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If you haven’t gotten on Katy Perry‘s love train yet you’re in luck because now there’s more ways to say it with your heart. The singer announced an expanded version of her new 143 album on Monday night (Sept. 23), 143: I Love You More. The expanded digital take on the 11-track original features bonus […]
Anyone who skipped Charli XCX and Troye Sivan’s Monday (Sept. 23) night concert at Manhattan’s Madison Square Garden will likely spend the rest of this week brat-green with envy. Not only did surprise guest Addison Rae beam in to duet with the Sweat Tour co-headliners on her bubbling viral hit “Diet Pepsi,” but Lorde descended from the heavens to give the Internet-crashing “girl, so confusing” remix its live debut.
While the New Zealand trailblazer previously attended Charli XCX’s Brooklyn Paramount concert in June, Monday night marked the first time that the two performed their therapeutic Hot 100 hit together. The historic moment was felt throughout MSG – quite literally, as a wave of sound from shrieking fans hit your eardrums the moment it became clear that Lorde herself had emerged from beneath the stage for the remix duet.
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If the “girl, so confusing” studio recording sounds like an olive branch, earnestly offered but swaying unsteadily in the wind, the live performance at MSG made it feel like the duo’s relationship was truly taking roots. Charli, who previously dominated the stage like a wildcat on the prowl, politely held back while Lorde delivered her confessional verse. But by the time they hit the “you walk like a bitch” lyric, both singers were strutting in unison toward the back of the stage with the kind of confidence and verve usually reserved for models during Fashion Week.
Addison Rae, the TikTok star-turned-pop singer whose viral hit “Diet Pepsi” is quickly establishing her as a pop singer to watch, also enjoyed a huge roar of applause when she made her surprise entrance to sing the aforementioned fizzy single. Even better, Charli and Troye joined in to provide vocal support (Sivan’s voice was particularly well-suited to the sugary song). And those two weren’t the only surprise guests: During “Apple,” Charli turned the cameras upon the audience, where Kelley Heyer – the creator behind the viral “Apple” dance on TikTok – was front and center, ready to deliver her signature moves while flaunting a brat-branded skirt.
Those pinch-me moments were social-ready highlights, but even without special guests, the Sweat Tour should go down as a model for other pop stars to follow. Instead of having one co-headliner’s set followed by the other’s, Sivan and XCX traded the stage every three-to-four songs, offering up a seamless, unpredictable two hours of sensual, thumping dance-pop that felt more like a Bushwick gay bar or a U.K. rave than Midtown Manhattan. Not too surprising given the spots where Charli cut her chops, but still quite an achievement to take an arena famous for Billy Joel residencies and Knicks games and turn it into a queer party.
A lot of the credit for the Sweat Tour’s unrepentant, inspirational and liberating queerness goes to Sivan. From the moment he hit the stage, it was clear that the Aussie singer-songwriter has found the perfect negotiation between the sweetness of the voice, the vulnerability of his lyrics and the dancefloor-ready grooves that make for a proper party.
Opening the night with “Got Me Started” (from Billboard’s third-best album of 2023, Something to Give Each Other), Sivan set the tone when he dropped to his knees toward the end of the song, crooning the last few lyrics while one of his well-toned backup dancers dangled the microphone suggestively in front of his crotch. Shades of Madonna, certainly, and not the only time during the night that Sivan drew on past pop icons, from his *NSYNC-esque choreography on “My My My” to some Shania Twain-styled line dancing during the evening’s encore. But despite paying homage to pop icons before him, Sivan’s Sweat set stood on its own – no small feat given that Charli’s setlist was centered around the summer-defining brat album.
Toward the end of the night, Sivan and XCX duetted on both “1999” as well as their “talk talk” remix. While the latter is certainly an unstoppable banger (though it’s kind of funny to watch the two cosplay seducing each other while singing the sex-drenched lyrics), the former offered up the emotional core of the night. As a platform stage housing both raised above the MSG crowd, Troye and Charli traded vocals on the nostalgic banger and fed off each other’s energy in a loose, friendly fashion. Both have been low-key luminaries of the last decade in pop, and we’re lucky to have a co-headlining tour that finds both of them at singular (and sweaty) artistic peaks.
With P1Harmony‘s new album Sad Song released on Friday (Sept. 20), the K-pop boy band continues to rise in creative maturity and chart success. Last summer’s Harmony: All In debuted at No. 51 on the Billboard 200 to mark the group’s first appearance on the albums chart, while their first full-length LP Killin’ It, released in February, peaked at No. 40 entry and secured their first No. 1 on Billboard’s World Albums chart. The Christopher “Tricky” Stewart–produced “Fall in Love” earned them a certified top 40 on the Pop Songs airplay chart and, now, the sextet is taking even bigger steps—on stage as well as behind the scenes.
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For Sad Song, P1Harmony took a more hands-on approach than ever. “We’ve never been this involved with an album before,” the group’s leader Keeho explained to Billboard during an early album preview in Los Angeles. “It’s a huge stepping stone from the other albums.”
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Keeho and his band mates Jiung, Theo, Intak, Soul and Jongseob say the late-summer weather of September marked the perfect chance to finally experiment with Latin music on the title track single, while the EP also brings their first sub-unit track with “WASP,” a standout rap cut performed by Intak and Jongseob.
“Now that we’re becoming more senior, we’re starting to hear the company listening to what we have to say and trusting us a lot more,” Theo says of working closer with their agency, the influential K-pop agency and talent management firm FNC Entertainment. “I’m in a much more comfortable of a position to really talk to our in-house staff about what we want to do .”
Beyond the actual music itself, Intak stepped up to help develop the stage choreography for “Sad Song” (“I really wanted to capture, ‘How can we look more emotionally invested?’” he says). At the same time, Theo’s expanding role into a musical director of P1Harmony’s live shows specifically inspired Jiung to produce the EP’s rock concert anthem, “Last Call.”
As P1Harmony look to climb higher on the charts, diving deeper into their creative instincts is producing more confident and comfortable energy in the boy band who aren’t afraid to speak up for their interests without abandoning what has made them unique since Day 1.
Read on for more into P1Harmony’s process of producing their latest EP, Sad Song.
Billboard: Tell us about “Sad Song” and how this title track single fits within the album?
Keeho: I’m sure you already know, but P1Harmony loves to experiment with new genres and try to mix in different types of vibes. I feel like we never want to stay in one place. We’re always trying to move around, but also add P1Harmony’s color into it, right? The whole Latin inspiration was something that we really wanted to experiment with and I feel like we really brought it out with this title track [single]. It’s out in September so I feel like it’s right when it’s still warm, but starting to get cooler — I feel like with the weather’s vibe, it’ll just suit the song so well.
Especially with this album, we did a lot, a lot, of experimenting within the the songs in the album as well too. We’ve never been this hands-on with an album before. It’s a learning curve, so we’re also very scared. We have one song called “WASP,” which is Intak and Jongseob’s [as a] sub-unit, so the two of them are just rapping. Actually, it’s one of my favorite songs on the album. You’ll listen to the album and it’ll be a completely different vibe. So, it’s like really cool that they have that in there. Also, Jiung and I did separate songs for the album. He did “Last Call,” and I did “It’s Alright.” Mine is a little bit of a reggae-like guitar vibe, but he is more like a band guitar vibe.
On the albums before, we usually only had one song where we would be very involved in its production, but this time, we’ve had three. So, it’s a huge stepping stone from the other albums; we’re really excited to see what the fans are going to think. I’m a little scared, but we’re really, really excited. And this is the first time where our mini album has seven tracks. So we’re including the English version of “Sad Song” in the album as well, so that’s three out of seven tracks that we are very deeply — like whole foot in — involved.
But P1Harmony has always been involved in music, especially when it comes to songwriting. What was so different this time?
Keeho: Before, I think it was more like, “We want to have a song that’s this vibe” and we kind of just write to the tracks. But this time, we were really in the structure of it, so we talked to producers and were like, “This is a vibe we want, this is a melody we want,” and we would actually be in the song camps with like other really great amazing writers and producers. We would sit down with them, bounce off each other’s ideas and really be a part of this song-making process. Whereas [the past] was kind of like, “This is the vibe; you guys kind of just write on top of it.” And I feel like Jiung and Jongseob also have a lot to say about it because, while I wouldn’t say they were restricted, I would say that there’s definitely a limit to what they wanted to do creatively. But I feel like this time they were allowed to kind of run wild and be able to really just do what they want. This is our first time having a unit song as well, in general, too; I mean, creatively, they gave us a lot of freedom this time.
Jiung: Actually, I talked a lot about our album with Theo. Because he does a lot of things for the stages of our concerts and tours. So, I asked him, “What do we need for our concert? What do we need for the next tour?” he said, “We need a song that can hype people up — make people enjoy us on stage even more and just jump.” I then made the concept of the song [“Last Call”], then I talked with our producer and the top liner from the very beginning of the process. Knowing that we would use it for a certain occasion, it was a lot easier for me to create my song and map out what I wanted to make sonically. Theo is really the one who sets up our whole setlist for our tours and conceptualizes and creates the whole show.
Theo, have you always been interested in musical direction, or is this a role you naturally stepped into?
Theo: I’ve always been interested in musical directing and loved the idea of musical shows and concerts. It’s not something I did out of the blue, but I’ve been coming up with ideas and communicating with the company since the beginning. And now that we’re becoming more senior, we’re starting to hear the company listening to what we have to say and trusting us a lot more in what we want to do for shows, so a lot of my ideas have come to life. Now, I’m in a much more comfortable of a position to really talk to our in-house staff about what we want to do for our next tour, the current tours, and what we’re doing right now. I think we’re gradually expanding our horizons.
Keeho: Yeah, they’re really listening a lot now, and Theo is always at the forefront of that.
I love that. Sad Song is your seventh mini album. Previously, you had three Disharmony EPs, three Harmony EPs, Killin It was a full album. Is this the beginning of a new era or trilogy?
Keeho: I think our trilogies, like Harmony and Disharmony, and then what’s happening after Killin’ It are very two different things. I had talked to our people because I’m a part of a lot of the visualization and conceptualizing of the albums. With the storytelling aspect of it, I told our company that it’d be really dope to not make trilogies anymore but kind of make it, like, a standalone project each time. That way for each album, we can really bring in something new and different without having to feel like we need to tie everything together. It gives us more freedom to creatively create something new just for the album without having to be like, “Okay, but how is this going to tie into ‘Killin’ It’?”
Visually, it’s very different too. But as you know, we debuted with a movie and the whole story of the six of us being superheroes that are coming together to save the world figuratively, and also literally at the same time with our music, I wanted to keep that concept going. So, even if the songs and the concepts are different, I still wanted to bring [the idea] that we’re still superheroes. Visually, I think you’ll be able to see it in the music video and the concepts. That’s the one thing that we’re keeping consistent.
Tell me about creating the choreography and what we should look out for?
Soul: By the time of KCON in July, we had learned all the choreography for Sad Song tracks. Difficulty-wise, “Sad Song” is not that difficult compared to our other releases because I feel like in the chorus, there’s a simple point choreography that anyone can really just look at and kind of understand. Intak was very involved in how the choreography was made this time.
Intak: Yeah, when I listened to the song, I really wanted to capture, “How can we look more emotionally invested in the stage?” So, I thought about how it’s called “Sad Song,” but there’s also a lyric where it says “mad song,” and we repeat those two lyrics a lot. When creating the choreography, I wanted to be able to portray that on stage as well so that when people see they can just understand the sadness and the madness in the choreo. I talked to our performance director back in Korea and we really kind of curated this choreography to hopefully portray that emotion.
Keeho: And if I put my little two cents in, we actually get “skeleton” choreographies from, like, four different dance teams. That’s what’s really fun about K-pop. I don’t know if other people do it too or if other dancers do it, but we’ll pick out choreographers that we really think are super cool and good at what they do, and ask them to create a choreography for the song. Then, we’ll have four different choreographies for the same song. And Intak and the creative director would then sit down, look at the videos, and sort of mix and match to see which choreo suits us best and how we can make it better, right? Intak was super, super involved in that process.
I remember when P1Harmony started, you shared how it was very important for you not to lose yourselves or feel like you’ve sold out. As you go more global and experiment with different genres, how have you stayed true to yourselves?
Keeho: Honestly, I don’t think it’s that difficult anymore. I feel like it’s become really simple and easy for us because we really understand that no one can be us — and we can’t be anyone else. As long as we’re really in tune with what we think is cool, what’s hot, and what we feel is good, that automatically becomes P1Harmony.
So, no matter what you throw at us — it can be rock, pop, R&B, jazz, Latin — if it goes through us, it still comes out as P1Harmony. And I feel like that’s so simple and easy now because we’re so confident and so in tune with what we know our strengths and our weaknesses are; I feel like it’s not something we have to think about; whatever we do, there’s always that feeling of P1Harmony in there.
Since we’re almost four years into our careers now, I feel like it’s more of a subconscious thing. A couple years ago, I would be like, “Okay, how do we make this ours?” or “If this is this experimental, how do we make it without sounding like someone else?” That was always something in the back of our heads, but now it’s coming through subconsciously.
Christina Aguilera is celebrating 25 years since her breakthrough self-titled debut album, and she unveiled a special treat for fans on Monday (Sept. 23). The pop superstar teamed up with Spotify for the platforms Spotify Anniversaries series, where she sat down in-studio to reimagine her iconic 1999 album that remains one of the early 2000s […]
Carly Rae Jepsen shared some happy news with fans on Monday morning (Sept. 23). The 38-year-old singer revealed that she and producer boyfriend Cole M.G.N. (Marsden Greif-Neill) are gonna tie the knot. “Very engaged over here,” the singer wrote on Instagram alongside a series of photos from the big day as well as wedding ring and red heart emoji.
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In the first snap, Carly is holding her newly be-ringed hand up to her chest as she and M.G.N. stare into the camera smiling, following by a sun-dappled zoom-in on her new bling, a shot of her braided blonde hair from behind as she stands in a field of flowers, one of M.G.N. staring at horses in a pen, another of the couple petting a white horse and a final image of them kissing.
The couple met while Jepsen was working on the dreamy dance pop tune “So Right” from her 2023 The Loveliest Time album, a track was co-written and produced by M.G.N. According to People, it was Jepsen’s management team that paired her up with the former member of indie band Ariel Pink’s Haunted Graffiti, who has also won six Grammy Awards for his work with Beck; M.G.N. was previously married to Nite Jewel’s Ramona Gonzalez for 12 years.
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“I would’ve been too shy beforehand to be like, ‘Do you want to do a skit at the beginning?’ But now that we’re so close, it was just really fun and playful to be like, ‘Let’s have this very ’80s drama skit at the beginning where you ask me if I should come over and I say no, but then I come anyways,’” she said about the song’s intro, which features a short talk-up chat between the two about whether it would be a good idea for them to have a late-night hang. “You have to get to a certain level of comfort with somebody before you can get to those really playful, joyful, experimental places.”
At the time, “So Right” was the first track the couple collaborated on, but Jepsen told People that it was probably not going to be the last. “We’ll go traveling somewhere, and we’ll bring a little acoustic guitar,” she said. “I think you’ll see a lot more of our collaboration together for future projects, but this is our first little baby out in the world. We’re both so excited.”
At press time the couple had not announced a wedding date.
Check out Jepsen’s engagement pics below.
It’s officially been one year since Chappell Roan altered the course of her career with the release of debut album The Rise and Fall of a Midwest Princess, and the 26-year-old musician didn’t let the anniversary pass without marking the occasion on Instagram Sunday (Sept. 22).
Sharing a photo of herself holding up a Midwest Princess vinyl in front of a wall of promotional posters for the project, Roan wrote that her life “has been changed forever” in the 12 months since she dropped the 14-track LP.
“this has been amazing and hard and beautiful and eye opening and empowering and transformative and every emotion ever,” she continued. “Thank you thank you thank you for everything. Thank you for showing up for this project and believing in me.”
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The Missouri native also noted that the success she’s experienced over the past year wouldn’t have been possible without the help of “a team of people working their a–es off day and night to keep this afloat.” “I am so lucky and feel so loved,” she added.
Produced by Dan Nigro, Midwest Princess didn’t fully take flight until several months after its September 2023 release. After gaining traction with her opening stint on Olivia Rodrigo’s Guts World Tour this past spring, Roan debuted at No. 127 on the Billboard 200 in April. She’s steadily climbed the chart in the months since thanks in part to her headline-making performances at festivals over the summer, and in late August, Midwest Princess finally reached No. 2.
None of the album’s songs charted on the Billboard Hot 100 until June, when “Red Wine Supernova” and “Hot to Go!” finally entered the ranking. Since then, Roan’s also notched entries with “My Kink Is Karma,” “Pink Pony Club,” “Casual” and “Femininomenon,” though her biggest hit to date is still No. 6-peaking follow-up single “Good Luck, Babe!”
And though the rollercoaster ride has led to some major highs — a best new artist win at the 2024 VMAs, for instance — Roan has also been open about the lows of fame. “I went to a psychiatrist last week because I was like, ‘I don’t know what’s going on,’” she revealed in a recent interview with The Guardian.
“She diagnosed me with severe depression — which I didn’t think I had because I’m not actually sad,” Roan continued. “But I have every symptom of someone who’s severely depressed. I think it’s because my whole life has changed. Everything that I really love to do now comes with baggage.”
Shaboozey’s “A Bar Song (Tipsy)” earns an 11th week at No. 1 on the Billboard Hot 100, extending 2024’s longest command. The hit, which became the Virginia-born singer-songwriter’s first Hot 100 No. 1 in July, is one of just five songs to reign for 11 or more weeks this decade, and the first since another […]
Lady Gaga is continuing to send fans spiraling with cryptic messages on Instagram — and no, she doesn’t care to elaborate. The superstar has been posting one new message every day since she first piqued people’s interest on Sept. 20 by sharing a note reading “I’m ready for my interview,” meaning there’s two more to […]
If that guy on stage at Dino’s Lounge in Las Vegas singing karaoke sounded a bit better than the average drunk piker from Minnesota, it’s because he did. Coldplay singer Chris Martin took a break from his band’s Music of the Spheres global juggernaut tour to have some fun in Sin City this weekend when […]
Chappell Roan hasn’t endorsed Democratic nominee Kamala Harris for president, despite the pop star’s longtime advocacy for trans rights and the LGBTQ+ community.
The “Good Luck, Babe!” singer-songwriter weighed in on the 2024 election in a profile published by The Guardian on Saturday (Sept. 21).
“I have so many issues with our government in every way. There are so many things that I would want to change. So I don’t feel pressured to endorse someone. There’s problems on both sides,” Roan explained.
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She added, “I encourage people to use your critical thinking skills, use your vote — vote small, vote for what’s going on in your city.”
She says she most wants to see a change in trans rights in the U.S. “They cannot have cis people making decisions for trans people, period,” said Roan.
While Roan’s quote to The Guardian resulted in backlash on social media from fans who expect her to publicly endorse Harris over Donald Trump, given Harris’ pro-LGBTQ+ stance, the quote alone can easily be taken out of context. Roan has been clear about her values in words, performance and actions.
On tour, Roan invites local drag artists to be her supporting act, and as The Guardian reports, “For every U.K. tour ticket sold, £1 goes to the LGBTQ+ rights charity Kaleidoscope Trust, and at the merch stand in Manchester there are signed risograph prints selling for £100, with proceeds going towards aid for Palestine.”
Over the summer she declined an invitation from the White House to perform for a Pride event. She actually wanted to show up and protest the Biden administration’s involvement in Israel’s attacks on Gaza instead of being paraded as a performer, she told Rolling Stone. Her publicist, concerned for her client’s safety, talked her out of it: “You f— with the president and the government, your security is not the same, and neither is your family’s.”
At Gov Ball she dedicated her song “My Kink Is Karma” to the administration. “We want liberty, freedom and justice for all,” she said. “When you do that, that’s when I’ll come.”
In August Roan urged people to make their voices heard, telling Rolling Stone, “Right now, it’s more important than ever to use your vote, and I will do whatever it takes to protect people’s civil rights, especially the LGBTQ+ community. My ethics and values will always align with that, and that hasn’t changed with a different nominee.”
“I feel lucky to be alive during an incredibly historic time period when a woman of color is a presidential nominee,” she added. Harris, meanwhile, has featured the Roan’s music in her campaign, including the song “Femininomenon.”
Stars including Taylor Swift, Billie Eilish,