Pop
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On today’s (Oct. 18) episode of the Greatest Pop Stars of the 21st Century podcast, we reach No. 9 of our list with a teen TV star who showed up to pop music in the mid-2010s already a near-fully formed star — and just continued to get bigger and better, until she came to define […]
There’s a question Joy Oladokun often finds herself asking when thinking about her career: “If Nina Simone had the internet, what would she do with that?” she ponders. “Like, what sort of Mavis Staples-meets-Azealia Banks tweets would we have gotten from her?”
The High Priestess of Soul is far from the only artist the folk–pop artists finds herself ruminating on: throughout her conversation with Billboard, Oladokun drops names ranging from Big Mama Thornton to Paul McCartney to Big Freedia. But the artists she often finds herself thinking about, she says, are the ones whose names she doesn’t know.
“I think a lot of my music comes from a place of knowing that not all Black queer people got to live this long or get this far,” she explains. “It feels like I’m fighting with both the idea of progress, the reality of progress and the cost of it.”
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A career’s worth of those feelings come roaring out on Oladokun’s stunning new album Observations From a Crowded Room (out today via Amigo Records). Written and produced by Oladokun in the 15 months since her 2023 LP Proof of Life, the new record sees the singer-songwriter wrestling with her current place in the music industry and the world at large. Employing electronic flourishes to accentuate her pointed songwriting, Oladokun examines why it seems that social advancement in the music industry is always two steps forward, one step back.
The idea for the record started after a whirlwind of touring in 2023 — after running through the summer festival circuit and performing as an opening act for John Mayer and Noah Kahan’s tours, Oladokun found herself at the end of a grueling schedule, sitting by a river with her guitar somewhere in Oregon.
“I was on mushrooms,” she giggles. “I was having an emotionally hard time, then. And when the shrooms hit, I saw this moose — and right there, I just wrote the first song on the album.”
That song, “Letter From a Blackbird,” provides the central argument for the album within its first minute. “These days I sure regret how much of me that I have given/ I feel my patience running out, I hear the water sing to me,” she sings, accompanied only by a vocoder chorus of her own vocals. “Blackbird: what did you think you’d run into out here in the wild?”
Throughout the record, Oladokun contends with managing the expectations of her community (the hip hop-infused”Hollywood”), examining the history of marginalized artists (the pop-leaning “Strong Ones”) and her own desire for recognition from the industry (the fiery folk ballad “Flowers”). Punctuating those songs are brief “observations,” interludes scattered around the project that see Joy speaking directly to her audience and telling them, point blank, how she’s feeling.
While she’s become known in industry circles for her tell-all lyricism, Oladokun acknowledges that Observations is something entirely different that her past albums. “In a sort of unhinged way, Proof of Life was a democracy, and this was more of a dictatorship,” she says. “When you’re working with [other songwriters], sometimes you have to sacrifice a feeling or pull a punch just to get something through. The benefit of making this alone was just that, for 40 minutes, I could just be unfiltered. I’ll give you the choruses and hooks you can hold on to, but I also want to be as honest as possible.”
While Oladokun serves as the sole songwriter and producer on the vast majority of the album’s records, a few other songwriters appear in the liner notes — including Maren Morris (“No Country”), Brian Brown (“Hollywood”), Edwin Bocage and Theresa Terry (“Strong Ones”). As she puts it, Observations wouldn’t have been possible had she not made early connections with songwriters throughout her growing career.
“This album is the fruit of so many lessons learned, and people like Dan Wilson and Ian Fitchuk or Mike Elizando, or even like contemporary great songwriters like INK,” she says. “These were people who took time to really pour into me, and said, ‘Here’s what’s great about what you do, and here’s how we can elevate it.’”
The songs where Oladokun gets the most raw see the singer calling out Nashville, and the industry system therein that she says failed her. “Letter” opens with the thought that, if she drowned in a river, the city wouldn’t cry for her, but rather “breathe sighs of relief.” Penultimate track “I’d Miss the Birds” sees Oladokun calling out the town by name, decrying its willful ignorance of her and people like her, while “Proud Boys and their women” continue to thrive.
In the year since she wrote those songs, Oladokun’s feelings on Nashville have only calcified. “Put it in ink, Nashville should be ashamed of itself. I’ll say it as long as they don’t gun me down; this town is so full of s–t,” she says, staring directly into her Zoom camera. “It’s not even because Nazis can walk around freely — that’s a problem, but Nazis are gathering all over the states. My genuine issue is the people who only want to do enough to appear good, but will never lift a finger to actually help.”
In the eight years she’s spent living in the country music capital of the world, Oladokun says she’s watched firsthand as artists and executives praise the “progress” that the city has made socially while Black queer artists like her continue to be ignored. “I am the Ghost of Christmas f–king Past for this city. I am where I am at in my career in spite of this city. In spite the utter lack of support,” she says. “For all the f–king country girls in glitter shorts dancing around with drag queens, how many of them have offered me features or responded to even one of my f–king DMs?”
As she goes on, Oladokun catches herself and clarifies her point. “I want to separate the part of it that can seem personal, the part where it’s just, ‘Oh, people aren’t paying attention or being fair to me,’” she explains, addressing Nashville directly. “I’m not the only Black and gay talent in your city. I am one of a huge, growing faction of artists in your backyard who you don’t support, because you know what it will cost you.”
Her desire to take a breath and zoom out also happens during Observations. On the stirring soul anthem “No Country,” Oladokun looks to the various genocides occurring throughout the world — in an Instagram post, the singer named Palestine, Congo, Sudan and Nigeria as direct inspirations — and yearns for a moral imperative to protect people from harm our increasingly fractured world.
On an album that deals so much with her own personal struggles, Oladokun felt it was important to put her grievances into a larger context. “My job just isn’t that important. Like, my job is hard — but everyone’s job is hard,” she says. “It’s important for me to remember, because I as a human being never want to let this job stop me from being the best version of myself. I can’t let my tunnel vision of what my day-to-day is like distract from what I think the purpose of sharing my music is, which is to give people something to listen to in a weird world.”
That’s also, in part, why Oladokun never tries to offer big-picture answers to the problems she presents on Observations. Not only does she not have all the answers, but she points out that we all have to agree on what the problems are before we can talk about solutions. “It’s so important to name things, and I think a lot of the problems we have as a society comes from our refusal to name things,” she says. “The goal of this record was never to give an answer, but to say, ‘Ow. This hurts.’”
When Oladokun began writing Observations From a Crowded Room, she was considering quitting the music business altogether. When asked where she’s at with that internal conversation today, she shrugs. “My relationship with my job right now … there’s sort of an agnostic quality to it,” she explains. “I believe my career has a future, but it’s so rarely demonstrated in front of me of what it’s like for someone like me to do so. This is the beginning of a conversation — it’s me saying, ‘This is what it’s been like.’ And it’s a little bit up to other people to say, ‘That is what it’s like.’ I can’t be the only one trying to change the culture.”
A wry smile appears on her face: “Ask me again in a year.”
After channeling Bruce Springsteen, Stevie Nicks, late Cranberries singer Dolores O’Riordan, Evanescence’s Amy Lee, David Bowie, Cher and other iconic stars as part of her countdown to upcoming album The Great Impersonator (Oct. 25), Halsey tapped into one of their biggest childhood influences on Thursday (Oct. 17).
To preview the 16th track on the album, the Spears-sampling “Lucky,” Halsey, 30, morphed into In the Zone-era Britney Spears, posting an image of herself with wind-tousled, blonde-streaked hair standing in a blue void while staring intently at the camera with a steely look.
“It’s Britney, b–ch!!!,” Halsey wrote of the eleventh preview of her fifth studio album. “The first superstar who ever inspired me,” they wrote of Spears. “There were infinite Britney looks to choose from, but I had to do this iconic album!,” they added of Spears’ 2003 fourth studio album, which featured the Madonna collab “Me Against the Music,” as well as the Billboard Hot 100 No. 9 hit “Toxic.” The accompanying image comes as Halsey promised to be “impersonating a different icon every day and teasing a snippet of the song they inspired.”
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So far that’s meant the gauzy pop tune “Panic Attack” in honor of Nicks, the twangy Parton homage “Hometown,” as well as the Harvey take on turbulent rocker “Dog Years” and tips to the enigmatic British pop star Bush on the chilly “I Never Loved You,” Cher with the aching “Letter to God (1974),” rock chameleon Bowie on the spooky “Darwinism” and Lee on the churning “Lonely Is the Muse.”
The pitch perfect look/sound experiment continued earlier this week with Halsey sporting a short copper-toned hairstyle for the O’Riordan rager “Ego,” rolling up their sleeves, picking up a guitar and posing in front of an American flag for the confessional “Letter to God” as The Boss and going acoustic for the lo-fi Linda Rondstadt tribute “I Believe in Magic.”
On Thursday, the Grammy-nominated singer booked an intimate Nov. 21 show at the 1,400-capacity Regency Ballroom in San Francisco; the show is a exclusively for Wells Fargo Autograph Credit cardholders.
See Halsey’s Britney Spears-inspired look below.
Charli XCXxc’s Brat has finally topped the U.K.’s Official Albums Charts, four months after its original release. The release of remix album Brat and It’s Completely Different But Also Still Brat, which had star turns from Ariana Grande, The 1975, The Strokes’ Julian Casablancas and more, gave a well-timed boost to the original record to […]
Records continue to tumble for Sabrina Carpenter as she lands another week at No. 1 on the U.K.’s Official Singles Charts. The singer is the first artist in 71 years to spend 20 weeks at No. 1 on the charts in a single calendar year. Explore See latest videos, charts and news See latest videos, […]
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The Billboard Family Hits of the Week compiles what’s new and worth your family’s time in music, movies, TV, books, games and more. Forget the mind-numbing scrolling and searching “what to watch for family movie night” … again. The best in family entertainment each week is all in one place, in this handy guide. Isn’t it satisfying to cross something off your list?
Before moving forward with recommendations of how to keep your family entertained this week, I want to acknowledge it’s been a devastating few days for the pop music community with the untimely passing of One Direction‘s Liam Payne. Having formed in 2010 and gone on hiatus by 2016, One Direction mostly pre-dates the youth of today’s main experience with pop music, but their impact on the genre holds steady. Payne’s family is heartbroken. His peers in music are grieving the loss of a dear friend. Parents reading this, especially the younger set who were coming of age at 1D’s peak, are likely feeling the heaviness. Kids on the internet might have seen the news, or they might be picking up on your sadness, and they might ask questions. I suggest reading Billboard‘s tribute to Payne and his indispensable contributions to One Direction, as well as a great summary of his highlights on the charts to queue up a playlist, whether it’s for yourself or to share with your family.
And now, a swerve into lighter and brighter news: The Eras Tour returns. Taylor Swift will be on stage (and our small screens, assuming someone live streams) Friday, Oct. 17 in Miami for the first concert of the end of Eras. The summer leg of the show got a Tortured Poets Department refresh. Will there be more surprises from the stealthy Swift before she takes her final bow of 2024?
On TV this weekend, I recommend tuning in to see Billie Eilish as SNL‘s musical guest. No word on whether the “Birds of a Feather” singer will star in any sketches on the Michael Keaton-hosted episode, but I foresee funny things if she does. Eilish previously hosted SNL in 2021, when she became the first-ever celebrity host born in the 21st century — just another mind-boggling milestone this young talent hit before the age of 21.
I’m currently streaming Prime Video’s The Pradeeps of Pittsburgh, a new half-hour family comedy series surrounding an Indian family that’s newly navigating life in America. Episode one, opening in an interrogation room with the entire Pradeep family of five, pulls you in right away. How did this family get here?
Family game collections should grow with this week’s release of Super Mario Party Jamboree from Nintendo. I think we’ll save this one for the holidays, when the kids can open it as a gift and have ample time to quarrel over which of the 110 mini-games to play first. The Mario Party series has a history of inspiring spirited competition in our home.
Here’s a rundown of our picks for the latest rendition of Billboard Family Hits of the Week:
Get Back in Eras Tour Mode
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, Morgan Wallen shakes things up, ROSÉ links up with Bruno Mars and Gracie Abrams adds to a breakthrough project. Check out all of this week’s picks below:
Morgan Wallen, “Love Somebody”
On the first taste of his follow-up to last year’s blockbuster album One Thing at a Time, Morgan Wallen rearranges his tried-and-true formula, mixing his country twang with Latin rhythms on “Love Somebody” — but still prioritizing a massive chorus for his stadium crowds.
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ROSÉ & Bruno Mars, “APT.”
As her BLACKPINK group mates forge ahead with solo careers of their own, ROSÉ, who shined on her 2021 two-pack R, has teamed up with Bruno Mars for “APT.,” a slick pop confection full of clap-along refrains that will inspire wide-ranging shimmying if it ever gets a proper live performance.
Gracie Abrams, The Secret of Us (Deluxe)
Gracie Abrams continues the most successful year of her career with this deluxe edition of sophomore album The Secret of Us, which boasts both her quick-rising hit “I Love You, I’m Sorry” as well as emotionally piercing new tracks like the delightfully pissed-off “That’s So True.”
Bon Iver, SABLE,
Five years after his most recent Bon Iver album, Justin Vernon returns with a triptych of songs that echo previous highs from his most well-known musical project: “Things Behind Things Behind Things” recalls the mighty indie-folk of his sophomore album, while “SPEYSIDE” is as hushed and gorgeous as the landmark debut For Emma, Forever Ago.
Yeat, Lyfestyle
Yeat started the year with his compelling full-length 2093, and new album Lyfestyle finds the futuristic rapper on a creative tear, raging over hazy synths and trap beats alongside guests like Kodak Black, Lil Durk and Don Toliver.
Wizkid feat. Brent Faiyaz, “Piece of My Heart”
To preview his upcoming sixth album Morayo, Wizkid has corralled Brent Faiyaz for a slinky love jam that doesn’t shy away from old-school R&B pleasures while also allowing the Nigerian superstar to showcase his nimble flow.
Farruko, CVRBON VRMOR
Fans of Farrago’s signature hits and remixes will find plenty to enjoy on new album CVRBON VRMOR, as the Puerto Rican singer often pushes the tempo with the same vigor as “Pepas” — but the sprawling, 26-track project also includes mid-tempo delights like “Vibe” and “Blessings.”
Kylie Minogue, Tension II
The viral success of “Padam Padam” helped draw attention to Kylie Minogue’s Tension, the pop veteran’s most complete project in years; with Tension II, Minogue offers another electro-tinged dance kaleidoscope, still delivering onomatopoeic hooks and sounding reinvigorated.
Riley Green, Don’t Mind If I Do
Alabama singer-songwriter Riley Green has been turning heads in Nashville for a bit, and new album Don’t Mind If I Do aims at the mainstream with polished balladry and concise country jams that abide by the history of the genre.
Editor’s Pick: Mk.gee, “Rockman”
Mk.gee’s debut album Two Star & The Dream Police has been fiercely beloved by tastemakers and indie fans since its February release, and the elastic bounce of new single “Rockman” plays out like a victory lap, with the harmonies reaching high and evoking celebration.
Amid the outpouring of grief and love in the wake of Liam Payne‘s shocking death at 31 on Wednesday following a fall from his hotel balcony in Buenos Aires, Argentina came a touching reminder from the former One Direction and solo star’s recent past to put things into perspective.
That prompt came from BBC Radio 2 host Scott Mills, who on Thursday (Oct. 17) played a letter Payne wrote to his 10-year-old self in 2020 and read on BBC Radio 1 as part of a pandemic series. Mills noted that during the COVID-19 shutdown, Payne came on his show to participate in the project asking artists to speak to their younger selves, and, looking emotional, added that the singer’s take now feels especially “poignant” in light of his tragic death.
“Dear 10 year old Liam. Get ready! It’s about to get a little bumpy,” Payne says in a fuzzy close-up video in which he’s wearing headphones. “Cherish every moment with your loved ones right now as there’s only a few more family holidays to enjoy, life is about to turn surreal. You know that thing you love, singing, keep it up and when you turn 14 something magical is going to happen and I’m not talking about puberty.”
The singer tells his 5th grade self that not only will he audition for “one of the biggest music shows in the world,” The X Factor, but that he will also meet the future mother of his now seven-year-old son Bear, Girls Aloud member Cheryl Cole.
“I know it seems early but just trust me it’s all gonna work out however it’s supposed to. I suggest you watch Back to the Future, it might help,” Payne joked at the time. “You are now famous and it feels like you’ve peaked way too early you cocky little bugger, but you have barely even started yet. Take it down a notch and remember it’s a marathon not a sprint,” he said, noting that his first audition for X Factor in 2008 as a solo act — where judge Simon Cowell said he wasn’t quite ready yet — wasn’t even “base camp” in his wild ride to global stardom.
“For a while you’ll feel like giving up. But don’t, as you’re about to meet four other guys on the same track as you,” he said of his second try in 2010, when Cowell paired him up with his eventual 1D mates: Harry Styles, Niall Horan, Zayn Malik and Louis Tomlinson.
“When you first meet them it’s going to be chaos but just remember to enjoy yourself, stay young at heart as that’s what this point of your life is all about. Forgive more and learn to listen,” Payne counseled. “You will have the most amazing time of your life, travel the world and live a life you barely imagined. Then it will end for a while and you’ll be left with nothing but the steering wheel.”
Payne also told his young self that after 1D’s hiatus in 2016 things would feel “scary” for a bit, “like you’re alone, but you are not. You’re about to start a totally new journey with the most amazing person you’ve ever met, your son Bear.”
Bear, Payne’s only child, was born in 2017, a year before he and Cole split. “Don’t doubt yourself at this Dad thing, just look at all the things you’ve learnt along the way, surely that must mean you have a lot to give,” he said. “Be grateful and try to remember very day you’re doing something you love that took ten years to build. The first single will skyrocket and you’ll never see it coming but stop with the self doubt and you’ll be fine.”
The letter ends with Payne giving a “big hug” to his mom, dad and his entire family.
Payne’s death has prompted tributes from around the globe, including personal notes from all his former 1D mates and a are joint statement from the living members on Thursday, as well as tributes from Payne’s family and his former school.
Local authorities said that believe Payne was not sober at the time of his death, reporting that they found substances that appeared to be narcotics and alcoholic drinks in his room. A preliminary autopsy confirmed that Payne died from multiple traumas and internal and external hemorrhages sustained from the impact of a fall from the third-story of the Casa Sur hotel in the Palermo district in Argentina.
In the moments leading up to the star’s death, a hotel manager called 911 to report that a guest was “overwhelmed with drugs and alcohol” and “destroying [their] entire room”; by the time police arrived on scene, Payne had already fallen from the balcony of his room and died due to his injuries.
Watch Payne reading his letter below.
BOYNEXTDOOR‘s latest single, “Nice Guy,” begins with the K-pop group crooning, “Don’t be such a wuss, Seoul is mine tonight/ Let’s rizz up all night” for a synth-pop anthem of declarative self-confidence. While it seems like a stark contrast from “Dangerous,” the rebellious pre-released buzz single about teens pushing curfew which kicked off the group’s 19.99 album, it all connects into BOYNEXTDOOR’s multifaceted world of limitless freedom and friendliness.
With less than a year and a half since their debut, Billboard’s K-Pop Rookie of the Month for October 2024 is seeing its message reaching audiences worldwide. 19.99 scored BOYNEXTDOOR’s first No. 1 on Billboard’s World Albums chart and top 40 entry on the Billboard 200, while the group has performed on festival stages in South Korea, Spain, Japan, Hong Kong, and the United States. The sextet has modeled for Korea’s most prominent brand, Samsung, but is also the face of Japan’s popular casual clothing brand, WEGO, and has competed for best new artist recognitions at the MAMA Awards, iHeartRadio Music Awards, Asian Pop Music Awards and beyond.
During a weekend morning interview and photoshoot with Billboard in Seoul, any understandable tiredness from BND takes a back seat as members Jaehyun, Sungho, Taesan, Riwoo, Leehan, and Woonhak excitedly emphasize their desire to connect with audiences through authenticity rather than just chart placements and awards. “Rankings aren’t everything,” Taesan says in the Zoom call. “Our priority is really talking about what we want to and conveying that to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud.”
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Those themes are present in the narrative structure of 19.99, which is grounded in the guys’ real-life experiences. Without fixed roles within the group, BOYNEXTDOOR pride themselves on a collective creativity, where members can contribute across different areas like music, storytelling, choreography, stage direction and more. While half the group is credited as lyricists, and Riwoo added personal touches to their new choreographies, 19.99 has the DNA of all six stars divided throughout the EP.
That philosophy of artistic expression and prioritizing personal experiences and creativity over external pressures feels like a founding block of BOYNEXTDOOR’s label KOZ Entertainment, founded by boy band member-turned-chart-topping soloist-producer ZICO, that’s housed in the HYBE LABELS system. While ZICO has been a presence on the Billboard charts for over a decade (earning his first No. 1 on a U.S. sales chart earlier this year), BOYNEXTDOOR says his mentorship and tips have been crucial to the group’s impressive and quick takeoff.
“He always told us that you have to have a really good attitude and be cautious of how people would see you,” eldest member Sungho says of their mentor. “He always cared so much for us and gave us a lot of advice even before we debuted.”
With BOYNEXTDOOR’s first tour on the horizon and a growing global fanbase awaiting the group’s next steps, the “Nice Guy” singers remain ambitious to make Seoul — and every other city — their own by doing it their way. Read more on BOYNEXTDOOR’s story as the next group to watch as Billboard’s K-Pop Rookie of the Month for October 2024.
Congratulations on the latest chart success with 19.99, BOYNEXTDOOR! Do you feel the impact and that you’re growing your audience overseas?
TAESAN: Yes, we feel like more and more people are starting to like and enjoy our music, which we are very happy about. But you know, grades and rankings aren’t everything; grades aren’t our priority. Our priority is really talking about what we want to convey to the audience in a very free kind of way. So, that’s what we try to do and I’m happy that is actually connecting with a lot of people out there. It makes us really proud and gives us the confidence to stride forward.
19.99 starts a very different musical chapter from your previous trilogy of EPs. What are some of the differences between your past releases and this project?
SUNGHO: So, I think the “First Love” trilogy [the Who!, Why.., and How? EPs] was a big narrative that we had and tried to follow. When we were recording, creating and on stage, we tried to follow the overall kind of narrative and scenario that we had for the trilogy. But after that, with 19.99, rather than going with a narrative, this was an album where we really infused our experiences and the members’ stories. What we experience in our daily lives and what we go through is really infused in the tracks.
So, when we were recording or on stage, we felt like we were speaking our own language and just talking about what we experienced as boys. Even when we were performing, I think we focus more on our individual style and vibes… it’s more grounded and more heartfelt this time around. We paid more attention this time.
How do you express your stories? Is it sharing your experiences with each other? Writing lyrics? The concepts? Performing on stage?
JAEHYUN: I think my answer to that is really all of the above. It really starts at the very beginning of the creative process: we discuss a lot about what we want to talk about in the songs and in the album, so I think that naturally infuses into the songs — both in the songwriting and performance. So, we would talk a lot with the performance director and the music producers so that we could add our input into the lyrics and the overall concept of the performance as well. So, yeah, I think it’s all parts of what you brought up.
I see BOYNEXTDOOR as having a lot of freedom. There are no fixed positions within the team. Does that freedom allow you to be more creative, or is it difficult to balance that in a group dynamic?
TAESAN: As JAEHUYN said earlier, we are very heavily involved in the creative process; we have a big say. And as you said, we have a lot of freedom. Instead of thinking of that as a stress factor, we enjoy it because it gives us the freedom to be more creative and I think we’re even more eager to participate more in the creative process. So, rather than finding it difficult, I think it’s our fate to make these stages.
Even from your teaser videos, “friendliness” feels like a keyword for BOYNEXTDOOR. On one hand, artists who are so friendly can come off as less mysterious and intriguing. Do you have ideas or methods for bridging that gap?
JAEHYUN: I guess the secret lies in our music. So while we are friendly as people, our music can be mysterious; people can always wonder what’s coming next. You said that the name BOYNEXTDOOR is a very “friendly” name, but you never know who’s living next door. That boy might be a hip-hop lover, that boy might be a rock lover or love ballads. So, I think there is an air of mystery to that name as well. So, we kind of have both.
You deserve a lot of credit because not many rookies can say that and it feels like you’re sharing even more on 19.99. Can you share more about the title and what the EP represents?
WOONHAK: The six of us talked about what kind of album we wanted to make and what kind of music we wanted to do…
TAESAN: The producer asked us to talk about how we felt about our 20s one by one — [asking] “What was it like for you?” or “What do you expect from turning 20?” — and we gradually came up with the theme. After we came up with the theme of the number “20,” we discussed what kind of stories each of us wanted to incorporate into the album. JAEHYUN, WOONHAK and I actually wrote the lyrics based on that. We tried to capture 20 as much as possible in our own way.
When it comes to 20, the youngest member of BOYNEXTDOOR, WOONHAK, will soon be turning 20. Have your members shared any advice for you?
WOONHAK: So, instead of giving me advice directly in words, I think I just learned from them vicariously and naturally. Seeing them, I can understand that there are certain things that people don’t see or understand because I’m underage, you know? They recognize when I tell them I’m facing certain challenges and say, “That’s okay.” But when I do turn 20, there will be more responsibilities as an adult — and I see that through our leader JAEHUYN, our oldest SUNGHO, RIWOO, as well as TAESAN and LEEHAN. So, I think I kind of learn by looking at how they behave and take on different tasks. They continue to teach me a lot.
Along with JAEHYUN, TAESAN, and WOONHAK’s songwriting, how do you all collaborate creatively?
JAEHYUN: Although there are just three of us in the album credits, I think it really should be the six of us together because we talk a lot amongst ourselves and are sources of inspiration to each other. So, we would talk to other members and gain insight from their experiences and stories. So, all six of us are actually involved in the creative process.
SUNGHO: While JAEHYUN, TAESAN and WOONHAK are involved in the songwriting, in terms of the stage, RIWOO is really involved a lot in terms of the stage; when we actually go perform, he can lead the crowd. When we need to rehearse, we practice together under RIWOO’s guidance. He even creates and organizes the setlist and has a lot of input and ideas about the setlist. RIWOO is the one who has the most to say about our performances; each of us has such different personalities and individual styles, but RIWOO is the one who kind of becomes the anchor to help us combine and blend together as a group.
RIWOO: When we learn the choreography for the first time from choreographers, we usually learn choreography that is almost complete, but I feel like we have to include our own style into it and tweak it a little bit to make sure that it really fits our own style and not the choreographer’s style. From facial expressions to gestures and movements, I personally think about it a lot. If our members want to express something, I want to make sure we can express it and edit it a little so that it’s more BOYNEXTDOOR and our style.
Talking about stage performances, you recently announced your KNOCK ON Vol.1 tour. What are you preparing for your first tour? Do you think you’ll have more “volumes” or dates beyond Asia?
JAEHYUN: Our first concert is in the planning process, but there are a lot of stages and performances that we’ve saved for the concert. The stages that you’ve wanted to see and the performances that you wanted us to do, we’ve been saving them all to show you at our first concert so I think there will be a lot of stages that our fans, ONEDOOR, will really like.
LEEHAN: We’ll go anywhere. We’re willing to fly to anywhere where ONEDOOR exists. And we hope there are many more opportunities going forward to share these great times with ONEDOOR.
Do you have any worries ahead of the tour?
TAESAN: There will inevitably be some challenges because it’s our first concert and first tour, but I think we need to focus on how to overcome those difficulties. But I think what’s always on our mind is our next step forward — what we’re going to talk about in our next album.
I recently met with ZICO, and he spoke so affectionately about you. Do you notice that affection or is this his everyday self? Any fun stories you can share about your time with him?
SUNGHO: We actually noticed his affection ever since when we were trainees. He was always very worried about us. He always cared so much for us and gave us a lot of advice. Even before we debuted and after our debut, when we became “professionals,” he always told us that you always have to have a really good attitude and be cautious of how people see you. But the difference between the days when we just debuted and now is that in the early rookie days, he would try to really help and assist us in all kinds of ways. But now I think he really respects us as professionals and that we have our own way of communication and style. And then when he thinks we need help or if there are parts where he can help us, he will kind of jump in. I don’t really remember any specific anecdotes to share…
WOONHAK: I actually do remember one! He said, “I regret taking really bad selfies.” [All laugh.] So, we should really make sure that we take nice selfies.
JAEHYUN: My father! There are so many funny moments. Recently, ZICO has been telling me to show him some aegyo, like doing something cute or adorable, because he said that JAEHYUN as a trainee and JAEHYUN as a member of an idol group is really different. So, he wants me to show him those aegyo moments like I do with ONEDOOR, but for him. So, he’ll kind of tease me, telling me, “Can you show me some aegyo?!?” [Laughs.]
Any other messages you want to share with international fans or Billboard readers at this time?
JAEHYUN: Thank you for loving our tracks. I’m happy to see our songs on the Billboard charts and I hope you all keep loving them.
TAESAN: Please stay tuned for our tour and our concert. I hope that we’ll have more opportunities to go to other continents and other countries as well!
WOONHAK: Love you!!!
Ringo Starr‘s first new full-length album in six years, Look Up, will find the former Beatles drummer and solo star going country, again. The 11-track album of original songs produced and co-written by T-Bone Burnett is due out on Jan. 10 and was prefaced on Friday (Oct. 18) by the tear-in-your tea ballad “Time On My Hands.”
“I have loved Ringo Starr and his playing and his singing and his aesthetic for as long as I can (or care to) remember,” said Grammy-winning producer/songwriter Burnett, 76, in a statement. “He changed the way every drummer after him played, with his inventive approach to the instrument. And, he has always sung killer rockabilly, as well as being a heartbreaking ballad singer. To get to make this music with him was something like the realization of a 60-year dream I’ve been living. None of the work that I have done through a long life in music would have happened if not for him and his band. Among other things, this album is a way I can say thank you for all he has given me and us.”
Burnett wrote or co-wrote nine of the songs on Starr’s 21st solo album, on which the peace-and-love advocate sang and played drums; one song so written by Billy Swan and another was co-written by Starr and Bruce Sugar. According to a release announcing the project, Starr co-wrote the album’s closer, “Thankful,” which features one of Burnett’s previous collaborators, bluegrass singer/fiddler Alison Krauss.
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Burnett also roped in some other Nashville ringers for the project, including Billy Strings, Larkin Poe, Lucius and Molly Tuttle. Though pop and R&B stars dipping their toes into the country pool has become de rigueur over the past year, with swerves into the genre by Beyoncé, Post Malone, Ed Sheeran, MGK and Lana Del Rey, the release noted that Starr’s appreciation for all things twangy goes back more than half a century.
“I’ve always loved country music. And when I asked T Bone to write me a song, I didn’t even think at the time that it would be a country song – but of course it was, and it was so beautiful,” Starr said of his collaboration with friend of more than four decades Burnett, which was spurred by a chance meeting in L.A. in 2022 where the ex-Beatle asked Burnett to write a song for an EP he was working on at the time.
“I had been making EPs at the time and so I thought we would do a country EP -but when he brought me nine songs I knew we had to make an album!,” Starr added of the tracks Burnett wrote that all had a country vibe. “And I am so glad we did. I want to thank, and send Peace & Love, to T Bone and all the great musicians who helped make this record. It was a joy making it and I hope it is a joy to listen to.”
“Time on My Hands” finds Starr wistfully lamenting the loss of a true love over pedal steel and gently strummed acoustic guitar, with his signature laconic vocals taking center stage in the ballad about the one that got away. “I used to have a true love/ Everything was fine/ But now she’s found a new love/ She’s no longer mine,” he sings.
From the country-tinged Beatles songs he performed and wrote, including “Act Naturally,” “What Goes On” and “Don’t Pass Me By,” to his 1970 sophomore solo album Beaucoups of Blues,” Starr has dipped his toe into the genre since his early, pre-Beatles days playing in Rory Storm and the Hurricanes. In fact, the release added, Starr was so enamored with country and blues as a teenager that he tried to emigrate from London To Texas in his younger years after learning that blues great Lightnin’ Hopkins lived there.
Starr’s first new full-length album since 2019’s What’s My Name, will get a proper country welcome on Jan. 14-15, 2025 when the singer/drummer headlines the legendary Ryman Auditorium; tickets for the show will go on sale on Oct. 25.
Check out the full track list and cover art for Look Up below.
“Breathless” (featuring Billy Strings)
“Look Up” (featuring Molly Tuttle)
“Time On My Hands”
“Never Let Me Go” (featuring Billy Strings)
“I Live For Your Love” (featuring Molly Tuttle)
“Come Back” (featuring Lucius)
“Can You Hear Me Call” (featuring Molly Tuttle)
“Rosetta” (featuring Billy Strings and Larkin Poe)
“You Want Some”
“String Theory” (featuring Molly Tuttle)
“Thankful” (featuring Alison Krauss)
Ringo Starr
Courtesy Photo