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Radiohead’s ‘Creep’ Soundtracks Nicolas Cage’s Vampiric Antics in ‘Renfield’ Trailer

Work really sucks the life out of you — especially if you’re Nicholas Hoult in Renfield.

The upcoming comedy horror film stars Hoult as the titular character, who works as an servant to Count Dracula, played by Nicolas Cage. After following in love with a traffic cop named Rebecca Quincy (Awkwafina), the lackey decides to finally stand up for himself and break free from his abusive boss.

The trailer for the film, released on Wednesday (March 22), highlights Renfield’s 90-year journey as Dracula’s lackey in New Orleans, Louisiana, fittingly soundtracked by Radiohead’s 1993 classic, “Creep,” featured on the band’s debut album Pablo Honey.

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“I’m a creep / I’m a weirdo / What the hell am I doin’ here? / I don’t belong here,” the band’s frontman Thom Yorke is heard singing as Renfield explains his bloody situation to Quincy, before a battle breaks out between Renfield and his creepy boss.

Two years ago, Radiohead unveiled a “Very 2021” remix of the hit that propelled them into stardom, twisting the tune even slower and darker. The new version was cut for Jun Takahashi’s Fall 2021 collection and features artworks from the Japanese fashion designer.

Renfield is out on April 14. Watch the final trailer, featuring “Creep,” below.

TikTok Releases CEO’s Written Testimony, Brings Influencers to D.C. to Lobby Against Ban

TikTok is ramping up a public relations campaign to fend off the possibility of a nationwide ban by the Biden administration, and it’s bringing some unconventional advocates to help: online influencers.

Dozens of TikTok creators — some with millions of followers on the video-sharing app — came to Capitol Hill on Wednesday to lobby in favor of the platform, one day before lawmakers are slated to grill the company’s chief executive about concerns over user data falling into the hands of the Chinese government.

Shou Zi Chew plans to tell Congress on Thursday that TikTok, which was founded by Chinese entrepreneurs, is committed to user safety, data protection and security, and keeping the platform free from Chinese government influence. He will also answer questions from U.S. lawmakers worried about the social media platform’s effects on its young user base.

At the heart of TikTok’s trouble is a Chinese national intelligence law that would compel Chinese companies to fork over data to the government for whatever purposes it deems to involve national security. There’s also concern Beijing might try to push pro-China narratives or misinformation through the platform.

At a media event coordinated by TikTok on Wednesday, some content creators acknowledged that concerns about data security are legitimate, but pointed to precautions the company is taking, such as a $1.5 billion plan — dubbed Project Texas — to route all U.S. data to domestic servers owned and maintained by the software giant Oracle.

TikTok has been attempting to sell that proposal to the Biden administration, but skeptics have argued it doesn’t go far enough. The administration is reportedly demanding the company’s Chinese owners sell their stakes or face a nationwide ban.

“I don’t know much about politics, but I know a lot about fashion, and I know a lot about people,” Ok said. “And just to be here and share my story is what TikTok has invited me to do.”

Tensions around TikTok have been building on Capitol Hill, reaching a boiling point late last year when a proposal to ban the app off of government phones passed with bipartisan support and was signed into law by President Joe Biden. House Republicans are pushing a bill that would give Biden the power to ban the app.

Other bills have also been introduced — some bipartisan — including a measure that would circumvent the challenges the administration would face in court if it moved forward with sanctions against the social media company.

The effort to target TikTok is part of a larger, tougher approach that Congress has taken in the past several months as China’s relationship with two U.S. adversaries — Russia and Iran — has come into focus. A recent incident with a spy balloon forced even some wary congressional Democrats to join Republicans in opposition, and there is now a strong bipartisan concern in Washington that Beijing would use legal and regulatory power to seize American user data or use the platform to push favorable narratives or misinformation.

TikTok’s response to the political pressure can be seen all around the nation’s Capitol, with the company putting up ads in area airports and metro stations that include promises of securing users data and privacy and creating a safe platform for its young users. Last year, the company spent more than $5.3 million on dispatching lobbyists to the Hill to make its case, according to Open Secrets, a nonprofit that tracks lobbying spending.

On Thursday, Chew will be sticking to a familiar script as he urges officials against pursuing an all-out ban on TikTok or for the company to be sold off to new owners. TikTok’s efforts to ensure the security of its users’ data go “above and beyond” what any of its rivals are doing, according to Chew’s prepared remarks released ahead of his appearance before the U.S. House Committee on Energy and Commerce.

Chew pushed back against fears that TikTok could become a tool of China’s ruling Communist Party because its parent company, ByteDance, was founded in Beijing and also operates from there.

“Let me state this unequivocally: ByteDance is not an agent of China or any other country,” Chew said.

He distanced TikTok from its Chinese roots and denied the “inaccurate” belief that TikTok’s corporate structure makes it “beholden to the Chinese government.” ByteDance has evolved into a privately held “global enterprise,” Chew said, with 60% owned by big institutional investors, 20% owned by the Chinese entrepreneurs who founded it and the rest by employees.

It’s “emphatically untrue” that TikTok sends data on its American users to Beijing, he said.

“TikTok has never shared, or received a request to share, U.S. user data with the Chinese government,” Chew said. “Nor would TikTok honor such a request if one were ever made.”

Whether those promises will alleviate concern is another matter. TikTok has come under fire in the U.S., Europe and Asia-Pacific, where a growing number of governments have banned the app from devices used for official business. India, Afghanistan and Indonesia have banned it nationwide.

Chew, a 40-year-old Singaporean who was appointed CEO in 2021, said in a TikTok video this week that the congressional hearing comes at a “pivotal moment” for the company, which now has 150 million American users.

Chew said TikTok’s data security project is the right answer, not a ban or a sale of the company.

“No other social media company, or entertainment platform like TikTok, provides this level of access and transparency,” he said.

The company started deleting the historical protected data of U.S. users from non-Oracle servers this month, Chew said. When that process is completed later this year, all U.S. data will be protected by American law and controlled by a U.S.-led security team.

“Under this structure, there is no way for the Chinese government to access it or compel access to it,” he said.

He said a TikTok ban would hurt the U.S. economy and small American businesses that use the app to sell their products, while reducing competition in an “increasingly concentrated market.” He added that a sale “would not impose any new restrictions on data flows or access.”

Downtown Issues New Round of Layoffs as Part of ‘Reorganization’

Downtown Music Holdings announced layoffs across the company’s CD Baby, Downtown Music Publishing, Songtrust, and Downtown Music Holdings (DMH) divisions on Wednesday (March 22).

Downtown Music Holdings chief executive Andrew Bergman emailed staff early Wednesday to share the news. Notably, many of the lay offs affect those working in publishing roles. Neither the email, which was obtained by Billboard, nor a company representative would confirm how many jobs were affected.

Bergman also noted in the email that there are also “a number of cost-saving measures… underway” already at Downtown apart from the reduction in team size. The Downtown rep also declined to explain what these measures were.

The email labels this downsizing as “reorganization” that “harmonizes the past several years of strategic investments and divestitures.” As detailed in a recent Billboard profile of the firm, Downtown pivoted from a traditional publishing firm with 145,000 songs in its catalog to selling off all intellectual property in favor of repositioning as a service-focused company instead.

To further bolster their service offerings, in the last few years Downtown acquired CD Baby, FUGA, AdRev, Soundrop and DashGo, and then last September announced the combination many of its B2B services under the name “Downtown Music.” Downtown Music now includes staff from FUGA, Downtown Neighbouring Rights, AdRev and Downtown Music Services artist, label services and publishing administration units.

In October, Billboard reported that Downtown’s CD Baby and Soundrop had laid off 28 employees, citing “economic conditions” and “uncertain times” in a company-wide email from chief people officer Love Whelchel.

“This reorganization harmonizes the past several years of strategic investments and divestitures, better positioning us for the future by aligning our talent, resources, technology and services to meet the evolving needs of the music community while at the same time taking into account this period of economic uncertainty,” said a Downtown rep in a statement.

Read the full email to Downtown Music Holdings’ staff below:

Team,

Today we’re sharing some difficult news with all of you. Downtown’s management team has made the decision to reduce the size of our team in certain areas of the organization, specifically CD Baby, Publishing, Songtrust and DMH. Later this morning, we will be meeting with those employees and informing them that their roles will be impacted.

Along with reducing our team size overall and a number of cost-saving measures we have underway, we hope to be able to offer and place some impacted members of our team in other positions within Downtown that will give them a chance to apply their skills and expertise in new ways.

This reorganization harmonizes the past several years of strategic investments and divestitures, better positioning us for the future by aligning our talent, resources, technology and services to meet the evolving needs of the music community while at the same time taking into account this period of economic uncertainty.

We are committed to continuing to communicate about our plans, our business performance, and the results of these changes and remain accountable to all of you for the improvements and the long-term health and strength of our work at Downtown.

Our management, people, operations, legal and communications teams have made every effort to manage this process with as much thoughtfulness, consideration and empathy as possible. We will be meeting with all of you in the coming days to share more directly, plans for each division and will be ready to answer any questions you may have.

Sincerely,

AB

Additional Reporting by Dan Rys

Pete Wentz Says Ashlee Simpson Divorce & Fall Out Boy Break Felt Like a ‘Bomb Had Gone Off’

Pete Wentz delved into a reflection on the ups and downs of his life in the newest issue of Nylon published this week, and how he’s grown from it.

One particular turning point in his life was in 2010, when he was in the process of splitting from then-wife Ashlee Simpson, raising their son Bronx and dealing with the reality that Fall Out Boy was going on a break. “My life was just like… a bomb had gone off in it,” he said of that time period, noting that he then had a crucial realization. “You’ve atrophied all of these life skills. I was like, ‘Oh. You have to figure out how to be happy as an adult.’”

Since then, the bomb has settled. The rocker has been with his longtime partner, Megan Camper, since 2011 and the couple shares Together, they share eight-year-old son Saint and four-year-old daughter Marvel.

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Fall Out Boy has also found their way back together. They’ve released a number of albums since their break, including 2013’s Save Rock and Roll, 2015’s American Beauty/American Psycho and 2018’s Mania. Now, the band is just days away from unveiling their eighth studio album, So Much (for) Stardust on March 24.

“Why don’t you just do the s— you want to do?” Wentz says is his current life philosophy. “Life is so short, and it’s so long, that maybe you should try crazy s— because it will break you out of the feeling of nihilism.”

Read the full interview here.

What Does Working in the Studio With Daft Punk Sound Like? Hear New Audio of Their Process

Fans all know what the finished product of Daft Punk‘s studio time sounds like, and now they know more about what it sounds like to be inside the studio with the French icons.

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“The Writing of Fragments of Time,” a new release from Daft Punk released Wednesday (March 22), is a more than eight-minute audio recording of Daft’s Thomas Bangalter and Guy-Manuel de Homem-Christo in the studio with American DJ-producer-vocalist Todd Edwards more a decade ago, while the trio were working on the track “Fragments of Time.”

The song was featured on Daft Punk’s 2013 album Random Access Memories, which is getting an expanded release in May. “The Writing of Fragments of Time” is the first release from this expanded edition and features audio on which you can hear Bangalter and Edwards (who first collaborated with Daft Punk on 2001’s “Face To Face”) working out the song’s lyrics.

This audio was taken at the Henson Recording Studios in Los Angeles on Feb. 29, 2012, with a tape running for the full session.

“There are certain parts I’m getting choked up, because it’s so damn emotional just putting these three weeks into words, it’s really intense. I’ve never felt anything like this,” Edwards says toward the end of the new track.

“It’s making it forever,” Bangalter adds.

“I worked two weeks in L.A. with Daft Punk for their Random Access Memories album,” Edwards told Billboard in 2021. “I called my mom during that first week; she could hear the calm and happiness in my voice and said, ‘You need to be out there. There’s nothing for you in New Jersey. I’ll miss you when you go, but I’d feel worse if you stayed.’ That summer I packed up a truck with all my gear and drove across country to move to L.A.”

The new edition of Random Access Memories — which won the Grammy for album of the year in 2014 — will include 35 minutes of additional material across nine tracks, including unreleased demos and studio outtakes like the one out now. Fans will have their choice of two different formats for the project: a double CD or a vinyl set with three LPs. The CD set will include a 20-page digital booklet, while the vinyl set will include a special Lose Yourself to Dance poster and 16-page booklet. For the first time ever, an Atmos mix of the original album will be made available on streaming.

Check out “The Writing of Fragments of Time” below:

Taylor Swift Catalog Rises in Streams Following Eras Tour Kickoff


Welcome to Billboard Pro’s Trending Up column, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. 
 
This week: Big hits and deep cuts across Taylor Swift’s catalog gain in the wake of her Eras Tour kickoff, while Coco Jones scores a breakout ballad and Fifty Fifty hits a “Cupid” bullseye.

Taylor Swift’s Tour Kickoff Yields Streaming Bumps Across “Eras”

Last week, Taylor Swift kicked off her Eras stadium tour with a career-spanning, three-hour-plus extravaganza at State Farm Stadium in Glendale, Ariz., setting social media ablaze with setlist reactions and outfit exclamations on Friday and Saturday (Mar. 17 & 18). The dozens of thousands in attendance in Arizona were lucky enough to see all 44 songs live — but plenty of other Swifties across the U.S. celebrated the superstar’s first proper headlining concert in over four years by pressing play on some of the hits that were at long last being taken on the road.

Beginning last Friday, when the Eras tour officially kicked off, daily streams for some of Swift’s most notable hits scored noticeable upticks. “Blank Space,” her Billboard Hot 100-topping smash from 1989, was up 18% in daily official on-demand U.S. streams on Friday compared to the previous day, according to Luminate, while the Lover title track posted a daily gain of 20%. 

“Cruel Summer,” the first full song to be performed within the Eras setlist, did even better: Its daily streams more than doubled between the day before the tour launch (352,000 streams) and Monday (750,000), as more social clips of Swift finally performing the 2019 hit were feverishly shared. The current singles from Swift’s most recent album, Midnights, also enjoyed notable bumps: “Anti-Hero” rose 14% in daily streams from Thursday to Friday, while “Lavender Haze” earned a 31% increase on the same day.

Also contributing to Swift’s overall streaming totals coinciding with the Eras tour kickoff: the four “From The Vault” songs that she shared on Friday, which include three “Taylor’s Version” re-recordings of previously released songs (“Safe and Sound,” “Eyes Open” and “If This Was a Movie”) as well as an unreleased track, “All the Girls You Loved Before,” from the Lover sessions. The latter has gotten off to a hot start at streaming, scoring over 4 million streams on its release day, to go with 11,000 U.S. digital sales on Friday. As “Girls” continues to reside within the upper reaches of daily streaming charts on Spotify and Apple Music, Swift could notch another nice Hot 100 debut next week, after she takes the Eras tour to its second stop in Las Vegas this weekend. — JASON LIPSHUTZ


Coco Jones Slows Things Down on TikTok With “ICU”

While Coco Jones may currently be best known to audiences as the actress behind Hilary Banks on the Peacock reboot Bel Air, she may be following in the multi-platform footsteps of Tatyana Ali — who played cousin Ashley on the ’90s Fresh Prince, and reached the Hot 100’s top 10 in 1998 with “Daydreamin’” — with a hit single of her own. Following its Nov. 2022 release, Jones’ “ICU” has been gradually going viral on TikTok over the past few weeks — and bucking trends on the app in the process.

While an increasing majority of TikTok hits in the past year or so have taken off via sped-up versions — or sounded sped-up to begin with — “ICU” is a pointedly slow-and-low love song, near-stunning in its patience. And rather than crank the BPM back up, users have responded to it in its original tempo by responding to Jones’ vocal challenge and recording their own duet verses for the track. Consequently, the song has climbed 59% from just under 2 million official on-demand streams the chart tracking week ending Feb. 23 to over 3.1 million on the week ending March 16, according to Luminate. And it’s still climbing, meaning “ICU” may be moving to the waiting room for numerous Billboard charts soon. — ANDREW UNTERBERGER


Fifty Fifty Scores an Odds-On Hit With “Cupid”

Korean pop artists haven’t necessarily been able to score the kind of breakout crossover streaming hits on the Billboard charts that many of their English- and Spanish-language counterparts have found via TikTok and other virality-boosting platforms — but recent singles by girl groups NewJeans (who scored a pair of Hot 100 hits earlier this year) and now Fifty Fifty indicate that their luck may be starting to change.

Fifty Fifty’s bilingual disco-pop jam “Cupid,” released in February, has taken off through a series of dance challenges and other uses on TikTok, and was given additional life by a new “Twin Version” recorded entirely in English. The song has exploded from an already-impressive 2 million official on-demand streams in its first full tracking week (ending March 2) to nearly 4.7 million for the week ending March 16 — a rise of 131%, according to Luminate. “Cupid” debuts at No. 106 on the Global 200 dated March 25 this week, and if it keeps growing, it might aim its bow and arrow at the Hot 100 before long. — A.U.

Jozzy’s Love Songs: How the Acclaimed Songwriter Kickstarted Her Solo Career With Help From Diddy

When asked to explain the inspiration behind the title of her latest EP, Jozzy shrugs, saying Songs for Women, Free Game for N—as is exactly as the title suggests; the Memphis native makes music for women, but if men listen they’ll probably learn a thing or two. “When I’m talking to a girl, [men] always stare,” she says. “It’s not a trick to it, it’s not game. It’s just understanding who and what a woman is.” 

Released in late February, Songs for Women is Jozzy’s first project since signing to Love Records, the label created by Sean “Diddy” Combs to highlight R&B talent (Roc Nation and Hallwood Media are handling management for the singer.) It’s her biggest release as a singer, following years of success as a songwriter who has worked with artists like Billy Ray Cyrus, Chlöe Bailey, Beyoncé and Timbaland.

Featuring production credits from Diddy, Stevie J and others, the 10-track project is full of adoration and longing for women, from the “Free Game” interlude that features Eartha Kitt’s viral laughter and unflappable response when asked if she’d compromise for a man to “Replay,” the mid-tempo offering about the memories that remain after a relationship has ended. The project isn’t just a debut for Jozzy, though; as the first signee on Love Records, Jozzy’s EP represents a beginning for the label, signaling the type of sound we might come to expect from the Diddy’s latest venture. The mogul pulled no punches when it came to promoting his newest signee, introducing her as the “R&B Biggie” onstage at the 2022 Billboard Music Awards and co-directing her first music video. 

Jozzy says she signed with Love Records because Diddy understood and accepted her identity  in a way that previous collaborators had not. In the past, she says her appearance and sexuality (“I was gay, I was a masculine woman”) perplexed people who didn’t think she should be making vulnerable R&B music. “When they heard ‘Alone,’ a lot of people were like ‘she doesn’t sound how she looks,” she notes, adding that she wants people to look past their biases and stereotypes to give the music a chance. 

Diddy didn’t see those hang-ups, though. “Puff is good at seeing positive and good things in people … Notorious B.I.G. wasn’t the most handsome guy but he saw it in him and then boom, everyone else saw it,” she says. “If Puff says it’s cool, it’s cool,”

“Jozzy is a very special and dynamic talent that only comes around once in a generation, so I’m excited to see how her music sets a new standard for R&B,” Diddy told Billboard in an emailed statement about the singer. “Her skills as a writer and performer, matched with her style and energy has the potential to make her one of the greats and I’m proud to play a part in shaping the next chapter of her career.”

At the foundation of Jozzy’s artistry is her ability to craft songs that capture a distinct feeling or moment and make them feel universal. She’s been doing this for other artists for years, long before she got an opportunity to do so for herself on a big stage. Jozzy co-wrote Billy Ray Cyrus’ verse on Lil Nas X’s “Old Town Road” and has multiple credits on Latto’s 777 album, including for the single “It’s Givin.” Recently, she landed songwriting credits on SZA’s no. 1 album SOS for the song “Low” and on Chlöe’s forthcoming solo debut album for the song “Pray It Away.” “I can be anybody as a songwriter,” she says. “Like the song I wrote with Chloe, ‘Pray It Away.’ [I wrote] ‘Fuck n—a, fuck n—a, I just learned to hate from a fuck n—a.’ I would never say that. It’s like being in a movie. I can be any character.” 

Last year, just before Beyonce’s Renaissance album was released, she learned the singer had transformed a demo she’d co-written and titled “Right Here, Right Now” into the six-minute disco track “Virgo’s Groove.” “Beyonce turned that s–t into a masterpiece,” Jozzy says, noting the original production sounded like Houston R&B. “We had a great song, but the way she colored it … it’s crazy.” 

Jozzy says she now has the management and legal team to help ensure she’s being fairly compensated for her work with other artists, but she still laments the idea that songwriters should be “ghostwriters” or underpaid. “There [are] people trying to fight for us, but we need a union. There are a lot of songwriters that are struggling,” she says, noting she believes they should be paid on the frontend, even if it’s only a couple thousand dollars, in the same way that producers are. 

“These songwriters are broke. It’s sick. If you don’t want songwriters, just put the beat on the radio and see how it goes,” she quickly adds. “I tell people I work with, ‘Are you going to be on the right side of history or the wrong side of history? Because I’m telling. I’m calling your name out.’”

Lately, she’s been working hard to save some of her songwriting magic for her own releases, too. While attending the Wireless Festival in London last year, when she got an idea to film the visuals for the reflective single “Alone.” In the video, which was co-directed by Diddy, she wanders the dark streets in Paris ruminating on her desire for companionship. At one point, she performs on a sidewalk with the Eiffel Tower — a singular symbol of Paris that for forty years was the tallest structure in the world — behind her, before being joined by Diddy for his signature dance, the Diddy Bop.

Jozzy says she wanted to use the Eiffel Tower as a symbol of the isolation she was feeling both in the song and in her own personal life at the time. “If you look at the Eiffel Tower, it sits alone. But it’s so beautiful,” she says. “It’s the irony of being in Paris and I was really going through some s–t with a girl. Who wants to be alone in Paris? Shawty was supposed to be out [there] with me.”

The year has certainly started off on a high note, but Jozzy is always looking forward to her next songwriting credit and her next project as an artist. She hopes to release a new project before the end of the year and she’s been working with famed choreographer Laurieann Gibson to prepare for future live performances.

But, for now, she’s just hoping to keep bringing attention to Songs for Women. “I just want to continue to get more ears on it, she says. “Keep getting new fans.”

Kelly Clarkson Throws It Back to 1986 to Cover a Janet Jackson Classic: Watch

Kelly Clarkson — or Ms. Clarkson, if you’re nasty — gave one of Janet Jackson‘s 1986 hits a shot for Wednesday’s (March 22) episode of The Kelly Clarkson Show for its popular Kellyoke segment.

Backed by her band Y’all, Clarkson delivered a soulful rendition of “When I Think of You” and kept it largely close to the original version.

“I just get more attached to you/ When you hold me in your arms/ And squeeze me/ And you leave me making me blue,” the American Idol alum passionately sang before launching into the song’s infectious chorus. “It’s when I think of you, baby/ Nothing else seems to matter/ It’s when I think of you, baby/ All I think about is our love.”

“When I Think of You” was released as the third single from Jackson’s third studio album, Control. The track became Jackson’s third consecutive top five hit from the LP, as well as her first No. 1 single on the Billboard Hot 100. The song crowned the chart for two weeks in 1986, and stayed on the chart for a total of 19 weeks.

Tracks by Jackson are popular choices for The Kelly Clarkson Show‘s opening Kellyoke segment. The Voice judge previously covered “What Have You Done for Me Lately,” “Escapade,” “Love Will Never Do” and “If” on previous seasons of the talk show.

Watch Clarkson perform “When I Think of You” for Kellyoke above.

Will Morgan Wallen ‘Surrender’ No. 1 to U2 Re-Recordings?

Welcome to The Contenders, a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated April 1), Morgan Wallen’s One Thing at a Time juggernaut faces competition from a new U2 album of old U2 songs, as well as a rising star from the Latin world and a pop icon coming to a stadium near you.  

U2, Songs of Surrender (Island/Interscope). The members of U2 are no strangers to the top of the Billboard 200, having reached No. 1 eight times in their 43-year recording history, most recently in 2017 with the debut of Songs of Experience. Many of the songs from those albums can be found on Songs of Surrender — a collection of reinvented re-recordings spanning the band’s entire career.

Released on St. Patrick’s Day (March. 17), the collection is also available in 16-track standard, 20-track deluxe and 40-track super deluxe editions (with the later divided into four 10-track discs each named after a band member). Sales will also be helped by a dozen vinyl variants of the album, including exclusives for Target, Amazon and independent retailers — and even a Boston Celtics Limited Edition vinyl, with team-inspired packaging containing an exclusive poster.  

Eladio Carrión, 3men2 Kbrn (Rimas). An international swimmer turned social media influencer turned Latin trap hitmaker, Eladio Carrión has become one of this decade’s breakout stars from Rimas Entertainment, home to global superstar Bad Bunny. If his name isn’t yet familiar to you, some of the A-list features on his latest album 3men2 Kbrn will be – they include 50 Cent, Future, Lil Wayne, and of course El Conejo Malo himself, who appears on the set’s lead single “Coco Chanel.”  

Taylor Swift, Lover (Republic). As you may have heard, Taylor Swift recently launched her first U.S. tour in six years – and It’s not just the more than 100,000 fans in attendance at the first two dates in Glendale, Ariz. over the weekend who are psyched to see her, Swift’s sales and streams have spiked across her catalog, but the album poised to benefit most on the Billboard 200 is her 2019 set Lover. It’s appropriate, given how it’s the Swift album fans have waited the longest to see on tour, as she was forced to cancel immediate support plans during the 2020 COVID-19 pandemic.  

IN THE MIX 

EST Gee, Mad (CMG/Interscope). Louisville rapper EST Gee has long seemed to be on the verge of a mainstream breakthrough, in the wake of high-profile early-decade guest appearances on Billboard Hot 100 hits like Lil Baby’s “Real as It Gets” and Jack Harlow’s “Backstage Passes.” He’s reached the Billboard 200’s top 10 three times already, most recently with official debut LP I Never Felt Nun in Sept. 2022, and looks to go for four with last Friday’s Mad mixtape – though outside of southern rap stalwart Boosie Badazz, the set is light on big-name guests.  

100 Gecs, 10,000 Gecs (Dog Show/Atlantic): The hyperpop paragons lean more into thick guitar riffs while maintaining their absurdist sense of humor on second album 10,000 Gecs, their first since making the jump to Atlantic. The critically acclaimed set — supported by their first Alternative Airplay-charting hit single, “Hollywood Baby” — is likely to give the duo its highest-charting entry yet on the Billboard 200, following the No. 92 peak of its debut album, appropriately titled 1,000 Gecs.

Tania Domínguez, Michi Sanz, Cammie & More Emerging Artists to Discover

Every month, Billboard Latin and Billboard Español editors will feature a small group of new or relatively unknown artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover. In honor of Women’s History Month, our newest “On The Radar Latin” list includes up-and-coming mujeres that you should be listening to.

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See our recommendations below:

Artist: Cammie

Country: Brazil

Why they should be on your radar: Brazilian pop/soul singer Cammie may have just released her first single with L.A.-based indie record label Super Pop, “Baby I Love You,” but the 22-year-old is far from being new to music and the entertainment business. A semifinalist of The Voice Brasil 2016, the bilingual artist (Portuguese/English) from Rio de Janeiro with a powerful voice began her career at the age of nine, appearing in various musicals and as a voice actress in the Portuguese versions of movies including Toy Story. In 2012 she made her singing debut in a jingle, and last year she released the seven-song EP Doce Como Bala, with romantic mixes of samba-tinged soul, and guests like R&B singer Anchietx and samba vocalist Ferrugem. Throughout the deliciously funky “I Love You”, which Cammie co-wrote with producer Guilherme França, you can hear her undeniable influences of ‘70-‘80s-era Brazilian soul/funk. — SIGAL RATNER-ARIAS.

Song for Your Playlist: “Baby I Love You”

Artist: Ela Taubert

Country: Colombia

Why they should be on your radar: Thanks to a video that Feid reacted to on TikTok — where she’s singing a piano-heavy ballad version of his “Si Te La Encuentras Por Ahí“ — I discovered Taubert, a 22-year-old singer-songwriter from Colombia. But far beyond a couple of covers on social media, Taubert holds a sweet potent vocal range that’s both melancholic and mesmerizing that can be heard in her own original music, such as her debut single “Salto de Fe” in 2019, as well as “¿Cómo es que tú?,” and “Crecer.” A well-rounded pop artist, Taubert has been taken under the wings of Latin Grammy-winning producer Julio Reyes Copello, and has already shared stages with renowned stars Diego Torres and Alejandro Sanz. Showcasing her vulnerability and maturity, amongst other qualities, Taubert sings about love, heartbreak and dreams. She forms part of the inaugural generation of Universal Music Latin’s Abbey Road Institute & Art House Academy. — JESSICA ROIZ

Song For Your Playlist: “Yo Primero”

Artist: La Favi

Country: The United States (Los Angeles via Bay Area) 

Why they should be on your radar: On her latest bilingual EP, Para Ti, West Coast singer-songwriter La Favi brings her enigmatic allure to the dance floor. Yet it starts with her spellbinding serene croon against melancholy guitar arpeggios and dingy electronic beats. It’s a gripping contrast that straddles dreamy sad-girl lyricism, occasional flamenco melismas (“Wachu Did”) and glitchy reggaetón production. The five-track EP was produced by Ulises “El Licenciado” Lozano of Kinky fame, who has also been at the helm of helping cultivate the neoperreo (Ms Nina, Tomasa del Real) scene that’s been buzzing on SoundCloud and beyond. La Favi, whose of Spanish descent, is the newest signee to Steve Aoki’s Dim Mak En Fuego label, and she is beautifully repping the freaky urbano movement with ease, confidence, and a tinge of salacity for good measure. — ISABELA RAYGOZA

Song For Your Playlist: “Para Ti” feat. YAWNS

Artist: Michi Sanz

Country: Venezuela

Why they should be on your radar: Three years ago, Michi Sanz (real name: Michelle Valentina Sanz Mateu) dropped her debut single “123,” backed by hip-op beats and accompanied by artists Splitmusic and Dakeator. Her dulcet, high vocals set the tone for her next musical projects, all of which are innovative and experimental in their own right. Based in Miami, Sanz has explored ’80s retro funk as heard in “VIBES,” reggaetón-pop as heard in “+58,” and most recently, punk rock in her new single “FKN indirectas.” 

She has composed music for other artists, including popular Peruvian act Leslie Shaw, and just performed at her first SXSW in Austin, Texas. “My lyrics define real-life situations and moments that we have all gone through,” Sanz, who describes herself as “super pana” (cool in Venezuelan slang), notes on her Spotify profile. “They are stories that will lead me to sing to the world that we can dream, love, cry, and dance.” — J.R.

Song For Your Playlist: “FKN Indirectas”

Artist: Tania Domínguez

Country: Mexican-American

Why They Should Be On Your Radar: Mexican Music with a twist. Tania Domínguez’s refreshing take on the legacy genre is head-turning. While most artists from her generation have taken on the sierreño or urban-infused route, Dominguez is placing all bets on an almost jazz-like alternative sound to stand out from the crowd. At least that’s the route the Rancho Humilde-signed artist — who previously served in the U.S. Army and spent her days in South Korea listening to music and discovering artists such as Ariel Camacho and Junior H — has taken for “Enamorarse Suavecito,” No Me Puedo Detener” and “No Puedo Olvidarte” with label mate Ivonne Galaz. The new tracks are a departure from the sad sierreño songs the 23-year-old singer-songwriter first released, which showcase her slick guitar skills and gristly vocals. — GRISELDA FLORES

Song For Your Playlist: “Enamorarse Suavecito”