Karol G claims more Latin Airplay glory with “Latin Foreva,” as the song lifts 2-1 for its first week atop Billboard‘s overall Latin radio ranking (dated July 26). The Colombian strengthens her hold on the second-most No. 1 titles among women, raising her total to 19 champs. Shakira continues at the helm with 24 No. 1s.

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“Latina Foreva” rises with 8.9 million audience impressions earned in the United States in the tracking week ending July 17, according to Luminate. That’s a 14% gain across Latin radios from the week prior.

The song becomes the second chart-topping single from her latest No. 1 album Tropicoqueta. It follows “Si Antes Te Hubiera Conocido,” which ruled Latin Airplay for 27 weeks, the longest-leading No. 1 song in the history of the almost 31-year-old tally.

As Karol G collects her 19th No. 1 on the overall Latin Airplay chart, she cements her second-most wins among women, trailing only Shakira, who still holds the record for the most rulers by a female artist since Latin Airplay began in 1994.

Further, “Latina Foreva” is the 13th song by a female soloist, without a collaborator, to hit No. 1 on Latin Airplay in the 2020s decade. Notably, six out of those titles belong to Karol G herself, while Natti Natasha is the only other woman to secure two rulers or more on her own this decade. Here’s a summary of the No. 1 hits by female solo artists since January 2020:

Artist, Title, Peak Date
Karol G, “Ay, Dios Mio!” Jan. 10, 2020
Karol G, “Bichota,” Feb. 13, 2021
Kali Uchis, “Telepatía,” July 3, 2021
Natti Natasha, “Noches En Miami,” Oct. 16, 2021
Karol G, “Sejodioto,” Feb. 12, 2022
Karol G, “Provenza,” July 9, 2022
Becky G, “Bailé Con Mi Ex,” Sept. 10, 2022
Rosalía, “Despechá,” Oct. 8, 2022
Karol G, “Mi Ex Tenía Razón,” Oct. 7, 2023
Karol G, “Si Antes Te Hubiera Conocido,” July 7, 2024
Gloria Estefan, “Raíces,” May 10, 2025
Natti Natasha, “Desde Hoy,” June 21, 2025
Karol G, “Latina Foreva,” July 26

Elsewhere, “Latina Foreva” holds steady atop Latin Rhythm Airplay for a third week, where Karol continues to hold the record for the most rulers since the chart launched in 2005.

 All charts (dated July 26, 2025) will update on Billboard.com tomorrow, July 21. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Universal Music Group (UMG) took another step toward listing its shares on a U.S. stock exchange by submitting a draft registration statement related to a public offering to the U.S. Securities and Exchange Commission (SEC), the company said in a press release on Monday (July 21).

UMG, which is traded on the Euronext exchange in Amsterdam, was pushed late last year to launch a dual listing in the United States by Pershing Square Holdings chief Bill Ackman, a former UMG board director whose hedge fund is among UMG’s largest shareholders. UMG has said it was working to “launch an underwritten offering for the sale of certain shares owned by Pershing by September 15, 2025.”

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UMG, which submitted a filing called a Form F-1, said on Monday that it has not yet determined the number or price range for the ordinary shares to be offered, and that UMG will not receive any proceeds from the sale of the shares. The offering is subject to review by the SEC and market and other conditions, UMG said.

Ackman said last November that he would push UMG to list on a U.S. exchange by selling a portion of Pershing Square’s stake. His comments came after Israeli soccer fans were attacked in Amsterdam, which resulted in Ackman de-listing Pershing Square shares from the Amsterdam exchange and urging UMG to do the same. 

In March, Bloomberg reported that Pershing planned on selling 50 million shares — approximately 2.7% of UMG’s outstanding shares — on the Euronext Amsterdam exchange, at 26.60 euros ($28.97) to 27.90 euros ($30.28), which was expected to gross between $1.45 billion and $1.51 billion. In 2021, Pershing Square acquired its original 10% stake in UMG for $3.9 billion. 

Meet ARrC, a next-gen multinational K-pop group rewriting the rules of global pop. With seven members hailing from Korea, the U.S., Japan, Vietnam and Brazil, ARrC isn’t just crossing borders; they’re building bridges. The name stands for “Always Remember the real Connection,” and in just one year since their debut in August 2024, the group has lived up to that promise with a trio of EPs that blend sonic experimentation with raw emotion.

“We don’t try to blend in — we stay true to who we are and connect authentically. That’s what an ARrC connection looks like,” said the group’s leader, HYUNMIN.

Their debut EP ‘AR^C’ set the tone with “S&S (sour and sweet),” a genre-bending burst of hyper pop and hood pop-inspired electric hip-hop. From there, ‘nu kidz: out the box,’ the group’s second EP, took things further. Powered by the old-school boom bap swagger of its title track “nu kidz,” the release showcased a new layer of ARrC’s bold, genre-defying identity. The accompanying music video quickly made waves, racking up over 10 million views on YouTube in just two weeks and sparking global buzz from fans hungry for something fresh. ARrC isn’t just a group; they’re a movement rooted in authenticity, individuality and cross-cultural connection.

ARrC’s rapid rise is powered not just by their music, but by their unwavering commitment to connection. The multinational group recently made a splash in Indonesia, appearing on top programs like Trans TV’s Brownis and SCTV’s Inbox Nite, where they spoke directly to fans in multiple languages, proving that for ARrC, meaningful communication goes far beyond the stage.

Less than a year into their debut, the group earned a coveted spot on the official lineup for KCON JAPAN 2025 at Makuhari Messe in Chiba. Over three jam-packed days, spanning the M Countdown pre-show, main stage and dance showcases, ARrC held their own alongside some of the biggest names in K-pop, delivering high-impact performances that solidified their status as rising stars to watch.

Their latest EP ‘HOPE’ dropped July 16, led by the title track “awesome” — a feel-good anthem that captures the spirit of Gen Z with uplifting beats and unfiltered emotion. “Wherever and whenever, we just hope our music becomes a small source of comfort for someone,” the group shared. With each step, ARrC continues to carve out a new lane in K-pop, defined by authenticity, emotional resonance, and a global outlook.

In the following interview, the members open up about their creative philosophy, their chemistry as a team, and the road ahead.

What does your new mini album ‘HOPE,’ released on July 16, mean to ARrC? What kind of message did you want to deliver through it?

JIBEEN: With our third mini album ‘HOPE’, we wanted to talk about a kind of hope that’s less about something perfectly packaged and more about the feeling that blooms through endurance. As Gen Z, we live in a world that changes rapidly, where expectations often lead to disappointment. But within that, we started to see despair not just as something dark—but as part of a process we endure in our own bittersweet way. Even when things feel like they’re falling apart, we wanted our music to remain upbeat and powerful. This isn’t just an album of comfort or conventional hope; it’s about capturing the rhythm of our generation’s reality—a kind of hope that says, “we keep going, no matter what.” If listeners feel that ARrC’s identity has become clearer through this album, then that’s exactly the message we hoped to deliver.

What aspect of the new album did you focus on the most during production? Are there any tracks or performance moments you hope fans will especially notice?

CHOI HAN: One performance point I really want fans to notice is the “Ddabong Dance” from our title track “awesome.” It’s a move where we raise our arms and give a big thumbs-up. While it might look simple, it symbolizes the energy and message we wanted to share with this song—that “no matter what hardships come your way, it’s going to be okay.” The move captures the spirit of shaking off the little misfortunes of daily life with humor and strength. If fans join in and do the “Ddabong!” with us, I think the sense of connection on stage will be even stronger. It’s a performance that feels like a cheer made the ARrC way—not too heavy, not too light—and I hope fans have fun with it.

Are there any artists you’d love to collaborate with in the future? Why?

DOHA: I’d love to work with DEAN. His music, rooted in R&B, is both stylish and emotionally nuanced—he has such a delicate way of expressing feelings through sound. I think that kind of sensitivity would blend well with ARrC’s vibe. Especially on tracks like “vitamin I,” which combine emotional flow with complex sound structures, his vocals would add a completely new layer. I’d also love to talk with him about production—just imagining that collaboration already gets me excited.

ANDY: For me, it would be amazing to collaborate with the girl group, Billlie. Since my trainee days, I’ve looked up to them for how uniquely they tell stories—not just through music, but also through their performance and expressions. Each member has such a strong individual identity, and when they come together as seven, their chemistry really shines. In that sense, I see a similarity between them and ARrC, and they’ve become role models for me. The way they captivate audiences with their distinct energy and atmosphere on stage is something I truly admire. A collaboration would definitely help us grow both musically and performance-wise, and I think the synergy between ARrC and Billlie’s unique colors could create something really exciting.

What kind of group do you hope ARrC will be five years from now?

JIBEEN: Even after five years, I hope we’re still a team that trusts and supports one another, and continues to enjoy being on stage together. ARrC’s biggest strength is our chemistry, and I’d love for that to grow even deeper over time. I want us to become a group that truly understands each other’s strengths and emotions, so that everything we do on stage feels effortless and natural. Of course, we want to grow musically, perform on bigger stages, and meet fans in more countries—but at the heart of it all, I hope we keep this same mindset and energy we have now.

As your first anniversary approaches, what are your goals as a group and individually?

HYUNMIN: My goal for ARrC is simple—I want people to always expect something new and different from us. Whether it’s a performance or a piece of content, I hope everything we do carries our distinct ARrC signature. Personally, I’d love to explore more creative avenues. I took my first step with songwriting on this album, and one day I’d like to tell my own stories through music. My goal is to grow not only as a performer, but also as a creator.

If you could describe ARrC in one word, what would it be?

ANDY: I’d go with “ARrC-way”—our own unique path. We’re a team that’s not afraid to experiment with different genres and constantly take on new challenges. Instead of following trends, we create our own direction. That’s what makes us ARrC.

CHOI HAN: For me, it’s “awesome.” Just like the title of our latest track, ARrC has a way of turning the small, everyday moments into something special. With honest emotions and original music, we show how the extraordinary can come from the ordinary. “Awesome” represents our color—and it’s also the message we want to share with our fans.

What role do you play in the team, and what do you see as your personal strength?

DOHA: As the main vocalist, I see my role as conveying emotions as directly and clearly as possible through singing. I always try to fully understand the story and feeling behind the lyrics, and focus on delivering that sincerity to our fans during performances. I also try to provide vocal stability that allows all of our members’ unique energies to come together for a polished performance.

HYUNMIN: I’m the leader of the group, so I usually take the lead when decisions need to be made or when we need to find direction. I believe in making sure everyone’s voice is heard and in creating balance among us. Since we’re a multinational team, I think one of my strengths is helping us understand and harmonize our differences. I’m also kind of the mood-maker. Whether we’re in the practice room or backstage, I love lifting the energy when things get quiet. I think I’ve helped the team laugh and stay relaxed, especially in tough or tense moments.

If you were to give a nickname to another member, what would it be and why?

KIEN: I’d give ANDY the nickname “Di-An.” He always calls me “An-Ki” as a joke, so I thought it’d be fun to flip it around. It started as a wordplay, but now it’s part of our own little inside joke—kind of like an affectionate way of showing we care.

ANDY: I often call RIOTO “RIOKO.” At first it was just a silly nickname, but it ended up sticking because it rolls off the tongue and sounds kind of cute. Now it feels like a special name only I use for him.

What song are you currently into or listening to the most these days?

JIBEEN: Lately, I’ve been listening to Way Ched’s “Bad Idea” a lot. It has this emotional melody layered over a really stylish beat, and it always puts me in a reflective mood. I especially love listening to it at night with my earphones in—it’s perfect for that vibe.

CHOI HAN: I’ve been deep into indie music and old-school sounds lately. I’ve been listening to a lot of legends like Michael Jackson. There’s so much to learn from that timeless rhythm and emotion—especially when it comes to performance. It’s been a huge source of inspiration.

DOHA: The song I’m really into these days is DPR LIVE’s Jasmine.” It has this dreamy quality with a smooth vocal laid over a stylish soundscape. It’s the kind of track that draws you in emotionally, and I find myself going back to it often.

The wedding bells are starting to jingle. It’s been six years since Lil Uzi Vert slid into JT’s DMs, and the City Girls alum is still happily in love with Uzi.

The Atlanta native opened up about her relationship with the Philly rapper on Monday (July 21) to Cosmopolitan, with JT promising that she sees herself walking down the aisle at some point in the future.

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“I’m not married yet, but we definitely are going to marry each other. That’s my best friend,” she gushed. “That’s my dog. Uzi is such a cool person. We’ve been together since 2019, so we’ve been growing together.”

JT continued: “We just look at each other and are like, ‘Damn, we really cool. We really know each other. We really can exist and still like each other.’ It’s beyond love. He be wanting me to come hang with him. I’m like, ‘Boy, we live together — why do you want me to come to the studio and hang with you?’”

Whenever Uzi does decide to propose, JT has some specific guidelines as far as how she wants her perfect day to look.

“It cannot be ghetto,” she said. “It cannot be nobody with no ugly outfits. It can’t be nobody standing in the way with too many phones. It needs to be very elegant. I need to have soft glam, short nails. … It don’t have to be as big as my wedding is going to be, but it needs to be aesthetically pleasing.”

The main thing for JT, while much of her adult life had been in the spotlight, she wants for Uzi and herself to keep the moment private and tell the public when they feel comfortable.

“I kind of don’t want it to be on Instagram after. I don’t want my engagement to be announced on The Shade Room. I don’t want that energy. Oh my God, I would die,” she explained. “This is not for y’all. I want it to be how Beyoncé did it, with a little video of it and the people see it years later. Let’s keep some things to ourselves.”

Uzi and JT began dating in late 2019 and appeared to have been on and off at times over the last six years, but remain going strong and living together in 2025.

On the music side, JT teamed up with KAYTRANADA for the remix to her braggadocios “Ran Out” single earlier in July.

Frank Bumstead, co-founder of the entertainment business management firm FBMM, died Sunday (July 20) in Nashville at age 83.

Bumstead co-founded FBMM in 1990 with Chuck Flood (who passed away in 2023), John McCarthy (who retired in 2009) and Mary Ann McCready, who is still of counsel with the firm. Prior to co-founding FBMM, Bumstead served as CEO of JMR Investments for 14 years and proprietor at Bumstead Company for 10 years.

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FBMM will continue to be led by company owners Julie Boos, David Boyer, Jamie Cheek, Duane Clark, Jen Conger, Dan Killian, Carmen Romano and Erica Rosa.

Bumstead served as a key leader in the entertainment industry for more than four decades. He served on the board of the Country Music Association (CMA), including serving as president of the board in 2014 and chairman in 2015. He also served on the boards of the Armed Services Mutual Benefit Association, Blue Chair Bay Rum, Brookdale Senior Living, Conway-Welch Family Foundation, Fishbowl Spirits LlC, Junior Achievement of Nashville, Junior League Advisory Board, Nashville Wire Products, United Supermarkets of Texas and the Watkins Institute. He was a founding member of the Memorial Foundation’s Board of Trustees and chaired the Foundation’s Finance and Investments Committee for more than two decades. He was also chairman of Overwatch Alliance and involved with the Armed Services Mutual Benefit Association.

In 2018, Bumstead was recognized with the Frances Preston Outstanding Music Industry Achievement Award by the T.J. Martell Foundation. He also earned the Nashville Opera’s Francis Robinson Award in 2019 for considerable contributions to the arts. In 2022, Bumstead earned the CMA’s William Denny Award, honoring a lifetime of dedication and service to the CMA board of directors.

“Frank was brilliant, passionate and a role model to all of us at FBMM,” Cheek, owner/CEO of FBMM, shared in a statement. “His expertise in investments and finance was key to FBMM’s ‘edge’ over the years and why we called him our ‘secret weapon.’ Frank was one of a kind, and we will continue to honor the legacy he instilled of hard work and dedication.”

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“Frank cared deeply about this industry and the people in it, whether you were a client or not,” Sarah Trahern, CMA’s CEO, said in a statement. “I first met Frank during my interview for the CMA role in 2013, and I’ll never forget his sharp, thoughtful questions — or the unmistakable twinkle in his eyes. He helped lead several important initiatives that positioned CMA for long-term growth and stability. Although he left the Board in 2021, we remained in close touch over the years. My heart is with his wife, Ann, their sons, and all who knew and loved him. Frank was truly one of a kind.”

“Frank Bumstead has been a father figure to me for over 30 years,” Frank Thomas, National Baseball Hall of Famer, said in a statement. “Through the ups and downs, he was my anchor. There was nothing I couldn’t call and ask him, but he always kept me in line to do what was right. Some people you can’t replace in your life and that person is Frank Bumstead. I will miss him dearly. God bless the Bumstead family.”

“Although Frank was the primary architect of the [Memorial] Foundation’s sound and successful fiscal strategy, what was most important to him was that the Foundation’s funding supported local nonprofit organizations that helped make life better for others,” Memorial Foundation board chair Dr. David McKee said in a statement. Varina Buntin, the Foundation’s board vice chair, added, “Frank’s wise counsel and passion for the Foundation’s mission since its inception has been invaluable, and he will be sorely missed.” 

“I have a sincere appreciation for his guidance and leadership throughout the years of working together,” Mark Woodforde, International Tennis and Sport Hall of Famer, said in a statement. “He inspired me to grow both personally and professionally. I will miss his friendship and words of encouragement, and he will be deeply missed, but the heavens above have gained a true gentleman.”

“Frank Bumstead was a true patriot having served in combat as a Navy officer in Vietnam,” added Judge George C. Paine II. “He gave generously to veterans’ causes in time and treasure, whether personally or through advocating for them within the Memorial Foundation. Personally, I loved swapping ‘war stories’ with him, and will greatly miss him, his wit, financial acumen and wisdom.”

Funeral services for Bumstead are being planned.

Noah Cyrus was joined by some pretty special people on and offstage at her recent album release concert in London, including dad Billy Ray.

Sharing photos from the performance via Instagram on Sunday, the younger Cyrus gave her famous father a special thank-you for helping her mark the arrival of new album I Want My Loved Ones to Go With Me. The pair sang “Stand Still” from Noah’s 2022 album, The Hardest Part, as well as “With You,” a track originally written by Billy Ray that his youngest daughter covered for her new LP.

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“Thank you always to my incredibly talented band and to my father, who I love so dearly, for joining us,” Noah wrote. “We got to sing Stand Still and With You, which is actually a song my father wrote from his childhood bedroom and was one of the first songs he ever wrote.

“That’s been a song of comfort that he’s sung to me since I was a little kid and it meant so much to me to be singing it together and share that moment with one another,” she continued. “It’s always been the gift of music thats brought us together. feeling extremely grateful for the incredible fans who were singing every word from the new record. im one lucky girl.”

Also at the show was Billy Ray’s girlfriend, actress Elizabeth Hurley. “Your show was absolutely beautiful,” the movie star wrote in the comments of Noah’s post. “Thank you for having us. It was wonderful to see you play with your Daddy.”

In one of the snaps Noah posted, she hugs her dad onstage as both of them smile. She also shared a video of herself singing gently as Billy Ray plays acoustic guitar behind her.

The country star shares Noah with ex-wife Tish Cyrus, along with superstar daughter Miley and son Braison. Billy Ray is also stepfather to Tish’s two kids from a past relationship, daughter Brandi and son Trace.

The father-daughter performance at Noah’s concert follows months of rumored rifting within the Cyrus clan. In January, Trace voiced concerns for his dad in an open letter, writing: “Noah desperately has wanted you to be a part of her life and you haven’t even been there for her. That’s your baby girl. She deserves better.”

Shortly afterward, however, Noah signaled that she and her father were on good terms by praising Billy Ray’s song “Lost” upon its release. Miley has also since addressed the speculation, writing on Instagram Stories in May, “My dad and I have had our challenges over the years … I’m at peace knowing bridges have been built and time has done a lot of healing.”

Justin Bieber returns to Billboard’s charts in a big way thanks to his new surprise album, Swag.

Released July 11 via JRC/ILH/Def Jam/Republic, the set debuts at No. 2 on the Billboard 200 (dated July 26) with 163,000 equivalent album units earned in the United States in its opening week, according to Luminate. Announced just 10 hours before its release, the album was only available in digital and streaming formats in its first week — meaning no physical editions were available, a typical limitation for surprise album drops.

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Bieber also makes a major impact on the Billboard Hot 100, debuting 16 songs on the chart, let by “Daisies” at No. 2. Here’s a full breakdown:

Rank, Title:
No. 2, “Daisies”
No. 17, “Yukon”
No. 18, “Go Baby”
No. 21, “All I Can Take”
No. 33, “Way It Is,” with Gunna
No. 35, “Things You Do”
No. 37, “Walking Away”
No. 49, “Butterflies”
No. 56, “Devotion,” with Dijon
No. 57, “Sweet Spot,” with Sexyy Red
No. 59, “First Place”
No. 70, “Swag,” with Cash Cobain & Eddie Benjamin
No. 79, “Too Long”
No. 83, “Glory Voice Memo”
No. 84, “Dadz Love,” with Lil B
No. 86, “405”

The only Swag cuts to miss the Hot 100 are “Zuma House,” “Forgiveness” (by Marvin Winans) and the three skits with Druski: “Soulful,” “Therapy Session” and “Standing on Business” (non-music-focused tracks are generally ineligible to chart).

The 16 debuts up Bieber’s total to 121 career entries — the 10th-most of all time. He also helps Dijon, Eddie Benjamin and Lil B score their first career entries on the chart.

“Daisies” earns Bieber his 27th career Hot 100 top 10, and first new top 10 since “Ghost” in 2022. He ties Janet Jackson for the 10th-most top 10s in the chart’s nearly 67-year history. He also pushes his totals to 43 top 20 titles (tying the Beatles and Rihanna for the eighth-most) and 58 top 40 hits.

Vocalist Jane Eugene, a founding member of the ‘80s British band Loose Ends — which scored No. 1 R&B hits on the Billboard charts with “Hangin’ on a String (Contemplating)” and “Slow Down” — has been detained by ICE agents for nearly three months owing to a visa overstay.

Currently housed in a correctional facility in Kentucky and facing deportation, Eugene is scheduled to attend a hearing this week in hopes of being released on bond and allowed to stay in the country, even provisionally. In the meantime, a GoFundMe page has been organized on Eugene’s behalf to raise donations for her bail, legal fees, medical assistance and basic needs.

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According to Eugene’s representatives, the singer — who has lived in the U.S. for decades — was traveling across the Canadian border when she was stopped by immigration officers. That’s where ICE picked Eugene up and took her to a jail in upstate New York before her transfer to the Kentucky facility. She’s now been housed there for nearly three months, along with inmates convicted of various other crimes. Those “conditions are taking a huge toll,” as noted on her GoFundMe page. “Jane’s health is rapidly deteriorating. Unable to work or generate income for the past few months and foreseeable future, Jane needs our help.”

As also explained on the GoFundMe page, a provision under Section 245(i) of the Immigration and Nationality Act (INA) states that people who entered the country and applied for a green card before 2001 are allowed to reapply for legal status while still in the U.S., even if they’ve overstayed their visa. Because Eugene has lived in the U.S. for decades, she “meets the requirements for 245(i) and is ‘grandfathered’ in.”

Together with vocalist/guitarist Carl McIntosh and keyboardist/vocalist Steve Nichol, Eugene comprised the founding lineup of Loose Ends in 1980. The trio landed its first No. 1 R&B hit in 1985 with “Hangin’ on a String (Contemplating),” followed a year later by a second chart-topping R&B single, “Slow Down.” Before exiting Loose Ends in 1990, Eugene appeared on additional hits by the band, including “Watching You” and “Mr. Bachelor.” Since then, she’s been touring as Loose Ends featuring Jane Eugene.

If deported, Eugene faces the possibility of being banned from the U.S. for a decade.

“She loves America, has made her home here and wants to fight using every legal remedy available,” states the GoFundMe page. “To those of us who know her personally, she’s not just an R&B legend; she’s one of the most caring and compassionate human beings you will ever meet. Aside from enriching the lives of millions through her performances through the years and influencing numerous musical genres, including neo soul, house and hip-hop, she mentors aspiring artists and actively supports members of any community in need.”

Prize-winning Japanese comedian, Netflix star and all-around entertainer YURIYAN RETRIEVER can now add major-label solo artist to her illustrious list of titles, dropping her debut single “YURIYAN TIME” on Wednesday (July 16).

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The versatile funny woman, now based in the U.S., worked with sought-after music producer yonkey — producer of ATARASHII GAKKO! — on the new song, an earwormy number that naturally inspires courage after repeated listening despite its comical nature. YURIYAN, whose stage name as a singer is stylized in all caps, says that’s the core of what she aimed to convey through the track that showcases yonkey’s expertise. The 34-year-old multi-hyphenate and 28-year-old music producer opened up about the creative process of “YURIYAN TIME” in this conversation for Billboard Japan.

Tell us about your first impressions of each other.

yonkey: We met in a sort of conference room and talked about a lot of things. She said, “Could you listen to this song I wrote?” This often happens whenever I’m meeting with other musicians I produce, but they usually just play it on their iPhone. But YURIYAN was like, “I don’t have a recording, so do you mind if I do it here?” and performed it for me right there in full with just the beat. I was floored. My first impression of her was that she was more enthusiastic than any other artist.

YURIYAN: He says I was enthusiastic, but I just didn’t have the skills to make sounds or to record them, so I had to do it directly.

yonkey: I mean, usually it’s embarrassing to sing in front of someone at a distance of a table between you. But I had this gut feeling that if she could perform even under such circumstances, the project would definitely work out. It was such an electrifying moment.

YURIYAN: He asked me, “What kind of vibes do you like in a song?” I often think songs that have catchy intros are cool, so I told him, “I like songs that start off in a unique way.” And when I told him that I often put my thoughts and feelings into my comedy routines, he said… was it a scribble? A scrawl?

“Itemize them,” maybe?

YURIYAN: Yes! “An itemized list is fine, so write your thoughts down.”

Did you have an idea of what you wanted it to sound like?

yonkey: I was invited to go see YURIYAN’s comedy show once, and one of her segments had a kind of horror story feel to it. I wanted to add some scary sounds reminiscent of Japan and Japanese children’s songs. I thought I could reproduce that horror-tinged flavor that YURIYAN had written into her comedy routine by using delay on crows cawing in the intro to evoke the image of dusk.

YURIYAN: I heard from yonkey that he added that Japanese flavor to the track to suggest I was going global from Japan. You know what, though, a fortune teller once told me long ago that my guardian spirit is a crow. A yatagarasu, the three-legged crow used as the symbol of the Japanese national soccer team, is apparently watching over me. Also, my hometown is NYC… Oh, Nara Yoshino-cho, I mean. I thought maybe my guardian yatagarasu possessed yonkey and made him add those caws.

How did you two work out the lyrics?

yonkey: I only knew YURIYAN from what I’d seen in the media, so I wanted to know what she usually thinks about. She wrote about her love life and about the pent-up resentment she feels from daily life in the notebook she used to list her ideas, so I took her words and designed them into music. YURIYAN inspired the basic ideas and words of the lyrics, while I did the designing to make them sound pleasing.

YURIYAN: I sent him the list I jotted down, and he wrote lyrics about the core part of me that I hadn’t even realized I had, and it made me really happy. It was also catchy and cute on top of that, so I was impressed.

Could you elaborate on that “core part” that you didn’t realize you had?

YURIYAN: At first I wrote about feeling disappointed because my love life wasn’t working out, but when you read yonkey’s lyrics, you can see that it’s not just limited to romantic relationships. It’s about not catering to anyone and being like, I’m fine the way I am, you know? It’s basically about finding value in who you are and saying, “I’m OK with this!”

yonkey: But she also has sensitive and vulnerable sides to her, and I was really impressed by the way she’s like, “I’m the best” even though she has such traits. In the first verse, YURIYAN intentionally says she feels faint-hearted sometimes, but follows up immediately, “No I don’t, dumbass!” and flexes her strong self. I wanted to express that duality in the song.

There are plenty of other key words pulled from your list in the lyrics.

YURIYAN: Stuff about my comedy routines and personal life. And about playing the role of (professional wrestler) Dump Matsumoto in Netflix’s The Queen of Villains, and about my fitness coach Tomo Okabe, who I’ve been training with for a long time.

yonkey: All the parts that show her daily life I took from her notes. In hip-hop, it’s sometimes hard to get a message across when the lyrics only cover universal topics. I think it’s best to honestly express that person’s lifestyle, so I was confident that it would work out if she told me about such things.

And now YURIYAN has made her debut as a solo artist with the song.

yonkey: I always had the idea of making it an introduction to YURIYAN since this is her debut number. And since she’s based in the U.S., I was meticulous about the track, aiming to make music that could be included in Spotify playlists all over the world. I also wanted to make sure to include Japanese identity in the music, so I asked her to sing the song in Japanese.

I produce ATARASHII GAKKO! and I’m particular about using the Japanese language with them as well. You know how Japanese people have a hard time pronouncing English? I’ve been told by producers from other countries that they find our pronunciation to be distinctive, and I think that’s something we can use as a weapon. Translation features are available everywhere nowadays and we can understand what people are saying, so I figured Japanese was the only language that could draw out YURIYAN’s uniqueness even more. That’s another thing I focused on when I wrote this song.

YURIYAN: I talk about this as if it were normal, like, “Yeah I got to make my debut,” but I’m actually like, “Can this really be happening?” and still find it hard to believe. I really want to do what I can to make it a hit. I started TikTok a few days ago in a hurry because I want “YURIYAN TIME” to create a buzz. [Laughs] It’s a song that introduces me, and I want people to get to know me, but I think it’s also a song that will boost the energy of anyone who listens to it. So I hope people will enjoy it by replacing it with their own names, like “AKIKO TIME” or whatever. I want people from all over the world to listen to it, grown-ups and kids alike.

This interview by Atsuo Nagahori first appeared on Billboard Japan.

Fans of Demi Lovato‘s pop music can officially come out of mourning. According to a report from Rolling Stone published Monday (July 21), the singer is set to resurrect her mainstream influences on a dance-heavy new album, despite committing to a punk-rock pivot over the past few years.

Though many details of the LP are still under wraps, the publication confirmed that Lovato has been hard at work on a “celebratory dance-pop album” with executive producer Zhone, who says that the former Disney star is a “master in the studio.” “It’s been so inspiring working with Demi and experiencing her journey of continued leveling up,” he told RS.

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“This album is about letting inhibitions go, and we had so much fun making this music!” Zhone added. “It really comes across throughout.”

Led by an EDM-tinged single titled “Fast” — which Lovato has been teasing via video snippets on social media — the upcoming full-length is expected to mark a return to the form of the Camp Rock alum’s past pop-focused Billboard Hot 100 hits (think: 2015’s “Cool for the Summer” or 2017’s “Sorry Not Sorry”). It’ll follow 2022’s distinctly punk-rock effort Holy Fvck, which reached No. 7 on the Billboard 200.

Shortly before releasing Holy Fvck, Lovato commemorated the end of a pop-music era by posing solemnly in a photo with members of their team — including then-manager Scooter Braun — dressed all in black. “A funeral for my pop music,” Lovato wrote at the time on Instagram.

The star later doubled down on her pivot to rock music by releasing Revamped, an album of past Lovato pop hits reimagined in the edgier genre. With the new album approaching, however, Lovato recently shared a video on TikTok poking fun at their past departure from the mainstream, writing, “my pop music coming back to life after we held a funeral for it.”

One major change in Lovato’s personal life that has informed her musical homecoming is the vocalist’s marriage to producer Jordan “Jutes” Lutes,” according to RS. The pair tied the knot this past May.

“Over the past few years, Demi has found love, joy, and newfound confidence, making the choice to approach life with much more lightness and fun,” one unnamed source reportedly told the publication. “She took this sentiment into the studio, which can be felt in every track on this celebratory dance-pop album.”

Though Lovato always had an edgier sound than many of their fellow Disney Channel-bred pop stars, the performer shined in the pop-music landscape before transitioning away to rock. From 2008’s debut LP Don’t Forget to 2021’s Dancing With the Devil, all seven of Lovato’s studio albums leading up to Holy Fvck charted in the top 5 of the Billboard 200.

Lovato has also scored a number of Hot 100 hits over the course of her pop career, including top 10 entries “Heart Attack” and “Skyscraper.”