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Kenshi Yonezu dropped his highly anticipated new album LOST CORNER this month. The J-pop hitmaker’s latest project is a tour de force arriving four years after his previous album STRAY SHEEP, packed with 20 tracks including ten high-profile tie-ins such as “Chikyugi – Spinning Globe,” the theme song of Hayao Miyazaki’s animated movie The Boy and the Heron.
Writer Ryutaro Kuroda spoke with the 33-year-old singer-songwriter on behalf of Billboard Japan about his new release, who shared the concept and intent behind the title of “Garakuta” (“Junk”), one of the keywords of this project, and its connection to the title track and more. The “KICK BACK” artist described his current headspace after releasing the epic set as being “bright,” and this outlook seems to symbolize the style of the album in its entirety.
You’ve completed your first album in four years. Tell us frankly how you feel about it now.
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I’m feeling brighter than usual, I guess. There are things I wish I could have worked on a bit more, but I don’t spend my days being tormented by them. It feels healthy and I like that.
With so many songs that were tie-ins, I was wondering how you were going to put them together as an album. How did you come up with the overall image of the set?
As you say, the number of existing songs had grown quite a bit over the past four years, and the album could have ended up consisting mostly of existing singles. That was my initial concern. Some musicians, after a long time in the business, gradually include fewer new songs in their albums and I feel really sad about that. When I was a kid, my idea of an album was something full of songs that I’d never heard before and there was a joy in listening to them collectively, and I still clearly remember that. So when my album turned out to have 11 existing songs on it, the only way I could think of to resolve my main concern was to simply increase the number of tracks, an idea even a fool could come up with. I actually wanted to write more — ideally, I wanted more than half of the songs to be new, but fell short of that goal. I have some regrets about that, but I guess I did OK.
When did you start working on the new songs on the album?
I wrote most of them this year. There are about three tracks I wrote last year — in fact, I was actually planning to release this album last year, but really wasn’t in the mood for it. My motivation for music had dropped so low and there was a long period where I didn’t want to make any more music.
Can you tell us why?
The Boy and the Heron was a huge factor. I grew up on Ghibli films and Hayao Miyazaki was a huge presence in my life. Working on the theme song for one of his movies felt like the greatest honor ever that would probably never come my way again. And when something like that happened, it felt like I’d lived my whole life for that moment. During the last year, especially during the period leading up to the release of the film, I had this strong feeling that there’d be nothing left after this was over. I just couldn’t get into the mindset of making new songs, so I had to postpone [the album] for a year.
What made you turn to music again?
It’s hard to say succinctly, but I stopped thinking about the minutiae — I stopped facing things beyond my control. I felt that I’d just become exhausted unless I started to focus on how strongly I could secure the areas that were within my control and that others couldn’t take away from me.
From an objective standpoint, my music career probably appears full of happiness. I mean, I’ve had opportunities to be involved in various works like the Ghibli tie-in, Shin Ultraman, Final Fantasy XVI, and Chainsaw Man, so it probably looks like smooth sailing. And while I think that’s correct even from my point of view, I also had this sense of urgency. I felt that somewhere along the line, I’d snap and never be able to recover. So, I focused only on what I could control, and to a certain extent, ignored or gave up on what I couldn’t. I had to switch to this way of thinking.
You arranged all of the new songs on the album except “Garakuta – JUNK.” Is this in line with what you just said about securing what you can control?
It really is. Once I decided to do it all myself and began doing it, it was just so much fun.
What you just said sort of reminded me of your works from your diorama era.
Yes, I guess you could say I went back to my roots in that sense.
While the new songs on this album lean towards electronic music, “Garakuta – JUNK” is the only song with a band sound. What image did you have in mind when you started on it?
I wrote it as the theme song for the movie LAST MILE, but the process was full of twists and turns. The first demo I submitted was a completely different song. It was a rather subdued number, sung effortlessly in a low key. I had an urban image in mind and was writing a track that had sort of an icy feel to it, but the producers of the movie said, “Maybe this isn’t the one.” They preferred a gentler, warmer, yet ballad-like song, and I was like, “I have to admit, you do have a point.” When I first met with Ms. Ayuko Tsukahara, the director [of LAST MILE], she mentioned wanting to make this film a popcorn movie. She wanted to make a roller-coaster movie that was emotional and thrilling and could be watched with popcorn in hand. In light of that, I realized my first demo wasn’t the right image. So the current song was born in the process of writing it over again.
My understanding is that the lyrics include your own experiences.
The first one I wrote felt perfect the way it was, so when they told me it wasn’t what they were looking for, I wasn’t sure where to go from there. Around the same time, as a really personal experience, a friend of mine was in a bad spot. They were mentally overwhelmed — the word “overwhelmed” is too mild to express what they were going through. So I went to see them with another group of friends and spoke with them. That conversation and the expression on their face turned out to be a major experience for me. One of the things I remember in particular was that they kept saying, “I’m not broken.” They repeatedly said, “People might look at me that way, but I’m not broken at all. I’m perfectly fine,” and, “I’m just a little more honest than I used to be.”
After I got home and was alone, I wondered if being “broken” was such a bad thing. I thought, even if you’re broken or not, you’re still you, and I intend to accept you either way, so maybe I should have said, “It’s all right if you’re broken.” That experience had a huge influence on the creation of “Garakuta – JUNK” and as I wrote the lyrics in that direction while drawing on parts of the film that link to the emotions of the characters, I ended up with those lyrics.
The light tone of “LOST CORNER” is also notable. How did you go about creating the melody and sound?
I’m not sure, but I wanted this song to be the last track on the album when I started writing it. So I thought it’d be nice and tight if I ended it with something ceremonial or euphoric, or simply put, a ballad, but it didn’t sit very well. As I worked on it, it turned out really bright and light. But I wanted to start the album with a song that tells someone to “disappear” and end it with “not disappearing.”
Could you elaborate on what sort of mental state that reflects?
I sometimes read books about people suffering from depression. Some people can’t help but feel that their lives aren’t worth living, you know? It’s a very serious problem for them, and it’s probably hard for such people to make proper decisions in such a state, and it’s also something that feels familiar to me. It’s really a grave situation and I’m not saying I object to it or anything like that, but I felt that this is vaguely an inverted form of eugenic thinking. Being convinced that you’re not worth living is the reverse of “so long as I have value, I can live,” so you’re in a state of somehow being convinced that you shouldn’t be alive if you’re not productive. I don’t want to sound so harsh to those who are struggling now. But the truth is, it’s OK to be alive even if you aren’t productive, and it’s OK to be alive even if you’re a good-for-nothing or a dunce. While the major premise is that it’s not so simple, I still think there’s an element of not having been able to gain sight of such a basic point.
It’s OK to be “junk” you mean.
I have this feeling as well — there’s a part of me that can’t help but think that I have to be making music and that it’s the meaning of my life. I felt compelled to think about how I should confront that. Some obvious barometers are the number of likes on X (formerly Twitter) or the number of streams for songs, which are things we have to deal with, and in today’s world where social media is so ingrained in society, this isn’t limited to a profession like mine. When you think about how to deal with such visualized standards of value, I think it’s important to create an environment where we can avoid associating with them.
I might have mentioned this at the beginning, but it’s about having things that can’t be taken away from you no matter how much malice you’re exposed to — I sing about turning a curve slowly in “LOST CORNER” and in “Chikyugi – Spinning Globe” I say “I’ll turn the corner.” Maybe it’s important to keep moving at a speed that will allow you to actually feel that the road goes on. I have a feeling I was thinking about things like that a lot.
The phrase “all the dreams, hopes, misfortunes, and anguish/well, that’s that,” from “LOST CORNER” seems to symbolize this work.
Yes. Being nonchalant like that and not getting too uptight about things. Things can be really fierce in a society revolving around social media, you know? A small image of a person is cut out of context and spread out and it becomes more and more disconnected from that person’s real character. This isn’t limited to celebrities and could happen to anyone — a snapshot can be mocked to pieces and damage a person’s dignity, and the way we should live our lives under such circumstances is by separating the real from the imaginary and securing what can’t be taken away from us. I think the world has become a place where it’s really important to have an area that can’t be taken away from you.
You announced a major world tour, making two stops each in Asia, Europe, and the U.S. starting in March next year.
I’ve been to China and Taiwan before, and clearly remember the excitement from those shows. I’m looking forward to going there again.
What about Europe and the U.S.?
I can’t say because I really don’t know what to expect. I have no idea what it’ll be like. A shy Japanese person will be coming from the East, so please be gentle, is maybe how I’m feeling.
—This interview by Ryutaro Kuroda first appeared on Billboard Japan
Billboard Japan launched its Women in Music initiative in 2022 to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The WIM interview series highlighting female players in the Japanese entertainment industry is one of the main features of this project, and the first 30 sessions were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai last year.
For the latest installment of this series, Billboard Japan spoke with YUKKYUN, a self-designated DIVA celebrating his 10th anniversary in entertainment. The 29-year-old multi-hyphenate began his career in 2014 as an idol singer and went on to become a finalist in the coveted miss iD audition in 2017. While active as the member of the duo Cinema and Boy CQ, YUKKYUN began self-producing his solo career called the DIVA Project in 2021 and has branched into various media including songwriting, writing, and podcasting. The “Logout Bonus” singer — who has been vocal about being a fan of female artists — shared his thoughts on the state of gender in the music industry in Japan.
Tell us about your life before you launched your career as YUKKYUN.
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My friends were always more girls than boys since I was little and my parents never stopped me from being who I am, so I’ve managed to avoid being forced into some form of masculinity in life. None of my classmates were like me, so I guess I did stand out.
I first encountered feminism and gender theory in my third year of high school when I started reading books like Chizuko Ueno’s Misogyny after finding out about it in a magazine. Around the same time, I read (Shuichi Kato’s) Introduction to Gender and Sexuality Studies and it was like I understood the true nature of the discomfort I’d been feeling. I realized that I wasn’t wrong after all and that I could do whatever I wanted. I’d always firmly believed that I wasn’t doing anything wrong even before then, but it was a relief to learn that there were people doing proper research on the subject and that it’d been clearly laid out. Until high school, it was a matter of how I felt and acted, but at about age 20 I reaffirmed that everyone including me had many options — there were so many people in Tokyo wearing cute clothes, so I began to dress myself freely in skirts and dresses.
You believed in your potential and decided to present yourself to the outside world as YUKKYUN. Did you feel it was your mission to do so?
It was hard for me to live my life pretending to be something I’m not. I can’t say what I don’t think and I can’t go outside as myself if I’m wearing clothes I don’t want to wear. Forcing what’s become the norm for me to conform to existing values is more taxing. It’s how I’ve always lived, so being different from others wasn’t that much of a problem for me.
I also thought there’d definitely be some people out there who’d get something out of seeing someone like me being gorgeous in public. I think it would have been a relief for me as a teenager in junior high or high school if someone like me had existed. I do feel it’s my mission to shine right in the middle.
And it’s been exactly ten years since you started performing as YUKKYUN.
Yes. I’ve always loved singing and dancing. I started doing what I could within a few months of moving to Tokyo. I’ve been a member of a duo called Cinema and Boy CQ since 2016 and performing in this group is already fun in itself, but the year I graduated from grad school I started the DIVA Project as a solo artist, writing my own lyrics and singing them. I began receiving responses at a rate and depth that I couldn’t have obtained from just my previous activities. Hearing feedback from people who’ve actually listened to my music is such a rich experience, and I’ve discovered lots of things other than what I’d consciously wrote into my lyrics. The way my music reaches each person is slightly different and I find that invaluable.
Many shy people who want to take that first step but haven’t been able to do so listen to my songs, so I want to sing songs that will lift their spirits and inspire them, even if it’s only while they’re listening to a three-minute song. When the things that I’ve said on social media or in interviews are written into a song, the recording can be heard many times and the song sung many times at concerts, and I get a sense that the message really hits home that way. So I think making works of art is wonderful and that everything should be handed down as works of art.
That’s true. As a listener myself, I also have a strong sense of the magnitude of the things we receive from works of art. Like you just said about hearing from people who want to take that first step but can’t, there seem to be many people in Japan today who are intensely afraid of stepping outside of the existing framework. I’m sure this is something you express in your lyrics, but how do you think they can overcome that fear?
I don’t live free of fear or care either, and I want art to always be by my side as something that gives me the courage to take a step forward and to question existing frameworks. And I’d like (my art) to be like that, too.
Try not to overlook any feelings of discomfort that arise within you. I think it’s important to keep being aware of the things that bother you or things you feel you can’t handle, no matter how minor, and to know what you really want to do, what you value, and what you want to change even if you can’t do so right away. I mean, life isn’t just about overcoming things. I hope my music can exist as a way to present possibilities and options to such people. I want to make people feel at ease.
Do you think that by coming across music or idols that you like, for example, and finding things you truly value and don’t want to compromise, people could gradually become less concerned about existing frameworks?
Yes, I do. And when you find that something you like or don’t want to compromise, you don’t have to declare it or be vocal about it. Even if you don’t go out of your way to say, “I like such-and-such” to others, if you can be true to yourself in your heart and be like, “This is how I really feel,” you can live without breaking down.
In my case, I think I needed to listen to music by divas singing about loneliness to validate how I felt. Changing things quickly or being able to do things suddenly isn’t easy, you know? You can’t just be reborn. For example, even if you want to wear only cute clothes from now on, it takes money and time, at least about two years, to completely change your wardrobe. So during that time when I was longing to change, my favorite music protected my heart.
When you think about it that way, it kind of feels like society isn’t designed to allow individuals to value the things they hold dear inside. You were a finalist in the miss iD audition in 2017, a competition that uses the honorific for women in its name [Japanese Wikipedia defines it as “an audition to find diverse female role models who survive in the new era, regardless of appearance, genre, or gender roles”]. Could you share your thoughts on the current social structure?
That was seven years ago now, but I entered the miss iD contest because the judges were all creators that I liked and it wasn’t my intention to challenge the social structure. The current social structure is so exhausting, but I’m trying to broaden the existing framework by expressing with my body that it’s OK to do what I want as a “boy who’s a bit unfettered.” Sometimes it’s like people see whatever I do as social commentary, but I still feel like I’m thinking more about individual people than society as a whole.
You released “DIVA ME” in May 2021 and launched your solo endeavor called the DIVA Project. Could you tell us why you chose the word “diva”?
When I thought about what I’ve received from whom in life and about what I should do in my upcoming solo career, calling myself DIVA made the most sense to me. My definition of DIVA is the will and spirit to be proud regardless of gender or occupation, so I made my solo debut with a song called “DIVA ME.”
Who inspired you to shape your definition of DIVA?
The first DIVA I fell in love with was (J-pop star) Ayumi Hamasaki. I’ve loved her since I was 5 years old and went on to enjoy listening to solo female artists in general, especially those who write their own lyrics and create their own world. I still listen to Hikaru Utada, Ringo Shiina, aiko, Yuko Ando, YUKI, Tomoko Kawase, and others. After moving to Tokyo, I also discovered the music of Seiko Oomori and felt that the music reached my heart more directly. When I think about it, DIVAs have accompanied me throughout my life.
It sounds like calling yourself DIVA is a solution that satisfies you. What changes do you think are necessary to allow for more diversity in the workplace in Japan’s music and entertainment industries in the future?
Something I’ve noticed in the industry is that the producers are mostly men. It’d be better if there were more women in those creative roles. I’m sure there are capable women out there but maybe society isn’t accustomed to giving full authority to women. I don’t compose music, so I’d like to appoint more women to do that for me. I also think there aren’t enough women organizing festivals. I guess I have to become really popular. Then it’ll make it easier for people who want to do what I do to come out. I hope that by taking the lead, I can lower the obstacles for people to start something. Otherwise, it won’t be interesting for me either.
—This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan
Troy Ave has been released from New York City’s Rikers Island after being inside since February. He commemorated the occasion with an Instagram post on Monday (Aug. 26), sharing a picture of himself in front of a Rikers Island sign holding a bag of cash, a red Lamborghini Urus next to him. He captioned the […]
Two decades after Carrie Underwood stole hearts as a contestant on American Idol, the “Before He Cheats” superstar is returning to the show as a judge on the upcoming 25th season.
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She opened up about the new gig for the first time this week on SiriusXM’s Music Row Happy Hour in Las Vegas. “I feel like I’ve been so blessed to obviously be so rooted in country music, but I’ve been able to be a part of many other genres or music as well,” she shared of her musical experiences. “I mean, I’ve got a song with Papa Roach right now. It’s a lot of fun.”
Underwood continued, “I like to think that I am versatile and, hopefully, when I listen to people come and audition, I can have any lens I need to put on in terms of what music I’m thinking.”
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Ultimately, as a judge, she hopes to be “honest and constructive, but still kind,” before adding, “I think that’s the whole point, because people are coming in and it’s dreams. You’re part of somebody’s story from that moment on.”
Underwood was the winner of American Idol‘s fourth season in 2005 and has gone on to release nine studio albums, win entertainer of the year three times at the Academy of Country Music Awards, and take home eight Grammys. In Billboard‘s 50 Best American Idol Alumni of All Time list, Underwood was ranked at No. 2, behind only season one champ Kelly Clarkson.
“Carrie Underwood is the first American Idol alum ever to join the judging panel. Her global superstar status as the most successful Idol winner to date makes her a perfect fit for the show,” said Megan Wolflick, Idol showrunner and executive producer in a statement at the time of announcement in July. “She embodies the true spirit of Idol as she herself is the definition of the Cinderella story. Our future hopefuls will have the chance to receive advice from someone who has walked in their exact footsteps every step of the way. Carrie has always been a strong supporter of Idol, and I’m thrilled for her to be reunited with our Idol Family.”
Perry, who had spent seven seasons as a judge on the show alongside Lionel Richie and Luke Bryan since its move from original home Fox to ABC in 2018, revealed her exit from American Idol earlier this year. “I think this will probably be my last show, my last season for Idol,” she said on Jimmy Kimmel Live in February. “I love Idol so much. It’s connected me with the heart of America, but I feel like I need to go out and feel that pulse to my own beat.”
“Dirt Cheap” hitmaker Cody Johnson has collaborated with artists like Jelly Roll (they recorded “Whiskey Bent” on Johnson’s album Leather album) and Terri Clark (the two performed “I Just Wanna Be Mad” on Clark’s Take Two album). But he has his sights set on a duet with the reigning CMA and ACM entertainer of the year winner.
During a recent interview with Country Countdown USA’s Lon Helton, Johnson said he’s long aimed at doing a collaboration with Lainey Wilson.
“I’m going duck hunting with her boyfriend Duck [Devlin “Duck” Hodges]. I guess that’s how he got his name, because he’s really into hunting,” he said. “I heard Loretta Lynn’s ‘Louisiana Woman, Mississippi Man.’ I called Lainey and said we should record that song together, and she agreed. But we haven’t done it yet.”
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“Louisiana Woman, Mississippi Man,” a collab by Lynn and Conway Twitty, reached No. 1 on Hot Country Songs in August 1973 and received a Grammy nod for best country vocal performance by a duo or group.
It’s safe to say Wilson has been busy of late, having just released her new album, Whirlwind. Johnson, whose song “Dirt Cheap” is in the top 10 on Billboard’s Country Airplay chart, also revealed that another country music A-lister, Luke Combs, had been pitched “Dirt Cheap”– but Johnson got to it first.
Johnson said of Combs, “He didn’t click on it. So here’s to you Luke! He didn’t listen to it until I after released it. He thought the title looked familiar. I talked about it afterwards — had some choice words to say about ‘Dirt Cheap.’ I said, ‘Everything happens for a reason.’”
Recently Johnson headlined a rodeo in Brazil, at Cowboy Festival Barretos. “They called me, and we sold the thing out,” he said. “That’s pretty cool.” The festival has been around since the 1950s and has previously featured headliners including Garth Brooks, Alan Jackson, Shakira, Mariah Carey and Shania Twain.
What will be the No. 1 song of the summer of 2024? With one week of tracking remaining, Post Malone’s “I Had Some Help,” featuring Morgan Wallen, maintains its lead for the coronation, per Billboard’s Songs of the Summer chart. The 20-position Songs of the Summer running tally tracks the most popular titles based on […]
The primary question around Texas country singer Randall King for the last several years has not been if will he break through on a national stage, but when? The answer could well be 2024, as Warner Music Nashville releases a single to country radio. “I Could Be That Rain” has a classic sound that draws from his ‘90s-country influences, and a weather-beaten lyric that rings true to his Amarillo roots.
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“I just flat out love storms, man, being from West Texas, how open it is, how flat,” he says. “They say you can watch a dog run off for three days out there. And you can watch the thunderheads just rolling in, and it’s beautiful.”
The emotions in “I Could Be That Rain” aren’t nearly as beautiful, though, as they are twisted. The protagonist finds himself shut out by his ex, with no chance to get close to her again. If only he could take the place of a rain shower, he could manage to touch her once more. Morphing into a downpour might be a little sci-fi for country, but the broken heart behind it grounds the story.
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“It’s just so real,” King says. “That’s what country music should be.”
Songwriter Mason Thornley developed the title and concept circa 2021 when he heard Brit-pop artist Labrinth’s 2014 ballad “Jealous” on Spotify. That song goes through a list of people and natural elements that may be sharing space with an ex, leaving the singer frustrated that his love interest is moving on when he cannot.
Thornley focused specifically on the rain in the opening image of “Jealous,” believing that that smaller concept could be built into something much larger. “I always thought that was a whole country song in itself,” he says.
Thornley developed the chorus hook and opening line, “Wish I could be that rain,” and wrote the front half of the chorus, personifying a downpour. As raindrops, he fantasized, he could touch his ex’s skin or sing her a song through the rhythm of raindrops on a tin roof.
He pitched the idea in several writing appointments, but didn’t get any traction. Finally, he got a good reception for his rain song during a writing appointment at the office of his publisher, the aptly named Deluge Music. Artist-writer Brian Fuller, one of Thornley’s frequent writing partners, thought humanizing the rain was a bit of an outlier concept, but he saw that as a positive.
“The wackier or weirder the idea, the more interesting it is to me,” Fuller says. “I like being able to chase hooks like that and just see [what happens]. Sometimes they turn out great. Sometimes they don’t turn out at all. But I really loved it. I mean, it wasn’t anything that I hesitated on at all.”
They finished the back half of the chorus – the first line in that exercise, “Wish I could move some clouds into your sunshine,” might be the song’s best – then moved to the first verse, pitched significantly lower to create some drama in the chorus.
“I like to write those big, overarching choruses a lot of times, if you got a singer in the room who can do it,” Thornley says. “Brian’s got a great voice, and it’s not a problem for him to go up and hit those notes.”Going low in the verse allowed for introspection. For that first stanza, they used a July shower to make the protagonist nostalgic, recalling the romantic moments the couple experienced in the rain. For the second verse, the singer contemplates how, if he had morphed into rain, he could affect her in ways he could not as a human.
“It’s not that I’m going to text her, or I’m going to go try to see where she’s at, if she’s at a bar that we used to hang out at, or she’s with her friends,” Fuller says. “I’m not going to drive by her house and see if she’s home. If there’d be a unique way to do this, if there’d be a way that I could get back to her and make her think about me, I know that the rain would be the way to do it.”
They didn’t cut a demo immediately, but when Thornley was on vacation months later, Fuller discovered that Parker McCollum was considering outside songs for a project. “I Could Be That Rain” seemed like a potential match to Fuller, so he asked Thornley if they could finish the demo. Thornley worked on it during his downtime, and when he got back to Nashville, Fuller put a vocal on it.
“Rain” didn’t land with McCollum, so Fuller recorded his own version with producer Joey Hyde. When Durango artist manager Scott Gunter was shopping for a producer for developing vocalist Jake Jacobson, Hyde sent that recording among several others to demonstrate his skills. Gunter listened steadily to “Rain” for weeks before he realized that the song might work for King. Indeed, King was instantly attracted to it, though he called Fuller to make sure it was cool.
Once he got a thumbs-up, King and co-producer Jared Conrad recorded it at Nashville’s Soundstage in July 2023, intent on balancing his ‘90s proclivities with 2020s touches. “I wanted it to still be the traditional country sound that I have, but with a little bit of that darker, modern edge,” King says. “I have a Gary Allan/Dierks Bentley influence in me, that’s kind of ‘Smoke Rings in the Dark.’ And that’s what we wanted on this record. I wanted to put some ‘Smoke’ on it.”
The band played it three times at a slightly faster tempo with okay results, but on the fourth go-round, King suggested steel guitarist Justin Schipper take a more prominent role, playing the opening signature lick and handling the instrumental solo.
“Production-wise, we did try to take it a little more sad,” Conrad says. “I mean, just adding a steel guitar to it helps that immediately.”
King also wanted to weave the feel of rain on a tin roof into the sound. Tim Galloway hinted at that with a pulsing rhythm on bouzouki, a tinny-sounding Greek stringed instrument, but King heightened the effect by asking drummer Evan Hutchings to play in tandem with Galloway, tapping the metallic side of the snare.
When King sang the final vocals for the album, Into the Neon, he held “Rain” back until the end, fearful that its range might destroy his voice for the rest of the songs. “This is by far the hardest record I’ve ever sang in my life,” he says. But he handled a couple full run-throughs well, then Conrad changed things up to focus on specific parts of the song.
“We just chopped it up into the sections so I could do all the low verses together and then move into the choruses,” Conrad says. “But I’m assuming he had practiced it a lot, because in the studio, it felt super natural.”
Warner Music Nashville released “Rain” to country radio via PlayMPE on July 10, making it his first single the label has worked nationally to primary stations. King is confident in its potential.
“It’s a song that people can relate to,” he says. “People understand when you’re hurting and missing somebody. You’re hoping that they hurt and miss you, too. That’s as straightforward as it could go.”
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Few songs withstand time, distinguished by their infectious beats, experimental sounds, poignant lyrics or enduring appeal, rendering them as classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we’re on an exploration to roundup the top Get Up Anthems over this next year from these six cities: Houston, Atlanta, New York, Chicago, Miami and Los Angeles. Guided by curated panels, we delve deep into each city’s sonic history, spotlighting tracks that embody resilience, authenticity, and innovation and celebrate the power music has to inspire listeners to get up and chase their passions, in the spirit of perseverance.
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The Top 10 Get Up Anthems from Chicago were crafted through a blend of editorial expertise, data-driven analytics, social impact and personal sentiment, to create a ranked list of the songs which inspired, captivated, and energized the A. In a historical dive from 1973 to present day, the city’s playlist [click HERE to play] features hometown hits that are synonymous with the city’s rich history and culture, hand selected by Chicago’s very own, Twista, Vic Mensa and Dreezy, Billboard editor, Kyle Denis, and moderated by Rocsi Diaz.
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Did they get it right? Or were they off the mark?
Take a look at the Top 10 Get Up Anthems for Chicago:
10. “Kill S**t” – G Herbo and Lil Bibby (2012)
“Kill Shit” is a powerful embodiment of Chicago’s drill movement, a subgenre that captures the raw and often harsh realities of life in the city’s neighborhoods. The track, produced by DJ L, is more than just a song; it’s a declaration of resilience and survival. G Herbo and Lil Bibby’s aggressive delivery and vivid storytelling resonated with a generation of Chicago youth who saw their own lives reflected in the lyrics. While it didn’t chart on the Billboard Hot 100, its influence on the drill genre and the careers of both artists is undeniable. This track served as a catalyst, not just for G Herbo and Lil Bibby, but for the entire drill scene, which would go on to shape the sound of hip-hop for years to come.
9. “This Ain’t What You Want” – Lil Durk (2013)
“This Ain’t What You Want” marked a turning point for Lil Durk, both artistically and commercially. The track’s dark, menacing production, paired with Durk’s introspective lyrics, delves into the complexities of life in Chicago’s streets. It’s not just a song, but a reflection of the tension, struggles, and aspirations that define the drill music scene. By capturing these elements so effectively, Lil Durk solidified his role as one of the most influential voices in Chicago rap. The track also highlighted his ability to blend gritty street narratives with a more polished sound, a balance that would become a hallmark of his later work. It’s a song that helped put Lil Durk on the map nationally, while remaining deeply rooted in the city that shaped him.
8. “Percolator” – Cajmere (1992)
“Percolator” is a quintessential Chicago house track that exemplifies the city’s rich history in electronic music. Cajmere (aka Green Velvet) crafted a minimalistic yet infectious beat that became an instant classic on the dance floors of Chicago’s clubs. The repetitive, hypnotic nature of the track is a testament to the power of simplicity in music production. Though “Percolator” didn’t chart in the mainstream, its impact on the house music scene was profound, influencing countless DJs and producers around the world. The track’s enduring appeal lies in its ability to get people moving, a true “get up” anthem that speaks to the spirit of perseverance and joy that is at the heart of Chicago’s music culture.
7. “Kick, Push” – Lupe Fiasco (2006)
“Kick Push” is a breath of fresh air in the world of hip-hop, offering a narrative that was both unique and universally relatable. Lupe Fiasco’s debut single, produced by Soundtrakk, tells the story of a young skateboarder navigating life’s challenges, using his passion as a means of escape and expression. This was a stark departure from the prevailing themes in hip-hop at the time, and it showcased Lupe’s ability to bring new perspectives to the genre. The song’s smooth, jazzy production complements the storytelling perfectly, creating a track that feels both introspective and uplifting. “Kick Push” didn’t just introduce Lupe Fiasco to the world; it also expanded the boundaries of what hip-hop could be, resonating with listeners who found their own passions reflected in the lyrics.
6. “No Problems” – Chance the Rapper feat. Lil Wayne and 2 Chainz (2016)
“No Problems” is more than just a hit song; it’s an anthem of independence and celebration. Chance the Rapper’s collaboration with Lil Wayne and 2 Chainz on this track from his Coloring Book mixtape embodies the spirit of triumph over adversity. Produced by Brasstracks, the song’s upbeat energy and infectious hook made it an instant favorite, not just in Chicago but across the country. The track’s success—culminating in a Grammy win for Best Rap Performance—is a testament to Chance’s unique approach to music and business. As an independent artist, Chance’s success with “No Problems” sent a powerful message to the industry: you don’t need a major label to achieve greatness. The song resonates deeply with those who have faced obstacles and come out on top, making it a perfect addition to this list of Get Up Anthems.
6. “The Light” – Common (2000)
“The Light” is a beautiful example of how hip-hop can be both deeply personal and universally resonant. Produced by the legendary J Dilla, the track features a smooth, soulful beat that perfectly complements Common’s heartfelt lyrics about love and commitment. Released as part of his Like Water for Chocolate album, “The Light” stands out as a conscious, introspective track that showcases Common’s lyrical prowess. This song had a significant impact on Chicago’s hip-hop scene, as it highlighted a more thoughtful, positive side of the genre at a time when mainstream hip-hop was dominated by more aggressive content. “The Light” not only earned Common a Grammy nomination, but it also solidified his place as one of the most respected and influential voices in hip-hop. It’s a song that continues to inspire listeners to connect with their emotions and express themselves authentically.
5. “Hay” – Crucial Conflict (1996)
“Hay” is a track that encapsulates the eclectic nature of Chicago’s hip-hop scene. Crucial Conflict’s fusion of hip-hop with country vibes created a unique sound that was unlike anything else at the time. The song’s twangy production and catchy hook made it an instant hit in Chicago, and its success helped to shine a spotlight on the city’s West Side. Included in the group’s debut album The Final Tic, “Hay” played a crucial role in expanding the boundaries of hip-hop, showing that the genre could draw on a wide range of musical influences. The song’s success on the Billboard Hot 100, where it peaked at No. 18, is a testament to its broad appeal.
4. “Po Pimp” – Do or Die feat. Twista (1996)
The seminal track from Chicago rap group Do or Die, featuring Twista and produced by The Legendary Traxster, “Po Pimp” is characterized by its smooth, melodic production and rapid-fire verses, epitomizing the Midwest’s unique twist on gangsta rap. The song became a massive hit in Chicago and beyond, reaching No. 22 on the Billboard Hot 100 and played a crucial role in popularizing the “speed rap” style and brought national attention to Chicago’s hip-hop scene.
3. “All Falls Down” – Kanye West feat. Syleena Johnson (2004)
The self-produced standout track from Kanye West’s debut album The College Dropout, “All Falls Down” blends soulful production with introspective, thought-provoking lyrics, featuring a sample of Lauryn Hill’s “Mystery of Iniquity,” reinterpreted with Syleena Johnson’s powerful vocals. Kanye’s commentary on materialism, self-consciousness, and societal pressures struck a chord with listeners, both in Chicago and beyond. The song’s success, peaking at No. 7 on the Billboard Hot 100, solidified Kanye’s place as a leading figure in hip-hop, known for pushing boundaries both musically and lyrically. “All Falls Down” is more than just a hit; it’s a cultural touchstone that continues to resonate with listeners who grapple with similar themes in their own lives
2. “Don’t Like” – Chief Keef (2012)
“Don’t Like” is a raw, unfiltered anthem that became the defining track of Chicago’s drill movement. Produced by Young Chop, the song’s minimalist production and aggressive lyrics capture the stark realities of life on Chicago’s South Side. Chief Keef’s delivery is unapologetically direct, and the song’s hook became a rallying cry for a generation of listeners. The impact of “Don’t Like” was immense, not only in Chicago but across the world, as it introduced drill music to a global audience. The song’s influence is evident in the countless artists who have adopted the drill sound, and its legacy continues to shape the trajectory of hip-hop. The remix by Kanye West and other artists on the G.O.O.D. Music compilation further cemented its status as a modern classic.
1. “Overnight Celebrity” – Twista (2004)
“Overnight Celebrity” is a masterclass in hip-hop production and lyrical delivery, showcasing Twista’s rapid-fire flow over a dramatic, orchestral beat produced by Kanye West. Released as part of Twista’s Kamikaze album, the song is a perfect blend of soulful samples and modern hip-hop, creating a sound that is both timeless and innovative. The track’s narrative of sudden fame and its pitfalls resonates with listeners, making it more than just a club hit. Peaking at No. 6 on the Billboard Hot 100, “Overnight Celebrity” played a significant role in elevating Twista’s status in the music industry, while also highlighting the unique style of rap that Chicago is known for. The song’s impact on the city’s music scene is profound, as it exemplifies the creativity and resilience that have always defined Chicago’s hip-hop culture.
Watch the full discussion HERE and recreate the cocktails that powered the conversation at home! And be sure to follow along on all content for the Get Up Anthems series HERE.
Tres Generaciones Tequila, a 50 year old brand introduced by the family that elevated tequila to a symbol of Mexican pride, and Billboard are partnering together for a year-long celebration of music’s transformative power to unveil the top songs that have energized, uplifted and excited six select cities, known as the ‘Get Up Anthems.’ These playlists are curated through a mix of editorial insight and data analytics, and honor the songs that define each city’s history and culture.
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In an exposed brick warehouse on Chicago’s Westside, hometown legends Twista, Vic Mensa, and Dreezy gathered with Billboard editor Kyle Denis to honor the Windy City’s rich musical heritage. Over Tres Generaciones Tequila’s Chicago Fire cocktail, Rocsi Diaz led a spirited debate on the top 10 Get Up Anthems. After a deep dive into 15 local hits, the group unanimously crowned “Overnight Celebrity” by Twista as the definitive Chicago anthem. Despite Twista’s presence on the cohort, the decision was based solely on the track’s undeniable influence on the city’s cultural landscape.
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“Overnight Celebrity,” a standout from Twista’s 2004 album Kamikaze, is more than a hit; it’s a sonic triumph, a cultural milestone in Chicago’s hip-hop legacy, and a commercial powerhouse. The track, produced by Kanye West, is a testament to the perfect synergy between Twista’s rapid-fire flow and Kanye’s innovative production, a blend that is both artistically innovative and culturally significant.
West’s production blends lush orchestration with hip-hop’s gritty edge. It utilizes a sped-up sample of Lenny Williams’ “Cause I Love You” to craft a dramatic, soul-infused backdrop that perfectly complements Twista’s breakneck delivery. The contrast between Twista’s relentless flow and the soulful strings creates a dynamic tension that propels the track forward. At the same time, the moderate tempo allows listeners to fully appreciate the intricacy and speed of his delivery.
Nationally, the track broke new ground, introducing the Midwest’s unique rap style to a broader audience. Twista’s rapid-fire technique and Kanye’s soulful production offered a refreshing alternative to the dominant East and West Coast sounds. The collaboration of these two future powerhouses symbolized Chicago’s ability to shape the national soundscape. With its themes of fame and aspiration, “Overnight Celebrity” captured the spirit of a city where gritty realism meets ambitious dreams while tapping into the mid-2000s zeitgeist when instant fame became a cultural obsession. Twista’s lyrics offered a sharp commentary on celebrity’s allure and fleeting nature, reflecting the broader shift toward the commercialization of personal identity.
Commercially, “Overnight Celebrity” was a triumph, peaking at number six on the Billboard Hot 100 and topping the Billboard Hot Rap Tracks chart. Its success, with over 312,000 copies sold in its first week, propelled Kamikaze to debut at number one on the Billboard 200. These achievements not only solidified Twista’s place in mainstream hip-hop but also bolstered Kanye West’s reputation as a top-tier producer, making the audience feel the track’s commercial triumph.
“Overnight Celebrity” remains a landmark in Twista’s career and Chicago hip-hop history. Its intricate production, powered by Kanye West’s genius and Twista’s unparalleled lyrical speed, created a track that was as artistically innovative as it was culturally significant. Locally, it became an anthem of Chicago’s hip-hop prowess and redefined the rap landscape nationally.
Watch the full Chicago discussion HERE and be sure to follow along on all content for the Get Up Anthems series HERE
In the “The Stars Behind the Star” franchise, the editors of Billboard Latin and Billboard Español share stories that have not yet been told about those who are not usually in the spotlight. Think “everything you don’t see on camera,” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and their foundation. Today, we highlight Latin Grammy-winning music video director Carlos Perez.
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Carlos Perez has directed many of Latin music’s most viewed music videos, from Luis Fonsi and Daddy Yankee‘s “Despacito” to Marc Anthony‘s “Vivir Mi Vida.” But one helped change music history forever: “Gasolina” by Daddy Yankee, the first single from his revolutionary album Barrio Fino, which debuted at No. 1 on Billboard’s Top Latin Albums chart in July 2004 and became the best-selling Latin album not only of the year but of that decade.
The song and its respective video, which juxtaposed the adrenaline of racing with the sensuality of dancing women, helped make Daddy Yankee something of a reggaeton Messiah, reviving sales of the Latin genre, introducing a new radio chart in the United States (Latin Rhythm Airplay) and laying the foundation for the urban music that continues to dominate much of the Latin landscape.
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And Perez was much more than the director of “Gasolina”: He worked extensively with Daddy Yankee on the album’s art and marketing campaign, even though they met just six months before Barrio Fino came out thanks to a mutual friend, Raúl López, who was the manager of the Puerto Rican reggae band Cultura Profética.
“I was in the United States and knew very little about reggaeton,” Perez says, “and my friend insisted: ‘Look, reggaeton is what’s coming.’ But I, ignorant of the subject, one day told him that the day I could work with the Jordan of reggaeton was when I was going to work in the genre. He told me, ‘I got it for you; give me a few days.’ And sure enough, days later, I had a meeting [with Daddy Yankee] at Villa Kennedy, a housing project in San Juan, Puerto Rico.”
As far as Perez knew, Daddy Yankee initially needed photos and art for his album, but the first thing the artist told him, he remembers, was: “Tell me everything you can do for this album.”
Director Carlos Perez
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As part of Barrio Fino‘s 20th anniversary, we traveled to 2004 with Perez to learn the details behind the success that inaugurated not only a musical movement but also a lifestyle. Built on a rhythm with an irresistible, global appeal that would eventually form the basis for other movements — from Medellin’s romantic reggaeton to Argentine trap — Daddy Yankee’s album opened doors and inspired subsequent generations of musicians throughout the region.
How long before did you start planning everything for this album?
We met six months before. He told me that he didn’t want to look at what was being done around him in the genre, and we wanted to make a release that, when it came out, would be on par with any release worldwide.
So I made him a proposal for a launch that included something that at that time was not common: the development of identity from the logo, the photography, and the general concept online. It was a launch that monopolized all distribution points. At that time, record labels were outsourced to different people. What I was selling was to make a consistent launch, and to monopolize all the content distribution points with a solid, aspirational image.
What did you think of Daddy Yankee when you met?
The first impression I had was of someone who was very clear about his horizon and his objective, and a person who listened, learned and, in the same way, challenged you. “If this is for this, why can’t it be for this, too?” He is a person who has an innate sense of the market and knows how to market.
For example, I think that, for about a year-and-a-half, he had been announcing the album with “Barrio Fino Coming Soon” in all the songs he recorded. That lets you understand how he already had the name and the concept of what he had been developing long before the album came out. He said that reggaeton had many attributes that allowed it to go global. Among them, it was not just a genre, but it had the culture of dancing, how one dressed, and how one spoke. I had all that very clear.
And did he show you his music that first day?
It was interesting, because I didn’t listen to the album. He has always been very private with music, so I didn’t listen to music until he was already mastering and delivering the album. Yes, I had heard little things, but I remember that he said it was a complete album with a range of musical diversity. He focused with me far beyond the music in the album’s concept of what he wanted to convey around the part. At that time, he did not see that album as something that was a selection of 10 songs; I saw it almost like a movie. I had a visual film behind each song, and that’s how I could explain them to you.
How difficult was it for you to create a concept with a genre that was not your favorite?
For years, he came from a genre called “The Underground.” I had already worked with Ricky Martin, Ricardo Montaner and Olga Tañón, and had made several international releases. So he was precisely looking to create a concept that did not turn its back on the essence of reggaeton, but also had a global look at its identity.
I grew up in the United States, so hip-hop influenced me. He often compared reggaeton with hip-hop, and it was much easier for me to understand where he was coming from and why the genre had all the necessary variables to make a more international release.
What is one of your earliest anecdotes of that time?
We had a second meeting in Miami, and a budget had already been developed. I shared an office with a friend, and we had a house where the first floor belonged to my friend and the second floor was mine, so every time a guest of mine came, we had to go through [his house] and invade the space.
The day Daddy Yankee arrived, my friend was meeting with about ten or twelve executives from the city of Miami. That’s where Yankee arrives with his chains, his cap, and it was quite interesting to see the reactions of all these people when he enters. Obviously no one knew who the guy was, of course, he was new. But just because he was walking around with twenty chains and the cap, everyone was like, “Who the hell is this?” [Laughs]
Apart from “Gasolina,” did you make any other Barrio Fino videos?
Yankee was so clear with the marketing that he figured out that MTV allowed you to deliver a four-and-a-half-minute video, so he decided that for the release, he wanted to include three songs within those four-and-a-half minutes. I mean, it was basically a minute-and-a-half, a minute-and-a-half, a minute-and-a-half.
Then he chooses “King Daddy,” which for him is like the conceptual theme of the character. If you listen to it, it defines the character of the Barrio Fino album. [Also] he chose “No me dejes solo” with Wisin y Yandel, which he thought was one of the most commercial songs on the album. And then “Gasolina,” which he was always very clear about, was “a hit.”
Those three songs were filmed on that first shoot. After that, I also made a video for “Corazones,” one of the album’s hip-hop songs, and we did a couple of other things.
If Daddy Yankee asked you to re-record the video for “Gasolina” today, how much would you change it?
It’s just that when “Gasolina” takes off, MTV obviously asks for a full video of the entire length of the song, but we didn’t have that back then. We talked about having an extra day of shooting because I didn’t think we had enough material. Then the speed was such that what is known today as the “Gasolina” video has different parts. I actually filmed and edited a minute-and-a-half, then someone else — I don’t even know who it was, because my office didn’t handle that — they repeated much of the material. They even added shots to that video that I would never have used.
Also, the resources and the budget with which we worked were very limited, so today would be another film. I would love to re-record the video. They have never talked about it. Well, at one point I think there was talk about doing something for the anniversary, but it never happened. It was the video that I wanted to do again.
Did you ever think you were creating a historic album?
I knew that the concept of the album was special because he also, within his vision for the album, wanted to project a clean image, a more mainstream image. So I was very clear that the title of Barrio Fino was very powerful. I was clear that Raymond was an artist in every aspect, and I knew that we were going to have a release like no other album just because of the fact that we were integrating everything into one. I was very clear when starting Barrio Fino that I was working with the Jordan of reggaeton. That was clear from the beginning. Very clear.
What do you think is essential for a video to become unforgettable?
A good song. You can have all the money in the world, all the creativity in the world, and if the song is s–t… the video is going to be s–t.
Music is the essence of our business. Many people forget that nowadays. There is a lot of talk about algorithms, TikTok and hooks, but there is no longer talk about great songs and great artists. So it is a very saturated industry. Unfortunately, I think there is a saturation of junk music. I still try to be selective.
You often return to work with the same artists over the years, including Daddy Yankee, Ricky Martin, Marc Anthony and others. How important is it to you to create that connection?
The thing is that the creative artist relationship is a relationship like any other: there are people who can see love with a temporary eye, and others who see it in the long-term. I get so involved, and take it so personally for the projects that I get involved in, that it seems to me that it is very important not only to be selective about the song and the music but to be selective about the chemistry that exists and the vision that the client, the singer, or the group have, and how compatible we are. So I have always said that when I sit down with a client or an artist for the first time, I always share with them that I like marriages. I am not a big fan of “one-night stands,” because they are very problematic.