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V is doubling down on holiday releases this year, with the BTS star announcing a new seasonal duet with Park Hyo Shin titled “Winter Ahead” Thursday (Nov. 21). Arriving Nov. 29 ahead of V’s highly anticipated “White Christmas” collaboration with Bing Crosby, “Winter Ahead” is described in a release as a jazz-pop collaboration inspired by […]
Colombian rapper DFZM makes his Billboard charts debut with the all-star collaboration “+57,” co-billed with Karol G and Feid, and featuring Ovy On The Drums, J Balvin, Maluma, Ryan Castro and Blessd. It’s the highest debut on the latest Hot Latin Songs chart (dated Nov. 23), entering at No. 4. .
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“+57,” released Nov. 8 via Bichota/Interscope/ICLG, breaks into the top five largely based on streaming activity after its first full week of activity. The song — which drew attention for controversial lyrics — generated 8.3 million official streams in the U.S., according to Luminate, during its Nov. 8-14 tracking period. That figure sum prompts a No. 3 start on Latin Streaming Songs, where J Balvin collects his 32nd top 10 while Karol, her 29th, both trailing Bad Bunny’s robust 81 top 10s on his streaming account, the most overall since the tally launched in 2013.
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With “+57’s” high debut on Hot Latin Songs, which combines streaming data, digital sales and airplay into its formula, Ovy On The Drums, Ryan Castro and Blessd achieve career milestones as each secure their first top 10 on the multi-metric tally.
Colombian producer Ovy neared the top 10 through another Karol G collab, “Cairo,” which reached No. 11 high in December 2022. Castro and Blessd, each one reached No. 12 high prior: the former through his first collab with Karol G, “Una Noche En Medellín (remix)” (2023), while the latter through “Medallo,” with Justin Quiles and Lenny Tavarez (2022).
“+57” also delivers new achievements for Karol G, Feid, Balvin and Maluma. Karol nabs her 28th Hot Latin Songs top 10, still the second-most among women (behind Shakira’s 27 top10s). Feid matches the No. 4 debut of his previous entry, “Sorry 4 That Much,” for his sixth top 10. Balvin ads his 36th career top 10, and Maluma, his 16th.
But “+57’s” biggest beneficiary is DFZM. The rapper earns his first Hot Latin Songs top 10 with his first title to make the chart. Further, DFZM makes his maiden appearance on three other main charts.
On the global front, “+57” opens at No. 20 on the Billboard Global 200 chart with 46 million clicks worldwide. Meanwhile, it debuts at No. 14 on the Global Excl. U.S. with 38 million streams outside the U.S. Plus, it bows at No. 62 on the all-genre Billboard Hot 100.
Sales, too, assist in the song’s top five debut on Hot Latin Songs, where it opens at No. 1 on Latin Digital Song Sales with 1,000 digital downloads sold.
When it comes to pop music track records, Cirkut’s illustrious résumé in the genre speaks for itself.
As a sought after electro-pop producer and songwriter, the 38-year-old artist born Henry Walter has spent the last two decades churning out hits for artists like The Weeknd (“Starboy, “Die For You”), Rihanna (“Where Have You Been”), Katy Perry (“Roar,” “Dark Horse”), Miley Cyrus (“Wrecking Ball”), Charli XCX (“360”) and dozens of others. But as he explains to Billboard, he goes out of his way to not get too comfortable with his success.
“I never want to rest on my past accomplishments, and that vibe of ‘Oh, do you know all my work? Do you know all my hits?’” he explains. “That doesn’t mean anything to me. Whether I’m working with the biggest star in the world or the newest artist, you have to prove yourself over and over again.”
By his own definition, Cirkut has done just that: Over the last month, the producer has helped launch two artists into the upper echelons of the Billboard Hot 100. His work with veteran hitmaker Lady Gaga on her dark pop single “Disease” sent the song to a No. 27 debut on the chart. Meanwhile K-pop sensation ROSÉ earned her highest-charting solo single with “APT.,” featuring Bruno Mars, arriving at No. 8, thanks in no small part to Cirkut’s catchy production. He earned writing credits on both tracks as well.
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The producer attributes the successes of both Gaga and ROSÉ to their singular ideas of what they want in their music — a trait he looks for in all the artists he works with. “When an artist doesn’t really know what they want to say, or is like, ‘I don’t know, just make me a song,’ that doesn’t interest me,” he says. “The best artists always have some kind of vision, whether it’s how they see the visuals coming together, how they want the guitar to sound, or how hard the kick drums hit.”
Below, Cirkut breaks down the writing processes for both “Disease” and “APT.,” why Lady Gaga stands out in a crowded field of pop stars, how an ad-libbed drinking game inspired ROSÉ’s hit song, and what he envisions for the future of pop music.
Let’s go all the way back to the beginning — when and how did you first get involved with Gaga and her team for this project?
It happened sometime last year — I had been working with [“Disease” co-writer/co-producer] Andrew Watt for a while. We [had] worked on a few different things together, and one day he called me and said, “What do you think about working with Gaga?” He said that we would be a great fit to do this project together. So, I met Gaga for the first time in the studio, and it was amazing. I was really excited to work with her, we were off to the races as soon as we met.
What immediately appealed to you about the prospect of working with Gaga?
I’ve been a fan over the years, she is just a legendary artist. There’s only one Gaga, and she has influenced so many of the artists who are out now. I think her music paved the way for so many people. Selfishly, I did want to see what I could accomplish with her. Just the thought of wondering what a Gaga record would sound like if I produced it was really exciting from the get-go.
When you look back on the inception of “Disease,” was there a stated goal with that song? What were you aiming to accomplish?
It was just one song in a collection that we worked on together, but fairly early in the process, we all loved it and knew that it would be some kind of cornerstone of this body of work. “Disease” [is] a daring record to me. It’s very aggressive. I wouldn’t say it’s a safe, “nice” song to ease you into things. I was spending some time with my mom the other day and she asked what I’d been working on — I threw on the music video for “Disease,” and she was just stunned and saying “oh my God” a lot. It’s a very in-your-face kind of record.
I do all kinds of music, but I love aggressive electronic music. When Watt and I get together, something just kind of happens — with his rock background, we end up bringing in a lot of heavy guitars, and I wanted to make it this cool, industrial synth dance record. When you listen to the final result, I’m pretty happy with how we melded those two things.
What do you remember from the studio sessions with Gaga here — were there any particular moments where it felt like things really locked in for you?
We all huddled up at the beginning to see if we had any common ground when it came to taste in music and the places we wanted to go with the sound. She was very instrumental in leading that discussion. We all wanted to make something that still felt like it was decidedly Gaga, but always asking the question of “What does that sound like today?” That’s always a challenge, especially with artists who have established themselves so firmly in pop culture, to figure out that balance. Do you do something so different that you move away from the things that you are known for? But if you just do the same thing that you’ve been known for, does that end up feeling like a “more-of-the-same” type situation? I wanted to make sure that we brought the essence of Gaga into this song and all of the things that are so great about her — the drama, the theatrics, that in-your-face sound — but still putting a fresh spin on it. That said, you also cannot overthink things too much on something like this. Ultimately, you just have to get in there and have fun.
We definitely had a synergy in the studio. In the beginning, it is kind of a trial run [with a new collaborator]. It felt a little bit like she was feeling me out, trying to figure out where I was coming from when it came to production. But then there was kind of a breakthrough moment — I had been working through something over my headphones, and when I played it out loud, she was just like, “Oh my God, Cirkut, that’s crazy.” And as soon as that happened it was like, “Great, I got through to her.” It’s not like she was difficult to impress, but I wanted us to be on the same page. I treat every project I work on like that — you have to approach it from the mind of being a student always, rather than a know-it-all. I’m always learning from new people.
You’ve worked on massive hits from artists like The Weeknd, Rihanna, Miley Cyrus, Kesha and Charli XCX. As someone who has been in the room with so many of these major pop stars, how does Gaga stand out amongst that pack?
I think something all the great artists that I’ve worked with have in common is that they all have a vision. Whether it’s fully realized or not doesn’t matter — there is always intention and direction behind the art that they’re making. Even if that’s not fully fleshed out, I find that to be really important. There is always an opinion.
Gaga is very much like that — she is very interested in the sonics of everything. She would say, “Maybe try a different drum here,” or she would hop on the synths and start playing things. She’s a musician and a visionary, and she knew all about the attack, decay, sustain and release settings on a synth. She is all about the details, which definitely sets her apart from a lot of artists. Also, the passion that she puts into her work is amazing. She really lives and breathes and eats and sweats and bleeds this music.
“Disease” is not the only track of yours currently on the Hot 100 — ROSÉ’s “APT.,” featuring Bruno Mars debuted at No. 8 debut earlier this month. Tell me a little bit about how you got involved on that song, and what ROSÉ and Bruno were like to work with?
I don’t try to say, “Oh, I knew this would be a hit,” because I simply do not have that kind of foresight. But I thought this one was a really great, fun, catchy song, and I really loved working with Rosie. I was so excited when she had played the song for Bruno and I heard that he was getting involved, because I genuinely feel like he took it to another level.
We worked together probably three days in a row in the studio, and I think [“APT.”] was one of the last ideas we started. It was the end of the night, we had just done a song or two, and we were like, “Might be time to go home.” And Rosie was sitting there and just sort of chanting to herself, “apateu, apateu.” I think it was [co-writer] Theron [Thomas] who stopped her and asked what it was. She said, “It’s just a Korean thing, it’s basically a drinking game.” All of us were immediately like, “Why is that not a song?” We took that and put together a very quick hook. It was kind of random — I love it when stuff like that happens! It’s not always planned. It’s not always, “We’re going to get in the studio and make a mega hit featuring Bruno Mars.” Sometimes it’s a spontaneous session based on a drinking game. Sometimes somebody is whispering something in the corner, and it becomes this incredible hook.
As someone who has been as vital as you are in creating these massive pop moments throughout your career, how do you view the direction pop music is headed today? What are you seeing in the pop space right now that feels like something that will continue on into the future?
More than ever, almost anything goes. Nowadays, because there’s so much music out there, listeners are so discerning. They like what they like, and it is up to us — creators, producers, songwriters, artists — to show people fresh, new things that they haven’t heard 1,000 times already. Sure, there are trends that go in and out of style, but sometimes, it can be about just changing one thing, and all of a sudden you’ve got a fresh new sound.
Honestly, I try not to think about all of this too much because it can be a little overwhelming. The “next sound” could literally be anything. I really try to just create and not think about the future because that can ultimately remove the spontaneity of it. Messing around and stumbling upon something you love is kind of the random magic that happens. In the age of [artificial intelligence], I think that’s a tool that is here to stay, whether people like it or not, and I do think it could help when it comes to creativity in the studio. But, at the end of the day, it’s the human element of production and songwriting that succeeds. People care about authenticity, they want something that’s real, and listeners are not stupid.
A version of this story appears in the Nov. 16, 2024, issue of Billboard.
P!nk is celebrating the end of her epic Summer Carnival tour. The over-the-top global outing that kicked off in June 2023 in Bolton, England and wrapped up on Monday (Nov. 18) in Orlando played to more than 3.6 million people and grossed nearly $470 million.
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“And just like that… it’s over. 131 shows. 98 cities. 15 countries. 4 million people. A lifetime of memories,” the singer wrote on Instagram alongside a video compilation of special moments from the tour featuring footage from the concerts and behind-the-scenes bits with her kids, husband and crew.
“I may joke all of the time, but this s–t is no joke,” she says in voiceover in the compilation. “This has been the hardest, most physically, mentally and spiritually ambitious show I have ever put on. Two years of galloping at top speed around the globe and back again. This crew, all of these beautiful people that never sleep, work their butts off. They build this city, break it down, move it on, light it, make it sound good. They build me up as well. They really are my family.”
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The proof is in the footage, in which the many parts of the P!nk machine dress, prep and comfort her in the midst of the tour that saw the singer playing stadiums around the world and putting on a technicolor spectacular featuring her signature high-flying, acrobatic wire work, neon flamingo scooters, mega-trampolines and plenty of heartfelt moments.
“And it is the most magical, beautiful, impossible unbelievable thing to be a part of,” she continues in the voiceover. “I can’t believe what we’ve done.” The athletic endeavor wasn’t without its aches and pains, with P!nk lamenting at one point, “I hurt, I feel like s–t! I’m so tired of being inside… so many moving parts.”
In the end, she wrote on Instagram, it was all well worth it. “This show tested me in every way; my body, mind, and soul. It’s the most physically, mentally and spiritually ambitious show I’ve ever put on. It’s been really, really hard, but every moment has been worth it for the memories we’ve created together,” she said.
“I know I say thank you a lot, but thank you will never be enough. Your energy, love, commitment and passion are why we do this every night. Why I leave it all out there, every time. You have created a safe space with me where we can all belong. A world where we can put down our armor and our walls and just be. Breathe. Scream. Cry. Laugh. Feel. Celebrate. Mourn. Rage.”
She again thanked her crew and fans, those who made it out, and those who couldn’t this time. “Thank you for creating this incredible world with me,” she signed off. “I can’t believe what we’ve done. I can’t believe it’s over.”
Watch P!nk’s Summer Carnival recap video below.
The Grammy Museum has announced the expansion of Grammy Camp, a week-long program for high school students interested in pursuing careers in the music industry. Starting in summer 2025, Grammy Camp will be held in New York and Miami, in addition to its flagship Los Angeles program. The 2025 Grammy Camp season will take place […]
Kesha is on the run from a gang of really bad seeds in the action-packed video for her single “Joyride.” In the visual that dropped on Wednesday (Nov. 20), the singer makes a seemingly cheeky reference to her split with former producer/label boss Dr. Luke, with a voiceover saying that she is “set to be released after nine years of wrongful imprisonment” thanks to new evidence overturning her conviction.
Forget all that, though, because the high-octane clip co-directed by the singer, Laura Gorun, Dimitri Basil and Cooper Roussel is a cheeky homage to Quentin Tarantino’s Kill Bill series, with Kesha playing the part of a red leather-clad hell-raiser on the run from a group of colorfully named hired assassins. From the fonts to the names of her tormentors, the clip has QT’s influence all over it.
After finding out — in Italian for no apparent reason — that her unnamed tormentor only has “60 miles of blacktop” to stop her from achieving her goal, Kesha slips into her driving leathers and hits the road as a helicopter fires rounds at her ride while she speeds down the desert highway in a vintage Jaguar convertible.
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“Are you a man?/ Cuz I’m a b–ch/ I’m already rich/ Just looking for that mmmmm/ This party sucks I’m ’bout to ditch,” she sings over the bouncing rhythm of the Zhone-produced song that dropped on July 4. The high-speed pursuit includes a procession of would-be sharpshooters taking potshots at her, including Yippie & the Kiyays, Sadie the Stabber & the Crazyboys, Rowdy Ricky & the Red Flags, and the mega-jacked Derk Delusional (the One to Outrun).
Try as they might, their bullets never hit their target and the video ends with Kesha striking a series of poses on her ride before she hits the gas, seemingly on a collision course with a sawed-off shotgun wielding, shirtless Derk. The action ends with a tease for her upcoming single, “Delusional,” which is out on Nov. 29.
“Joyride” is the first single Kesha has released on her own label, Kesha Records, following the settling of the defamation suit filed by Dr. Luke in 2023, which came years after the singer filed a suit against the producer in 2014 alleging physical, sexual and emotional abuse; Dr. Luke has denied all the allegations.
Watch the “Joyride” video below.
Lady Gaga has conquered music, movies and Las Vegas. But there is one item on her bucket list that has been annoying elusive. Until now. After Mother Monster was announced as one of the headliners for next year’s Coachella Festival, the singer took to her socials to gush about how the booking is the realization of one of her rock and roll fantasies.
“I have long dreamed of throwing a massive night of chaos in the desert,” Gaga wrote on Wednesday (Nov. 20) after the lineup for next year’s event in Indio, CA was unveiled. “I’ve had a vision I’ve never been able to fully realize at Coachella for reasons beyond our control but I wanted to come through for music fans. I have been wanting to go back and to do it right, and I am.”
Gaga, who is preparing to release her as-yet-untitled seventh studio album in February, headlined Coachella at the last minute in 2017 when she replaced Beyoncé, who was pregnant with twins Rumi and Sir Carter, marking her only appearance to date at the event. “I’m headlining and starting the weekend off at Coachella. Can’t wait to hear you all singalong and dance dance DANCE till we drop,” she added.
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Gaga has plenty of other big news to celebrate at the moment, including a new guitar-heavy version of her current single, “Disease (The Poison Live),” and the news that her collab with Bruno Mars, “Die With a Smile,” just became the fastest song to reach 1 billion Spotify streams.
She will also have plenty of A-list company from fellow headliners Green Day, Post Malone and Travis Scott at the festival that will take place over two weekends — April 11-13 and 18-20 — which will also feature sets from Missy Elliott, Benson Boone, LISA, FKA Twigs, GloRilla, Tyla, Charli XCX, Anitta, Clairo, ENHYPEN, Jimmy Eat World, T-Pain, Megan Thee Stallion, Zedd, JENNIE of BLACKPINK, Beabadoobee, Ty Dolla $ign, Rema and Shaboozey, among many others.
A presale will kick off at 11 a.m. PT Friday (Nov. 22), with 2023 and 2025 attendees getting early access starting 11 a.m. PT the day before. You can also register for the presale now on Coachella’s website.
See Gaga’s post below.
Netflix’s Emilia Pérez and composer Hans Zimmer each received three awards at the 15th annual Hollywood Music in Media Awards (HMMA), which were held on Wednesday (Nov. 20) at The Avalon in Hollywood, CA. The HMMA honors composers, songwriters and music supervisors for their contributions over the previous year in music for film, TV, video games and more.
Emilia Pérez won for music-themed film, biopic or musical and also song – onscreen performance (film) by Zoe Saldana, who performed “El Mal.” The film’s French composers and songwriters Clément Ducol & Camille also won for score – feature film.
Zimmer received three HMMAs, the most awarded this year to any one individual. He won for score – sci-fi/fantasy film for Dune: Part Two; for his score to the documentary TV series Planet Earth III, which he composed with Jacob Shea and Sara Barone; and for song – TV show/limited series for “Love Will Survive” from The Tattooist of Auschwitz, which he cowrote with Kara Talve, Walter Afanasieff and Charlie Midnight. Barbra Streisand performed the song.
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Universal Pictures’ animated film, The Wild Robot, and legendary lyricist Bernie Taupin each received two awards.
The Wild Robot received top accolades in two animated film categories, for its score composed by Kris Bowers and its original song “Kiss the Sky,” performed by Maren Morris, who co-wrote it with Ali Tamposi, Michael Pollack, Delacey, Jordan Johnson, and Stefan Johnson.
Taupin received the HMMA Outstanding Career Achievement Award. In addition, he shared the award for song – documentary film for “Never Too Late” from the Disney+ documentary Elton John: Never Too Late. John and Brandi Carlile both co-wrote and performed the song, and collaborated with additional co-writers Taupin and Andrew Watt.
Diane Warren won this year’s HMMA for song – feature film for “The Journey” from The Six Triple Eight, which was performed by H.E.R. If the song is nominated for an Oscar, it will be Warren’s 16thnomination for best original song, and her eighth year in a row with a nomination.
Miley Cyrus, Lykke Li, and Andrew Wyatt won for song – independent film for “Beautiful That Way from The Last Showgirl. Cyrus also performed the track.
The HMMA Awards were held nearly a month before the Oscars are set to announce their shortlists of 15 original songs and 20 original scores on Dec. 17. Oscar nominations will be announced on Jan. 17. The annual HMMA nominations and awards are our real first peek inside what may be vying for music awards at other awards shows in coming weeks.
Here are the 2024 HMMA nominations in film categories, with winners marked, followed by a listing of other award winners.
Song – feature film
“Winter Coat” from Blitz – Written by Nicholas Britell, Taura Stinson, and Steve McQueen. Performed by Saoirse Ronan.
“Compress/Repress” from Challengers – Written by Trent Reznor, Atticus Ross and Luca Guadagnino. Performed by Mariqueen Maandig Reznor.
“El Mal” from Emilia Pérez – Written by Clément Ducol, Camille, and Jacques Audiard. Performed by Zoe Saldana.
“Mi Camino” from Emilia Pérez – Written by Clément Ducol and Camille. Performed by Selena Gomez and Édgar Ramírez.
“Forbidden Road” from Better Man – Written and performed by Robbie Williams.
“Periyone” from The Goat Life – Written by A.R. Rahman and Rafiq Ahamed. Performed by Jithin Raj.
“The Idea of You” from The Idea of You – Written by Savan Kotecha, Albin Nedler and Carl Falk. Performed by Galitzine and Anne-Marie.
WINNER: “The Journey” from The Six Triple Eight – Written by Diane Warren. Performed by H.E.R.
“Out of Oklahoma” from Twisters – Written by Luke Dick, Shane McAnally, and Lainey Wilson. Performed by Lainey Wilson.
Song – animated film
“Double Life” from Despicable Me 4 – Written and performed by Pharrell Williams.
“Beyond” from Moana 2 – Written by Abigail Barlow and Emily Bear. Performed by Auli’i Cravalho.
“Can I Get a Chee Hoo?” from Moana 2 – Written by Abigail Barlow and Emily Bear. Performed by Dwayne Johnson.
WINNER: “Kiss the Sky” from The Wild Robot – Written by Maren Morris, Ali Tamposi, Michael Pollack, Delacey, Jordan Johnson, and Stefan Johnson. Performed by Maren Morris.
“Just as You Are” from Thelma the Unicorn – Written by Taura Stinson, Darien Dorsey, and Brittany Howard. Performed by Brittany Howard.
Song – documentary film
“Pain Has a Purpose” from Americans With No Address – Written by Cindy Morgan and Jonathan Kingham. Performed by Rachael Lampa.
WINNER: “Never Too Late” from Elton John: Never Too Late – Written by Elton John, Brandi Carlile, Bernie Taupin and Andrew Watt. Performed by Elton John and Brandi Carlile.
“Mis Cuatro Letras” from Night Is Not Eternal – Written and performed by San Miguel Pérez and Chad Cannon.
“Piece by Piece” from Piece by Piece – Written by Pharrell Williams. Performed by Pharrell Williams, and Princess Anne High School Fabulous Marching Cavaliers.
“Growing Up Is for Losers” from Red Herring – Written and performed by Xav Clarke.
“Harper and Will Go West” from Will & Harper – Written by Sean Douglas, Kristen Wiig, and Josh Greenbaum. Performed by Kristen Wiig.
Song – independent film
“Wi Sabi Wi” from African Giants – Written by Justin Schornstein. Performed by Malik Mayne, Patrick Dillon Curry, and Justin Schornstein.
“City of Dreams” from City of Dreams – Written by Linda Perry. Performed by Luis Fonsi.
“Hold on to the Dream” from Ka Whawhai Tonu – Struggle Without End. Written by Arli Liberman and Tiki Taane. Performed by Arli Liberman, Tiki Taane, and Louis Baker.
“Right Where He Ought To Be” from Kim Kahana: The Man Who Changed Hollywood – Written by Richard Lynch and Kenny Day. Performed by Richard Lynch.
“The Creatures of Nature” from Sasquatch Sunset – Written by Toto Miranda, Yvonne Lambert and Josh Lambert. Performed by Riley Keough.
WINNER: “Beautiful That Way” from The Last Showgirl – Written by Miley Cyrus, Lykke Li, and Andrew Wyatt. Performed by Miley Cyrus.
Song – onscreen performance
Cynthia Erivo – “Defying Gravity” from Wicked
Nicholas Galitzine and Anne-Marie – “The Idea of You” from The Idea of You
Saoirse Ronan – “Winter Coat” from Blitz
Timothée Chalamet – “Blowin’ in the Wind” from A Complete Unknown
WINNER: Zoe Saldana – “El Mal” from Emilia Pérez
Score – feature film
Blitz – Hans Zimmer
Challengers – Trent Reznor and Atticus Ross
Conclave – Volker Bertelmann
WINNER: Emilia Pérez – Clément Ducol and Camille
Gladiator II – Harry Gregson-Williams
Horizon: An American Saga – Chapter 1 – John Debney
Saturday Night – Jon Batiste
The Six Triple Eight – Aaron Zigman
Score – sci-fi/fantasy
Deadpool & Wolverine – Rob Simonsen
WINNER: Dune: Part Two – Hans Zimmer
Furiosa: A Mad Max Saga – Tom Holkenborg
If – Michael Giacchino
Red One – Henry Jackman
Score – independent film (foreign language)
Girl You Know It’s True – Segun Akinola
Ka Whawhai Tonu- Struggle Without End – Arli Liberman, Tiki Taane
Mongrels – Hao-Ting Shih, Tae-Young Yu
The Seed of the Sacred Fig – Karzan Mahmood
The Shadow of the Sun – Sandro Morales-Santoro
WINNER: The Goat Life – A.R. Rahman
Score – independent film
African Giants – Justin Schornstein
In the Land of Saints and Sinners – Diego Baldenweg
Sasquatch Sunset – The Octopus Project
September 5 – Lorenz Dangel
WINNER: The Room Next Door – Alberto Iglesias
Thelma – Nick Chuba
Score – horror/thriller film
A Quiet Place: Day One – Alexis Grapsas
Here After – Fabrizio Mancinelli
Longlegs – Zilgi
WINNER: Nosferatu – Robin Carolan
Speak No Evil – Danny Bensi and Saunder Jurriaans
The Substance – Raffertie
Score – animated film
Dragonkeeper – Arturo Cardelús
Out 2 – Andrea Datzman
That Christmas – John Powell
WINNER: The Wild Robot – Kris Bowers
Wallace & Gromit: Vengeance Most Fowl – Lorne Balfe and Julian Nott
Score – documentary
Diane Von Furstenberg: Woman in Charge – Allyson Newman
Endurance – Daniel Pemberton
Frida – Víctor Hernández Stumpfhauser
Jim Henson Idea Man – David Fleming
October H8te – Sharon Farber
WINNER: Super/Man: The Christopher Reeve Story – Ilan Eshkeri
The Donn of Tiki – Holly Amber Church
WILL & HARPER – Nathan Halpern
Music-themed film, biopic or musical
A Complete Unknown
Back to Black
Better Man
Bob Marley: One Love
WINNER: Emilia Pérez, directed by Jacques Audiard. Prodcued by Jacques Audiard, Pascal Caucheteux, Valerie Schermann, Anthony Vaccarello
Wicked
Music documentary / special program
Elton John: Never Too Late
I Am: Celine Dion
Music by John Williams
One to One: John and Yoko
WINNER: Piece By Piece, directed by Morgan Neville. Produced by Morgan Neville, Caitrin Rogers, Mimi Valdes, Joshua R. Wexler, Pharrell Williams.
The Greatest Night in Pop
Music supervision – film
WINNER: Dave Jordan – Deadpool & Wolverine
Frankie Pine – The Idea of You
LaMarcus Miller and Livy Rodriguez-Behar – Jim Henson Idea Man
Steven Gizicki – A Complete Unknown
Rachel Levy – Twisters
Susan Jacobs and Jackie Mulhearn – Out of My Mind
Here are more winners from the evening:
Song – TV show/limited series: “Love Will Survive” from The Tattooist of Auschwitz. Written by Hans Zimmer, Kara Talve, Walter Afanasieff, and Charlie Midnight. Performed by Barbra Streisand.
Score – TV show/limited series: Shōgun – Atticus Ross, Leopold Ross, and Nick Chuba
Song – onscreen performance (TV): Ashley Park – “Ruins” from Emily in Paris
Main title – TV show/limited series: Masters of the Air – Blake Neely
Score – short film (live action): Spaceman – Spencer Creaghan & Chris Reineck
Score – short film (animated): Fly Hard – Daniel Rojas
Score – short film (documentary): Motorcycle Mary – Katya Richardson
Score – documentary series -TV/ digital: Planet Earth III – Hans Zimmer, Jacob Shea and Sara Barone
Score – TV show/limited series (foreign language): Women in Blue (Las Azules) – Lucas Vidal
Score – video game (console & PC): Delta Force – Johan Söderqvist and Zio
Song – video game (console & PC): “The People’s Cry (Main Theme)” from Avatar: Frontiers of Pandora – Written by Pinar Toprak and Paul R Frommer.
Song/score – mobile video game: Honor of Kings – Volker Bertelmann, Matthew Carl Earl, Laurent Courbier, Robbie Say, 2WEI, Zeneth, Henrik Lindström, Martin Landström and Rasmus Faber
Music supervision – TV show/limited series: Fallout – Trygge Toven
Music supervision – video game: Honor Of Kings – Jing Zhang, Shuqin Xiao, Corey Huang, Peiyue Lu and Samuel Siu
Song/score – commercial advertisement: Ram “The Convoy” – Emily Bjorke / In The Groove Music
Soundtrack album: Deadpool & Wolverine – Hollywood Records
Song – short film: “No Wahala” from Alkebulan II. Written by Matt B, Buguma Mark, Performed by Matt B and Royal Philharmonic Orchestra
Score – TV/streamed movie: The Supremes at Earl’s All-You-Can-Eat – Kathryn Bostic
Music design – trailer: American Horror Story – Delicate Part 2 – Fjøra X Nocturn
Main title – tv show (foreign language): Hotel Beyrouth – Suad Bushnaq
Music video: Lainey Wilson – “Out of Oklahoma”
Live concert for visual media: Olivia Rodrigo: Guts World Tour – Olivia Rodrigo
Exhibitions, theme parks, special projects: Braveship: The Live Symphonic Spectacular – Matt Cook (Composer, Producer), Dan Merceruio (Producer), Leslie Ann Jones (Recording Engineer, Mixing Engineer), Mirusia (Soprano).
Special recognition – New Media
Special recognition: Bullet Symphony – Live Coding for Everyone – Yang Zhang
For the complete list, visit: https://www.hmmawards.com/2024-hmma-nominations/
As this year’s CMA Awards drew to a close on Wednesday night (Nov. 20), Chris Stapleton became the evening’s foremost winner, picking up three trophies, single of the year, song of the year (both for “White Horse”) and male vocalist of the year. Morgan Wallen took home the evening’s biggest win, entertainer of the year. Meanwhile, Cody Johnson picked up album of the year for Leather. Brooks & Dunn extended their streak of the most wins in the vocal duo of the year category, nabbing a 15th win in the category. Megan Moroney picked up her first CMA Awards win, for new artist of the year, as did Riley Green and Ella Langley, in the musical event of the year category, for “You Look Like You Love Me.”
Outside of the award winners, many of the brightest moments at this year’s show came via a host of performances from artists ranging from legendary artists to buzzy newcomers. The soundscape highlighted a range of music under the country umbrella, including classic Texas honky-tonk, soul and rock fusions and bluegrass-leaning jams.
This year’s performances included several collaborations, including Kelsea Ballerini teaming with Noah Kahan, Post Malone performing with Chris Stapleton and Jelly Roll partnering with Brooks & Dunn on a stirring, gospel-tinged version of Brooks & Dunn’s “Believe,” included on B&D’s new Reboot II album. Plus, Dierks Bentley played alongside a trio of bluegrass music luminaries: Molly Tuttle, Sierra Hull and Bronwyn Keith-Hynes.
Artist tributes also contributed to some of the top moments, with Ashley McBryde paying homage the late singer-songwriter Kris Kristofferson. George Strait was honored with the 2024 CMA Willie Nelson Lifetime Achievement Award, and was feted with all-star performances from Jamey Johnson, Miranda Lambert, Parker McCollum, Chris Stapleton and Lainey Wilson.
Meanwhile, Eric Church continued to bring awareness to those impacted by Hurricane Helene through his stirring performance of “Darkest Hour.”
Every artist brought a unique artistry and talent to the CMA Awards stage. Here, we count down the top performances.
Post Malone Offers Familial Ode on “Yours”
22 years it was first launched in the U.K., ubiquitous music identification app Shazam has announced it has now surpassed 100 billion recognitions.
First launching on Aug. 19 2002, Shazam began its life as an SMS service where users would dial a number, hold up their phones to identify the song being played, and then receive the name and artist via a text message. While it grew in popularity and influence over the years, it was in 2006 that Shazam was launched as an app, before becoming available on both Apple and Android devices in 2008.
By 2011, the service had recognized more than one billion songs, and by the following year, that number had increased to five billion, with the 15 billion milestone following in 2014. In 2017, it was announced that Apple had acquired Shazam for $400 million.
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Now, Apple have announced that Shazam has hit the impressive milestone of 100 billion song recognitions across its lifetime. The news comes just five years after the service celebrated 20 years with news it had surpassed 70 billion recognitions.
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“This monumental milestone not only reflects how much people enjoy using Shazam, but also their appetite for new music,” said Oliver Schusser, Apple’s vice president of Apple Music and Beats in a stateent.
“Music discovery is at the core of everything we do, and we keep innovating to make sure music lovers around the world can tap the Shazam button no matter where they hear music playing!”
Apple have also shared a handful of statstics to put the 100 billion figure into perspective, noting that the number is equivalent to 12 songs identified for every person on Earth, and that one person would need to use Shazam to identify a song every second for 3,168 years to reach 100 billion.
An Apple Music playlist was also created by the company which features the 100 most-Shazamed songs across the app’s lifetime.
Atop the list is Tones and I’s “Dance Monkey” with 45 million identifications to its name, closely followed by fellow Australian act Gotye and his 2012 Kimbra-featuring hit “Somebody That I Used to Know”.
Passenger’s “Let Her Go”, Ed Sheeran’s “Perfect”, and Macklemore & Ryan Lewis’ “Can’t Hold Us” round out the top five, with acts such as Lewis Capaldi, Hozier, The Weeknd, KALEO, and Sia completing the top ten.
