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Josh Baldwin rolls up his first chart-topper on Billboard’s Christian AC Airplay chart (dated Sept. 14) as “Made for More,” featuring Jenn Johnson, ascends a spot to No. 1. Johnson also earns her first leader on the list.
The single increased by 3% in plays Aug. 23-29, according to Luminate. Baldwin wrote it with Jessie Early, Jonathan Smith and Blake Wiggins. It’s from Baldwin’s same-named live album, released in April.
“It’s been so special for me to watch people connect with ‘Made for More,’” Baldwin tells Billboard. “Going on the road and hearing people declare these lyrics of identity and purpose over their lives has given me a fresh perspective of the impact that songs can have.”
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Baldwin and Johnson are both members of the Bethel Music worship collective based in Redding, Calif. Johnson is one of the co-founders of the act, which launched in 2001, while Baldwin joined in 2014.
For Baldwin as a solo artist, “Made for More” follows his duet with David Leonard, “Every Hour,” which climbed to No. 17 on Christian AC Airplay last September, and “There Is Freedom,” which hit No. 21 in November 2022. Baldwin, based in Thompson’s Station, Tenn., logged his first of seven entries with the No. 2-peaking “Stand in Your Love,” his first of three top 10s, in February 2019. He has also hit the top 10 with “Evidence” (No. 6, February 2021).
Johnson has banked one additional top 10, also a feature, on Tauren Wells’ “Famous For (I Believe),” which hit No. 2 in December 2020.
Meanwhile, Bethel Music has scored one No. 1, for two weeks in August 2019: “Raise a Hallelujah,” with Jonathan David Helser and Melissa Helser.
Brown Goes ‘Up Up Up’ to No. 1
Anthony Brown scores his sixth Gospel Airplay leader and his fifth in succession as “Up Up Up,” with his backing choir, Group Therapy, rises 3-1. The song, which Brown solely wrote, gained by 8% in plays during the tracking week. (It was originally released by Brown featuring Zach Savage on Brown’s 2023 album Affirmations; the version by Brown and group therAPy is the one being promoted to radio.)
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Brown and Group Therapy’s active streak of Gospel Airplay leaders began with “Blessings on Blessings,” which dominated for three weeks in September 2019. It was followed by “This Week” (two, July-August 2020), “Help!” (one week, August 2021) and “Speak Your Name” (one, November 2023). They first led with “Worth,” which began a 24-week command in September 2015.
Brown is one more consecutive leader from tying Todd Dulaney and Jonathan McReynolds, who share the longest active and career streak with six No. 1s in a row each.
Everydaydreamer, a creative consultancy that specializes in creative production and direction, is holding its second annual SheMadeIt workshop in New York City.
SheMadeIt is a directorial workshop for women and non-binary people of color who are interested in creating short-form content like music videos, commercials and short films. The intensive three-day workshop includes programming like The Art of Business and Creative Panels, as well as an industry speed dating event, to name a few. It also offers mentorship experiences to attendees following the event. Among the mentors include panelists and industry tastemakers from Johannes Leonardo, Mass Appeal, Epic Records, Colombia Records, Live Nation, OVO Sound, Dr Martens, Grand Crew, Atlantic Records, Space Cowboys, and Roc Nation.
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Billboard, Dr Martens, Topo, Chico, Hanni, Athena Club and Helo and among the partners for the 2024 iteration. The event’s founder, Shadeh Smith, was previously a Senior Creative Executive at Atlantic Records Los Angeles and Atlantic Records London. She created SheMadeIt to challenge the status quo in today’s media by offering educational opportunities for women and people of color who want to direct.
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Last year, the event was launched in Los Angeles with big names like Beats and Kehlani joining their panels and events. Since then, they’ve held workshops on the east and west coasts with their aim to reduce inequities in film for POC directors. According to statistics from SheMadeIt, “As of 2023, of all Academy Award nominees, women of color were less than two percent.”
For more on this initiative, including requirements for entry, head over to SheMadeIt’s official website.
Rod Wave is getting back on the road for another North American trek, as the singer announced his Last Lap Tour on Wednesday (Sept. 4).
Moneybagg Yo, Toosii, Lil Poppa, Dess Dior and Eelmatic will be joining as supporting acts on the tour, which is set to kick off in Phoenix on Oct. 19.
“The Most Anticipated Tour Of 2024 Is Almost Here,” Wave wrote on Instagram. “@Rodwave is Bringing A Show You Don’t Want To Miss To A City Near Your! ‘ LAST LAP TOUR’ is coming With Special Guests.”
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Tickets for the Last Lap Tour go on sale starting on Friday (Sept. 6) at 10 a.m. local time over on Rod Wave’s official website.
Following a trip to the desert, Rod and company will make stops in Oakland, Sacramento, Houston, Dallas, Memphis, Lexington, Detroit, Chicago, Brooklyn, Boston, Baltimore, Philly, Nashville and Orlando, before wrapping up in Ft. Lauderdale on Dec. 18.
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Fans were excited and had plenty to say in his comments section, as some wondered if this tour meant a new album was on the way following 2023’s Nostalgia.
“Now announce the album date,” one person commented, while another wrote, “Now, where is the album?”
One fan even made a joke about Rod Wave falling through the stage during a 2020 concert. “Aye this year let’s try not to break the stage.” (After that mishap, the musician footage of the incident and joked on Instagram, “PIMP DOWN I REPEAT PIMP DOWN.”)
The 26-year-old has laid low in 2024 outside of the release of his pensive single “Numb” in April. Rod unleashed his Nostalgia album in September, with a guest appearance from 21 Savage. Wave’s fifth studio LP debuted atop the Billboard 200 with 137,000 total album-equivalent units sold in the first week. All 18 tracks from Nostalgia also made the Billboard Hot 100.
Find all of the Last Lap Tour dates and announcement below.
Kaytranada, Ravyn Lenae and Channel Tres brought serious swagger to The Late Show With Stephen Colbert while performing a two-track medley on Tuesday (Sept. 3).
The night’s musical performance started with Kaytra and a crew of dancers turning up the energy on stage before Lenae delivered her silky vocals on “Pressure,” the opening track from Kaytranada’s June album, Timeless. The dancers then drop it for the camera, before Tres bounds on stage to deliver his own Timeless collab, “Drip Sweat.”
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In a highlight, Kaytra comes out from behind the decks to do a choreographed dance alongside Tres and the dancers, drawing a cheer from the crowd.
The late-night guest spot comes ahead of the 15-date Timeless tour Kaytranada and Tres are embarking on later this month. The run starts in Vancouver, B.C., on Sept. 15, then hits venues across the U.S. and Canada before closing with a Nov. 15 performance at the Desert Air festival in Palm Springs, Calif.
“When the Kaytranada tour offer came it was just like, ‘Wow, this is exactly what I need right now,’ Tres recently told Billboard. “I was excited to go on tour by myself, but then I was like, ‘Nah, Kaytranada and I together on a tour is just going to be the biggest dance party of the year.’”
“[My team and I] are so locked in to capitalize on the things I’ve already done,” he continued. “My routine is better. Me and creative partner, we’ve gotten better. I’m open to learning, but I’m also coming with fire. I’ve been rehearsing, and I’m honing in on things I haven’t before. Even if it’s just a dance move I want to add to my repertoire. I’ve been watching a lot of Broadway shows like The Wiz. Now I’m walking around in the house, but I’m doing it in a Broadway fashion.”
Watch the Late Show performance below:
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In the span of three years, Tennessee native Chase Matthew has gone from wielding wrenches and pliers to commandeering guitars, microphones, and massive stages. His song “Love You Again” currently ranks at No. 11 on Billboard’s Country Airplay chart and has 154.9 million official on-demand U.S. streams, according to Luminate.
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The former ATV mechanic wrote “Love You Again” with co-writers Casey Brown (“I Am Not Okay,” “Blue Tacoma”) and Taylor Phillips (“Thinkin’ ‘Bout Me,” “World on Fire”), at Brown’s home studio near Nashville.
“I call it the Magic Room,” Matthew tells Billboard. “There’s so many great songs that came out of there. Co-writing is not something I’ve done until recently, so to have an opportunity to do that with those two legends … the song came together really fast, in like 30 minutes.”
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He further noted that much of the finalized version fans hear on the radio is what they recorded that day as a demo, including his vocals.
“Sometimes you can’t recreate those things and it’s cool to be able to say we just caught something in the moment, and it turned out to be more than good enough,” he says.
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Matthew was born in Sevierville, Tennessee and his family moved to Ashland City, just outside of Nashville, when he was three months old. Matthew grew up in a musical family — his parents were both aspiring artists at one point, playing shows in downtown Nashville bars and in Printer’s Alley, while Matthew grew up playing drums in his church’s youth band. He started writing songs at 12 and putting out cover songs at age 15. He dropped out of high school and balanced work as a mechanic with crafting music.
Early on, other Nashville-area natives and members of the music community, including Jelly Roll, Ryan Upchurch and Struggle Jennings, took notice. Matthew, who is managed by Loyd Potts and Ken Madson of Ignition Management, was encouraged to post music on TikTok. His first video, for the searing post-breakup song “County Line,” which immediately gained traction on the platform, earning nearly a million views. Matthew followed with his six-song EP County Line, issued through Upchurch’s Holler Boy Records, in partnership with ONErpm. “County Line” presently has 242.1 million official on-demand U.S. streams through Aug. 29, according to Luminate.
“I wrote that song in my bedroom on a $200 laptop that I got off of Facebook marketplace — it was probably stolen, I don’t even know,” Matthew recalls. “It’s awesome that so many OGs like Ryan Upchurch and Jelly Roll have been part of it along the way. I’m grateful for it.”
Matthew released his full-length album Born for This in 2022 on Holler Boy Records. That same year, he took his momentum to the major labels, joining Warner Music Nashville’s artist roster through a joint venture. Last year, he released the whopping 25-song Come Get Your Memory (via Warner Music Nashville/Chase Matthew Music). This year, he’s steadily continued releasing music, including the five-track EP Always Be Mine (with four of the tracks co-written by Matthew). This year, the UTA-repped Matthew also opened shows for Jason Aldean and Luke Bryan, and in 2025, will join Keith Urban’s High and Alive World Tour. He also earned his first major music award nomination, in the People’s Choice Country Awards’ new artist of 2024 category.
Billboard spoke with Matthew, our September Country Rookie of the Month, about his early musical experiences, collaborations, and his goals for what lies ahead.
What made Warner Music Nashville your label of choice?
I was doing as much as I felt like I could have been doing independently at the time and I wanted to level up. They jumped in with me and — I don’t even know if I’m allowed to say this — I kind of named my deal, and it was cool, because they believed in it and they showed me that they believed in me. I wanted to hear myself on the radio, not an independent-owned station, though that’s awesome. I wanted to turn on the radio in New York City and hear myself being played there. I met with a lot of labels … and they believed in me more than anybody else in town. They haven’t tried to change a thing about me. They’re definitely the artist label of Nashville, is what I would call it.
This year, you released the EPs We All Grow Up and Always Be Mine. Is another project in the works?
I’ve probably got 300 songs on my phone just begging to be released. I’ve got another album that will drop next year. It’s going to be some really good songs and I’m being very selective on what’s going to end up on that project.
Will there be any collaborations on that album?
Yes, there 100% will be. I’m trying to decide what I want to do and which friends I want to reach out to and say, “Hey, man, I want you to be a part of this.” But it’s coming along.
Speaking of collaborations, you have a collaboration with Flo Rida, “Floats Your Boat,” that was just released. How did that come about?
That dude was my childhood. That’s the dude we would listen to on MP3 players that barely worked with our Dollar General earbuds while we were riding our bikes. Someone on my team told me he was looking for maybe a country collab. I recorded a vocal on the song and they loved it. I was like, “Does that mean we get to put the song out together?” And here it is.
Later today, we’re going over to the lake to shoot some content for the song to promote it. We’re going to show him how we throw a boat party, redneck style. I’ve never met the man. We’ve been DMing on Instagram a bit here and there, but I’m just excited about the final product.
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Your song “Darlin’” is gaining a lot of traction. What is the story behind that?
We wrote that song sitting in a casino, and we had a couple of days to kill out west because we didn’t want to drive back to Nashville. Me, my lighting guy and my guitar player started writing this song and brought it back to Nashville, finished it up with my producer, Alex Maxwell. It’s just become everybody’s heartbreak anthem. I’m grateful that we wrote it that day. I lost a lot of money [that day] but got a song out of it — and that might be better in the long run.
What is the first concert you remember seeing?
I grew up around live music so I was always seeing live performances, but probably my first concert was this thing in Nashville they have every year called WinterJam. They bring all these Christian music artists to Bridgestone Arena. I remember I saw BarlowGirl there. I was a big fan of them back in the day—and I mean, being a young boy who saw three pretty girls who loved Jesus, why wouldn’t you?
What was the first album you fell in love with?
Breaking Benjamin and Phobia. My brother left a CD in my dad’s Jeep and when I was younger I would go out there and tinker with the Jeep and the CD was still in it. It had “The Diary of Jane” on it and that album was great.
What podcast or book have you been into lately?
I don’t keep up with anybody really, but I love Theo Von. He’s setting the bar for that industry. One day, I hope I’ll end up running into that guy, meeting him and getting to tell him myself how much I like his stuff.
Outside of music, what are some of your goals?
I do plan on making my mark. I want to buy 100 acres and start building that family farm. Some people, some artists in town, they grew up on a farm. My family never had a farm, but I want to have that property that my grandkids and great-grandkids someday can come to. I want to establish a generational imprint. I think that’s something we should all focus a little more on, what we are going to leave behind for the next generation — and not just in our family, but in the world.
This year’s MTV Video Music Awards will take place Sept. 11, a full four decades since the first VMAs helped the nascent cable network make a place for itself, as well as the music video format. Back then, some executives already had a crystal-clear picture of its possibilities, while others just saw static. Video eventually migrated from TV screen to mobile phone, cable to Internet. Billboard has been binge-watching the entire time.
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Monkee Business
Groups from ABBA to Queen had made videos since the 1970s, but it took one of The Monkees to see the future. A full year before MTV went live, the March 1, 1980, issue of Billboard reported on Mike Nesmith’s Nickelodeon TV series, Popclips. “The concept is to feature video images with songs separated by a videodisk jockey,” an article explained. Nesmith predicted that “every professional musician” would soon have to adapt. Was this “MTV see, Monkee do”?
Full Speed Ahead
Then came the new wave flood. Elektra chairman Bob Krasnow told Billboard in an Aug. 25, 1984, article that “MTV exposure for the accompanying videos” fueled The Cars’ Heartbeat City album. Others hit the brakes. “I think those people who are out spending, trying to cash in on new technology, will get their fingers burned,” predicted another executive in the same issue. A Sept. 1, 1984, op-ed shared a fear that video would kill the radio star: “How many of the superstars of yesterday… would be denied contracts in 1984 because of a perceived ‘lack of viability’ as video artists?”
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Ride the Wave
Fans wanted their MTV. “Our research shows that young record buyers are greatly affected by the channel’s airplay and promotional efforts,” reported the Sept. 8, 1984, Billboard, and “40.1% of those influenced by MTV” preferred new wave. That was reflected by the winners at the first VMAs, which took place Sept. 14, 1984, including The Cars, Cyndi Lauper and Eurythmics. But the big winner was the channel itself. “When MTV signed on in August 1981,” declared the Oct. 13, 1984, issue, “music videos changed the face of rock in the blink of an eye.”
Computer Love
With the new millennium came a new frontier. In the Sept. 4, 2004, issue, Billboard predicted that “two new mobile platforms hitting the market this year” — the Palm and Pocket PC — “represent what will become a powerful new way to distribute and consume music and music videos.” Handheld devices, it predicted, would “become a key part of the modern lifestyle.”
YouTube-ular
By the mid-2000s, industry executives longed for reruns of the days “when music videos, not longform reality and lifestyle programs, ruled the roost at MTV,” reported the Feb. 12, 2005, issue. “My biggest disappointment is that there’s no longer an ‘M’ for music in MTV,” said Clive Davis. And as the airwaves dried up, data streams began to flow. The Oct. 14, 2006, issue reported that “online sites such as MySpace, YouTube and Yahoo are pursuing [MTV’s] audience” for music videos. Seven years later, the Billboard Hot 100 began blending YouTube streams into its data pool.
This story appears in the Aug. 31, 2024, issue of Billboard.
Daddy Yankee will publish his first book, titled ReaDY! The Power to Change Your Story. HarperCollins Publishers announced on Wednesday (Sept. 4) that it has acquired all languages rights to the inspirational work by the artist (born Raymond Ayala). The rights were acquired by Cris Garrido, VP and Publisher of Spanish. “Raymond has been inspiring […]
Salt-N-Pepa’s “Push It” is a fan-favorite across the globe, but DJ Spinderella recalls how the “Let’s Talk About Sex” crew was nearly arrested for performing the top 20 Billboard Hot 100 hit in certain venues.
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Spinderella recently joined Drink Champs for an episode, during which she claimed that venue executives threatened to arrest Salt-N-Pepa if they performed “Push It,” and it’s due to what they perceived were sexually explicit lyrics.
“It was not a sexual song,” she said. “We were literally talking about dancing on the dance floor. And people took that and took it the other way, and it actually worked for us.”
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The former Salt-N-Pepa member continued: “Being on stage and being told that, ‘If you play that song here, you can get arrested.’ So, there were times where that was almost the case. And somehow, we got to a point where we just had to convince everybody that this is not about what you think it’s about. And that is the truth.”
Sandra “Pepa” Denton detailed similar sentiments when explaining the controversy surrounding “Push It” to Page Six in 2021. “We were saying ‘push it,’; they thought we were saying, ‘Pussy, real good.’ So the police were waiting for us,” she recalled to the publication.
It’s not the first time an artist has run into trouble with venues when it comes to performing certain records. N.W.A. experienced this with their brash “F–k Tha Police” protest anthem at their summer of 1989 concert in Detroit and saw the Compton crew arrested.
“Push It” was released as part of Salt-N-Pepa’s Hot, Cool & Vicious album in 1986. The track was made a single in 1987 and peaked at No. 19 on the Hot 100 in ’88. Hot, Cool & Vicious is the first female album to earn gold and platinum certifications from the RIAA.
Elsewhere in the interview, DJ Spinderella provided some context behind her split from the group in 2019, which was due to not feeling respected. “You just grow up. You just get to a point where things will not be tolerated. And respect should be mutual. And when respect is mutual, we can move and do whatever,” she added. “But when respect is not mutual, then what are you here for? The bag. That don’t last because I can get a bag without it.”
Watch DJ Spinderella’s Drink Champs episode below.
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Two years after making his acting debut in the miniseries Once Upon a Time… But Not Anymore, Sebastián Yatra is taking a leap to Broadway, where he will close out 2024 starring in the musical Chicago. The Colombian star will spend four weeks playing the charmingly corrupt lawyer Billy Flynn, from Monday, Nov. 25 to Sunday, Dec. 22.
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“It’s news that I’ve been eager to share for a long time,” Yatra tells Billboard Español on Wednesday (Sep. 4) from Medellín. “This is not only big for me but for Colombia, big for Latinos to keep doing these kinds of things.”
Set in the 1920s, Chicago —the longest-running American musical on Broadway after almost three decades— is a scathing satire of how show business and the media make celebrities out of criminals. With a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Ebb, it includes killer songs like “All That Jazz,” “Cell Block Tango” and “Mr. Cellophane”.
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The role of Billy Flynn — famously played by Richard Gere in the 2002 film adaptation — will receive the Latin treatment from Yatra, who hopes to bring some of his contemporary and tropical flair.
“Latinos have something special even when we are speaking English, there is a lot of love within us, a lot of passion,” says the singer-songwriter, known for No. 1 hits on the Billboard Latin Airplay chart like “Tacones Rojos,” “Un Año” with Reik and “Robarte un Beso” with Carlos Vives. “I think I can offer a perspective from someone who is living in 2024 at almost 30, how he sees that world, also knowing that I could have perfectly been a lawyer and could be that person standing there. Thank God Billy and I don’t share the same values, because that would be messed up!” he adds with a laugh.
Over the years, Chicago has invited various Latin stars to join the musical for brief seasons. The list includes Colombian actress Sofia Vergara, who in 2009 played Matron “Mama” Morton, and Mexican singer and actor Jaime Camil, who in 2016 portrayed Billy Flynn.
Yatra says that he received the invitation to join the cast about six months ago via email, and, although he was very surprised, he did not hesitate to accept this new challenge immediately.
“Many times you get a proposal like this and it’s easy to get scared and say, ‘Oh no, I’m not an actor, better leave it for another time, in a couple of years’. But opportunities come when they come in life and if you don’t dare to take them, you don’t know if they’ll come again,” he says, adding that now, “it’s the right moment” as he is just starting working on his fourth studio album, whose first single, “Los Domingos,” was released last week.
The artist, who said he was fascinated 12 years ago when he saw Ricky Martin performing as Che in the Broadway musical Evita, has already received the endorsement of his Puerto Rican friend and colleague, who commented on Wednesday on Yatra’s Instagram post about his foray into the theater Mecca of New York: “That’s it 🙌 We will be there, little brother. Absolutely. Congratulations.”
Currently preparing remotely, learning his lines and taking acting classes, Yatra is due to arrive in New York City to start in-person rehearsals a month prior to his debut. It’s an experience he is really looking forward to.
“Living in New York in December, with the snow, doing Broadway, is something I really want to live very much in the present, enjoy it, learn from it,” he said. “There are a million things to learn from all these people — the actors, the crew, the directors, the production. It’s impeccable. I was watching the play in New York City recently and it really runs like clockwork, so being able to adjust to become one more piece of that clock is going to be beautiful.”
Chicago is presented at the Ambassador Theatre (219 W. 49th St.) For more information and to purchase tickets, visit www.ChicagoTheMusical.com.
ME:I’s “Hi-Five” soars to No. 1 on the Billboard Japan Hot 100, dated Sept. 4, marking the 11-member group’s first leader on the tally.
The digital version of the girl group’s second single dropped July 29 and debuted at No. 40 on the Japan Hot 100 dated Aug. 7. The track then slipped slightly on the list as downloads declined, but hit No. 2 in sales this week after the CD version sold 263,332 copies in its first week. The physical release boosted the song’s digital performance and it returns to the downloads tally for the first time in three weeks at No. 3, while also coming in at No. 79 for streaming (112% week-over-week) and No. 2 for radio (413%).
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Bowing at No. 2 is Naniwa Danshi’s seventh single “Koisuru Hikari,” the theme song for the movie We Don’t Know Love Yet starring member Ryusei Onishi. The track launches with 432,018 CDs to top sales, while coming in at No. 5 for downloads and No. 16 for radio.
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Mrs. GREEN APPLE’s “Lilac” rises a notch to No. 3 this week, with radio increasing by 121% from the week before and keeping the decrease in overall points to a minimum.
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“Natsu ga Kitakara” by ≠ME (“Not Equal Me”) follows at No. 4. Although the twelve-member group’s ninth single didn’t enter the lists for metrics other than sales, it debuts at No. 3 for the metric after selling 229,446 copies in its first week. ≠ME’s best chart rank so far on the Japan Hot 100 is No. 4, so the group’s latest single tied for the highest rank of its career.
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Tsubaki Factory’s “Baby Spider” debuts at No. 5. The 12th single by the girl group sold 88,796 copies to reach No. 4 for sales and hit No. 38 in downloads, surpassing its previous single, “Yuuki It’s my Life!”
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Elsewhere on the Japan Hot 100, Mariya Takeuchi’s “Uta wo Okurou,” the theme song of the ongoing drama Subarashikikana, Sensei!, debuts at No. 20. The latest single by the “Plastic Love” singer-songwriter tops radio and comes in at No. 14 for sales. Also, veteran band Mr. Children’s “in the pocket” bows at No. 33. The theme song for the animated movie The Colors Within rules downloads and comes in at No. 48 for radio.
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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 Aug. 26 to Sept. 1, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.