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New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Grupo Marca Registrada, Evo Luxury 2 (RB Music)
If the album’s title isn’t enough indication that Grupo Marca Registrada is in their evolution era, then the album’s tracks will. Led by singer-songwriter Fidel Castro, Marca Registrada has released what can be considered their most eclectic album yet. Evo, short for evolución (or evolution) includes “Bugatti Chiron,” a piercing norteña, with the accordion as its protagonist, that has characterized the Mexican band’s sound for years. But Castro doesn’t box himself or the band in just norteño. “BW” is a departure from Bugatti with requintos leading the way, for a more tumbado approach. “En El Audi” is a standout with Castro’s light and airy vocals singing over an EDM-tinged pop track, showcasing his experimental side.
Throughout Evo, Marca Registrada winds through corridos about lavish lifestyles, ominous characters like Bruce Wayne and heartbreak. The eclectic album reflects a wider trend, as young Mexican and Mexican-American hitmakers prove Mexican music is global, no longer just regional. Still, even as Marca Registrada expands into new, more versatile, territory, their essence remains música Mexicana. — GRISELDA FLORES
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Alemán & Gera MX, Rich Mafia, Vol. 1. (Sony Music Entertainment México)
With a brash clash of electrifying beats and potent lyricism, Mexican rappers Alemán and Gera MX unite for a collaborative album in Rich Mafia, Vol. 1. Fueled with trailblazing rap virtuosity, the 12-track album feels like a grand celebration, a reunion sprinkled with stardust, proving that their eight-year absence from sharing the stage (since the “Sin Perder el Tiempo” era), only honed their edge rather than blunted it.
The Baja Californa Sur and Nuevo León rappers throw down lines brimming with bravado and sharp imagery, invoking personas to exemplify their night-prowling, unapologetic styles.The focus track, “Como Pacman,” encapsulates the themes of the entire album — audacious, relentless, and packed with clever pop culture references that hit as hard as the beats accompanying them.
“Bendición” featuring C. Tangana and “Cabo Girl” with Leonel García infuse the album with a cross-genre appeal that broadens their scope beyond hardcore rap; then their electro-corridos fusion alongside Junior H with “Close Friends,” featuring Cozy Cuz, only adds a more genre-varied listening experience. “L.A. Baby” spits out a nostalgic, electro-funk-styled beat that transports you back. Alemán and Gera MX don’t just occupy the throne of Mexican rap, they invite the entire genre to level up with them. — ISABELA RAYGOZA
Kany García & Rawayana, “La Culpa” (5020 Records)
The flavor of Puerto Rico and Venezuela come together in this fusion of plena and other Caribbean rhythms that denounces shared social problems — such as the fragility of the electrical systems and other public services — with the characteristic joy and passion of the region. “I only went out because it’s f—ing tough that the power is out/ And I went asking for a little bit of rum to be anesthetized,” García sings while Beto from Rawayana adds with grace that “in the Caribbean we make love without light and without water.” “La Culpa” is, undeniably, a deliciously portrayed social critique. — SIGAL RATNER-ARIAS
Ha*Ash & Elena Rose, “A Las 12 Te Olvidé” (Sony Music México)
Sister duo Ha*Ash and singer-songwriter Elena Rose join forces on this beautiful country-tinged ballad about a past love that returns when it’s too late. With heartfelt lyrics — like “Before I would have wanted you to fight for me, not fight with me/ You were the one who left such an unbearable silence/ And now I am the one to blame” — “A Las 12 Te Olvidé” gives the three singers the space to shine separately, while also offering some enjoyable vocal harmonies. It’s part of Ha*Ash’s new album, Haashville, released on Thursday (Oct. 31) with the premiere of this new single. — S.R.A.
Listen to more editors’ Latin recommendations in the playlist below:
Gigi Perez’s sensational breakout moment has reached new heights with her first ever No. 1 single on the U.K. Singles Chart.
The New Jersey-born, Florida-raised singer-songwriter has had a viral hit with “Sailor Song,” which recently peaked at No. 28 on the Billboard Hot 100. Perez ends Sabrina Carpenter’s nine-week run at No. 1 with “Taste,” and is the most-streamed song of the week in the U.K. with 5 million streams, according to the Official Charts Company.
Speaking to the Official Charts on her victory, Perez says, “There’s such a big hole in the conversations that we’re having in mainstream music. There’s an entire group of people – the queer community – who need representation.”
She adds: “Knowing that ‘Sailor Song’ is a vessel for that, it’s amazing. Thank you!”
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ROSÉ and Bruno Mars rise to No. 2 with their collaboration “APT.” The song bests the BLACKPINK member’s own record after she became the first K-pop female solo act to land a U.K. top five single last week.
Gracie Abrams’ has secured two entries in the top five with the simultaneous success of “That’s So True” (No. 3) and “I Love You, I’m Sorry” (No. 4). The former jumps 16 places to land Abrams’ second top 10 hit in the U.K.
“Disease,” the first taste of Lady Gaga’s upcoming seventh studio album, lands at No. 7 to give the pop icon her 16th career U.K. top 10 single, and follows her successful “Die With a Smile” collaboration with Bruno Mars.
Elsewhere, Addison Rae has secured her first top 10 entry with “Diet Pepsi,” which lands at No. 10.
In addition to his first No. 1 LP on the U.K. Albums Chart, three songs from Tyler, the Creator’s Chromakopia arrive in the top 40. Album opener “St. Chroma,” featuring Daniel Caesar, becomes the rapper’s highest ever charting single in the U.K. at No. 15, while “Noid” lands a spot later at No. 16 and “Darling, I” finishes at No. 24.
See the full Official Singles Chart here.
Tyler, the Creator has landed his first chart-topping LP on the U.K. Albums Chart with Chromakopia.
Released on Monday (Oct. 28) – away from the standard Friday release date – the rap superstar’s eighth studio album still made up enough ground on Manchester band Courteeners to pip them to the top spot by 800 units across physical sales, downloads and streaming.
Chromakopia bests Tyler’s previous high of No. 4, which he achieved with both 2019’s Igor and 2021’s Call Me If You Get Lost.
Courteneers held the lead until Thursday (Oct. 31), according to an official release by the Official Charts Company, and follows their maiden No. 1 album last year with a reissue of debut album St Jude. Their seventh album, Pink Cactus Café, tops the Official Vinyl Albums Chart and was the most purchased LP at independent record stores over the past week.
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Bastille’s Dan Smith’s first solo album & also features in the top 10, landing at No. 4. Three of the London band’s four studio albums – Bad Blood (2013), Wild World (2016) and Give Me The Future (2022) – have previously charted at No. 1.
Sabrina Carpenter’s Short n’ Sweet and Charli XCX’s Brat continue their lengthy runs in the top 10, finishing at No. 3 and No. 5, respectively.
Pop icons Tears for Fears debut at No. 6 with Songs for a Nervous Planet, their seventh top 10 on the charts and their second studio release since their 2022 reunion.
Eminem’s The Death of Slim Shady (Coup de Grâce) returns to top 10 following the physical release of the expanded Mourner’s Edition; the record initially spent three weeks at No. 1 following its original release in August, and finishes the week at No. 8.
There’s a first top 10 placing for Aussie punks Amyl & The Sniffers, whose third album, Cartoon Darkness, slots in at No. 9, and Queen’s 1973 debut album, Queen I, reaches a new high of No. 10 following a 50th anniversary reissue.
Halsey’s The Great Impersonator finishes at No. 19; their previous high on the Albums Chart came in 2022 with If I Can’t Have Love, I Want Power, which finished at No. 5.
See the full Official Albums Chart here.
Ariana Grande says she absolutely had to “earn” the right to play Glinda in the upcoming two-part big screen adaptation of Wicked. Speaking to Sentimental Men podcast hosts Quincy Born and Kevin Bianchi this week, Grande said she’s “always been a Wizard of Oz person,” but despite her global pop fame — including nine No. 1 Billboard Hot 100 hits — and deep knowledge and love for the original 1939 Judy Garland movie The Wizard of Oz and the 2003 Tony-winning Broadway production of Wicked, it was not a given that she’d land the gig in director Jon M. Chu’s fantastical re-imagining.
“People sometimes say to me, ‘you had to audition?’ Of course, are you out of your gourd?,” she said about earning the right to step into the beloved role opposite Cynthia Erivo’s Elphaba. “It’s Wicked! And it requires a totally different skill set than people know me for and have ever seen me do anything like,” she explained. “It’s Wicked! That’s the most respectful thing! It has to be earned… period!”
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If anything, Grande said her pop stardom could have worked against her in certain ways. “When you have this characterized persona that’s out there and people know you very well as this one thing, is this person going to be able to erase that and disappear into a character?,” she said, stressing that nothing about her playing Glinda is about herself, but only about inhabiting the beloved character.
During the pod recording where the singer apologized several times for her dog Myron’s incessant barking, Grande told the hosts that she has often turned to the Broadway Wicked original cast album for comfort and a “safe space” if she is nervous or needs to warm up her voice.
Grande also recalled that she first saw Wicked on Broadway when she was just 10, feeling “very, very, very fortunate” to see the original cast at a time when it was the show that “everyone was talking about.” In addition to repeatedly seeing the show on the Great White Way, after bidding way too much in a Broadway Cares Equity Fight AIDS auction for a backstage tour, the budding star was gifted a “little wand” and “magical body wash” by star Kristin Chenoweth.
How obsessed was she? At one point Grande erased every single song on her iPod with the exception of the Wicked soundtrack, further proof that this dream gig might have been in the stars all along. And, when the first murmurings about the film version reached her desk before the 2020 COVID-19 pandemic, the singer said she told her team that she was willing to immediately pull the plug on her 2019 Sweetener world tour so she could go home and start on voice and acting lessons.
“‘I’m gonna turn this s–t out,’” Grande said she told her team more than a year before her August 2021 audition. “‘This is all I want. It’s done.’” Though they appreciated her enthusiasm, Grande said her management politely said no way to cancelling the tour at a time when the singer thought she might be brought in to read for both lead roles.
She knew, however, that Glinda was the part she was destined to inhabit. When Chenoweth gave her the thumbs up, Ariana said she lost it. “We had talked about it for years and years and years, but me finally confessing to her that I wanted to go in for Glinda was like a whole different thing,” Grande said about asking Chenoweth for guidance on how to really nail the part and make it her own without resorting to an impersonation.
“I said, ‘Hey, I think they’re doing this now, and I think that I wanna go for Glinda,’ and she went into the bathroom and closed the door and started crying,” Grande said beginning to tear up herself at the memory. “It was the sweetest thing in the world. Oh my god, it makes me emotional. It was so cute. She was just like, ‘I was hoping this would happen. I love you, and I trust you with it, baby girl.’ She was like, ‘Just do your thing. Just do your thing. You are so funny and you have great instincts and no one knows that.”
The first part of the movie that also co-stars Jeff Goldblum, Michelle Yeoh, Bowen Yang, Jonathan Bailey and Marissa Bode, opens in theaters on Nov. 22.
Watch Grande talk Wicked below.
Interviewing an artist of Angham’s caliber presents a unique challenge and a thrill, merging anticipation with the weight of her legacy. Angham is, after all, a towering figure in Arabic music, an extraordinary voice whose career bridges the classical foundations of Arabic song with its modern evolution over two dozen studio albums. This was not just an interview – it was an exploration into the journey of authentic art that has shaped contemporary Arabic music.
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As expectations filled the air, they quickly dissipated when Angham appeared in white, radiating a captivating smile. Angham takes in all opinions and comments with a calm demeanor, soothing the room’s tension. When she begins to speak, the atmosphere transforms: her words reflect a powerful personality, expressing complex ideas with simplicity and an undeniable charm that enchants her audience.
There’s no doubt that Angham has emerged as one of Egypt’s most impactful modern voices. Her journey began in the late 1980s, nurtured by her father, the renowned musician Mohamed Ali Suleiman, whose guidance and influence helped unlock her early talent. With training in music and piano, she developed a solid foundation in the musical arts, initially singing traditional Tarab (classical Arabic music) pieces that bore her father’s distinct artistic signature, such as the album Ila Ana (Except Me), in parallel with her collaborations with classical composers of Khaleeji music such as Talal Maddah, Suleiman Al Mulla and Sami Ihsan. Yet, in the late 1990s, after professionally parting ways with her father, Angham redefined her path.
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She embraced a modern style closer to Arab pop and reached a major milestone with the 2001 album Leih Sebtaha (Why Did You Leave Her?), marking her first collaboration with composer Tarek Madkour and Sherif Taj. The early 2000s also saw Angham experimenting with Latin pop, in the release of one of her most prominent hits, “Sidi Wasalak” (Why Aren’t You With Me?), and with it she established her new artistic identity, which she continued to grow and develop while absorbing new musical trends, and integrating them into the context of her own musical experience and identity. Through these works, she expanded her reach to a broader audience, solidifying her status as a central figure in the Arab music scene and maintaining her role as a bridge between Arabic music’s rich history and its present.
While it is difficult to pin any one of Angham’s albums over the other, another massive success for Angham was her album Hala Khassa Gdean (A Very Special Case) with hit songs “Ya Retak Fahemny” (I Wish You Understood Me), where we hear her nuance for emotional complexities of love develop more with each work, in addition to her vocal delivery and performance. With 29 studio albums under her belt, Angham’s prolific body of work has found a home in the hearts of her listeners year after year, where she has come to be known for her unique ability to sing a range of emotional experiences found in each stage of love.
Billboard Arabia’s conversation for the October cover began with her latest album, Tigi Neseeb (Let’s Leave). Each song, a journey into the depths of emotion, allowed Angham to share pieces of herself and the untold stories embedded within the lyrics. She describes the album as a story, explaining, “This album is like a story with a beginning and an end. It’s filled with stories of people and situations – very real and relatable. What ties it all together is the music, the expressive kind I resonate with.”
Angham’s musical expertise shines through as she discusses her talent for weaving stories from real-life experiences — narratives that listeners might recognize from their own daily lives or even feel personally connected to. She notes, “The album is like a drama; it’s as if you’re witnessing the stories of many people around you. Sometimes, you see yourself in the narrative, or you recognize two or three others whose stories you’re familiar with. It’s that simple, yet it’s a core reason for my success.” Angham unveils that the key to her songs’ success and uniqueness lies in her deep connection with her audience and the relatable stories they share. Each song she performs embodies a sense of authenticity, forging a personal bond between the music and the listener, as though she shares in the daily experiences.
She approached her latest album, Tigi Neseeb, not as a fixed blueprint but as a dynamic journey filled with transformations and experiences. “I wouldn’t lie to you and say I knew exactly what I was going to do; the album developed gradually, with changes in lyrics and musical arrangements. There was a plan, but it evolved for the better.”
After discussing her latest album, Angham elaborates on her artistic choices and musical collaborations. With dozens of albums under her belt, she articulates her philosophy regarding song selection, highlighting the stage’s pivotal role in her decisions: “I’m always focused on how a song will translate on stage; my choices are guided by this aspect because the stage is my essence. My concert is my soul.” Angham expressed her enthusiasm for direct audience interaction, an essential element in her creative process. “When I choose a song and its arrangement, I consider how it will start, end, and engage the audience; I’ll re-record as many as two or three times to reach that perfect ending that commands applause.”
For Tigi Neseeb, Angham maintained a thoughtful balance between longtime collaborators and fresh names she worked with for the first time. She sustained her successful collaborations with producer Tarek Madkour and lyricist Amir Teima, with whom she’s worked for over 20 years, crediting these long-standing collaborations with upholding her distinctive musical identity. At the same time, she brought in new, unexpected collaborations. In her conversation with Billboard Arabia, Angham highlights the album’s surprise: collaborating with Akram Hosny, initially an Egyptian comedian, who contributed songs like “Khalik Ma’aha” (Stay With Her) and the title track.
Angham
Sharbel Boumansour/Billboard Arabia
On her album, Angham also introduced new vocabulary into her piece with lyricist Mostafa Hadouta, whose background in mahraganat music added a fresh layer to the song “Mowafaqa” (l Agree). Unpacking the album’s rich collaborations, she also praises three poets she worked with for the first time on Tigi Neseeb, including Hala El Zayat, whose song “Howa Enta Meen” (Who Are You Anyway) achieved remarkable success, landing in the No. 9 position on Billboard Arab Hot 100. Tigi Neseeb’s performance on the Billboard Arabia charts proves its remarkable success, with 10 out of 12 songs finding a home on Billboard Arabia’s Hot 100.
But Angham isn’t just a singer, performer and classically trained musician — she is also a businesswoman. In her interview, she unveils her most ambitious endeavor to date: her own production company, Sowt Masr (The Sound of Egypt), which launched with its debut album, Tigi Neseeb. Established between 2014 and 2015, the company initially aimed to produce her personal projects, yet Angham’s vision extends far beyond her own artistic ambitions. She expresses, “Deep down, I aspire to nurture new voices, and with time, I will make that happen.” Angham emphasizes that her role as a producer is not merely to finance projects but to guide emerging talent on the right path. Her insight highlights a transformative view of the producer’s role – one that encompasses organizing and creatively directing rather than just providing funding.
Looking ahead, Angham was unequivocal about her commitment to continuous innovation. “As I speak, I’m actively engaged in new projects. Music constantly flows through my mind, inspired by the words I hear and read, along with new songs and fresh collaborations,” she shared. Her boundless ambition drives her to enhance her artistic repertoire through collaborations with new composers and artists who can add their flair to her work.
Angham is not just an artist; she embodies a modern classic Arabic voice and serves as a vital link between musical generations. With her album Tigi Neseeb, its diverse collaborations and her production venture, Sowt Masr, she demonstrates her remarkable ability to adapt and innovate while remaining true to her artistic roots. The interview concluded on an inspiring note, envisioning a bright future not only for Angham but also for emerging artists who may find her label Sowt Masr a springboard to new horizons in the music industry. As she continues to pave the way, Angham’s legacy promises to illuminate a path for the next wave of talent and Arabic music at large.
Angham
Sharbel Boumansour/Billboard Arabia
Seventeen years before Justice brought a boundary-smashing stage setup to the Outdoor Stage at Coachella 2024, they were just two young producers from France wondering if their work would ever translate into a real career in live music.
For the duo — Xavier de Rosnay and Gaspard Augé — the answer became a definitive oui after their 2007 debut performance at Coachella, which was also their first ever live performance.
Now, the two are looking back on their four Coachella performances — which happened at the fest in 2007, 2012, 2017 and 2024 — in new mini-documentary produced by the festival. The eight-minute visual, titled …And Justice for All: Coachella Edition, is comprised of archival footage and new interviews with Justice, their team and a few of the many people who helped put the show together at Coachella 2024 this past April.
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“I remember after we played our first set we felt so relieved,” de Rosnay says of the duo’s 2007 set in the doc, “because we had spent the four previous years thinking, ‘Maybe we are just meant to make remixes and not even albums,’ and then here we were in the desert thinking, ‘Well, maybe we are actually a real band.’”
The doc puts a special focus on duo’s 2024 performance on Coachella’s Outdoor Stage. Justice and their creative team spent six months working with seven computer scientists to make the show, which they’ve toured the world with over the last six months. The doc features an interview with the group’s longtime technical director Manu Mouton.
The documentary was directed by photographer and filmmaker Connor Brashier, who’s worked on projects with artists including Shawn Mendes, Niall Horan and Kygo. The film was produced by Goldenvoice’s Ike Adler, Mikhail Mehra and David Prince as part of a new initiative at Coachella focused on creating original content.
“As this piece became to come together, I quickly realized I was making this for my younger, nerdy self, who dug for hours and hours trying to find out more about the people and processes behind the iconic Justice shows both past and present,” Brashier tells Billboard. “I hope someone out there is as giddy as I was to see a few of these monumental Coachella performances in HD and meet a small portion of the magician-like talents who played a part in putting them all on.”
Watch the mini-documentary below:
In 2022 — the same year “Big Energy” became her first Billboard Hot 100 top 10 hit — Latto got her first run at performing in arenas when she served as one of the openers for the North American leg of Lizzo‘s Special Tour. Just two years later, the Clayton County emcee headlined a major New York arena on her own when she graced Brooklyn’s Barclays Center on Halloween (Oct. 31) for the fifth stop of her Sugar Honey Iced Tea Tour.
Latto’s latest trek is in support of her third studio album of the same name, which debuted atop Rap Albums and reached No. 15 on the Billboard 200. A sprawling love letter to the sonic fabric of Atlanta rap, Sugar Honey Iced Tea features the Hot 100 hits “Big Mama” (No. 92), “Sunday Service” (No. 100, with Megan Thee Stallion & Flo Milli) and “Put It on Da Floor Again” (No. 13, with Cardi B), as well as collaborations with Ciara, Coco Jones, Hunxho, Teezo Touchdown, Young Nudy and Mariah the Scientist.
The night began with a brief performance from Karrahboo — who brought out Gio, an Atlanta-based model attached to Lil Yachty‘s Concrete Boys collective — and a particularly heartfelt set from Mariah the Scientist. “Let’s just make it to the end so I can get on this jet!” she quipped mid-set, one of several times she alluded to the good news that rocked the hip-hop world mere hours before she took the stage: Young Thug, Grammy-winning rapper and beau to Mariah the Scientist, was sentenced to 15 years probation and no prison time after pleading guilty in the two-year criminal case alleging that he was the leader of a violent Atlanta street gang.
With Thugger coming home, Mariah implored that fans “burn [their] ‘Free Thug’ shirts” and start saying the phrase backward (“Thug free!”). Buoyed by an extra boost of passion and energy sourced from the Young Thug news, Mariah the Scientist rocked Barclays Center with a set that smartly played on the emotional vulnerability of her catalog. She’s been very open about continuing to ride for her man no matter the outcome of the case, so songs like “Spread Thin” felt especially poignant as they blasted through the arena.
Latto finally took the stage around 10:30 p.m., kicking off her set with the viral Sugar Honey Iced Tea opener “Georgia Peach.” From the classic first verse of “Georgia on My Mind” to the retro advertisements and tongue-in-cheek video interludes, Latto delivered an incredibly streamlined visual interpretation of the Sugar Honey Iced Tea aesthetic, which she described in her July Billboard cover story as “Mariah Carey, Beyoncé, Lil’ Kim and Kelis… but obviously with a Southern hip-hop twist. They have very feminine energy, but masculine in the sense of confidence.”
In a nod to the holiday, Latto donned a Playboy bunny Halloween costume as she ripped her way through a setlist that prioritized her rap catalog. Though two of the biggest songs of her career are “Big Energy” and “Seven,” her Hot 100-topping collaboration with Jung Kook, Latto largely shied away from her pop fare, opting to focus on her recent hip-hop hits like “Brokey” and “Back Outside” and her earlier rap bangers like “Muwop” and “B—h from da Souf.” Despite a bit of sickness working against her, Latto delivered a remarkably high-energy show that featured tight choreography, an emphasis on live rapping and multiple levels of fan engagement — from the freaky Jumbotron moment of “Copper Cove” to the audience poll that gave way to heartfelt renditions of “Prized Possession” and “S/O to Me.”
Here are the five best moments of Latto’s Sugar Honey Iced Tea tour.
Mariah the Scientist Celebrates Young Thug’s Release
Jelly Roll banks his sixth No. 1 on Billboard’s Country Airplay chart as “I Am Not Okay” rises a rung on the Nov. 9-dated ranking. It increased by 12% to 33. 8 million audience impressions Oct. 25-31, according to Luminate.
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The Nashville native (born Jason DeFord) co-authored the inspirational song with Casey Brown, Ashley Gorley and Taylor Phillips, and Zach Crowell produced it. The track is the lead single from Jelly Roll’s LP Beautifully Broken, which bowed at No. 1 on Top Country Albums and the all-genre Billboard 200 dated Oct. 26 with 161,000 equivalent album units, marking his initial leader on each list. His preceding set, Whitsitt Chapel, entered and peaked at Nos. 2 and 3 on the charts, respectively, in June 2023.
“I believe in the power that music has to connect with people, and being able to see the response out on the road touring and seeing and hearing from people about this song – it’s been unreal,” Jelly Roll tells Billboard. To fans and programmers, he added, “Thank you for continuing to shine a light on therapeutic music.”
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All six of Jelly Roll’s Country Airplay entries have reigned, marking the second-longest active No. 1 run. On the Oct. 26 chart, Kane Brown added his seventh consecutive leader with “Miles on It,” with Marshmello.
Jelly Roll previously topped Country Airplay as featured on Dustin Lynch’s “Chevrolet,” for a week in September, and as a lead artist with “Halfway to Hell” (one week, June); “Save Me,” with Lainey Wilson (two weeks, December 2023); “Need a Favor” (four, beginning in August 2023); and his debut entry at the format, “Son of a Sinner” (one week, January 2023).
Birge Moseys to Top 10
Plus, George Birge achieves his second Country Airplay top 10 as “Cowboy Songs” trots two spots to No. 10 (16.4 million, up 10%). The Austin, Texas, native’s “Mind on You” hit No. 2 in January.
Per his current hit’s traditional title, it joins 10 prior top 10s, dating to the chart’s 1990 start, with “cowboy” in their titles. Chris LeDoux lassoed the first with the No. 7-peaking “Whatcha Gonna Do With a Cowboy” in 1992. Most recently, Jon Pardi’s “Ain’t Always the Cowboy” hit No. 3 in 2020.
With two new singles — “Natural” and “Space and Pussy” — gaining traction, Kiana Ledé is ready to deliver even more to her fans. The L.A.-based singer stopped by Billboard‘s NYC office for an episode of Billboard Gaming, just in time for the release of her Cut Ties album arrival on Friday (Nov. 1).
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In Cut Ties, Kiana Ledé delves deeply into the complexities of anxious and avoidant attachment styles, reflecting on the ways relationships can offer both comfort and pain, shaping one’s emotional responses over time. The album invites listeners to experience a journey through love’s emotional spectrum—from the security and closeness of a relationship’s early stages to the eventual sense of detachment and heartbreak that may follow.
We faced off with the singer-songwriter in several rounds of Mario Kart while discussing the inspiration behind her album, her love for Halloween and High School Musical and more.
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You just dropped two new singles, “Natural” and “Space and Pussy.” Can you dive into the themes of self-assurance and womanhood? What’s the inspiration for those tracks?
Ooh, “Space and Pussy” and “Natural.” I mean, I think they’re pretty opposite of each other, just because “Natural” is about feeling so comfortable with the person that you’re with that you would do anything—wink wink—with them.
And then “Space and Pussy” is like, I gave you my p—y, and I gave you space, and, like, what more could anybody ask for? And you’re stupid because you f—ked it up. They’re pretty opposite, but they both have to do with p—y, I guess.
Is that a surrounding theme for the album?
P—y?
Yeah.
[Laughs.] Yeah, I mean, I feel like p—y is like a theme of my life.
And why is that?
I just think p—y is beautiful. I think my p—y is beautiful. I think other people’s p—ies are beautiful. P—y, in general, is just a beautiful part of life. It gives us life, you know?
You also recently dropped a visualizer for “Natural”. What was the creative process for that?
I wanted to do something, like, kind of spooky because, obviously, spooky is my favorite genre—horror is my favorite genre. I love spooky season. But also, one of my first acting jobs was Zoe in Scream [the show], and, spoiler alert, I die in Scream. And I loved dying — it was so fun — and I wanted to either be the villain or die again and bring that back. Eventually, I want to write my own horror movie, and I want to, like, I don’t know, just… it’s something that I’m really passionate about.
So, the “Natural” video, I was like, “Why don’t I just get back into the horror bag?” because I know people are going to be excited to see me doing horror stuff again too.
Music is meant to be experienced, and everyone interprets songs and albums differently. But with this album specifically, what message, idea, or theme do you want your listeners to take away?
I think I want them to listen to the story. This album is really a story. It’s a message about how great things can go horribly wrong. I think something really important to take away is the story of me finding out who I need to keep in my life and who doesn’t deserve to be in it quicker than I have in the past, and hopefully that inspires other people to do the same.
I heard this album is also inspired by like your passion for Halloween, is that correct?
Yeah, I love Halloween.
How has loving Halloween influenced this album?
I mean, obviously, it was perfect timing because it’s spooky season.
I made that something that was a part of what we were doing because I wanted to be able to celebrate. Like, for me, there are only two holidays every year: my birthday and Halloween. And so, I take it very seriously. I was excited to potentially release an album on Halloween.
So, the whole year is Halloween except for my birthday. Then it’s my birthday, and the rest of the year is Halloween. I love spooky. I grew up watching horror movies and having horror movie marathons with my sister and my dad and just always being drawn to darker things in general in life.
I just love things that people don’t really like to talk about. It interests me. I follow Creepy.org on Twitter, and I’m just really drawn to things that are scary or that people don’t want to talk about. It just excites me. So, I was excited to bring a little bit of that into this album and the visual part.
I’m not used to having a good idea for the visual creative part of the album because I’m not a very visual person. But once I added that aspect of horror and brought that spookiness into it, I was like, “Oh, I got this. Boom, boom, boom. This is what we’re doing.”
So, did that idea also influence the cover?
I’m a huge Pinterest person. I love Pinterest. So, I had a Pinterest board, and I was just putting together different things that are kind of on the darker side that have to do with the themes of the songs on the album. And ropes were one, especially because “Cut Ties” — we also have another song called “Too Many Strings.” And sometimes relationships can be scary, you know?
I know I’ve been in all these relationships in my life, so we took the ropes to show, “I am stuck in this situation, but I’m about to cut the s—t. Don’t worry about it; I’ll be good.”
You recently went independent — why?
I think I was just ready for something different. I’ve been in label situations, major label situations, since I was 15,14,15. And I was ready to just be able to make more of my own choices. And I really came into this new era of having freedom. So now I just really fully have all the freedom.
Do you think this album represents freedom in a sense?
Yeah, I would say so. I mean, even in the album, I’m breaking loose from the person in the relationship and from friendships that I’ve had that I’ve just needed to cut ties with earlier on than I did. So, yeah, I guess it represents the freedom that I have to choose.
Going independent is a big step for any artist. What challenges have you faced since?
Honestly, I don’t feel like I’ve felt a lot of challenges. Because I didn’t have as much control before, I didn’t feel as much pressure on making certain decisions. But I wish I did make more decisions. Now I can make all the decisions; I have to. It’s overwhelming, almost. Like, I really have to get this right, and if I fall on a sword, it’s going to be my own sword.
So, if things go wrong, it’s all on you — there’s no one else to blame. How do you manage that pressure?
There’s definitely times where I feel that pressure, but I feel like my team is just so supportive, and I’m very big on teamwork. We all are moving as a unit together every single step of the way. So I definitely feel some of that pressure sometimes in my most vulnerable moments, but I think I just feel so much like a team that it feels like we’re all helping this machine work for us.
All in this together? Like High School Musical?
Exactly. Do you know the dance?
[We do a quick version on the dance in our sets.]
That’s good! That was good!
My mom actually bought High School Musical 2 on DVD and I had the soundtrack, but I don’t have it anymore.
Yes, you do. [Smiles.]
I don’t.
You know you do.
I don’t, my mom probably has it. I do love High School Musical, I really do.
High School Musical is the best. I used to want to be Gabriela so bad.
You’ve recently been on tour with Jhené Aiko, and now you’re heading out again for the third leg. How’s the experience been so far?
It’s been so much fun. I mean, she’s amazing. I’m obsessed with her. She’s my favorite artist in the world. So, it’s been a lot of fun just to be able to be on the same stage as her.
And also, she is such an amazing person, you know? There are a lot of experiences we’ve had in the industry where the people that you respect unfortunately aren’t the coolest people, you know?
I can relate.
And she’s really f—king cool. We go to the green rooms every day, and there’s rose petals and confetti and glitter at our door.
And she’s so genuine and sweet. So, I’m having a lot of fun. The chaos is so much fun. Yeah, everyone’s pretty great. I think that’s what makes a tour experience good or not—not even necessarily the show itself, but the people. So, it’s been fun. But the fans have been awesome. Her fans are great.
Sometimes they be fighting during random songs, though. I get so confused. There are these things I’d seen on Twitter, like, when we were on tour, and they were like, “How are you fighting after a Jhené Aiko concert?” And I’m literally, like, same. Like, how do you do that?
It’s so soothing.Yeah. But they found a way.
As you head into the third leg of the tour, will there be any changes to your performance, or will it stay mostly the same? What can fans look forward to this time around?
I might add a song, a new song.
From the album?
Yeah, I might add a new one; who knows?
Getting back into the album, what’s your favorite song?
My favorite song? That’s hard. Maybe “Out of Luck?” Maybe — no, no, that’s a lie. “Too Many Strings?” No, “The Truth.” I don’t know; that’s hard.
Are they all your babies?
Yeah, I always have a hard time with that question because I also think it depends on the mood.
Like the day, the hour, the time.
Yeah, right now I feel like I’m kind of in a bad b—ch, maybe a little bit in a bad mood earlier kind of mood. So, I think the bad b—ch would come out today. “Out of Luck” is me.
I like “Burn It Up.”
Oh, you like that one?
Yes, I like “Burn It Up.” I don’t know if it’s the beat or like the message I just like when I hear it, it makes me feel good. You know?
Yeah, I love that. “Burn It Up” is good. That’s definitely a psycho song, for sure.
With over a billion streams, your music keeps evolving, but how do you stay true to your original self before the fame, before the honor, before the glory? How do you evolve, but still stay true to you?
I think, honestly, one of the things that has been a blessing and a curse is having imposter syndrome.
Having imposter syndrome is really crazy and shitty sometimes, but also, like, it weirdly does keep me grounded. I know that every time somebody listens to my music or a fan comes up to me and they’re like, “Oh my god, are you da da da da da da?” and they freak out, I have no idea why they’re freaking out. It probably sounds dumb, but I literally will be like, “Why are you?” This is crazy that they’re freaking out.
Like, I’m just chillin’ here… I’ll literally be like, “Who are they freaking out about? Who’s behind me?” [Laughs.] Because it doesn’t make sense to me. It doesn’t click in my head for some reason. So, that’s one of the things that I think is like a weird way to stay grounded because I just appreciate it every time; I just don’t expect it.
And then I think the other way is I’m very close with my family, and I’m best friends with some of the people I work with. I’m also best friends with somebody who I’ve known since third grade. She’s been my best friend since third grade. So, it’s just kind of a reminder to me that if she still loves me, I’m the same person… Because I know if I were to f—k around and change up, she would not be f—king with me, you know? So having those people in your life that are your constants from when you were a child, it’s like, you know that that core you is still there.
Yeah, like it reminds you of where you came from.
Yeah, exactly. So, it’s great. I love that.
Do you think you’re underrated?
It’s so funny; I don’t feel like I’m underrated. I think people say that I’m underrated. I feel like it’s kind of a weird thing to say just because I know my fans rate me, you know? I think they mean it as a compliment, obviously, when they say you’re underrated. To me, it’s like what the great Marcel the Shell said: “compared to what?” Like, compared to what? Because I feel like I’ve done—like, yes, I’ve been in this s—t for twelve years, probably closer to thirteen at this point, and it’s been a long ass time.
Do I feel like I am where I thought I would be when I was a kid? No, not necessarily. But also, I think I have certain expectations that people don’t probably know about, you know? I have my own goals. I think people expect that if they love you and your music is great and you’re a great person.
So from what they can see, they assume that you should be — or you want to be — like Beyoncé, you know? Or close to that. And that’s just not where I want to be. So while I appreciate people saying that, because really what they’re saying is more people should know about you because your music is so great.
I really am happy with where I’m at. Obviously, I would love to make more money [laughs] and have more people hear my music, but it’s really also about just making people feel something. And I’ve had to learn to get the love back for music, and it’s not like fully there yet, but I think people weirdly — and I don’t want to sound ungrateful — but people saying things like “underrated” takes away that love a little bit when I hear it.
But I do see that it’s a good thing, and I’m grateful that people say it.
I feel like when it comes to being an underrated artist it’s like, “You’re a great artist, but why don’t more people know about you?” Or “Why isn’t your name brought up in conversations about the top three, top five, or even top 20?” It’s not to think about “what am I doing wrong?” but to think “hmm why aren’t I being mentioned?” You know what I’m saying?
Yeah, I think maybe that’s what it is. Maybe I’m just projecting because when people say that, I’m automatically thinking, “Am I doing something wrong? Am I not where people see me or where people think I should be?” Does that make sense?
Yeah, getting into the top three, who would you say is in your top three?
Ooh. That’s hard. I would say Jhené, Sinéad [Harnett], and Destin [Conrad]. I just threw two of my friends in there because they’re f—king incredible. I mean, Destin is an incredible songwriter. He’s so f—king talented.
And then Sinéad is one of the most amazing singers I’ve ever heard in my life. I get so mad at her when she sings in front of me because I’m like, “How the f—k can you…”
Sound like that.
Yeah, like, how do you do it? Her runs are so clean, and she’s so funny and genuine. So, yeah, I’m gonna put them up there in my top three. And then Jhené for obvious reasons.
Speaking of Jhené, collaboration coming soon? Got any tracks lined up?
We’ll have to see.
The people are asking.
People will get an answer when I give them an answer. [Laughs.]
Are you a rap fan at all?
To be honest, I don’t really listen to music.
So what do you do when you’re traveling?
Play Township on my phone, listen to audiobooks, listen to spooky podcasts. I watch a lot of shows cause it’s really comforting for me to just have something on in the background. But, yeah, I don’t really feel like it.
I feel like a lot of artists say that. They’re like, “No, we don’t listen to music. We just exist.” I don’t know, for me, I’m walking somewhere, headphones in. I’m going to work, headphones in. I’m working, headphones are in…
That’s so nice.
How do y’all live and not have your headphones in?
I don’t know; I feel like when you do it for a job, it’s like anything, you know? Like a chef probably doesn’t want to come home and cook, and that’s the first thing that they do when they get off work. I feel like it’s partially that. I think also just a lot of bad, bad f—king experiences in the industry.
I just don’t want to be reminded of certain things or certain people just by listening to, like, a f—king playlist on Spotify, you know? I’d rather just have my own fresh ideas. I think that’s another part of it.
You feel like playing tracks influences you in a way?
Maybe. I don’t even want it to be a question, I think. But, yeah, I don’t listen to music at all. Most of the time when I’m listening to music — this is not even to be like conceited — I’m listening to my own music, but it’s my music that I just made because I want to make sure that I love it, you know?
Music for me is very attached to experiences and emotion. If you go to a concert, you either love the album or you hate the album, and so listening to music kind of does that same thing for me.
Like, I want to listen to the album and hear the stories that I’ve been through and kind of relive that for a second, just to laugh at it or just see that some art came out of it, you know?
Why did you stray away from acting?
I actually didn’t really stray away. I think it was just that there was so much going on with music at the time that it just made more sense than going out for roles that were just not really suited to me at the time— not really what I wanted to do. I’m looking forward to acting again, but by the time I was ready to get back into acting, the whole world shut down, and then there was a strike, and like, you know, I just wasn’t very lucky when it came to that time of my acting career. But I’m excited to get back into it.
So we’re going to see you on the screen? The silver screen or a TV screen?
We’ll find out. I’ll take either one.
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