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When Cai Xukun — the 26-year-old Chinese singer-songwriter better known as KUN — began working on his smash single “Afterglow,” he wanted to capture fleeting moments of change by connecting time and space with art and fashion. “I pondered for a long time about what kind of word could represent this imagery and mood,” he says. “Finally, the word ‘afterglow’ came to mind. We often see this scenery during various travel moments — including while driving; it represents our feelings in that instant. I chose this theme and combined it with some of the images in my mind: models on the runway, flashing lights, shifting time and space and changing people.”
“Afterglow” immediately connected with audiences. On its release day in early June, the song achieved a score of over 95 on the Tencent Music Uni Chart, which aggregates data from nine major platforms and over 100 radio stations. The song remained on the chart for 10 weeks and became the fastest song to receive gold certification on the Tencent chart; it also made the June edition of the Tencent Music Wave Chart, which is voted on by over 200 Chinese music industry professionals. That success has informed his selection as China’s representative for Billboard’s Global No. 1s, as chosen jointly by Tencent Music Chart and Billboard China.
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KUN created “Afterglow” with soul and rock sounds, and his integration of modern and classic production influences helped to give the song a timeless feel. And the song’s success marks the beginning of a new musical phase for KUN. “In my upcoming works, I will include some classic or modern elements,” he says. “I hope everyone can gradually sense a recognizable style in my music.”
In fact, several new singles KUN released in 2024 represent his fresh musical explorations. For instance, “Remedy” features clean piano sounds paired with a vintage vocal style, revealing his more minimalist side. It also reflects his listening habits: “I often enjoy classic songs, especially in quiet moments alone, listening to music and savoring that dialogue with myself,” he says.
While his previous works were warmer, KUN’s 2024 release “RIDE OR DIE” introduces a sound that’s new for him. “This song serves as a signal I’m conveying, heralding a transformation in my future musical style,” he says. “I believe it is essential to present something distinct to my audience, which has always been my aspiration. Consequently, the production process for ‘RIDE OR DIE’ extended over a considerable period and traversed numerous iterations, aiming to express the ‘stormy night’ concept that has long resided in my heart.”
KUN photographed for the Billboard China Global No. 1s Issue.
Tianyao Wang/Billboard China
Looking ahead, KUN plans to continue to expand his online live concept Art Lab, chronicling his growth and reflecting his changes from year to year — while strengthening his connections with audiences. “I can feel their enthusiasm, and they can feel my energy,” he says of his live performances. As time progresses, KUN is learning to “enjoy the process,” he adds. “Whether you genuinely enjoy the experience or merely fulfill a task can yield entirely different results. I believe that embracing this journey is paramount.”
Now, KUN is relishing a journey of “accumulation.” He’s preparing for a long journey ahead and accumulating new musical energy that he plans to direct toward producing more great songs. “This year, through the process of production and performance, I have engaged in numerous discussions and collaborations with various artists, which have profoundly influenced my personal perspectives and aesthetics,” he says. “Next year is likely to be a year where I unveil the fruits of my introspection.”
As Chinese artists increasingly gain international acclaim, KUN believes that the intersection of music across diverse cultures transcends language and geography, fostering cultural exchange. “I aspire for more individuals globally to experience music that is authentically ours as Chinese,” he says. “This has consistently been my ambition.”
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With more than three decades of the Hip-Hop game under his belt, Busta Rhymes is one of the few remaining MC’s from the golden era that can still go bar-for-bar with your favorite rappers today and absolutely destroy them.
Demonstrating as much in his latest visuals to “Unleash Me,” Busta Rhymes finds himself chained up in a dungeon before morphing into a man-beast and taking to the streets which is experiencing an apocalyptic event of biblical proportions.
Meanwhile fellow Brooklynite Troy Ave is doing what he can to rep for his hood and for his clip to “Blood Money,” the BK rapper utilizes an eerie red atmosphere to get into that mode and spit his bars and keep the streets buzzing.
Check out the rest of today’s drops and some joints you might’ve missed over the weekend including work from Polo G, Paul Wall, and more.
BUSTA RHYMES – “UNLEASH ME”
TROY AVE – “BLOOD MONEY”
POLO G – “THUG MEMORIALS”
PAUL WALL – “POCKET FULLA MONEY”
ROCKNESS MONSTA – “WINNERS CIRCLE”
A$AP TWELVYY – “AIN’T GON CRY”
ROD WAVE – “HARD TRUTH”
MARIO – “KEEP GOING”
As the chapter of who was responsible for 2Pac‘s death finally closes with the arrest of Keffe D, more stories from that fateful night are being told.
Young Noble of the Outlawz, who frequently collaborated with the late rapper and actor — sat down with The Art of Dialogue to talk about Pac’s final days in the hospital after he was shot in Las Vegas after a Mike Tyson fight in 1996.
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He began talking about the day the Notorious B.I.G. got shot in Los Angeles by revealing that the group had recently signed to Death Row and that he remembered them getting kicked out of a hotel after the staff accused them of pimping due to “too much female activity.” Noble then recalled watching the news about Biggie and feeling like “hip-hop was dying.”
Adding, “This ain’t how it’s supposed to be. We didn’t wish that on Biggie or nothin’ like that. It felt devastating,” before acknowledging that some members of the Outlawz were featured on 2Pac’s “Hit ‘Em Up” where he dissed Big.
Towards the end of the interview, Noble started speaking on being there with Pac in the hospital. “I was right there, front and center,” he said before referring to the longstanding rumors that the late rapper allegedly faked his death and moved to Cuba.
“Let them tell it, he’s still alive underground like Bin Laden somewhere hiding or in Cuba… Nah, he really died. I really was in the hospital. I really saw him with tubes in his body. I really saw his body full of fluid real big. He wasn’t skinny with the six-pack; his body was full. He really f—king died on us.”
The New Jersey rapper then claimed Pac’s mother made the decision to “let her son go,” saying, “He probably could have lived. His momma said, ‘Nah, f—k all that. I think he lost his finger, he was gonna lose a lung, they were gonna do all these surgeries. You know how strong your momma gotta to be to say, ‘Damn, he’s probably could make it. I don’t want my son to endure no more pain in this world. Y’all tear him down.’ That sh—t is devastating.”
He then added, “She let her son go. ‘Pac ain’t die; Afeni said, ‘Let my son fly,’” before getting emotional and walking off set as he continued to talk about how his friend’s life has been “dissected” since his untimely passing.
You can watch the full clip below.
Ariana Grande has brought the magic to Wicked as Glinda the Good Witch — and even snagged a Golden Globe nomination for her performance. One person who is particularly happy for her is Amanda Seyfried, who also auditioned for the coveted role. Explore Explore See latest videos, charts and news See latest videos, charts and […]
We caught up with Sexyy Red at Rolling Loud Miami 2024 and she talks us through her passion for lip gloss, her new line of gloss and more! Meghan Mahar: Hey, Billboard, it’s Megan Mahar, and I’m here with Big Sexyy at Rolling Loud. Sexyy Red, how are you doing? Sexyy Red: I’m doing awesome. How […]
A Lionel Messi-inspired animated series will soon premiere on Disney Channel after Disney Branded Television acquired Messi and the Giants from Sony Music Vision and Sony Pictures Television – Kids, Billboard has learned.
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The sci-fi animated show follows a 12-year-old boy named Leo, who is transported from his home in Argentina into an alternate universe. The series will demonstrate how the character faces adversity, builds a team, and discovers how to become a hero.
“I always dreamed of being involved in a project that would share the values of sports, the very same values that have been so important to my career, with younger generations,” Messi expressed in a press release. “Nothing truly is impossible with teamwork, perseverance, discipline, and hard work. I look forward to sharing this series with kids around the world, and I hope I will inspire them and motivate them to achieve their own dreams. Ever since I was a kid, I always loved animated series, and I look forward to watching this series with my own kids.”
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Each episode of Messi and the Giants is 22-minutes long and will premiere on Disney Channel, followed by Disney Channel On Demand and globally on DIsney+, and will be available in English, Spanish and other languages.
Messi and the Giants
Disney
“Football — or soccer as we call it in the United States — is the world’s most beloved sport, uniting and captivating millions of fans of all ages,” noted Ayo Davis, president, Disney Branded Television. “We are proud to work with Lionel Messi and Sony Pictures Television to bring ‘Messi and the Giants’ to our passionate, global kids’ audience. We know that its themes of family, friendship, and teamwork will resonate with not only football enthusiasts but everyone everywhere who loves a great story.”
“It’s been a privilege to team with Leo and our colleagues at Sony Music on this first-time collaboration,” Joe D’Ambrosia, EVP and general manager, Sony Pictures Television – Kids added. “We’re thrilled that Disney is giving a global platform to this fun take on a classic tale and look forward to launching a global consumer products and branded partnerships program alongside the show’s debut.”
“There is an incredible team all working together on this project, with Leo’s magic as the inspiration behind it all,” said Afo Verde, Chairman & CEO, Sony Music Latin Iberia. “We are thrilled that Disney has now joined our roster to help bring this imaginative series to audiences and inspire fans all around the world.”
To date, Messi is the only athlete in the world to win eight Ballon d’Or Awards and six Golden Boots. In July, he joined the MLS team Inter Miami.
Guy Toubes will serve as executive producer, and Atlantis Animation, and director Dan Creteur will serve as the show’s animation studio. The series was developed by Toubes and Creteur under the creative direction of Sony Music Vision and SPT – Kids, in partnership with Messi.
André 3000 and Beyoncé have teamed up for collaborations in the past and he even named a song after Queen Bey on his New Blue Sun album.
The Hollywood Reporter caught up with Three Stacks on Monday (Dec. 16) for a rare sit-down interview, where he reflected on working with the pop icon.
“Really just being excited about working together because we performed together during the ‘Hey Ya!’ times in England [in 2003],” the Outkast legend recalled. “That was some of the first times I’ve met her, so being able to record, I think we’ve always had respect for each other and been fans.
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He continued: “To be reached out by Beyoncé, ‘Hey, can you get on this song?’ I’m like, ‘Hell, yeah, you know I’m with it.’ Yeah, it was a cool musical family thing. I think people from a certain era, we have a kinship.”
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Three Stacks and Bey joined forces for “Back to Black” from The Great Gatsby soundtrack in 2013 and “Party” a couple of years prior. He detailed the vision of naming his “Ninety Three ‘Til Infinity And Beyoncé” after the Houston-bred music deity.
“The title was really a play on words, just referencing things that I was into,” he began. “Souls of Mischief, one of their most famous songs was called ’93 ‘Til Infinity,’ and that’s when I was coming out of high school. That was one of my favorite rap tracks. Then I thought it was funny to put that together with a Toy Story proclamation, ‘Until infinity and beyond.’”
Dre even received Jay-Z and Bey’s blessing: “That was a thing that the character would say in the movie, and I would say, “Why not Beyoncé?” It was funny; it was a play on pop culture stuff. I reached out to Jay-Z and Beyoncé and asked if it was cool. She’s like, ‘Yeah.’ So I was happy.”
Elsewhere in the interview, André 3000 voiced his frustration with the media continuously referring to New Blue Sun, which is nominated for album of the year, best alternative jazz album and best instrumental composition at the 2025 Grammy Awards, as a “flute album.”
“The media has touted it as this flute album and I think it’s a misrepresentation of the album,” he said. “It’s way more than a flute album. They belittle it by calling it a flute album because there are actual flutists that have made flute albums, like Jethro Tull and Paul Horn. I think it could be a turnoff to some people if they think, ‘Yo, he’s just in a room playing this flute.’”
The extreme metal tour Chaos & Carnage has returned for its sixth year on the road with veteran death metal outfit Dying Fetus leading the 16-date tour of clubs and theaters alongside longtime British metalheads Cradle of Filth.
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Both bands have long been staples of the black metal and grindcore scenes dating back to the early 1990s, and Chaos & Carnage is a touring project created by industry veterans Jason Malhoyt of Imperial Artist Management and agent JJ Cassiere, who launched indie booking agency 33 And West in 2018.
Dying Fetus and Cradle of Filth are joined on the 2025 Chaos & Carnage Tour by five support acts, including Italian symphonic death metal outfit Fleshgod Apocalypse, Australian progressive metal six piece Ne Obliviscaris, New York metal group Undeath along with newcomers Vomit Forth and Corpse Pile.
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Originally launched in 2018, Chaos & Carnage is slated to play its sixth tour this year as a showcase for the elite of heavy metal and black metal, with past headliners including Whitechapel, Carnifex, Suicide Silence, Cattle Decapitation, Lorna Shore, Humanity’s Last Breath and more.
Tickets go on sale Friday, Dec. 20, at 10 a.m. local time. VIP upgrades are available Monday, Jan. 6, at 10 a.m. local time, exclusively at ChaosAndCarnage.com.
Chaos & Carnage 2025 Tour Dates are below:
April 17 – Berkeley, CA @ UC TheatreApril 19 – Los Angeles, CA @ The WilternApril 20 – Phoenix, AZ @ The Van BurenApril 22 – Albuquerque, NM @ El Rey Theater 04/24 Dallas, TX @ Granada TheaterApril 26 – San Antonio, TX @ Vibes Event Center 04/27 Houston, TX @ House of BluesApril 29 – Nashville, TN @ Brooklyn BowlMay 1 – New York, NY @ Palladium Times Square 05/02 Richmond, VA @ The NationalMay 3 – Reading, PA @ ReverbMay 4 – Worcester, MA @ The PalladiumMay 6 – Montreal, QC CAN @ L’OlympiaMay 7 – Toronto, ONT CAN @ RebelMay 8 – Pontiac, MI @ The CrofootMay 9 – Chicago, IL @ RadiusMay 10 – Des Moines, IA @ Val Air BallroomMay 12 – Wichita, KS @ Temple LiveMay 14 – Denver, CO @ Fillmore Auditorium
In the world of electronic dance music, the West has long led the way with its frequent collaborations, driving technical advancements and making electronic music culture popular worldwide. Inspired by Western electronic music culture, ZHANGYE, in collaboration with Cyanhill Music, has created the CHINA EDM Vol.1 compilation, marking a new chapter in Chinese electronic dance music.
This compilation features not only exclusive tracks from top producers such as BEAUZ, CORSAK, Panta.Q, and WILLIM, but also selects other tracks from hundreds of contributors, showcasing the diversity and vitality of Chinese electronic music.
The release of the CHINA EDM Vol.1 compilation is not only a summary of the development of Chinese electronic dance music, but also a new beginning. Crafted to international standards, it aims to promote the works of outstanding Chinese producers on the world stage. On Nov. 29, this musical feast was spectacularly staged at the Escape deLux nightclub in Amsterdam, Netherlands, under the theme of “CHINA EDM NIGHT,” marking a significant step in the global journey of Chinese electronic music.
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“CHINA EDM NIGHT” was an unprecedented performance featuring “Beats from the East,” bringing the rhythm of the Orient to the Western stage. This event was a live rendition of the CHINA EDM Vol.1 compilation and a significant showcase of Chinese electronic music culture to the world. The performance took place at the renowned Amsterdam nightclub Escape deLux, known for its unique atmosphere and high-quality music events.
To ensure that the “CHINA EDM NIGHT” performance garnered more attention in the Netherlands, the organizers put significant effort into promotion. Offline advertising reached close to 4,000 advertising spaces, including large billboards, metro stations, hotels and public notice boards, promoting the compilation, artists and the event activities comprehensively to ensure that the performance information reached every potential audience member.
The release of the CHINA EDM Vol.1 compilation and the staging of the “CHINA EDM NIGHT” performance mark a significant step for Chinese electronic dance music on the global stage. This is a collective showcase of Chinese electronic music producers, as well as an international dissemination of Chinese electronic music culture.
CORSAK
Courtesy of CORSAK