The Apothecary Diaries Season 2 Part 2 opener debuted at No. 6 on the tally revealed April 9 and hit No. 1 last week. Compared to the week before, downloads for the track are down to 61%, streams to 90%, and video views to 63%, while karaoke points are up to 142% and radio airplay to 292%. The latest hit by the three-man band rules streaming and radio while coming in at No. 3 for downloads, No. 2 for video, and No. 59 for karaoke.
ME:I’s “MUSE” jumps 73-2. The track began streaming March 17 and debuted at No. 59 on the chart released March 26. After falling off the list, it re-entered at No. 85 on April 9, rose to No. 73 the following week, and hits No. 2 this week after selling 234,404 CDs during the chart week.
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HANA’s “ROSE” slips a notch to No. 3. The track continues to rule video for the third consecutive week, while coming in at No. 13 for downloads, No. 2 for streaming, and No. 7 for radio.
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Following at No. 4, also down a spot from last week, is Mrs. GREEN APPLE’s “Lilac.” The song has been particularly popular in karaoke, topping the metric for 15 consecutive weeks since its release on Jan. 15.
Sakanaction’s “Kaiju” stays at No. 5. Points for the track are down in downloads, streaming, radio, and video, while gaining slightly in karaoke (101%) compared to the previous week.
King Gnu’s “TWILIGHT!!!” debuts at No. 7. The track was released on April 18 as the theme song for the animated movie Detective Conan: One-Eyed Flashback. Despite only being counted for three days, the song racked up 14,679 downloads to top the metric, and comes in at No. 25 for streaming, No. 8 for video, and No. 12 for radio. King Gnu surprised fans with a free live performance in Kabukicho, Tokyo on the song’s release day, drawing an estimated 6,000 people to the plaza in Shinjuku, the largest crowd ever for the location.
Outside the top 10, “GBAD (Number_i Remix),” the collaboration between Jackson Wang and Number_i, bows at No. 13. The track comes in at No. 2 for downloads, No. 56 for streaming, and No. 37 for videos.
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 14 to 20, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
Hanna Nicole and Ashley Grace are so in sync that they even finish each other’s sentences at times.
Collectively known as Ha*Ash, the Louisiana-born sisters’ bond has powered the duo’s career over the past 20 years, and that built-in connectedness also contributes to their unbreakable status in Latin music. On April 24, the sisters will be honored at Billboard and Telemundo’s annual Latin Women in Music event with the Unbreakable Award, celebrating both their music and their career as a remarkable sibling duo that is perhaps more relevant than ever today.
“When I hear the word unbreakable, the first thing that comes to my mind is that, although this career has been like a roller coaster, here we are doing what we love to do the most,” says Hanna, who is a year and a half older than Ashley. “It’s an honor to not only be recognized for our work after 23 years of career but to continue to live from our stories and songs. It’s a blessing.”
Speaking in perfect English and Spanish, a reflection of their bicultural upbringing — living half of the year in Mexico and the other half in the U.S. as kids — Hanna and Ashley are in the midst of their biggest tour ever, with a South American trek that included stops at Chile’s Viña del Mar Festival, in the wake of their 2024 album, Haashville.
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It’s the latest high point in a career that fueled Latin pop’s domination in the early 2000s with their country-tinged “Odio Amarte,” the first single from their self-titled debut album, and “Estés Donde Estés,” which became Ha*Ash’s first top 10 hit on Billboard‘s Latin Pop Airplay chart.
“ ’Estés’ became the theme song of a Mexican telenovela, so it got such a big push from that,” Ashley explains. “Back then, if one of your songs was picked up by a telenovela, it was like wow you made it. We never imagined this would be our breakthrough song, but it opened doors. We started performing small gigs, and after that, we kind of took off.”
But it was “Odio Amarte” that showcased Ha*Ash’s signature sound: Latin pop with a country twist. It was a style that came naturally to the Mexican-American sisters who grew up in the South listening to the likes of Reba McEntire, Dolly Parton and Garth Brooks. Hanna and Ashley — professionally trained musicians and singers — would translate those artists’ songs to Spanish so their friends in Mexico could understand what they were singing about.
“That’s who we are, a mixture of two cultures, different musical genres, that’s the consequence of where we lived and who we are,” says Hanna. But their vision of fusing pop with country was met with resistance from some label execs who argued country wasn’t popular in the Latin world. “We would get yeses from labels we were visiting but they wanted us to just do pop, and we didn’t want to record just to record, we wanted to do what felt natural to us. We said no to those labels because we weren’t in a hurry to release anything, and we wanted to be loyal to our sound.”
Ha*Ash
Sony Music
Eventually, their demo ended up in the right hands at Sony Music México, with whom they signed and released their debut LP, Ha*Ash, in 2003. It was also around that time that the then teenagers signed with Ocesa Seitrack for management.
“Staying genuine to their music has been extremely relevant [to their success],” says manager Octavio Padilla of Ocesa Seitrack. “That is what has generated a true connection between Ha*Ash and their fans and that has maintained this bond for so long. If today you go to a Ha*Ash show in Chile, Argentina or anywhere in Latin America, you will be able to see that connection where all their fans feel identified and close to Hanna and Ashley.”
All told, Ha*Ash has released a total of eight albums and, over the years, the duo has accumulated a total of 16 entries on Latin Pop Airplay, four of which reached the top 10, including “El Cielo Te Mandó Para Mí” from their latest studio album, Haashville (2024), which reached a No. 7 high on Latin Pop Airplay.
Besides recording music, touring has been key to Ha*Ash’s success. “Thank God that’s been where we’ve overachieved,” says Hanna. “I wouldn’t say that we wouldn’t be here if it wasn’t for live shows, but our careers would be different. Today, we are very fortunate to be on tour and sell the number of tickets that we have sold but tomorrow is not guaranteed so we value the good moments.”
That grateful mentality was instilled in them as little kids. Hanna and Ashley grew up in a strict household where they were taught the value of hard work at a young age. They started performing when they were around 12 years old at state fairs, rodeos and even a stint at the Louisiana State Penitentiary, as tourism ambassadors — handpicked by the Secretary of State in Louisiana who heard them sing at church. “On the weekends, we would fly from Mexico to Louisiana to sing at all these events and we’d take our guitars, which were way bigger than us, and we’d perform and then fly back to Mexico on Sundays,” Hanna recalls of their extraordinary childhood.
Ashley chimes in, “We were home-schooled and when we weren’t touring, my dad would ask, ‘What’s your schedule? Because you’re not just going to sleep around or watch television.’ So, it was either piano or guitar class, singing class, going to the gym, doing something productive. ‘If you have an hour that I don’t see on your schedule, you’re wasting your time,’ he would tell us.”
And they wouldn’t have it any other way either. “When we signed with Sony, we were underage so my dad would go into every single meeting. He was always like, ‘One day I won’t be here, so you guys need to sit in and listen because I know I have done my job when I’m not here and you’re able to continue with your career.’ We are very grateful to my dad for that, for teaching us to work and to value.”
Reflecting on their 20 plus years in music, Hanna and Ashley are most grateful to be able to do this together.
“I just feel that we were brought up to do everything together and once we were working and traveling, although we’re surrounded by so many people, at the end of the day, it’s just us,” Hanna says. “We’ve always had each other’s backs, and we speak so openly about what works and what doesn’t because we have a bond that is like no other. We’re sisters first and then we’re partners. Sisterhood always comes first.”
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
UPDATE (April 23): Emmy Award-winning producers Jesse Collins and Dionne Harmon, and Emmy-nominated Jeannae Rouzan-Clay of Jesse Collins Entertainment are set to return as executive producers of the 77th Primetime Emmy Awards, broadcasting live coast-to-coast from the Peacock Theater in L.A., Sunday, Sept. 14. This marks their third consecutive year as the show’s executive producers.
Collins has also served as an executive producer of the Grammy Awards for each of the last four years, working alongside Ben Winston and Raj Kapoor. He won his Primetime Emmy as an executive producer of The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar, 50 Cent, which won outstanding variety special (live) three years ago. His fellow executive producers on that show were Jay-Z and Desiree Perez.
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“We’re thrilled to be partnering again with the talented team at Jesse Collins Entertainment,” Television Academy chair Cris Abrego said in a statement. “Jesse, Dionne and Jeannae are terrific collaborators who have now produced two exceptionally creative, innovative and entertaining Emmy broadcasts, and we’re excited about their approach to this year’s celebration of television.
PREVIOUSLY (April 16): Comedian Nate Bargatze is set to host the 77th Primetime Emmy Awards, broadcasting live coast-to-coast from the Peacock Theater at L.A. Live in Los Angeles on Sunday, Sept. 14 (8-11 p.m. ET/5-8 p.m. PT) on CBS, and available to stream live and on demand on Paramount+.
With this announcement, three of the four EGOT-level awards shows will have had first-time hosts this year. Conan O’Brien hosted the Oscars for the first time on March 2. Cynthia Erivo will host the Tony Awards for the first time on June 8. The only EGOT-level show to stay with a tried-and-true host was the Grammys, which was hosted by Trevor Noah for the fifth time on Feb. 2.
“It’s a huge honor to be asked to host such an iconic awards show and I’m beyond excited to work with CBS to create a night that can be enjoyed by families around the world,” Bargatze said in a statement.
“Nate is one of the hottest comics in the business with a remarkable and hilarious brand of comedy that deeply resonates with multi-generational audiences around the globe,” said Television Academy chair Cris Abrego.
Bargatze, 46, received a Grammy nomination three years ago for best comedy album for The Greatest Average American. The comedian, author, podcaster, actor, director and producer is a Nashville native. He grossed $82.2 million and sold 1.1 million tickets in 2024, according to numbers reported to Billboard Boxscore, which put his tour at No. 1 for the year’s highest grossing comedy tours.
Cedric the Entertainer, star of CBS’ The Neighborhood, hosted the Primetime Emmys in 2021, the last time CBS aired the show. (The Primetime Emmys rotate among the three legacy networks and Fox.) Last year’s show, on ABC, was co-hosted by the father-and-son team of Eugene Levy and Dan Levy.
The producer of this year’s show has not yet been named. Jesse Collins Entertainment produced the last two Primetime Emmy Awards telecasts, with Alex Rudzinski on board as director for both shows.
Nominations for the 77th Primetime Emmy Awards will be announced by the Television Academy on Tuesday, July 15, streaming live at 8:30 a.m. PT on the academy’s website.
This year’s Creative Arts Emmy Awards will be held on Saturday, Sept. 6, and Sunday, Sept. 7. Those ceremonies will be produced by the Television Academy.
Paramount+ with Showtime subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand. Paramount+ Essential subscribers will not have the option to stream live, but will have access to on-demand the day after the special airs.
As country music prepares to take over Coachella Valley this weekend for the annual, sold-out Stagecoach Country Music Festival, more than five dozen acts spanning a wide array of sounds will perform on multiple stages April 25 to April 27 at the Empire Polo Club in Indio, California. Two-time CMA Awards entertainer of the year […]
The Weeknd grabs sole possession of the third most No. 1s on Billboard’s Rhythmic Airplay chart as his current single, “Cry for Me,” reigns on the list dated April 26. As the new champ climbs from No. 3, The Weeknd claims his 15th Rhythmic Airplay leader, breaking from his tie with Chris Brown. He now […]
Noah Kahan has long joked that he’s the “Jewish Ed Sheeran.” And this week, the two singer-songwriters finally got together, playing a set of acoustic songs — including one of the British pop star’s unreleased tracks titled “Old Phone” — in a Nashville pub.
In one video posted to Instagram by the “Shape of You” singer Tuesday (April 22), he and the Vermont native sit across from each other on the intimate barroom floor of Santa’s Pub in Tennessee’s capital, both of them wielding acoustic guitars. Smiling, Sheeran and Kahan belt out the chorus to the latter’s breakthrough 2022 smash “Stick Season.”
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“I love Vermont, but it’s the season of the sticks/ And I saw your mom, she forgot that I existed,” they belt, joined by dozens of fans seated around them. “And it’s half my fault, but I just like to play the victim/ I’ll drink alcohol ’til my friends come home for Christmas.”
“Shut down @santaspub in Nashville to do dueling songs with @noahkahanmusic,” Sheeran captioned the performance. “What a night.”
According to other clips posted by guests in attendance, the pair also sang “All My Love” and “Dial Drunk” from Kahan’s Billboard 200 No. 2 album Stick Season. Sheeran also enlisted the folk singer to perform the unreleased “Old Phone,” remarking, “I recorded this song, I was like, ‘I think it kind of sounds like a Noah Kahan song … this is a like a full-circle moment for me.”
“That’s f–king mind-blowing,” Kahan quipped.
“Conversations with my dead friends/ Messages from all my exes,” Sheeran then sang on the track, which he previously performed on The Tonight Show ahead of its May 2 release, as Kahan joined him on guitar. “I kinda think that this was best left/ There, in the past, where it belongs.”
The performance marks just the latest pub pop-up the “Perfect” musician has hosted ahead of his upcoming album, Play, with Sheeran also making headlines for his surprise mini concerts at other bars in Boston and Nashville this year. On that note, Sheeran also built a fully functional bar called the Old Phone Pub in Ipswich, Mass., to promote his new song “Azizam,” which debuted at No. 28 on the Billboard Hot 100 in April. Shortly afterward, he reconstructed the pop-up at Coachella, where he sang duets with Shaboozey and Alex Warren in addition to performing on the Mojave stage at the festival.
Watch Sheeran and Kahan perform “Old Phone” and “Stick Season” below.
France’s biggest pop star, now striking out on her own, continues to challenge the status quo and captivate audiences around the globe.
How do you reinvent yourself after establishing, in less than a decade, a place as one of the cornerstones of the French music scene — with over 6 billion streams and 24 diamond certifications (16 in France, 8 internationally)?
“I’ve already asked myself that question,” Aya Nakamura admits.
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“My answer is that when you’re an artist, you’re supposed to evolve. Otherwise, you stop living your music. At some point, you feel like you’re no longer truly yourself. I believe that as long as you embrace who you are, as long as you’re still living, still feeling emotions, you’ll have no problem channeling that energy back into your music… At least, when you’re passionate.”
At 29, the singer has already left an indelible mark on French pop. Her hits “Djadja” and “Pookie,” sung entirely in French, have travelled the globe — so much so that she’s become the obvious choice to represent francophone music at the upcoming Paris Olympic Games.
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“I wonder if I could have done the same thing had I been born 20 years earlier,” she reflects. “It definitely wouldn’t have been this easy… especially because there’s something new here — a Black woman wanting to sing in her own bold, unapologetic style, without waiting for anyone to open doors for her, and reaching her audience through different channels.”
Now fully independent, Aya Nakamura is turning the page and beginning a new chapter — one that kicks off with her first major signing.
The Beginnings
Born in Bamako, Mali, Aya arrived in France just a few months later. Coming from a family of griots — West African storytellers and musicians — she grew up in Aulnay-sous-Bois, in a household where music was already part of everyday life.
“It’s kind of special, because my mother was a singer and would’ve loved to have a career. Now, I’m doing it in her place — almost like a form of redemption for her. I want to go all the way, and I hope it can inspire other women to pursue their own dreams.”
Her real start came in 2014, when she posted her first track, “Karma,” on Facebook. A fan of the TV series Heroes, she took inspiration from the character Hiro Nakamura to create her stage name.
The turning point came in 2017 with her debut album Journal Intime, now certified platinum. Newly signed to Warner Music France at the time, Aya Nakamura laid the foundation for the signature sound that would come to define her. On the track “Oumou Sangaré,” she paid tribute to her Malian heritage — a connection she’s been feeling drawn to again.
“Lately, I’ve been thinking more and more about doing something like that again,” she says.
Olympic Recognition
Aya Nakamura’s international breakthrough came in 2018 with the release of “Djadja.” The track topped the French charts for two consecutive weeks and quickly crossed European borders. In the Netherlands, it made history: for the first time since Édith Piaf in 1961, a French-language song by a female artist reached No. 1 on the charts.
This meteoric success was cemented with the release of her second album, Nakamura, in November 2018. Fueled by diamond-certified singles like “Copines,” “La Dot” and “Pookie,” the album became a commercial phenomenon unlike anything seen before for a francophone artist. It went diamond in France with over 500,000 copies sold, matched by another half-million internationally. Today, it holds the record as the most streamed francophone album in Spotify history, with over 2 billion streams.
Her trajectory continued with two more albums, AYA and DNK, but it reached a symbolic high point on July 26, 2024, when she performed on the Pont des Arts during the opening ceremony of the Paris Olympic Games. Accompanied by musicians from the Garde Républicaine and the French Army Choir, the performance became the most-watched moment in French television history, drawing 31.4 million viewers.
“What can I say? People often call it ‘iconic.’ It took me six months to truly process what I’d done,” she admits. “In the moment, you’re just pushing forward, head down, working hard to deliver something you can be proud of. Then, when you step back and look at everything — the impact, the debates… it feels like a movie. In the end, I feel like I made it.”
In February 2025, just months after her global triumph, Aya surprised fans with “Chimiyé” — a single that marked a distinct shift in her discography. Collaborating with rapper Alpha Wann and the Don Dada team (JayJay, Selman, StillNas), she ventured into new sonic territory, blending R&B with elements of spoken word and rap.
“I gave myself the challenge of making something more rap-leaning — without actually being a rapper. That’s what pushed me out of my comfort zone,” she explains. “I like working with people who are a bit unexpected. Some of my producers don’t even usually listen to my music — and that keeps things fun. Without those collaborations, I would’ve never made tracks like ‘Djadja’ or ‘Pookie.’”
On Feb. 23, 2025, she broke yet another record: the “Djadja” video surpassed one billion views on YouTube, becoming only the fourth French-language song to reach that milestone — and the first by an African artist to do so.
Next stop, the Stade de France?
“Yes, but not just yet,” she smiles. “I still want to take my time. In France, it feels like the final step — and before I get there, I want to keep sharing other shows, other moments with my audience.”
Beyond Borders
How can one explain such a rare ability to transcend language barriers? Aya Nakamura pauses before answering.
“I didn’t realize right away that I had an international audience — it really happened gradually. People would tell me, ‘You’re being listened to all over the world,’ but it was through interactions with fans on social media and stumbling across videos that I began to understand the scale of it. I found fan accounts in Brazil, in Venezuela… I travel too, and I hear my music everywhere — in the U.S., in Thailand. But I don’t really create my music with a specific place in mind. I just try to offer something that feels real to me — and if it resonates worldwide, that’s a bonus.”
That global reach also shows in her collaborations. After teaming up with Colombian superstar Maluma for a “Djadja” remix in 2020, she joined forces with Nigerian sensation Ayra Starr for a reimagined version of her hit “Hypé” in March 2024 — a track that climbed to No. 17 on the U.K. charts, a rare feat for a song sung mostly in French.
“I think music is energy,” she says. “The songs that connect most are often the ones where I’ve poured the most of myself into them emotionally. People don’t just listen for the lyrics… It’s like when I used to listen to artists like Rihanna growing up, without understanding everything she was singing. What connects with people when they hear certain songs of mine is the energy in that moment — and also the blend of influences inside me that you can hear.”
That emotional authenticity, combined with her distinctive vocal style and a French language she molds into her own rhythm and expression, forms an instantly recognizable artistic identity.
“I don’t know if that’s what makes the songs universal,” she reflects, “but I think it’s the honesty I put into them, the constant search for something new. I’m not trying to ride the latest wave — I just want to offer something I’m 100% proud of, without making any artistic compromises. Maybe that’s why it speaks to people. I try to follow my instincts and creative desires, while keeping my standards high.”
From Music to Fashion
Aya Nakamura’s cultural influence now extends well beyond the realm of music. In February 2023, she was named global ambassador for Lancôme, marking her entry into the exclusive circle of luxury brand muses — a milestone that would open the door to a new world of opportunities.
On May 6, 2024, she received one of the most coveted invitations in fashion: the Met Gala in New York. With her appearance, she became only the sixth French musical artist to walk its legendary red carpet, following icons like Catherine Deneuve, Vanessa Paradis, Lou Doillon, Charlotte Gainsbourg and Carla Bruni.
Just weeks later, on June 23, 2024, Vogue editor-in-chief Anna Wintour personally selected her to perform her single “Fly” at the prestigious Vogue World Paris show, held in Place Vendôme. Dressed in a custom haute couture gown by Jean Paul Gaultier, Nakamura took part in a striking celebration of music and fashion.
“I really love fashion and the creative universe it represents,” she shares. “I’m enjoying getting deeper into it. I absolutely loved performing at Place Vendôme and being part of this blend of music and fashion. I felt completely at ease — and I found the entire production of the event to be incredibly high-quality.”
Independent Now
Alongside her growing institutional recognition, Aya Nakamura has taken control of her professional destiny. After overseeing her own artistic direction as early as “Djadja,” she took the defining step toward full independence by launching her own label.
“It’s a whole different thing,” she admits. “To be honest, I’ve always felt independent — especially when it comes to creative direction. I’m deeply involved in all the strategic decisions, from picking singles and setting release dates to choosing the visuals and producers I work with. Becoming independent has given me a whole new perspective on the business side. Now I can make all the decisions — and take full responsibility for them, whether they lead to success or not.”
“I’m still surrounded by a great team and I know when to let go,” she adds, “but mastering the entire process around the music, not just the creation part, is something I find truly exciting. It matters to me.”
Beyond her own career, Nakamura is also committed to supporting the next generation of artists.
“I’ve already signed someone — though no one knows yet,” she reveals with a smile. “His name is RnBoi. He’s young and just starting out, and it’s going really well. We met about six months ago, after I invited him to perform at my DVM Show. I took the leap — I think he has something special.”
Pop Star and Mother
Behind the icon is a young woman and a mother of two daughters, Aïcha and Ava, born in 2016 and 2022, respectively. Balancing an international career with motherhood is a daily challenge.
“To be totally honest, it’s a bit complicated with fame, but my balance comes from trying as much as possible to live like a normal person,” she shares. “For example, I go to the park with my kids, I cook for them — these moments are precious to me. It’s not always easy, and sometimes I try to be discreet to maintain a sense of normalcy. I’m really determined to preserve that freedom and have moments that I can live fully, away from the spotlight.”
Aya Nakamura
Billboard France
New York’s City Parks Foundation announced the lineup for its 2025 season of Capitol One City Parks Foundation SummerStage series of shows on Wednesday (April 23). The series of 70 free and benefit concerts and performances will bring music to Central Park and 13 other neighborhood parks across all five boroughs this summer, kicking off on June 4 with a New Orleans-inspired show featuring Marcus Miller, Tank and the Bangas and the Soul Rebels in association with the Blue Note Jazz Festival.
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The rest of the eclectic roster for the 39th edition of SummerStage will feature jazz, hip-hop, rock, salsa, reggae, Afrobeat, soul and pop artist, as well as DJs and contemporary dance performers from around the globe.
“I am thrilled to announce our 2025 SummerStage lineup, a stellar reflection of what makes our festival so unique and beloved,” said Heather Lubov, executive director of City Parks Foundation in a statement. “The huge variety of artists we’re presenting and the parks where we’re located reflect our city’s demographic and cultural diversity, but they also serve to unite us as neighbors and as lovers of music, regardless of our differences.”
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Among the other acts slated to take the stage are: The Roots, Soccer Mommy, Femi Kuti & The Positive Force, Rakim, Celia Cruz Centennial Celebration, Big Freedia, Camilo, Jessica Pratt, Bob Sinclair, IZA, Hurray for the Riff Raff, Awich, Frankie Negrón, La Sonora Poceña and Morgan Freeman’s Symphonic Blues, among others.
This season’s events will take place in Marcus Garvey Park in Harlem, Tompkins Square Park in the East Village, Herbert Von King Park and The Coney Island Amphitheater in Brooklyn, Flushing Meadows-Corona Park in Queens, St. Mary’s Park and Crotona Park in the Bronx, Stapleton Waterfront Park on Staten Island, and SummerStage’s flagship venue, Rumsey Playfield in Central Park. Performances are free and open to the public, with the exception of the ticketed benefit concerts in Central Park.
Other 2025 SummerStage highlights include:
The Aussie BBQ: a June 14 celebration of sounds from Down Under featuring father-son hip-hop duo Flewnt and Inkabee, indie pop artist Gordi, singer-songwriter Grace Cummings, EDM duo PINES, garage rockers The Grogans and a special appearance from beloved children’s music group The Wiggles.
Nordic Next: a June 15 show with sounds from Nordic nations featuring singer-songwriter Jakob, Swedish indie-folk singer Sarah Klang and Danish art-pop violinist/singer Astrid Sonne.
New York Sings Yiddish: a June 30 showcase of Yiddish music and folklore with sets from multi-instrumentalist Zalman Mlotek and klezmer/jazz fusion band Frank London’s Klezmer All-Stars.
Canadian music showcase: a July 2 show featuring Toronto R&B singer Charlotte Day Wilson and folk-rock band The Weather Station.
Latin Alternative Music Conference (LAMC): July 9 show with Colombian Latin pop band Morat, with punk/reggaeton band Planta Industrial and a July 12 show with Colombian singer-songwriter Camilo and Colombian pop singer and 2024 Latin Grammy best new artist winner Ela Taubert.
Big Freedia: the New Orleans bounce queen will take the stage at Herbert Von King Park in Brooklyn with Black trans femme choreographer Courtney “Balenciaga” Washington.
Bastille Day Celebration: a July 13 showcase with performances from house DJ Bob Sinclair, hip-hop brother duo Big Flo & Oli, singer-songwriter Patrick Bruel and pianist/singer ESTL.
The Roots: The Philly hip-hop collective and Tonight Show house band will play Flushing Meadows-Corona Park in Queens on July 20.
Femi Kuti: a July 27 show with the Nigerian superstar and his band, the Positive Force, along with New York rap crew dead prez — celebrating their 30th anniversary — and poet Maryam Bukar Hassan.
Frankie Negrón: Tropical/salsa star Negrón will play the Bronx’s Crotona Park on July 31.
Taiwanese Waves: an August 3 showcase celebrating indigenous Taiwanese culture with contemporary dance company Bulareyaung Dance Company, indigenous Paiwan pop star ABAO and singer-songwriter Enno Cheng.
Rakim: The legendary New York MC will take the stage at Stapleton Waterfront Park on Staten Island on August 9.
Celia Cruz Celebration: the tribute to the legendary Queen of Salsa’s centennial on August 9 will feature Cuban singer/pianist Aymée Nuviola and Afro-Cuban singer Brenda Navarrete.
La Sonora Ponceña: The Puerto Rican salsa band will play Stapleton Waterfront Park on August 10.
Soccer Mommy: indie rock band will close out the Central Park season on Sept. 16 with help from Hurray for the Riff Raff and Dummy.
The series will include celebrations of New York’s cultural communities with guest curators including MIKE’s Young World V — with July 12 sets from Roc Marciano and The Alchemist — DJ Rekha’s Basement Bhangra Beyond dance show with London-based Punjabi singer Tara Lily on July 19 and Coney Island’s NEMS’ second GORILLAFEST hip-hop show on July 26. In addition, legendary DJ Funk Flex will celebrate the sounds of hip-hop and R&B across the boroughs on Aug. 1 (the Bronx), Aug. 16 (Coney Island) and Aug. 17 (Central Park) and DJ/producer King Britt will host his Blacktronika Festival with back-to-back shows in Central Park (Aug. 16) and Marcus Garvey Park (Aug. 17).
SummerStage will put the spotlight on a number of female artists as well, with bluegrass/Americana singer Rihannon Giddens playing Central Park on June 25, Indian-American singer-songwriter Asha Puthli taking the stage on July 23 and folk singer Jessica Pratt performing on July 24.
Other artists who will perform as part of the season include: Lettuce with Styles P (June 14), Chris Tomlin (July 11), Cymande (July 23), The Originals featuring Rich Medina, Stretch Armstrong and Tony Touch (Aug. 10) and various artists at the Charlie Parker Jazz Festival (Aug. 22). For the full line-up click here.
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Lola Young is the top nominee for The Ivors 2025, which celebrate achievements in songwriting and screen composing across eight categories. Young is nominated for three awards – best song musically and lyrically for “Messy,” best album for This Wasn’t Meant for You Anyway, and rising star.
Young, 24, has had success on both sides of the Atlantic this year. “Messy” logged four weeks at No. 1 on the Official U.K. Singles Chart and has climbed as high as No. 14 on the Billboard Hot 100. This Wasn’t Meant for You Anyway, her sophomore album, reached No. 16 on the Official U.K. Albums Chart and No. 64 on the Billboard 200.
RAYE – the winner of last year’s songwriter of the year award – Ghetts, and Conor Dickinson each received two nominations. Both of Dickinson’s nods are for writing with Young.
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In the PRS for Music most performed work category, Wham!’s 1984 holiday classic “Last Christmas” is one of the five nominees, a remarkable sign of its staying power. The song’s writer, George Michael, was nominated in the category 21 years ago for “Amazing.” Harry Styles’ 2022 smash “As It Was” was also nominated. This is the third year in a row that that global smash, which Styles cowrote with Kid Harpoon and Tyler Johnson, has been nominated in this category. Also in the running are “Houdini” by Dua Lipa, “Stargazing” by Myles Smith, and “Prada” by Cassö, RAYE and D-Block Europe.
This year marks the 70th year of the Ivors, also called the Ivor Novello Awards, with the winners set to be revealed at the ceremony taking place at Grosvenor House, London, on Thursday May 22. Amazon Music sponsors the awards.
This year, 74 individual British, Irish or U.K. resident composers and songwriters, and their international collaborators, have received Ivor Novello nominations – 66% of them for the first time.
The rising star award celebrates British, Irish or UK resident songwriters aged 18-24 who are “at the tipping point of greatness,” in the Ivors’ phrase. Each nominee receives year-long, tailored support for their creativity and career from Amazon Music and The Ivors Academy. The 2025 nominations celebrate five female rising stars – Bea and her Business, Liang Lawrence, LULU., Nia Smith and Lola Young.
Pa Salieu is nominated in best contemporary song with “Allergy,” four years on from his last nomination in the same category for “Energy.”
The Ivors also celebrates Britain and Ireland’s finest composers across film, TV and video games. Daniel Pemberton nominated for best original film score for a second successive year, this time with Fly Me to the Moon. He was nominated last year for Spider-Man: Across the Spider Verse. Also nominated is Mica Levi’s score to The Zone of Interest. Levi previously won this award in 2018 for Jackie.
Martin Phipps was nominated for best television soundtrack for the second successive year for Black Doves. He was nominated last year for the final season of The Crown.
Also, Ivor Novello Awards will be presented for the songwriter of the year with Amazon Music, outstanding song collection, visionary award with Amazon Music, special international award, and PRS for Music icon award.
Roberto Neri, chief executive of The Ivors Academy, said in a statement: “An Ivor Novello Award holds a unique place in music, as it is judged by fellow songwriters and composers, making it the most respected acknowledgement of creative excellence. We are proud to welcome and celebrate the nominees’ achievements and look forward to honouring their work at the 70th edition of The Ivors in May.”
As previously announced, U2 are the latest songwriters set to become Academy Fellows, in recognition of their enduring influence and impact on the craft of songwriting. Bono, The Edge, Adam Clayton and Larry Mullen Jr. will become the first Irish songwriters that the Academy has inducted into Fellowship in its 81-year history.
The Ivors, presented by The Ivors Academy, is one of the most prestigious award ceremonies in music. Judged by songwriters and composers, the awards recognize excellence in craft and creativity. For more information visit www.ivorsacademy.com/theivors
Here’s a full list of nominations for The Ivors 2025.
Best Album
Brat written by Charli xcx, A. G. Cook and Finn Keane; Published in the UK by Sony Music Publishing, Concord Music Publishing obo Alias Guild and Universal Music Publishing; Performed by Charli xcx
On Purpose, With Purpose written by Ghetts and TenBillion Dreams; Published in the UK by BMG Rights Worldwide UK; Performed by Ghetts
The Loop written and performed by Jordan Rakei; Published in the UK by Sony Music Publishing
This Wasn’t Meant for You Anyway written by William Brown, Conor Dickinson, Jared Solomon and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs, Sony Music Publishing – Solomon Gouda and Sony Music Publishing; Performed by Lola Young
Who Am I written and performed by BERWYN; Published in the UK by Sony Music Publishing
Best Contemporary Song
“Allergy” written by Felix Joseph, Alastair O’Donnell and Pa Salieu; Published in the UK by Universal Music Publishing and Sony Music Publishing; Performed by Pa Salieu
“Angel of My Dreams” written by Pablo Bowman, JADE, Steph Jones and Mike Sabath; Published in the UK by Kobalt Music Publishing, Sony Music Publishing and Universal Music Publishing obo Hipgnosis Hits-Steph Jones Who Music-Vistaville Music; Performed by JADE
“Circumnavigating Georgia” written and performed by Sans Soucis; Published in the UK by Sentric Music
“Double Standards” written by Ghetts, EMIL, Sampha Sisay and R-Kay; Published in the UK by BMG Rights Worldwide UK, Ditto Plus Music Publishing and Sony Music Publishing – Young Songs; Performed by Ghetts feat. Sampha
“How Black Men Lose Their Smile” written by Bashy, Toddla T and Linton Kwesi Johnson; Published in the UK by Downtown Music obo DLJ Songs, BMG Rights Worldwide UK and Universal Music Publishing obo L-K-J Music Publishers; Performed by Bashy
Best Song Musically and Lyrically
“Child of Mine” written and performed by Laura Marling; Published in the UK by Kobalt Music Publishing
“Genesis.” written by Rodney Jerkins, RAYE and Toneworld; Published in the UK by Universal Music Publishing, Warner Chappell Music and Kobalt Music Publishing obo Mohemmusic-Songs by Seventy 7 Music; Performed by RAYE
“In the Modern World” written by Grian Chatten, Conor Curley, Conor Deegan, Thomas Coll and Carlos O’connell; Published in the UK by Domino Publishing Company; Performed by Fontaines D.C.
“Messy” written by Conor Dickinson and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs and Sony Music Publishing; Performed by Lola Young
“Mine” written and performed by Orla Gartland; Published in the UK by Kobalt Music Publishing obo San Remo Music
PRS For Music Most Performed Work
“As It Was” written by Kid Harpoon, Tyler Johnson and Harry Styles; Published in the UK by Universal Music Publishing and Concord Music Publishing obo These Are Pulse Songs; Performed by Harry Styles
“Houdini” written by Caroline Ailin, Danny L Harle, Tobias Jesso Jnr, Dua Lipa and Kevin Parker; Published in the UK by Sony Music Publishing obo Viking Jamz Publishing, Sony Music Publishing, Universal Music Publishing and Warner Chappell Music obo Radical 22 Publishing; Performed by Dua Lipa
“Last Christmas” written by George Michael; Published in the UK by Warner Chappell Music obo WHAM! Music Limited; Performed by WHAM!
“Prada” written by D-Block Europe, Obi Ebele (Da Beatfreakz), Uche Ebele (Da Beatfreakz), Jahmori “Jaymo” Simmons and RAYE; Published in the UK by Sony Music Publishing, Bucks Music Group Ltd obo Armada Music Publishing, Kobalt Music Publishing obo Fat Pigeon (Publishing) Limited and Warner Chappell Music; Performed by Cassö, RAYE and D-Block Europe
“Stargazing” written by Peter Fenn, Jesse Fink and Myles Smith; Published in the UK by Kobalt Music Publishing obo Songs by 308 Publishing-Where Da Kasz At, Lyric Global Copyright Services Crescendo obo Arcade Artists Publishing-Jesse Fink Publishing-Spirit One Music Crescendo and Sony Music Publishing; Performed by Myles Smith
Rising Star Award With Amazon Music
Bea and her Business
Liang Lawrence
Lola Young
LULU.
Nia Smith
Best Original Film Score
Fly Me to the Moon composed by Daniel Pemberton; Published in the UK by Sony Music Publishing obo Apple
Hard Truths composed by Gary Yershon; Published in the UK by Universal Music Publishing obo Thin Man Films
Kneecap composed by Michael ‘Mickey J’ Asante
The Substance composed by Raffertie; Published in the UK by Universal Music Publishing obo Universal Pictures Music
The Zone of Interest composed by Mica Levi; Published in the UK by Domino Publishing Company
Best Original Video Game Score
Empire of the Ants composed by Mathieu Alvado and Mark Choi
Farewell North composed by John Konsolakis
Flock composed by Eli Rainsberry
Senua’s Saga: Hellblade II composed by David Garcia Diaz
The Casting of Frank Stone composed by Boxed Ape
Best Television Soundtrack
Black Doves composed by Martin Phipps; Publishing in the UK by BMG Rights Management UK obo Maisie Anthems
Mary & George composed by Oliver Coates; Published in the UK by SATV Publishing
Rivals composed by Jack Halama and Natalie Holt; Published in the UK by Universal Music Publishing obo Walt Disney Music Company
True Detective: Night Country composed by Vince Pope; Published in the UK by Universal Music Publishing obo T-L Music Publishing
Until I Kill You composed by Carly Paradis; Published in the UK by BMG Rights Management UK obo Veti Music Publishing
Nearly a decade after indie R&B tastemakers and college students across the country first swooned over her self-released EPs and early collaborations with Monte Booker and Smino, Ravyn Lenae has earned her first Billboard Hot 100 hit with “Love Me Not” (chart dated April 12).
Lenae, who signed to Atlantic Records in 2016, originally released the bouncy, soulful, rock-inflected song in early May 2024 as the lead single from her sophomore studio album, Bird’s Eye. Thanks to a wave of TikTok momentum — one that’s also benefitted Janet Jackson’s “Someone to Call My Lover,” a kind of foremother to “Love Me Not” — the single steadily grew throughout the late winter and early spring and now reaches a No. 70 on this week’s Hot 100 (dated April 26). The Dahi-produced track also became the landmark 25th production credit for the Grammy-winning hip-hop/R&B producer.
With “Love Me Not” securing Lenae her long-awaited breakout moment, the song’s success also previews what’s shaping up to be the biggest year of her career. In April, the Chicago-bred singer-songwriter bewitched both weekends of Coachella-goers, perfectly priming both in-person and virtual audiences for her forthcoming stint as an opener on Sabrina Carpenter’s Short n’ Sweet tour. She’ll also visit her hometown for Lollapallooza (July 31-Aug. 3), where she’ll continuing playing sets built around Bird’s Eye, which Billboard staff named the No. 3 Best R&B Album of 2024.
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“I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work,” she gushes to Billboard the day before her Coachella debut. “It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!”
In a conversation with Billboard, Ravyn Lenae talks her slow-burning success, drawing inspiration from Janet Jackson, gracing the Hot 100 for the first time with “Love Me Not,” and witnessing the power of TikTok firsthand.
Where were you when you found out “Love Me Not” hit the Hot 100?
I was at home watching TV, and my manager called me and told me that it was a real thing. I had a great day that day. I had great tacos, I called my mom, everything was going right. The weather was beautiful. I had a really emotional talk with Dahi and thanked him for being such an important person in my life and doing this with me and believing in me and challenging me.
Was there a specific moment in which you decided that you wanted to pursue music professionally?
I would say when I was in high school and I started putting music out on SoundCloud and I saw how much of a response I got. That made me feel like, “Oh, this is something that not just resonates with me, but people actually like this and they’re looking forward to the next thing that I do.” I think that gave me an inkling. Once Noname took me on tour [in 2017], that’s when I realized it was a possibility to do something I love every single day and be able to pay my bills too.
What was the inspiration behind “Love Me Not?”
That song was one of the first ones that we landed on for Bird’s Eye. I remember when Dahi played me the beat, I was like, “This is something I feel like I haven’t heard in such a long time.” For some reason, it reminded me of when I heard “Hey Ya!” [by OutKast] for the first time. That mix of soulfulness with pop sensibility that anybody could sing and dance to and feels like it could have came out in any era — that’s my favorite type of song.
Lyrically, I like to play with relationships and the push and pull of knowing you love somebody even though you know it can’t work. That really elementary approach to writing is one of my favorite things. I love when the lyrics feel a little sad, but the music feels upbeat, or even the inverse. [“Love Me Not”] has all the qualities of a really timeless song to me, so I knew that one had to be on [the album] and be the first [single].
Why did you decide to release “Love Me Not” alongside “Love Is Blind”?
“Love Me Not” was something that I really, really loved and I was excited for my fans to hear. But I also knew that it was a branch-out from the type of colors I dabbled in on [2022 album] Hypnos. I thought to support that, I should have something that felt like the most “Ravyn Lenae” song ever. “Love Is Blind” was a good pairing for people to see where I was going with [Bird’s Eye while] still rooted in my R&B bag, my sensuality and my yearning lyrics. I wanted people to understand where I was going, but also where I am and where I’ve been at the same time.
How did the how did the Rex Orange County remix come together? When did you know that you wanted to do a remix?
I knew I wanted a remix for the song a few months after I dropped it. I remember us talking about a feature on the song originally, so it was always in my head that I thought I heard another perspective on the song, especially a male perspective, almost like a duet type of feel. But I couldn’t think of who it was going to be, and I don’t like to decide things quickly.
My manager [John Bogaard] sugested Rex [Orange County], and I thought he was the perfect voice and perspective to add to the song and introduce it to a whole other audience.
The success of “Love Me Not” has been a real slow burn, not unlike your career in general. Are there times you wish everything would just click or are you content with the journey of it all?
I am constantly on a journey of balancing both of those extremes because it feels like two sides of my brain. One that’s like, “Get on the train!,” and the other part of me — like when I talk to my mom and my manager — [understands] that timing is everything. I have to trust that. I have to believe that. I have to stay patient and diligent and focused, and things will start to turn over for me. We’ve seen it over and over again.
I just saw Doechii [with whom she collaborated for 2022’s “Xtasy” remix] a few days ago in San Antonio. I hadn’t seen her since this major shift [in her career], so it’s been a while since I’ve been able to catch up with her. I was like, “Girl, when you won your Grammy, I started bawling!” I didn’t expect that [emotional response] to happen, but whenever I see those glimpses of hard work paying off, it reassures me that I’m on the right path. That’s what I’m holding on to right now; I’m trying not to get ahead of myself and stay right where I’m at and be happy about that.
I’m just happy for all artists who have been in this 10-plus years and are feeling the love and the benefits of so much time and effort and hard work. It’s a lot of that happening right now at the 10-year mark. The 10-year thing is real!
What else do you have planned for “Love Me Not?” You’ve been showing fellow Bird’s Eye track “Genius” a lot of love on TikTok recently.
I hope that I’m able to keep getting “Love Me Not” in new ears. I want that song to keep growing and reach as many people as possible. “Genius” is another one that I think has really strong potential to reach those super-large audiences. I’m just gonna keep pushing, working, performing, meeting people and being a good person. Beyond that, I’m working on new music that I’m so excited about.
What was your experience on the artist side watching TikTok help blow “Love Me Not” up?
Before it happened, I would have really negative thoughts like, “Maybe that type of viral moment isn’t in the cards for me.” You’re making TikToks and you feel like [they’re] not reaching anybody and you’re just putting stuff out into the void.
This was an exercise of me stepping outside of my comfort zone in a good way. Seeing people discover me and this song and then dive into my whole discography has really [shown that TikTok is] such a beautiful tool. Even beyond me, just seeing how accessible it is for people’s lives to change overnight.
I can’t help but draw similarities between “Love Me Not” popping off right now and also Janet Jackson’s “Someone to Call My Lover” having a revival. What do you think it is about these songs that are pulling in listeners right now?
I literally asked myself this the other day. I’m like, “This is too much of a coincidence!” First of all, “Someone to Call My Lover” is one of my favorite songs, so when I saw that happening it really felt like a shift. Janet is one of my biggest inspirations; she’s been able to blend R&B, alternative, rock and pop in the most beautiful, seamless way. I aspire my career to be like that too. I think people are just open to a mishmash of sounds and don’t care really who it’s coming from. Even the fact that [TikTok users] mixed “Love Me Not” with [Solange’s] “Losing You,” there’s definitely a shift happening. I think people want that soulful pop back.
What can you tell us about the new music right now?
Tricking my listeners into liking things that they probably wouldn’t have liked otherwise is something I’m really into. I’m always finding new ways to push and find new colors in my voice, get a little uncomfortable and get a little more raw. Pulling back those layers is something that I try to do with each song and each album.
A version of this story appears in the April 19, 2025, issue of Billboard.
