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Angie Stone died in a car crash on Saturday (March 1), a representative for the R&B and soul singer, who was also a founding member of the trio The Sequence, confirmed to Billboard. With a career in music that spanned the late ’70s through her sudden passing, Stone topped both the Top R&B/Hip-Hop Albums and Adult R&B Airplay charts and was nominated for three Grammy Awards.
“Unfortunately, at around 4 a.m. while heading back to Atlanta from Alabama, the Sprinter flipped over and was subsequently hit by a big rig. Thankfully, all survived except for Angie,” Walter Millsap, president of Conjuction Entertainment, said in a statement obtained by Billboard Saturday afternoon.
Stone was on the lineup of the Mardi Gras Association’s Grand Marshal’s Ball in Mobile, Alabama, on Friday (Feb. 28).
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“My mommy is gone,” performer Ladi Diamond, Angie’s daughter with Rodney Stone, wrote in a Facebook post on Saturday. Stone is also survived by her son with singer D’Angelo, Michael D’Angelo Archer II, who goes by stage name Swayvo Twain.
Born Angela Laverne Brown on Dec. 18, 1961, in Columbia, South Carolina, Stone’s career in music began with female rap trio The Sequence, known for their single “Funk You Up” that reached No. 15 on the Billboard Hot R&B/Hip-Hop Songs chart in 1980.
Five of Stone’s albums as a solo singer reached the top 10 on the Top R&B/Hip-Hop Albums chart. She saw her set The Art of Love & War rise to No. 1 in 2007, while Dream made it to No. 3 (2015), Mahogany Soul and Stone Love both reached No. 4 (in 2001 and 2004, respectively), and Black Diamond charted at No. 9 (2000).
Stone had six top 10 hits on the Adult R&B Airplay chart, including two No. 1s, “No More Rain (In This Cloud)” (1999) and “Baby” (2007). The four other top 10s were “Wish I Didn’t Miss You” (No. 2, 2002), “Brotha” (No. 3, 2002), “More Than a Woman” (No. 4, 2002) and “Sometimes” (No. 7, 2008).
“No More Rain (In this Cloud)” also reached the top 10 on the Hot R&B/Hip-Hop Songs chart, on which it peaked at No. 9 in 2000.
Though Stone never won a Grammy Award, she was a three-time nominee. She received nods for best R&B performance by a duo or group with vocals for “More Than a Woman” with Joe in 2003, best female R&B vocal performance for “U-Haul” in 2004, and best R&B performance by a duo or group with vocals for “Baby” with Betty Wright in 2008.
Stone was the founder of national nonprofit Angel Stripes, with the goal of facilitating artistry and neighborliness in communities.
Memorial service details will be announced by Stone’s family members, who at this time request privacy.
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Source: Prince Williams / Getty / Angie Stone
Angie Stone has passed away, she was only 63.
Details surrounding her death are still scarce, but celebrity gossip site TMZ received confirmation of her passing as the result of a horrific car crash that also involved nine other individuals from her rep Deborah R. Champagne.
Per TMZ:
The late star’s rep Deborah R. Champagne tells TMZ … Angie left a performance in Montgomery, Alabama early Saturday morning when she was killed in a car crash. No other details are known at this point.
Deborah tells us she just spoke to Angie last night … and the news has rocked and devastated friends and family.
Angie Stone, born Angela Laverne Brown on December 18, 1961, in Columbia, South Carolina, emerged onto the music scene as a member of The Sequence, the first all-female group signed to Sugar Hill Records. They would go on to release three albums from 1979 and 1985. Their song “Funk You Up” would go on to be sampled in numerous tracks, notably Dr Dre’s “Keep Their Heads Ringin” and Bruno Mars’ “Uptown Funk.”
Stone would take her act the solo route in the 90s, dropping her debut gold album Black Diamond. Two years later she would drop “Wish I Didn’t Miss You Anymore.”
Stone was also known for her contributions to D’Angelo’s albums Brown Sugar and Voodoo, they also share a 12-year-old son Michael. Stone also has a daughter named Diamond and two grandchildren.
Social Media Is Stunned
The three-time Grammy Award winner and a two-time Soul Train Lady of Soul Award recipient’s shocking death is sparking tributes all over social media.
“Rest in paradise Angie Stone. We are losing too many legends,” the caption for a post on X, formerly Twitter read featuring a clip of Stone sing in the film The Fighting Temptations.
“Damn. Life is so fragile man,” another user wrote.
Our condolences go out to Angie Stone’s family. You can see more reactions in the gallery below.
Country music reigned at the Ryman Auditorium on Friday night (Feb. 28), as Zach Top stepped onto the revered stage for the first of two headlining shows at country music’s historic Mother Church. The shows come as part of his Cold Beer and Country Music Tour, which sold out just hours after the trek went on sale.
Washington native Top’s brand of tunes — steeped in the influence of ‘80s and ‘90s country music, along with bluegrass — has swiftly pushed him to the forefront of a new generation of neo-traditional artists who are seeing their careers ascend.
Opening the show was Texas native and George Jones acolyte Jake Worthington, who told the crowd, “You’re getting a whole bunch of country music tonight.”
Worthington and Top made good on that promise, proving themselves as worthy musical torchbearers for fans starved for sounds inspired by ‘80s and ‘90s country.
Throughout the evening, both musicians offered a heady blend of their own music, mixed with a plethora of covers of hits from Jones, Keith Whitley, Merle Haggard, George Strait, Randy Travis and Sammy Kershaw.
Worthington launched into his set with a charismatic onstage persona and deep twang on “Night Time Is My Time,” then previewed a song that will feature Marty Stuart called “I’m The One.” His ace band included Gordon Mote on piano.
He also offered up a solo version of his Miranda Lambert collaboration, “Hello Shitty Day,” before nodding to the influence of Country Music Hall of Famer George Jones by offering up spot-on renditions of Jones classics “The Grand Tour” and getting the audience grooving to the rollicking “White Lightnin’.” He finished with his own “The State You Left Me In,” eliciting cheers from the audience.
“This song got me a lot of opportunities,” Worthington said.
A neon-lit jukebox was situated at the side of the stage, playing snippets of country classics as Top took the stage to fervent cheers from the audience. The crowd was instantly on its feet — and stayed on its feet for the rest of the show.
Top, who was highlighted in Billboard’s “Future of Country Music” spotlight earlier this year, spent his two-hour set blending top-shelf vocals, ace guitar picking, energetic performances and a devotion to old-school country music to prove why he’s leading today’s crop of future country superstars.
He kicked off his set with his Country Airplay top 15 hit “Sounds Like the Radio,” from his debut country project Cold Beer and Country Music, before nodding to his bluegrass roots with “I Don’t Mind,” from his 2022 self-titled bluegrass project.
Top had a laid-back, easygoing camaraderie with the crowd, cracking jokes between songs and regaling them with songs from Cold Beer and Country Music.
“I’m thankful that y’all have come out to make us feel welcome. We appreciate it. I’ll need one of these for the next song,” he quipped, opening up a beer before launching into “Beer for Breakfast.” He followed with “Dirt Turns to Gold” and a particularly well-received rendition of “Lonely for Long,” followed by “There’s the Sun.”
Like Worthington, he peppered his set with perfectly selected cover songs, highlighting his love for country’s deep canon of hits, including Strait’s “Love Bug,” Haggard’s “Ramblin’ Fever” and Travis’ “If I Didn’t Have You.” In his signature starched shirt and cowboy hat, grinning beneath his signature mustache, Top also slyly nodded to those Burt Reynolds and Tom Selleck comparisons in a cover of Kershaw’s “Cadillac Style.”
Top has earned the praise of many of his country contemporaries and has amassed 6 million monthly followers on Spotify alone. His Cold Beer and Country Music Tour is set to headline the 7,000-capacity Appalachian Wireless Arena in Kentucky in May. He’s also been on the road opening shows for Alan Jackson and will open shows for Dierks Bentley this year.
Judging from the fan reactions at country music’s Mother Church, which served as home of the Grand Ole Opry from 1943 to 1974, it seems like country music is in good hands and that Top is on a direct trajectory to headlining his own slate of arena shows in the very near future — and being the tip of the spear of a crop of new artists bringing classic country music back into prominence.
Here, we look at five top moments from Top’s Ryman show:
Top Closes Out His Show With a Hit and a Mission
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WWE is gearing up for must-see matches during Elimination Chamber 2025 taking place Saturday (Mar. 1), with the main card starting at 7 p.m. ET/4 p.m. PT on Peacock.
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Elimination Chamber: Toronto features an all-out brawl in men’s and women’s steel cage matches with winners securing a spot in the Undisputed WWE Championship and Women’s World Championship, respectively, at WrestleMania 41 in April. Learn more about WWE Elimination Chamber 2025 here.
The event livestreams from Rogers Centre in Toronto, Ontario in Canada. Keep reading to learn how to watch the WWE event live.
How to Watch WWE Elimination Chamber 2025
Peacock exclusively livestreams WWE Elimination Chamber 2025 with some live cable providers offering a PPV package to watch the fights live. If you have cable, you can check with your cable provider to see if they offer WWE Elimination Chamber 2025 and to purchase it on PPV. For Peacock subscribers, you can tune into the live event for no additional cost. Just log into your account once the main card event begins, and you’ll have access to the fights.
Don’t have a Peacock subscription? The streaming platform doesn’t offer a free trial, but does come with a couple of affordable plans starting at $7.99/month.
There are two different plans offered on Peacock: The Premium Plan for $7.99/month or the Premium Plus Plan for $13.99/month. If you’re looking for additional savings, you can save 17% off when you do the annual plan for $79.99/year or $139.99/year. With the Premium Plan, it’s ad-supported and you’ll receive more than 80,000 hours of TV, movies and sports, access to live sports events, current NBC and Bravo shows, 50+ always-on live TV channels as well as the ability to stream new, exclusive and original content from the streaming platform.
Peacock’s Premium Plus plan comes with everything in the Premium plan, no ads, your local NBC channel live and the ability to download and stream eligible content offline.
Alongside WWE Elimination Chamber 2025, you’ll have access to the entire Peacock library, including WrestleMania, Yellowstone, The Holdovers, Five Nights At Freddy’s, Vanderpump Rules, The Real Housewives of Beverly Hills, Based on a True Story, Bel-Air, Kevin Hart: Reality Check, Poker Face, Saturday Night Live, Willie Nelson & Family and more.
The streaming service also offers a number of music documentaries and specials, such as Toby Keith: An American Icon, Bowie: The Man Who Changed The World, Bob Dylan: The Folk Years, Stevie Nicks: Through The Looking Glass, Katy Perry: Main Square, Welcome To The A: 50 Years of Hip-Hop in Atlanta and more.
Check out the WWE Elimination Chamber 2025 match card below, and livestream the event here.
Match Card, 7 p.m. ET/4 p.m. PT
Elimination Chamber match (Men’s): John Cena vs. CM Punk vs. Drew McIntyre vs. Logan Paul vs. Damian Priest vs. Seth “Freakin” Rollins
Elimination Chamber match (Women’s): Liv Morgan vs. Bianca Belair vs. Alexa Bliss vs. Bayley vs. Naomi vs. Roxanne Perez
Tag Team match: Tiffany Stratton and Trish Stratus vs. Nia Jax and Candice LeRae
Unsanctioned match: Sami Zayn vs. Kevin Owens
WWE Elimination Chamber 2025 is available to stream on Peacock on Saturday, Mar. 1, starting at 7 p.m. ET/4 p.m. PT. Make sure you also grab official WWE merch here to cheer on your favorite wrestler or show some love for the wrestling event.
Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
David Johansen, frontman of the pioneering punk group New York Dolls and solo “Hot Hot Hot” hitmaker as his alter ego Buster Poindexter, has died. He was 75. “David Johansen died at home in NYC on Friday afternoon holding hands with his wife, Mara Hennessey, and daughter Leah, surrounded my music, flowers and love,” his […]
From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.
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Andrea Bocelli in Venezuela
On Feb. 22, Italian tenor Andrea Bocelli performed in Venezuela’s Estadio Monumental Simón Bolívar, where Venezuelan singer-songwriter Nella was a special guest. The two shared the stage to sing anthemic songs like “Bésame Mucho” and “Vivo Por Lei.”
“Infinite gratitude,” Nella wrote on Instagram. “This is one of those moments that I will treasure and keep in my heart for the rest of my life. Grateful to everyone who accompanied me and made this day possible.”
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Karol G Honors Shakira
Karol G shared an emotional message on her Instagram stories on Friday (Feb. 28), honoring fellow Colombian hitmaker, Shakira. The “Mi Ex Tenía Razón” singer took to social media to express how much Shakira means not just to to her but all of Latin America. “Her songs and her story have represented our country and the Latin industry for decades and it’s inspiring to see her shine like never before, or better yet, shining like always,” Karol wrote. “Sending you a hug from afar, enjoy it all.” Shakira is currently on tour with her Las Mujeres Ya No Lloran trek, recently wrapping up her string of shows in her native Colombia.
‘El Gordy y La Flaca’ Hosts on the Hollywood Walk of Fame
Television hosts Lili Estefan and Raúl de Molina, best known for their show El Gordo y La Flaca, were honored on the Hollywood Walk of Fame Thursday (Feb. 27), where music stars Thalia, Gloria and Emilio Estefan were in attendance.
“Lili is Emilio’s niece by blood,” Gloria began here speech at the ceremony. “I’m so proud of Lili, she always knew who she wanted to be and worked so hard to get there. People always say, ‘Oh, you helped Lili’ but we did nothing. She did this all on her own.”
Mexican star Thalia spoke a few words in honor of her good friend Lili Estefan, saying she is a reference to many Latin women who look up to her. You can watch the entire ceremony here.
Marco Antonio Solís References Kendrick Lamar
Mexican icon Marco Antonio Solís referenced Kendrick Lamar‘s hit “Not Like Us” during a concert in Argentina. Solís incorporated the 2024 diss track at Estadio Centenario (Resistencia) on Sunday (Feb. 23), and even added Lamar’s viral dance moves from his Super Bowl halftime performance in New Orleans. Solís first danced to the mariachi song “El Celoso,” which then transitioned into “Not Like Us.” It was indeed a fan-favorite moment as the crowd erupted in a roar.
Check out the moment below:
Carlos Vives’ Sweet Moment at Viña
Colombian star Carlos Vives performed at Viña del Mar on Wednesday (Feb. 26), where he was awarded with Gaviotas de Plata and Oro. One of the most memorable moments from his set was when he serenaded his wife Claudia Elena Vásquez with “Volví a Nacer.” “I want to share with you something very special, this song was composed during a difficult moment of my life,” he prefaced the song. “We all spend difficult nights, but we know that the next day the sun rises. I composed this song for a person at a very special moment and from this song things changed in my life, and I want to dedicate it to everyone because I know that at some point we will all be born again.” The couple shared a passionate kiss to seal his performance.
After a massive blackout in Chile led to the cancellation of Tuesday’s show (Feb. 25), Morat and Sebastián Yatra will finally perform on Saturday night (March 1) at the Viña del Mar International Song Festival 2025, held at the Quinta Vergara amphitheater in the coastal city of Viña del Mar. Both acts will play approximately one-hour shows as part of the week-long festival which kicked off on Sunday, February 23.
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Headlining Colombian pop rock band Morat is slated to take the stage at approximately 7:30 p.m. ET, and Yatra is scheduled for around 11:15 p.m. ET, after the presentation of comedian Pedro Ruminot.
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Like all previous days, you can watch the performances in the U.S. exclusively on Billboard.com and BillboardEspanol.com.
With hits including “No Se Va,” “Besos en Guerra” and “Cuando Nadie Ve,” Morat debuted in 2016 with the album Solo El Amor y Sus Efectos Secundarios, and received a Latin Grammy nomination for best new artist the same year. Its fourth and latest LP, 2022’s Si Ayer Fuera Hoy, gave the band its first entry on the Billboard Latin Pop Albums chart, where it peaked at No. 18. On Tuesday, the band is making its debut at the Chilean festival.
Yatra, with almost a dozen No. 1s on the Billboard Latin Airplay chart — including “Robarte un Beso” with Carlos Vives, “Tacones Rojos” and “Un Año” with Reik, to name a few — had previously performed in Viña del Mar in 2019 with a full show, as well as the previous year during Vives’ concert, joining him on “Robarte un Beso.”
The 64th edition of the Viña del Mar Festival kicked off Sunday with a riveting set by Marc Anthony and since, artists like Myriam Hernández, Ha*Ash, Carlos Vives, Carín León, Incubus, Duki, Eladio Carrión and Kid Voodoo have performed at the Quinta Vergara. Morat and Yatra will finally have their turn tonight.
All nights are livestreamed in the United States on Billboard and Billboard Español. Performances can be viewed on the player in this story beginning at 7:15 p.m. ET.
Argentinian trap star Duki lit up the 2025 Viña del Mar International Song Festival on Friday (Feb. 28), making his debut at the Quinta Vergara as the headliner of the urban music night that would also feature Puerto Rican hitmaker Eladio Carrión and Chilean artist Kidd Voodoo.
Showcasing his impressive flow, Duki kicked off his set with the pulsating “GIVENCHY,” dressed in jeans, black jacket and T-shirt and silver chains. The face-tattooed singer looked like a rock star accompanied by drums, bass and guitar, while the audience chanted along with him at the top of their lungs. Behind him, fire images were blazing on the huge screens.
“Thank you so much, everyone! How are we doing tonight, Viña? Thanks for the love,” he said amid the screams of the audience after performing hits including “Si Te Sentís Sola,” “Pininfarina,” “Además De Mí” and “Sin Frenos,” his 2021 track with Bizarrap and Carrión. “A slightly more intimate, more sung moment is coming up. I hope you like it,” he announced shortly after, performing “Buscarte Lejos,” but soon he had everyone on their feet jumping to “Harakiri.”
With the energy high in the venue, Viña hosts Karen Doggenweiler and Rafael Araneda presented him with the Gaviota de Plata (Silver Seagull). “This is the first award I’ve received in my entire career,” said Duki, dedicating it to his followers and his parents, and also thanking urban acts from Chile who helped opened the doors for him in the country.
But the show didn’t end there. The Argentine star continued with “Duki: Bzrp Music Sessions, Vol. 50,” which he started a cappella with an impressive flow before the music kicked in. Then came the reggaeton “Te Traje Flores,” as well as the No. 1 hit on the Billboard Argentina Hot 100 “Los del Espacio,” originally performed with LIT Killah, Tiago PZK, Emilia, Rusherking, Big One and FMK.
Among others, he sang the rockier “No Me Llores” and his 2019 trap hit “Goteo,” a powerful track that alludes to the image of “dripping” in wealth and style, symbolized by luxury brands like Gucci, Nike, Philippe Patek, Rolex, and Cartier.
In the end, Duki didn’t take home just the first award of his career — he also received the Gaviota de Oro (Gold Seagull), the highest recognition awarded by the Viña del Mar audience. Visibly moved, Duki wiped away tears, kissed his trophy, and with great humility thanked his fans and his parents again, who proudly watched their son triumph from the front row. “Thank you for making my dream come true,” he said.
To close, the 28-year-old rapper once again had the “monster” chanting along with “Malbec,” “She Don’t Give a Fo” and “Nueva Era,” before disappearing from the stage.
Viña del Mar 2025 kicked off Sunday with a riveting set by Marc Anthony and since, artists like Myriam Hernández, Ha*Ash, Carlos Vives, Carín León and Incubus have performed at the Quinta Vergara. Viña will continue Saturday (March 1), as the festival concludes with the Colombian group Morat followed by Sebastián Yatra. Both were originally scheduled for Tuesday (February 25), when the show was canceled due to a massive blackout in Chile.
While the K-pop scene is an ever-evolving landscape whose definition has expanded beyond a specific genre of music, Yves wants her career to change preconceived notions that tend to separate K-pop idols from being considered complete artists.
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Back in November 2017 when Yves (born Ha Soo-young) was first introduced to the world as the ninth member of LOONA through the dark, atmospheric synth-pop throbber of single “New,” the star may have unknowingly set a standard of experimental excellence that would define her solo career years later. An exploration of newfound artistic expression and identity, a now-unshackled Yves released two EPs last year in Loop and I Did (both of which made Billboard‘s mid-year and year-end best K-pop albums lists) with singles like “Viola” and “Loop” featuring Lil Cherry embracing the club-ready sounds that defined some of 2024’s best records as different album cuts explore everything from racing and acoustic rock as well as airy R&B and soft electronica. To date, I Did has 6,000 equivalent album units of activity through Feb. 20, according to Luminate, with its songs collectively registering five million official on-demand U.S. streams. Furthermore, Yves’ most streamed song in the U.S. is “Viola,” which has 2.16 million official on-demand U.S. streams.
“I always had my own image,” Yves shares backstage at the Brooklyn Paramount ahead of the opening U.S. date of her Apple Cinnamon Crunch tour. “But as my solo career is developing, I think I was able to explore more and show more of myself. I feel like I can express a lot of things now that I couldn’t.”
Embracing the multifaceted flavors of the tour’s unique name, Yves begins the show in a punky, funky black mini-skirt and top for the first half of the show, which includes Madison Beer and Avril Lavigne covers before changing into an all-white ensemble reminiscent of any classic millennium pop star look.
While the 27-year-old connected with fans in person on tour across Europe and the States (and will hit Latin and South America in April), Yves wants all aspects of her career to speak to anyone who feels like an outsider. “What I’m trying to pursue is to become a person where I can freely express myself in the world where there is a lot that can cloud one’s perspective,” she adds. “I really don’t want to put myself in a box.”
As she takes center stage fully on her own as a soloist, Yves seems ready to shine brighter than ever. Read on for more insights from Yves’ concurrent journey of solo stardom and self-discovery.
You’ve performed in the States in the past, but it is your first time as a soloist. How has the tour been going and how are you feeling ahead of your first U.S. concert?
At first, I was very scared. Because on stage all of the members are gone, right? It’s just me. So, I’ve been very nervous, but now I think I can enjoy. I’m 70 percent ready out of 100.
From music to fashion to even social media presence, you’ve been sharing what feels like a totally refreshed person. What has been happening in these past months? Are we seeing the real you?
I always had my own image. Back when I was a part of LOONA, whenever I was wearing my own clothes — so, not the clothes that the company wanted me to wear — my members weren’t able to recognize me in public. But as my solo career is developing, I think I was able to explore more and show more of myself. I feel like I can express a lot of things now that I couldn’t before because I have opportunities, so as I develop more and more, you can see more and more of myself.
One of your biggest changes was signing with PAIX PER MIL. I’ve heard K-pop companies may kind of force an image on an idol or artist, but it seems like they give you a lot of creative freedom?
When I was first searching for agencies to join, most of them told me that I have to be either part of a girl group or they didn’t think I can make it as a solo in meetings. But when I went to PAIX PER MIL, the producer, millic, sent me a long message and told me that I have potential to become a solo artist. So, I was really touched by the message that he sent and also that he believed in my image. So, I trusted him and he trusted me.
I was with my first label for almost eight years and in an idol group so I was obligated to think, “Are these clothes right for me? Can I wear this? Can I pose this way? Can I take a picture like that?” I was unsure about what to do with myself. But the label [PAIX PER MIL] really pushed me to point where I could just express myself and just fully show my version of me. So, I think that’s how my label really supported me. It’s a lot easier to have fun now.
You came out so strong with “LOOP” featuring Little Cherry, “Viola” was one of the best songs of last year but there’s also rock, you’re recording in different languages you, is this the music you personally listen to?
When I was first making the LOOP EP, my musical spectrum wasn’t as big as of now. I used to listen to the same songs that I’ve always listened to, but my producers, millic and ioah, really helped me to expand my musical spectrum. It was kind of like homework, where they’d assigned me to listen to some music that they recommended or sometimes they’d share what kind of music they’re listening to. One thing that I remember is the day that they asked me to make a playlist of what I wanted to do in my solo career so I was able to collect the music that I wanted to perform as an artist and make my choices for my music. So, I think as of now, I can confidently say that I am doing what I want to do in terms of my music taste.
Do you remember what songs were included?
So many songs! When I was a part of LOONA, I felt that I was a member who is good at ballads rather than the kind of dance-pop that I’m doing right now. But when I was collecting the music from my playlist, I was able to collect some funky sounds, alternative sounds, rock sounds, all the different kind of experimental sounds that I’ve never dealt with [as a singer]. That’s when I discovered Caroline Polachek and other artists that I’m into right now.
You have great taste and it’s great you could develop your sound. But on the other side of things, why didn’t you want to go to a group or re-debut in another formation?
During my one year break [in 2023], I was able to interact with my other members of LOONA as well as keep communicating my fans. When I was talking to my fans, they were really the ones who convinced me to pursue a solo career. They really supported me for who I am, my choices, and what I wanted to do. So, I think that kind of really pushed me to become a solo artist. Also, when I was talking to other members of LOONA, we all wanted to reach a happy path for all of us and attempt challenges we hadn’t done before because we were going through a lot together. So, there are the solo artists like me and Chuu, but also other girl groups that were formed with LOONA members.
Despite the hard time, it seems like everyone from ARTMS and Loossemble to even Jade Jeong has loving memories of LOONA. Do you feel the same?
Of course. I’m not sure exactly how to put this in English, but it’s kind of like a sore finger. I feel like, you know, I have to have a finger, but also it kind of hurts and will always give me those memories of my past.
My, one of my favorite lyrics from you is on “Hashtag,” which is “Don’t care what’s fake and who you are/ Yeah, In my world, it is only you and me, babe.” What is your perspective these days on what you wanna personally share, whether it’s your social media, your lyrics, fan interactions?
What I’m trying to pursue is to become a person where I can freely express myself in the world where there is a lot that can cloud one’s perspective. I’m also trying to be a confident person who can make my opinions clear without losing my taste. There is a lot of social media and channels to communicate these days which means there’s a lot of information and opinions. It’s gotten to the point where if you’re a little bit different, people criticize or blame them for being different rather than being accepting for who they are. I think that’s the most important part to consider in this world of social media. I’m sure I’m not the only one who feels like that.
What kind of message would you give to someone who maybe is being criticized or not accepted and needs the kind of confidence you always show?
It’s a huge world. To the people who feel that something is different, even if you feel like you’re alone or you’ve isolated and locked yourselves in, I should share that when you look around, in fact, there are so many people who think like you, share the same beliefs and don’t deny their existence because of people who criticize them. And just like you or I would say, I always want to support you for who you are and don’t feel discouraged or insecure for being different. Don’t stop.
I love that message. Is there anything else you want to share right now?
I don’t know about the mindset abroad, but in Korea there’s a certain boundary of what is an idol and what is an artist. But I’ve honestly always been an artist and an idol equally since I was in LOONA. I want to be in both. It’s an ongoing process and I really don’t want to put myself in a box when I want to be part of both. I think that’s the message that I really wanted to share here.
Employees of DistroKid are still working without a contract 10 months after they voted to unionize — and now their union is hoping to raise awareness of their plight after more than 40% of the company’s staff was terminated and their jobs outsourced to the Philippines late last year.
Bill Bores, chapter president of the National Association of Broadcast Employees and Technicians-Communication Workers of America Local 15 (NABET-CAW) — the union representing the DistroKid employees — estimates that 37 jobs were lost in the recent purge at the New York-based company, which operates virtually with nearly all employees working from home.
At the time of the layoffs, DistroKid management said the cuts were part of a larger effort to fix issues around customer service, specifically “by expanding to 24/7 customer service with faster response times.” The company mostly serves independent artists, acting as a digital music distribution service to help musicians upload and monetize their music through sites like Spotify, Apple Music and YouTube Music. The site was valued at $1.3 billion in 2021 following a recapitalization deal with New York investment firm Insight Partners and reportedly has a customer base of two million artists.
In April, more than 63% of DistroKid employees voted to unionize with NABET-CAW, and the victory was later certified by the National Labor Relations Board (NLRB). Company management and union officials even sat for their first collective bargaining session in July, but talks have been slow due to a lack of availability to meet, says Bores.
“We finally got something on the calendar with them for October, when the company’s attorney called me and said they’re going to fire half the unit,” says Bores, referring to the 37 employees who were initially placed on “administrative leave” before being terminated. Bores says many of the terminated employees had backed the union efforts and that many had worked in both customer and artist services roles. The employees were eventually replaced by a support team operating out of the Philippines, managed by offshoring company Concentrix.
“My union knows that company very well because they have been involved in providing scabs and people to cross picket lines and thwart union drives,” Bores says. ”So not only did they lay off American workers who are unionizing, they sent their work to the Philippines to workers there that make very little compared to the workers here in New York.”
In a statement to Billboard, DistroKid officials defended the staffing change, writing, “DistroKid remains focused on delivering a best-in-class support experience for independent artists worldwide. Since initiating our ramp-up to 24/7 support late last year, artist response times have improved by 74% over the past three months and 90% year-over-year. In the coming weeks, we’ll also roll out live chat for the highest-volume categories, further enhancing accessibility and efficiency for artists everywhere. Achieving this level of service required making difficult decisions that impacted valued team members, and we are deeply grateful for their contributions.”
Former employee Wilson Rahn, a customer service employee who lost his job during the October purge, says DistroKid’s claims don’t align with what he experienced at the company.
“My perception is that they were not bargaining in good faith,” says Rahn, who is still looking for work. “I worked on their customer support funnel, made it faster and more effective and had a record of showing that I was succeeding in that. So my firing is pretty clearly, in my opinion, just because I was vocally supportive of the union.”
Bores has filed four complaints against DistroKid with the NLRB but said the labor body has effectively been rendered powerless by President Donald Trump. On Jan. 27, Trump fired NLRB member Gwynne Wilcox, leaving the board with only two members — one below the minimum number needed to legally function. The firing has left the NLRB unable to certify union elections or hear complaints from workers. Without an enforcement option from the federal government, Bores says there is little his union can do to force DistroKid back to the bargaining table aside from applying public pressure campaigns.
In the worst-case scenario, says Bores, DistroKid could hold out until the one-year anniversary of the unionization vote, at which point it would be legally allowed to challenge the union’s right to continue representing employees. But he says he’s hopeful it won’t come to that and that the two sides will have a final contract ready to sign by next month.