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When Maren Morris began working on music for The Wild Robot, the animated adaptation of the beloved best-selling middle-school-aimed book by Peter Brown, all she had to do was put on her mom hat.
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“I was so emotionally moved by this story as a mother. Writing the songs for this film was such an honor because it made me feel even closer to my son, especially when I’m touring and sometimes have to be far away from him,” she tells Billboard. “The entire Wild Robot team has been so supportive of the creation of these songs and I’m so excited for the world to see this film.”
The movie tells of a shipwrecked robot, Roz, who lands on an uninhabited island and learns how to build relationships with the animals there, including an orphaned gosling, Brightbill, whom Roz adopts and watches become independent.
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Morris, who is mom to 4-year old Hayes, sings and co-wrote “Kiss the Sky,” which plays over a pivotal scene in the film. The uplifting song and video premiere below and show Roz helping Brightbill fulfill his destiny by teaching him to fly. DreamWorks Animation will release the film Sept. 27, while Back Lot Music will put out the soundtrack, which features a score by Kris Bowers, the same day.
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“When we were approached to write the song for the flight scene in The Wild Robot we understood how pivotal the moment was in the film,” says co-writer Michael Pollack, who penned “Kiss the Sky” with Morris, Ali Tamposi, Delacey, Stefan Johnson and Jordan K. Johnson. “The scene is literally Brightbill learning how to fly and eventually taking flight, but also metaphorically felt like a lifting off point to the back half of the movie. It was important for the song itself to feel uplifting and have triumphant elements but at the same time it had to evoke the struggles Brightbill was enduring at this point in the story. In a way the melodic arc of the song mirrors the actions of a bird taking flight, as it rises from section to section, ultimately soaring in the post-chorus.”
Morris also penned the end-title song, “Even When I’m Not,” with the same co-writer (with additional writing by Isaiah Tejada). Both songs were produced by The Monsters & Strangerz production team and Tejada. Kris Bowers handled orchestration and served as the movie’s composer.
The Wild Robot stars Academy Award winner Lupita Nyong’o as Roz; Emmy and Golden Globe nominee Pedro Pascal) as fox Fink; Emmy winner Catherine O’Hara as opossum Pinktail; Oscar nominee Bill Nighy as goose Longneck; Kit Connor as Brightbill and Oscar nominee Stephanie Hsu as robot Vontra.
With seven singles on the Billboard Hot 100 and her debut album occupying the No. 2 slot on the Billboard 200, Chappell Roan‘s music has never been more relevant. Now, fans are finding out when they might expect to hear new music from the singer.
In an interview with Music Business Worldwide, Roan’s manager Nick Bobetsky revealed that the singer is currently “busy writing” new songs, and talked about when fans might be able to hear some of the star’s new work. “I do think that we’re likely going to embrace a very similar plan that we did for this album, which is that when she finishes a song she loves, we put our heads together and quickly work to get that music out,” he said. “That’s what we did with ‘Good Luck, Babe!’”
Describing Roan as an “album artist,” Bobetsky said that high demand from fans doesn’t necessarily mean a full album is coming soon. “It’s partly a question of when the fans are asking for an album, and we have a lot of insight into that sort of thing,” he said. “I think right now Chappell wants to feel free to put music out when it’s ready and when she’s excited about letting people hear it. And I think that’s what the fans want as well.”
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Fans got their first tease of a new Chappell Roan song during the star’s head-turning set at Governors Ball 2024. Performing an unreleased track titled “Subway,” Roan changed into a taxi cab-inspired outfit and delivered the heartbroken ballad to an audience of screaming fans.
Recently, Roan has spoken out about inappropriate, “predatory” interactions she’s had with people in public, asking her fans not to harass her when she’s not performing. “When I’m on stage, when I’m performing, when I’m in drag, when I’m at a work event, when I’m doing press … I am at work. Any other circumstance, I am not in work mode,” she wrote in a note posted to her Instagram. “I don’t agree with the notion that I owe a mutual exchange of energy, time, or attention to people I do not know, do not trust, or who creep me out — just because they’re expressing admiration.”
In his MBW interview, Bobetsky also reflected on Roan’s rapid rise to fame, explaining that the singer’s success, in part, comes from the way she works with her fans. “The success hasn’t taken her away from her core fans, she’s taken them with her; they are part of it,” he said. “And it’s part of our core strategy. It’s not ‘Let’s do everything, let’s maximize every ounce of the success that’s currently happening’; that’s not the point.”
Modestly titled The Girls Aloud Show, the reunion tour for Girls Aloud has been one of the most anticipated music events of the year for pop fans worldwide, marking a powerful and emotional return to the stage for the beloved U.K. girl group. The outing is the band’s first since disbanding in 2013 and their first time together since the tragic loss of bandmate Sarah Harding, who died from breast cancer in 2021.
With multiple Guinness World Records for chart dominance on The Official U.K. Singles Chart, Girls Aloud has solidified their place in British pop music history. Yet, the years following their breakup allowed personal feuds, mainly between Cheryl, Kimberly Walsh and Nicola Roberts on one side against Nadine Coyle on the other. However, Harding’s death served as a catalyst for reconciliation, with one of her final wishes to bring the women back together as bandmates and friends willing to put the past behind them.
Following the reconciliation and subsequent tour announced at the end of 2023, The Girls Aloud Show tour has grossed $19.1 million from 200,000 fans filling arenas across the 20 dates reported so far to Billboard Boxscore. But beyond the numbers, the real impact of The Girls Aloud Show lies in the heartfelt moments that have defined this reunion.
From emotional tributes to Harding in the show, where the group paused to honor their late friend with tearful speeches and a poignant video montage, to a reimagined Pride concert in August that celebrated the LGBTQ+ community with vibrancy and love, the tour has been a testament to the enduring bond between these women, their fans and the critically acclaimed music from their seven LPs together.
Beyond the celebration, the tour also helped bring awareness and donations to the Sarah Harding Breast Cancer Appeal created by her bandmates in April 2023. As one of Sarah’s parting wishes, the foundation developed the Breast Cancer Risk Assessment in Young Women to find new ways to spot the disease. With its second phase of research funded by initiatives in place during the tour, the show also marked a way to honor Harding beyond the stage.
As Girls Aloud take their final bow this month, the members leave behind a legacy not just of chart-topping hits, but of resilience, forgiveness and the power of friendship. The Girls Aloud reunion felt like more than a comeback; it was a celebration of life, great pop music and the memory of a superstar friend who will never be forgotten.
Read on for the best moments from the reunion.
The Ethereal, ‘Untouchable’ Tour Opener
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“Die With a Smile,” which enters the Billboard Hot 100 at No. 3 this week, is the 14th collaboration involving Lady Gaga and/or Bruno Mars to reach the top 10 on Billboard’s flagship singles chart. The honor roll of their past collabs includes an Oscar winner for best original song (“Shallow” by Gaga & Bradley […]
You and I are going to live forever — or at least long enough to see Oasis reunite. On Tuesday (Aug. 27), 15 years since they last performed together, estranged brothers Liam and Noel Gallagher brokered a truce and announced 14 concerts in the U.K. and Ireland for next summer. On the new Billboard Pop […]
Halsey is asking some big questions on her upcoming album The Great Impersonator, which the pop star announced Tuesday (Aug. 27) alongside an introspective, decades-spanning trailer previewing some of the new music. Dropping about two months after Halsey confirmed they’d been diagnosed with Lupus and a rare T-cell disorder, the trailer opens with the “Without […]
With the first quarter of the 21st century coming to a close, Billboard is spending the next few months counting down our staff picks for the 25 greatest pop stars of the last 25 years. We’ve already named our Honorable Mentions and our No. 25 and No. 24 stars, and now we remember the century in Bad Bunny — who grew from Latin trap phenom to globe-conquering superpower and transformed what it means to be a pop star in the U.S. and beyond.
It’s easy to forget in 2024 how unusual the concept of a foreign-language U.S. pop star was as recently as last decade. Even as Latin pop enjoyed a massive crossover moment at the turn of the century, and reggaetón became a global force in the mid-’00s, the only artists able to regularly dominate the U.S. mainstream were those who performed in English (or collaborated with English-language hitmakers). Daddy Yankee was as legendary a 21st century reggaetón artist as they come – his 2022 sendoff album was called Legendaddy – but his signature hit, the all-Spanish “Gasolina,” still topped out at No. 32 on the Billboard Hot 100 in 2005. Even his historic, chart-conquering Luis Fonsi teamup “Despacito” needed a Justin Bieber remix to get over the Hot 100’s top in 2017, and neither Fonsi nor Yankee has made the chart’s top 20 again since.
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And then came Bad Bunny. The Puerto Rican artist born Benito Antonio Martinez Ocasio didn’t transform global pop music overnight, but over the course of his six-year rise to dominance, he infiltrated the mainstream in a way no other Spanish-language artist – no foreign-language artist of any kind, really – ever quite has. That’s because not only did Bad Bunny establish himself as one of the most reliable hitmakers on the planet (and in the U.S. specifically) while also becoming one of the most recognizable faces and personalities in pop culture at large, but he did it all while seemingly making no artistic concessions to anyone – not to radio, not to trends, and certainly not to the English-speaking world.
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Bad Bunny first made his presence known in 2016, after his single “Diles” – released on SoundCloud, while Ocasio was still working as a supermarket bagger – attracted enough viral attention to both get him a label deal with Hear This Music and Rimas Entertainment and earn a remix featuring established reggaetón hitmakers Farruko, Arcángel and Ñengo Flow (and a fellow rising star in Ozuna). The song didn’t make much chart impact, but became a slow-burning streaming success – and later that year, Bad Bunny released “Soy Peor,” which would become his first entirely solo hit when it peaked at No. 19 on the Hot Latin Songs chart in September 2017, establishing him as a leading voice in the burgeoning Latin trap scene.
Over the next year, Bad Bunny would also become a fixture on the Hot 100, appearing on hits alongside Becky G (“Mayores”) and Enrique Iglesias (“El Bano”), while also contributing his growing star power to All-Star cuts like “Krippy Kush” and “Te Boté,” the latter his first top 40 entry on the chart. While Bad Bunny was just one artist of many on the latter two songs – with a combined 10 total credited names between them – he stood out for both his distinctive voice, a congested-but-buttery croon which also made his trademark artist tag (“Bad Bunny bay-beh!!”) instantly unforgettable, and for his impeccable fashion style, an unconventional mix of the flamboyant and the basic that always seemed to land within the realm of timeless cool.
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It all led up to his 2018 feature appearance on American rap superstar Cardi B’s “I Like It,” one of pop’s great star-making moments of the 21st century. While Bad Bunny did not yet have the household name recognition of either Cardi or fellow guest reggaetonero J Balvin – who’d recently scored a massive U.S. crossover moment of his own with the Willy William collab “Mi Gente,” even landing Beyoncé for the song’s remix – his verse still kinda stole the show, from its opening “chambea, chambea” chant. Wearing cat-eye sunglasses and a Puerto Rico World Baseball Classic jersey in the song’s hugely popular music video, Ocasio already looked like an icon in the making. The song reached No. 1 on the Billboard Hot 100, and ensured that all eyes everywhere were now on Bad Bunny.
The heat from “I Like It” did not take long to translate to Bad Bunny’s career as a leading man. Just a few months later, he returned with “MIA,” which landed a guest verse from perhaps the only hitmaker with even more juice than Cardi B in 2018: Drake, in the midst of a year where he’d spend a combined 29 weeks atop the Hot 100 with Scorpion singles “God’s Plan,” “Nice for What” and “In My Feelings.” Not only did the Canadian-born superstar play the hook man for Bad Bunny’s new single, he actually sang in Spanish for it – showing that this early in his rise, Benito already had the clout to get the English-speaking pop world to come to his turf. “MIA” was another enormous success for Bad Bunny, reaching No. 5 on the Hot 100 and enduring for long enough to end up the No. 1 year-end single on the 2019 Year-End Hot Latin Songs chart.
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Amazingly, Bad Bunny’s entire rise to stardom transpired before he even released his debut album. That came at the tail end of 2018, however, with X 100pre. Rather than cash in on his two years of hits and big-name collabs to that point, Bad Bunny’s debut album featured only a couple of his previously released singles and just a few guests, with “MIA” stuck at the end like a bonus track. The album drew rave reviews and reached No. 11 on the Billboard 200, hanging around the chart well into the next decade and ultimately spending 177 weeks on the listing, confirming that Bad Bunny was already much more than just a singles artist.
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Bad Bunny
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In June 2019, while Bad Bunny was still spinning off X 100pre hits, having further success with singles alongside hitmakers Tainy (“Callaíta”), Lunay (“Soltera”) and Jhayco (“No Me Conoces”) and taking a break in between legs of his first arena tour, Bad Bunny would further electrify his now-global audience by reteaming with his “I Like It” collaborator J Balvin for the Oasis EP. Despite having just eight tracks, the set made both the top 10 on the Billboard 200 and the top 10 of Billboard’s year-end staff albums list for 2019. Perhaps most importantly, while Bad Bunny was unquestionably the little brother of the two from a star perspective on “I Like It” just a year earlier, by the time of Oasis he and Balvin were clearly on even footing as the two leading hitmakers in reggaetón and Latin trap.
But while Balvin’s stateside star would fade somewhat as the decade turned to the 2020s, Bad Bunny’s would only get brighter. In 2020 alone he would release a trio of albums – YHLQMDLG (short for Yo Hago Lo Que Me Da La Gana, “I Do Whatever I Want” in English) in February, castoffs compilation Las Que No Iban a Salir (The Ones That Were Not Coming Out) in May and El Último Tour del Mundo (The Last Tour in the World) in November – that continued to expand his sound and his global profile, attracting rave reviews (even from many listeners and publications who had not traditionally shown interest in Latin pop or reggaetón). His albums became event releases – doubly so because he started scheduling them around major calendar events (X 100pre on Christmas Eve, YHLQMDLG on Leap Day, El Último on Thanksgiving, etc.) What’s more, in December, Último made history by debuting at No. 1 on the Billboard 200, marking not only Bad Bunny’s first appearance atop the chart, but the first entirely Spanish-language No. 1 album in the chart’s near-60-year existence.
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In 2021, Bad Bunny made the jump from pop hitmaker to unavoidable celebrity. He scored a brief cameo in F9, the latest installment of the blockbuster Fast & Furious franchise, and started appearing in commercials for Cheetos and Corona, the latter featuring his bilingual bantering with American rap icon Snoop Dogg. More unexpectedly, he launched a wrestling career – at first just performing his wrestling-themed “Booker T” at the Royal Rumble, then getting in the ring himself, both on his own and as part of a tag team with fellow Puerto Rican Damien Priest. He also used his newfound industry influence to help facilitate comeback moments for some of his hitmaking favorites of yore – enlisting Aventura for his hit “Volvi” and both co-writing and co-producing El Playlist de Anoche with Tommy Torres, giving each their biggest spotlight moment in years, if not decades.
Bad Bunny
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But as much as Bad Bunny accomplished in the first five years of his career, it turned out to all be the prelude to 2022. That May, he dropped Un Verano Sin Ti (A Summer Without You) – 23 tracks, again entirely in Spanish, with no major English-language guests, and with only closer “Callaíta” having been previously released. Like Último, it debuted atop the Billboard 200 – but unlike Último, it stayed there, spending 13 weeks at No. 1 on the listing, with at least 8-10 of its tracks also populating the Hot 100 during any given week that summer. Though no one single from it was really big enough to bring Verano to larger consciousness on its own, the album was so varied in sound – with tracks ranging from the sublime “Neverita” to the booming “Titi Me Pregunto” to the party-starting “Después de la Playa” – but so coherent in overall feeling, that different songs from it popped off at different times (and with different audiences). It ended 2022 as the No. 1 album on both the Year-End Billboard 200 and the Billboard staff’s Albums of the Year list, and also earned Bad Bunny his first Grammy nomination for album of the year.
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Between 2022 and 2023, his stateside visibility took yet another step up, as he co-starred (and had a big fight scene) with Brad Pitt in the action flick Bullet Train, pulled double duty hosting and performing on Saturday Night Live, and dominated the 2022 VMAs remotely from his headlining gig at Yankee Stadium – part of his globetrotting World’s Hottest Tour – where he won the artist of the year moonperson. (He also made headlines for kissing a male backup dancer during that performance, further demonstrating an allyship that has made him an icon for the LGBTQ community, a rarity for trap or reggaetón artists.) He also began dating American superinfluencer Kendall Jenner, news of which was met with some trepidation from his core fanbase, but which cemented him as a tabloid fixture, and half of one of pop culture’s preeminent 2020s power couples. Before 2023’s end, he even released another album: Nadie Saber Lo Que Va a Pasar Mañana, which also debuted atop the Billboard 200, albeit without quite the rapturous acclaim or staying power of Verano.
In 2024, Bad Bunny stands as simply one of the biggest culture-movers in music. The list of accolades and accomplishments he’s racked up in his career to this point is staggering, but his truest legacy may simply be proving that you can be the greatest pop star in the world – and he was ours for 2022 – without compromising your music, your image or your language for the American market. When Bad Bunny gets up at an award show this decade and accepts entirely in Spanish, he does it without apology or hesitation, and nobody even blinks at it. Now, it’s easy to see an artist like Karol G or Peso Pluma following their way through some of the doors he’s opened. And that’s the power of Bad Bunny: to be such an obvious, all-encompassing superstar that you forget just how long – and until how recently – those doors had been closed in the first place.
Read more about the Greatest Pop Stars of the 21st Century here and check back on Thursday when our No. 22 artist is revealed!
Hozier is taking a brief break from the road to rest and recuperate. The “Too Sweet” singer informed fans on Monday (August 26) that he’s been forced to postpone tonight’s (August 27) planned show in Billings, MT at the First Interstate Arena and Wednesday’s (August 28) gig at Casper, WY’s Ford Wyoming Center due to […]
It was the rumor that everyone wanted to believe but nobody could confirm: the final night of the Democratic National Convention was going to feature a very special appearance by Beyoncé. The fantasy was that the singer was going to shock the world and cap the coronation of Vice President Kamala Harris as the Democrat party’s 2024 presidential nominee by performing her Harris campaign theme song, “Freedom” in Chicago’s United Center as the balloons and confetti rained down on Harris and her VP pick, Minnesota Gov. Tim Walz.
Only it wasn’t true and never was. It was, however, such a compelling manifestation that even some of the event’s staff were convinced it was happening.
“We never put out anything about Beyoncé. We denied it every time the media asked us — even though, by the way, people on my staff didn’t believe me,” DNC executive producer Ricky Kirshner told The Hollywood Reporter. “I kept getting texts from news organizations saying, ‘When is Beyoncé coming out?’ But come on, we have the biggest star, the Democratic nominee for president. Why would we overshadow that?”
It’s a fair point. Plus, Kirshner, an Emmy-winning veteran of 14 Super Bowl halftime shows and a raft of other live events, who worked with Emmy-winning director Glenn Weiss (Tony Awards, Kennedy Center Honors) to design the four-night spectacle, said they already had a huge task ahead of them after Harris swapped in just four weeks before the event following President Joe Biden’s exit from the race. Coming off a muted 2020 convention that was virtual due to the COVID-19 pandemic, Weiss said they were looking for a “big-energy experience,” after throwing out the original script and pivoting to focus the event around Harris.
Weiss said the Beyoncé rumor — which kicked into high gear by the anonymous @Angry_Staffer X account writing, “If you thought the Oprah surprise was big, just wait” — was a perfect example of an internet whisper taking on a life of its own. “And people taking something as fact — literally to the point that people in my booth are saying, ‘Is she coming? You can tell me.’ And I would say, ‘I have no knowledge she’s coming.’ And they would say, ‘No knowledge? So there’s something to know?,’” he said. “It was pretty crazy. But she wasn’t coming. In the end even TMZ [which first reported it] had to issue an apology.”
The rumors spun up so quickly and fervently that a spokesperson for the singer stressed to THR on the day of Harris’ convention-ending acceptance speech on August 22 that “Beyoncé was never scheduled to be there… The report of a performance is untrue.”
While Queen Bey was not in the house, her presence was definitely felt, including on night one when a moving a cappella video cued to her Lemonade track “Freedom,” with narration from Oscar-nominee Jeffrey Wright, was played to help kick-off the proceedings. After Harris unexpectedly jumped into the race last month, the campaign rolled out “Freedom” during the veep’s walk-out at her inaugural visit to campaign headquarters. A full-band album version of the song was also featured in an early campaign video.
Unlike Trump, who has been sued, issued cease & desist orders and strongly-worded requests from artists who don’t agree with his divisive, name-calling rhetoric and who want him to stop using their music during his campaign stops, Beyoncé gave the Harris campaign full approval to use “Freedom.”
In another nod to how important music was to the DNC, Kirshner said that the instantly viral Georgia roll call moment with Lil Jon performing “Turn Down For What!” in the room even took producers by surprise. “It took on a life of its own,” Kirshner said of the high point of the innovative, music-heavy recitation of the delegate count, which had a much more traditional, staid roll-out at the RNC weeks before. “We were just trying to energize the room and we woke up the next morning and it was like, ‘holy crap!’ We actually asked a couple of people from other states if they might want to do something and they didn’t get into it. But Lil Jon just really leaned in.”
Benson Boone and RAYE have been added to the already star-studded line-up for the 2024 Global Citizen Festival in New York’s Central Park. The pair join a previously announced roster of acts that includes Post Malone, Doja Cat, Jelly Roll and Rauw Alejandro.
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“Ending extreme poverty is a responsibility we all share,” said Boone in a statement. “I’m grateful to be involved in Global Citizen’s mission by helping those who are living in extreme poverty. I hope we can all come together to take action and make a real difference in the world.”
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The festival hosted by Global Citizen Ambassador Hugh Jackman will also feature special appearances by primatologist Dr. Jane Goodall and Coldplay singer Chris Martin. As part of its portfolio of environmental sustainability efforts, this year’s even will also become one of the first major U.S. festivals to be powered entirely by hybrid energy.
According to a release, the Central Park stage will be powered by the same kind of SmartGrid battery system used to power Coldplay’s Music of the Spheres world tour, including all audio, lighting, video and stage production. Working with Showpower Global B.V. and CES Power, Global Citizen Fest will become one of the first major U.S. festivals to move away from using diesel generators in order to reduce the event’s carbon emissions.
Among the confirmed presenters scheduled to take the stage on Central Parks’ Great Lawn on Sept. 28 are: Antoni Porowski, Bill Nye, Bridget Moynahan, Charlamagne Tha God, Danai Gurira, Eric Adjepong, Gavin DeGraw, Jordan Fisher, Kal Penn, Liza Koshy, Doctor Mike Varshavski, Nomzamo Mbatha, Osi Umenyiora, Rachel Brosnahan, Rhett & Link, Sophia Bush and Vladimir Duthiers.
The group leading the international push to end extreme poverty is once again offering fans free tickets, which can be earned by taking action on the Global Citizen app or on the organization’s site here in an effort to defeat poverty, defend the planet and demand equity.
“Global Citizen Festival has always been about using the power of music and activism to drive real, tangible change. This year, we’re taking bold steps to protect our planet, from powering our stage with clean energy to advocating for Indigenous-led projects that preserve the Amazon and calling for a global Fossil Fuel Non-Proliferation Treaty,” added Global Citizen co-founder Michael Sheldrick in a statement. “These efforts are about ensuring that the transition to a sustainable future leaves no one behind – whether it’s communities in the Global South or right here in New York. We’re calling on world leaders, businesses, and citizens alike to join us in mobilizing action towards a just transition to clean energy and a safer planet for all.”
Global Citizen will also mark the start of Climate Week with a beach clean-up on Sept. 21 in partnership with the Jamaica Bay-Rockaway Parks Conservancy. Fans can also earn free tickets the the festival by removing trash and marine debris from the shores of Jamaica Bay and documenting the year’s “Dirty Dozen” most commonly found trash items; click here to register and for more information.
Official Global Citizen 2024 merch is available now, with responsibly sourced items made in collaboration with Doja Cat, Alejandro, Aviator Nation and more; click here to see the items.
Among the calls to action for this year’s event is one asking the G7 nations — Canada, France, Germany, Japan, Italy, the U.K. and the U.S. — to increase support for anti-poverty programs worldwide, as well as one calling for businesses, governments and philanthropic organizations to protect and restore the Amazon rainforest by investing $1 billion to help support indigenous communities and pledge to set timelines for phasing out coal, oil and gas to ensure a transition to green energy. The third action point is Global Citizen’s plea for world governments to commit at least $5 billion to equitable access to nutritious food, stronger health systems and quality education around the world.