State Champ Radio Pop
Watch Latin American Music Awards Selena Gomez and Taylor Swift have been longtime BFFs, and now that they’re dating Benny Blanco and Travis Kelce, respectively, it would make sense that the group would go out on a double date. Explore See latest videos, charts and news See latest videos, charts and news However, it hasn’t […]
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NewJeans get down to some classic pop group hijinks in the new video for their effervescent single “Bubble Gum.” The K-pop girl group comprised of members MINJI, HANNI, DANIELLE, HAERIN and HYEIN put together a perfectly manicured fun weekend hang in the clip directed by Youngeum Lee that dropped on Friday (April 26).
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In the latest preview from the quintet’s upcoming double single album How Sweet — a two-track offering due out on May 24 featuring “Bubble Gum” and the title song — fans get to see the women relaxing for the camera while engaging in the time-honored tradition of making a band seem more like a high school clique of besties than a K-pop juggernaut.
The action begins in a van, naturally, where the women blow bubble gum bubbles and weave friendship bracelets as the summery, hang-loose track builds. The rest is a montage of the five playing marbles in their apartment, where they make balloon animals and play with soap bubbles, eventually making their way to the beach for some more bubble blowing, wave frolicking and, yes, even more bubble action via bubble guns.
It’s a lot of bubbles, to be honest.
The trip ends with them packing back into the van, grooving along to the song’s laid-back beat and then running through the night with flashlights while, of course, blowing bubbles.
The two-song follow-up to NewJeans’ Jan. 2023 single album, OMG, will be followed by another single album on June 21, Supernatural, which will mark the band’s official debut in Japan; that one will feature the title track along with “Right Now” and two instrumental tracks.
To celebrate their Japanese debut, the group will host a two-day fanmeet concert, on June 26-27.
Watch the “Bubble Gum” video below.
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Even before the release of Beyoncé’s Billboard 200-topping album Cowboy Carter, Ryan Beatty was having a banner 2024. His name is in the liner notes to Bleachers’ self-titled fourth album as a co-writer, and he’ll open for Noah Kahan this summer and Maggie Rogers in the fall — all in support of his own acclaimed 2023 third album, Calico, which earned praise from Elton John, who hosted Beatty on his Apple Music Radio show Rocket Hour last year, saying his songwriting is “beautiful, intense and meaningful.”
But his contributions to Cowboy Carter have been quietly in the works throughout his wins, extending across the past four years. Beatty, a California native and teen pop prodigy turned tender singer-songwriter, is credited with co-writing four songs on the blockbuster, including standouts “Bodyguard” and “II Hands II Heaven.” A closely guarded secret he has kept since 2020 (Beatty, 28, says he “worked on this pretty much from beginning to end”), his collaboration proved to be an inspirational boost. “It gave me this silent confidence for years,” he says. “I think when you’re patient through the process, you almost feel ready for all the things that happen.”
Below, he explains how he scored such major co-writes and what’s up next for his solo career.
Ryan Beatty
Ashlan Grey
Even though Calico came out a year ago, do the past couple months feel like a milestone for you?
I think when you’re patient through the process, you feel ready for all the things that happen. I don’t mean to sound jaded, because it’s unreal all of the things that I’ve done and am getting to do. When I put my record out, I knew what I made and I knew how special it was to me. I’d hoped that it’d feel just as special to the people listening to it. I also know what I was willing to do and not willing to do. And I’m very adamant about staying authentic in every single decision I make when it comes to my music. And I think because I’ve been so protective of it, it’s been such a nice slow burn that the discovery of the record has been happening so naturally and effortlessly.
I didn’t realize how much this record affected people until I started touring it. Seeing people really show up and really be there with me was really special. It’s nice to know that staying true to yourself pays off, because it’s so easy for you to bite the apple and try things that don’t feel right for you and you think, “Oh, this worked for somebody else so maybe it will work for me.” But I think every artist has that feeling in their gut when they know something is right for them or not, you just have to listen closely.
You were working on Cowboy Carter and Calico simultaneously. What was it like deciding which ideas and lyrics should be for which albums?
There was never a moment where I thought, “Should this go here or there?” Anytime I went in to work on music, it was very intentional to focus on where things existed. At the end of the day, my writing is going to be my writing. But it never blended too much; it was always “I’m making this song for Calico,” or “I’m making this song for Cowboy Carter.” I felt really propelled in my artistry and could feel myself growing as an artist, so working on something of such magnitude at that time also helped hone in on my album. I always call Calico a small record because it’s so close to the chest, and it’s really interesting being in both those worlds. Knowing that [Cowboy Carter] will be heard by every person on Earth, whereas on my record I’m whispering into the mic, I kind of enjoyed that.
How did you keep Cowboy Carter a secret for so long?
It was hard, but I also sort of enjoyed it. There were people in my life who didn’t know until the day it came out. I got phone calls and texts all day, like, “What are you talking about?” The entire time I wanted to honor what was being made, and I really believe in letting the work speak for itself. Not having expectations is the best move.
Your work is usually autobiographical. How does that affect your writing for other artists?
I put my own perspective into these songs. Even on a song like “Just for Fun,” [Beyoncé] sings about Clovis, which is the town I grew up in [in California]. So if you really look into the details of it, you can hear my perspective in there, I think.
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How easy was it deciding whether or not to reflect your own queerness in your work?
It was instant for me. What excites me about making music is talking about my own life. So it wasn’t about should I or shouldn’t I. It was like, this is what excites me, let me be very forward about it.
What did you learn from working with Beyoncé and her team?
She makes things with so much intention, and I’ve always tried to do the same thing. Just seeing the work that goes into it definitely reminded me, “Oh, this is how you make greatness.” That was incredible to be around, and I felt highly respected through the entire process.
What can you share about “BODYGUARD,” which seems to be a fan favorite?
The line “Sometimes I hold you closer just to know you’re real” is one of my favorite lines I wrote for the whole record. Melody and lyric together can make something feel so much more beautiful. I think that melody, the way she sings it, and the line itself feels cute and intimate. I love that part of the song.
What can you reveal about collaborating on the Bleachers album? You are credited as a co-writer on “Call Me After Midnight.”
For that record, it’s one we started working on in 2017. It’s a song I wrote a long time ago. Jack [Antonoff, Bleachers frontman] was working on Kevin Abstract’s record, and I think they pulled that one up to revisit and Jack loved it and asked us if he could rework it and we were like, “Yeah, go for it.” To my surprise, it was on the latest Bleachers record and I’m really happy it went on there. It’s such a fun, beautiful record and I’ve been a fan of Jack’s for a really long time since way before I knew him, so that was a full circle moment at the same time, too.
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It was just announced that you’ll be opening up for Maggie Rogers on her upcoming tour. Do you ever spitball ideas with her?
Maggie is one of the smartest people I’ve ever met. She’s just fun to talk to and she wears her heart on her sleeve. I think that I do the same, so I enjoy our conversations.
Are your recent experiences influencing how you’ll write your next album?
Probably, but I wouldn’t know yet. I’d say, I’m grateful to know that the best way for me to write a record is for me to just live life. That sounds really simple, but I try not to go in “record-making mode” and to be honest, I don’t even know what that means. Calico was made over a time where I was like, “Okay, ‘I’m ready to write” and then I’d stop for six weeks. Then I’d go back and work on it a little more. I just want to live a beautiful life, make beautiful things and what comes of it, comes from it. That sounds really simple, but I think if you grip it too hard it ends up being over thought. There has to be ease and intention at the same time.
This story will appear in the April 27, 2024, issue of Billboard.
Ne-Yo is one of the genre-defining R&B singers of the 2000s, and his invite to NPR’s Tiny Desk concert series was long overdue. The long-time bad-boy R&B singer made his Tiny Desk debut on Friday (April 26), which saw him run through a medley of soulful hits from his catalog, in addition to bops he’s […]
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In October, Taylor Swift‘s “Cruel Summer” unexpectedly climbed its way to No. 1 on the Billboard Hot 100, four years after it was released as a non-single on 2019’s Lover. And in an interview with People published Friday (April 26), St. Vincent — who co-wrote the smash with the pop star and producer Jack Antonoff — revealed that she was just as stunned as everyone else by the song’s delayed success story.
“[Swift’s] just so incredibly intelligent and so hardworking,” the indie rock star, born Anne Clark, told the publication. “That’s a given. I am so incredibly blown away and amazed by Taylor’s fans because they are just a force of nature. They took a song that was, what? Almost four records ago now, that was not a single off a record.”
“They were like, ‘No, this song’s a hit,’” she continued. “Then, by force of will, they made that song a worldwide hit.”
Clark also opened up about her friendship with Olivia Rodrigo, who retroactively credited St. Vincent, Swift and Antonoff as writers on her Sour hit “Deja Vu” in 2021 after listeners drew comparisons to the track and “Cruel Summer.” Last fall, the “Vampire” singer said in a New York Times interview that Clark had been a “mentor” to her during the process of making her sophomore album, Guts, which debuted at No. 1 on the Billboard 200.
“I love Olivia, she’s just a wonderful person,” Clark told People. “But I don’t lead with advice. The only advice I have ever given Olivia was just to trust her instincts and to make exactly the record that she wants to make that’s in her heart. That’s it.”
“What’s going to resonate with people is her authentic voice, and she did,” added the “Los Angeles” musician. “She made a great record.”
The new interview arrived on the same day St. Vincent’s latest album, All Born Screaming, hit streaming services. It features the previously released singles “Broken Man,” “Flea” and “Big Time Nothing.”
“All we have is love and the people we love, and it’s the only reason to do anything, and the only reason to be alive,” Clark told People of the project. “So the first part of the record is a little bit of a season in hell, but you get to this place and the record ends with an ecstatic mantra of, ‘We’re all born screaming.’”
“I had my own vision for what I wanted to hear in K-pop,” says Paul Thompson, an Italian American who 11 years ago moved to South Korea from California to teach English, but has since become better known as chart-topping K-pop producer MCMZ and founder of MCMZ Inc., an entertainment group based in Seoul. “I knew no other company was 100% going to let me do the vision I had. It was time for me to try to evolve K-pop.”
Enter VVS, Thompson’s newly formed group eyeing October for its official debut, and with four albums already mapped out. Embodying his love for The Neptunes, Timbaland co-producer Danja and singer-songwriter-producer Ryan Leslie, Thompson created a streamlined sound for the new act, which is named after the diamond category of the same name. “I would say we’re mashing up Ariana [Grande’s] ‘POV’ and Nicki Minaj,” says Thompson, who calls the members of VVS “the right five to push K-pop forward.”
With one Japanese and four Korean members, VVS comprises Brittney (20, the group’s leader and English speaker), Ilee (19, a rapper inspired by Blackpink’s Jennie), Rana (18, the main dancer who is musically influenced by Lauryn Hill), Jiu (15, the main vocalist who looks up to K-pop powerhouse Taeyeon) and Liwon (15, a vocalist who admires fellow teen singer Kiana).
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For now, the quintet has daily rehearsals, vocal and rap lessons, and group workouts. As their debut looms closer, the members will move into a shared living space and add media training and language lessons as part of K-pop’s famous trainee system. But unlike other trainees, the members of VVS will have had what Brittney and the girls call “culture classes” to dig into the roots of R&B and hip-hop.
“From the cultural beginnings to today where female rappers are able to perform onstage with such confidence, the fact that we are able to learn about the history of the OGs is really meaningful,” Ilee says through a translator. “We learned about female rappers at the start of the hip-hop industry, like Lil’ Kim, who influences me because she’s very confident.”
Brittney
Scott Joonhyuk Jung
Ilee
Scott Joonhyuk Jung
Meanwhile, Brittney — who nearly abandoned her K-pop dreams after time training in two different agencies before joining MCMZ — pulls inspiration from an act closer to home. “BTS came from a small company,” she says. “We come from a small company, too, so I think there’s a lot that we can learn from them. They’re very hard workers, they put all their effort into their job, and when they perform onstage, they’re 100%. I think their teamwork is amazing, so I tell my girls about them, too.”
After initially moving to South Korea to teach English, Thompson spent the following decade becoming the chart-topping K-pop producer MCMZ for arena-filling acts like EXO, NCT and Kang Daniel. Similar to NewJeans mastermind Min Hee Jin and other K-pop creatives who have moved from the liner notes to the C-suite, Thompson transformed his producer moniker into a corporate entity, founding MCMZ Inc. in early 2019 and incorporating as a Korean entity in January 2020 with an all-Korean staff and crop of songwriters that includes K-pop idol Yuju and lyricists in Los Angeles and Nashville.
Thompson’s own body of work — alongside key hires of management, casting and artist development veterans in Korea — quickly earned his new label the trust of the industry. Blackpink’s agency, YG Entertainment, has already invested in the company through a deal with its distribution division, YG Plus, to assist in merchandising and marketing, as well as global distribution.
And despite operating as an Italian American in a predominantly Asian industry, Thompson says, “All the parents know what I’ve done, all the trainees know, and a lot of them audition because of the music. They realize, ‘OK, the company is still Korean, all the contracts are done in Korean, it just happens that the CEO is not.’ ”
Jiu
Scott Joonhyuk Jung
Despite its American influences, MCMZ Inc. plans to target the international K-pop fandom as well as the scene’s core markets like Korea, Japan and English-speaking territories. “It’s going to be harder for us to get across because all the big companies have way more money than us to put toward marketing,” Thompson says. “The best way we can market ourselves is to go through other channels where we don’t have to put a huge budget behind that.”
That’s exactly why he has made yet another unconventional move: welcoming Anderson Cooper to film a CNN documentary about MCMZ Inc. to air at a later date. Thompson believes embracing such an unfiltered approach during a time of creative experimentation points to the type of ambition needed to break through industry hierarchies.
“They’re already going to be questioning if we’re authentically Korean,” Thompson says. “A lot of the Korean companies’ first target demographic is going to be Korea. For us, it’s still Korea, but we know we have a barrier there to entry anyway, so let’s see how we can market ourselves more accurately [beyond that].”
Liwon
Scott Joonhyuk Jung
Rana
Scott Joonhyuk Jung
This story will appear in the April 27, 2024, issue of Billboard.
“I had my own vision for what I wanted to hear in K-pop,” says Paul Thompson, an Italian American who 11 years ago moved to South Korea from California to teach English, but has since become better known as chart-topping K-pop producer MCMZ and founder of MCMZ Inc., an entertainment group based in Seoul. “I […]
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Normani increases our Dopamine supply, PARTYNEXTDOOR elevates his game and Anitta provides Brazilian funk for summer. Check out all of this week’s picks below:
Normani feat. Gunna, “1:59”
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The reason why anticipation remains high for Normani’s debut solo project, in spite of years of false starts and setbacks, is because the music that the former Fifth Harmony star has released over the past half-decade has been enticingly singular, a collection of R&B singles with pop and personality. At long last, Normani’s first album is on the calendar — Dopamine is slated for a June release — and new single “1:59” serves as another reminder of the project’s promise, with the singer waxing poetic about a steamy encounter in between Gunna’s animated crooning.
PARTYNEXTDOOR, PARTYNEXTDOOR 4
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Evolving from one of Drake’s most trusted studio companions into an ever-reliable R&B solo artist, PARTYNEXTDOOR has spent the past decade accruing a dedicated following — and now wants more, if PARTYNEXTDOOR 4, his first project in four years, is any indication. The new album carries a cohesion and stylistic ambition that previously was not prominent in PND’s oeuvre, as the Canadian singer-songwriter elevates his late-night musings and warbled vocals to more emotionally affecting territory, particularly on the album’s back half.
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Anitta, Funk Generation
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The opening song on Anitta’s new album is titled “Lose Ya Breath,” and that’s precisely what the veteran star aims to accomplish on this kinetic new project: Funk Generation rarely lets the BPM lag, and Anitta never stops showcasing the ferocity that powers a lot of these Brazilian funk heaters. Previously released singles “Funk Rave” and “Joga Pra Lua” sound at home on the track list, Sam Smith stops by to provide some feathery vocals to “Ahi,” but the sub-two-minute headbangers like “Savage Funk” and “Grip” might steal the whole show.
Justice, Hyperdrama
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Miguel, Thundercat, The Flints, Tame Impala: these are just a handful of the guest stars on Justice’s long-awaited new album Hyperdrama, with guest vocalists a rarity in the French electronic duo’s discography. And while some of those collaborations result in exciting new compounds — Kevin Parker’s voice stretches out and shimmers on the opener “Neverender,” for instance — they’re also a little besides the point, as the veteran dance kings provide plenty of movement on their own; the multi-part “Incognito” may be one of the biggest triumphs of their entire catalog, every gear shift producing another unexpected thrill.
Myke Towers feat. Bad Bunny, “Adivino”
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Two years after Bad Bunny ignited the summer with the surprise May 2022 release of his album Un Verano Sin Ti, the A-lister has joined forces with another Puerto Rican superstar, Myke Towers, on a track that sounds primed for beach playlists and sweaty club nights. “Adivino” may document a breakup, but the thumping beat and rapid hooks dispel any chance to dwell on the sorrow; meanwhile, Towers and Bad Bunny crackle side by side, trading off lines and oscillating between singing and rapping with an easy chemistry.
Editor’s Pick: Tems, “Love Me JeJe”
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Tems has been impacting the U.S. mainstream for such a long time that it seems impossible that she has yet to release a proper debut album, but after several hit collaborations (“Wait For U” with Future and Drake, “Essence” with Wizkid) and 2021’s If Orange Was a Place EP, the Nigerian superstar will finally unveil Born in the Wild next month. Lead single “Love Me JeJe” distills what has made Tems such a captivating presence since arriving on the scene, as she expresses unbridled passion above warm, uncluttered production courtesy of Spax and Guiltybeatz; the song never overreaches, simply tossing out heartfelt thoughts and a summertime beat.
For the past decade Zendaya‘s music career has seemed like a game-set-match. But on Friday (April 26), the Challengers star gave longtime fans a glimmer of hope that she could mount a return to the studio someday during a chat with Jennifer Hudson.
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But first, Hudson heaped praise on the 27-year-old multi-talented star, noting, “you’re so gifted, you’re musical, you write music, you sing… you dance! Oh my goodness. Where did the music come from?”
“I love music and it’s something that’s been special to me and being in the music industry… it didn’t kill the joy of music, but when you put music and business together it cannot feel so good,” Zendaya replied diplomatically. Hudson could totally relate, but wondered if one day Z might again share her music with fans if it felt right.
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“You know, I think if the right timing and it came… again, I like creating it for myself,” Zendaya said. “But if there was a moment maybe I would put out a little something. Don’t be crazy, we’ll see. But maybe… one day.”
The actress/singer, who has not released her own music in more than a decade, was most recently featured on Bobby Brackins’ 2015 single “My Jam” alongside Jeremih. She released her self-titled debut — and so far only full-length record — in 2013, an electro pop collection that featured the glitch pop single “Replay,” which topped out at Nov. 40 on the Billboard Hot 100.
The Dune: Part Two star also talked about her surprise jump-up with Labrinth at Coachella last year, explaining that English rapper/songwriter is “so talented” and such a “wonderful person” that there was no way she could not say no, despite her initial fears. “He asked me if I wanted to come out and perform and immediately I was like ‘oh, absolutely not.’ I was like ‘I can’t do that,’” she said, noting that she has “bad memories” of performing as a kid and that stage fright was a serious concern.
“I was like, ‘I can’t! I can’t do it! It drives me crazy! I’m too nervous. I don’t wanna not do good and I don’t wanna let people down,’” she recalled thinking. “And then I went to myself, ‘Dude, you can’t run from this. You can’t hide from this forever. You’re gonna want to be on a stage and perform live once in your life at least.’ And what better place to do it than with someone that I admire and I respect and it’s his set, not mine, so I can just enjoy being with him, and so I said yes and was like, ‘Why the hell did I do this!?’”
But after joining Lab for the final two songs of his set, “I’m Tired” and “All For Us” — which they collaborated on for her HBO series Euphoria — Z said she was a bit disappointed in herself, feeling it was not her best effort because she couldn’t hear the music over the audience noise. “[So] I was like, ‘We’re just going to have fun. I’m just going to look like I’m having fun and we’re going to deal with this later. Who knows what this sounds like?,’” she told herself.
Reflecting later, though, Z realized there was no reason to beat herself up because the reason she couldn’t hear anything was that hyped crowd was singing along with her at the top of their lungs, screaming and excited. “I was like, ‘be grateful and be happy about it!’,” she said, later appreciating the love and support she’d received.
Watch Zendaya talk about a possible return to music and her Coachella surprise with Hudson below.
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We are just two weeks away from Taylor Swift hitting the road again for a summer swing of European Eras Tour shows. And, as you may have heard, since the last time she played an Eras show Swift has dropped her fastest-selling album of all-time, The Tortured Poets Department, a sprawling, 31-track collection that has been racking up record after record in its first week.
So, naturally, inquiring Swifties want to know if TTPD will be added to the Eras roster when the already jam-packed three-plus hour extravaganza revs up again on May 9 with the first of four shows at the Paris La Défense Arena in Paris? If you’ve been playing this game long enough you know there are always Easter eggs.
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While Swift has not commented, on Thursday night (April 25) Swift uploaded a 15-second YouTube Shorts clip in which it appeared that TTPD has, indeed, been slipped into rotation. Cued to the album’s first single, the Post Malone-featuring “Fortnight,” it finds Swift singing, dancing and playing piano in what look like Lover and Folklore set-ups, one quick-cut caught a lot of attention. In a brief shot, Swift is seen standing next to a silver railing that eagle-eyed fans quickly surmised was in the shape of the TTPD logo. There was no chill about this news.
“GUYS THE RAILING LITERALLY SAYS TTPD!?!;);$!; ITS THE TTPD LOGO WE’RE GETTING TTPD AT THE ERAS TOUR,” tweeted one Swiftie. Another pointed out that Swift appeared to be wearing the same shoes from the “Fortnight” video in the rehearsal clip and another proved that there is no one in the game better at the long game than Taylor.
“tHIS is what she means when she says she plans easter eggs far in advance. AHHHHH!!!!,” they wrote, noting that another Swiftie spotted that Swift had seemingly teased this new era before the tour even began when she posted an image of a box containing all her different-colored Eras microphones, including a white one that “hasn’t had a place in the show… until now!!!” It was hard to tell if Swift was wielding this white mic in the video because the clip is in grayscale, but that didn’t stop the breathless speculation about what’s next on the singer’s stadium-packing outing.
Others also noted that the video appeared to feature new choreography and costumes that have not yet been rolled out, further proof that a new Era is potentially on the horizon. At press time a spokesperson for Swift had not returned Billboard‘s request for comment on whether TTPD will be included in the upcoming run of shows.
Check out the Shorts clip and the Easter egg hunt below.
🚨| The same shoes from the “Fortnight” music video and a desk on the table teased during “The Eras Tour” rehearsals for the European leg! pic.twitter.com/DhqmV2S1FU— The Eras Tour (@tswifterastour) April 26, 2024
