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The creators of the hit Broadway play Stereophonic have reached a settlement to resolve a copyright lawsuit claiming they stole elements of the show from a memoir about the infamous recording of Fleetwood Mac’s Rumours.
The deal will resolve a case, filed last month by music producer Ken Caillat, that called playwright David Adjmi’s Tony Award-winning show an “unauthorized adaptation” and “willful infringement” of the 2012 book Making Rumours, a memoir detailing his work on the famed album.
In a court filing Tuesday, attorneys for both Caillat and Adjmi said that they had “resolved the dispute in principle as to all claims and defendants, and are working to commit their agreement to writing.” And in a brief order, the judge seemed pleased that the case would not be moving forward.
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“I cannot say I am surprised by this news but it is the wisest resolution for all concerned,” Judge Colleen McMahon wrote. “Feel free to come in and (hopefully) memorialize the settlement [at a hearing later this month].”
Terms of the deal were not disclosed in court filings, and neither side immediately returned requests for comment.
Stereophonic debuted on Broadway last fall, eventually winning five Tony Awards including best play, best direction of a play and best featured actor in a play. Featuring the music of Arcade Fire’s Will Butler, it tells the story of a fictional rock band struggling to record an album in the mid-1970s.
Critics quickly noted the similarities to the difficult process behind Fleetwood Mac’s Rumours, which featured high tensions and heavy drug usage. A reviewer for the Wall Street Journal said the play was “fictionalizing Fleetwood Mac”; another critic said the play “isn’t literally about Fleetwood Mac, but c’mon.”
In their Oct. 2 lawsuit, Caillat and co-author Steven Stiefel said the hit play “presents a nearly identical story arc as Making Rumours,” told from the same perspective of a sound engineer in a recording studio, about five characters who are “undeniably analogous to the members of Fleetwood Mac.”
“Stereophonic is undoubtedly a play based on plaintiffs’ memoir Making Rumours because substantial similarities exist between the two works, a reality that has been independently confirmed by those familiar with plaintiffs’ book who have also had the opportunity to review the play,” the duo’s lawyers wrote at the time.
If the case had gone to trial, it would have presented tricky legal questions. Under U.S. law, historical events cannot be monopolized under copyrights, and nobody can claim exclusive ownership over the real story behind the making of Rumours. But specific creative elements of how such a story is told can be protected by copyrights, and film, TV and stage producers often license non-fiction books as the basis for their works.
Caillat and Stiefel claimed that Adjmi copied those exact kinds of creative choices when he created his play, saying show depicted not just a historical event but did so “as it is described in Making Rumours.”
Cara Donatto has been appointed executive vp of media strategy for Atlantic Music Group (AMG). In her new role, the Los Angeles-based music industry veteran will oversee publicity and communications strategy and execution as she collaborates with artists across the company’s roster and label brands.
The new appointment reunites Donatto with her former alma mater. Prior to her most recent post as executive vp, head of media strategy & communications at Interscope Geffen A&M since 2019, Donatto served as Atlantic’s senior vp of publicity.
In an announcement release, Atlantic Music Group CEO Elliot Grainge said, “Cara is one of the most experienced, impactful and well-liked people in our business. Over the past two decades, she’s played an essential role in the long-term development of a string of chart-topping artists, while building invaluable relationships at every level of the music and media community. I’m pleased to welcome her to our new Atlantic leadership team, and I know her many friends at the label are very happy to have her back.”
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“I’m incredibly excited to return to Atlantic Music Group as the company begins a dynamic new chapter,” stated Donatto. “I’m thrilled to reunite with so many amazing artists I’ve worked with previously, as well as help build the careers of the label’s fantastic new signings and collaborate with the AMG team. I want to thank Elliot for this wonderful opportunity. This feels very much like both a homecoming and a brand new adventure.”
Among the acts on AMG’s roster are Bruno Mars, Cardi B, Coldplay, Charli XCX, Ed Sheeran, Lizzo and Rosé. Mars, in addition to Janelle Monáe and Missy Elliott, were among the various artists that Donatto worked with during her earlier Atlantic tenure.
During her five years at Interscope Geffen A&M, Donatto oversaw media strategy for a roster that included Billie Eilish, Dr. Dre, GloRilla, Kendrick Lamar, Lady Gaga, Reneé Rapp and Olivia Rodrigo. She also supervised the company’s Grammy and Oscar Awards strategy and campaigns. Before starting her first tenure with Atlantic, Donatto was director of media & artist relations at Island Def Jam Records. Before that, she served as manager of publicity for Vibe and Spin.
Multiplatinum country singer/songwriter/producer Chris Young has signed with Black River Entertainment’s Black River Records roster.
Joining Black River marks a major career shift for Young, who had previously been with Sony Music Nashville’s RCA Nashville imprint since the start of his career, signing there in 2006.
Young has released nine studio albums, amassed over 9 billion on-demand streams, notched 11 Billboard Country Airplay chart-topping songs and has earned numerous ACM, CMA, CMT and Grammy Awards nominations. He’s won two CMT Music Awards for performance of the year (for his song “Drowning”) and collaborative video of the year (for the “Famous Friends” music video with Kane Brown).
This year, the Grand Ole Opry member registered another Country Airplay top five with “Young Love & Saturday Nights,” the title track to his most recent album, which was released in March.
“Nineteen years is an amazingly long time to have a career, much less be at one place with one team,” Young told Billboard. “This is the next chapter for me and I couldn’t be more excited to be where I’m at.”
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Young says his deal with Sony ended around September. “I had the chance to be a free agent. I felt sort of like an athlete a little bit,” he says. “I was prepared to take all these [label] meetings, and I went in and [Black River Records] were the first meeting. By the end of that meeting, I told them, ‘I want to be here.’”
Black River Records is also home to artists including five-time Grammy nominee Kelsea Ballerini, Scotty Hasting, Pryor Baird and MaRynn Taylor.
Though Young is the newest addition to the Black River Records roster, he has long had ties to the company. His 2012 song “Neon” was an early Black River Publishing cut, and he recorded his albums I’m Comin’ Over and Losing Sleep (both of which debuted at No. 1 on the Top Country Albums chart), as well as his holiday album It Must Be Christmas, at the company’s Sound Stage Studios.
Young hints there is new music already on the way.
“[Black River] had done their research and they were like, ‘We want you to be part of this group. We’re ready to go to work immediately.’ And I gave them a dropbox with 20 songs in it,” Young recalled.
Black River Entertainment president and CEO Gordon Kerr tells Billboard, “I really do think his music is the soundtrack to a generation of country music. I’ve heard some of the music that’s coming and he’s going to deliver on that… I’m so grateful to RCA and [former label head] Joe Galante and the staff for pouring into Chris for 19 years. That’s really important for us to be able to give them the kudos and respect, because they helped Chris build that. For us, the future is to say that we are going to take that and build on it.”
Earlier this year, Young made another career shift, switching management from The AMG to Red Light Management, with Kailyn Finnegan serving as Young’s manager.
Now heading into 2025 with a new label deal in place, Young says, “I really do feel like it’s set up to be an incredible year. I’m really happy and excited for the beginning of next year, for everybody to hear all this.”
Palestinian American producer DJ Habibeats has signed with San Francisco-based record label, publisher and distributor EMPIRE. The artist, who’s based in Los Angeles and grew up in the Bay Area in a family originally from Ramallah, Palestine, began producing dance music as a teenager. During his rise, he’s had residencies at venues throughout California and […]
Primary Wave has partnered with Itzhak Perlman, buying a stake in the violinist’s royalties from the dozens of recordings he has issued or appeared on in his five-decade-plus career, the company tells Billboard. The agreement also includes image and likeness rights. Terms of the deal were not disclosed.
According to Luminate, Perlman’s U.S. album consumption totals about 469,000 units. He’s also received 47 Grammy nominations, winning 16 times, according to Primary Wave. Other honors include a Presidential Medal of Freedom, a National Medal of Arts, a Medal of Liberty, four Emmy Awards, a Kennedy Center Honor and a Grammy Lifetime Achievement Award.
As part of the deal, Primary Wave’s marketing team and publishing infrastructure will work closely with Perlman on new marketing, branding, digital and synch opportunities, as well as film and TV projects.
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“I am excited to work with Primary Wave to see what plans they develop to take care of my recordings and to see what new opportunities they bring to the table,” Perlman said in a statement.
The deal covers such recordings as “Vivaldi: Four Seasons – Spring,” “Vivaldi: Four Seasons – Winter” and “Vivaldi: Four Seasons – Summer” as well as “Black Orpheus: Manha De Carnaval,” “24 Caprices, Op. 1,” “Concerto For Violin and Orchestra I,” “Violin Concerto, Op. 35” and others.
“Itzhak Perlman is hands-down the greatest violinist of our time,” Lexi Todd, vp of business & legal affairs at Primary Wave, said in a statement. “It is a true honor to have had the pleasure to work with Mr. Perlman and his team on this partnership, and we are all looking forward to working together on new opportunities to spread his undeniable musicianship and his incredible story.”
As we look toward 2025, ’tis the season to look back at your 2024 music listening habits with Spotify Wrapped, the annual breakdown of how you’ve been individually listening to music throughout the year.
While Spotify Wrapped is available for anyone with an account, sometimes, it can be hard to find. Don’t worry, though, Billboard‘s got your back. As usual, the 2024 Spotify Wrapped will be Spotify mobile app, which you can download at Spotify.com/Wrapped. Make sure you have the latest version, which you’ll need to access Wrapped. Just like last year, the platform is making Wrapped available via desktop and mobile, also at Spotify.com/Wrapped.
Once you’ve logged in, your personalized look back at 2024 should appear at the top of your home screen. After watching and learning about your listening habits throughout the year, you’ll be able to share your Wrapped results to social media to show off to your friends.
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This year’s edition rolled out on Wednesday morning (Dec. 4) and, no surprise, Taylor Swift and Sabrina Carpenter were among the artists who dominated on the streaming service in 2024. Swift closed out her huge year as 2024’s most-streamed artist, generating over 26.6 billion streams globally — marking two straight years of her topping the tally — with The Weeknd coming in second among artists, followed by Bad Bunny, Drake and Billie Eilish.
To celebrate Swift’s two-fer, Spotify rolled out a special Wrapped badge on her profile as well as custom animations corresponding to her music, including sparkles to match Fearless (Taylor’s Version), seagulls for 1989 (Taylor’s Version) and more. Swift also had Spotify’s top-streamed album of the year with her 15-week Billboard 200-topper The Tortured Poets Department.
Second place on the albums list was Billie Eilish’s Hit Me Hard and Soft, followed by Carpenter’s, Short n’ Sweet, Karol G’s MAÑANA SERÁ BONITO and Ariana Grande’s Eternal Sunshine. All five of the app’s top albums spent time at No. 1 on the Billboard 200. In addition, Carpenter’s “Espresso” snagged the most listens globally in 2024, racking up more than 1.6 billion streams. Just behind was Benson Boone’s “Beautiful Things,” Billie Eilish’s “Birds of a Feather,” FloyyMenor and Cris Mj’s “Gata Only” and Teddy Swims’ “Lose Control.”
If you weren’t able to make it out to the Brooklyn Public Library last year to check out the 40,000 square-foot “The Book of HOV” exhibit honoring the legacy of Jay-Z, high-end publisher Assouline has the perfect stocking stuffer for you. Explore Explore See latest videos, charts and news See latest videos, charts and news […]
It’s the end of the year, so that means it’s time to see what lists Taylor Swift is topping as we all reflect on 2024. And, no surprise, the singer who has dominated the charts, the box office, touring and our bookshelves over the past 12 months is at the pole position on yet another year-end tally.
According to the Associated Press, Yale University’s list of 2024’s most notable quotations is, of course, ruled by Swift’s quip endorsing failed Democratic presidential candidate Vice President Kamala Harris. As you might recall, kitty lover Swift threw her fedora in the ring for Harris in an Instagram post in September that she signed “Taylor Swift Childless Cat Lady.”
The zinger was a response to a comment made by Vice President-elect JD Vance several years ago, when he described Democrats as being beholden to “a bunch of childless cat ladies who are miserable at their own lives and the choices that they’ve made and so they want to make the rest of the country miserable, too.”
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Number two on the list was President Biden’s Dec. 1 announcement that he’s pardoning his son Hunter — “Today, I signed a pardon for my son Hunter” — followed by a false claim from President-elect Donald Trump during his only debate with Harris. “In Springfield, they’re eating the dogs, the people that came in. They’re eating the cats,” Trump said, boosting an untrue rumor spread by his campaign about Haitian immigrants in the small Ohio town that resulted in a number of bomb threats, harassment and the cancellation of school days for children in the city.
Trump was also at No. 5 on the list with his “Fight! Fight! Fight!” rallying cry after his ear was grazed by a bullet during a rally in Butler, PA. Minnesota Gov. Tim Walz, Harris’ running mate, slipped into the No. 4 slot with his misstatement “I’ve become friends with school shooters,” after trying to refer to befriending school shooting survivors.
“Please note that the items on this list are not necessarily eloquent or admirable quotations, rather they have been picked because they are famous or important or particularly revealing of the spirit of our times,” said the annual list’s curator, Fred Shapiro, associate director at the Yale Law Library.
Right wing Georgia Rep. Marjorie Taylor Greene’s October post falsely claiming “Yes they can control the weather,” in reference to her endorsement of a conspiracy theory claiming that the government used weather control technology to aim Hurricane Helene at Republican voters was at No. 6, followed by Kansas City Chiefs kicker Harris Butker’s May 11, commencement address at Benedictine College in Kansas in which he told women that they “may go on to lead successful careers in the world, but I would venture to guess that the majority of you are most excited about your marriage and the children you will bring into this world.”
FloyyMenor and Cris MJ‘s “Gata Only” was the top song on TikTok globally in 2024. “Gata Only” also cracked the top 10 in the U.S., according to the platform’s announcement on Wednesday (Dec. 4), although Tommy Richman‘s “MILLION DOLLAR BABY (VHS)” was the biggest TikTok song stateside.
Catalog songs did not appear to perform as well on the app in 2024. In the U.S., almost every one of the top tracks was new, with the exception of Blood Orange’s “Champagne Coast,” a gauzy, yearning cut from 2011.
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In 2022, in contrast, catalog accounted for four of the top 10 songs in the U.S.: Pharrell’s “Just A Cloud Away,” Labrinth’s “Forever,” WILLOW’s “Wait a Minute!” and Kate Bush’s “Running Up That Hill (A Deal With God).” And in 2023, older songs like Justine Sky’s “Collide,” PARTYNEXTDOOR’s “Her Way,” and Taylor Swift’s “Cruel Summer” were embraced by TikTok users, rocketing into the platform’s top 10.
At the same time, sped-up tracks did not have as much success on TikTok as they have had in the past, despite other streaming platforms’ growing interest in trying to tap into the sped-up craze. In 2023 in particular, the four most popular songs on TikTok in the U.S. were all sped-up. But this year, no sped-up songs appeared in the top 10 Stateside — or in the U.K., or in the global ranking.
“Gata Only” initially became popular in Chile — Floyymenor’s home — before spreading to Mexico, Argentina, and the rest of Latin America, according to Mike Weiss, head of A&R at UnitedMasters, which signed the singer. “After the regional growth, TikTok became the springboard that pushed the song into the U.S.,” Weiss continues. “The real moment when non-Spanish speakers started using the sound with videos like ‘POV: You don’t speak Spanish but can’t stop listening to this song.’”
That trend was soon launching 30,000 videos per day. “Next thing we knew,” Weiss says, “‘Gata Only’ was huge in Italy, France, and everywhere around the world, even places where you wouldn’t expect a Spanish language song to explode.”
Alongside FloyyMenor’s breakout single, other major hits on TikTok in the U.S. include Ye and Ty Dolla $ign’s “Carnival” and Lay Bankz’s “Tell Ur Girlfriend.” Along with “Champagne Coast” and “Million Dollar Baby,” this means that half of the Top 10 were releases from independent labels. (Though parts of the indie community currently have a contentious relationship with TikTok.)
“Tell Ur Girlfriend” went viral in part thanks to a dance trend — a throwback to an earlier time on TikTok. “These young girls made this amazing dance, and we started to spend heavily on it, having influencers do it,” recalls Alec Henderson, head of digital at Artist Partner Group, which signed Bankz. “Most of last year and the first half of this year, dancing was not what was popular on TikTok anymore. This one brought that nostalgia-dancing thing back to life.”
Bankz, FloyyMenor, and Richman were dominant in the U.S. and also appeared in the top 10 globally. Billie Eilish was the only other artist to manage this, with her glossy hit “Birds of a Feather.”
U.S. Top 10 TikTok Songs:“MILLION DOLLAR BABY (VHS)” – Tommy Richman“CARNIVAL” – ¥$ & Kanye West & Ty Dolla $ign feat. Rich The Kid & Playboi Carti“Tell Ur Girlfriend” – Lay Bankz“Type Shit” – Future & Metro Boomin & Travis Scott & Playboi Carti“Never Lose Me” – Flo Milli“Champagne Coast” – Blood Orange“BIRDS OF A FEATHER” – Billie Eilish“Magic Johnson” – ian“TGIF”- GloRilla“Gata Only” – FloyyMenor & Cris MJ
Global Top 10 TikTok Songs:“Gata Only” – FloyyMenor & Cris MJ“Pedro” – Jaxomy & Agatino Romero & Raffaella Carrà“Alibi” – Sevdaliza feat. Pabllo Vittar & Yseult“MILLION DOLLAR BABY (VHS)” – Tommy Richman“Tell Ur Girlfriend” – Lay Bankz“La Diabla” – Xavi“Nasty” – Tinashe“BIRDS OF A FEATHER” – Billie Eilish“Forever Young” – Alphaville“Beautiful Things” – Benson Boone
The vibrant, graffiti-washed streets of Shoreditch form the nexus of Nia Archives’ world. Teeming with a mix of giddy twentysomethings and bankers looking to dance and release pressure at kitschy nightclubs, the east London neighborhood has been pivotal to the 25-year-old’s rise since she first moved from Manchester to the capital three years ago.
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Between hosting raves at pubs, rooftop dance parties and a local multi-arts space, Archives has immersed herself in every community hub or wild Shoreditch has offered her. Last year, her close affinity with the area was immortalised in mural, when an 80-square-meter image of Archives was created to celebrate the release of her third EP, Sunrise Bang Ur Head Against Tha Wall.
Eighteen months on, when the Bradford-born artist dials in for her Billboard UK interview, her apartment stretches out behind her on our Zoom call. Every inch of visible wall space has art on it, from a framed cover of Aphex Twin’s Windowlicker LP to a ‘Pour Yourself a Junglist’ print, in homage to the iconic Guinness Toucan advertising campaign.
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Like her winsome take on jungle, it is decorated with curiosities across varying aesthetics, but the space looks invitingly lived-in. Archives, born Dehaney Nia Lishahn Hunt, released her debut album, Silence Is Loud, via Island Records in April, which peaked at No. 16 on the Official U.K. Albums Chart before earning a nomination for the prestigious Mercury Prize. The 13-track collection documents her in a state of messy uncertainty. Themes including complex familial bonds and self-esteem are layered over elements of pop, indie and drum ‘n’ bass, broadening her sound without sacrificing brevity.
Archives debuted as a soft-spoken but animated producer with her first single “Sober Feels” in 2020. She has since gone on to have a tectonic impact on U.K. jungle, introducing a new generation of music fans to the genre while also being commissioned for remixes by stars including Fred again.., Jamie xx and Jorja Smith. On Nov. 8, she played a rapturous set at London’s O2 Academy Brixton, which saw her taking on more vocal duties than ever before, skipping around the stage with excitement as she rocked the mic.
Her ascent is built on deep foundations – leaving home at 16, parental estrangement, finding her voice as a songwriter. But by taking a zealously hands-on approach to everything she does, Archives’ followers have continued to turn to her emphatic, euphoric music in troubling times. Back in east London, Archives beams as she tells Billboard UK how she is “surrounded by love”; her closest friends live on the same street, and she is enjoying some downtime after recent tours across the U.K. and Europe.
Fittingly, Silence Is Loud trades in the dizziness and angst of Archives’ earlier music for soaring serenity. Though she still sings about forgiveness and her own resilience, it’s now with the remove of a successful musician that’s conquered an uphill climb to get to where they are today.
Having toured relentlessly in the past few months, how does it feel to finally adjust back to reality?
I do love being on the road, but when I’m away, I really miss my house and my friends. I’m really happy to be back to seeing people, going out and doing things – I’ve got to live life so that I have something to talk about. I’m very happy to be in that mode at the moment. In the past year, I’ve also tried to work out what I want my personal space to look like as being on tour all the time is so disruptive. When I come home, I want to feel calm.
I’m really enjoying life at the moment. I’ve been boozing and reconnecting with friends that I may have lost contact with. When you’re busy playing shows, you don’t always get to speak to everyone all the time so I’ve been trying to be more present in my loved ones’ lives.
What is the emotional exchange between you and the audience like now that you’re not chained to the decks so much in your live shows?
Because I have played so many festivals this year, during these headline shows, it’s been nice to play to rooms of people who really know my music. I do enjoy a festival crowd because I see it as a challenge to win over new listeners but I love seeing people really vibe with the tunes. The audience reactions have been quite mad; I’ll be DJing, then I’ll move away to start singing and feel really connected to people.
We have elevated the set visually too, and I’m really happy with how it has all turned out. I have spotted a lot of moshpits during my shows, which I never expected – it’s quite overstimulating doing what I do! Also, I’ve got really bad eyesight which means I can’t see that far into the crowd but I know that all the vibe controllers are down the front anyway. I love it.
Silence Is Loud introduced your music to more people than ever before. Do you feel like you’ve crossed a threshold, in that regard?
I don’t know. I really love my album, but I will say making an album in 2024 is so anti-climatic. You know, I’m proud of what I’ve done, but I recently saw Goldie say that when he made [1994’s] Inner City Life, people didn’t get it at the time and it only became what it was years later. I feel like that might ring true with my album as well, to be honest.
How do you think the reaction to the album differed to what you had anticipated?
I’m already doing quite a niche thing, which is jungle music. And then I have my own specific take on it, which is bringing in all these different sounds to the genre while I’m singing about my life as well. It’s quite fresh. I think people don’t always understand something new straight away, so I think it’s a bit of a grower. That happens quite a lot with dance music, where songs often become hits years after they are released.
Why do you feel so attracted to telling the story of your life in your music?
I had never really spoken about my life before, and I thought my debut album would be a good way to have a “planting my flag in the sand” moment. Like, my name is Nia Archives and I am making an archive of my life stories. If I have done anything in my life, I have made this album and it’s told the world about who I am, what my story is, and what I am interested in. Album one had to be really real to me: it had to represent who I am and where I come from, and I felt like I only had one chance to do that.
Honestly, I just wrote a lot of songs and tried to sing them as best I could. I don’t think I’m like the best vocalist in the world, but I don’t think I’m the worst. I’m not a f–king powerhouse, Adele-style singer, but I’ve got a lot of charm in what I do.
Did being so vulnerable in your songwriting present any new challenges during the album creation process?
There’s one song [“F.A.M.I.L.Y”] that I didn’t want to put on my album, but my label and manager really wanted that to be the lead single. And I was like, “I don’t want to do that, because that’s such an embarrassing song.” But I’m glad to put it on there because you know what, people that come up to me at shows and tell me they really relate to the song.
Your album has been attributed with bringing jungle sounds and aesthetics to a new audience, serving as a gateway for a lot of people. In what ways has your own relationship with the genre evolved?
My relationship with jungle has honestly grown so much. Hanging out with Goldie has been amazing, he’s become a proper presence in my life. I’ve needed it. He understands what I’m going through and what I’m doing with my music. Also, it has been nice just reconnecting with loads of people from the jungle scene. I’ve got really good relationships with everybody.
In the background, for 2025, I’m looking to put on and work with some new-gen junglists, people that are younger than me. I’m going to Bristol, I’m hanging out with people in Manchester – I want to help new artists coming through. I’m just quite excited, really, and I’m definitely feeling stronger in my love for jungle once again.
What do you see as the big changes in dance music as of late?
Dance music is definitely one of the biggest genres in the world right now. I’ve traveled all over the world and seen people of all ages and from all walks of life enjoying themselves to different DJs’ sets. That post-COVID party boom continues, I think: Charli XCX is huge and rave sounds are everywhere. I’m super happy to be part of it and to also see my friends doing so well.
On the flipside, you can tell who went out [clubbing] before the pandemic and who only started after, right? That’s not being disrespectful, but for the younger ones, the core years of their lives were taken away and they’re still figuring out how to experience live music. I’m not really into berating them or making them feel bad – I just want to encourage them to dance and to not worry about their phones.
How have you dealt with the way your life has changed this past year?
So much has happened these past few months that it still feels like a blur! Like, I still can’t believe that I was able to take my album to Japan and play it out there. It was so cool to see such an enthusiastic reaction to jungle music on the other side of the world – it makes me so excited to see the genre go global. There’s so much left on the bucket list, too. I feel like I’ve only just started and I have so many dreams that I hope to achieve with my second album.