As K-pop continues its meteoric rise on the global stage, the industry’s biggest award show sets a new milestone with its first-ever U.S. date for its 25th anniversary.

This week, on Nov. 21, 2024, the MAMA Awards will be held at Hollywood’s iconic Dolby Theater, marking the first time the event has crossed over to the States since its introduction in 1999. Widely regarded as one of the premiere K-pop events of the year, the MAMAs have spent the last 25 years growing from a music video awards ceremony in a Seoul theater to a multi-day, international affair across Asia. This year, the 2024 MAMA Awards will kick off with one night in Los Angeles before jumping to two days at the massive Kyocera Dome stadium in Osaka, Japan.

“Taking a first step is challenging, but at the same time, it’s meaningful,” MAMA’s chief producer Yoon Shin Hye shares with Billboard. “We strive to present various stages with an unmatched scale and provide unique experiences to global fans.”

This year’s theme, “Big Blur: What is Real?,” encapsulates MAMA’s commitment to pushing boundaries and exploring ways to reshape and rethink the music industry. Meanwhile, legendary K-pop producer and music executive J.Y. Park will link with Anderson. Paak for a meeting of the musical minds, as HYBE and Universal Music’s LA-based girl group KATSEYE will team up with another local troupe in the Los Angeles Rams Cheerleaders.

In this exclusive preview of this year’s show MAMA’s chief producer Yoon Shin Hye, delves into the vision and execution behind this year’s event. From overcoming the logistical challenges of hosting in two countries to crafting unique collabs that embody the MAMA spirit, the CJ ENM executive offers an inside look at the dedication and innovation driving the award show to evolve at its 25th anniversary.

Congratulations on what’s sure to be the biggest MAMA Awards. While I know having a ceremony in the U.S. was spoken about in the past, what happened to make it officially occur this year?

Yoon Shin Hye: Looking back on our 25-year MAMA heritage, MAMA has been held across Asia including Macao, Singapore, Hong Kong, Vietnam and Japan and evolved to become the world’s No. 1 K-Pop awards, which started as the “Mnet Asian Music Awards.” Over the course of our 25-year journey, MAMA Awards has realized the value of “MUSIC MAKES ONE” with the growth of K-pop, and has established our own unmatched system and know-hows through facing and overcoming countless challenges. This has paved the way to host MAMA Awards in the U.S.

How long did it take to confirm MAMA in LA?

Every year as we hold KCON LA, I could feel the strong passion of fans in the U.S. and thought 2024 would be the right time to take a first step in the U.S. with the growth of K-pop. In the planning phase, we came up with the concept of “BIG BLUR,” as it’s about blurred boundaries between time and space, online and offline, imaginary and reality, language and culture, I thought it would be fun to run the MAMA Awards in relays from U.S. to Japan, and this perfectly fits to this year’s story.

How did the Los Angeles lineup come together?

As MAMA Awards is taking a significant first step in the U.S., we thought it would be meaningful to have rookies. So, we made a lineup for the first MAMA Awards in the U.S. with rookie artists. Plus, we have J.Y. Park, who marks the 30th anniversary of his debut, and RIIZE, who have special memories in the U.S. The group debuted in LA, and this year marks the first year of their debut and they are set to show something about their debut stories at MAMA Awards.

What went into the collaborations between J.Y. Park and Anderson .Paak, and KATSEYES with the LA Rams Cheerleaders? Take us through the process.

We wanted to show and present collaborations that have never been seen anywhere else only at MAMA Awards, and what only MAMA can make it happen. This year marks the 30th anniversary of J.Y. Park’s debut — he’s a renowned K-pop producer and K-pop artist — and Anderson .Paak is a Grammy Award winner. Anderson .Paak also has a strong interest in K-pop and recently directed a film about K-pop titled K-Pops! and, as it happens, the two artists are of the same Miryang Park clan [a Korean clan originating from the southeastern city of Miryang in South Korea].

On top of that, we have another special collaboration between the global girl group KATSEYE and the Los Angeles Rams Cheerleaders. We brought ideas about what we can only do in LA, what can be seen only at MAMA and to present performances with a diverse group of artists and become one through music at MAMA.

Actor Park Bo Gum will be the host for the U.S. date. How are you and he preparing?

Park Bo Gum has been with MAMA as a host since 2017 and he hosts the show with sincerity and delivers what MAMA wants to tell about its value and story. We’re confident that we can deliver our message and story well with our host, Park Bo Gum, at the MAMA Awards US.  Park is also looking forward to hosting.

What challenges have you faced or do you anticipate facing to successfully hold the MAMA Awards in LA for the first time?

MAMA tries a new thing every year. We strive to present various stages with an unmatched scale and provide unique experiences to global fans. This year, the MAMA Awards will take place in the U.S. and Japan in relays and be broadcast live around the world. This reflects our commitment to bringing people together around the world. This year’s concept especially means opening and creating a new world of MAMA that transcends dimensions of time and space. We decided to host MAMA Awards in two different regions, starting in LA on the 21st and then moving over to Osaka for two days. Taking a first step is challenging, but at the same time, it’s meaningful. Given the time difference and distance, it wasn’t easy to arrange a meeting to prepare and discuss, but the whole process was meaningful and fun to work toward the same goal with artists and staff to create a great show.

The Dolby Theater in Hollywood is a very different venue than the Kyocera Dome. How do you create a seamless experience between a theater and a stadium?

LA Dolby Theatre is a symbolic place to many and home of the Oscars, where the Academy Awards is held every year; it’s like the heart of Hollywood. For the past few years, MAMA Awards has been held at a dome-style venue, and Dolby Theatre has its own mood as a venue and different characteristics. We are going to show something different from our previous MAMA stages and artists will take the stage in a different way at the distinctive venue.

With Los Angeles opening the MAMA Awards this year, can you share the ways you’ll establish the “Big Blur: What is Real?” theme? It’s very interesting but somewhat abstract.

MAMA has always wondered what kind of a new thing will be created when new technology meets art, and has visualized and created stages with that idea. MAMA’s concepts have been comprehensive ones, reflecting trends and environmental changes like the world shifting from analog to digital age, and globally being connected online in this digital era. At this year’s MAMA, we wanted to talk about chaos caused by rapid technological change in our time, which is happening faster than ever and how technological advancement and convergence across industries are affecting the music industry. We also reflected our willingness to create MAMA’s own “NEW THING” that crosses boundaries between imaginary and reality, time and space and online and offline. And we wanted to ask a question of “What is Real?” and make people think about what kind of music they really like.

Historically, MAMA has been a place for new TV projects or teasers to be announced, like Produce 48 or Boys Planet. Are there any surprises for audiences this time?

As we have been taking an uncharted path, MAMA will be full of ever-evolving performances. We are working hard to meet high expectations. MAMA is one “big live show,” and will have many surprising moments. Although watching performances in clips is becoming more common these days, I’m sure it will be much more fun to watch it live.

Last week, supergroup Band Aid – organized by Sir Bob Geldof and Ultravox’s Midge Ure – announced that they would be releasing an “ultimate mix” of festive charity single “Do They Know It’s Christmas?” for its 40th anniversary. The new release will feature vocals from across the four recorded versions from 1984, 1989, 2004 and 2014, including takes from Bono, George Michael, Harry Styles (as part of One Direction) and more.

Ed Sheeran, who performed on the 2014 edition of the single alongside Coldplay, Sam Smith, Rita Ora and more, has since said that his vocals are being used without his permission on the latest remix.

Writing on his Instagram Stories, Sheeran said, “My approval wasn’t sought on this new Band Aid 40 release,” Sheeran said. “Had I had the choice I would have respectfully declined the use of my vocals.”

He added: “A decade on and my understanding of the narrative associated with this has changed, eloquently explained by @fuseodg. This is just my personal stance, I’m hoping it’s a forward-looking one. Love to all x.”

Sheeran was quoting a post by Ghanian-English afrobeats musician Fuse ODG, who says he declined to take part in the Band Aid 30 version back in 2014. “I refused to participate in Band Aid because I recognised the harm initiatives like it inflict on Africa,” he wrote.

“While they may generate sympathy and donations, they perpetuate damaging stereotypes that stifle Africa’s economic growth, tourism, and investment, ultimately costing the continent trillions and destroying its dignity, pride and identity.”

He continued, “By showcasing dehumanizing imagery, these initiatives fuel pity rather than partnership, discouraging meaningful engagement. My mission has been to reclaim the narrative, empowering Africans to tell their own stories, redefine their identity and position Africa as a thriving hub for investment and tourism.”

“Today, the diaspora drives the largest funds back into the continent, not Band Aid or foreign aid providing that Africa’s solutions and progress lies in its own hands.”

The song was first released in 1984 following a report by the BBC into famine in Ethiopia, but has since been criticized as an example of white-savior narrative towards issues in Africa. Moky Makura, executive director of non-profit organization Africa No Filter writing in The Guardian that “[Live Aid’s] portrayal of Africa triggered the birth of a patronizing industry whose mission it was to ‘save Africa.’”  

Over the weekend, Geldof responded to a report by New Zealand’s 1 News. “This little pop song has kept hundreds of thousands if not millions of people alive,” he said.

“In fact, just today Band Aid has given hundreds of thousands of pounds to help those running from the mass slaughter in Sudan and enough cash to feed a further 8,000 children in the same affected areas of Ethiopia as 1984.

“Those exhausted women who weren’t raped and killed and their panicked children and any male over 10 who survived the massacres and those 8,000 Tigrayan children will sleep safer, warmer and cared for tonight because of that miraculous little record.

“We wish that it were other but it isn’t. ‘Colonial tropes’, my arse.”

Billboard has contacted Band Aid for comment.

Over the weekend, The Kid LAROI took the stage at Nova’s Red Room for an intimate performance at Selina’s Sydney, the legendary venue nestled within Sydney’s Coogee Bay Hotel.

Known for its history of hosting iconic acts such as Midnight Oil, INXS, Nirvana, and Foo Fighters, Selina’s provided the perfect setting for an evening that showcased the Gadigal-born artist’s talent and connection with fans.

LAROI opened the night with his latest track, “Baby I’m Back,” setting the tone for a stripped-back set that reimagined his chart-topping hits. “This is a little bit of a different show,” LAROI told the crowd, describing the performance as an opportunity to “have some fun” in a more intimate atmosphere.

The intimate audience of just 500 were treated to performances of songs including “Girls,” “Nights Like This,” “Heaven,” and the emotional “Where Does Your Spirit Go?” Between tracks, LAROI engaged candidly with fans, sharing anecdotes and even surprising a few lucky attendees with ‘friends and family’ tickets to his upcoming Sydney show.

One of the most memorable moments came when LAROI performed his global hit “Stay,” asking the crowd, “Are there any Justin Bieber fans here?” Cheers erupted as he reflected on the collaboration. “It was a pleasure to write the track with Justin. I still like the song after three or four years, which is surprising,” he shared.

The night closed on a high note with a powerful rendition of “Love Again,” a standout from his 2023 debut album The First Time. Fans sang along to every lyric, underscoring the deep connection between the artist and his audience.

This performance comes just days before The Kid LAROI’s highly anticipated appearance at the 2024 ARIA Awards, where he is nominated in four major categories, including Best Solo Artist and Song of the Year for “Nights Like This.” The awards, set to take place on Nov. 20 at Sydney’s Hordern Pavilion, will feature performances by fellow Australian artists CYRIL, Jessica Mauboy, Amy Shark, and Hall of Fame inductee Missy Higgins.

LAROI’s rise to global stardom has been extraordinary, marked by major Billboard milestones. In 2021, his collaboration with Justin Bieber, “Stay,” soared to No. 1 on the Billboard Hot 100, making him the youngest Australian artist and the first Indigenous Australian to reach the top spot.

That same year, his mixtape F— Love debuted at No. 1 on the Billboard 200, making him the youngest artist to achieve this since Billie Eilish in 2019 and the first Australian male solo act since Keith Urban in 2013.

SXSW London has shared details about the ticket sale for 2025’s upcoming inaugural event in the U.K. Taking place in east London’s Shoreditch neighborhood from Jun. 2-7, the upcoming event will be the first time that SXSW has taken place in Europe, in addition to its home in Austin, Texas, and expansion into Sydney, Australia.

Passes for the entire event across the Conferences, Music and Screen Festivals will be available to purchase, as well as for individual separate programming strands. Tickets will go on sale on Nov. 21 and a 25% discount will be applied to those who purchase a pass from the general sale before Dec. 19. With the exclusive price offer, prices range from £488 for the individual programme strand passes, to £975 for platinum passes. For further ticket information, head to the SXSW London website.

SXSW London has also announced additional details about the venue partners throughout Shoreditch. These include Truman Brewery, Village Underground, Rich Mix, Shoreditch Town Hall, Shoreditch Church, Christ Church Spitalfields, Dream Factory (Chance St & Rivington St), Kachette, Bike Shed Moto Co, Shoreditch Studios / Over the Road, and Protein Studios.

Billboard has been confirmed as the event’s first official partner, and will host a night of music during the festival with a globally-renowned artist performing at the event. The show will also be ticketed to the general public. 

Mike Van, president of Billboard said, “We’re thrilled to partner with SXSW London for the inaugural 2025 event. This collaboration underscores our shared commitment to supporting and celebrating the global music community. Billboard will bring a night of live music celebrating world class artists, both established and on the rise, and will offer fans a truly unique experience within the festival.”

The festival will partner with local charities and community groups to provide 500 complimentary passes to ensure “the rich diversity” of the city is represented throughout the events and programming.

“We’re thrilled to share how many incredible venues are working with us already for SXSW London’s Shoreditch takeover next June,” said Katy Arnander, director of programming for SXSW London. “Shoreditch is renowned as a vibrant centre for creativity and technological innovation, as well as for its diversity, energetic youth culture, global cuisine and nightlife. We’re excited to be working closely with local stakeholders to ensure the festival creates a positive impact for the community it will take place in.”

In October, SXSW London announced that it would begin the process of accepting session proposals from the public across the various programming strands. The festival says that “thousands of session proposals have already been submitted from over 50 countries across the world.” The submission portal will remain open until Nov. 29 at the festival’s website.

Back in April 2021, it was announced that SXSW had signed a “lifeline” deal with P-MRC, a joint venture between Penske Media Corporation and MRC, making P-MRC a stakeholder and long-term partner with the Austin festival. P-MRC is the parent company of Billboard.

Jin‘s Happy tops this week’s new music poll.

Music fans voted in a poll published Friday (Nov. 15) on Billboard, choosing the BTS member’s debut EP as their favorite new music release of the past week.

The poll featured a strong competition from all genres, but Jin’s new collection especially inspired fans to make their choice heard, bringing in almost 83% of the vote. Voters this week chose Happy over new music releases from talent including Gwen Stefani, Tate McRae, Linkin Park, Shawn Mendes, Rauw Alejandro, Shaboozey, Lil Nas X and more.

Happy, the long-awaited set from the BTS superstar, has just six tracks, but it’s the longest listening experience fans have gotten from him yet; on his own Jin’s previously released singles only, making him the seventh and final member of BTS to put out a multi-song solo project.

“Putting the album together has allowed me to pause and reflect on just how much ARMY means to me,” Jin recently told Billboard. “As I worked on each track, I thought about what I wanted to convey to them, how I want to bring joy and happiness to them, while also expressing how much I missed them during our time apart.”

Jin was referring to the break he had from music while completing his mandatory military service.

“Before enlisting,” he said, “I was focused mainly on our group activities, so a solo album didn’t feel right at the time. But with all the members now taking turns serving, it felt like the right time to share something personal with ARMY who have supported us all along. I hope everyone enjoys it as much as I’ve enjoyed making it.”

Among the new music trailing behind Happy on this week’s poll is Gwen Stefani’s Bouquet, which came in second place, and Tate McRae’s “2 Hands,” which came in third.

See the final results of this week’s poll below, or here.