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Amid the outpouring of grief and love in the wake of Liam Payne‘s shocking death at 31 on Wednesday following a fall from his hotel balcony in Buenos Aires, Argentina came a touching reminder from the former One Direction and solo star’s recent past to put things into perspective.
That prompt came from BBC Radio 2 host Scott Mills, who on Thursday (Oct. 17) played a letter Payne wrote to his 10-year-old self in 2020 and read on BBC Radio 1 as part of a pandemic series. Mills noted that during the COVID-19 shutdown, Payne came on his show to participate in the project asking artists to speak to their younger selves, and, looking emotional, added that the singer’s take now feels especially “poignant” in light of his tragic death.
“Dear 10 year old Liam. Get ready! It’s about to get a little bumpy,” Payne says in a fuzzy close-up video in which he’s wearing headphones. “Cherish every moment with your loved ones right now as there’s only a few more family holidays to enjoy, life is about to turn surreal. You know that thing you love, singing, keep it up and when you turn 14 something magical is going to happen and I’m not talking about puberty.”
The singer tells his 5th grade self that not only will he audition for “one of the biggest music shows in the world,” The X Factor, but that he will also meet the future mother of his now seven-year-old son Bear, Girls Aloud member Cheryl Cole.
“I know it seems early but just trust me it’s all gonna work out however it’s supposed to. I suggest you watch Back to the Future, it might help,” Payne joked at the time. “You are now famous and it feels like you’ve peaked way too early you cocky little bugger, but you have barely even started yet. Take it down a notch and remember it’s a marathon not a sprint,” he said, noting that his first audition for X Factor in 2008 as a solo act — where judge Simon Cowell said he wasn’t quite ready yet — wasn’t even “base camp” in his wild ride to global stardom.
“For a while you’ll feel like giving up. But don’t, as you’re about to meet four other guys on the same track as you,” he said of his second try in 2010, when Cowell paired him up with his eventual 1D mates: Harry Styles, Niall Horan, Zayn Malik and Louis Tomlinson.
“When you first meet them it’s going to be chaos but just remember to enjoy yourself, stay young at heart as that’s what this point of your life is all about. Forgive more and learn to listen,” Payne counseled. “You will have the most amazing time of your life, travel the world and live a life you barely imagined. Then it will end for a while and you’ll be left with nothing but the steering wheel.”
Payne also told his young self that after 1D’s hiatus in 2016 things would feel “scary” for a bit, “like you’re alone, but you are not. You’re about to start a totally new journey with the most amazing person you’ve ever met, your son Bear.”
Bear, Payne’s only child, was born in 2017, a year before he and Cole split. “Don’t doubt yourself at this Dad thing, just look at all the things you’ve learnt along the way, surely that must mean you have a lot to give,” he said. “Be grateful and try to remember very day you’re doing something you love that took ten years to build. The first single will skyrocket and you’ll never see it coming but stop with the self doubt and you’ll be fine.”
The letter ends with Payne giving a “big hug” to his mom, dad and his entire family.
Payne’s death has prompted tributes from around the globe, including personal notes from all his former 1D mates and a are joint statement from the living members on Thursday, as well as tributes from Payne’s family and his former school.
Local authorities said that believe Payne was not sober at the time of his death, reporting that they found substances that appeared to be narcotics and alcoholic drinks in his room. A preliminary autopsy confirmed that Payne died from multiple traumas and internal and external hemorrhages sustained from the impact of a fall from the third-story of the Casa Sur hotel in the Palermo district in Argentina.
In the moments leading up to the star’s death, a hotel manager called 911 to report that a guest was “overwhelmed with drugs and alcohol” and “destroying [their] entire room”; by the time police arrived on scene, Payne had already fallen from the balcony of his room and died due to his injuries.
Watch Payne reading his letter below.
Taylor Swift is feeling herself ahead of her first Eras Tour show back from a two-month break. In a clip posted to Instagram Friday (Oct. 18), the pop star is joined by her cat Olivia Benson as she struts around Hard Rock Stadium in Miami, where Swift will play three back-to-back shows this weekend. The […]
In 2022, Riley Green notched his first No. 1 Billboard Country Airplay hit with the Thomas Rhett duet “Half of Me.” Now, as he prepares to release his third studio album, Don’t Mind If I Do, on Friday (Oct. 18) on Big Machine Label Group, he’s seeing a fresh career surge with another duet, the flirty “You Look Like You Love Me,” a collaboration with fellow Alabama native and singer-songwriter Ella Langley.
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The song went viral earlier this year, but has proven to have staying power, currently at No. 10 on the Hot Country Songs chart and at No. 30 on the all-genre Hot 100.
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“I didn’t know that song was going to be the hit that it has become,” Green tells Billboard. “I thought it was a cool song and the talking in the verses were a great nod of the cap to traditional country music. Both of us being from Alabama and growing up in similar areas, we have the same kind of twang and our voices just kind of mesh well together. I’ve been a fan of hers for a long time, so it’s been awesome seeing her success with this.”
That “nod to traditional country music” has been one key to the song’s success, as retro country sounds continue to make waves again in the format.
In a time when artists are putting out sprawling, pop-flavored albums, Green’s tightly-woven, 18-track project magnifies his devotion to country songwriting. Green wrote over half of the songs on the album, with a couple of his solo writes being among the standouts. That laser focus on writing comes naturally for Green, who has long taken inspiration from Georgia native and Country Music Hall of Famer Alan Jackson.
“Alan wrote a lot of his own songs. I’ve co-written with some great writers and have had some big hits from co-writes and I’ve never stopped co-writing, but there’s also something authentic about writing a song by yourself,” Green says. “I think you perform those songs a little different, maybe. I grew up listening to CDs and listening to ’em top to bottom, so I want to always make my albums an experience to listen to.”
One of Green’s solo writes, the poignant story song “Jesus Saves,” unfurls the tragic life events that led a military veteran to end up by the side of the road, holding up a ragged cardboard sign.
“Some of those things that the guy had been through in that story were things that if any of us had gone through it, maybe we’d be in the same position he was,” Green says. “I think that was a way to try to help people be a little more compassionate. And I just remember that with that song after I wrote it, when I listened back to it, I felt something from it. I was the same way when I wrote [2020 hit] ‘I Wish Grandpas Never Died’ and listened back for the first time. It choked me up a little bit. So, there’s always something special about songs that can do that. When fans feel that same way, it’s motivating and makes you want to continue to write those kinds of songs.”
On another solo write, he teams again with Langley for the love song “Don’t Mind If I Do.” From touring together to releasing multiple duets over the past few months, Green and Langley’s musical collaborations feel like a throwback to the 1970s, when artists like Conway Twitty and Loretta Lynn, as well as George Jones and Tammy Wynette, released numerous collaborative albums together.
Asked if Green and Langley might consider such a project, Green says, “Well at this rate, I think we’re working on it. We’ve got two songs this year, but I think that’s probably part of the success we’ve had. I think people kind of long for that storybook type of thing, the George [Jones] and Tammy Wynette, or Johnny [Cash] and June [Carter] and all that. You haven’t seen it in a long time—maybe Tim [McGraw] and Faith [Hill] would be the closest thing we’ve seen and I don’t have a problem leaning into that at all. I think she writes great songs and I love her voice so I think if there’s something else that comes along that fits, we’ll probably do it.”
Given the two artists’ creative chemistry, both vocally and in performance, Green says he understands why some fans have speculated that their compatibility extends into the romantic realm.
“With ‘You Look Like You Love Me,’ it’s a girl picking up a guy in a bar song, so I can totally see where that led fans to think something and then we go with ‘Don’t Mind If I Do,’ which is a more heartfelt love song,” Green says. “But we’re just great friends and I’m really a fan of her music, so it’s awesome to have this success with her on both these songs.”
Beyond “Don’t Mind If I Do” and “Jesus Saves,” the new album also catalogs a range of emotions, encompassing heartbreak anthems (“That’s a Mistake”), smoldering romance songs (“Worst Way”) and an older song, “Alcohol of Fame,” a lighthearted nod to boozy nights out.
“I had that title, ‘Alcohol of Fame,’ and I remember thinking, ‘How has someone not already written this?’ You have to start looking it up to make sure it wasn’t already a song, because it was such an obvious thing, but it’s a fun song to play,” Green says. “I wrote it a couple of years ago and it’s nice to finally be recorded and included on an album.”
For the tour announcement for Green’s 2025 Damn Country Music Tour, he again eschewed modern standards—instead of announcing with a social media graphic or brief video, Green turned to a retro, cinematic treatment.
He gathered with his tourmates, among them Langley, Erik Dylan, Vincent Mason, Jake Worthington, Drake White and Lauren Watkins, to create a parody of the 1977 Burt Reynolds film Smokey and the Bandit, complete with Green’s character “Duckman” nodding to Reynolds’ iconic role, while Langley’s “Smoke Show” pays homage to Sally Field’s character Carrie. Together, Green and Langley evade the cops in a Pontiac Firebird Trans Am, while they use the CB radio to call out to the tour’s other opening acts, inviting them to join to head out on the road.
“Growing up, Reynolds was one of the coolest guys there was,” Green says. “I’ll never forget [in the movie] Happy Gilmore when a limousine pulled up and they said, ‘You must be Burt Reynolds or something.’ I feel like that’s how we all felt growing up. That was the most famous person around.”
“You Look Like You Love Me” has notched Green and Langley their first CMA Awards nomination in the musical event of the year category. At the Nov. 20 ceremony, Green is also thinking about who might take home entertainer of the year since he’s worked with so many of the nominees.
“There’s been so many people that have had such big careers. Luke Combs has been great and I toured with him last year. Lainey [Wilson] is having such a big moment and it’s really hard not to mention Morgan [Wallen], he’s had such a big moment. We went and played a show in the U.K. together [at BST Hyde Park in London] and it was the biggest country show they’ve had there. I don’t really need much more than that to kind of look his way.”
Outside of music, Green launched his Duck Blind bar in Nashville earlier this year, working with Nashville entrepreneur Steve Ford to open the space in the former Winner’s Bar and Grill location in Midtown, rather than adding another “star bar” on downtown Broadway.
“There’s nothing against anybody that’s got a bar on Broadway, I just never hung out on Broadway and I don’t know many artists that do. I’ve hung out in Midtown and everybody I’ve ever met—songwriters and other artists—has been in Midtown, so it’s cool for me to put my name on something that has been nostalgic for me. It’s also full circle for me to own a bar and have up-and-coming artists coming there to play, showcase their songs and hopefully get a start like I did.”
For the immediate future, don’t look for Green to launch too many other business ventures. “I don’t really need any more projects right now,” he says, before hedging his bet. “But I didn’t think I was going to be in the bar business this year either, so who knows?”
The highly anticipated 2024 Billboard Latin Music Awards ceremony is just around the corner.
Hosted by actors Carmen Villalobos and Danilo Carrera, the gala will celebrate the most outstanding talents in Latin music. This year, the awards show will air on Sunday, Oct. 20, and will be broadcast on Telemundo, along with digital coverage on multiple platforms, giving fans the chance to fully immerse themselves in the show — from the pre-show to the main ceremony — from anywhere.
The 31st edition of Premios Billboard will bring together an all-star lineup spanning a variety of genres and generations. Among the most-anticipated appearances are J Balvin, Chencho Corleone, Fuerza Regida, Gloria Trevi, Xavi, Grupo Niche, Pepe Aguilar, Prince Royce, Proyecto Uno, Yandel, Maria Becerra and Gabito Ballesteros, who will offer performances that promise to surprise and delight the global audience.
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Here are the details of how and where to watch the 2024 Billboard Latin Music Awards and some highlights.
Pre-Show
Coverage begins at 8 p.m. ET and will be available on a wide range of digital platforms. Hosted by Aleyda Ortiz and Gabriel Coronel, viewers will be able to watch their favorite artists walk the blue carpet through the Telemundo app and social media channels including YouTube, Facebook, TikTok, Instagram, X and the FAST Telemundo Al Día channel.
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Awards Ceremony
Beginning at 9 p.m. ET, the awards ceremony will air on Telemundo and can be viewed simultaneously on the Telemundo app and the Peacock streaming service. For those outside the United States, the show will be available through Telemundo Internacional in Latin America and the Caribbean.
Highlights
Among the most anticipated moments of the night is Fuerza Regida performing its hits “Tu Name” and “Nel.” Grupo Niche will pay tribute to their legacy with a revamped version of their iconic “Cali Pachanguero,” while Pepe Aguilar will bring a medley of his greatest hits to the stage. Additionally, J Balvin will present a new arrangement of his recent hit “Cosa de Locos” in a promising performance.
The stage will also welcome music and television personalities as award presenters, including Alexa Martín, Alicia Machado, Camila Fernández, Kali Uchis, Mau y Ricky, Lupillo Rivera, and Yahritza y Su Esencia, who will join in the celebration to recognize the best in the industry.
Special Awards
Regional Mexican star Pepe Aguilar will receive the Billboard Hall of Fame Award, joining previous honorees Joan Sebastian, Marc Anthony and Vicente Fernandez. Colombian hitmaker J Balvin will be recognized with the Spirit of Hope Award, created more than 20 years ago in honor of Selena Quintanilla. While Spanish icon Alejandro Sanz will receive the Billboard Lifetime Achievement Award, which in the past has been given to artists such as Los Temerarios, Ricardo Arjona and Los Ángeles Azules. More details on the special awards can be found here.
About the Finalists
This year, the finalists is led by Karol G, who has 17 mentions in key categories such as Artist of the Year, Tour of the Year, and Global 200 Latin Artist of the Year. Bad Bunny and Peso Pluma follow closely behind with 15 mentions each. Other notable finalists include Feid, with 11 mentions, and regional Mexican stars Fuerza Regida and Junior H, both with 8 mentions, including Artist of the Year. See the full list of finalists here.
The Billboard Latin Music Awards recognize the impact of Latin music on the global scene, being the only awards based directly on the performance of albums, songs and artists on Billboard’s weekly charts. This year, awards will be presented in 49 categories, spanning the genres of Latin pop, tropical, Latin rhythm and regional Mexican. Produced by Telemundo in collaboration with Billboard and American Country Broadcast Inc., the 2024 Billboard Latin Music Awards not only celebrate artistic excellence, but also the growth and expansion of Latin music worldwide.
Kamala Harris‘ campaign is making sure there are no blank spaces in its efforts to win over young voters, especially where Taylor Swift fans are concerned.
On the day of the pop star’s first Eras Tour show back in the United States Friday (Oct. 18), the Democratic National Committee unveiled a themed Snapchat filter available only to Swifties in battleground states that allows users to pose under a digital banner reading, “In My Voting Era.”
The filter will also let voters choose from a number of topics Harris supports to complete the phrase, “Be fearless for …” in reference to the 14-time Grammy winner’s hit 2008 album Fearless. To fill in the blank, users can select from a menu containing “Democracy,” “Reproductive rights,” “Climate action” and more.
“This election will determine the future for young voters, from student loan debt relief and economic opportunity to whether they have fewer rights than their grandmothers did,” reads a statement from Rosemary Boeglin, DNC communications director, on the new Swiftie initiative. “Democrats are reaching out to young voters where they are, from concert venues to social media platforms, to make sure they have the resources they need to cast their ballot.”
The Snapchat filter is just one of several ways Harris’ campaign has capitalized on Swift’s emphatic endorsement of the Democratic ticket in September. The VP has also been selling friendship bracelets in the style of Swifties’ favorite Eras Tour accessory on her online store, and her running mate, Tim Walz, shouted out the “Anti-Hero” musician during the vice presidential debate in early October.
“I’m as surprised as anybody of this coalition that Kamala Harris has built, from Bernie Sanders to Dick Cheney to Taylor Swift,” the Minnesota governor said at the time. “They believe in a positive future of this country, and one where our politics can be better than it is.”
In addition to the Snapchat filter, the DNC is also rolling out Swift-themed billboards this week reading, “A new way forward … ready for it?” and “We’re in our Kamala era!” — starting with a mobile ad on a boat that will be stationed near Hard Rock Stadium in Miami, where the “Karma” musician is set to play three Eras Tour shows Oct. 18-20. Florida is right next door to Georgia, one of seven key swing states in the 2024 presidential election. The other battleground states are Pennsylvania, North Carolina, Michigan, Arizona, Wisconsin and Nevada.
The billboards also direct viewers to visit IWillVote.com to ensure they’re registered to vote by Oct. 26. Election Day is Nov. 5.
In her September endorsement of Harris, Swift emphasized the importance of voting. “Your research is all yours to do, and the choice is yours to make,” she wrote at the time. “I also want to say, especially to first time voters: Remember that in order to vote, you have to be registered! I also find it’s much easier to vote early.”
BOYNEXTDOOR‘s latest single, “Nice Guy,” begins with the K-pop group crooning, “Don’t be such a wuss, Seoul is mine tonight/ Let’s rizz up all night” for a synth-pop anthem of declarative self-confidence. While it seems like a stark contrast from “Dangerous,” the rebellious pre-released buzz single about teens pushing curfew which kicked off the group’s 19.99 album, it all connects into BOYNEXTDOOR’s multifaceted world of limitless freedom and friendliness.
With less than a year and a half since their debut, Billboard’s K-Pop Rookie of the Month for October 2024 is seeing its message reaching audiences worldwide. 19.99 scored BOYNEXTDOOR’s first No. 1 on Billboard’s World Albums chart and top 40 entry on the Billboard 200, while the group has performed on festival stages in South Korea, Spain, Japan, Hong Kong, and the United States. The sextet has modeled for Korea’s most prominent brand, Samsung, but is also the face of Japan’s popular casual clothing brand, WEGO, and has competed for best new artist recognitions at the MAMA Awards, iHeartRadio Music Awards, Asian Pop Music Awards and beyond.
During a weekend morning interview and photoshoot with Billboard in Seoul, any understandable tiredness from BND takes a back seat as members Jaehyun, Sungho, Taesan, Riwoo, Leehan, and Woonhak excitedly emphasize their desire to connect with audiences through authenticity rather than just chart placements and awards. “Rankings aren’t everything,” Taesan says in the Zoom call. “Our priority is really talking about what we want to and conveying that to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud.”
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Those themes are present in the narrative structure of 19.99, which is grounded in the guys’ real-life experiences. Without fixed roles within the group, BOYNEXTDOOR pride themselves on a collective creativity, where members can contribute across different areas like music, storytelling, choreography, stage direction and more. While half the group is credited as lyricists, and Riwoo added personal touches to their new choreographies, 19.99 has the DNA of all six stars divided throughout the EP.
That philosophy of artistic expression and prioritizing personal experiences and creativity over external pressures feels like a founding block of BOYNEXTDOOR’s label KOZ Entertainment, founded by boy band member-turned-chart-topping soloist-producer ZICO, that’s housed in the HYBE LABELS system. While ZICO has been a presence on the Billboard charts for over a decade (earning his first No. 1 on a U.S. sales chart earlier this year), BOYNEXTDOOR says his mentorship and tips have been crucial to the group’s impressive and quick takeoff.
“He always told us that you have to have a really good attitude and be cautious of how people would see you,” eldest member Sungho says of their mentor. “He always cared so much for us and gave us a lot of advice even before we debuted.”
With BOYNEXTDOOR’s first tour on the horizon and a growing global fanbase awaiting the group’s next steps, the “Nice Guy” singers remain ambitious to make Seoul — and every other city — their own by doing it their way. Read more on BOYNEXTDOOR’s story as the next group to watch as Billboard’s K-Pop Rookie of the Month for October 2024.
Congratulations on the latest chart success with 19.99, BOYNEXTDOOR! Do you feel the impact and that you’re growing your audience overseas?
TAESAN: Yes, we feel like more and more people are starting to like and enjoy our music, which we are very happy about. But you know, grades and rankings aren’t everything; grades aren’t our priority. Our priority is really talking about what we want to convey to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud and gives us the confidence to stride forward.
19.99 starts a very different musical chapter from your previous trilogy of EPs. What are some of the differences between your past releases and this project?
SUNGHO: So, I think the “First Love” trilogy [the Who!, Why.., and How? EPs] was a big narrative that we had and tried to follow. When we were recording, creating and on stage, we tried to follow the overall kind of narrative and scenario that we had for the trilogy. But after that, with 19.99, rather than going with a narrative, this was an album where we really infused our experiences and the members’ stories. What we experience in our daily lives and what we go through is really infused in the tracks.
So, when we were recording or on stage, we felt like we were speaking our own language and just talking about what we experienced as boys. Even when we were performing, I think we focus more on our individual style and vibes… it’s more grounded and more heartfelt this time around. We paid more attention this time.
How do you express your stories? Is it sharing your experiences with each other? Writing lyrics? The concepts? Performing on stage?
JAEHYUN: I think my answer to that is really all of the above. It really starts at the very beginning of the creative process: we discuss a lot about what we want to talk about in the songs and in the album, so I think that naturally infuses into the songs — both in the songwriting and performance. So, we would talk a lot with the performance director and the music producers so that we could add our input into the lyrics and the overall concept of the performance as well. So, yeah, I think it’s all parts of what you brought up.
I see BOYNEXTDOOR as having a lot of freedom. There are no fixed positions within the team. Does that freedom allow you to be more creative, or is it difficult to balance that in a group dynamic?
TAESAN: As JAEHUYN said earlier, we are very heavily involved in the creative process; we have a big say. And as you said, we have a lot of freedom. Instead of thinking of that as a stress factor, we enjoy it because it gives us the freedom to be more creative and I think we’re even more eager to participate more in the creative process. So, rather than finding it difficult, I think it’s our fate to make these stages.
Even from your teaser videos, “friendliness” feels like a keyword for BOYNEXTDOOR. On one hand, artists who are so friendly can come off as less mysterious and intriguing. Do you have ideas or methods for bridging that gap?
JAEHYUN: I guess the secret lies in our music. So while we are friendly as people, our music can be mysterious; people can always wonder what’s coming next. You said that the name BOYNEXTDOOR is a very “friendly” name, but you never know who’s living next door. That boy might be a hip-hop lover, that boy might be a rock lover or love ballads. So, I think there is an air of mystery to that name as well. So, we kind of have both.
You deserve a lot of credit because not many rookies can say that and it feels like you’re sharing even more on 19.99. Can you share more about the title and what the EP represents?
WOONHAK: The six of us talked about what kind of album we wanted to make and what kind of music we wanted to do…
TAESAN: The producer asked us to talk about how we felt about our 20s one by one — [asking] “What was it like for you?” or “What do you expect from turning 20?” — and we gradually came up with the theme. After we came up with the theme of the number “20,” we discussed what kind of stories each of us wanted to incorporate into the album. JAEHYUN, WOONHAK and I actually wrote the lyrics based on that. We tried to capture 20 as much as possible in our own way.
When it comes to 20, the youngest member of BOYNEXTDOOR, WOONHAK, will soon be turning 20. Have your members shared any advice for you?
WOONHAK: So, instead of giving me advice directly in words, I think I just learned from them vicariously and naturally. Seeing them, I can understand that there are certain things that people don’t see or understand because I’m underage, you know? They recognize when I tell them I’m facing certain challenges and say, “That’s okay.” But when I do turn 20, there will be more responsibilities as an adult — and I see that through our leader JAEHUYN, our oldest SUNGHO, RIWOO, as well as TAESAN and LEEHAN. So, I think I kind of learn by looking at how they behave and take on different tasks. They continue to teach me a lot.
Along with JAEHYUN, TAESAN, and WOONHAK’s songwriting, how do you all collaborate creatively?
JAEHYUN: Although there are just three of us in the album credits, I think it really should be the six of us together because we talk a lot amongst ourselves and are sources of inspiration to each other. So, we would talk to other members and gain insight from their experiences and stories. So, all six of us are actually involved in the creative process.
SUNGHO: While JAEHYUN, TAESAN and WOONHAK are involved in the songwriting, in terms of the stage, RIWOO is really involved a lot in terms of the stage; when we actually go perform, he can lead the crowd. When we need to rehearse, we practice together under RIWOO’s guidance. He even creates and organizes the setlist and has a lot of input and ideas about the setlist. RIWOO is the one who has the most to say about our performances; each of us has such different personalities and individual styles, but RIWOO is the one who kind of becomes the anchor to help us combine and blend together as a group.
RIWOO: When we learn the choreography for the first time from choreographers, we usually learn choreography that is almost complete, but I feel like we have to include our own style into it and tweak it a little bit to make sure that it really fits our own style and not the choreographer’s style. From facial expressions to gestures and movements, I personally think about it a lot. If our members want to express something, I want to make sure we can express it and edit it a little so that it’s more BOYNEXTDOOR and our style.
Talking about stage performances, you recently announced your KNOCK ON Vol.1 tour. What are you preparing for your first tour? Do you think you’ll have more “volumes” or dates beyond Asia?
JAEHYUN: Our first concert is in the planning process, but there are a lot of stages and performances that we’ve saved for the concert. The stages that you’ve wanted to see and the performances that you wanted us to do, we’ve been saving them all to show you at our first concert so I think there will be a lot of stages that our fans, ONEDOOR, will really like.
LEEHAN: We’ll go anywhere. We’re willing to fly to anywhere where ONEDOOR exists. And we hope there are many more opportunities going forward to share these great times with ONEDOOR.
Do you have any worries ahead of the tour?
TAESAN: There will inevitably be some challenges because it’s our first concert and first tour, but I think we need to focus on how to overcome those difficulties. But I think what’s always on our mind is our next step forward — what we’re going to talk about in our next album.
I recently met with ZICO, and he spoke so affectionately about you. Do you notice that affection or is this his everyday self? Any fun stories you can share about your time with him?
SUNGHO: We actually noticed his affection ever since when we were trainees. He was always very worried about us. He always cared so much for us and gave us a lot of advice. Even before we debuted and after our debut, when we became “professionals,” he always told us that you always have to have a really good attitude and be cautious of how people see you. But the difference between the days when we just debuted and now is that in the early rookie days, he would try to really help and assist us in all kinds of ways. But now I think he really respects us as professionals and that we have our own way of communication and style. And then when he thinks we need help or if there are parts where he can help us, he will kind of jump in. I don’t really remember any specific anecdotes to share…
WOONHAK: I actually do remember one! He said, “I regret taking really bad selfies.” [All laugh.] So, we should really make sure that we take nice selfies.
JAEHYUN: My father! There are so many funny moments. Recently, ZICO has been telling me to show him some aegyo, like doing something cute or adorable, because he said that JAEHYUN as a trainee and JAEHYUN as a member of an idol group is really different. So, he wants me to show him those aegyo moments like I do with ONEDOOR, but for him. So, he’ll kind of tease me, telling me, “Can you show me some aegyo?!?” [Laughs.]
Any other messages you want to share with international fans or Billboard readers at this time?
JAEHYUN: Thank you for loving our tracks. I’m happy to see our songs on the Billboard charts and I hope you all keep loving them.
TAESAN: Please stay tuned for our tour and our concert. I hope that we’ll have more opportunities to go to other continents and other countries as well!
WOONHAK: Love you!!!
Jack Harlow is at a crossroads. The Louisville native was more 700 miles away from home as he took the stage in NYC at Brooklyn Paramount on Thursday night (Oct. 18) as part of the Citi Sound Vault concert series.
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Harlow has laid low on the music side this year, as he hasn’t unleashed as much as a single. His “Lovin on Me” bopcarried him through the early part of 2024 as the Oz-produced hit topped the Billboard Hot 100 for six weeks.
It’s been about 18 months since Jackman‘s arrival in April 2023, which pivoted from his pop curiosities and catered to his core rap fanbase. The project ended up peaking at No. 8 on the Billboard 200.
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After a year off, Harlow knows his next move needs to be his best move. The 26-year-old tuned out the noise and looked inward as he searched for “his why” when it comes to discovering newfound inspiration for his upcoming project — and he appears to have grasped onto something concrete.
“And I do got some very special s–t on the way,” he teased the crowd at one point, although he stopped short of making any official announcements regarding new music.
Emerging singer Laila! kicked off the night around 8 p.m. ET. The 18-year-old Brooklynite, who is Mos Def’s daughter, warmed up the crowd with her Brandy-esque vocals and self-produced eclectic beats packaged into standouts such as “Not My Problem” and “Like That!” Her Gap Year! project is more than worth a listen for R&B fans searching for bright talent, as Laila!’s a name to keep an eye on going forward.
The curtain dropped on Jack Harlow precisely at 9 p.m. ET as he faced the roar of 2,000-plus filling the venue. His set was more of a living room straight out of Architectural Digest. Rocking a black turtleneck and matching trousers, he initially sat on an L-shaped white couch, surrounded by lavish light fixtures and his DJ mixing from a wooden desk.
The ode to Miami Heat star “Tyler Herro” put Harlow’s set in drive as he ran through tracks such as hometown anthem “Route 66,” “They Don’t Love It” and “Is That Ight?”
“I was a little nervous tonight — it’s been a while,” Harlow admitted. “It’s been a great start though.”
Even with the time off, Harlow’s still a technician on stage with the mic in his hand. He sought out the day-one fans in the audience while performing “Warsaw,” “Sylvia” and “Way Out” before dedicating “21C/Delta” to the nurses in the building.
Missionary Jack took it to 2022’s Come Home, the Kids Miss You to perform “Movie Star,” “Poison,” “Nail Tech,” “Like a Blade of Grass” and “Dua Lipa,” while the British-Kosovo superstar performed at the noble Royal Albert Hall across the pond on the same night.
Harlow then pressed pause on the show to candidly provide some insight into his psyche as he plots on the next chapter of his career.
“I spent a lot of time thinking about how much art is being uploaded into the world. I sit there thinking about why contribute? Why add more? I spent this last year and a half thinking about it,” he reflected. “Why do you want to make music? What’s your contribution? And I think I’m getting pretty close. I appreciate all the patience you’ve shown me as I put some thought into why I would add more art to this cluster of art. I don’t know if I want to give anymore art to the world unless it’s worthwhile.”
Jack sent the fans home happy as he dipped back into his bag to run through a few of his massive hits including Lil Nas X’s “Industry Baby,” his breakthrough “WHATS POPPIN,” the Fergie-sampling “First Class” and closed out with “Lovin On Me.”
Performing for just under an hour, Harlow finished out teasing his next era. “Next time I see you, we gonna have something to talk about,” he cryptically hinted.
Alex Van Halen hopes that those coming to his new memoir, Brothers, for a tell-all will be disappointed.
“It’s not about the dirt,” Van Halen, older brother and bandmate of the late Eddie Van Halen, tells Billboard. “If I start throwing dirt, it’ll never end. I think some people would like that; that’s how projects are sold nowadays. I think it divides the audience, and we’re not here to divide. I think the tone of the book and how I want the book to be perceived is more on a spiritual and creative level. That’s why there’s very little, or any, dirt in there.
“The majority of things that were written about Ed were third party,” he continues. “They weren’t really there. I’m not degrading any of it, but it’s not accurate. I really felt like a lot of the stuff that was out there was incorrect, and it didn’t do justice to the more sensitive side of Ed. So before I die I would like to at least partially set the record straight.”
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Brothers, publishing Oct. 22 and written with New Yorker staff writer Ariel Levy, acknowledges the sex and drugs and rock n’ roll. But as the title indicates it’s primarily a chronicle of the drummer’s relationship with his guitar hero brother, who passed way during Oct. 2020 at the age of 65 after a long battle with cancer. The tome is undeniably emotional, with some passages written directly to his late brother. Van Halen acknowledges that the process “really took its toll on me.”
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“You have to remember we were together for 65 years; that’s a lifetime, if not more,” explains Van Halen, who was born in Amsterdam and came to the United States with his family in 1962, eventually settling in Pasadena, Calif., where the Van Halen band was formed in 1974. “(Brothers) not only forced me to look at everything Ed and I had done in our lifetime, but also — and I should thank Ed for this — it forced me to look at me. What are my motivations? Why am I really doing this? Who does anybody do this? It took me a lot of places…very heavy.”
Throughout Brothers’ 231 pages, Van Halen discloses the tight bond between him and Eddie, personally and musically — and presents the connection between those two as one and the same thing. Van Halen offers a detailed account of the entire family dynamics, too, from the influence of their father, Jan, a jazz musician, and their more strict Dutch East Indies-born mother Eugenia, and the impact of immigrating to America and being treated as outsiders. The passion for music came early and was a constant, of course, and one can read in Brothers a kind of mission on Van Halen’s part to offer a more expansive and sophisticated view of his brother’s talents.
“There was more going on than most people recognize or realize, and it’s not our job to ‘teach’ people,” explains Van Halen, who also makes use in the book of a variety of other sources, including published interviews with his brother, books by original frontman David Lee Roth and producer Ted Templeman, and philosophers such as Friedrich Nietzsche. The brothers, who first learned to play piano, actually started out on each other’s instruments before switching as teenagers. “When Ed picked (the guitar) up he could make it sing. It was amazing. That sound, that intonation was phenomenal. You couldn’t express it in words. Everybody gets blinded by the fact Ed was such a phenomenal player (that) you’re not even understanding who the human being was. Maybe people don’t care, but I care. He’s my brother.”
Brothers of a Band
Writing about Van Halen the rock band in Brothers, Van Halen says that “me, Ed and Dave were very subversive in the way we looked at music and the political system and the way we looked at people in general…The band was dysfunctional. It was completely running on three wheels, if you will. I think Ed was quoted as saying ‘but we always played well,’ and that was ultimately what kept it together until it was no longer together. It was a very sad moment when that whole thing fell apart.” Van Halen, in fact, writes in Brothers that Van Halen’s 1985 split with Roth “was the most disappointing thing I’d experienced in my life, the thing that seemed the most wasteful and unjust. Until I lost my brother.”
Despite the acknowledged rancor with Roth over the years – and blaming Roth for the failure of a planned Eddie Van Halen tribute tour — Van Halen maintains that “I’m not angry at all with Dave. He was one of the three main components of the band. At the time we didn’t recognize it because we were constantly battling things out. That’s why I mentioned (in the book) that the first person I called when Ed died was Dave because I felt like I owed him that, to the work we had done together and the fact that our families knew each other and the fact that everybody was sort of on the same level, if you will, when we first started. I don’t know where things went wrong…I have nothing but the utmost respect for Dave and his work ethic. I just think some of his choices were really strange to me, but that’s not my job to figure it out.”
Other than his brother’s death, Van Halen chose to stop the story with the Roth split, leaving out subsequent runs with Sammy Hagar and Gary Cherone and even the reunion with Roth that started in 2007. (Roth and Hagar both wrote memoirs after their respective tenures with the band.) Van Halen cites “limitations to how big the book could be” but also says it the scope of the narrative made sense to him.
“What happened after Dave left is not the same band,” Van Halen explains. “I’m not saying it was better or worse or any of that. The fact is Ed and I did our best work whenever we played. We always gave it our best shot. But the magic was in the first years, when we didn’t know what we were doing, when we were willing to try anything.” Not surprisingly, Van Halen was not responsive, either, when Hagar and bassist Michael Anthony reached out about him taking part in some way in their Best of All Worlds tour celebrating Van Halen.
“I’m not interested,” he says. “They’re not doing the band justice. They can do what they want to do. That’s not my business.”
Everybody Wants Some
Van Halen does add, however, that his auction of drum equipment and other items in June “was misinterpreted” and simply clearing out a warehouse of gear that wasn’t being used.
“I’m not quitting. I don’t know where that came from,” Van Halen says. “I’ll die with sticks in my hand.” Spinal issues he’s been battling for decades are still present, he adds, including a recent injury during a trip to a shooting range in 2022. “But with modern technology we have now I should be OK in about five years,” he says.
Despite rumors of what the Van Halens were up to between the last tour with Roth (in 2015) and Eddie’s death, Alex maintains there was little to report. “We never really talked about it,” he says. “We prefer that things just happen by some kind of magic. The issue was Ed had been dealing with cancer for quite a number of years, and some of the stuff that he was doing out of the normal procedures, if you will, had side effects. Some of the stuff that was being said about Ed was completely wrong, and it was painful…. He was fighting cancer. It’s as simple as that.”
Fans are certainly excited about the presence of a new instrumental track, “Unfinished,” that’s part of the audio version of Brothers. It hails from a trove of ideas the brothers recorded at Eddie’s 5150 studio and stashed away, and Alex anticipates releasing more of that material “when it feels right.”
“I’m not in a hurry,” he says. “I do have a certain obligation to keep it to Ed’s standards. He was meticulous and he was a pain in the ass…and I need to have access to the right takes, ’cause not every day did we play at our best. But we always had the tape recorders running. We didn’t go in the studio like, ‘Yeah, we’re gonna make a record from beginning to end.’ We had little pieces here, little pieces there, you put ’em away until the time comes and you go, ‘Hey, I think I like that piece…’ and then go back to it and build something from there.” He told Rolling Stone that he’s approached OpenAI about using its technology to help turn some of the material into songs.
“I know people want to hear it,” Van Halen adds, before cautioning that, “the other side of the coin is this doesn’t sound like Van Halen. You’re damned if you do, damned if you don’t.” He says that for future releases he’s also “looking forward to getting some people involved…other musicians and producers. You have to have the right team, because not everybody can do everything. So we’ll see.”
For the time being Van Halen is focused on promoting Brothers, which he’d also like to turn into a movie — though he notes that, “I learned a long time ago not to put your hope in things that don’t exist yet. I know people who would be willing to participate, but it’s a very complex fabric of things that need to happen.” Meanwhile Van Halen has three book events lined up — signings at Barnes & Noble in New York on Oct. 21 and at Books & Greetings in Northvale, N.J., the following day, and a live conversation on Oct. 24 at the Frost Auditorium in Culver City, Calif.
“People can ask whatever they like — that’s their prerogative,” Van Halen says. “It’s my prerogative to answer. Or not answer.”
One thing Van Halen will make clear, however, is that his brother is still a strong presence in his life.
“He’s not gone for me,” Van Halen says, citing the “island voodoo” of their mother’s upbringing and the Spooky Action at a Distance concept of quantum physics. “He’s still there. His spirit’s here, and it’s not something you can grab or touch. There’s something between us that’s just connected on a level that is beyond explanation. Scientists will tell you that you cannot destroy energy, it just takes different shapes, and that’s kind of how it is for me with Ed.
“I really had a tough time when Ed passed — full of rage, for a number of reasons. I heard this thing by Billy Bob Thornton; he just said basically when his brother died he didn’t know how to deal with it, and he basically said that you’re not running away from the fact that you’re not together anymore. You accept it for what it is and then the pain will slowly diminish, but it’ll never go away. That’s why i said (in the book), ‘When I see you again, I’m gonna kick yo’ ass…’”
Brothers by Alex Van Halen
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Ringo Starr‘s first new full-length album in six years, Look Up, will find the former Beatles drummer and solo star going country, again. The 11-track album of original songs produced and co-written by T-Bone Burnett is due out on Jan. 10 and was prefaced on Friday (Oct. 18) by the tear-in-your tea ballad “Time On My Hands.”
“I have loved Ringo Starr and his playing and his singing and his aesthetic for as long as I can (or care to) remember,” said Grammy-winning producer/songwriter Burnett, 76, in a statement. “He changed the way every drummer after him played, with his inventive approach to the instrument. And, he has always sung killer rockabilly, as well as being a heartbreaking ballad singer. To get to make this music with him was something like the realization of a 60-year dream I’ve been living. None of the work that I have done through a long life in music would have happened if not for him and his band. Among other things, this album is a way I can say thank you for all he has given me and us.”
Burnett wrote or co-wrote nine of the songs on Starr’s 21st solo album, on which the peace-and-love advocate sang and played drums; one song so written by Billy Swan and another was co-written by Starr and Bruce Sugar. According to a release announcing the project, Starr co-wrote the album’s closer, “Thankful,” which features one of Burnett’s previous collaborators, bluegrass singer/fiddler Alison Krauss.
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Burnett also roped in some other Nashville ringers for the project, including Billy Strings, Larkin Poe, Lucius and Molly Tuttle. Though pop and R&B stars dipping their toes into the country pool has become de rigueur over the past year, with swerves into the genre by Beyoncé, Post Malone, Ed Sheeran, MGK and Lana Del Rey, the release noted that Starr’s appreciation for all things twangy goes back more than half a century.
“I’ve always loved country music. And when I asked T Bone to write me a song, I didn’t even think at the time that it would be a country song – but of course it was, and it was so beautiful,” Starr said of his collaboration with friend of more than four decades Burnett, which was spurred by a chance meeting in L.A. in 2022 where the ex-Beatle asked Burnett to write a song for an EP he was working on at the time.
“I had been making EPs at the time and so I thought we would do a country EP -but when he brought me nine songs I knew we had to make an album!,” Starr added of the tracks Burnett wrote that all had a country vibe. “And I am so glad we did. I want to thank, and send Peace & Love, to T Bone and all the great musicians who helped make this record. It was a joy making it and I hope it is a joy to listen to.”
“Time on My Hands” finds Starr wistfully lamenting the loss of a true love over pedal steel and gently strummed acoustic guitar, with his signature laconic vocals taking center stage in the ballad about the one that got away. “I used to have a true love/ Everything was fine/ But now she’s found a new love/ She’s no longer mine,” he sings.
From the country-tinged Beatles songs he performed and wrote, including “Act Naturally,” “What Goes On” and “Don’t Pass Me By,” to his 1970 sophomore solo album Beaucoups of Blues,” Starr has dipped his toe into the genre since his early, pre-Beatles days playing in Rory Storm and the Hurricanes. In fact, the release added, Starr was so enamored with country and blues as a teenager that he tried to emigrate from London To Texas in his younger years after learning that blues great Lightnin’ Hopkins lived there.
Starr’s first new full-length album since 2019’s What’s My Name, will get a proper country welcome on Jan. 14-15, 2025 when the singer/drummer headlines the legendary Ryman Auditorium; tickets for the show will go on sale on Oct. 25.
Check out the full track list and cover art for Look Up below.
“Breathless” (featuring Billy Strings)
“Look Up” (featuring Molly Tuttle)
“Time On My Hands”
“Never Let Me Go” (featuring Billy Strings)
“I Live For Your Love” (featuring Molly Tuttle)
“Come Back” (featuring Lucius)
“Can You Hear Me Call” (featuring Molly Tuttle)
“Rosetta” (featuring Billy Strings and Larkin Poe)
“You Want Some”
“String Theory” (featuring Molly Tuttle)
“Thankful” (featuring Alison Krauss)
Ringo Starr
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From In the Heights to Hamilton, New York City – with its frenetic pulse and intoxicating contradictions – has been an intrinsic part of Lin-Manuel Miranda’s artistic palette. Even so, the EGT-winning musical mastermind is likely to confound more than a few fans with his and Eisa Davis’ new project: Warriors, a narrative concept album based on the 1979 cult film The Warriors.
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For those who do not reflexively think “come out to play” when they hear bottles clinking, The Warriors is about a Coney Island street gang forced to traverse the city after dark while a gaggle of gangs — each one sporting a distinct fashion aesthetic, from goth baseball to silken Harlem Renaissance — tries to murder them as revenge for an assassination they’re falsely accused of. It’s the violent, stylish stuff of midnight movie legend, and despite Miranda’s affinity for NYC-based tales, a surprising choice for a guy who was recently penning smashes for Disney.
With Warriors out Friday (Oct. 18) on Atlantic, Lin-Manuel Miranda and Eisa Davis (a playwright/actress who appeared in Miranda’s 2021 film Tick, Tick… Boom!), hopped on the phone with Billboard to discuss the inspiration behind their gender-flipped take on the subject matter, how they landed hip-hop royalty (Nas, Busta Rhymes, Ms. Lauryn Hill, Cam’ron, Ghostface Killah and RZA) for the project and what might be next for their Warriors.
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Lin — at a preview listening session, you mentioned that about 15 years ago, someone pitched the idea of a Warriors musical to you. You summarily shot it down but kept mulling it over. What was the “aha” moment where you had a breakthrough?
Miranda: That friend, Phil Westgren, approached me in 2009, and the bulk of my thinking why it couldn’t work is, “Well, it’s an action movie.” Action movies and musicals are always fighting for the sale real estate: When you can’t talk anymore — the emotion is heightened — you fight and/or sing. So doing it as a concept album first freed us from that. It allowed us to score the moment. We approached that in different ways throughout the album. Sometimes we dilated a moment of action, sometimes it’s a montage and you hear sound effects and by the end the Warriors are victorious. (laughs) The other thing that made it compelling to write was flipping the gender of the Warriors as a female gang. I had that notion in response to seeing GamerGate happen online around 2015. These toxically online men doxxing women’s home addresses, the chaos of it struck me as a very Luther thing to do. Luther shoots Cyrus, blames the Warriors and then watches the fun unfold. It seemed to be the same malignant chaos. That thought led me to thinking of the Warriors as a female gang and suddenly it got really interesting to write. Every plot point is wrinkled or changed in some fundamental way. I got excited by the notion of writing women’s voices surviving the night.
Eisa, unlike Lin, you said The Warriors was not part of your childhood. What was it that made you think, “I get it, I have something to say here”?
Davis: Number one: Lin asked me. Number two: Because they’re women, I thought, this is really exciting to look at the wrinkles and search for the ways that this is a specifically femme story. What is it that I’ve experienced on the streets of New York at night, or what is it that I want when it comes to protection and having a crew? We based the album on the movie; the movie is based on the novel; the novel was based on a Greek narrative from 400 B.C. Obviously, it has staying power and good bones. There’s something intrinsically human to the various responses to violence and adversity and loss that are in this story. One is that you can try and take revenge and continue the cycle of violence. Another thing the Warriors do is they defend themselves against the injustice of being falsely accused and develop more courage. Another response is to try and end that cycle of violence, try to create a peace not only in yourselves but the communities around you. All of those human responses being baked into the story, it has something very compelling to everyone.
What you said about GamerGate is interesting. Similar to the misogynist response to the 2016 Ghostbusters movie, do you think some perpetually online bros will get upset about the Warriors’ gender swap?
Miranda: Maybe. Probably. I know none of those people have seen this movie more than I have, and in many ways it’s a love letter to that original movie, too. I don’t think a beat-for-beat recreation of the movie would be satisfying. I’ve seen those adaptations, they’re not satisfying: You’re just waiting for the moment that you liked in the [original] movie. I think of this as a love letter to the original film and its own thing that could not be confused for the original film. To me, it’s the best of both worlds.
You really scored a murderer’s row of rappers to represent each borough: Nas, Cam’ron, Busta Rhymes, RZA, Ghostface Killah and Chris Rivers (Big Pun’s son). What was it like giving feedback to these legends? Lin, you’re a genius in your own right, but was that intimidating?
Davis: That’s such a great question because, of course, the only reason this murderer’s row, as you put it, are even on this album is because they already respect Lin and what he has accomplished. So everyone was on board and ready to do this. It was written for all of these rappers and what their rhythms are, but it was a question of, “Are they able to say someone else’s lines?” That’s a big deal.
Miranda: They’re used to writing their own features.
Davis: And have pride in never being ghostwritten.
Miranda: The shift was, “You’re not playing yourself. You’re playing the Bronx. You are the voice of Staten Island or the voice of Manhattan.” It’s having them playing these roles but bring what we love about them as emcees to the table.
The Warriors film is known for its violence and grit, things not usually associated with musicals. How did you go about ensuring there was a sense of danger on the album?
Miranda: It was freeing doing this as an album. Our job is to paint it as vividly as possible musically, to paint those slick sidewalk streets in your mind. To that end, we got the best artists we could find. We even got Foley artists to create some of the soundscapes of the subway and the city on top of these songs we’d written.
Davis: That really helped with creating that grit you’re talking about.
Miranda: The job is to create the sickest movie in your head possible. It’s also 1979 shot through 2024. I remember recording the scene where Luther calls an unknown associate and gives them a status update and someone said, “I don’t think young people know what a rotary phone sounds like anymore.”
Davis: That someone was Lin’s wife, Vanessa. (Miranda laughs) What we had to do was make sure we baked into the dialogue that this is a phone call, so people who had no idea what these sounds were would know. To make sure we didn’t have what you would call a pat musical theater score, something more cliché, one of the first things we did was make each other playlists and say, “This is an idea for this particular gang, they might have this particular sound.” Maybe there’s more of this Jamaican patois in the DJ so we have the Jamaican roots of hip-hop represented. Maybe we have this really amazing beat that can add this ballroom culture and have this queer, trans [vibe]. We were going for all of these vibes that would be legitimate for a pop listener.
As you’re saying, there are so many different musical styles on Warriors. Which was the hardest to get right, and which was the most fun to play with?
Miranda: They were all fun. The most joyous probably was going down to Miami to record with Marc Anthony and his orchestra. It would not sound as good as it does if we had not gone down to where Marc plays. We came in with a fully finished demo but by the time Marc is translating it to his orchestra with Sergio [George], his righthand man, he found another level of authenticity. Writing all of these was enormous fun. I think the one people will be most surprised by, considering what they’ve heard of my work, is our metal song, “Going Down,” with Luther. But I’m a big metal fan. The challenge was not so much writing the song and not blowing my voice out on my demo — because I don’t have a screamo voice — but finding the person to play Luther. My metal gods are all my age or older. (Davis laughs) We went to Atlantic and said, “Who is the next great metal singer we don’t even know about yet?” And I think Kim Dracula is one of the great discoveries of this album. Everyone who listens to this leaves going, “Who the f–k was that? And how can I hear more of that?” That was an exciting discovery.
Davis: Like Lin said, everything was so fun. It was wonderful to spend a week and a half with our Warriors, because they’re such dear friends, and hearing this gel together and sing was something only they could do. Another thing that was so joyful was to be with Mike Elizondo, our producer, at his studio, and being able to work with his band. What was challenging for me, as someone who does not have the same experience and Lin and Mike, was making sure the ideas of everything I heard was something I could articulate and share with all of our artists. Everything was so clear in how I could hear it, but how could I share how to get there? I had a nice learning curve.
I love that you flipped the Lizzies into the Bizzies, a boy band. Did you use any particular boy bands as sonic touchstones for that?
Miranda: We wanted to do the boy band to end all boy bands. The Voltron of boy bands, if you will. The Megazord. We wanted to connect New Edition all the way to Stray Kids and back again. You have Stephen Sanchez holding down the gorgeous falsetto crooner at the top; you have Joshua Henry holding down the soulful Boyz II Men era vocals; you have Timothy Hughes holding down the bass; and then Daniel Jikal representing the new school of hip-hop.
I love that you included K-pop boy band music on this, because that is the new school.
Davis: That was a flash of genius on Lin’s part. Of course, he doesn’t speak Korean….
Miranda: (laughs) How dare you tell them that!
Davis: We went to Helen Park, who is an incredible composer, and she dropped that instantaneously.
How much direction did you give her?
Miranda: We painted the picture for her: This needs to be the come on to end all come-ons, but then at the end, you sneak in the phrase “you killed our hope.” The folks who speak Korean will have a head start on how nefarious this gang is.
Ms. Lauryn Hill portrays the DJ on this, which is wildly impressive. At what point in the process did she enter?
Miranda: It was the first song we wrote. We had no plan B. We wrote it to Lauryn Hill’s voice. Essentially, we sent her manager a love letter from me and Eisa, the track and some test vocals for her to fill in however she pleased. And we stayed in touch. I learned from her manager she was an admirer of Hamilton. That kept the door from being all the way shut.
Davis: And then we prayed.
Miranda: And then a lot of prayer until one day the Dropbox came and it had all the vocals. It was so much better than we even imagined. The fact that she trusted us and sang the song we wrote will always be among the greatest honors of our careers, but then added so much of herself to it, added background vocals. She’s a co-producer on that track and she earned every bit of it.
I know you said making this a recording allowed you a certain freedom, but are you considering a staging?
Miranda: Yeah. It was an enormous privilege to be able to write it this way. This caliber of world-class talent, it’s hard to get them in the same room at the same time much less on a stage eight times a week. The fact that we get these fingerprints on these roles is incredible. And you’re talking to two theater artists. Of course, we’d love to imagine continuing to work together and what the next incarnation could be, but what we really love is that everyone gets the thing we made on Friday. It’s not a recording of the thing we made that you have to be in New York to see. Everyone gets it at the same time. As someone who lived through both Hamilton cast album going around the world and the relative inaccessibility of Hamilton because we could only serve 1400 people at a time, it’s enormously gratifying to give everyone the same gift at the same time.
Davis: If there’s a show, it’s a discrete thing. The album is its own thing and if we have a show, it’s its own thing. It’s another level of adaptation, just like we adapted the film. This is its own thing.
Final question for you both. In the movie, which is your favorite gang and why? And you can’t say the Warriors.
Davis: What’s the gang that puts their tokens in?
Miranda: (Laughs, coughs) In the opening montage, there is one gang that’s very courteously [entering the subway] like they’re on a school trip.
Davis: They’re like, “We’re going to uphold the social compact on the way to a meeting of gangs across the city.”
Miranda: My favorite gang is the Turnbull AC’s. The Turnbull AC’s walk to a Mad Max: Fury Road vibe. And a converted school bus of bats and chains is the most terrifying, awesomest thing.
