Music
Page: 97
The members of BTS are just as eager to reunite after their break as ARMY is to see it happen, according to J-Hope.
In a clip from his upcoming interview with Apple Music 1’s Zane Low, which Teen Vogue premiered Monday (April 28), the “Chicken Noodle Soup” singer shared an update on the boy band’s future with respect to RM, Suga, V, Jimin and Jung Kook approaching the end of their respective times in the South Korean military. “I look forward to June when our members will have completed their service,” J-Hope began, according to a close-captioned translation.
The star went on to reveal that the septet’s reunion will be speedy once the final five members finish their enlistments. “We will quickly get together and talk about what BTS can do in the future,” he told Lowe. “I think it’s going to be a massive energy.”
The interview comes a little over six months after J-Hope became the second member of BTS to be discharged from the military, after Jin. The bestselling band has been on break for about two years as they each completed their mandatory service periods, with all seven of the members releasing solo projects in the interim.
Trending on Billboard
“I think that over time, we each refined our unique identities as each of us work on their own music, come out with their solo projects and do their own thing,” J-Hope said on Apple Music 1. “The funny thing for me is when our identities, which have taken shape in various ways, come together as BTS.”
He added of their upcoming reunion: “I’m curious to see how it’ll look like.”
For J-Hope’s part, the South Korean singer has released multiple pieces of solo music since he began his now-complete military service in February 2023. In March of that year, he dropped single “On the Street” with J. Cole, about a year after which J-Hope unveiled EP HOPE ON THE STREET VOL. 1, reaching No. 5 on the Billboard 200.
BTS last released an album in 2020, with Be reaching No. 1 on the albums chart. The LP features smash hit “Dynamite,” which spent three weeks at No. 1 on the Billboard Hot 100.
Hit songs are generally quick — Billboard Hot 100 top 10s ran an average of three minutes and 40 seconds in 2024, according to Hit Songs Deconstructed — but no Hot 100 hit has ever been as brief as Jack Black’s “Steve’s Lava Chicken.”
The track — at just 34 seconds in its original form (with a still-swift 1:15 extended mix also released) — breaks the record as the shortest Hot 100 hit ever by run time, dating to the chart’s Aug. 4, 1958, inception. The cut from the soundtrack of A Minecraft Movie debuts at No. 77 on the list dated May 3, 2025. It continues to gain in streaming, surging 62% to 7 million official U.S. streams April 18-24, according to data tracker Luminate.
Black co-stars in A Minecraft Movie, which has grossed $816 million globally over its first four weekends of release. Black and the film’s director, Jared Hess, co-wrote “Steve’s Lava Chicken” and John Spiker produced it.
Black earns his second Hot 100 hit, after “Peaches” reached No. 56 in April 2023. That song was from the soundtrack to The Super Mario Bros. Movie, likewise co-starring Black.
Elsewhere, “Steve’s Lava Chicken” hits the top 10 on the Hot Rock Songs chart, pushing four spots to No. 10.
Meanwhile, the track is one of four by Black on the A Minecraft Movie soundtrack, along with “I Feel Alive” — featuring Dave Grohl on drums — and two others each less than a minute long: “Birthday Rap,” with co-star Jason Momoa, and “Ode to Dennis.”
“Steve’s Lava Chicken” surpasses Kid Cudi’s “Beautiful Trip,” which runs 37 seconds long, as the quickest Hot 100 hit by song length.
Below, take a look, as long as you’d like, at the 10 quickest Hot 100 hits by run time over the chart’s history, with assistance from Paul Haney at Joel Whitburn’s Record Research. (Conversely, here the longest Hot 100 hits.)
:34 — “Steve’s Lava Chicken,” Jack Black
On Friday and Saturday (April 25-26), hundreds of young professionals got a look behind the veil of the music industry with some help from Grammy winners Coco Jones, Samara Joy and Laufey — as well as the Recording Academy’s New York chapter.
Explore
See latest videos, charts and news
See latest videos, charts and news
Hosted at Racket NYC in Chelsea, the Mastercard-presented 2025 Grammy U Conference featured two jam-packed days of networking opportunities, panel discussions, headshot stations and various activations spearheaded by industry professionals across disciplines. The two-day conference aimed to educate 18-29-year-olds actively pursuing careers in the music industry. From publicists and songwriters to DEI coordinators and engineers, virtually every music industry field had a representative at the sprawling conference.
Jones, who released debut studio album Why Not More? on the same day, headlined the first day of the conference, participating in a lively, edifying panel hosted by Grammy U Atlanta chapter representative Jasmine Gordon. Titled “Crafting A Multifaceted Career,” Jones’ panel provided the audience with an honest look at how she balances her multi-platinum musical career with her robust acting portfolio.
Trending on Billboard
Many students in the audience grew up alongside Jones as she transitioned from Disney starlet to Grammy-winning R&B siren — she took home best R&B performance for “ICU” in 2023 — so her industry insights felt particularly pertinent. From stressing the power of positive affirmations (“You gotta be delulu till it’s true-true!” she quipped) to the benefits of an entrepreneurial DIY mindset, Jones dropped several gems during her talk, while excited audience members quoted lyrics from her hours-old new album.
“The Grammys and the Recording Academy do so much for creatives that I want to help shine a light on,” Jones told Billboard minutes before she graced the stage. “The awards are obviously life-changing, but it’s also about keeping the lights on in that apartment while you’re writing songs. It’s also about helping somebody further their education on what this business is really like. I feel like it’s my duty to help highlight that. I see myself in these students.”
Following Jones’ chat, Grammy U mounted two additional panels — one on the world of sync licensing, and another on the evolution of influencers and digital media — before breaking for the day at 10:00 p.m. E.T. Bob Bruderman, Blu DeTiger and Riggs Morales led the panel on sync licensing, A&R and brand partnerships, while content creators Davis Burleson, Anthony Garguila, Julian Shapiro-Barnum, and Jonathan Tilkin headlined the night’s closing panel.
Pop-soul band Lawrence, who scored a divisive viral hit on TikTok with last year’s “Whatcha Want,” kicked off the conference’s second day by sharing an unflinching look at the studio sessions for their 2024 album Family Business. Band members Clyde Lawrence, Jordan Cohen and Jonny Koh projected their ProTools sessions and broke down how Tower of Power’s influence, hours of improvisation, ambitious songwriting collaborations and meticulous mixing of live and programmed drums gave way to album cuts like “Hip Replacement” and “Death of Me.”
Icelandic-Chinese jazz-pop star Laufey, who won the traditional pop vocal album Grammy for Bewitched in 2023, closed out the day with an equally charismatic and insightful keynote panel, moderated by TikTok game show “Track Star” host Jack Coyne. In their discussion, Laufey stressed the importance of her classical music foundation, detailed her Coachella debut alongside the Los Angeles Philharmonic, and explained how she found the fearlessness to write songs across a range of genres.
“Growing up, I felt like there wasn’t quite enough transparency on how the industry worked, how teams and artists are built, how you build and sustain a career, all of that,” she told Billboard shortly before her panel. “I was so recently a student that I felt this need to talk to kids who are in my footsteps and be transparent about what it’s like and show all the different opportunities that are available.”
Laufey, who dropped her “Silver Lining” single earlier this month, also treated the Grammy U Conference to the first-ever performance of her forthcoming new single, “Tough Luck.” Billed as an “angry, f–k you” song, Laufey performed the track accompanied by just an acoustic guitar. “You say, ‘I can’t read your mind,’ but I’m reading it just fine/ You think you’re so misunderstood, the black cat of your neighborhood,” she crooned, nailing her debut performance of the track.
After a break, the conference reconvened at the iconic Bowery Electric for a Grammy U & DEI showcase, headlined by five-time Grammy-winning jazz sensation Samara Joy. Before the Bronx native took the stage, three talented Grammy U performers — selected in collaboration with the Recording Academy’s New York chapter — treated the crowd to impressive sets. Neo-soul crooner Isea, saxophone-fronted jazz band The Jax Experience and new-school rock band The Millers all repped the region well, with each act winning over several new fans by the end of their performances.
Of course, Joy brought the house down with a rousing set comprised of cuts from her 2024 album Portrait, including standout tracks “No More Blues” and “Peace of Mind / Dreams Come True.” With upcoming performances in Brazil (Aug. 2) — while speaking with Billboard before her performance, she teased a forthcoming bossa nova-influenced single in which she may be singing in Portuguese — and at New York’s legendary Carnegie Hall (April 30), Joy reminded the Bowery crowd why she’s one of today’s most celebrated live vocalists.
“I’m inspired by my peers and folks younger than me who are passionate about music. I want to be in spaces where I’m surrounded by like-minded people,” she told Billboard moments before lighting up the Bowery Electric. “That’s what my band is, I like presenting that collaboration and sense of community as we develop and grow.”
As diversity efforts and arts education continue to face relentless attacks, the 2025 Grammy U Conference helped equip the next generation with the necessary insight to shape and protect the industry’s future.
Doechii’s 2023 breakout hit “What It Is (Block Boy)” was originally intended to land on Normani‘s debut album according to songwriter Bianca “Blush” Atterberry.
Atterberry explained over the weekend in a TikTok video how she was commissioned by RCA Records to write tracks for Normani and what led to “What It Is” eventually landing with Doechii.
Explore
See latest videos, charts and news
See latest videos, charts and news
“This record ‘What It Is’ was intended for Normani. Me, J White [Did It], Verse Simmons and Fresh locked in. Label set it up — they wanted records for Normani,” she said. “We all got together in the studio. We were locked in for like three days and we got about six songs and ‘What It Is’ was one of them.”
Trending on Billboard
Once the song was finished, Atterberry knew they had a hit on their hands. “We immediately knew,” she stated of the track’s potential. “We were like, ‘This is a smash. This is one of them ones.’ You just be knowing.”
They played it for RCA Records and Normani, but she didn’t think “it was something that fit her vision” at the time. “Which is normal. It happens all the time,” she added. “Sometimes that’s just how this works… It’s not odd. It’s very normal.”
After holding onto the track for a couple of years and disregarding a few other artists who attempted to cut the record, Doechii entered the fold. “We heard it and absolutely loved it. We were like, ‘She’s out of here. She’s a star.’ Always been a star.”
Atterberry made sure to defend Normani’s decision to pass on the track. “We uplift over here,” Blush concluded.
“What It Is (Block Boy)” arrived in March 2023 with a version featuring an assist from Kodak Black. The J White Did It and Brian Kennedy-produced track served as the TDE rapper’s first Billboard Hot 100 entry, which hit the top 40 and peaked at No. 29.
Normani’s much-delayed debut album, Dopamine, was released in June 2024 and landed at No. 91 on the Billboard 200.
Watch the full oral history of “What It Is” from Blush’s perspective below.
There’s nothing messy about Taylor Swift‘s recording process, according to the superstar’s “Clean” collaborator, Imogen Heap.
In an interview with People published Monday (April 28), the producer opened up about the day more than a decade ago that Swift visited her home studio to hammer out one of the most beloved tracks on 1989, with Heap revealing that the pop star was “extremely efficient” the entire way through. “She turned up looking immaculate, and we didn’t really know what we were going to do,” Heap explained.
“She had an idea on her phone, she played it to me, and I was like, ‘That’s good. Should we go and record it?’” the “Hide and Seek” songwriter continued. “We went downstairs, we had our cup of tea by the fire, and she wrote the next verse. I started to make music around us. And then by the time she left, which was, like, just after dinner, we had managed to write the song, produce the song, record the song, chat, meet, have tea, sit by the fire, eat lunch, eat dinner, do an entire record all by ourselves.”
Heap specificially praised Swift for having a clear artistic vision for herself from the outset of her career. “She is extremely efficient. I’ve never done that from start to finish with anyone,” she explained. “And I felt very excited. I really appreciated her. There was one moment when I was trying out something a bit different for the middle section, and I was like, ‘What about these chords?’ … She was like, ‘You know what? I think we’re going to lose them here, so let’s just do this.’ I’m like, ‘Okay, that’s fine.’ What I learned, I suppose, [is] just she’s very good in the studio, and she knows what works.”
Trending on Billboard
The interview comes more than 10 years after “Clean” arrived in 2014 on Swift’s critically acclaimed fifth studio album 1989, which spent 11 weeks at No. 1 on the Billboard 200. Shortly after the album dropped, Heap gushed in a blogpost that her studio session with the 14-time Grammy winner was a “special one” and clarified, “I’ve also been reading the odd report or tweet here and there that the reason the lyrics to ‘Clean’ are so good is because I wrote the song with her but FOR SURE they are all hers she deserves all the credit!”
In 2023, when Swift re-released 1989 as part of her ongoing Taylor’s Version re-recording project, she once again tapped Heap to produce the updated “Clean.” “This is Taylor playing a bada– card to stay in control of her work in a commercial music industry that largely works against musicians,” Heap wrote on Instagram after the reissue’s release. “Thank you Taylor for inviting me into your world!”
There’s an air of anticipation in the lobby on Mercer Labs. Executives swirl around in controlled chaos — taking phone calls, sending texts, giving instructions to the staff. The art and technology museum in Manhattan’s bustling Financial District is about to welcome Alicia Keys, Busta Rhymes and a handful of other celebrated artists to preview a brand new exhibit titled Maestros and the Machines.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
They are also prepping for the arrival of the museum’s founder, Roy Nachum, as well as iconic producer Timbaland. As everyone stands by the door, an employee is reminded to offer Timbo a drink when he walks in, which he does nonchalantly alongside his fiancée. Timbaland merely asks for a water; Nachum enters just as casually a few moments later, and the two of them embrace like old friends.
Trending on Billboard
Maestros and The Machines — which opened to the general public on Friday (Apr. 25), and was created in collaboration with Looking Glass, Som Vivo, Bang & Olfusen and Monom — is an exhibit that seeks to disrupt our preconceived notions around what can and can’t be considered art. In one installation, attendees sit around a dimly lit table and are given a handful of Crayola crayons to color in a childlike sketch of a dinosaur, which is then placed on a digital scanner. In an instant, the dinosaur comes alive as a 360-degree projection, then wanders around a digitized forest, interacting with wildlife and taking on a newfound charm in the process.
“Imperfection is perfection,” Timbaland tells Billboard at the museum. Nachum tapped Timbo to handle the exhibit’s sound design — partially out of fandom for the producer, but also because of their shared views on art in the age of A.I. The exhibit’s expansive three floors focus heavily on re-imagining classical works from Da Vinci, Hokusai, Mozart and others, meshing them with 4D soundscapes and other kaleidoscopic technology tools via A.I. to push the piece’s mortal boundaries.
To add in this immersive experience and soundtrack the kaleidoscopic murals, Timbaland curated a lush collection of operatic voices, classical music and, of course, beats. In one foggy, cerulean lit room, we all lie on our backs and listen as distorted reworkings of Mozart’s most famous works swell and fade around us. The sounds twist and turn, suggesting that time itself doesn’t bind art to one historical period, and even the most iconic pieces of art can be re-molded.
“You want the mistake, it’s the organic, it’s the life,” says Nachum. He picks up a half-empty bottle of Coke and holds it precariously in his hand. “To me, this is the most boring thing I’ve ever saw in my life. Why? It’s continued. But if I do this” — he crinkles the plastic bottle in his hands, denting and deforming it — “now it’s much more interesting. I look at the light, I ask, ‘Why is it that shape?’ It takes me to the look.”
Jason Lowrie/BFA.com
Jason Lowrie/BFA.com
Other highlights of the exhibit include a fully functional ball pit, a robot-manned zen garden and a large cello being played by mechanical arms. Timbaland and Nachum often stand off to the side, speaking in emphatic but hushed whispers about new ideas that are coming to them in that moment.
“It kills me when people say, ‘Ah that’s A.I.!’ Timbaland says. “People are so mindf—ked. You been using A.I. since digital came out. That was a form of A.I., but you just had to do it by hand. Now, I’m doing it by thought. It’s all about who you are individually. I can give everybody the same tools, but nobody’s gonna sound like me. The iPhone camera is so good, but not everybody can shoot a music video on iPhone.”
“Using technology doesn’t have to be cold and sterile,” Nachum adds. “To find the organic moment, the humanness, through technology, it’s the hardest thing to do.”
Timbaland has been a staunch advocate for A.I. and technology use in music, and also a longtime fan of Nachum’s. While the pair long followed each other’s work, they both felt the time to collaborate wasn’t quite right until now. A.I. technology hadn’t quite gotten to a place where they felt able they could properly executive their vision.
“Technology allowed people to collaborate,” Timbaland says. “I’m in music, he’s in art. He knows how to make music come to life, but we couldn’t do that before because one would be faster than the other.”
Note Marcado, Alica Keys, Timbaland and Roy Nachum
Shareif Zayid
While technology plays a big role in Maestros and the Machines, other aspects are surprisingly simplistic. Volumetric lighting bounces off of halls of mirrors; another space is covered in dozens of fake flowers. Its stimulation to the senses in and of itself makes Maestros feel like timeless art. There will always be a childlike wonder that comes from watching LED lights sparkle and bounce around you, and Maestros aims to capture that moment, even if at times it overwhelms the senses.
“The technology of today is perfect for what this is,” Timbaland says. “What used to take me three months only takes me two days. In the beginning, it was like a toy. It was like going to a toy store. You gotta go through gluttony, because you can’t believe that it’s here.”
“How much candy can you eat?” Nachum chimes in. “It’s exactly like the first time I touched oil paints. You take the brush and you assume that if you put paint and go one line from here to here, it’s gonna look consistent. But it’s not, it’s gonna dry, it’s gonna be dark. It takes time to learn the new machine. It’s a tool.”
We get word that Alicia Keys is waiting in the lobby to say hi to Tim and Nachum, who will give a full run through of the exhibit for the first time. Before he leaves, Timbaland offers a piece of advice.
“Don’t be scared of it,” he says. “There’s no need to be.”
Tickets for Maestros and the Machines are available at the Mercer Labs website here.
Following the recent release of their debut EP’s lead single “MORE AND MORE,” PROME Band — formed and fronted by Timmy Xu (许魏洲) — has officially dropped their first EP, Prometheus.
The band’s name draws inspiration from the Greek titan Prometheus, with “PRO+ME” symbolizing “transcending oneself.” The lineup includes lead vocalist Timmy Xu, guitarist X Yi (易鑫), bassist Major (马际朝), and drummer Yuanyu Xie (谢渊宇). Titled Prometheus, the EP embodies the theme of “guarding the inner spark”: Everyone can become their own Prometheus, igniting their fire.
The lead single “MORE AND MORE” showcased the band’s boldness and fearless spirit, reflecting the raw passion of a rock band. However, Prometheus is not merely a rock album defined by genre conventions. Instead, it emphasizes authentic band chemistry, infused with improvisational energy, creating a cohesive and dynamic listening experience.
The EP is produced by Howe Chen (陈君豪), a Golden Melody Award-winning producer known for his work on albums like Jolin Tsai’s Ugly Beauty, Wu Qingfeng’s Mallarmé’s Tuesday and Faith Yang’s Flow. Blending pop sensibilities with indie authenticity, Chen ensures the EP’s premium quality. Timmy Xu contributed to the lyrics, while all band members collaborated on arrangements, resulting in a powerful synergy of creativity.
PROME
Courtesy of Billboard China
Prometheus features three songs: the title track, “Pandora” and “X.” Rooted in rock, the EP fuses classical, funk and electronic elements, crafting a mythic yet modern sonic universe. The songs intricately narrate the struggles of overcoming adversity, seeking hope in uncertainty, and marching collectively toward the future.
The title track serves as the band’s introspective anthem, declaring that “everyone can be a Prometheus.” With maximalist instrumentals, the band reignites the spark within listeners. “Pandora” empowers audiences to cling to hope amid despair, blending genre-defying innovation. Meanwhile, “X” juxtaposes retro and contemporary vibes, evoking a time-traveling journey that celebrates humanity’s boundless potential when guided by original aspirations.
PROME Band’s mission — to warm dream-chasers with their fiery spirit — came to life during the Prometheus EP launch concert in Shanghai, held one day after the EP’s release. Dressed in sleek black suits, the band delivered a high-energy performance of “MORE AND MORE” and all three EP tracks. Timmy Xu’s explosive vocals, brimming with raw power and emotion, intertwined with guitarist X Yi’s riffs, bassist Major’s grooves, and drummer Yuanyu Xie’s thunderous beats, creating an electrifying synergy. Each crescendo and emotional shift ignited the crowd, culminating in a profound connection between the band and audience as the final notes faded.
PROME
Courtesy of Billboard China
The EP’s narrative resonates beyond music: “Allowing oneself to be authentic” and “letting others be themselves” transform life’s fractures into channels for light. Through their rich musical language, PROME mirrors our battles against the unknown. Even when trauma fragments memory or reality dims our inner fire, time heals, and hope’s flame returns — unapologetically bright.
Cazzu’s Latinaje album has topped Billboard’s latest new Latin music poll published on Friday, April 25. In support of the weekly New Music Latin roundup and playlist, curated by Billboard Latin and Billboard Español editors, music fans voted for the Argentine artist’s new studio album as their favorite music release of the week.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
The 14-track set, helmed by her longtime producer Nico Cotton and released via Dale Play Records and Rimas Entertainment, generated more than 93% of the vote, beating out other new album releases last week including Boza’s San Blas, Natalia Lafourcade’s Cancionera, Javiera Mena’s Inmersión, and Bunbury’s Cuentas Pendientes.
Trending on Billboard
Latinaje is home to the previously-released singles “La Cueva,” “Dolce,” and “Con Otra”—the latter two also won the fan-related poll on Billboard.
If these tracks were any indication, lyrically and musically, Cazzu has evolved since her 2022 set Nena Trampa. On Latinaje, the artist born Julieta Cazzucheli is vulnerable and mature, singing about overcoming a heartbreak, finding her self-worth, but most importantly, motherhood—”Inti” is a sweet dedication to the daughter she has with ex-boyfriend Christian Nodal.
The very diverse album is home to trap, cumbia, salsa, merengue, flamenco, and tango melodies, and collaborations with Elena Rose, Maka, and WIU.
On the previous New Music Latin poll, Kenia OS and Anitta’s “En 4″— a provocative fusion between perreo and Brazilian funk— won the fan-related music poll. See the results of the latest one below that also included new songs by Elena Rose, Camilo, and Los Ángeles Azules; Juanes; Ivy Queen; and Young Miko.
See the complete poll results below:
Lady Gaga and Bruno Mars’ “Die With a Smile” adds an 18th week at No. 1 on the Billboard Global 200 chart. The song also scores a 15th week atop the Billboard Global Excl. U.S. survey. The ballad first led both lists last September.
The Billboard Global 200 and Global Excl. U.S. charts, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
Trending on Billboard
“Die With a Smile” continues its Global 200 command with 83.9 million streams (down 8% week-over-week) and 6,000 sold (down 6%) worldwide April 18-24. At 18 weeks, the song moves to within one week of potentially tying the longest No. 1 run since the chart began:
19 weeks at No. 1, “All I Want for Christmas Is You,” Mariah Carey (2020-25)
18 weeks, “Die With a Smile,” Lady Gaga & Bruno Mars (2024-25)
15 weeks, “As It Was,” Harry Styles (2022)
14 weeks, “Flowers,” Miley Cyrus (2023)
12 weeks, “APT.,” ROSÉ & Bruno Mars (2024-25)
Alex Warren’s “Ordinary” holds at its No. 2 Global 200 high; “APT.” is steady at No. 3; Billie Eilish’s “Birds of a Feather” keeps at No. 4, following three weeks at No. 1 last August; and Benson Boone’s “Beautiful Things” bumps 7-5, after it logged seven weeks on top in February-April 2024.
“Die With a Smile” tallies a 15th week at No. 1 on Global Excl. U.S., with 67.7 million streams (down 8%) and 3,000 sold (down 3%) outside the U.S. The song solely claims the second-longest rule in the chart’s archives:
19 weeks at No. 1, “APT.,” ROSÉ & Bruno Mars (2024-25)
15 weeks, “Die With a Smile,” Lady Gaga & Bruno Mars (2024-25)
14 weeks, “All I Want for Christmas Is You,” Mariah Carey (2021-25)
13 weeks, “Flowers,” Miley Cyrus (2023)
13 weeks, “As It Was,” Harry Styles (2022)
The rest of the Global Excl. U.S. remains in place from a week earlier: “APT.” at No. 2; “Ordinary” at its No. 3 best; JENNIE’s “like JENNIE” at No. 4, after hitting No. 3; and “Birds of a Feather” at No. 5, following three weeks at No. 1 last August.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated May 3, 2025) will update on Billboard.com Tuesday, April 29. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Born: Aug. 22, 2001 – Cairo, EgyptMusical Influences: Whitney Houston, Aretha Franklin, Mariah Carey, Celine DionCurrently Listening To: Bruno Mars, Beyoncé, AdeleFirst Idol Experience: “I’ve been watching since I grew up in Egypt. As a little kid I was pulling up videos of the show any way I could. I remember Carrie [Underwood’s] journey, the compilation of every performance of hers. And Kelly Clarkson and Fantasia.Favorite Alums: Kelly Clarkson, Fantasia, Carrie Underwood, Ruben Studdard, Katharine McPhee, Phillip Phillips, La’Porsha Renae, Quintavious, Roman Collins
For the first seven years of his life, Filo lived with his family in Egypt, where he was introduced to music by the hymns at his Coptic Orthodox Christian church. “It was very much traditional, group singing with just melody, no instruments. That is where I started using my voice, but I didn’t put any thought into it. It wasn’t until I was 10 years old and my brother started downloading music on our iPad where I was introduced to mainstream music. That’s when I first got to hear Mariah Carey, Bruno Mars, John Legend and Meghan Trainor. From there, I sang in the shower and then my uncle said to my mom, ‘Are you hearing this?’”
But Filo says he never got approval for his “shower shows.” “We had moved to Abu Dhabi and there was a church choir we had put together. I loved the message of one particular song and auditioned to sing the solo. A lot of heads turned around when I started singing and that’s when I noticed, ‘Wow, maybe there’s something there. I love this. I love singing for people.’”
Filo’s mom, who has been an emotional presence on Idol this season, realized her son was interested in music and arranged for him to have voice and piano lessons. “That didn’t last long because after two months we moved to the States,” says Filo.
It was a turbulent time for the family. “There was a big revolution in Egypt where Christians were targeted. They burned mom’s hometown church in Minya down. We were lucky to get a visa to the States from the UAE. Luckily, the U.S. opened its doors and now we’re citizens, which is great.”
Along with his mother and older brother, Filo relocated to San Francisco. “It took a minute for me to fit in. Society here is so different to how it was back home and it was really a challenge finding a community. Luckily there were a few Coptic churches around where we lived, so it was slightly easier to transition. I was this awkward kid in eighth grade until I saw a poster for a school musical. I didn’t even know what a musical was. But I thought I would audition for it – it was the junior version of Shrek the Musical.”
Filo says that everyone else was prepared for the audition but he didn’t know any of the show’s songs and so tried out with Bruno Mars’ “When I Was Your Man.” And then? “I got the part of Shrek! That’s when I first felt like I belonged. People enjoyed what I was doing and I thought, ‘This is what I’m meant to do.’”
Moving on to high school, Filo was cast in all of his school’s musicals: Urinetown, In the Heights, Grease and Rent. He joined the choir and competed in local and national choir competitions, including one at Carnegie Hall. “In high school, everything revolved around my music activities.”
Filo was then accepted by the University of the Pacific in Stockton, Calif., where he studied classical music. But people back home had other expectations. “In Egypt, there are only three acceptable careers: Engineer, doctor or lawyer. That’s it, and nothing else matters. The most random people would come up to me and say, ‘So you’re doing this music thing, but what are you actually doing?’ ‘No, I’m doing music.’ ‘As a hobby. So what are you actually doing?’ I’d reply, ‘Great, thank you for your input.’ I didn’t know what to tell them.”
As a result, Filo studied for a music degree while also following a premed route. “Then, in my senior year, COVID happened.” That’s when Filo told his family he was going to dedicate his life to music.
Being on Idol has reinforced that decision. “I’ve learned how much I love to do this. This has not been an easy journey. You’re putting yourself out there for people to criticize and to have opinions. Often people don’t see the vision that you’re seeing or they’re not seeing the career that you want to have. Choosing music has proven to me how resilient I can be. It affirms not just my singing ability, but my character. Like, I’ve got this. No matter what happens on Idol, I’ve still got a vision and I’ve still got the love for the music. That’s what I’ve discovered about myself.”