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As if your feed wasn’t already filled with enough Taylor Swift Eras Tour content, TikTok has launched a new in-app experience featuring a series of challenges for Swifties over the next 11 weeks. That, of course, is the number of studio albums Swift has released, with each LP getting its own themed profile frames and […]
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TikTok has become more than just a destination for watching funny videos and discovering the latest fashion trends — the social media platform also knows how to spot beauty products that deliver luxury results for a wallet-friendly price. The latest makeup tool to capture TikTokers’ attention is Milani’s Color Fetish Lip Stain, which has been deemed a “holy grail” for long-lasting color and hydration.
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Some of the standout qualities that go beyond its $10 price tag include its wide range of colors and its use of plant-derived squalene and hyaluronic acid, which help deliver moisture and nourishment naturally. TikToker Vianney Strick has also gained more than 55,000 views for a review on the Color Fetish Lip Stain in the shade Mauve Mentality, describing its uses and benefits.
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“It’s so glossy, looks stunning on its own or as a lip combo,” Strick says in the video. “Also, something super important: it looks wearable. It’s not bright pink or purple, it’s a beautiful shade.”
@vianneystrick ✨NEW DRUGSTORE LIP STAIN✨ this is the new Milani Cosmetics Color Fetish Hydrating Lip Stain! I have the shade “Mauve Mentality.” I love a lip stain but I hate when it’s drying. I was super excited to try a drugstore lip stain and it did not disappoint! (For the lip liner I used the Tower 28 lip liner in “work of art”) 💓description & claims: Lip color goes low maintenance with Milani’s Color Fetish Hydrating Lip Stain. Buildable, glossy color transforms into a semi-matte stain. Lightweight formula cushions lips with Hyaluronic Acid & Squalane for up to 8HRS of hydration, comfort & wear.* $13.99 USD 💓my opinion: I love everything about it! The color range is beautiful! I love the precise applicator for lining the lips. It’s super pretty and glossy and not goopy. Leaves a pretty stain behind and it doesn’t dry my lips out. Definitely a new drugstore favorite! @Milani @Ulta Beauty #milanilipstain #drugstorelipstain #lipstain #lipcombo #newdrugstoremakeup #makeupreview #milanicolourfestish ♬ original sound – Vianney Strick
To help further prove its longevity, one TikTok influencer wore the lip stain on an 11-mile run while training for a half marathon and gave a first-hand review. Target has also labeled the lip product one of its most viral products seconding the “luxury results for less” point that reviewers have been talking up.
Keep reading to shop Milani’s Color Fetish Lip Stain below.
Milani Color Fetish Lip Stain
The $10 lip stain comes in a range of six shades including soft pinks and deep reds that’ll help complete your makeup looks whether it’s for date night or brunch with friends. Each application remains on for up to eight hours a day and it uses a vegan formula that will leave behind a semi-matte texture after drying.
How Long Does Lip Tint Stain Last?
This will depend on your wants and needs, as different brands’ lip stains won’t last the same amount of time. Milani’s Color Fetch Lip Stain starts off glossy, but with a lifespan of eight hours (according to the official description) the formula will eventually turn into a semi-matte stain.
Does Lip Stain Rub Off?
The goal of a quality lip stain is to eventually dry into a semi-permanent stain that’ll provide your lips with some color for a period of time. Milani’s version starts off glossy, which you can easily wipe off, but as it dries, it’ll leave behind a colored stain on your lips that’ll last all night.
For more product recommendations, check out ShopBillboard‘s roundups of the best makeup dupes, setting spray and freckle pens.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Free People has become a destination for elevated boho staples that celebrities such as Taylor Swift and Selena Gomez have worn. Plus, it’s not uncommon for the brand’s styles to go viral on TikTok, like the famous Hot Shot Onesie. Now, a new look has garnered attention on social media, and it has the fashion world divided.
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We the Free Barrel Jeans have become a controversial denim style for its exaggerated horseshoe-like legs that have some people claiming it’s the shape of the summer, while others find the look practically impossible to style. Thankfully, TikTok has some ideas on the best way to wear the viral barrel jeans.
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More than 27 million TikTok videos have been made about the We the Free Barrel Jeans, with users showing off how to style the look in the most fashion-forward way. TikToker Julia Huynh has earned around 1.1 million views on the platform, where the user claims the reason the style works isn’t a result of “my body — I think it’s the way I wear them.” She then proceeds to theorize that long and low-rise fits will look more flattering than a cropped style.
While the Free People denim and barrel jeans in general have fashion lovers questioning its stylishness, that hasn’t stopped people from stocking up on the look. Free People’s version is not just under $100, it also comes in 15 washes to choose from — and it’s already selling out fast.
To make sure you get your hands on a pair to test the look out for yourself, you can shop the exact barrel jeans below.
We the Free Good Luck Mid-Rise Barrel Jeans
The We the Free barrel jeans not only come in a variety of shades, but feature three lengths: short, regular and long. The brand recommends staying true to your size or sizing up, depending on how loose and baggy you want the denim to feel. It’s also designed using Free People’s most rigid denim, which means there won’t be a lot of stretch.
The barrel jeans have even been curvy-approved, with TikToker Brieana Banks claiming, “I’m convinced that a thick girl invented barrel jeans.”
If you’re already obsessed with the denim style or just want to add a few more to your rotation, we also rounded up similar styles from popular brands below.
Which Are the Best Barrel Jeans?
To help you build out your trendy jeans collection, keep reading to find some of the top-rated and bestselling barrel jeans online now.
AE77 Premium Barrel Jean
American Eagle’s barrel jean comes in two washes — dark and light — so you can show off the look year-round. The denim features a mid-rise fit made using a more rigid denim that comes from the brand’s sustainable fashion line. The rinse was also created to look vintage-like for a more retro appearance.
ELOQUII Plus Size The Barrel Jean
Target’s plus-size barrel jeans give off a more ’90s look with the classic medium blue wash that’s slightly faded in the center of the legs. There is a high-rise fit that sits above your waist, and features a mid-stretch material that will loosen slightly with more wear to give off a more worn-in feel.
Pilcro Heritage Curve Mid-Rise Barrel Jeans
Anthropologie wasn’t messing around with its version of the famous barrel jean. The company provide four different fits to choose from — petite, regular, tall and plus — to help you get the most comfortable look. Plus, it has a lower rise and two vintage-inspired washes to choose from.
Loose Barrel Baggy Jeans
Walmart’s barrel jeans embrace a laid-back look with a baggy style and low-rise waist. If you’re looking outside of the classic denim blue look, these jeans come in a range of washes, including this versatile khaki shade you can dress up or down.
Barrel Jeans
Garage offers a slightly less exaggerated barrel jean look, which still has the famous horseshoe shape — just not as wide — to give off more of a skater appearance. You can also take advantage of the five-pocket styling and cotton material that’ll get softer with every wash.
GREAIDEA Mid Rise Barrel Jeans
Amazon is keeping things crisp with these white barrel jeans you can wear to brunch or drinks with friends. The shade makes it easy to dress down with a crop top or pair it with a blouse for a dressier feel. Since it features a low-rise waist, it creates a more relaxed vibe, while the pockets in the front and back allow you to store small essentials such as your phone and cash.
What Are Barrel Jeans?
While TikTok has been labeling the jeans “barrel,” the style is known by a couple other names, including “balloon” and “horseshoe” jeans. What sets it apart from the classic wide-leg jean is the fact that the design flares out at the thighs and tapers off by the ankles. This gives it that rounded shape similar to a barrel.
Are Barrel Jeans in for 2024?
Barrel jeans have been going viral all over social media for months now, making it clear that the look isn’t going anywhere anytime soon. Though it has the fashion community theorizing the best way to style the denim look, that hasn’t stopped people from clamoring to stock up on as many styles as possible.
For more product recommendations, check out ShopBillboard‘s roundups of the best denim jumpsuits, slip dresses and jean shorts.
When The Weeknd’s “Die for You” came out in 2016, it was just a modest hit, failing to crack the top 40 on the Hot 100. But the track was rejuvenated during the pandemic, thanks in part to the community of TikTok users who love sped-up and slowed-down remixes. Interest in “Die for You” eventually spiked enough that it was promoted to radio as if it were a new record, and after Ariana Grande hopped on a remix, the ballad lumbered to No. 1 on the Hot 100 in March 2023, more than six years after its release.
In recent years, starting especially during the pandemic, major hits following a similar trajectory have become a regular feature of the pop landscape. Two months after “Die for You” peaked, Miguel’s early 2010s R&B hit “Sure Thing” climbed to No. 1 on the Pop Airplay chart — No. 11 on the Hot 100 — more than a dozen years after its original release. And in October, Taylor Swift‘s “Cruel Summer” topped the Hot 100, four years after it came out as a deep cut on 2019’s Lover.
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“There’s a huge trend for music that’s chronologically old to have a second life,” Amazon Music global head of music programming Mike Tierney told Billboard in 2022. “The lines are getting incredibly blurry.”
It felt reasonable to assume that this blurring process would continue. In a surprising turnaround, however, those lines look more solid this year: So far, no catalog tracks — defined as more than 18 months old — have made it to the upper reaches of the Hot 100.
The closest thing would be Djo’s neo-glam hit “End of Beginning,” which peaked at No. 11 at the end of March, just around 18 months after its original release. Early in the year, Sophie Ellis-Bextor’s 2002 nu disco cut “Murder on the Dancefloor” looked like it might become ubiquitous after its revival via the hit film Saltburn, but in the end, it topped out at No. 51 — pretty good for a song released more than two decades ago, but not at the same level as the reincarnated hits of 2023.
Executives believe this change is partly due to the deluge of superstars and breakout artists vaccuming up attention with new releases, preventing listeners from wandering aimlessly towards oldies. In addition, they say, disruptions to the pipeline of film and TV last year, and the music ecosystem on TikTok this year, closed off some avenues for old songs to transform into new hits.
While it’s not even halfway through 2024, the new-release calendar has already been packed with high-flying albums — a pair from Future & Metro Boomin, double-LP-sized releases from Beyonce and Taylor Swift, plus full-lengths from Ariana Grande, Billie Eilish, J. Cole, and more A-listers. Kendrick Lamar and Drake didn’t put out albums, yet they still commanded everyone’s attention for weeks with diss records. “The quality of new music that’s come out this year is so high that there hasn’t been the need to bring back old records to use on TikTok,” says Mike Weiss, vp of music and head of A&R at the distribution company UnitedMasters.
This sentiment was echoed by R Dub, director of programming at Z90, a top 40 station in San Diego: Playing rejuvenated oldies “is a little easier to justify,” he says, “when there just isn’t enough top-tier current product coming out.”
This matters because when catalog hits are on the verge of being massive, radio functions as a closer. After these songs have gone bananas on short-form video platforms and seen a similar bump on streaming services, then it becomes radio’s turn to blanket the rest of the population. Not only did “Die for You” and “Sure Thing” top Pop Airplay, “Cruel Summer” spent longer at No. 1 on that chart than any of Swift’s many other hits.
But a track doesn’t typically make it big at radio without a big label push, and right now, with so much current-release firepower, labels don’t feel the need to dust off old records and present them to program directors as if they’re fresh. “It’s exciting to be at top 40 again, because of all these great new singles,” says Jay Michaels, brand manager for Y101, a pop station in Mississippi. “They’re different styles, from pop to country to hip-hop to alternative; they’re big, and they’re legit.”
Importantly, these songs aren’t just coming from the usual suspects among the pop elite: First-time acts also appear to be breaking through at a steady clip, after several years of stagnation.
In 2022, executives described the landscape for important new artists as “abysmal” and “dry as f–k.” In recent months, however, Shaboozey, Sabrina Carpenter, Sexyy Red, Chappell Roan, Benson Boone, Tommy Richman, and other newbies have all been vying for chart real estate simultaneously. Their approaches vary widely: Richman’s “Million Dollar Baby” is a falsetto-smeared homage to underground Memphis hip-hop; Shaboozey’s “A Bar Song (Tipsy)” is a country club-wrecker; Boone prefers heaving pop power ballads.
The emergence of all these artists in close succession over the course of a few months is a welcome sign in the music industry. Artist development suffered “because of the pandemic,” according to Weiss. Now, he says, “it feels like we’re over that hump, there’s been enough time to really make great records, develop artists and put the work in” – building the type of foundations that can lead to sustained breakthroughs.
This means that new music has enjoyed a surge of top reinforcements as it battles with legions of oldies for eyes and ears. At the same time, catalog has been fighting with one hand tied behind its back for many months.
First, retrenchment and belt-tightening in Hollywood – combined with dual strikes in 2023 – slowed the flow of new TV shows and movies. Netflix plans to reduce the amount of original movies it makes by nearly half, according to Variety. And Deadline noted in December that while 2023 “counted 124 wide theatrical releases (opening in 1,000-plus theaters), the dual WGA and SAG-AFTRA strikes forced a bulk of tentpole delays that are leaving 2024 with only 107 wide titles.” That leaves fewer opportunities for the synch soundtrack moments that often jolt catalog records to life.
At the start of this year, catalog was hobbled further when licensing negotiations between Universal Music Group and TikTok crumbled. “Many of the titles that ‘come back’ do so via TikTok — they just explode out of nowhere,” R Dub notes. That process was impeded when UMG and TikTok failed to reach an agreement at the end of January.
Most of the labels’ official recordings were then yanked from the platform. After a month, most recordings featuring contributions from Universal Music Publishing Group’s songwriters were pulled as well.
As a result, a large swath of popular music was much harder to stumble across on the app that plays an outsized role in music discovery — especially for younger listeners. And those listeners are more likely to hear a catalog track and experience it as new, simply because they’re younger and have heard less music. An 18-year-old TikToker was around four or five when “Sure Thing” first came out.
Despite this turbulence, several executives believe that catalog hits are just experiencing a temporary downturn. Mike Biggane, a former UMG and Spotify executive, predicts that “older music will continue to be rediscovered outside of the release moment.”
The star-packed release schedule can’t continue at this pace forever, leaving more room for rediscovery. And UMG and TikTok reached a deal in May.
“As long as people have a platform like TikTok where they have a viral mechanism for sharing their own interpretation of their favorite songs, you’ll continue to see these moments [where old tracks] pop up,” says Benjamin Klein, a manager who also runs Hundred Days Digital, a TikTok marketing agency.
The question is: Now that the pandemic is in the rear-view mirror, when these throwback singles re-emerge, will they look more like “Die for You” or “Murder on the Dancefloor”?
It’s time for another Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. We also have a weekly interview series spotlighting a single executive and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.
ByteDance has hired former Warner Bros. Pictures legal honcho John Rogovin as the Chinese company’s new global general counsel, effective immediately. He reports directly to Liang Rubo, CEO of ByteDance. The role includes oversight of TikTok, which has a lot going on right now. Rogovin’s arrival comes as TikTok and ByteDance engage in a monumental battle with the United States government following the passage of legislation requiring the parent company to sell the app or face a national ban. In early May, the company filed a federal lawsuit aimed at overturning the law, calling it an “unconstitutional” action aimed at “silencing” more than 170 million Americans who use TikTok. TikTok chief Shou Chew rightly said Rogovin’s arrival comes at an “important time” for the company. Rogovin, who clocked time at both the FCC and the DOJ earlier in his career before a 14-year run at WB, added that he looks forward to “helping to ensure that our platforms continue to provide a critical forum for more than two billion users worldwide to entertain, teach, and connect with one another.” Rogovin succeeds departing general counsel Erich Andersen, who has shifted to special counsel.
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Federica Tremolada
Spotify
Federica Tremolada was promoted to general manager of Europe for Spotify, effective immediately. Tremolada, who spent the last five years as managing director of Southern and Eastern Europe, fills the shoes of Michael Krause, who earlier this week announced his departure after a seven-year run as GM. Both execs made their own announcements on Linkedin, with Krause calling it a “perfect time to pass the baton” and spend time with family before seeking “new adventures later this year.” Tremolada, meanwhile, called working at Spotify “one of my biggest dreams come true” and listed opening Casa Spotify in Milan, where she is based, and growing the podcast business in the region as some of her tenure highlights. Prior to joining Spotify, Tremolada spent more than a decade at Google, where she rose to head of international partnerships for the YouTube TV squad.
Austin Jenkins was named vp of A&R at Island Records. Based in Nashville, Jenkins started at Island in 2023 and played a pivotal role in the signing and development of artists including Wyatt Flores and Medium Build at the label. He will continue leading Island’s Nashville operations. Jenkins was formerly the founder, guitarist and songwriter for Texas band White Denim. He later founded Fort Worth, Texas, recording studio Niles City Sound with Josh Block and Chris Vivion, where Jenkins and Block co-produced, recorded and mixed Leon Bridges‘ full-length debut album, Coming Home. Jenkins performed guitar and bass on the album and also toured with Bridges as part of his band.
Adam Salomon was named senior director of A&R at Concord Music Publishing. Salomon joins Concord from London-based music management company Chosen Music, where he led A&R efforts. He reports to Concord Music Publishing executive vp of worldwide A&R Kim Frankiewicz. Originally from Sweden, Salomon has held A&R and management roles across independent and major labels in the country, including Universal Music Sweden, where he led the Svenska Inspelningar label.
Producer, songwriter and rapper Rodney “Darkchild” Jerkins launched a new record label, Alienz Alive, which Jerkins described in a statement as “a collaborative community of creatives that are Christ-centered where artist development is key. We encourage our artists to use their gifts to uplift and inspire. Sonically speaking the influences are Hip Hop, R&B, and Indie Rock. As long as it glorifies God and it’s dope, all are welcome.” At launch, the Alienz Alive roster includes Jon Keith, GAWVI, IMRSQD Alex Jean and TJ Carroll. Jerkins will be involved in the label’s day-to-day operations.
Madison House is building a bigger booking agency with the hiring of industry veteran Thomas Ponsart as booking agent and Ruby Williams and Madison Dawson as agent assistants. Bay Area-residing Ponsart has more than a decade of experience and learned under the tutelage of Tom Chauncey and Hank Sacks at Partisan Artists. He brings with him a roster that includes John Craigie, Monophonics, Parlor Greens, Madeline Hawthorne, Kelly Finnigan, Anthony Villacari and Goodnight, Texas. Williams arrives from Freshwater Art Gallery & Music Venue in Boyne City, Mich., where she booked artists of all stripes, and is now based in Madison House’s office in Ann Arbor. Dawson is a recent Belmont grad and intern at Madison House in Nashville, where she is based. “The ultimate decision to join forces with Madison House is our shared values, growth mindset, adaptability, freedom to pursue new clients, and their tech forward approach to new systems,” said Ponsart. “Madison House has instilled these values in their team for decades and it makes them a commendable and unique business that I’m excited to call my new home.”
Riser House Records named Amy O’Connor as head of sales and streaming. O’Connor previously served as marketing director at Sony Music/Legacy Recordings, working Sony’s country legacy catalog including music from Dolly Parton and Willie Nelson, as well as working with artist estates including Johnny Cash and Loretta Lynn. O’Connor previously led the streaming team at Better Noise Music, working on projects for Papa Roach, Mötley Crüe and Five Finger Death Punch. –Jessica Nicholson
Filmmaker and music producer Jesse Lauter joined Peter Shapiro’s Dayglo Presents as head of production & media. In this newly created position, Lauter will oversee the creative side of video and audio production for Dayglo venues, including The Capitol Theatre in Port Chester, NY and the Brooklyn Bowl mini-chain (Brooklyn, Las Vegas, Nashville and Philadelphia), along with the newly added Bearsville Theatre in Woodstock. One of his main responsibilities is directing live-streams for FANS.live and Relix out of the Capitol Theatre. Lauter most recently directed Learning To Live Together: The Return of Mad Dogs & Englishmen about Joe Cocker, and is currently working on a film about swamp rock legends Little Feat. He’s also worked with Dayglo on a part-time basis for years. “I’ve been a part of this family for a long time, and have so much love and respect for Pete and what he has built,” he said. “It’s a perfect fit.” each Lauter is reachable at jesse@dayglopresents.com.
Courtney Zeppetella is no longer senior vp, controller and chief accounting officer of Madison Square Garden Entertainment. Zeppetella’s resignation, effective May 31, was disclosed in an SEC filing three days prior to her exit. The NYC-based executive joined MSGE in May 2022 following a 21-year run at KPMG, where she rose to audit partner. Michael J. Grau, the company’s executive vp and CFO, will serve as the company’s interim principal accounting officer until a replacement is named.
ALL IN THE FAMILY: Billboard‘s longtime Australian correspondent Lars Brandle is now head of content at The Brag Media, where he’ll oversee strategy across Rolling Stone Australia and New Zealand, Variety Australia, The Music Network, Tone Deaf and more titles. Brandle joined Billboard in 2000 out of the London bureau and for many years served as global news editor and later as overnight editor — along the way amassing a paltry 835 pages of written articles. New gig aside, Brandle isn’t fully free of Billboard‘s clasp just yet — The Brag Media holds the license for Billboard in Australia. Talk soon, mate!
Sphere Entertainment hired industry veteran Chandra Allison as executive vp of sales and service at the Las Vegas megavenue. In her new role, Allison will drive sales strategies, develop conferences and events, oversee service teams, and build on Sphere’s strong relations with fellow stakeholders in Vegas. Allison, who has done consultant work for Sphere, most recently served as senior vp of strategy and growth at Oak View Group, where she oversaw growth and strategy for its OVG360 portfolio. Prior to OVG, Allison put in nearly 25 years at The Venetian Resort, where she rose to svp of sales and marketing. “Sphere is a game-changer in this dynamic market,” she said, “and this is a tremendous opportunity to continue working with the team to develop one-of-a-kind experiences that enhance Sphere’s presence in Las Vegas across a range of event categories and guest experiences.”
NASHVILLE NOTES: Kelli Haywood and Leigh Holt teamed to launch Hsquared Management. The company combines the artist rosters from their respective companies, KCH Entertainment and maddjett, while they also reveal their first signing together, Capitol CMG singer-songwriter Riley Clemmons. The Hsquared client roster also includes Lauren Daigle, Carlos Whittaker, Annie F. Downs and Megan Danielle –J.N. … UMG Nashville‘s director of radio marketing Donna Hughes departed after 13 years. Hughes was previously national director of radio syndication at Capitol/EMI Records before those imprints were joined UMG.
ICYMI:
Lee Anderson
Warner Music Group hired Michael Ryan-Southern to lead the company’s acquisition efforts … CAA appointed Darryl Eaton, Emma Banks and Rick Roskin as co-heads of the global touring division … French collective management organization SACEM extended Cécile Rap-Veber’s term as CEO … MNRK Music Group president and CEO Chris Taylor is resigning effective June 28 and will be replaced by COO Sean Stevenson … Lee Anderson was named president of Wasserman Music … Lionel Ridenour was named executive vp of promotion at gamma. … Dennis Ashley Jr. and son Dennis Ashley III launched a new multimedia firm … Day After Day Productions hired Melanie Davis as head of tour marketing, while promoting Marc Ertel to head of creative and Erin Patterson to head of marketing.
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When Myles Smith initially posted a teaser of what would become the soaring folk-pop hit “Stargazing” to his TikTok in early April, he had no idea what would become of it — both in terms of its overwhelming fan response, but more pressingly, how the then-still-unfinished preview would sound when it ultimately became a completed product.
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“As the song was gaining momentum, I was like, ‘Oh snap, I’m gonna have to finish this thing,’ ” Smith tells Billboard. A week after making that initial post, which featured him singing a stripped-down rendition of the song’s captivating hook over a simple acoustic guitar, Smith unveiled a studio demo of “Stargazing,” which he continued to use as a teaser — generating 80 million views across several videos — until its official release on May 10.
Soulful melodies, heartfelt lyrics and an online following of fans hungry for more made the perfect recipe for the 26-year-old Luton, England native’s debut on the Billboard charts. With 6.7 million official U.S. streams in its opening week, according to Luminate, the track became Smith’s first-ever Billboard Hot 100 entry at No. 77 on the chart dated May 26. And the song is continuing to heat up as summer rolls in — it reaches a new No. 51 high on this week’s list, boosting Smith into the top five on Billboard‘s Emerging Artists chart for the first time as well.
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As “Stargazing” continues to shine, Smith is taking it all in, without abandoning his go-to strategy: sharing glimpses of unfinished projects with fans along the way. In the past few weeks alone, Smith has already posted demos of the pop-infused folk ballad “Whispers” and the charming love song “Be Mine” to his TikTok. “It could be a ‘Stargazing’ part two,” he teases of the latter track. “You never know with these things. I was itching to get it out.”
Below, Smith opens up about the cosmic growth of “Stargazing,” balancing social media with mental health, his experience being on tour, his dream collaboration list and more.
Where did you get the idea for “Stargazing,” and how did it come together?
It was something that was birthed out of being with the people that I loved in a space that I loved. I was out in Malibu in L.A. [in January], my first time ever there, and distinctly different from where I grew up. I was with songwriter Jesse Fink and a songwriter-producer Peter Fenn, who I’ve collaborated with before. I just signed with my label [RCA Records], and I was like, “I want to write something that’s really warm, fun and happy.” I came up with the hook pretty instantaneously.
It was just us jumping around, about day five into writing — looking at each other with guitars and having the time of our lives. It came from the idea of the people that you love, the things that you love, always being present in your life, maybe in a way you don’t recognize or see. And then that coming into light later in the day, and that euphoric moment of realizing that. The whole song wasn’t finished on that day, but the embers of it definitely were. From the very moment that that melody was found, the warmth in the room was infectious.
Where did the “Stargazing” metaphor come from?
It jumped out of nowhere. It was getting late in Malibu, and we’re looking over at the ocean and the sun setting, and in that beautiful moment, I stood there and it was quite cathartic. I was like, “Damn, I’m doing the thing that I’ve really wanted to be doing while looking at this beautiful night sky setting.” We were like, “Oh snap, is this what it’s called?” We threw the word in and it found its life there.
How much did the initial recording change from the final product?
At the time, it was just really the hook and the bare bones of the verse and melody. I think that’s the exciting part of where we are now in music. Not everything has to be done, and not everything has to be perfect. In fact, the process of getting there was very much a reciprocal relationship between me and my fans. Watching them react to it, I was even more inspired to finish the song. We kept the bones of the demo in there, and we embellished it to bring it to studio standard. We wanted to not step too far away from the magic that had been created.
So when you posted that initial snippet on TikTok, you didn’t have the whole song done yet?
No, the whole song was not done by that point but it was something that we knew was special. “Solo” and “My Home” — my two songs before that — were a similar process. I just fell in love with the bare bones of the song. I’ve got this really itchy finger in which I can’t wait to put something out. I know for a lot of artists, it’s about putting out what’s perfect. But for me, there’s so much beauty in imperfection.
A big part of why I love the audience that I have is that they bear with me as I get through things and as I explore what something should sound like. Them being part of my creative process is integral to the music being what it is and to it connecting the way that it connects. I’m forever thankful to the feedback online. It really matters in that final mastering and finishing of any song that I make.
Has there been any reaction to its chart success from friends or family that stands out?
My mum was exactly like me, and was like, “Is this real? Are you being scammed?” [Laughs.] We got on FaceTime and I got about 50 texts from friends and family because my mum had gone mental on all the group chats. Especially here in the U.K., the reality of a U.K. artist being on the Billboard [charts] isn’t very big, so when you hear it, it does sound a little bit like a dream. Then it happened, and we were like, “Oh my word. We’re making waves across the pond.”
It’s so fulfilling and so inspiring, the fact that I’m able to do this, and follow so many great British artists. To have support across the water and feel like I have a home away from home has just been so humbling, and such a privilege of an experience. Charting on the Hot 100 has such a profound impact on an artist’s journey, to really gain confidence and validity in how they think and feel about their art and their music.
Do you have a favorite interaction or use of the song on TikTok?
The ones that really get me are the wedding ones. This is someone’s biggest day of their life to this point, potentially. And they’ve chosen my voice, a kid from a million miles away who grew up in a town that no one’s ever heard of, as their soundtrack. It stops me in my tracks every time that I see it, and it reminds me that the thing that we do as artists really does have an impact on people’s lives.
Sometimes on the internet, you can be so distracted by the things that don’t matter. When you’re pulled back into reality by those moments, it really amplifies the role of an artist — but also the beauty of the music industry and moving towards social media in a global perspective. I’m so lucky to be a part of a generation of artists who are doing that.
What is your current relationship with social media like?
My relationship is healthier than what it was. We naturally compare ourselves to people so much and look at people doing amazing things. For a long time, I took that as a reflection of what I wasn’t doing. That wasn’t great for me. But I started to use social media, for lack of a better word, in a more selfish way — like, “Hey, I want to use this as a tool to find my community, build relationships and network.” I started focusing on what was important to me, and it became such an incredible part of my artist journey.
Now I have a community that thinks, feels and expresses themselves in such similar ways and teaches me things about myself and the world that I didn’t know. I see it now as an opportunity to connect with people across the world.
You’re currently on tour in Europe. What’s that experience been like?
I did a mini-run of shows at the start of this year, and that was my first moment of bridging the gap between online and real life. It was such a surreal moment. Being on stage and being in cities I’ve never been and people singing lyrics back to me, it stopped me in my tracks every single night. This tour is that, just a little bit bigger. It’s still the exact same feeling. It feels like I’m living a dream. People ask me, “Is this normal yet?” For me, it’s not. I don’t ever want it to be normal.
The magic of living your dream and seeing it every night is what I think what music’s all about. To see people in real life, hear their stories and hardships and sing, laugh, cry in a room together is what I want to do for the rest of my life. I’ve loved every moment of this tour. I can’t wait to go to the States and run it back.
What’s next for you after tour?
After tour I will be taking… I’m lying. I’m not gonna be taking a break. I don’t have time to take a break! I’m going to be straight back in the studio, writing and recording more music. The part I love about what I do, and the part about working with the people I work with and the label that I now call home at RCA, is that they really support my vision of being able to put out music, and not always having to wait.
Who are some of your dream collaborators?
I’m a huge Mumford & Sons stan. I love Noah Kahan — I think what he does is just unbelievable. I can’t think of someone who’s a better songwriter at this current stage. Hozier is a GOAT of GOATs. But if I had to pick an all-time dream, it’d be Chris Martin. I will forever be a Coldplay stan.
A version of this story originally appeared in the June 1, 2024, issue of Billboard.
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Lululemon may have initially gone viral for its Everywhere Belt Bag and Mini Shoulder Bag, but the athleisure brand has a new accessory that’s quickly becoming a coveted purse — especially when paired with a popular and easy TikTok DIY hack. Lululemon’s new Mini Barrel Duffle Bag has TikTokers obsessed with its chic design that, when paired with bows, becomes a designer-worthy handbag (and for less than $100).
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More than 10 million videos have been made about the mini Luluelmon duffle bag, with most of them showing off the bow trend that’s “so easy” to replicate. User @dallas__333 even gathered more than 11,000 likes for a video demonstrating how to get your bow to “sit perfectly” every time, which you can see below.
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All you need is satin ribbon to complete the look — here’s a white ribbon option for a contrasting look or there’s this black version if you’d prefer a monochromatic style.
Whether you plan on hitting a yoga class or are just going out with friends for drinks, this barrel bag will add a fashionable touch to all of your outfits (day or night). It comes in two shades: black and blue and features an adjustable crossbody strap that can also be removed and turned into a handbag.
Keep reading to shop the viral Lululemon Mini Barrel Duffle Bag below.
Knit Nylon Mini Barrel Duffle Bag 5L
This duffle bag comes with a barrel-shaped body complete with a zipper closure to keep your belongings safe and secure. The exterior uses a smooth nylon and water-repellent material that’ll keep you phone, wallet, sunglasses and other accessories dry. You’ll also find a mini zippered pocket on the inside for extra storage options.
The rounded shape of this mini duffle is reminiscent of luxury purses at more than ten times the price, but we like the versatility of this Lululemon version, with both a top handle and shoulder strap for easy carrying. The nylon material is also super easy to wipe clean and take care of (versus say, this leather version from Coach).
One Lululemon reviewer even wrote on the site that they returned their luxury designer purse for this mini duffle as it’s spacious yet trendy to pair with day and night looks. “So I decided to return a Marc Jacobs small tote for this bag,” the reviewer wrote. “It hits all the marks for day to evening wear. Super lightweight and quality is perfect.”
Recreate the TikTok look by picking up the Mini Barrel Duffle here and adding on black satin bows here. Just like the lifestyle brand’s other viral products, it’s not uncommon for colorways to quickly sellout, which means you’ll want to add it to your cart before it’s too late.
For more product recommendations, check out our roundups of the best gym bags, tote bags and Lululemon clothing for men.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Upgrade your selfie game with this TikTok-viral and Amazon’s bestseller selfie light clip. Whether you’re indoors or outdoors, this portable phone light can help you achieve professional-looking photos or video anywhere, anytime. This versatile clip provides 10 levels of brightness and three different light modes: cool light, warm light and warm cool light.
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For those who have been scrolling on TikTok on a daily basis, you might have come across this one-of-a kind selfie light. Not only can you clip it to your phone, but it’s also perfect for attaching to your laptop, iPad, makeup vanity table and more.
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If you’re shopping on Amazon, consider taking advantage of all Amazon Prime has to offer and sign up for a 30-day free trial, which also comes with access to Prime Video, Prime Gaming and Amazon Music. And to help make sure you get your purchases quickly, being a Prime member means you get fast, free shipping in two days or less with Prime Delivery.
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OLRPT Selfie Light with Front & Back Clip
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For those looking to produce high-quality content — from making TikTok videos to capturing top-notch picture — consider getting this selfie light.
With its compact size and adjustable brightness levels, you’ll be able to adjust lighting to your liking and take it with you wherever you go. According to an Amazon customer, “It’s a total game changer when it comes to getting that perfect lighting for quick posts. Whether I’m indoors or outdoors, day or night, this little gadget ensures that the light is just right every time.”
Another customer stated, “Makes my night pictures quality look better than I could have imagined.”
This easy-to-use selfie light clip can be supported with USB ports or Type-C ports (i.e., laptops, PCs, power banks, USB chargers and car chargers). It is also fully charged in just two hours.
So go get yours now and elevate your content with this quick and easy to use selfie light!
For more product recommendations, check out the best crossbody phone bags, the bestselling vanity mirror, and Amazon tops to elevate your overall style.
When Amanda Rovitz met Megan Boni at a college study abroad program in Sydney, Australia in 2018, she says she “always had this feeling” that Boni had star power.
“She’s just always been the funniest person I know,” says Rovitz. “I thought she would definitely emerge in entertainment somehow, not as a musician or singer, but as someone in comedy.”
Fast forward five years, and Boni, who is self-admittedly not a musician, has a label deal with Capitol/Polydor/Virgin Germany, and Rovitz, who became a music manager at 1916 Enterprises post-grad, is the one who helped her put it all together.
It’s all thanks to Boni’s video, poking fun at cliched “song of the summer” TikToks, that made her 2024’s most unexpected viral signing. While Boni admits she was “just having fun” with making the video, known as “Man In Finance,” her signing is also indicative of how major labels are evolving to meet the current demands — and breakneck pace — of user-generated music creation.
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“Did I just write the song of the summer?,” she says to the camera in her viral video, which has been viewed 28.6M times since it was posted on April 30. “I’m looking for a man in finance, trust fund, 6’5”, blue eyes,” she says in a rhythmic vocal fry.
@girl_on_couch
Can someone make this into an actual song plz just for funzies
♬ original sound – Girl On Couch
Boni, who posts under the handle @Girl_On_Couch, says she made the clip in just a few minutes. “Since COVID, TikTok has been a hobby for me,” Boni says. “I just thought it would be funny to make a video making fun of those single girls who are always complaining about being single, but yet they want an impossible laundry list of things in a boyfriend, and by the way, that’s myself included.”
It’s the sound that launched a thousand remixes. Producers including David Guetta, Alesso, Loud Luxury and Billen Ted immediately jumped on the sound, making it the top line to a number of different TikTok tracks. Now, with the help of Capitol/Polydor/Virgin Germany, Boni is licensing her TikTok vocal to the producers for official releases, the first of which was released May 17 as “Man In Finance (G6 Trust Fund)” with Billen Ted. In it, the producer duo splices together Boni’s vocal, original drums and a sample of “Like a G6” by Far East Movement.
Rovitz says that even before producers started remixing Boni’s audio, she texted her friend saying the video could really turn into something. Soon, she was proven right: The remixes became inescapable on TikTok, furthering Boni’s initial virality to even greater heights. Almost immediately, several major labels came calling, and Boni asked Rovitz to help her navigate the conversations. “I didn’t really know where to begin,” Boni says.
“Within four days, Amanda and Todd [Rubeinstein, music attorney] had me on calls with labels,” says Boni. “Two days after that we were talking with UTA,” who now acts as her agent as a creator/comedian. Boni says she went from being a totally DIY creator on TikTok to having a full-fledged team in about a week.
Zach Elgort, vp of marketing at Capitol, says it was a “perfect storm” to sign Boni. “It’s kind of a marketing dream,” he says. Unlike most songs, which start as completed masters and are then posted online in the hopes of gaining organic interest with listeners, this was the inverse. “It was an organic trend [already], which you always hope for. Now, it’s about pushing the actual song we released to DSPs and pitching it to our partners.”
This success is seemingly more akin to a TikTok “teasing” strategy, where an artist posts an unreleased song to gauge interest from fans first before committing to the release. But the difference with the “Man In Finance” phenomenon is that Boni made the video without the intention of making it into a real, release-worthy song. Still, Elgort says the official Billen Ted version has already been met with “exciting playlisting support” from streamers — it’s been added to Spotify’s New Music Friday and Teen Beats, among others — given that they could already measure listeners’ appetite from the original social media videos.
“Man In Finance” might have been made as a joke, but it serves as a clear indication of how people are creating and consuming music today, where some of the most culturally relevant songs are first (or only) available on socials. “This project shows an evolution of how social media meets music,” says Elgort.
The Kendrick Lamar and Drake feud, which played out simultaneously with the “Man In Finance” trend, acts as another example of how much music creation and consumption on social media has changed. All of the songs were dropped first on social media, with only a few making it to Spotify and Apple Music.
As MIDiA Research’s Tatiana Cirisano argues in a recent analysis, it’s a sign of the “continued shift in cultural value from streaming to social, which is bifurcating the music industry into two parallel consumer words: LISTEN, where streaming plays the role [of passive consumption]… and PLAY, where social platforms have a grip on culture.”
Moving forward, Elgort and the team at Capitol, along with Polydor and Virgin, are planning to license out Boni’s vocal to more producers who have been making remixes, anointing a few as official, DSP-worthy versions of “Man In Finance.” The plan fits perfectly with the current label strategy of releasing multiple versions of the same song to DSPs. It also shows how quickly and flexibly the majors are now working to sign viral songs and artists.
“Now, it’s really about figuring out a way to get SEO and search to tie back to the official release of the song… and as more official versions eventually get released to streaming partners, they’ll all be packaged together and help the greater visibility,” says Elgort.
Boni, whose label deal is only a licensing agreement for this one vocal, says she has no intention of writing more songs but is going to have fun with it while she can. “I won’t make more music unless it’s a parody… but I am definitely behind this song,” she says. She adds that she’s interested in appearing at producers’ shows, brand collaborations and more — anything to push the song she says changed her life “overnight” by allowing her to kick start her career as a creator and comedian, build her team and provide enough stability to quit her 9-5.
“I put in my two weeks last Thursday,” she says. “I’m really excited for what’s next.”
JoJo Siwa is ringing in 21 with a bang. The “Karma” singer took to TikTok on her birthday on Sunday (May 21) to share a tipsy video amid her celebratory festivities. “It’s my 21st birthday. I’m drunk as f— right now,” she tells the camera in the clip, appearing to be in her kitchen with […]