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Taylor Swift Parties With Her Parents, Lisa Joins ‘White Lotus’ Season 3 & More | Billboard News

Taylor Swift posted a hilarious video to TikTok where she is seen partying with her parents after the Chiefs’ big win at the Super Bowl. Usher and longtime partner Jennifer Goicoechea tied the knot in Las Vegas following the singer’s Super Bowl halftime show performance. Katy Perry announces that she is leaving ‘America Idol’ after seven seasons. The “California Gurls” singer also hinted that new music may be on the way soon. BLACKPINK’s Lisa will join the cast of ‘White Lotus’ for season 3. Rosé teases some new music on Instagram. J.Y. Park, Stray Kids, ITZY & NMIXX dropped a music video teaser for their upcoming collab ‘Like Magic.’ And more!

Tetris Kelly
K-pop updates on the girls of BLACKPINK and a major collab, Taylor and Trav go clubbing with her parents, Usher is just married, and Katy says bye to ‘Idol.’ I’m hanging out in studio with Tainy and we go behind the photo with the cast of ‘Bob Marley: One Love.’ It’s Tuesday, February 13th and this is Billboard News. There’s so much news today, so we’re gonna try to squeeze it all in. Here’s the three big stories in music today. Taylor Swift and Travis Kelce are everywhere these days and that includes at the club with Tay’s parents, after being told the Chiefs Super Bowl afterparty was for “friends and family.” Taylor posted this to TikTok.

Tetris Kelly
Listen, they have a lot of friends and family and I say no harm no foul. And Usher captivated on the field during halftime but also captivated someone’s heart he tied the knot with longtime partner Jennifer Goicoechea on Sunday night in Las Vegas surrounded by close friends and family according to a statement. He’s dated the music professionals since 2019 and they share two kids. Listen, I love the videos of Taylor and Travis clubbing after the game. But it can’t get more epic than getting married after performing on the world’s biggest stage, iconic Usher! And this icon is saying goodbye to ‘Idol’ it’s the show’s 22nd season and her seventh and last. Katy Perry stopped by Jimmy Kimmel to break the news.

Watch the full video above!

Kingsley Ben-Adir, Ziggy Marley & Reinaldo Marcus Green Explain the Stories Behind the Photo | Billboard

Kingsley Ben-Adir, Ziggy Marley & Reinaldo Marcus Green from the new Bob Marley biopic ‘Bob Marley: One Love’ explains the stories behind these photos with Billboard.

Kingsley Ben-Adir
Hi, I’m Kingsley Ben-Adir

Ziggy Marley
I’m Ziggy Marley.

Reinaldo Marcus Green
And I’m Reinaldo Marcus Green

And this is Behind the Photo with Billboard.

Ziggy Marley
Remind me,

Ziggy Marley
I mean, I went off state, they did such a detailed job.

Kingsley Ben-Adir
It is a nice moment now. It was really like, it was one of those simple moments. I guess it wasn’t. I don’t know if that was in the script.

Ziggy Marley
No. It wasn’t in the script. Yeah.

Kingsley Ben-Adir
Yeah, yes. And they all just, they all just ran at me. It was just a really nice, really nice moment.

Reinaldo Marcus Green
Next. I love this photo.

Reinaldo Marcus Green
Remember this one? The whole community lifting us up there?

Ziggy Marley
Yeah, yeah, yeah.

Kingsley Ben-Adir
A lot of fine details that day, just about the car and how Bob drove and like, I remember, Stephen was telling me that Bob drove the car in a really specific way. You know, he wasn’t great. He rags the car off you know, Bob really, he controlled the car.

Ziggy Marley
I don’t know if you guys know. But there was some, there’s some stuff going on before.

Kingsley Ben-Adir
Yeah. In the community.

Ziggy Marley
When we came in and said, OK, sounds good. It’s quiet. And it’s been kind of quiet since then. So that’s really cool.

Reinaldo Marcus Green
What about this next one here? Fae Ellington. I mean, how integral she was to our production.

Ziggy Marley
This is Marcus Garvey drive. Yeah. Yeah. Yeah,

Kingsley Ben-Adir
That’s one of my favorite scenes.

Watch the full video above!

Oak View Group to Manage Historic Palm Springs Plaza Theatre

Oak View Group (OVG), the owner and operator of the 11,000-capacity Acrisure Arena near Palm Springs, Calif., has entered into a partnership agreement to manage, program and seek out new sponsorship opportunities for the historic Palm Springs Plaza Theatre, it was announced Tuesday (Feb. 13). Restoration work on the theater will begin in March 2024, with completion expected in fall 2025.

“This agreement between the City, the Palm Springs Plaza Theatre Foundation, and the Oak View Group is an economic game-changer,” said Scott Stiles, city manager of Palm Springs, in a statement. “The restoration of the historic Plaza Theatre is a major milestone in the Downtown Revitalization Plan and will bring the world’s best artists and culture to our revitalized downtown.”

John Bolton, senior vp of Oak View Group, added, “All of us at Oak View Group are thrilled to partner with the Plaza Theatre Foundation and its dedicated group of Board of Directors. We look forward to bringing the full breadth and scope of OVG to the table to make this City of Palm Springs asset shine and become a huge community and cultural asset in downtown Palm Springs.”

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Last year, OVG committed to donating $1 million to help fund the restoration of the Plaza Theatre and has agreed to waive all management fees, said Kevin J. Corcoran, vp of the Plaza Theatre Foundation, adding, “We have been impressed with the launch of the Acrisure Arena and the programming, sponsorship, and management expertise they have brought to the very successful first year of operation.”

The agreement provides the City of Palm Springs with a total of 21 days annually to offer public programming at the discretion of the city council. This programming would include the annual state of the city address, cultural and civic programs, and more.

“Oak View Group is internationally admired for their management of significant sporting, convention, arts, and entertainment venues,” said Palm Springs Plaza Theatre Foundation president J.R. Roberts. “We are delighted to have this strong community partner further commit to working with us to provide the expertise that this theatre needs to be a successful economic force in Palm Springs. We are especially thrilled to be working with Palm Springs resident and Oak View Group senior vice president John Bolton on this exciting collaboration. We are delighted that John has agreed to join our hard-working board of directors.”

Content ideas for the theater include concerts, chamber orchestra performances, film festivals, community meetings, conventions, cabaret performances, lectures, music festivals, ideas festivals, children’s programming, charity and fundraising events, and other theater performances and events. OVG will pursue corporate sponsorship to further support the Theatre.

The Palm Springs Plaza Theatre Foundation is continuing to raise funds to fully restore the venue, having raised $16 million of its $26 million goal to cover construction costs and contingencies along with startup expenses. The funds will help restore the building to its original state and update it to meet access, technology and equity needs. There are several naming opportunities still available, including a special theater naming option for a single $10 million donor.

A Timeline of Russell Simmons’ Sexual Misconduct Allegations

Here’s a full timeline of sexual assault allegations against Simmons, stemming back to November 2017, when the first of many victims came forward with claims of misconduct.

Russell Simmons is once again facing sexual assault allegations.

A former Def Jam video producer filed a complaint to New York Federal Court on Feb. 12, coming forward with claims of rape and sexual assault that took place back in the 1990s. The woman, who filed her complaint under “Jane Doe” to protect her identity, detailed the “devastating” experiences with the music mogul that led to her career being “derailed.” Doe alleged that she was raped in the late ’90s by Simmons at his Manhattan apartment when she visited him at his residence to receive approval for a video.

Russell Simmons has been named the perpetrator in a number of other sexual assault-related lawsuits in recent years. Since the 2017 allegations, multiple women have come forward recounting similar experiences with the Def Jam Records co-founder. Since then, he has maintained his innocence and also claimed to have passed “nine lie detector tests.”

He said in an episode of In Depth with Graham Bensinger at the time, “When someone said, for instance, ‘I was violent’ — one person said that — and I’ve never been violent. Took that. And one said I apologized. I never apologized about assaulting anyone. But if two people say it, because one said it, and #metoo, and the second person said it, then I took a test for it.”

See below for a full timeline of sexual assault allegations against Simmons, stemming back to November 2017, when the first of many victims came forward with claims of misconduct.

Gerardo Ortiz Adds 13th No. 1 on Regional Mexican Airplay With ‘Ahí No Era’

Gerardo Ortiz picks up his 13th No. 1 on Billboard’s Regional Mexican Airplay chart as “Ahí No Era” advances 4-1 on the list dated Feb. 17.

After a week in the top 10, the single crowns the list following a robust 40% gain in audience impressions, to 7.5 million, earned in the U.S. in the tracking week ending Feb. 8, according to Luminate.

As “Ahí No Va” advances, it unseats Xavi’s “La Diabla” from the lead after one week in charge. The latter dips 1-2 with 6.7 million, that’s a 29% decline from the week prior.

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With 13 No. 1s to his account, Ortiz still has the second-most among soloists, behind Christian Nodal’s 15 No. 1s. Among all acts, Calibre 50 has the most, with 24.

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Here’s the list of the acts with the most No. 1s since the Regional Mexican Airplay chart launched in 1994:

24, Calibre 50
19, Banda MS de Sergio Lizarraga
18, Banda El Recodo de Cruz Lizarraga
18, Intocable
17, La Arrolladora Banda el Limon de Rene Camacho
16, Conjunto Primavera
16, Los Tigres del Norte
15, Christian Nodal
13, Gerardo Ortiz
12, La Adictiva Banda San Jose de Mesillas

As “Ahí No Va” lands at the summit, Ortiz becomes just the sixth soloist to rule Regional Mexican Airplay in the past year. He joins Christian Nodal (“Un Cumbión Dolido” in June 2023), Alejandro Fernández (“No Es Que Me Quiera Ir” and “Difícil Tu Caso,” last Aug. and Nov. respectively), Carin León (“Indispensable,” last Aug-Sept.), El Fantasma (“La Vida Cara,” last Sept.), Eden Muñoz (“Como En Los Viejos Tiempos,” Jan. 27-dated list), and Xavi (“La Diabla,” chart dated Feb. 10).

Elsewhere, “Ahí No Va” pushes 14-4 on the overall Latin Airplay ranking, for Ortiz’ 17th top 10. The song becomes his highest peak since “Regresa Hermosa” reached an equal No. 4 high in 2016.

Elyanna: The Future Sound of Arabic Pop

As Elyanna steps into a warehouse in downtown Los Angles for Billboard Arabia’s February cover interview and shoot, the weight of anticipation hangs heavily in the air. Despite battling nerves a mere 24 hours before her Dallas gig, the first show in her debut North America tour, Elyanna exudes a quiet determination characteristic of her rapid ascent in the music industry. With only two EPs to her name and a handful of singles, she’s already achieved the remarkable feat of selling out nearly every venue on her tour circuit – a testament to her burgeoning fanbase, undeniable talent and her unique sonic proposition, driving a future sound of global pop music unbound by language.

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Guided by her artist management team at SALXCO and her family, Elyanna navigates the shoot with a delicate balance between preparation and preservation, immersing herself in a playlist with unreleased tracks off her forthcoming LP, shuffling alongside tracks by Ice Spice, Sherine and Doja Cat. The 22-year-old artist starts to find her groove, but she does this silently. In the hush of a prescribed, pre-tour vocal rest, moments of introspection emerge – and it is in these moments of silence we hear Elyanna’s message to the world.

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Elyanna aims to elevate Arabic pop music onto the global stage while using her art to depict her homeland and culture beyond the lens of conflict. Born in Nazareth, Palestine, and moving to L.A. with her immediate family at the age of 15, she seeks to showcase her culture’s beauty in its entirety – its layers, textures, multi-colors and history – countering the media’s portrayal, dominated by the specter of war and destruction.

This carries into every one of her songs and live performances. Whether expressed through her instrumentation, lyrics or Arab-inspired fashion and accessories, we see Palestine through Elyanna’s eyes but also through that of her family. One cannot tell the story of Elyanna without also talking about how each family member plays a pivotal role in her career. Her sister Tali is her stylist, her brother Feras is her co-producer and video director, whereas her mother Abeer contributes to her songwriting. Meanwhile, her father, Amer, is the glue that holds the operations together.

“I would say that takes people who believe in you,” says Elyanna. “So I just surround myself with people that believe in me…. Like my family, like my friends, the people that believed in me and put time in me.”

It is not an exclusively Arab thing to keep your family close by, but it is very Arab to tell a story of generations in one song. We hear this in many of Elyanna’s tracks, first with the ambitious cover of Abdel Halim Hafez’s “Ahwak” (I Love You), a song that consistently permeated every generation since it was released nearly six decades ago. Elyanna’s rendition of “Ahwak” is a mesmerizing homage that breathes new life into the classic by setting the original lyrics against an acoustic piano, as her reverent vocals feel as though they are coming from another time.

“I know it’s a cover,” she says. “But I felt I brought it into my own world. I think that was the point where I knew what I should do next.”

On her 2019 debut original release, “Oululee Leh” (Tell Me Why), Elyanna unveiled her sonic potential to the world. Co-written by her mother Abeer Margieh, her brother Feras Margieh and songwriters Nasri Atweh, Sari Abboud and Martine Sinotte, the song delves into the profound loneliness born from loss and distance. Its poignant lyrics and haunting instrumentation evoke an intimacy that resonates with anyone who has ever felt like a stranger, offering solace in shared experience through a chorus that sings, “Ouloulee lee” (tell me why).

When I asked Abeer, her mother, whether the song was about the loss of a place or a person, she quickly responded with “a place.” But for Elyanna, it has a double meaning, one that the listener is left to decode independently. It is in this co-writing with her mother and brother that Elyanna’s songs cut across the temporal spectrum, collapsing past, present and future in a single note.

In 2020, Elyanna released her debut album, a self-titled body of work made up of six songs, including “Ouloulee Leh,” “Ahwak” and viral hit “Ana Lehale” (I’m on my Own) feat. Massari, showing an artist on the brink of finding her voice. Two years later, Elyanna dropped her follow up EP, Elyanna 2, driven by hits like “Ala Bali,” also featured in Mo Amer’s Netflix show, and “Ghareeb Alay” feat. Balti, which went on to amass over 50 million views on YouTube with its blend of Latin rhythms and relatable lyrics. With a steady flow of singles, including Elyanna’s 2023 release of “Sokkar,” an Arabic cover of the song by Zubi and Anatu, followed by “Mama Eh,” she continued to underscore her budding pop prowess.

In a short time, the artist managed to land a coveted spot in Coachella’s April 2023 lineup, where she performed the first ever complete Arabic set in the festival’s history. In another milestone moment, Elyanna’s heart-wrenching original song “Olive Branch” (co-written with her brother Feras) was performed live at the 2023 edition of the El Gouna Film Festival. It spotlighted the artist’s unique ability to use her music to drive awareness, while celebrating the richness and beauty of Palestinian culture.



When asked about her role as an Arabic artist, Elyanna articulates a pressing imperative: to disseminate her culture worldwide. While such inquiries often provoke polarizing responses, she gracefully infuses each of her songs with glimpses of cultural richness of her heritage, but she does so in an accessible way.

Much like the intricate stitches of “tarteez” (Palestinian embroidery), Elyanna’s music weaves various influences into a harmonious whole. Each musical passage is akin to uncovering a hidden image as if each thread holds a story waiting to be explored, inviting listeners around the globe to find the patterns that speak to them while resonating with the whole. Now, on the brink of releasing her debut LP, Elyanna continues to blend her multiple cultural influences, be it the Latin textures inherited from her Chilean grandmother or the power of her Palestinian grandfather’s pen, all the while creating an entirely new pop sound.

“It’s really just taking things from life that I love, and now I want to do it in a project that I would call a piece of art,” says Elyanna. “And this project is really experimental.” Lead single “Al Sham” from her upcoming album embodies various cultural elements from the region, showcasing her spirit of experimentation. Fueled by electronic-dabke rhythms, she ingeniously interprets lyrics from Syrian singer Sabah Fakhri’s classic “Khamrat El Hob.” In Elyanna’s version, we dive into the song’s iconic line, “A life without love is like a river without water.” But it’s somewhere within the music video where we get a sense that Elyanna is not a victim of unrequited love or anything else. Instead, she is a formidable force, surrounded by her crew and imagery evoking empowerment, marking a pivotal moment in the lead-up to her debut North America tour.



“I’m on a Billboard cover, and we have a sold-out tour, and I have an album coming,” says Elyanna. “It feels insane to me. I’m doing things I dreamt of my whole life.” She goes on to mention that the tour has the ability to gather Arabs in America together, which is something she looks forward to most.

After postponing her debut tour due to the war in Gaza, Elyanna eventually announced new dates, with 10 stops through the U.S. and Canada. Within 20 seconds of watching her perform, Elyanna’s star potential is undeniable. It’s not just her voice, message or rich influences, but the combination that shapes her artistry, its impact and the future sound of Arabic pop.

This is a translation of a cover story that originally appeared on Billboard Arabia.

Elyanna

Elyanna

Billboard Arabia

Madison Beer Talks Partnering With JBL & Taking Fans Behind the Scenes of Her New Tour: ‘I Can’t Wait’

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Madison Beer is partnering with JBL to give fans exclusive access to her upcoming tour, the audio brand announced Tuesday (Feb. 13).

Beer will create custom content for fans including exclusive, behind-the-scenes moments and share her tour experiences — all while keeping her JBL PartyBox speaker and favorite JBL headphones in tow.

“I’ve always had JBL speakers on set with me, or when I’m getting glam for things, so when this partnership came about, I was like, ‘This feels so organic,’” the singer told Billboard in an interview last week.

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“Partnering with a company that really is so focused on elevating sound and music is so important to me.”

Madison Beer

Courtesy of JBL

JBL unveiled a new fleet of speakers and accessories in January. The lineup includes the JBL PartyBox Club 120, JBL PartyBox Stage 320 and JBL PartyBox Wireless Mic.

The JBL PartyBox Club 120 is $499.95 at Amazon, JBL PartyBox Club 320 is $649.95 and JBL PartyBox Wireless Mic is $119.95. The new products will be released on April 21 at JBL.com and Amazon.

“The PartyBox is definitely my favorite when I have friends over and we’re doing karaoke,” Beer said of her top JBL products. “It’s super fun and I’m so lucky that I got to use [the new PartyBox speaker] before it’s even out.

“The JBL Clip has always been a staple for me, because I’m very forgetful and being able to just, like, put it on my purse or put it on something like my jeans, it’s really great,” Beer added. “I love all the speakers. They’re really good, but the Clip is my favorite.”

The JBL PartyBox Club 120 features up to 12 hours of playtime and up to 24 hours when you swap out the replaceable battery. Delivering JBL’s signature deep bass and powerful, the PartyBox Club 120 is equipped with two microphone inputs, one guitar input and strobe light effects that you can sync to the music.

“It’s honestly insane. It’s huge,” Beer said of the speaker. “If you’re having a party and you need everyone to hear the music, it’s the perfect [speaker].”

The PartyBox Stage 320 is equipped with dual, 6.5-inch woofers and 25mm dome tweeters, plus guitar and mic inputs, up to 18 hours of playtime (double that with the swappable battery) and quick-charging technology that gives you two hours of playtime after just 10 minutes of charging.

Both PartyBox speakers feature AI Sound Boost technology which ”analyzes audio in real time with an AI algorithm to optimize the acoustic output level,” according to JBL.

The PartyBox Wireless Mic is compatible with both speakers and features up to 20 hours of playtime and a rechargeable battery. All of the new products are made with recycled plastic.

Beer will host an intimate event in New York City on May 18 to launch the new JBL PartyBox series lineup. The event will be held during the New York City stop on The Spinnin Tour and fans will have the chance to win tickets and JBL products. The brand will host activations in New York City on May 17 and 18 to celebrate the new products.

The Spinnin Tour launches in Stockholm, Sweden, on Feb. 24 and will stop in several countries including Norway, Belgium, Germany, Poland, Austria, Italy, the U.K. and Spain. Tickets are available at Ticketmaster, StubHub and Vivid Seats.

“We’re in rehearsals right now, just getting through these songs and it’s amazing, I can’t wait for people to hear it,” said Beer. The U.S. leg kicks off on April 24 and will stop in Chicago, Nashville, Detroit, Washington D.C., New York City, Toronto, Canada, Boston and other cities.  

Beer also released a new single, “Make You Mine,” on Feb. 9. “It’s my favorite song I’ve made to date,” she revealed. “It’s just so fun, such a feel-good song. It’s sexy, it’s infectious. I haven’t played it for anyone that hasn’t just like [started] dancing and felt immediately hotter after listening to it, and that’s always how I want to make people feel.”

Pre-order the JBL PartyBox speakers and wireless microphones below.

JBL PARTYBOX Club 120 – Portable Party Speaker (Black)

JBL PARTYBOX Stage 320 – Portable Party Speaker with Wheels (Black)

JBL PartyBox Wireless Mic – Digital Wireless Microphones (Black)

Latin Artists Who’ve Scored Major Movie & TV Roles Since 2020 (Updating)

Musicians launching a career in acting isn’t anything new.

In fact, it’s more common than ever, and Latin artists are no exception as they make their way to the big screen or score a role in a popular television series. Over the past four years, a handful of Latin artists — from Karol G to Bad Bunny, Maluma and Residente — have made their acting debuts.

In January, Karol G showed her acting chops for the first time on Netflix’s Griselda opposite Sofia Vergara, and Bad Bunny booked back-to-back film projects — Bullet Train and Cassandro — after making his acting debut on Netflix’s Narcos: México in 2021.

Meanwhile, Puerto Rican hitmaker Residente made his acting debut in the indie film In the Summers, which premiered earlier this year at the 2024 Sundance Film Festival. The project, directed by Alessandra Lacorazza, won the U.S. Dramatic Grand Jury Prize.

As for Maluma, he starred alongside Jennifer Lopez and Owen Wilson in Marry Me, which was released in 2022. “As a Latino from Colombia, Medellin, who was going to think that my first movie was going to be a Hollywood movie with Owen Wilson and Jennifer Lopez? We’re making history right now as a Latin community, and I feel very proud of being part of this big, big movement that we’re having right now,” he previously told Billboard.

A few other Latin acts, like Becky G, Leslie Grace and Lucero, who had already been part of a series or film before 2020, returned with new projects. Becky, who made her acting debut in 2017 as the Yellow Ranger in Power Rangers, had a few projects under her belt, including Good Mourning in 2022 and Blue Beetle in 2023.

Below, here are a handful of Latin artists who’ve scored major onscreen roles since 2020 (in alphabetical order):

10 Taylor Swift Albums Among 44 Projects to See a Billboard 200 Bump After 2024 Grammys

On the Billboard 200 albums chart (dated Feb. 17), 44 albums post unit gains thanks to exposure during the CBS broadcast of the Grammy Awards on Feb. 4. (Any artist who was a presenter, performer, on-air winner or a nominee mentioned during a presentation of an on-air award was considered in our research.)

See the full list of Grammy gainers below.

The highest-ranked Grammy gainer on the chart is SZA’s former No. 1 SOS, which climbs 6-3 with 53,000 equivalent album units earned in the U.S. in the week ending Feb. 8 (up 27%), according to Luminate. On the Grammy Awards, SZA won the best R&B song award for “Snooze” and performed a medley of “Snooze” and “Kill Bill.” The latter was also nominated for record of the year and song of the year. (SZA additionally won Grammys for best progressive R&B album [for SOS] and best pop duo/group performance for the set’s “Ghost in the Machine,” featuring Phoebe Bridgers, but those awards were not presented during the TV broadcast.)

SZA’s previous album, 2017’s Ctrl, also logs a gain, rising 38-30 with 20,000 units (up 12%).

Taylor Swift, who was a multiple nominee and two-time winner at the 2024 Grammy Awards, has 10 gaining albums on the chart, with three in the top 10. Swift took home the prizes for album of the year and best pop vocal album (both for Midnights). With the album of the year win, she became the first act to claim the trophy four times. She was nominated for four more awards – record of the year, song of the year, pop solo performance (all for “Anti-Hero”) and best pop duo/group performance (“Karma,” featuring Ice Spice). Swift’s highest-ranked gaining title on the Billboard 200 is her former No. 1 Midnights, which rises 9-5 with 51,000 units (up 35%).

Here’s a recap of all the artists that post gains on the Billboard 200 (dated Feb. 17) following their exposure on the Grammy Awards. On the broadcast, nine competitive award categories were presented (in chronological order): best pop solo performance, best música urbana album, best country album, best R&B song, best pop vocal album, song of the year, best new artist, record of the year and album of the year. There are a total of 94 competitive categories in total. The vast majority of awards are not presented during the television broadcast.

Performer and winner SZA sizzles with SOS (rising 6-3 with 53,000; up 38%) and Ctrl (38-30 with 20,000; up 12%).

Noah Kahan, who was among the best new artist nominees, sees his Stick Season post an increase, but is pushed down the chart 7-4 (49,000; up 4%).

Swift has a whopping 10 titles on the chart, all of which gain: Midnights (9-5 with 51,000; up 35%), 1989 (Taylor’s Version) (5-8 with 48,000; up 7%), Lover (7-9 with 45,000; up 13%), Folklore (13-14 with 32,000; up 15%), Reputation (16-15 with 30,000; up 15%), Speak Now (Taylor’s Version) (26-25 with 23,000; up 10%), Evermore (34-26 with 21,000; up 11%), Red (Taylor’s Version) (33-28 with 21,000; up 8%), Fearless (Taylor’s Version) (73-63 with 14,000; up 12%) and 1989 (67-65 with 14,000; up 7%).

Zach Bryan, whose self-titled album was among the nominees for best country album, posts a unit gain with that set (8-10 with 42,000; up 5%), Elisabeth (113-116 with 10,000; up 2%) and Summertime Blues (159-154 with 9,000; up 2%). The best country album prize was won by Lainey Wilson’s Bell Bottom Country. Bryan, however, did win a Grammy this year (his first ever), but it was not presented on the broadcast. He won for best country duo/group performance for his first Billboard Hot 100 No. 1 hit, “I Remember Everything,” featuring Kacey Musgraves. (As for Wilson, Bell Bottom Country flies 118-95 with 11,000 units; up 10%).

Travis Scott, who performed a medley of three songs from his Utopia album (“My Eyes, “I Know?” and “Fe!n”) with Playboi Carti, sees Utopia hold steady at No. 12, though with a 10% unit gain (to 36,000). Utopia was also a nominee for best rap album, which was won by Killer Mike’s Michael. Scott also gains with his prior albums Astroworld (69-68 with 14,000; up 5%) and Rodeo (195-187 with 8,000; up 3%).

Performer and multiple nominee Olivia Rodrigo rises with a pair of albums: Guts (17-16 with 28,000; up 10%) and Sour (32-31 with 20,000; up 5%). On the show, she performed Guts single “Vampire.” Rodrigo was nominated for six Grammys this year, including album of the year and best pop vocal album (for Guts), record of the year, song of the year, best pop solo performance (for “Vampire”) and best rock song (Guts’ “Ballad of a Homeschooled Girl”).

Performer Luke Combs, who sang his nominated cover of Tracy Chapman’s “Fast Car” with Chapman herself on the show, sees gains for three of his albums on the chart. Gettin’ Old bumps 31-22 (24,000; up 25%), This One’s for You rises 49-45 (17,000; up 8%) and What You See Is What You Get climbs 82-75 (13,000; up 7%). “Fast Car” was nominated for, but did not win, best country solo performance.

Meanwhile, Chapman re-enters the Billboard 200 at No. 59 with her 1988 self-titled chart-topping album (which contains her original version of “Fast Car”), earning 15,000 units (up 658%). It’s the album’s first appearance on the chart since 1989. It’s also Chapman’s first visit to the chart with any album since the Dec. 12, 2015-dated chart, with her Greatest Hits album spent one week on the list at No. 105.

The Barbie soundtrack bounces 35-32 on the Billboard 200 with 20,000 units earned (up 8%). The album basks in the glow of a pair of performances on the show – Dua Lipa’s show-opening medley (which included a small segment of the album’s “Dance the Night”) and Billie Eilish’s “What Was I Made For?” Both songs earned multiple nominations this year: “Dance” for song of the year and best song written for visual media, “What Was I Made For” for record of the year, song of the year, best pop solo performance, best song written for visual media, and best music video. Mark Ronson, who presented the record of the year award on the show (with his mother-in-law, Meryl Streep), was a five-time nominee this year for his work on the Barbie album. Of the five nominations, he took home the trophy for best compilation soundtrack for visual media for Barbie. (Streep herself is a seven-time Grammy nominee, and scored a nod this year for best audio book, narration, and storytelling recording for Big Tree.)

Speaking of Lipa and Eilish, Lipa’s Future Nostalgia rises 126-108 (10,000 units; up 9%), while Eilish’s Happier Than Ever climbs 136-132 (10,000; up 4%) and When We All Fall Asleep, Where Do We Go? steps 124-112 (10,000; up 6%).

Miley Cyrus, who performed on the show and won two awards, vaults 139-37 with Endless Summer Vacation (18,000; up 101%). Cyrus won her first Grammys this year: best pop solo performance and record of the year for “Flowers,” which she performed.

21 Savage, who joined Burna Boy and Brandy for a medley performance, sees two of his albums post gains: Her Loss, with Drake (48-49 with 17,000; up 1%), and Savage Mode II, with Metro Boomin (99-100 with 11,000; up 2%). 21 Savage also scored five nominations this year, though none of the categories he was competing in were presented during the show.

Lana Del Rey, who scored five nominations this year, including for song of the year (“A&W”) and album of the year (Did You Know That There’s a Tunnel Under Ocean Blvd.), has a trio of albums that gain on the chart. Born To Die bolts 65-51 (16,000; up 18%), Did You Know re-enters at No. 97 (11,000; up 50%) and Ultraviolence re-enters at No. 189 (8,000; up 21%). Del Rey was also brought up onstage by Swift when the latter won album of the year for Midnights. (Del Rey is featured on a song on Midnights, and was also vying for album of the year with Did You Know.)

Karol G, who won her first Grammy Award during the broadcast, for best música urbana album for Mañana Será Bonito, logs a pair of gaining albums on the chart. Mañana moves 64-67 with 14,000 units (up 1%), while Mañana Será Bonito (Bichota Season) rises 94-87 with 12,000 units (up 6%).

Rounding out the chart’s gainers are: best new artist nominee Jelly Roll (Whitsitt Chapel, moving 60-58 with 15,000 units; up 6%), performer Billy Joel (The Essential Billy Joel rises 171-107 with 10,000; up 23%), nominee Doja Cat (nominated twice this year, including for best pop solo performance for “Paint the Town Red,” sees her 2021 album Planet Her post a 1% gain to 10,000 units, though falling 117-124); nominee Ed Sheeran (nominated for best pop vocal album for Subtract, but gains with Divide, rising 151-141 with 9,000 units; up 4%); nominee Tyler Childers (five nominations, including for best country album, for Rustin’ in the Rain; though he gains with Purgatory, climbing 150-149 with 9,000; up 1%); and winner Boygenius. The rock trio was nominated for six awards (including album of the year, for The Record, and record of the year) and won three trophies that were not televised. The Record re-enters at No. 191 with 8,000 units and a gain of 59%.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Ai Higuchi Talks New Album ‘Miseisenjo,’ Writing Songs that Last a Lifetime: Billboard Japan Women in Music Interview

Billboard Japan spoke with singer-songwriter Ai Higuchi for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan began last year to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai.

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Higuchi was in high demand last year and brought her music to a wide range of listeners through numerous opening and ending themes for movies and TV, plus songs accompanying commercials. What she values in her songwriting is being true to her honest feelings, and the 34-year-old artist — who dropped her fifth album Miseisenjo (“On the Unfinished Railway Line”) on Jan. 24 — opened up about her stance on what she considers to be her mission in work and the feelings of hesitation she currently faces.

Tell us about your latest album, Miseisenjo.

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It’s a bright album that’s like a collection of singles, with many tracks that were featured as tie-ins. Ever since I released “Akuma no Ko” (“Devil’s Child”) in January 2022 as the ending theme for the Attack on Titan The Final Season Part 2 anime series, the range of people who listen to my music has expanded immensely. I’ve enjoyed opportunities to write music for movies and other projects, and received requests for songs that make moviegoers feel cheerful when they leave the theater. So the album is a collection of songs that let listeners settle into a mellow mindset without making them feel all doom and gloom.

How do you feel about the increase in new listeners?

At first I was really just happy, but I did feel pressure at one point and it was hard for a while. I was brought up as the eldest daughter in between two brothers, so personality-wise, I have this sense of responsibility to balance things out between people and feel a strong urge to do things properly. I worked really hard to live up to expectations from 2022.

I get the impression that you carefully deliver the voices of women as they really are in your songs, even in the ones meant for a wide audience. What are you mindful of in music production?

At the very least, I try to be careful not to use strong language and force my way of thinking on others. Personally, I’m not good at dealing with people who use strong language or express anger. Trying not to make enemies is a weakness of mine, but I think there are many people who feel the same way, so I want to be careful about that.

When I read your lyrics, I can see that you have your share of conflicting thoughts, but you express them with great care. So you consciously avoided using strong language when writing them.

I think you should try to find your own answer when forming an opinion on something. Having someone else’s idea forced on you isn’t a good influence, both for the person hearing the song and for myself as a songwriter. So my stance is to simply present options, and then let each listener make their own choices. I try not to give too many answers.

I also want to avoid imposing ideas about how women “should be” in these interviews. The reason we’ve been collecting many women’s voices is because our intent is to visualize the diversity of opinions. When we ask the same question to 30 people, we receive 30 different answers. And this next question is one I’ve asked everyone throughout the series: Has being a woman affected your current activities?

Well, I’m not sure because I’ve never been a man, but… I’m fortunate in that I’ve never been slighted because I’m a woman. I have a hard-featured face so maybe people don’t bother messing with me. But I have felt that it’s hard to ask men in high places in the industry out to chat about work over dinner or something and thought that if I’d been a man, it might have been easier to get along with such people without giving it so much thought. “Going out to dinner one-on-one with a man” could be taken in a different way, and I sometimes give up on the whole thing because it’s too much of a hassle. So I do feel inconvenienced by the fact that most of the people in upper management are men.

Why do you think there are so few female executives in the Japanese music industry?

I think the reality is that women leave the industry when they become a mom. Even if they return to work, I imagine parenting gets in the way of career advancement. When I look around, a lot of the women in their 50s or so who are successful in their careers are really tough. I think it demonstrates that they had to become tough in order to make it in an environment full of men.

As a female singer, what do you take care to do so you can keep working for a long time?

I try to take care not to write “fast-food” songs. I want to write songs that I can sing for the rest of my life.

When did you start thinking that way?

I’ve always thought that way. I’m very bad at keeping up with trends and find it hard to change my mind quickly. I’ve always made songs by thinking about what my point of view is, and don’t think that will change anytime soon. As a result, I think I’ve created songs that can be listened to years from now.

The drama series such as Hatsukoi, Zarari and Ikiru toka Shinu toka Chichioya toka that you wrote ending themes for depict different types of women, and your independent project called Ufufu Project* also collects many women’s voices. Have you found themes you’d like to write songs about through these projects?

(*Ai Higuchi’s independent project launched at the end of 2019. She has published magazines featuring interviews and essays and also runs a cultural salon.)

I want to shine a light on young people who normally wouldn’t think of themselves as being in the spotlight and turn their thoughts into songs. I’ve always wanted them to know that life can be a song. If the people who live and work in ordinary ways give up, then the things that need to change will never change.

For example, this is something my mother told me, but she quit her job when she had her first child. She said, “I didn’t even question (quitting her job) because that was the norm at the time.” If a person thinks that the thing that happened in their life is insignificant, then nothing will change from there.

I think you’re creating a really nice cycle by writing songs based on what you hear in your interviews which then change the mindset and actions of those who hear them. Is that something you aimed for when you started the Ufufu Project?

Yes. When I turned 30, I made a magazine about the Ufufu Project, and I was dealing with my own loneliness at the time. While more and more of my friends and peers were starting a family, I was on my way to living on my own as a singer-songwriter without getting married or having kids. When I thought about this, I felt myself being shaken by the loneliness inside. No one could show me the way, so I wanted to hear from different people.

Did the loneliness disappear by hearing people’s stories?

Four years have passed since then, and I don’t feel lonely as much anymore. I’ve been fortunate enough to continue my career and have come to realize that I’m the kind of person who’s dependent on work. So as I feel less lonely, I may start dwelling on futility next. [Laughs]

I guess you won’t run out of inspiration for new music then.

Actually, futility can’t be made into song. People gravitate toward things with energy, so if something is too lifeless, I have a feeling they’ll think it doesn’t matter. I’d have to extract vitality from the futility.

Related to what you mentioned earlier, I think there are many people out there who feel exhausted in the face of strong language or who think they don’t deserve to be in the spotlight and have given up. I kind of feel that songs about loneliness or futility would be a lifesaver for such people. Do you feel that you are empowering others by writing songs and singing?

Well, to begin with, I feel like I’m excluding a lot of things when I write a song. For example, when I sing, “I want to walk hand in hand with you,” that excludes people who don’t have arms, right? If the “other person” in a love song by a male protagonist is clearly a woman, then it’s not about homosexual love, and it’s definitely not about someone who doesn’t fall in love in the first place. I’m aware that I write songs for the majority by cutting out a lot of things and it’s scary. So it’s more of a negative thing for me than trying to empower people, but I have to come to terms with that feeling. I write about my own feelings, so I can’t make something that will be understood by everyone.  As long as I’m in the majority, in that I identify as a woman both in body and mind and that I’m heterosexual, I have to cut off minorities to write about my feelings.

When did you start seeing things that way?

Probably the last few years. As more and more movements properly focusing on the rights of minorities started taking place, I also began noticing and thinking about it more. I said at the beginning of this interview that I’m not good at dealing with people who use strong language or express anger, but I also understand that there there must be many things that have changed for the better because of people who can use strong language or express their anger, so I also feel like saying thank you to those people who got angry for the right reasons. But while I’m sometimes encouraged by such expressions when I have the energy, they scare me when I’m not feeling very energetic.

So for you, people who can use clear-cut, strong language are like double-edged swords in that they give you courage but are also sometimes a little hard to accept.

I find myself thinking, “I’m feeling bad about myself because I don’t feel so strongly about such-and-such.” Maybe not so much feel bad about it, but just that I can’t be that way. So I feel like I’m in charge of taking the first step, then maybe walking three steps up the staircase. I want to ask someone else to take it from there to the 100th step or so. In other words, I’ll leave the leadership to someone else and keep up from the back, and be like, “Let’s climb together and one day reach the top, even if we’re slow.”

This interview by Rio Hirai (SOW SWEET PUBLISHING) first appeared on Billboard Japan