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For Alessia Cara, emotion and connection is at the heart of her creative endeavors — hence why each of her three studio albums live in a unique world full of signature concepts, colors and themes built around them. Her music isn’t just a listening experience, it’s a feeling.
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Her upcoming Feb. 14-slated project, Love & Hyperbole, continues that process, as she splashes her music videos and promotional content with deep berry and maroon tones, amplifying the passion that love entails. “Love is very red to me,” Cara tells Billboard. “Every time you see love portrayed anywhere, it’s usually red, like Valentine’s Day colors. Even before I knew that the album was going to come out on Valentine’s Day, it just always felt a little bit deeper, a little bit richer. The textures and the songs felt a little richer and more sophisticated, so that wine color just always came into my mind, even before I knew what the concept was going to be. It feels warm and it feels like love.”
That’s why it was a perfect fit when she teamed up with Lenovo, Intel and Universal Music Group for Brands for their “Made By” campaign, which intersects music, creativity and technology — something Cara has been a pro at throughout her career. “Each song has such a story to it that’s so specific and getting the chance to showcase each song in a way that non-singles don’t really get to be showcased, it’s really awesome to be able to do that,” she says of the partnership.
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The team-up will lend to a series of visually stunning pieces surrounding Love & Hyperbole, including an album trailer with custom graphic designs and key scenes, as well as an accompanying miniseries that documents the journey behind the development of the trailer, capturing how Lenovo and Intel supported and inspired Cara’s vision. They’ll also emphasizes the integral roles of Maris Jones and Gaia Esther Maria in shaping the project’s artistic direction. The Grammy winner adds with a laugh, “It’s a little bit indulgent for the artist in me. This was an incredible opportunity, and everyone has been so amazing creatively, and so collaborative while giving us the freedom to explore and play. We had a great time.”
Exploring seems to be a key theme in Cara’s career, as her music earnestly captures the complexities of growing into adulthood and how romantic relationships stir up all kinds of emotions. Her self-discovery both as a songwriter and human being is showcased in the Love & Hyperbole single, “Isn’t It Obvious,” a breezy hug of reassurance for a love interest who is scared to lose her. “Fears are only constellations/ Only glowin’ if we make them, we’re just fine/ If it’s any consolation, you’re my favorite/ It’s you and I, you gotta know that, right?” she sings on the track, bolstered by a guitar solo from one of Cara’s personal heroes, John Mayer (“I still can’t believe that happened,” she says.)
“Obviously, my perspective of love has transformed and changed and grown throughout my life,” She says of “Isn’t It Obvious,” in comparison to some of her previous fan-favorite tracks like “Comfortable” and “I’m Yours.” “Being a young woman, I think sometimes when you’re experiencing love for the first time and you’re a little bit more inexperienced — I can give a lot of myself and almost treat love as something that makes me feel smaller, rather than something that expands me, and thinking that that was the right way to do it. I always used to think if it was really intense, and if it took energy out of me, that it was the right thing.”
She continues, “As I’ve gotten older, I’ve realized that love is supposed to feel like something that calms the storm rather than creates it. It should just kind of feel easy. That’s why I think a lot of these songs, even though some of them are laced with elements of fear or worry, they’re always very steadfast in themselves and there’s a sense of reassurance there. I did not have that when I was growing up and finding out what I wanted in early stages of love for me.”
Keeping in the album’s theme of love, Cara is eager to spread it to fans. As part of her partnership with Lenovo and Intel, she’ll be hosting an exclusive album event for fans in early 2025, which will feature a live performance as well as interactive projection mapping and other immersive elements.
She concludes of the message she hopes Love & Hyperbole gives to listeners, “I just hope that if they’re going through something or if they’re in a similar stage in their life, that they can understand that at the end of the day, we’re all a product of everything that has happened to us, good and bad. We actually need those bad things in order to find the good. We need to know what we don’t want in order to find what we do want. We need loss in order to really feel love. Those things can work in tandem with one another instead of clash. That’s the main thesis, but I hope they just take anything from it.”
Pre-save Love & Hyperbole here.
SPOILER ALERT: The following story contains the name of the winner and runner-up from Wednesday night’s (Dec. 18) season 12 finale of The Masked Singer.
It was another wild and wooly season on The Masked Singer, with the 12th go-round of the series welcoming everyone from former superstar NFL QB John Elway (Leaf Sheep) and surfer Bethany Hamilton (Macaron), to actors Yvette Nicole Brown (Showbird), Laverne Cox (Chess Piece), Jana Kramer (Royal Knight) and Drake Bell (Ice King), as well as former Conan O’Brien sidekick Andy Richter (Dust Bunny).
There were, of course, some professional singers in the mix too, including Paula Cole (Ship), Natalie Imbruglia (Bluebell) and AJ Michalka (Strawberry Shortcake). But when the last notes rung out, it was one of the all-time-great vocal groups that won out over one of their fellow R&B crooners.
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On their route to the winner’s circle, three-person masked marvels Buffalos were all over the map when it came to their musical choices, from an impressive early take on Cutting Crew’s 1986 hit “(I Just) Died in Your Arms Tonight,” to a soulful run through Foreigner’s ultimate power ballad “Waiting for a Girl Like You” and a no-notes, touching cover of Shania Twain’s “You’re Still the One.”
And though the judges were sure they were members of a soul singing crew, Buffalos kept trying to keep Jenny McCarthy-Wahlberg, Ken Jeong, Robin Thicke and Rita Ora off the scent with sing-alongs and sing-offs on Fall Out Boys’ “High Hopes,” Fleetwood Mac’s “Go Your Own Way” and a slam-dunk semifinal torching of Toto’s yacht rock anthem “Africa.”
In the end, though, after nearly being eliminated while trying to keep viewers and the judges guessing, they pulled out an absolutely stunning take on Sam Smith’s “Too Good at Goodbyes” on Wednesday night’s finale, leaving little doubt that their old pal McCarthy-Wahlberg was right all along.
When the wooly heads came off, it was none other than Boyz II Men‘s Nathan Morris, Shawn Stockman and Wanya Morris who triumphed over Wasp, fellow R&B singer Mario. Billboard spoke with the trio before their elimination to talk about how the show challenged their nearly four-decade onstage rhythm, why they kept picking such seemingly out-there songs, and how they ended up on a Christmas tune with football’s Kelce brothers.
Why Buffalos? Those costumes seemed crazy heavy and hot.
Nathan: I like the power. I like the strength, I like the unity, the whole crew, the herd. … It’s everything about who we are. Everybody had their roles, but at the same time we know what we need to do to make the pack stronger.
Wanya: Extremely [hot in there]. I’m talking about water, sweat running down every aspect, every orifice.
Nathan: I almost hyperventilated in that joint and I’m normally not like that. When you’re in there you have to give a lot more energy than you would to get the costume to have personality. You’re like a mascot. It’s hell in there, bro. Doing that, and singing and staying in key and doing routines? That sh– ain’t easy!
You all have been in sync for decades, but on the show you couldn’t see each other or watch each other’s mouths move. Was that a challenge?
Shawn: It was almost like wearing a football helmet, where you only have a certain line of sight. You had to turn your whole body to communicate and then turn around and all you saw was what the mask allowed you to see. We had in-ears [monitors], so we could hear the mix, but then the music and the crowd are going, it gets your adrenaline up and you’re trying to put on a character. It’s a lot of information in those few minutes, outside of trying to sound good and stay on key.
Wanya: The only thing you could see through was the nose. The eyes were up here [points to forehead], so it was like a cone.
We’re used to smooth R&B from you, but you really stretched out with songs by Toto, The Verve, OneRepublic, Shania Twain, Fall Out Boy — were you trying to throw people off the scent?
Nathan: We tried to trick people. We all thought, “They’re gonna know us right away,” so we had to pick different songs and each guy had to sing a different part than they normally do. So we did that and as we got further along in the battles, we almost got kicked off, so it didn’t work and we decided, “Just let ’em have it!”
Shawn: The cool thing was the irony that with the masks on we were able to be ourselves. Those songs were representative of who we are, not just an R&B group. All those songs you hear us sing are ones we listened to as kids, the genres we love and songs that allowed us to display who Boyz II Men really is.
Your voices are so instantly recognizable apart and together. Were there people who figured it out right away?
Wanya: Yeah, Jenny [McCarthy-Wahlberg] knows us. We’ve been on the road with her a few times with [husband] Donnie [Wahlberg]. She knowns our mannerisms and has heard our voices night after night when we were on a package tour with the New Kids [on the Block]. She knew right away. We tried to be less recognizable, but then we were pushed to the bottom two and were like, “Hell no!”
You’ve had some many unique experiences in your career. Was this one of the most unusual things you’ve done?
Wanya: Absolutely. It really fits up there with one of the most different things Boyz II Men have done in our career, with the closing ceremonies of the Olympics when we did the national anthem [at the 1996 Games].
What was it about being behind a mask that appealed to you? What did you want to prove?
Nathan: No expectations. When you hear Boyz II Men in your mind, you expect it to sound a certain way, but when we don’t have those expectations you can go anywhere you want.
Wanya: Watching the show last night and looking at Nate, who was the green Buffalo, I swear you would never know it was Nate in that suit because Nate doesn’t perform like that — he’s mellow, smooth. He looked like me in that Buffalo suit! He was super-animated and I was so happy to see it.
Nathan: I was just trying to throw them off. I was having fun because this is what I do when I’m around my crew.
Were you able to still do some of your patented choreo in those costumes?
Wanya: We had to switch it up for sure, the feet were big, bro. The feet… and that head!
Nathan: I stepped on Shawn like three or four times.
On the finale, you impressed with Gotye’s “Somebody That I Used to Know,” which rocked. But you really made Sam Smith’s “Too Good at Goodbyes” your own. It sounded like it could have been your single.
Nathan: That’s when the gloves came off.
Shawn: We knew we had to go full-out Boyz II Men on the last show, and by that time there were a lot of people who were clued in on it being us, so we were like, “Let’s do Boyz II Men things!”
Wanya: We had an inkling of who we were going against [Wasp], and that dude is no joke!
Nathan: We weren’t supposed to know, but we [could tell] who it was.
You said Jenny knew, but she also mentioned B2K, and Robin thought it could be the Jonas Brothers or the rest of 98 Degrees [minus their show mentor Nick Lachey] or Big Time Rush. Always wrong Ken Jeong went with Bell Biv DeVoe, Bone Thugs -N-Harmony or Tony! Toni! Toné! There were also guesses of Earth, Wind & Fire and Blackstreet. Your thoughts?
Shawn: Some of that was a bit off, like Bone Thugs? No offense to the Thuggers.
Since it’s the holidays, tell us about your collab with the Kelce brothers on their “It’s Christmastime (In Cleveland Heights)” single.
Shawn: They reached out to us and they felt like we were synonymous with the idea that they had for the song and it was fun. It’s always cool to do things like that because they’re unexpected and we’ve been in this business for over 30 years. At this point, we’re just trying to do things that are interesting or fun or funny or something that pushes the boundaries of what a group at this point in our lives can do. Not only that, but it was for a good cause, for charities and some of our personal charities. And, it’s the Kelces! They’re the hottest brother duo in the country right now.
We know they can ball, but most importantly: How do you rate their vocals?
Nathan: You know… they ain’t bad! They did their thing. They are really good at football and they do that really, really good and they did that well, and I think that’s what their lot in life is. No diss, but they were great.
Wanya: How about this? They did that better than some of us would run a 9 route. I’ll tell you that!
Billie Eilish celebrated her 23rd birthday a day early on Tuesday night (Dec. 17) when her Hit Me Hard and Soft tour made its way to the Kia Forum in Los Angeles. There were plenty of celebratory moments throughout the night, including the superstar’s older brother Finneas bringing out a cupcake onstage to lead the […]
There lies an immense honor in the title “The Nation’s Girl Group.” In South Korea, fans have bestowed the distinguished designation on K-pop juggernauts like Girls’ Generation and TWICE over the years. Yet only one group throughout the Philippines’ rich musical history has received the honorific: Star Music’s eight-member girl group BINI.
With a name inspired by the Filipino word binibini (which means “young lady”), the all-Filipino “Pinoy pop” (P-pop) group — comprising leader Jhoanna and members Aiah, Stacey, Colet, Sheena, Maloi, Gwen and Mikha — was brought together by ABS-CBN’s Star Hunt Academy program and has spent the past four years since its debut making a name for itself. In 2024, after releasing two full-length albums and performing at scores of mall shows and events, BINI finally broke through into the mainstream. The group now has four viral chart-topping singles (“Karera,” “Pantropiko,” “Salamin, Salamin” and “Cherry on Top”) and has received numerous prestigious awards both locally and internationally.
In conversation with Billboard Philippines, Aiah calls 2024 “really BINI’s year. We couldn’t believe that all of this happened in one year alone.” The members of BINI, who in Aiah’s words “started out as a bunch of girls from different parts of the Philippines,” feel substantial pride — and disbelief — about being the No. 1 act in the Philippines. Other top artists in the country, such as renowned folk-pop band Ben&Ben, alternative group Cup of Joe, beloved singer-songwriter TJ Monterde and the soulful Arthur Nery, established themselves as celebrated hit-makers in recent years — yet it was BINI’s dominance that reigned supreme over the past 12 months. And as the group’s popularity grows in and out of the Philippines, BINI’s members take their prominence seriously.
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“We feel honored to be representing the Philippines on the global stage because this has always been our dream to begin with,” Jhoanna says. “Because we [Filipinos] can do it. All you need is the support of our fellow Filipinos. Because with Filipinos, their level of support is different. And I want this to show that we’re capable of this — especially as we bring ourselves onto the global stage.”
Aiah wearing CHED STUDIO Top and Skirt, KATARI Necklace.
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Colet wearing VIÑA ROMERO Tube top, CHED STUDIO Barong top and Skirt, KATARI Earrings.
Shaira Luna
Such global visibility comes with pressure. “I think [the pressure] is what pushes us to become better,” Maloi says, “and I think it’s OK to be nervous every time that [others] say that we are The Nation’s Girl Group. Because maybe when we’re nervous, it shows that we’re still grounded.”
“[The title] didn’t come from us,” Sheena explains, “it came from the people themselves. It means that they see something in us –– they see potential. So it’s on us to give back and prove to them that we do deserve this title.” Maloi calls the honorific “a responsibility that we should live up to.”
But while “we’re grateful and extremely humbled that there are titles like that given to us,” Sheena says, “the most important thing for us is our connections with our BLOOMs [fans] and the Filipino people.”
On social media today, BINI’s rapidly expanding and fervent fan base of BLOOMs is reminiscent of Taylor Swift’s Swifties, Beyoncé’s Beyhive and BTS’ ARMY.
But because BINI debuted amid the COVID-19 pandemic, its fan base has different — and perhaps more significant — origins. Connecting with audiences proved difficult for the group, so it made an effort to develop its own online community where the members could genuinely relate with fans despite their idol status. “We didn’t have ABS-CBN as a network anymore and we didn’t see many idols who felt authentic to their audiences, which is why we had to [really] find ways in which we could promote ourselves,” Gwen says.
“The pandemic was the time when we tried our very best to be seen online — especially since that was a great opportunity for us to introduce ourselves at that time,” Aiah says. “We did a lot of solo and group content, and we would have assignments so we could also get to tap different markets, age groups and all that. I think it helped us a lot.”
Colet puts it even more directly: “We would do livestreams, vlogs and other gimmicks online, and sometimes we’d just film ourselves doing random things inside the house we were cooped in together — because that was really the only way in which we could let people know that BINI existed at the time,” she says.
Today, BINI has nearly 18 million followers across Facebook, X, Instagram, TikTok, YouTube and Spotify. It has harnessed the power of those platforms to inspire several dance challenges (especially with 2024’s summer anthem “Pantropiko”) and other interactive content that encouraged their BLOOMs to participate and strengthened the artist-audience bond.
“People want people who are relatable,” Aiah says. “There are so many people who have told me that with all the attention we’ve made online, it turns out that we’re relatable. And that’s great!”
Gwen wearing VIÑA ROMERO Top and Skirt, KATARI Earrings.
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Jhoanna wearing R.A.F. Dress.
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Those connections have gone from social media to concert venues. “Whenever we perform, I feel it’s important to not just focus on the cameras but also to look at them in their faces and eyes to make sure they feel as if they’re also with us in this performance,” Mikha says.
“Whenever we see the support of our BLOOMs, it’s what keeps us motivated,” Sheena adds. “They really want us to hit the global stage, which is why we really want to aim for it –– just to tell them that we’ve got you, you know? Like, you can trust us, we can do this, and all we need is your support to keep us pushing.”
But BIN’s rapid ascent hasn’t come without challenges. Its members have faced hateful comments, unfair criticism and privacy breaches that have threatened their mental health. The members of BINI, like Chappell Roan or girl group NewJeans, have been forced to adjust to fame within a very short period. “At first it was really hard,” Sheena says. “It’s true that we’ve waited for this big break –– but it’s so different when you have so many people looking at you. Even if you only mean good things or positivity, they can still take it as a bad thing by twisting your words.”
But the group realizes that, to an extent, this is a reality of the modern digital world. “You really can’t avoid these things,” Colet says. “Before, I was actually the most affected by what I’d read online. But eventually, you learn how to filter what is a genuine comment and what isn’t, or whether its intentions are pure or not.”
Gwen has become mindful of her time online. “You shouldn’t waste your time [on such comments],” she says. “I’ve been dealing with it since my [Pinoy Big Brother] days. It’s really just something you learn.”
But such hateful behavior is tougher to ignore when it makes its way into the physical world. Members of BINI have been followed to their homes — or even to the bathroom — by fans. “Some people, by choice, do not understand nor do they choose to respect our privacy,” Aiah says. “At first it was really overwhelming, and it gave me so much anxiety. Now, it’s become a test of boundaries for us and a test of patience. It’s a learning process to this day.”
On some of her rest days, Jhoanna recalls, fans would pass her home and call her name from outside the window. “It can get really scary because here they are — coming up to my personal space,” she says. “It’s really important to set boundaries because while I do understand why some people would react like that, we’re still people at the end of the day.”
Maloi wearing HAROLD AND HARRY Top, VIÑA ROMERO Skirt, KATARI Earrings.
Shaira Luna
Mikha wearing SHOP YOYA Top, VIÑA ROMERO Skirt, KATARI Necklace.
Shaira Luna
As these cases increased and intensified over the past year, Aiah eventually spoke up on social media, asking fans to respect her privacy. While her comments received a mixed response from fans, Aiah and the rest of BINI were surprised when several other artists expressed gratitude for how she brought attention to the issue.
“Apparently, there are a lot of people who have been afraid about this,” Aiah says. “Ever since we spoke about it, I received a lot of thank-you messages because it was like I was also speaking on behalf of them. It made me realize that with our platform, we really get to represent the local music scene in a lot of different ways that we never expected.”
BINI now represents Filipino music and P-pop on the international stage — and the members want to increase recognition of Filipino music as they expand globally.
“It’s such a great responsibility [to have],” Aiah says. “We’re not just doing this for ourselves, because there are also so many artists out there who believe in this for us, old ones and new ones alike. It’s so cool to see how much trust they’ve put into us, because what happens is not just our success, but it will also come up as everyone’s success.”
But Colet dispels the characterization of BINI’s members as trailblazers. “We’re just following the path of those who came before us in order to sustain what Filipino music is known for so that it can become recognized even more,” she says. “We have so much to offer the international scene, and what comes from the Philippines is truly beautiful.”
To Jhoanna, lifting up other Filipino artists is only fair, since major artists in the country have championed BINI since it debuted, whether posting covers of BINI hits (TJ Monterde’s viral version of “Salamin, Salamin”), inviting BINI’s members to collaborate (Cup of Joe featured Jhoanna in a music video) or celebrating BINI’s milestones.
Promoting their peers is, she says, “our means of giving back to the scene who have given us so much. The [Filipino] scene is so rich, and it deserves recognition of its own merit –– because we started out like so many others from there. We just need the push for them to get bigger and more recognized worldwide.”
“Our goal isn’t just to bring BINI into the international scene — our goal is to have all Filipino artists be appreciated and known internationally as well,” Mikha says. “Since we are representing the country, we want to bring the Philippines with us — incorporating our culture, language, humor, talent and everything else as we move forward in our career.”
Sheena wearing R.A.F. Top and Skirt, PAXON Bolero.
Shaira Luna
Stacey wearing R.A.F. Top and Skirt, KATARI Earrings.
Shaira Luna
In 2025, BINI will have a bigger platform than ever to do just that. After a busy 2024, the group is preparing for more of the same in the new year — at least, when it comes to its calendar. As for new music, Maloi teases something “very unexpected” from what BINI has done thus far. “It’s taking a step up from what we’ve done in the past,” she says. “It’s like a different chapter of BINI –– almost as if we’re evolving into BINI 2.0.”
In 2024, BINI brough its Biniverse tour to Filipino and Canadian markets, wrapping its touring for the year with three November concerts — dubbed Grand Biniverse — at Araneta Coliseum in Quezon City, the Philippines, where it announced the forthcoming single “Blink Twice.” The act has also announced a colossal, mid-February show at Bocaue’s 55,000-capacity Philippine Arena. “We still don’t know how it’s going to go,” Colet says, “but whatever happens, we’re just so excited for the day to come because our dreams are finally happening.”
Sticking to what Maloi calls “BINI-core” has helped the group maintain the authenticity its fans have appreciated since its early days — and to gain new ones. “Our core remains the same, which is comprised of our love for our craft, the fans and what we do,” she says. “It’s all still there, and it will only change as we mature and the world we’re working in continues growing with our fandom.” Aiah adds: “With all the success and the music that we have, I want everyone to remember us as people and how we are the same BINI girls after all this time.”
And they’re in it for the long haul — even if, when words like “legacy” get thrown around, it makes Aiah “feel like I’m 50 years old.” Stacey predicts BINI singles like “Pantropiko” and “Da Coconut Nut” will “stick around with anyone, no matter who you ask.”
For now, though, something else transcends all the accolades and recognition BINI has received. “It’s obviously an honor to be recognized as The Nation’s Girl Group,” Maloi says, “but with all those people that we were able to reach, the most important thing is that we realized that we have the power to make people dance.”
It’s Billie Eilish’s 23rd birthday, and to celebrate, Vanity Fair released its eighth annual interview with the superstar on Wednesday (Dec. 18) in which she answers the same questions a year apart.
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In this year’s clip, the black-haired singer reflected on her “big, big year,” which included the release of her album Hit Me Hard & Soft and her first Oscar win for her Barbie track, “What Was I Made For?” When asked what the “biggest thing to happen” in 2024 was, Eilish responded, “I had the most monthly listeners on Spotify in the entire world. […] I released my album, went on tour again, made so many new friends, adopted another dog. It’s been a friendship-filled year.”
At one point in the clip, she watches her past self list off the things she wants to accomplish, including skydiving (which she still hasn’t done yet), bungee jumping and more “adventure.”
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Eilish also mentioned wanting to make new friends and “be having good sex,” both of which she checked off the list. “I’ve done nothing but make friends all year and got so close with people that I wasn’t with before,” she noted, before cheekily adding, “And, yes, I’ve had a lot of good sex.”
In the music world, the multi-Grammy winner shared that she’s been enjoying listening to throwback Lady Gaga songs, including “Alejandro,” “Poker Face” and “Born This Way.” “It’s so good,” Eilish said.
Ultimately, Eilish is proud of how far she’s come this year. “I really trust myself now,” she says of how she’s grown in comparison to previous years. “It’s always scary when you fall in love and you dig someone or like someone or whatever it is. It’s hard to know what the hell is going on because you’re blinded by this curtain of lust and admiration. I’ve been very cautious, and I’ve been a really good girl.”
She concluded, “I can’t believe the way my life is gone, and where it is now.”
Watch Eilish’s eighth annual Vanity Fair interview in full below.
For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard will be counting down our editorial staff picks for the 10 Greatest Pop Stars of 2024 all this week — you can see the artists we’ve already counted down, plus our Honorable Mentions, Comeback of the Year and our Rookie of the Year artists all right here. Now, at No. 5, we remember the year in Charli XCX — who released a career-defining masterpiece and ruled the summer (and autumn) in pop culture entirely on her own terms.
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“I’m famous but not quite.”
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The “I Might Say Something Stupid” lyric captured the quintessential dilemma of Charli XCX’s career in the decade leading up to her 2024. After 2013 and 2014 brought the British pop purveyor a trio of ubiquitous hits, via her appearances on Icona Pop’s “I Love It” and Iggy Azealia’s “Fancy” and her own solo smash “Boom Clap,” it seemed like true superstardom was in the offing for her, and that shooting for anything less would’ve been selling her potential short.
But after some more commercially minded, purposefully accessible releases met with underwhelming returns and edgier, more forward-thinking sets cemented her as both a critics’ darling and an icon for the true popheads – all without producing any crossover hits the size of her 2013-14 trio – the question lingered over Charli XCX’s whole career: Was trying for stardom and celebrity actually the thing that was selling her potential short? Would she be better off continually scrapping to be the coolest kid on top 40’s fringes, or simply reigning as the unquestioned queen of the pop underground?
In 2024, she answered that question with a third option, one that few – perhaps her least of all – would have previously believed available: She became one of the biggest stars in the world by just being herself, but like, way moreso. Brat saw Charli XCX condense everything fans had come to love about her in the prior decade, regardless of release – the colossal pop hooks, the hair-flipping (and occasionally bird-flipping) attitude, the self-referential winking, the melted-bubblegum production, the almost uncomfortably intimate moments of vulnerability or sensuality – and turned the volume on all of it up to 365, while also inviting the entirety of her social and professional circles to join in the party. The result was a year that proved that Charli never actually had to choose between her populist and her futurist impulses; she just needed to indulge all of it at once on the biggest scale possible, and the rest of the globe would be powerless to resist the brightness of her supernova.
Easier said than done, of course, and Charli needed to spend the early parts of 2024 lighting the fuse for that kind of ignition. She DJ’ed a much-hyped Boiler Room set in February that signaled that her new project was going to be a reconnection with her club roots – following the self-consciously radio-oriented jams of her 2022 LP Crash, which failed to establish her as a leading pop hitmaker but did get her into the top 10 of the Billboard 200 (and No. 1 on her home country’s Official Charts) for the first time. The filmed open set also introduced fans to the cast of characters who would play big supporting roles both in her increasingly extended universe – including longtime producer and co-writer A. G. Cook, newer collaborator (and recently confirmed fiancé) George Daniel of The 1975, film star and fellow It GIrl Julia Fox, and TikTok phenom turned pop aspirant (and Charli muse) Addison Rae – all of whom were raving (and sometimes taking turns spinning) in the not-quite-booth with her.
Then, a slow trickle of singles and videos, starting with the zooming synths and strutting vocals of “Von Dutch.” The song was a chest-puffer and a s–t-talker from its opening seconds: “It’s OK to just admit that you’re jealous of me… It’s so obvious, I’m your number one.” It was a clear statement of intent – though the actual intent maybe wasn’t totally clear yet, the statement part was what was important, as the purposefulness of it as an era kickoff was unignorable. Second single “360” doubled down with a timeless bubbling synth-pop riff and insidious vocal hooks that saw her further positioning herself as the super-strength Charli the Dancefloor Slayer: “I’m everywhere, I’m so Julia,” “Legacy is undebated/ You gon’ jump if A. G. made it.” (That’s Fox and Cook in the lyrics there, respectively; you’d know if you’d been following along.)
Just as important a part of the pre-album rollout was Charli’s second takes on “Von Dutch” and “360.” The single redos each welcomed big-name guests – the previously mentioned Rae on “Von Dutch,” dismissing the haters who still end up adding to her view counts, and the cult-pop queen Robyn and cloud-rap paragon Yung Lean on “360,” both following Charli’s “I’m your favorite reference” lead with sung-spoken lyrics bigging up their own legacies (“Started so young, I didn’t even have email/ Now my lyrics on your booby”). Everything about the remixes, from their guests to their content to their matter-of-fact titling (e.g. “360 Featuring Robyn & Yung Lean”), clearly projected: Pay attention to what I’m doing here, because I’m going to be returning to it later.
First, though, it was time for the curtain to go up on Brat. Even before the album’s June release, Brat had already become a minor pop culture phenomenon, just by virtue of its title and artwork, unveiled in April. The simplicity of the album title, its value-ambiguity as a self-applied label, and (most importantly) its adaptability as both a noun and adjective all made it the year’s most naturally conversational LP title. Similarly, the set’s monochromatic, near-fluorescently-bright-green cover – blank, except for the centered, all-lowercase and slightly out-of-focus album title – proved divisive among fans, but quickly internet-iconic, and a magnetic jumping-off point for assorted memery. All the while, a frequently repainted wall in Brooklyn’s Greenpoint neighborhood – ultimately known as the “Brat Wall” – would provide an informal weather forecast for Charli’s next moves on the pre-album campaign, electrifying social media on a semi-weekly basis with its new art developments.
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If there were any remaining doubts that the music could live up to the memes with Brat, the album put them to bed on first listen. Much of the LP followed in the hyperkinetic, living-that-life mold of “Von Dutch” and “360,” with the latter opening the set and even getting bookended with twin closer “365,” an even-more-explicit anthem of party-girl decadence. But fans were less prepared for the emotional depths the set would plumb, with Charli exploring her own professional insecurities (“Sympathy Is a Knife,” “Rewind”), her major life decisions (“I Think About It All the Time”) and even her fraught relationship with close collaborator SOPHIE in the years before her death (“So I”), all with disorienting honesty and directness. These songs went for the heart and the gut, but without sacrificing the ass – aside from “So I,” the lone mid-album ballad breather, even the record’s most brutal cuts were still delivered in service of the dancefloor, making Brat endlessly re-bumpable.
Brat became consumed by pop culture so quickly following its release that it can be easy – though maybe not that easy, given how many year-end critics’ lists it ultimately topped, including the Billboard staff’s own – to lose track of what a tremendous artistic accomplishment it really was. It’s easy to make an album for the club, but it’s exceptionally difficult to make an album that feels like it itself is the club: the venue, the DJ, the dancefloor and the entire guest list. And while Brat obviously lets any number of Charli’s fabulous famous friends past the velvet rope for its 41 minutes of id-stroking self-celebration, it remembers that any true club night also includes the girl hiding in the back because she’s convinced herself she’s worn the totally wrong outfit, and the friends busy gossiping and scrolling Instagram while waiting in line for the bathroom, and the couple preoccupied with dreading the ride home, because they realize they can’t avoid that conversation they’ve been avoiding any longer. It all made for an impossibly rich and immersive LP experience, one that stayed challenging and unpredictable and still thoroughly, peerlessly exciting and satisfying throughout.
And as it turns out, it was just the beginning. Brat was an immediate success, debuting at No. 3 on the Billboard 200 – Charli’s first top-five showing on the chart – and vaulting “360” onto the Hot 100 for the first time, at a modest No. 73. Given those early returns, the rave reviews the album received and the continued internet embrace of all things Brat – with the phrase “Brat Summer” already picking up steam in the media as an official epoch designation – Charli very easily could have declared victory with her album cycle, switched her focus to touring and just let Pop Twitter take it from there. Instead, she did something that no one – not even Charli herself weeks earlier – could have seen coming.
In truth, it wasn’t like “Girl, So Confusing Feat. Lorde” came out of nowhere. The original “Girl,” a Brat highlight, was already widely speculated to be about the New Zealand singer-songwriter – with its racing-inner-monologue lyrics about an industry maybe-peer, maybe-rival – and even included a line addressing the possibility of a someday-collaboration (“The internet would go crazy”). But that didn’t make it any less jaw-dropping when, two weeks after Brat, the “Girl” remix dropped with a brand new verse from Lorde responding to Charli’s recounting of their frenemyship, inspired by a voice note the latter had left the former just hours before Brat was formally released (though it was already out in Lorde’s home country by that point).
Rather than muddying or overstuffing the original’s narrative, Lorde’s empathizing with Charli’s anxieties (and even addressing her own insecurities and body-image issues in the process) felt like it rounded out the song, like that was the way it was always meant to be heard. What could have amounted to a quick gossip-bait headline instead became a profound and mold-breaking statement about rising above the music industry’s inherent competitiveness and gender double-standards, in the name of simply celebrating greatness in a fellow traveler. Everything about the “Girl” redo was stunning, but no part more than the fact that it existed in the first place: a microscopically improbable connection of radical honesty and compassion between two pivotal longtime music-world fixtures, which felt like it broke the fourth wall of pop music (along with countless unspoken rules of pop star collaboration), and in doing so healed an entire generation of fans.
Needless to say, the internet did go crazy. “Girl” enraptured social media, who made quick meme work out of Lorde’s instantly catchphrase-spawning “Let’s work it out on the remix” declaration, and sent the song onto the Hot 100 for the first time the following week. Even Kyle MacLachlan, 65-year-old acting alum of Twin Peaks and Sex and the City, posted a video of himself in a Brat-green shirt singing (and acting) along to Lorde’s verse. And as Brat Summer kicked into high gear in July – with the album’s “Apple” taking off as a dance challenge on TikTok, about to push the song onto the Hot 100 to join “360” and “Girl” – another unlikely event was about to push Charli’s year in an entirely new direction.
On July 21, the world was stunned by the announcement that President Joe Biden, under pressure from the democratic party following a disconcerting debate performance, had officially decided not to pursue re-election that November. With Biden out of the race, the likely democratic frontrunner for the position was now vice president Kamala Harris, and Charli – a concerned onlooker if not herself a U.S. citizen – offered her support for the presumed candidate the best way she knew how: with the three-word tweet “kamala IS brat.” The message may not have been delivered with grand intentions, but the combination of excitement over Harris’ freshening up what had been a moribund campaign season and of continued Brat Summer delirium turned it into one of the week’s primary news talking points, as FOX News and CNBC anchors attempted to wrap their heads around the full implications of “Brat” as a descriptor.
Two months after Brat’s release, the album was still only gaining momentum – and it would get another injection at the top of August. Charli had begun hinting at a new remix, which fans quickly determined was to feature alt-pop superstar Billie Eilish, still hot off her own glowingly received Hit Me Hard and Soft album. Despite being easily the biggest artist Charli had yet recruited for a Brat second-spin, Eilish was tabbed not for one of the album’s streaming hits, but for “Guess,” a flirty bonus cut from the Brat and It’s the Same But There’s Three More Songs So It’s Not deluxe edition. The choice ended up making sense, as Eilish – who had recently begun to embrace a more forward and explicit queerness in her own music – was posited as the leering responder to Charli’s underwear-based teasing, taking the song to a new level of sapphic, conspiratorial fun. Helped by a music video which featured the pair scaling a mountain of discarded panties, “Guess Featuring Billie Eilish” became the biggest chart hit of Charli’s 2024, hitting No. 13 on the Hot 100.
As Brat Summer was coming to an end – at least by official calendar designation – Charli maintained her grip on the culture, scoring another Hot 100 hit alongside longtime collaborator Troye Sivan on a redo of “Talk Talk.” The timing of the song’s release was undoubtedly also in part to trumpet the beginning of the pair’s co-headlining Sweat Tour, which brought the Brat experience to arenas throughout the country. While pre-Brat, the tour was speculated to have been a low seller in many markets, by the time of the autumn trek, the dates were all sold out – with Charli quote-tweeting one of the early viral tweets about its initial underperformance in a post about the tour’s final show. That September, Charli was even deemed pop culture presence enough to be given her own fake SNL “Talk Talk Show,” with a perfectly accented and coiffed Bowen Yang playing Charli (and Sarah Sherman playing her DJ sidekick Sivan).
And there was still one major moment to go in the Brat cycle. October saw the much-anticipated release of the Brat and It’s Completely Different But Also Still Brat companion album – which collected the five Brat redos Charli had already released, and added new versions of the album’s 11 previously unremixed tracks, each with at least one recognizable collaborator. Once again, rather than coasting on the buzz from the pre-existing remixes – or simply collecting as many big-name guests as she could – Charli scripted every remix to not only expand the meaning and resonance of her own set, but also add new shading to our pre-existing perceptions of the guests involved. “B2b” invited fellow should-be-bigger pop vet Tinashe (in the midst of her own 2024 comeback moment) to flex about the work it takes to still be so fabulous, “I Might Say Something Stupid” gave a post-Taylor Swift Matty Healy free reign to ruminate on cancellation (and/or erectile dysfunction?) for four minutes, and “Sympathy Is a Knife” lent Ariana Grande a platform to voice her frustrations about the ownership fans and the media try to claim over her. The entire set was so thick with drama and character development that it felt less like a remix album and more like a Bratverse theatrical production.
It was all incredibly powerful stuff, not the least of all because Charli never let novelty overshadow emotional impact on the set. While the biggest names on Completely Different understandably made for the biggest headlines, the most rewarding cuts were the most unexpected – like Caroline Polacheck moaning about the “f–king foxes” and sharing a moment of late-night panic with Charli on the new “Everything Is Romantic,” or mutual collaborator A. G. Cook helping Charli turn the mournful original “So I” into an uptempo tribute to “all the good times” with SOPHIE, with the vivid details of their many shared experiences popping like fireworks of bittersweet nostalgia. Unlike 99% of pop and dance remix albums throughout history – which are more often than not both delivered and received as near-afterthoughts – Completely Different stood up in every way to the original, not only complementing Brat but enriching it, making it feel deeper and more vital by extension.
Charli ended the year by essentially sweeping list season, and scoring seven Grammy nominations for 2025 – including album of the year for Brat and record of the year for “360” – while also pulling double-duty as both host and performer on SNL in November. All of it confirmed that after a decade of tenuous flirtation with the American mainstream, she was now officially at the very center of both the music industry and of general pop culture in this country. She did not reach the commercial heights of other artists on this list in 2024: Brat never bettered its No. 3 debut on the Billboard 200, and no song from any of its incarnations ever touched the Hot 100’s top 10 — none from the original album ever even reached the top 40. But in terms of sheer cultural ubiquity, impact and reach, Charli could rival absolutely anyone; even former President Obama was bumpin’ that this summer.
And perhaps more importantly, Charli taught the entire pop world an extremely valuable lesson this year: It is indeed possible to achieve all of your loftiest ambitions as an artist without compromising a single thing about what really makes your artistry so singular. It takes a f–king whole lot of work and intention and focus and ingenuity – and maybe it also takes a solid decade of tinkering with your own sound and image and collaborators first until you finally get everything to align. But if you have the patience, and if you have the vision – and most critically, if you have the drive to not let any possible opportunities to be great pass you by — then you really can get the pop world to come meet you where you are. And then, like the Brat Wall, you will always be famous.
Check back tomorrow for our Nos. 4 and 3 Greatest Pop Stars — and then come back for the announcement of our top two Greatest Pop Stars of 2024 on Monday, Dec. 23!
For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard will be counting down our editorial staff picks for the 10 Greatest Pop Stars from 2024 all this week — you can see the artists we’ve already counted down, plus our Honorable Mentions, Comeback of the Year and our Rookie of the Year artists all right here. Now, at No. 6, we remember the year in Ariana Grande — who made major impact in the worlds of music, television and film in 2024, not to mention across the whole internet.
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Ariana Grande began 2024 less like her bubbly Wicked character Galinda Upland and a bit more like her embattled counterpart, Elphaba Thropp. She might not have been Public Enemy No. 1 for everybody, but Grande was social media’s main course at the onset of her Eternal Sunshine era.
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After the turbulent Positions rollout, Grande paused her habit of churning out new full-length in almost yearly fashion and prioritized auditioning for – and eventually filming – Wicked. In July 2023, news broke that Grande and her ex-husband Dalton Gomez had separated at the top of the year and were planning to legally end their two-year marriage. Days later, reports swirled that Grande had begun dating Ethan Slater, her Tony-winning Wicked co-star. Slater, in turn, filed for divorce from Lilly Jay, his wife of five years and mother of their son, less than ten years later. Though Grande and Slater began dating after their respective marriages were over — both divorces were legally finalized in time for the Wicked premiere – the chaotic timeline led social media to unfairly cast Grande as the mean girl homewrecker who’d destroyed a happy family.
Grande, for her part, kept her lips sealed regarding her romantic life, which made her first musical statement 2024 all the more powerful. On Jan. 12, Grande her first solo single in four years: a sassy, house-rooted kiss-off called “Yes, And?” A direct response to the Internet noising marring her name (“Why do you care so much whose d—k I ride?”), the song brought Grande back to the top of the Billboard Hot 100 – a spot she did visit twice in the time between Positions and Eternal Sunshine, but only as a special remix guest of star collaborator The Weeknd – with the first new No. 1 single of 2024. Culturally, the song had a much softer presence in the lexicon in comparison to past Grande smashes like “Thank U, Next” or “Problem,” but even before its eventual Mariah Carey remix and Grammy nomination (best dance pop recording), “Yes, And?” did what Grande needed it to: effectively shift the conversation away from her personal life and to her music.
Inspired by her marriage and its dissolution, as well as Michael Gondry’s 2004 Oscar-winning film Eternal Sunshine of the Spotless Mind, Grande’s seventh studio album finds her delivering some of the sharpest and most poignant songwriting of her career. Crafted alongside longtime collaborators Max Martin and Ilya with Grande writing music and lyrics on each track, Eternal Sunshine uses Gondry’s film and the astrological concept of the Saturn Return (the period of a person’s late 20s and early 30s, during which they face real adult challenges for the first time) to help Grande make peace with the perceived failure of love. The record blends pop, R&B, house and slight dashes of wistful acoustic guitar, which beautifully complement the depth of Grande’s post-Wicked voice.
On March 23, Eternal Sunshine debuted atop the Billboard 200, earning the largest U.S. opening-week total of 2024 at the time (227,000 units) and setting the record for the most-streamed album in a single day in 2024 on Spotify at the time (58.1 million). All 12 chart-eligible songs debuted on the Hot 100, including “We Can’t Be Friends (Wait For Your Love),” an evocative, dancefloor tearjerker that led the way as the album’s focus track, becoming Grande’s ninth Hot 100 chart-topper. Thanks to Eternal Sunshine, Grande became just the second woman in Billboard history (after Taylor Swift) to simultaneously top the Artist 100, Hot 100, Billboard 200, Hot 100 Songwriters, and Hot 100 Producers charts.
Two months after the album’s release, Grande performed a private set for MET Gala attendees. In addition to renditions of her biggest hits, she also invited Wicked co-star Cynthia Erivo onstage to cover Whitney Houston and Mariah Carey’s “When You Believe” — a smart bookend to the pair’s matching Super Bowl fits (where they debuted the film’s first trailer) and a peek at the rousing phenomenon the film would become.
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In addition to “We Can’t Be Friends,” which earned a VMAs win for best cinematography, Grande found further single success in “The Boy Is Mine.” After originally peaking at No. 18 after the album’s release, “Boy” returned to the Hot 100 following its Catwoman-inspired music video and Brandy and Monica assisted remix, which earned the ladies a Grammy nod for best pop duo/group performance. Even though Eternal Sunshine is the only 2024 album to launch two Hot 100 No. 1 hits, neither of those songs dominated the culture like other songs that barely sniffed the top 40. There was so much else going on in the pop world that listeners moved on from Eternal Sunshine very quickly, but the album did what Grande need it to do: put the focus back on her work and off her dating life.
After closing out the summer with a 10th anniversary re-release of her blockbuster My Everything album, Grande put a few finishing touches on her pop stardom before fully returning her attention to Wicked. She dropped an expanded version of Eternal Sunshine featuring live versions of seven tracks on Oct. 1, with an appearance on Charli XCX’s Brat remix album arriving ten days later. Charli tapped Grande for a reimagining of “Sympathy Is a Knife,” a refreshingly honest look at fame and insecurity cast across a hyperpop soundscape. Ultimately, “Sympathy” became the second-highest charting Hot 100 entry from the Brat era and served as a low-key farewell from Ariana the Pop Star™. “’Cause it’s a knife when you’re finally on top/ ‘Cause logically the next step is they wanna see you fall to the bottom,” they harmonize in the pre-chorus.
The day after “Sympathy” dropped, Grande hosted one of the best and most popular Saturday Night Live episodes of the year. She already served as musical guest while promoting Eternal Sunshine at the top of this year, but this was the first time she had hosted since 2016. Between her dazzling opening monologue, ace Jennifer Coolidge impression, and the hilarious Antonio and Domingo sketches, Grande’s Oct. 12 SNL episode earned the program its highest ratings in three years and became the most-watched SNL episode ever on Peacock in just two days. With her vocal virtuosity and acting chops – she even successfully played a bad singer in the viral Domingo sketch — at the forefront of the general public’s mind, Grande had perfectly positioned herself for Wicked to be her crowning moment of the year. And “Just Like Magic,” that’s exactly what happened.
After a whirlwind global press tour that delivered gorgeous looks and memes galore — “Holding space,” anybody? Maybe the constant crying rings a bell? — Wicked, helmed by John M. Chu and also starring Michelle Yeoh, Jonathan Bailey and Jeff Goldblum – debuted atop both the domestic ($114 million) and global ($164.2 million) box offices, with the largest opening ever for a film based on a Broadway musical. Wicked, the first of a two-part film adaptation of the 2004 Tony winner, has made over $525 million worldwide, becoming one of the highest-grossing films in 2024. Grande earned rapturous reviews for her performance in the film, with her comedic timing, vocal tenacity and physical commitment to the character’s journey helping her win over the film industry the same way she captivated the music industry. In addition to several honors from critics groups, Grande has emerged as a formidable front-runner in the best supporting actress Oscar race in her first-ever major starring film role, earning nominations at both the Golden Globes and Critic’s Choice Awards for her turn as Glinda.
Of course, Wicked’s success will always be tied to his music, and Grande also handily upheld that legacy. In December, Wicked: The Soundtrack (billed to Grande, Erivo and Various Artists) debuted at No. 2 on the Billboard 200, marking the highest debut for a soundtrack of a musical stage-to-film adaptation. The set also entered at the summit of Top Album Sales, Top Soundtracks and Vinyl Albums, and sent seven of its songs to the Hot 100, including Grande’s solo track “Popular” (No. 53)”- -making for a sweet full-circle moment after she interpolated the showtune on “Popular Song” (with MIKA) from her 2013 debut album.
To end the year with a RIAA Platinum-certified and triple-Grammy-nominated No. 1 album in one hand a film that grossed half a billion dollars in the other – with an Oscar nomination also seemingly right at your fingertips — is wildly impressive. It’s even more extraordinary when you remember that 11 months ago it felt like practically nobody was on Grande’s side. But that’s the eternal challenge of pop stardom, and in 2024, Ariana Grande once again proved that she’s not only more than capable of conquering that challenge – she’s powerful enough to render her haters completely insignificant with a wave of her baby pink, crystal-encrusted wand.
Check back later today for the reveal of our No. 5 Greatest Pop Star, and stay tuned all week as we roll out our top 10 — leading to the announcement of our top two Greatest Pop Stars of 2024 on Monday, Dec. 23!
Pharrell Williams has won 13 Grammys and been nominated for countless other awards. But on Tuesday (Dec. 17) the singer/producer/songwriter received a rare honor when he was named UNESCO’s goodwill ambassador for artistic eduction and entrepreneurship in a ceremony in Paris. Explore Explore See latest videos, charts and news See latest videos, charts and news […]
Ariana Grande is explaining her decision not to tour after Republic Records confirmed earlier this week that she has no shows planned for 2025.
While at the Golden Globes First-Time Nominees luncheon Tuesday (Dec. 17), the 31-year-old singer-actress told Variety that “music will always be a part of [her] life,” but she’s more focused on continuing what she started with Wicked going into the new year. “I feel so grateful to the acting, and I think my fans know that music and being on stage will always be a part of my life,” she began.
“But I don’t see it coming anytime soon,” Grande continued. “I think the next few years, hopefully we’ll be exploring different forms of art, and I think acting is feeling like home right now. I am appreciative for [my fans’] understanding. I’m so grateful for the ways in which we’ve grown together over this whole journey with Wicked.”
“But music will always be a part of my life,” she added. “I’lll perform at my mother’s house.”
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The “Yes, And?” singer’s explanation comes two days after her label shut down rumors that she was gearing up to hit the road next year, something she’d previously talked about doing during her Eternal Sunshine album rollout. Replying to a fan account on X Sunday (Dec. 15), Republic wrote, “There are no plans for a tour next year. But Ariana remains deeply appreciative of her fans and all their continued love, support and excitement.”
While at the luncheon, Grande also gushed to Entertainment Tonight about receiving her first-ever Golden Globe nomination the same year Selena Gomez and Miley Cyrus both earned nods. All three women started their careers around the same time in the 2000s on Nickelodeon and Disney Channel TV shows. Now, the Victorious alum and Wizards of Waverly Place star are both up for best supporting actress in 2025 thanks to their respective performances in Wicked and Emilia Pérez, while the Hannah Montana leading lady’s The Last Showgirl ballad, “Beautiful That Way,” is in the running for best original song.
“It’s incredibly special,” Grande said of Gomez and Cyrus. “I love those girls, and to grow up with the world watching, and then to have your work be recognized in this way, it makes me so happy. I love those girls so much. I’ve always loved their work. Just to see them grow is so beautiful.”
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Celine Dion paid tribute to her late husband René Angélil on what would have been the couple’s 30th wedding anniversary on Tuesday (Dec. 17). In a post that included a throwback black and white picture of the two from their wedding day, Dion wrote, “You still fill our hearts, every day. You are everything to […]