Fujii Kaze digitally released his highly anticipated new single called “Michi Teyu Ku (Overflowing)” on Mar. 15, a song written for the upcoming Japanese feature film April Come She Will. The 26-year-old artist also shared the accompanying music video for the new track helmed by the director of the movie, Tomokazu Yamada.

“When I was asked to write a song to accompany a love story about the absence of love, I was enthusiastic about writing a so-called love song for the first time in my life,” the singer says about the movie theme song. “But what I ended up with was an extension of what I’d been expressing all along. What has a beginning has an end. Love isn’t something you ask for, but something you already have. The more you give, the more it becomes ‘Overflowing.’”

Fujii is set to appear on the series premiere of NHK’s tiny desk concerts JAPAN program, to be aired Saturday, Mar. 16. The series produced by the country’s public broadcaster under license from NPR will be broadcast on the network’s general TV channel in Japan and globally on its international channel NHK WORLD JAPAN.

The “Shinunoga E-Wa” hitmaker also announced additional shows for his U.S. trek in May and June, and will performing two concerts in Los Angeles and in New York, respectively. Fujii also has two major shows lined up for this summer at the Nissan Stadium in Japan, the biggest concerts of his career so far on Aug. 24 and 25, with details to be announced May 10 at 6 p.m. Japan time.

Check out Fujii Kaze’s “Michi Teyu Ku (Overflowing)” music video and his upcoming concert schedule below.

Fujii Kaze and the Piano U.S. Tour:

May 30 and 31 Los Angeles, United Theater on Broadway

June 2 and 3 New York, Apollo Theater

Creepy Nuts’ “Bling-Bang-Bang-Born” extends its reign atop the Billboard Japan Hot 100 to seven weeks on the chart dated March 13.

Boosted by news of the MASHLE season 2 opener’s global hit, the track gained significant exposure during the tallying week, including an appearance on the long-running live TV program Music Station on March 8 and a performance on The First Take YouTube channel released the same day. The hip-hop banger holds at No. 2 for downloads (22,288 units, up about 39%) and No. 1 for streaming (21,313,095 streams, up 0.2%), while coming in at No. 2 for karaoke, No. 15 for radio airplay, and No. 34 for video views. Overall points are up by about 6.2% from the previous week.

Returning to the top 10 after seven weeks, Number_i’s “GOAT” shoots 32-2 following its physical release on March 6. The CD sold 481,475 copies in its first week, hitting No. 1 for the metric, and the ambitious rap anthem also ruled downloads (24,601 units) and radio. In other metrics, the former No. 1 hit comes in at No. 4 for video with 1,439,615 views and No. 27 for streaming with 3,389,427 streams. While it missed the top spot on the Japan Hot 100 by a narrow margin, it racked up more than twice as many points as the track at No. 3.

Debuting at No. 3 is Sexy Zone’s 26th single “puzzle,” the four-man boy band’s final release under its current name. The theme song for a new drama series starring member Kento Nakajima launched with 296,056 CDs, about 45% more than its predecessor, “Jinsei Yuugi.” The track hits No. 2 for sales, No. 20 for radio and No. 83 for video.

Other first-time entries in the top 10 this week are =LOVE’s 16th single “Norotte Norotte” at No. 6, selling 233,478 copies to come in at No. 3 for sales, and SUPER★DRAGON’s major label debut called “New Rise” following at No. 7, selling 77,221 copies to come in at No. 4 for the metric.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from March 4 to March 10, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

Sherine Abdel-Wahab’s illustrious musical career has flourished over two decades, defined by a versatile body of work that resonates deeply with audiences. With a portfolio of hits, Sherine Abdel-Wahab’s music continues to captivate hearts, dominating playlists across diverse streaming platforms and scaling the heights of the Billboard Arabia charts. Sherine’s impressive achievements and triumphs have paved the way for her to clinch a prestigious Global Force Award at Billboard’s 2024 Women in Music ceremony.

Since the launch of Billboard Arabia Hot 100 and Artist 100 charts in late 2023, Sherine has dominated the Top 100 Artists chart for eight out of 12 weeks, holding the No. 1 spot for the majority of that time and consistently ranking within the top three positions during the remaining weeks. Additionally, her presence on the Hot 100 chart has been formidable, with six of her songs maintaining a spot for a continuous 12-week period.

The lasting success of Sherine’s tracks like “Kalam Einieh (Words of His Eyes),” which was the No. 1 song on Billboard Arabia’s Hot 100 when the chart released twelve weeks ago, and still holds the No. 5 slot, and the presence of several other tracks from her album Nassay (A Person Who Forgets), are a testament to Sherine’s ability to make timeless music. Meanwhile, her song, “Sabri Aleel (My Patience is Wearing Thin),” has persisted on Billboard Arabia’s charts and streaming platforms, where it continues to reign supreme even two decades after its debut. Meanwhile, the song has garnered viral attention on TikTok, finding new life by captivating a global audience, while transcending language barriers and cultural divide.

“I am thrilled that both my old and new songs are loved by listeners,” says Sherine. “They have embraced everything I’ve poured my heart into from day one. Seeing my tracks still topping the charts after twenty years is truly amazing! That was my dream and it feels great seeing it come true.”

Sherine’s musical journey is marked by a prolific discography and numerous collaborations. In 2005, she released her album Lazem Ayeesh (I Must Live) with Free Music Company, featuring hits like “Ala Bali” (On My Mind) and “Qal Saaban Alieh” (Everyone Feels Sorry for Him). Transitioning to Rotana, she dropped Batamenak (I Reassure You) in 2008, followed by Habeit (I Loved) in 2009 and Esaal Alaya (Ask About Me) in 2012, featuring standout tracks like “Beh Tehky Fe Eh?” (What Are You Talking About?) and “Wel Nabi Law Gani” (I Swear If He Comes to Me). Her sixth album, Ana Kteer (I’m a Lot), released in 2014, included memorable songs like “W Meen Ikhtar” (Who Chose?) and “Ya Layali” (Oh Nights!). Sherine also contributed to the soundtrack of the drama series Tareky (My Way), collaborating with poets and composers.

In 2016, she teamed up with Hossam Habib for the duet “Kol Ma Aghanni” (Everytime I Sing). Sherine’s 2018 album Nassay (A Person Who Forgets) garnered millions of views with diverse tracks such as “Kazbain” (The Liars) and “Al Watar Al Hassas” (The Sensitive String). Returning to Rotana, she released hit singles like “El Hob Khedaa” (Love is a Trick) in 2019, “Mish Qadd Al-Hawa” (I Can’t Afford to Love) in 2020, and “Kollaha Ghayrana” (All of Them Are Jealous) and “Khasimt Al-Num” (I Forgot About Sleep) in 2021.

Sherine attests much of her success to the ability to keep things simple, and real, saying, “It’s all about keeping it real. I’m just me, and that authenticity is what’s helped me connect with fans. Ultimately, it’s their love and support that fuels my success.”

About a decade ago, Sherine teamed up with global hip-hop star Nelly for the duet “Just a Dream.” The song became a massive hit upon its release and recently resurfaced on streaming platforms and social media. She recalls it fondly: “To be honest, Nelly and I hit it off right away. Despite my limited English, we managed to understand each other. I remember we were backstage and I really liked his mic, so I asked him if I could borrow it when we’re singing on stage, and he gladly gave it away!”

View this post on Instagram

A post shared by Billboard Arabia (@billboardarabia)

Sherine’s virality isn’t limited to the charts. In recent years her songs have found new life on social media, particularly through the remixes of several DJs, chief among them DJamil. In July 2023, DJamil mashed up Sherine’s “Eh Eh” with Drake’s “Hotline Bling,” clocking nearly 20 million views, followed by “Sabry Aleel” mixed with Busta Rhymes “I Know What You Want” in September 2023, which went on to amass upwards of 34 million views.

When revisiting some of the pivotal moments that left a lasting impact on her journey, she reminisced about her first performance on the legendary stage of Baalbek in Lebanon, and shared some insights into her special connection with the Lebanese audience, whom she considers a tough nut to crack.

“Standing on the same stage that Umm Kulthum graced 48 years earlier as the first Egyptian artist to perform in Baalbek was surreal,” says Sherine. “It felt like the Lebanese were not just welcoming me, but also paying tribute to me, and that was an incredible feeling. It’s moments like these that make all the hard work worth it.”

View this post on Instagram

A post shared by Billboard Arabia (@billboardarabia)

Last month, Sherine dropped her latest single “El Dahab,” which serves as an exciting preview of her highly anticipated new album. Fans have been eagerly awaiting this release, especially following her last album Nassay in 2018. Sherine graciously shared some details about what to expect from her upcoming album: “The new album has some great songs all set, but I’ve decided to wait a bit with Ramadan approaching. After Eid, I’ll start releasing them one by one. Times have changed, you know – it’s all about the singles now.”

View this post on Instagram

A post shared by Billboard Arabia (@billboardarabia)

As for the Global Force award she received at Billboard’s 2024 Women in Music, Sherine said she couldn’t be happier about such a global nod to the impact of her music, especially knowing that even the younger generations, including her own daughters, have taken to listening to her songs.

“My girls go to an English school and didn’t know much about my songs,” she says. “But recently, my daughter Hana began listening to my music and it’s incredible to see that I’m striking a chord with kids their age and the young generation who listens exclusively to English-language music. It’s a real thrill knowing they’re enjoying my Arabic melodies.”

She adds: “This recognition is huge for me. Seeing my daughters witness this global honor brings me immense joy, and it means a lot to me knowing they’re proud of their mom. At the end of the day, my fans and my daughters mean the world to me.”

It’s the evening at the end of a typically packed week for Stray Kids, but the four-time Billboard 200 chart-toppers are unquestionably buzzing to discuss one of their big first projects in 2024, which they’ve deemed “the year of giving.”

In the seven days ahead of this Feb. 8 interview, Stray Kids members Felix, Seungmin and I.N all attended different Paris Fashion Week shows — with Felix making his runway debut walking for Louis Vuitton in the luxury brand’s ready-to-wear 2024/2025 collection presentation — Han dropped a new song “13” via the group’s YouTube channel, Bang Chan also revealed his English song “Eternity” and its accompanying video on YouTube as Nylon Japan premiered a striking fashion film tied to his new magazine cover, and the entire group continued preparations for their upcoming fan-meeting concert “SKZ’S MAGIC SCHOOL” taking place at the end of March. In the week prior, Hyunjin attended Milan Fashion Week for his ambassador duties, Changbin showed his support for junior group CRAVITY by dancing with them in the #Love_Or_Die_Challenge, and Lee Know revealed a cover of DAY6‘s “Love Me or Leave Me” ahead of being named the youngest member of the World Vision’s Bob Pierce Honor Club for his multiple charitable donations. So, even when Bang Chan notes that “the Kids sometimes can be shy” in having all eight members discuss their latest endeavors masking some possible tiredness, what comes through in both their full-group cheering responses is the vibrant and energetic assurance that SKZ are aiming to deliver something to touch both their beloved STAY fandom and global audiences.

Alongside three fellow superstar acts under their JYP Entertainment label, Stray Kids teamed up with Coca-Cola in late February for its new Coca-Cola K-Wave Zero Sugar drop that not only introduces a new “Fruity Fantasy” flavor but looks to honor the international K-pop fandom. The guys join ITZY, NMIXX, plus JYP Entertainment founder J.Y. Park for the Coca-Cola Creations joint single “Like Magic.” which was produced by Park, has Bang Chan credited as a vocal arranger, and Changbin as co-writer.

In addition to the new flavor and music video, the collab is delivering limited-edition apparel and accessories including a special lightstick, digital photo cards, a mobile “fan music video AI experience” via the Coca-Cola Creations microsite, all capped off with the K-Wave Concert for Inkigayo, scheduled for June 2 that promises to host JYP talent and other top K-pop names including Stray Kids, ITZY, NMIXX and more.

“The experience starts with an amazing Coca-Cola Zero Sugar taste accompanied by a dash of fruity K-pop magic,” adds Oana Vlad, the senior director of Global Strategy at the Coca-Cola Company. “We are excited to celebrate one of the most passionate fan communities in the world and create new experiences that we hope will bring Coca-Cola magic to fans across the globe.”

Looking ahead to the K-Wave Concert and the year that the group already confirmed will include — and you might need to a breath to take it all in — a fan-meeting concert, third world tour, an album, a “special” album, pop-up stores and loads more digital content, Bang Chan, Lee Know, Changbin, Han, Hyunjin, Felix, Seungmin and I.N. gave Billboard some additional insight into their first major 2024 project and what else is coming.

Congratulations on launching this new campaign for the Coca-Cola K-Wave Zero Sugar. I think the first order of business is to know if you’ve tried it and what you think of this new flavor?

All: Yeah, tastes good!!!

Hyunjin: It’s really very nice. The taste was refreshing, a little like bubblegum, and a somewhat cloudy or misty feeling.

Seungmin: One of the best Cokes in the world.

You and several of your JYP Entertainment artists participated in this campaign that honors K-pop fandom. What’s your overall take on it?

Bang Chan: You know how you just mentioned how this campaign “honors K-pop fandom,” right? But it’s really an honor for us to be able to be in the campaign that honors K-pop fandom, you know what I mean? I feel like it’s just really a good opportunity for not only us, but the other artists in JYP to really spread out the word about K-pop and, that itself is just something that we are very honored to do. And hopefully, people out there can really look forward to the K-pop wave.

Changbin: I usually drink one or two Cokes a day—two Zero Cokes a day, that is! I’m so happy to be able to host this campaign with the actual drink and our JYP family; I think it’s very meaningful. I believe that Zero Coke can unite us all—K-pop fans, JYP family, and Stray Kids. I’m looking forward to continuing that love.

You all participated in the song and video for “Like Magic” alongside J.Y. Park, ITZY, and NMIXX. Changbin wrote alongside JYP, and Bang Chan is a vocal arranger. What was the process of working together?

Bang Chan: Vocal arranging is something that I’ve always done, especially with our own music and everything. But JYP himself was like, “Oh, Chan, you can just direct by yourself; you know the members better than I do, so just get all the vocals done.” And then with like the tuning, editing, the arranging — I figured that out myself as well, and it was a pretty cool experience because usually, we work on music on our own, but to do it for someone else like JYP, it was a great honor, and it was overall very, very fun.

Changbin: When I first heard the song, it was quite new and had kind of a fun feeling to me. So, I was really contemplating and thinking a lot about how to reflect and meld my rap style on it. I’m really happy that the results seemed really fine and Mr. JYP also said he’s happy with that. Also, getting to work with him after a long time, I was really thrilled because it’s been a while since I worked with him as the producer.

Moving from the production, how was it to collaborate on a song with so many of your fellow JYP artists?

Bang Chan: Our company is very much a “family-ship,” you know what I mean? We all looked out for each other, and having a chance to work on something together was really, really fun. I mean, we didn’t actually get to see each other at the music video set and everything — because everyone’s schedules are very, very busy and different — but it kind of felt like as if we were doing like JYP Nation [the name for company-wide JYP Entertainment songs or concerts].

Some of the members spent time as kids in different countries. Are there any special Coke flavors you remember loving as kids?

Felix: When I was younger, I remember drinking a lot of Vanilla…

All: Wow!!!

Felix: I remember I was at a party one time, there was a whole crate of Vanilla Coke and I was drinking, like, six at a time. I think that’s my biggest memory and that was with Vanilla Coca-Cola.

Coca-Cola also announced a K-Wave Concert for Inkigayo scheduled for June 2, where you will perform. Is there a chance fans can look forward to new Stray Kids music by then?

Bang Chan: It’s only March and we have so much to do for this year. Look, Jeff, I’m not going to spoil too much, but we have a lot prepared. I’m pretty sure you’re going to be surprised, but I can say we have many things prepared — very different from what we’ve done so far. So, hopefully, people out there can really, I guess, take it all in with our stuff that we’re going to come out with and everything goes well. Hopefully, STAYs really enjoy what we are going to bring out and 2024 can be another great year for Stray Kids.

To expand slightly, the “2024 STEP OUT” video teased a lot. Is there anything else you can share?

Bang Chan: We’ll let your imagination get you there. [Laughs]

Fair enough. What else do we need to know as you begin 2024 with this first big collaboration?

Bang Chan: We’re always processing everything, but we’re just really confident and feel really great that we have STAYs out there because it’s all because of them that we’re getting all these great results. It’s a gift from STAY, and we just want to create more gifts for STAYs out there — 2024 is “the year of giving.” Hopefully, us Stray Kids can give more to not only STAYs, but to everyone out there. So, thank you Billboard for everything, and thanks to Coca-Cola for giving us this great experience and opportunity to work on a very great campaign.

Felix: And we look forward to the future! Today was very fun having to answer a lot of good questions and talk about the Coca-Cola campaign; it was great to get in-depth with it. We just hope that our messages can very clearly spread to the world and show a lot of positivity. We hope that [everyone] can enjoy this year’s Coca-Cola K-Wave edition — just can’t wait.

Japan born singer-songwriter Fujii Kaze is set to drop his new song “Michi Teyu Ku (Overflowing)” being featured as the theme of the upcoming movie called April Come She Will on March 15 and shared the cover art for the track.

The new movie due in Japanese theaters Mar. 22 is a love story based on Genki Kawamura’s novel of the same name, co-starring Takeru Sato, Masami Nagasawa, and Nana Mori. It’s the first feature film by Tomokazu Yamada, director of numerous music videos for some of today’s biggest J-pop artists including Fujii’s “Seishun Sick,” Kenshi Yonezu’s “Lemon,” Aimyon’s “Marigold” and more. Yamada also helmed the visuals accompanying Fujii’s new number, which will arrive on the day of the song’s release.

“In writing a song for the movie April Come She Will, I was enthusiastic about writing a so-called love song for the first time in my life, but what I ended up with was the same as what Iʼve been singing so far,” shares the 26-year-old hitmaker, in English, about his upcoming release. “What has a beginning has an end. Love is not something you ask for, but something you already have. The more you give, the more it becomes ‘Overflowing.’” 

The “Kirari” singer will also be traveling to the U.S. in May and June to perform in Los Angeles and New York, respectively. The performances will feature the musician with only a piano, like his first overseas trek last year in Asia consisting of 11 shows in 7 cities across the region. 

Fujii also announced two shows on Aug. 24 and 25 at the 72,000 capacity Nissan Stadium, his first concerts in Japan in about a year and a half in front of the biggest crowd so far for the artist. The “Shinunoga E-Wa” artist livestreamed a now-legendary solo performance from this venue without an audience on Sept. 4, 2021 in the midst of the pandemic. Ticket information for these shows will be announced on May 10 at 6 p.m. Japan time.

Fujii Kaze and the Piano U.S. Tour

May 30 Los Angeles, United Theater on Broadway

June 2 New York, Apollo Theater

As the Spanish music market grows stronger, with live-music attendance at a record high and more interest than ever in Spanish-language artists, the Community of Madrid — the region that includes the nation’s capital city — has launched several initiatives to expand its musical footprint.

Initiatives range from Sesión Vermú — a concert series that in 2023 featured 90 shows by 46 bands in 24 municipalities — to the massive concerts by Latin headliners Camilo and Carlos Vives at the iconic Puerta de Alcalá, in the center of the city.

“Madrid is the musical bridge between Latin America and Europe,” says Community of Madrid president Isabel Díaz Ayuso. “The Community of Madrid is dedicated to supporting new talent and young creation and offering fans the best emerging music from Spain. Likewise, it is committed to the world circuit with great musical events and festivals.”

These include the First Forum of Music in Spanish, presented by Billboard and scheduled for March 19, which will feature industry and artist panels and a showcase by Argentine rapper-singer Nicki Nicole.

“I’m very excited about this as a Spaniard,” says Sony Music U.S. Latin vp of business development Rafael Madroñal, who is based in Miami.

Madroñal helped secure partnerships between Sony and the Community of Madrid to revive the city after the coronavirus pandemic with massive, free concerts as part of Hispanidad, a weeklong festival held annually in Madrid to celebrate music, dance, theater, cuisine and Ibero American folklore. The first festival concert, by Colombian singer Camilo, drew around 80,000 people in October 2022. The second, by fellow Colombian Vives, attracted over 100,000 the following year and featured both local and international guest artists such as Ana Mena, Ryan Castro, Prince Royce and Juanes.

“Hispanidad 2024 will be even more ambitious both in terms of the number of activities, as well as the artists and countries invited,” Díaz Ayuso says.

“La Puerta de Alcalá, for us and for me, meant many things,” Vives says. “It was not only celebrating — in Spain, in an iconic city — our 30 years of career and [my album] La Provincia, but also celebrating 30 years of singing for that wonderful and diverse land. If I can summarize what my concert at Puerta de Alcalá represented: the cry of reaffirming my pride in being Hispanic American.”

The day after the event, Camilo called the show “the biggest concert of my life” on Instagram.

And the benefits of such bookings go beyond the magic of the moment, Madroñal says, recalling that shortly after their respective shows, Camilo and Vives returned to Spain on tour.

This year, Madrid will reopen the renovated and expanded Santiago Bernaéu Stadium to provide another great musical stage, with superstars like Luis Miguel, Taylor Swift and Karol G already confirmed to perform concerts.

“Here, quality and excellence prevail,” Díaz Ayuso says, “and the best from here and there come together to create real magic.”

This story will appear in the March 9, 2024, issue of Billboard.

Spain is alive with the sound of music.

In the last 12 months alone, the country launched a new Academy of Music and will hold its first awards in Spain in May; it also hosted the Latin Grammys in Seville in November, the first time the awards show was presented outside the United States.

And music sales are booming. Total music revenue in 2022 reached its highest mark since 2006 — 462 million euros ($498 million) — while revenue from sales and streaming rose 11.5% in the first half of 2023 to 214.3 million euros ($231 million), compared with the same period in 2006, according to trade group Promusicae.

In the live-music arena, 2022 ticket revenue reached a record gross of 459 million euros ($495 million), according to Spain’s Association of Musical Promoters. And according to IFPI, music consumption in Spain per capita stands at an average of 20.9 hours each week, exceeding the global average of 20.1.

While some of the growth can be attributed to post-pandemic recovery, a plethora of new business models along with an infusion of “Latin” music — that is, music in Spanish that comes from Latin America and the U.S. Latin market instead of Spain — are also fueling a music industry that feels more dynamic and ebullient than it has been in years, since its heyday as one of the world’s top 10 music markets, a rank it held as recently as 2009.

“The Spanish market in recent years has stood out for being key in the global positioning strategy for Latin artists. It’s in the best moment and capacity to once again be a point of reference as a country that exports music — as it was in the 1980s — and as a major presence in the global market,” says Narcis Rebollo, president of Universal Music Iberian Peninsula Spain & Portugal.

It’s not just the market, but also the experimentation within it. Rebollo cites Universal’s booming direct-to-consumer business, the popularity of music TV shows like Operación Triunfo and La Voz Spain, as well as the opening last year of the first Umusic Hotel, in Madrid, next door to the historic, 1,000-seat Teatro Albeniz venue.

In 2022, in Madrid, Warner Music Spain also opened The Music Station, an impressive multiuse space that includes label offices, theaters and recording studios, and Sony Music Spain just opened its state-of-the-art 5020 studios, also in the capital city.

“Our music had never generated so much interest, and this generates competition in many fronts,” says José María Barbat, president of Sony Music Entertainment Spain and Iberia. “It affects our business model because it’s no longer an industry of majors and indies, but also distributors.” Sony alone owns AWAL and The Orchard.

At the same time, indie Latin labels like WK Entertainment, Dale Play and Rimas have opened offices in Spain, a sign that Latin labels and executives are seeing bigger opportunities for their artists there than before.

“I think — in a good way — that Hispanic American artists are fostering the birth of a star system like we’ve never seen,” says Vicent Argudo Esteve, head of Prisa Música; the music division of the powerful Grupo Prisa includes top radio network Los40, which operates in 11 Spanish-speaking countries including Spain. “Media like Billboard or Los40 are largely responsible for this. Never before had we placed music in our language above or at the same level as the big English-speaking international stars.”

Spanish-speaking artists completely dominated Promusicae’s 2023 Top Latin Albums list, with only three English titles (two by Taylor Swift and one by Harry Styles) in the top 20. The chart was topped by Spanish rapper Quevedo, but overall, Latin artists including Bad Bunny, Karol G and Mora occupied nine slots in the top 20 compared with eight Spanish titles.

According to AIE, the Collection Society for Artists and Performers headquartered in Spain, the consumption of music performed in Spanish is now 62% of Spain’s music market, a 6% increase in the past five years, while consumption of music in English has dropped 14%. Latin music that comes from other countries represents 26% of all streaming.

In the live-music scene, “the biggest change of the past year is the explosion of demand for Latin American music,” says Carlos Maguiña, president of logistics operator Magusa Global Cargo. “Spanish fans are hooked to urban Latin rhythms and reggaetón, and they’re filling stadiums to see both established and new talent coming from Latin America. It was incredible to see Karol G sell out three stadiums in 15 minutes.”

But Latin artists are not simply crossing the Atlantic, doing their thing and going home. They’re collaborating increasingly with Spanish artists, facilitating a fascinating back-and-forth. Bizarrap and Shakira’s “Shakira: Bzrp Music Sessions, Vol. 53,” for example, topped Promusicae’s year-end top 100 Songs list, which included only one English-language track in the top 20 slots. The remainder were Latin and Spanish songs and collaborations between artists of both continents, including Quevedo and Myke Towers on “Playa del Inglés” and Rauw Alejandro and Rosalía on “BESO.”

“The Spanish market still has a very ­relevant ­local market; there has always been an ­appetite for local pop en español,” Argudo says. “But ­clearly, strong immigration from our sister countries is fostering an unprecedented cultural opening and a unique opportunity for music in Spanish at a global scale.”

The Spanish music scene is vibrant “thanks to the impact of Latin music,” Warner Spain president Guillermo González Arévalo says. “The fusion with Spanish culture has led to a development of new talent with a more international sound.” The global success of artists like Quevedo, he adds, “has opened a very important door for Spanish urban music.”

Thanks to its language ties to most of Latin America, Spain long functioned as the incubator and exporter of big Spanish-language stars — much like the United States for the rest of the world — but also as a major market for big mainstream English-speaking stars. That changed in the last 20 years with the rise of international Latin global stars like Shakira, Marc Anthony and Enrique Iglesias and, later, genres like Puerto Rican reggaetón, Colombian urban music and now regional Mexican.

Today, due to a surge in immigration from Latin America, the Spanish market is not only increasingly embracing “Latin” music but also developing a new crop of international acts of its own, including Rosalía, Quevedo, Rels B and Aitana, who are all selling out arenas outside of Spain.

The fascination with Spanish music “is something I hadn’t seen in my 30 years in the industry,” Sony’s Barbat says.

That interest, combined with growth in the market and live music, has produced a healthier ecosystem — and has even deeper implications. Spain has particularly strong artist and performer rights, with a model based on equitable distribution of streaming revenue where even session musicians get paid, AIE general director José Luis Sevillano says. “Basically, streaming platforms pay an additional amount to AIE, which we distribute to artists and musicians and which doesn’t interfere with any contractual agreement between artist and labels or labels and streaming services.”

And there’s also the potential of Spanish music abroad. According to IFPI’s market study of Spain, sales of Spanish music abroad brought in 34 million euros ($36.6 million) of industry revenue in 2022, a 35.1% growth compared with 2021.

What’s happening in Spain now “is just the beginning,” says Cristina Perpiñá-Robert, general director of Spain’s Society of Authors and Editors. “Spain is the natural bridge between Europe and Latin America. Globally, more than 500 million of us speak Spanish, which is already the second most-spoken language in the U.S. We have to continue promoting the necessary tools to help Ibero American culture find its true place.”

This story will appear in the March 9, 2024, issue of Billboard.

Creepy Nuts’ “Bling-Bang-Bang-Born” stays atop the Billboard Japan Hot 100 for the sixth week on the chart dated March 6.

The MASHLE Season 2 opener slips to No. 2 for downloads with 16,031 units, down by about 17.8% from the previous week, while streaming remains almost unchanged at 21,256,220 streams (No. 1), down by about 1.8%. The track comes in at No.11 for radio airplay and No. 3 for karaoke, maintaining a strong lead on the Japan Hot 100.

A number of new releases have entered the top 10 for the first time this week. Debuting on the list at No. 2 is SKE48’s “Ai no Hologram,” launching with 399,984 CDs — the second highest first-week record for the group after their previous release — to hit No. 1 for sales. The group’s 32nd single also comes in at No. 4 for radio.

Bowing at No. 3 is NCT WISH’s “WISH.” The global boy band’s first single in Japan sold 93,186 copies in its first week to come in at No. 3 for sales. The track rules radio and comes in at No. 68 for video views, which helped overturn the difference in CD sales between the track debuting at No. 4 on the Japan Hot 100 this week, ATEEZ’s “NOT OKAY,” which launched with 307,329 CDs (No. 2 for the metric). This figure for the eight-member K-pop group’s third single in Japan (and the first in about a year) is a career high. It also comes in at No. 48 for downloads with 1,011 weekly units.

Vaundy’s “Time Paradox” moves 25-9. The “Kaiju no hanauta” hitmaker’s latest release is the theme song for the latest animated Doraemon feature film called Doraemon the Movie: Nobita’s Earth Symphony that hit domestic theaters Mar. 1. After first charting at No. 39 on Jan. 17, the track gradually climbed the tally and broke into the top 10 this week after the CD dropped Feb. 28. First-week sales for the track totaled 5,286 copies to hit No. 13 for the metric, while also coming in at No. 13 for downloads with 2,625 units and No. 11 for streaming with 5,532,741 weekly streams. It also hits No. 3 for radio and No. 23 for video with 530,108 views.

While still outside the top 10 on the Japan Hot 100 at No. 12, BE:FIRST’s “Set Sail” is this week’s No. 1 song for downloads. The latest release by the seven-member J-pop boy band was written as a collaborative effort with ONE PIECE CARD GAME, and is the lead track off the group’s upcoming concept single called “Masterplan,” due Apr. 24. The track debuts on the charts after being released Feb. 26, coming in at No. 24 for streaming, No. 53 for radio, and No. 37 for video.

The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.

See the full Billboard Japan Hot 100 chart, tallying the week from Feb. 26 to March 3, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

One of the most remarkable parts of the recent Milano Fashion Week was Missoni’s tribute to its iconic striped style and creative history, which the Italian brand has carried forward with courage and innovation over the decades. That began in 1958 when Ottavio and Rosita Missoni created a provocative fitting at the Rinascente mall in Milan, covering the eyes of the mannequins with colored, striped scarves.

It is from a harsh comment of that time (“Poor girls, luckily they are blindfolded — if they could see themselves”), that the fashion show of Missoni (“those of the stripes”) began. The models paraded on the catwalk, with the stripes moving in rhythm and appearing to expand on the clothes, dancing from head to toe, contracting and then slowing down.

The purpose is clear, the stripes help to understand it: everything is matched rather than mixed. To underline the models’ steps, Filippo Grazioli, creative director of Missoni, decided to have one long music track specially created by producer Andrea Mangia (aka Populous). Billboard Italy, Missoni’s music consultant and media partner for the show, sat down with Grazioli a few hours before the opening.

Why did you call this new collection “The Ones of the Stripes”?

Since I arrived at Missoni almost three years ago, I have faced many challenges, both personal and professional. One of the main ones was to fully understand the essence of the brand and make it evolve. I spent a lot of time immersing myself in the archives of the historic Missoni headquarters in Sumirago and establishing a strong connection with the legacy of the company, which is a continuous source of inspiration. Working with such an iconic brand also means balancing respect for its history and the desire for innovation and change. In an unstable context like the one we live in, I wanted fashion to maintain a sense of fun – especially in the case of Missoni’s style, which is very colorful. My idea for the FW 24/25 women’s collection was to pick up Missoni’s old striped style and reinterpret it in a contemporary way.

What innovations do you think you have brought in these three years? On what principles was the concept of this collection formed?

My goal was to bring modernity, contemporaneity, desire, femininity and lightness to fabrics and graphics. In creating the collection, I tried to express a concept of freedom and femininity, playing with a contrast between masculine and feminine with silhouettes that mark the body and lengthen it and strong volumes that envelop it. To me, Missoni represents a style of “bien vivre,” in harmony with the values of “Made in Italy.” I am convinced that Missoni’s code suits many women well, offering a variety of styles that allow each to find their own unique expression.

You have a great passion for music. Who are the Italian singers who fascinate you and stimulate you the most for your work?

I have always wanted to link my work to the Italian and international music scene. Having lived in France for many years, I didn’t know Italian music that much, but when I returned to Italy, I immediately started working with Lazza, Elodie and Mara Sattei on their projects for Sanremo 2023, and then on those of Rose Villain, Emma and Negramaro for Sanremo 2024. The unique aspect of music is that it is borderless. As Missoni, our projects have opened up internationally, with Sabrina Carpenter, Beyoncé, Rita Ora and Suki Waterhouse.

How important is music for the success of a fashion show?

It is essential for its success. Music is the part that creates emotions. It must integrate perfectly with the collection, in order to convey a consistent message. Lou Reed is often my starting point. His songs always inspire me in so many different ways.

It was precisely by talking about “Walk on the Wild Side” that your creative interaction with Populous began. What did you find special about working with him?

He is a very inspirational professional. It was nice to talk to a creative mind who interpreted in music what I wanted to convey in the show. The exciting aspect was that it was the first time he wrote music for a fashion show, and he was excited. Having this type of exchange between creatives is essential.

Have you chosen an Italian artist to underline the sense of “Made in Italy” or do you not preclude collaborations with international artists?

I think it is essential to value Italian artists. We wondered whether to have an Italian voice in the show’s music precisely to emphasize the Italian identity, then we opted for lyrics in English to be able to reach the entire audience. But I don’t preclude myself from collaborating with international artists in the future.

John Richmond is a product of the British resourcefulness that has not stopped leaving its mark on fashion and music since the post-war period. An internationally renowned fashion designer, the fashion press associates him with rock n’ roll and punk, but with his works he embraces all the British musical genres that have influenced the rest of the world.

He arrived in Italy in the early ’80s after earning a degree in Fashion Design at London’s Kensington University, and collaborated with brands that, in those years, were anticipating trends: Armani and Fiorucci. English individualism, which he himself talks about in the interview, is probably the reason why in 1987 he created the brand that bears his name.

He has a style that still influences international fashion today, thanks to his now iconic jeans model with the writing “RICH.” In the early 2000s, logo mania swept through many other brands.

John Richmond, however, is not just fashion. Artists who perform with his clothes have included Madonna, George Michael, David Bowie, Mick Jagger, Annie Lennox, Axl Rose, Bryan Adams, Michael Jackson, Britney Spears, Lady Gaga and many others.

What is the song that most represented your youth?

It’s still one of my favorite songs of all time: “Life on Mars?” by David Bowie.

What musical memories do you have from your adolescence?

If you grew up in the early ’70s you can only have fond memories. We went dancing in teenage discos where Northern Soul reigned, a fantastic genre popular in the north of England. In particular, I used to go to the Wigan Casino, a renowned venue at the time. It was all a combination of things: music, clothing, appearance, style, attitude. A poor country can give you opportunities: in those years the youth were very disillusioned. Since then, all the things I’m interested in are driven by music. I grew up in Manchester, a very post-industrial, depressing place, but the great thing was we had some amazing clubs and a great music scene. After punk came new wave and then the New Romantic movement. There were artists for whom style, appearance, clothes were really important. Everyone knows Bowie’s songs, but they also know everything about his style: clothes, hairstyles, accessories, makeup. Bowie wasn’t just a singer: he embodied a powerful style.

Why has the United Kingdom, which sometimes appears to be such a detached country, been able to strongly influence the world of style, also in music?

First of all, we are able to laugh at ourselves, and that’s important. Then we live on an island, so we are completely isolated. When you have nothing else, you are forced to be creative. There were a lot of young people who didn’t have many opportunities. I think they were courageous, because they found within themselves the strength to move forward, not to remain isolated. If I look at other countries, there are great leaders in various sectors and people follow that one model, as if they don’t want to dare. In Italy, for example, there is a well-defined style. In England, if I see someone doing something in a certain way, I will do everything I can to do it better, certainly to do it my way: we English have an attitude for individuality.

As an expert in both sectors, what is the relationship between music and fashion?

I summarize it in one of my slogans: “Punk is an attitude, not a trend.” Punk is now much better known as a fashion style than for music. Punk music didn’t last long, but it never stopped permeating fashion. It came to life in the years when the fashion press was starting to become important. People who knew music well worked there. It was therefore easy to find mutual contamination in those pages. London was the site of these changes. I think of Terry Jones who, with Face and then i-D, was one of the most famous and innovative editors-in-chief. At the end of the ’80s music videos arrived, which had the same impact on the audience that TikTok has today. There was no artist who didn’t accompany his or her songs with a music video. We can therefore imagine the importance of clothes, makeup and hairdressing. In those years, if an artist needed an outfit, he or she would go and get it personally. You didn’t go to artists and say, “Here’s my dress, I’ll pay you to wear it at the Oscars.” Musicians would come to my shop, buy clothes and wear them. I remember funny things: the New Kids on the Block arrived on a small street getting out of a white limousine that couldn’t turn the corner and had to reverse. I worked with people like Depeche Mode, Eurythmics, George Michael. Now we realize that we were lucky protagonists of moments that changed the history of these two sectors: we were in the right place at the right time.

If you had to choose one music artist to best represent you, who would it be?

For me there is no absolute icon. I like to see how my clothes are interpreted by those who buy them. I’d rather think of a style. Rock n’ roll is certainly what has most pervaded my works. But I always want to evolve in line with what music offers: today I look a lot at hip-hop.

When do you listen to music?

Always. I only work with music in the background. I particularly love Gilles Peterson from BBC Radio 6 because he’s always looking for new things. Compared to before, I also changed the listening mode. I used to buy – let’s say – Horses by Patti Smith, come home, lie down in a dark room and listen to it for hours without stopping. Today I prefer to listen to what is offered to me by radio and platforms.

Besides “Life on Mars?”, what are some other songs that you would never delete from your playlist?

I would choose an album, The Dark Side of the Moon by Pink Floyd. Also, a few weeks ago there was an incredible Brazilian song featured on Gilles Peterson’s show. It is “Vento de Mayo” by Seu Jorge, produced by Miguel Atwood-Ferguson. I would add another album: Roxy Music’s debut, that really changed British music. And then the Sex Pistols, who influenced music all over the world.

If you wrote a song, what lines would it start with?

I could make the first line of Patti Smith’s “Gloria” my own: “Jesus died for somebody’s sins, but not mine.” As a boy who grew up in a Catholic context, attending a Roman Catholic school, these words had a strong impact on me. It was a powerful and liberating realization, taking away that sense of having to carry the sins of others on my shoulders.