tuki.’s “Bansanka” rises 4-1 on the Billboard Japan Hot 100, dated Jan. 24, giving the rising singer-songwriter her first No. 1 on the Japan song chart.

“Bansanka” debuted on the Japan Hot 100 at No. 14 on Oct. 11 and stayed in the top 20 for 16 consecutive weeks. The poignant ballad with a title that means “Supper Song” finally reached the top spot this week after streaming climbed 3-1 with 9,760,960 weekly streams (up 9.7%) and downloads 8-5 with 6,629 units (up 41.8%). Total streams in Japan for this track have passed the 100 million mark. This song was popular online since before the actual recording was digitally released, through covers and other secondary uses that continue to be uploaded in droves. This explains the increase in video views (moving 5-4 with 1,980,614 views, up 19%), and karaoke (7-4).

Creepy Nuts jump 27-5 with “Bling-Bang-Bang-Born,” the opener for the anime series MASHLE Season 2, after debuting on the chart last week. The rapper/DJ duo’s latest hit broke into the top 10 in three metrics of the chart’s methodology: downloads (11-3 with 6,976 units), streaming (30-4 with 8,944,345 streams), and radio airplay (37-10). This song has been spreading on TikTok mainly in the U.S. and debuted at No. 8 on the Global Japan Songs Excl. Japan chart released Jan. 18. It’s gaining fans internationally, charting in the top 10 in four countries: U.S., France, U.K., and South Africa.

Mrs. GREEN APPLE charts two songs in the top 10 this week, with “Que Sera Sera” rising 5-4 after streaming increased slightly from the week before. The other track is “Nachtmusik,” which debuts at No. 7 after its digital release Jan. 17. The theme song for the film Silent Love rules downloads with 10,872 units, which is about 28% more than the first-week figures for “Que Sera Sera,” the trio’s previous single. “Nachtmusik” comes in at No. 11 for streaming with 5,480,372 streams, No. 6 for video and No. 14 for radio. 

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 Jan. 15 to 21, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

Billboard Arabia sat down for an exclusive one-on-one with Grammy-winning producer, rapper, songwriter and DJ Kasseem Daoud Dean — known professionally as Swizz Beatz — for an interview about his work in Saudi Arabia. These days, the 45-year-old musician-turned-businessman spends his time hyping up one place in particular, and that’s the Kingdom of Saudi Arabia.

“Why Saudi?” seems to be the question on everyone’s mind. “Why not Saudi?” Swizz Beatz answers assertively. “It’s so amazing and has so much heritage.” Speaking with the same passion you would find in locals of Jeddah and Riyadh arguing over which city they think is cooler, Swizz Beatz’s advocacy for Saudi creativity runs deep and started way before the kingdom decided to leverage celebrity influence as part of its global tourism campaign.

“It’s amazing to see where everything is going, from when I started coming to Saudi, to what I see today,” explains Swizz Beatz, who has been visiting the country since 2006 and supporting its talents even before that, such as in early 2000, when he crossed paths with a young kid from Jeddah who had big dreams of rapping about his homeland internationally.

“Skinny was the first Saudi artist I produced. His last album, I executive produced. I got him his deal, I structured his deal, and to see him on [the MDLBEAST] stage in front of all of those people, singing those songs that we were sitting in the studio with, it just shows you that Saudi is not far off at all!”

In March 2022, Skinny released the bass-laden track “Saudi’s Most Wanted,” produced by Swizz Beatz, accompanied by a three-minute video set to a montage of scenes throughout the kingdom.

“I think the creative community here is thriving! I have a compilation with some local artists called MOYA, including Jeed, Shaolin and Ntitled. All of those guys are family to me. When I came here and was listening to their music and their stories, I said to myself, ‘You know what? I want to give everybody music.’” A few months later, those same artists debuted at the region’s biggest music festival, Soundstorm.

Having worked with legends such as DMX, Jay-Z, Kanye West, Drake, Mary J. Blige and his wife, Grammy-winning singer/songwriter Alicia Keys, Swizz Beatz has always had an eye for creative talent. Much like an unofficial brand ambassador for the kingdom, Swizz Beatz can often be seen publicly commenting on his celebrity friends’ Instagram posts with Saudi flag and red heart emojis. “I’ve been telling them for years! I’ve been saying, ‘You have to come to AlUla! You have to see the development of The Line and NEOM. Go visit JAX!’” In the time since, Saudi Arabia has continued to boom with artists visiting through performance opportunities, or on their own accord. In the 2023 edition of Soundstorm, major headliners from the global hip-hop community came through including Will Smith, 50 Cent and Travis Scott, to name a few.

“See, I’m kind of biased about Saudi. For me, it’s like being home. It’s like asking me about my own home when you speak about Saudi. I feel like it’s going to be the number one place in the world, period. Especially when you look at all the new places being built, the energy the region has in general.

“I just recently went to the Noor Festival [in Riyadh] and there were a lot of amazing artists in that particular show,” he says. “There’s Ahmed Mater, who is a great friend.”

An avid collector of art, Swizz Beatz admits he’s constantly inspired by the many talents he meets in the kingdom. “I’m getting them [Saudi artists] into my museum show in New York at the Brooklyn Museum. That’s coming soon insha’Allah, so their work can be seen abroad as well. But the art scene [in Saudi] is super booming. There’s a lot of talent here on all sides of art — fashion, music and visual photography. To see all of these doors open has been amazing to watch.”

Swizz Beatz is much more than a spectator. His latest endeavor, the new headquarters of his Riyadh-based company, Good Intentions, is less office space and more incubator-like venue that can easily be transformed into an interchangeable setting, ideal for all facets of creativity.

“I’ve seen so many styles in Saudi already now. It’s not just one particular style,” he explains. Swizz Beatz admits Saudi is a melting pot of influences and aesthetics, and exporting its culture is just as important as the country opening up to the rest of the world.

When closing out the interview, Swizz Beatz gave a final testament to his excitement about the progress in Saudi, stating, “The thing that I like is that everybody’s in their own vibe and everybody’s supporting each other.”

At the turn of the millennium, the Arabic pop scene was flourishing and looking for its next big hit. In came Elissa with “Aayshalak” (Living for you), which became an instant hit in the Arab world and put the singer on the path to stardom. Elissa immediately left an imprint, and not only because she had found the perfect song for her vocals and personality. The ambitious singer had studied other hits with sharp precision and refined taste, and she made sure to have a say in the music production process until she got the perfect electronic beat for the song.

Elissa quickly sparked interest – and controversy. When her first music video was released, the young singer was immediately labeled as “bold.” But time would prove that she was never a talent who stumbled upon success by chance. From the outset, she had had her own vision, as evidenced by her introduction of house music to Arabic pop with master composer Jean-Marie Riachi.

Ahead of the release of her new album, the 13th of her musical career, we took a trip down memory lane with the singer to trace back all the milestones she has celebrated since her first album.

Some 32 years ago, Elissa clinched the silver medal at the Lebanese music competition Studio Al Fan. A record deal was supposed to follow, but her contract was shredded to pieces – she lacked talent, Studio Al Fan creator Simon Asmar told her. But Elissa did not give up on her dream. Even after that setback, she kept trying. If anything, she was even more determined.

In 1998, she released “Baddi Doub” (I Want to Melt), her first official song and title of her first album. With the track, Elissa began shaping her identity as an artist, paying no heed to what’s “popular” or “needed.” She confidently blended Arabic music and lyrics with Spanish melodies, and the black-and-white music video for the song was seen by the audience as bold. Right from the start, Elissa forged her own unique path.

Successful as it was in establishing her presence on the music scene, this first milestone left her with a drive to work even harder. In the summer of 2000, she released her second album W’Akherta Maak (What Should I Do with You), which would compete amongst the leading Arabic albums of the year against Abdel Majid Abdallah’s Enta Al Aziz (You’re the One), Hani Shaker’s Garhi Ana (My Wound), Muhammad Munir’s Fi Ishg El Banat (When it Comes to Loving Women) and Amr Diab’s Tamally Maak (Always with You).

The album featured “Betghib Betrouh” (Whether You’re Away or Gone), which propelled her from amateur status to professional. That Ragheb Alemeh would choose to make this duet with Elissa and feature it on his own 2001 album Saharouni El Leil following the collaboration’s resounding success spoke volumes about Elissa’s talent. Even for the singer herself, the success of “Betghib Betrouh” was a turning point in her quest for her identity as an artist. “I told myself at that moment: the talent I see in myself, Ragheb also sees it in me.”

With her first successful collaboration, Elissa saw herself climbing the ladder to stardom two steps at a time. The release of her third album, Ayshalak (Living for You), cemented her position as a pop star. “Ayshalak was not only a giant leap for me, but also for the whole music scene – pop music precisely.”

The song was not originally as fast-paced as the released version. The rhythm was accelerated upon Elissa’s request, who deeply admired another pop hit of the time. “‘Ayshalak’ came to life because I adored Amr Diab’s ‘Habibi Wala Aala Balu’ (My Lover Doesn’t Care) and wanted a similar song. Eventually, it turned out to sound nothing like it, but ‘Ayshalak’ was finally released.”

Besides perfect timing, a farsighted vision and a unique audacity, something else helped Elissa maintain her stardom after the first hit. Throughout the following years, the singer retained the same discipline and determination that helped her launch into the world of music. She was not the kind of pop star who chose from ready-made song projects. Instead, she participated in the song making and production processes and fostered partnerships with composers and songwriters who understood her points of strength. She insisted on getting involved in even the tiniest details – an insistence that can hardly be seen in a negative light if one were to look at the success she achieved, one album after another.

In 2004, she released her fourth album Ahla Donya (The Most Beautiful World), which, along with the titular song, laid the foundations for the path of romantic music that she subsequently followed, earning her the nickname “Queen of Emotions.” Recorded using the Super Audio sound technology – still a new innovation at the time – the album achieved worldwide success, earning Elissa a World Music Award for Best Selling Artist in the Middle East and North Africa. Elissa describes the title song, written and composed by Muhammad Al-Rifai and arranged by Jean-Marie Riachi, as an ode to all that love represents, a dreamy tale that expresses heartbreak as much as it does affection.

In early 2006, Elissa released Bastannak (Waiting for You), which went on to garner her another World Music Award. The global recognition for two years in a row was an unprecedented achievement in the Arabic music scene. The album sold over 3.7 million copies, and its songs were translated to many languages, including Hindi and Turkish.

One particular song from that album occupies a special place in Elissa’s heart. “When I hear ‘Fatit Sinin’ (Years Passed), I don’t feel like this is my voice in the song. I love this song. It doesn’t really remind me of anything. I’ve never experienced the state I’m singing about. But I love its music. I love its lyrics.”

The next year, Elissa unveiled her sixth album, Ayyami Bik (My Days with You). Like Bastannak, many of the album’s 11 tracks were translated to other languages. With “Betmoun” (Anything for You), Elissa stayed true to her identity as an artist, but still delivered a new musical genre that could be described as groundbreaking for its time. “Betmoun” was Elissa’s first of many successful collaborations with Marwan Khoury. The song was written and sung with a Lebanese accent, but it was adored by the Egyptian audience, Elissa recalls. It went to show the uniting power of music and how it can transcend borders and linguistic barriers.

Album number seven Tisaddaa Bi Meen (Would You Believe it) left Elissa with many unforgettable memories. Elissa remembers how “Aabali Habibi” (I Want to… My Love), which found its way to her by coincidence, struck her as a woman’s bold expression of love, declaring her wish to marry her lover and start a family with him. Elissa thought “Aabali Habibi” was realistic and tackled a subject that female artists rarely sing about. Plus, it would serve as a wonderful wedding song. As always, Elissa insisted on being involved in the production process to make sure the song came out as it did: “a romantic song by excellence.”

Most of the album’s songs were equally romantic, but each had its own story and emotions, and each reflected a different reality. Despite the misery embedded in the lyrics of “Amri La Rabbi,” faith took center stage in the song, reflecting the beliefs of Elissa the human being, who resorts to her faith to find strength in life.

As for “Min Gher Mounasba” (Without a Reason), written by Nader Abdallah and composed by Walid Saad, Elissa strayed from her usual romantic musical line to shine a spotlight instead on a social issue. For Elissa, singing about domestic violence was not an easy choice to make. “I was scared! It took me six or seven months to decide to sing it… But after that song, I broke the barriers stopping me from tackling taboos. No subject, sensitive as it was, was too scary to sing about. That’s when I discovered that art is, indeed, about sending a message.”

Some of Elissa’s songs conveyed social messages. Some stirred deep feelings in her listeners’ hearts. Others became the ultimate dance tune of their time. With this vast, diverse portfolio, Elissa’s music resonated with millions of listeners around the world. It was hardly a surprise, then, when her eighth album Asaad Wahda (The Happiest Woman) came in 13th position on Billboard’s World Albums chart for one week in July 2012. The album’s titular song, according to Elissa, is “full of positivity and joy. I sing it at every concert. It engages the audience in such a spectacular way. It’s a great song to perform at concerts.”

From a state of positivity, Elissa leapt in her ninth album to a state of love with Halet Hobb (which literally translates to “A State of Love”). In August 2014, the Halet Hobb appeared on the Billboard World Album chart, debuting at No. 3 and then hitting No. 7 and No. 12 in the following weeks.

Elissa had heard the melody of “Halet Hobb” (A State of Love) by coincidence while on a visit to Turkey. It was playing on the radio and she could not get it out of her head, eventually leading her buy the rights to reproduce the song in Arabic. She passionately recounts: “I don’t know how many Turkish songs I had to listen to until I finally found it.” As soon as she obtained the copyright for the melody, Elissa asked Nader Abdallah, her “emotional twin,” to write a song that fits the tune. She only needs to describe to Nader the emotion she would like her song to convey, and he’ll put it into lyrics.

The album also included “Beraghm Al Zorouf” (Despite the Circumstances), which she holds dear, being one of those songs that show a side of her personality, particularly in the verse “the weakness of the soul comes from the weakness of faith.” Elissa says she feels a deep connection to that verse, because it expresses strong faith despite challenges and setbacks.

Year after year and album after album, Elissa’s name became no stranger to Billboard charts. So when album number ten Sahharna Ya Leil (I’m Awake, O’Night) ranked No. 5 in October 2016 on Billboard’s World Albums chart it was far from a surprise. But the success of “Maktooba Leek” was. The song, released as part of the album, found its way to listeners’ hearts even without a music video or promotion. “This song conveys love in its most sublime form,” says Elissa.

Similarly, the song “Hekayat” (Stories), released in 2018 as part of her album Ila Kol Elli Bihebbouni (To All Those Who Love Me), achieved great success, ranking No. 10 in August 2018 on Billboard’s World Albums chart, despite not being made into a music video. Elissa is fond of many of her songs, but she admits “Hekayat” is the only song she listens to on a daily basis, drifting off to sleep to its melody. “Hekayat” was written by Osama Mustafa and composed by Mohamed Yahya. For Elissa, the song abounds with emotions that summarize the power of love.

In 2020, in celebration of two decades of a successful music career, Elissa released Sahbit Raey (A Woman of Opinion), whose 18 songs varied between the Lebanese and Egyptian dialects, and even included a song in French. With this twelfth album, Elissa sought to reaffirm her identity as an artist who never compromised on her unique spontaneity and strength of character.

The album includes “Ahwet El Madi” (The Coffee of the Past) written by Siham Al-Shaashaa and composed by Muhammad Rahim, which brought Elissa back to the past and its memories. “All I could feel with this song was nostalgia and longing for my father.”

As she approaches the silver jubilee of a successful music career, marked by many ups and downs and a wide variety of experiments with Arabic pop, Elissa insists that it is only with perseverance that she can maintain her stardom.

“I know I am successful,” she says. “I certainly do not deny it. But I’m not yet satisfied with what I have accomplished – nor do I want to be.”

This article is a translation of a piece that originally appeared on Billboard Arabia.

On Dec. 8, 2023, Billboard JAPAN announced its NICONICO VOCALOID SONGS TOP20 year-end results for 2023. This chart, which tracks the popularity of VOCALOID songs on Niconico, was launched on Dec. 7, 2022, so this is the first time that an annual ranking has been released for the chart. Taking the top position for the year is Yukopi’s “Kyoufuu All Back.”

The chart ranks the top 20 Vocaloid songs on Niconico using data such as the total number of plays of original and derivative videos, the total number of videos, the number of comments, the number of likes, and other figures, multiplying them by coefficients developed by Billboard JAPAN. Looking at the top 20 songs, it becomes apparent that songs on the chart come from a wide span of time — everything from Kairiki Bear’s “Venom,” released in 2018, to Sasuke Haraguchi’s “HITO Mania,” released in August 2023. wowaka’s “Unknown Mother Goose” (2017) and “Rollin’ Girl” (2010) also appeared in the chart. The ranking’s lineup represents a broad slice of Vocaloid culture, not just the latest trends. Another interesting point to note is that the ranking spans various generations of Vocaloid producers. There’s Kanaria, a young Vocaloid producer who debuted in 2020 and who took the throne as a top producer with their second song, “KING,” an instant smash hit. At the same time, there’s also the hit-maker PinocchioP, who has maintained a solid presence in the Vocaloid scene since his debut in 2009 and who has three songs in the chart (one of which is a joint production with another Vocaloid artist).

What can the chart results can tell us about the unique evolution of Vocaloid culture and key points to note about hit Vocaloid songs?

It would be no exaggeration to say that growth of Vocaloid culture has come hand-in-hand with secondary works posted on Niconico. User-generated content (UGC) like dance and vocal covers is becoming popular worldwide, and its impact is being felt on all kinds of platforms, like YouTube and TikTok. Looking at the chart, it’s clear that there’s been a lot of growth in original songs and also in secondary works, from “Goodbye Declaration,” which led the finger dance craze on TikTok, to “Phony,” “Yoidoreshirazu,” and “Marshall Maximizer,” which were featured in many dance covers. Nine of the 20 songs on the chart also took places on the annual 2023 “Top User Generated Songs” chart, which ranks UGC posted to YouTube.

The top-placing song, Yukopi’s “Kyoufuu All Back,” was part of this trend, coming in second for original songs and first for derivative works. “Kyoufuu All Back” was released on March 15, and in less than two weeks it had racked up over one million views on YouTube, becoming a mega-hit in the blink of an eye. The song has captured the hearts of all kinds of listeners, not just Vocaloid fans, due to its lyrics, which take a comedic look at an everyday situation, its catchy melodic structure, which is instantly unforgettable, and its laid-back, cute anime music video. After landing on the weekly chart in the number two position on April 5, it then climbed to first place in the following week, where it remained for eight weeks. This tremendous hit led to a rise in major collaborative Vocaloid songs, discussed on the following page.

It’s been 16 years since the release of Hatsune Miku. At some point during the intervening time, Vocaloid songs went from being a minor subgenre to a major musical genre. This is due not only to Vocaloid becoming well-established and accepted, but also to the rise of the internet and social media changing people’s lifestyles by making it easier for younger listeners to access music across genre lines.

The impact of Vocaloid is no longer confined to net culture and subcultures. It is now even affecting products and titles that are part of our everyday lives. Yukopi’s “Kyoufuu All Back,”  was adapted in July with new lyrics for Nissin Foods “Eat Seafood in Summer” Cup Noodle commercial. The speed with which the new song went to being used in a tie-up was startling, as was the fact that a Vocaloid song hit it so big. Fans were overjoyed to see Kaai Yuki, a somewhat niche Vocaloid character, appear not only in the original song’s music video but also in Nisshin’s commercial.

September saw the announcement of Pokémon feat. Hatsune Miku Project VOLTAGE 18 Types/Songs, a collaborative project between Pokémon and Crypton Future Media. There are 18 types of Pokémon, so the ongoing project, which has already begun, will be releasing songs and music videos from 18 Vocaloid producers in total. On December 1, all of the previously released songs were submitted to Niconico, so in the December 6 weekly chart that immediately followed, Project VOLTAGE-related songs took the 7th place and the 2nd to 5th place positions.

At the same time, events on Niconico itself, such as The VOCALOID Collection (often simply called “VocaColle”) and Mushoku Tomeisai, are broadening the listener base. VocaColle, launched in December 2020, is the world’s largest user submission-focused Vocaloid event. Organized by Dwango, it is held twice a year on Niconico. VocaColle 2023 Spring was held in March 2023, followed by VocaColle 2023 Summer in August. Highlights included the TOP100 Ranking and the Rookie Ranking, a gateway to success for young Vocaloid artists. VocaColle Summer also debuted a new event feature, the Neta Kyoku Tokosai (“Joke Song Festival”), and several of the songs from this festival also captured places on the NICONICO VOCALOID SONGS TOP20 Chart.

The Mushoku Tomeisai, on the other hand, is an anonymous submission event thought up by users as the antithesis of the VocaColle, which tends to emphasize rankings and numbers. It was held for the second time in November 2023, and the weekly chart that immediately followed consisted almost entirely of Mushoku Tomeisai entries.

Because of events like these, there are now specific days when Vocaloid songs especially stand out. They create buzz on social media, lowering the barrier to listening to Vocaloid songs or watching Vocaloid music videos. Hiiragi Magnetite, the Vocaloid producer behind “Marshall Maximizer,” which took 9th place in the annual chart, first captured the limelight when he came in 1st place in the first-ever VocaColle Rookie Ranking. “Kyu-kurarin” took 3rd place in the annual chart thanks to its 1st place position in the VocaColle 2022 Fall TOP100 Ranking, the ardent wish of its creator, Iyowa. In the VocaColle 2023 Spring TOP100 Ranking, leading Vocaloid producers Marasy, Jin, and Shota Horie (kemu) collaborated on the song “Shinjinrui,” which was ranked in 7th place on the annual chart.

No discussion of notable recent events in Vocaloid culture would be complete without mentioning the Project SEKAI Colorful Stage! feat. Hatsune Miku smartphone game (often called simply “Proseka”). The Sensor Tower APAC Awards recognize exceptional mobile apps and games from the APAC region, and in the Sensor Tower APAC Awards 2022, Proseka, a music game based on Vocaloid songs, was selected as the winner of the Most Popular Mobile Game in Japan Award. The game’s players are mostly men and women in their teens or twenties, and the game has played a major role in extending the reach of Vocaloid songs to young people.

Whenever a previously released song is announced as appearing on Proseka, social media begins buzzing, and it’s not unusual for the song’s name to become a trending topic on X (formerly Twitter). 13 of the 20 songs on the NICONICO VOCALOID SONGS TOP20 annual chart have appeared in Proseka, and nulut’s “Flower – Lower one’s eyes” was written specifically for the game. Proseka includes existing songs and songs written by Vocaloid producers for use in the game, but it also discovers new creators through Proseka NEXT, a contest that seeks out new songs to feature.

One of the most notable features of Vocaloid songs is that they don’t immediately fall out of favor. Hit derivative works and song connections shine new light on nostalgic favorites, drawing new attention to them and keeping them fresh and vibrant. The Niconico platform actively supports the creation of new songs while at the same time promoting the rediscovery of older songs through events like the Kizon Gakkyoku Fukkatsusai (“Existing Song Rejuvenation Festival”) event, held in November.

Veteran Vocaloid producers from the early days of the scene remain important figures, and new songs might find themselves facing off with popular old songs as rivals. Billboard Japan extends its heartfelt congratulations to the producers whose works claimed positions in this annual chart in the midst of this chaotic competitive landscape.

—This article by Yuka Higaki first appeared on Billboard Japan

There were mixed results for “Barbenheimer” in the 2024 BAFTA Film Awards nominations, which were announced on Thursday (Jan. 18). Christopher Nolan’s Oppenheimer was the most nominated film, with 13 nods, but Greta Gerwig’s Barbie received just five nods and was passed over for both best film and best director. Oddly, the BAFTAs don’t have a category for best original song, which would have boosted Barbie’s total.

Poor Things was runner-up to Oppenheimer for most nods (11), followed by Killers of the Flower Moon and The Zone of Interest, with nine each; Anatomy of a Fall, The Holdovers and Maestro, with seven each; and All of Us Strangers with six. Barbie tied with Saltburn, with five nods.

Nominees for best original score are the late Robbie Robertson for Killers of the Flower Moon, Ludwig Göransson for Oppenheimer, Jerskin Fendrix for Poor Things, Anthony Willis for Saltburn and Daniel Pemberton for Spider-Man: Across the Spider-Verse. All five of these scores are on the Oscar shortlist for best original score, announced on Dec. 21. Oscar nominations will be announced on Jan. 23.

Last year, four of the five BAFTA-nominated scores were also nominated for Oscars.

Killers of the Flower Moon was the 12th and last Martin Scorsese film that Robertson worked on. Robertson died in June at age 80.

While Killers of the Flower Moon did well in the nominations, the film’s director, Scorsese, and lead actress, Lily Gladstone, were passed over for nods.

Two music docs are nominated for documentary – American Symphony, about Jon Batiste, and Wham!, about the 1980s chart-topping pop duo.

Bradley Cooper was nominated for lead actor, director and original screenplay for his second film as a director, Maestro. He was nominated for five BAFTA Awards (lead actor, director, adapted screenplay, best film and original music) for his first film as a director, A Star Is Born. 

Fantasia Barrino is nominated for best actress for her role in The Color Purple.

Sandra Hüller was nominated for both lead actress (Anatomy of a Fall) and supporting actress (The Zone of Interest).

With both Gerwig and Emerald Fennell (Saltburn) were passed over for director nods; the only woman director in the running is Justine Triet for Anatomy of a Fall.

The BAFTA Film Awards ceremony takes place Feb. 18 from London’s Royal Festival Hall, with David Tennant, star of Doctor Who, hosting.

Here’s the full list of nominations for the 2024 BAFTA Film Awards:

Best film

Anatomy of a Fall — Marie-Ange Luciani, David Thion

The Holdovers — Mark Johnson

Killers of the Flower Moon — Dan Friedkin, Daniel Lupi, Martin Scorsese, Bradley Thomas

Oppenheimer — Christopher Nolan, Charles Roven, Emma Thomas

Poor Things — Ed Guiney, Yorgos Lanthimos, Andrew Lowe, Emma Stone

Leading actress 

Fantasia Barrino, The Color Purple 

Sandra Hüller, Anatomy of a Fall 

Carey Mulligan, Maestro 

Vivian Oparah, Rye Lane

Margot Robbie, Barbie

Emma Stone, Poor Things

Leading actor

Bradley Cooper, Maestro

Colman Domingo, Rustin

Paul Giamatti, The Holdovers

Barry Keoghan, Saltburn

Cillian Murphy, Oppenheimer

Teo Yoo, Past Lives

Supporting actress

Emily Blunt, Oppenheimer

Danielle Brooks, The Color Purple

Claire Foy, All of Us Strangers

Sandra Hüller, The Zone of Interest

Rosamund Pike, Saltburn

Da’Vine Joy Randolph, The Holdovers

Supporting actor

Robert De Niro, Killers of the Flower Moon

Robert Downey Jr., Oppenheimer 

Jacob Elordi, Saltburn

Ryan Gosling, Barbie

Paul Mescal, All of Us Strangers

Dominic Sessa, The Holdovers

Director                                                                              

All of Us Strangers, Andrew Haigh

Anatomy of a Fall, Justine Triet

The Holdovers, Alexander Payne

Maestro, Bradley Cooper

Oppenheimer, Christopher Nolan

The Zone of Interest, Jonathan Glazer

Original screenplay

Anatomy of a Fall — Justine Triet, Arthur Harari

Barbie — Greta Gerwig, Noah Baumbach

The Holdovers — David Hemingson

Maestro — Bradley Cooper, Josh Singer

Past Lives — Celine Song

Adapted screenplay

All of Us Strangers, Andrew Haigh

American Fiction, Cord Jefferson

Oppenheimer, Christopher Nolan

Poor Things, Tony McNamara

The Zone of Interest, Jonathan Glazer

Original score

Killers of the Flower Moon, Robbie Robertson

Oppenheimer, Ludwig Göransson

Poor Things, Jerskin Fendrix

Saltburn, Anthony Willis

Spider-Man: Across the Spider-Verse, Daniel Pemberton

Outstanding debut by a British writer, director or producer

Blue Bag Life — Lisa Selby (Director), Rebecca Lloyd-Evans (Director, Producer), Alex Fry (Producer)

Bobi Wine: The People’s President — Christopher Sharp (Director) [also directed Moses Bwayo]

Earth Mama — Savanah Leaf (Writer, Director, Producer), Shirley O’Connor (Producer), Medb Riordan (Producer)

How to Have Sex — Molly Manning Walker (Writer, Director)

Is There Anybody Out There? — Ella Glendining (Director)

Film not in the English language

20 Days in Mariupol — Mstyslav Chernov, Raney Aronson Rath

Anatomy of a Fall — Justine Triet, Marie-Ange Luciani, David Thion

Past Lives — Celine Song, David Hinojosa, Pamela Koffler, Christine Vachon

Society of the Snow — J.A. Bayona, Belen Atienza

The Zone of Interest — Jonathan Glazer

Animated film

The Boy and the Heron — Hayao Miyazaki, Toshio Suzuki

Chicken Run: Dawn of the Nugget — Sam Fell, Leyla Hobart, Steve Pegram

Elemental — Peter Sohn, Denise Ream

Spider-Man: Across the Spider-Verse — Joaquim Dos Santos, Kemp Powers, Justin K. Thompson, Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg

Outstanding British film

All of Us Strangers — Andrew Haigh, Graham Broadbent, Pete Czernin, Sarah Harvey

How to Have Sex — Molly Manning Walker, Emily Leo, Ivana MacKinnon, Konstantinos Kontovrakis

Napoleon — Ridley Scott, Mark Huffam, Kevin J. Walsh, David Scarpa

The Old Oak — Ken Loach, Rebecca O’Brien, Paul Laverty

Poor Things — Yorgos Lanthimos, Ed Guiney, Andrew Lowe, Emma Stone, Tony McNamara

Rye Lane — Raine Allen-Miller, Yvonne Isimeme Ibazebo, Damian Jones, Nathan Bryon, Tom Melia

Saltburn — Emerald Fennell, Josey McNamara, Margot Robbie

Scrapper — Charlotte Regan, Theo Barrowclough

Wonka — Paul King, Alexandra Derbyshire, David Heyman, Simon Farnaby

The Zone of Interest — Jonathan Glazer, James Wilson, Ewa Puszczyńska

Documentary

20 Days in Mariupol — Mstyslav Chernov, Raney Aronson Rath

American Symphony — Matthew Heineman, Lauren Domino, Joedan Okun

Beyond Utopia — Madeleine Gavin, Rachel Cohen, Jana Edelbaum

Still: A Michael J. Fox Movie — Davis Guggenheim, Jonathan King, Annetta Marion

Wham! — Chris Smith

Casting

All of Us Strangers — Kahleen Crawford

Anatomy of a Fall — Cynthia Arra

The Holdovers — Susan Shopmaker

How to Have Sex — Isabella Odoffin

Killers of the Flower Moon — Ellen Lewis, Rene Haynes

Cinematography

Killers of the Flower Moon, Rodrigo Prieto

Maestro, Matthew Libatique

Oppenheimer, Hoyte van Hoytema

Poor Things, Robbie Ryan

The Zone of Interest, Łukasz Żal

Editing

Anatomy of a Fall, Laurent Sénéchal

Killers of the Flower Moon, Thelma Schoonmaker

Oppenheimer, Jennifer Lame

Poor Things, Yorgos Mavropsaridis

The Zone of Interest, Paul Watts

Costume design

Barbie, Jacqueline Durran

Killers of the Flower Moon, Jacqueline West

Napoleon, Dave Crossman, Janty Yates

Oppenheimer, Ellen Mirojnick

Poor Things, Holly Waddington

Makeup & hair

Killers of the Flower Moon — Kay Georgiou, Thomas Nellen

Maestro — Sian Grigg, Kay Georgiou, Kazu Hiro, Lori McCoy-Bell

Napoleon — Jana Carboni, Francesco Pegoretti, Satinder Chumber, Julia Vernon

Oppenheimer — Luisa Abel, Jaime Leigh McIntosh, Jason Hamer, Ahou Mofid

Poor Things — Nadia Stacey, Mark Coulier, Josh Weston

Production design

Barbie — Sarah Greenwood, Katie Spencer

Killers of the Flower Moon — Jack Fisk, Adam Willis

Oppenheimer — Ruth De Jong, Claire Kaufman

Poor Things — Shona Heath, James Price, Zsuzsa Mihalek

The Zone of Interest — Chris Oddy, Joanna Maria Kuś, Katarzyna Sikora

Sound

Ferrari — Angelo Bonanni, Tony Lamberti, Andy Nelson, Lee Orloff, Bernard Weiser

Maestro — Richard King, Steve Morrow, Tom Ozanich, Jason Ruder, Dean Zupancic

Mission: Impossible — Dead Reckoning Part One — Chris Burdon, James H. Mather, Chris Munro, Mark Taylor

Oppenheimer — Willie Burton, Richard King, Kevin O’Connell, Gary A. Rizzo

The Zone of Interest — Johnnie Burn, Tarn Willers

Special visual effects

The Creator — Jonathan Bullock, Charmaine Chan, Ian Comley, Jay Cooper

Guardians of the Galaxy Vol. 3 — Theo Bialek, Stephane Ceretti, Alexis Wajsbrot, Guy Williams

Mission: Impossible — Dead Reckoning Part One — Neil Corbould, Simone Coco, Jeff Sutherland, Alex Wuttke

Napoleon — Henry Badgett, Neil Corbould, Charley Henley, Luc-Ewen Martin-Fenouillet

Poor Things — Simon Hughes

British short animation

Crab Day — Ross Stringer, Bartosz Stanislawek, Aleksandra Sykulak

Visible Mending — Samantha Moore, Tilley Bancroft

Wild Summon — Karni Arieli, Saul Freed, Jay Woolley

British short film

Festival of Slaps — Abdou Cissé, Cheri Darbon, George Telfer

Gorka — Joe Weiland, Alex Jefferson

Jellyfish and Lobster — Yasmin Afifi, Elizabeth Rufai

Such a Lovely Day — Simon Woods, Polly Stokes, Emma Norton, Kate Phibbs

Yellow — Elham Ehsas, Dina Mousawi, Azeem Bhati, Yiannis Manolopoulos

EE rising star award (public-voted)

Phoebe Dynevor

Ayo Edebiri

Jacob Elordi

Mia McKenna-Bruce

Sophie Wilde

On Dec. 22-23, Shan Yichun hosted her inaugural solo concert “Please Me” at the Hangzhou Olympic Sports Center. The tickets for the Dec. 23 performance were sold out within seconds, leading the organizers to announce an additional show on the 22nd. The fact that her debut concert was a sold-out success attests to Shan Yichun’s considerable popularity.

Over the past three years, Yichun has amassed numerous impressive works and garnered a large following. From achieving the title of national singing competition champion to finally holding her own solo concert, this moment in time is opportune for Yichun. “Now is the perfect time for a concert. Compared to when I first debuted, my current state, including my abilities in various aspects, is more mature.”

Compared to other emerging singers who debuted around the same time, Shan Yichun is undoubtedly fortunate. She first gained acclaim on a national platform and subsequently released the critically acclaimed album Courage. In addition to appearing on various music variety shows, she has also performed theme songs for many popular TV dramas. Now, she has her own solo concert… Opportunities are always given to those who are prepared. Yichun worked hard and ultimately amazed everyone.

To reach this point today, the 22-year-old Shan Yichun has been preparing silently for a long time. From courageously stepping onto the stage of a singing competition to creating her own representative works, Yichun has gradually gained enough confidence to hold a concert that is entirely her own. In Shan Yichun’s eyes, the theme of the “Please Me” concert reflects her current true feelings — instead of pleasing the world, Shan Yichun now wants to please herself more.

“I hope that my state can be as self-consistent as possible and please myself first. This is the most important thing I want to accomplish at this stage. Because I know that my fans, family and colleagues at the record company, everyone has their own different expectations of me.”

The First Love & Attempts Are Unbreakable

In 2023, Shan Yichun encountered numerous unforgettable “firsts.” In addition to headlining her inaugural solo concert in December, she also made her debut as a special guest at Eric Chou’s concert in Shanghai in October. It marked the first instance in Shan Yichun’s life that she was featured as a guest for another vocalist. “I am genuinely honored. Eric Chou is a seasoned luminary in the realm of music, and performing with him on stage was an exceptionally memorable experience. Being a guest at his concert has provided me with a fresh perspective for my own performances.”

Singing Eric Chou’s “Unbreakable Love” in a singing competition was where many audiences first encountered Shan Yichun. From singing the song on a TV show to performing it alongside the original singer several years later, Yichun finds the “miracle of fate” quite remarkable. “‘Unbreakable Love’ is an emotional connection between me and my fans, and many of them got to know me through this song. I am grateful and cherish both my fans’ support and Eric Chou’s assistance.”

Her debut album Courage earned Shan Yichun the best new artist award at the first TME “Wave Music Awards”; this was also a unanimous affirmation from over a hundred music industry judges. “This award is a great encouragement for me because there is only one chance for a new artist award in a lifetime. I hope to make better quality music in the future and continue to uphold good music standards.”

Courage is an album in which Yichun strives to “please herself.” Singing theme songs for movies and TV shows pleases the audience of those productions, while participating in music variety shows pleases the audience of those online platforms, but only a complete concept album is what truly pleases the singer herself.

Courage has allowed Shan Yichun to understand more about the musical direction she excels in. When it comes to the style of her next album, Shan Yichun hopes to explore more diverse musical possibilities in terms of content expression.

Growing Freely, Moving Forward Together With the Audience

When participating in the competition, many viewers praised Shan Yichun’s singing voice, as if it were born with a soul. Everyone said, “Shan Yichun sings so well,” and the ethereal voice that strikes the soul is why so many fans wholeheartedly fell in love with Yichun. But in Yichun’s view, she doesn’t rely purely on her innate talent for singing. Even for the most acclaimed ballads, Yichun has undergone long periods of practice and learning to sing as well as she does now.

On Yichun’s personal Weibo, there is a tag called “#Shan Yichun’s Life Sketch#.” She will update her life segments from time to time and record some interesting life fragments. “I want to share some very beautiful moments in my life with my fans in the form of a life sketchbook. I am not someone who is particularly good at expressing love, but I just hope that I can establish some emotional connections with my fans through this method.”

Finding one’s own pace of life is important, just as Shan Yichun said to her fans in the comments section of her new single “Wonder”: “Everyone has their own rhythm; we are not in a hurry, take it slow.”

Shan Yichun once wrote a very touching message to her fans on Weibo: “Thank you for your love, which allows me to grow freely. I hope that we can always accompany each other in the future and bravely move forward together.” It is the unwavering love from the fans that supports Yichun to where she is today, allowing her to continue being herself completely. Don’t forget, the premise of “pleasing oneself” is first learning to “mutually please.”

The two-way love allows Yichun to never lose touch with her audience.

–Written by Wang Jifan

Billboard Japan spoke with Japanese alternative rock band hitsujibungaku for its Women in Music interview series featuring female players in the Japanese entertainment industry. The WIM initiative in Japan began last year to celebrate artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan as a “Billboard Japan Presents” collection by writer Rio Hirai, who continues to speak with women to highlight their stories.

hitsujibungaku consists of two female members Moeka Shiotsuka (vocals & guitar) and Yurika Kasai (bass), and one male member, Hiroa Fukuda (drums). The trio’s recent achievements include its hit song “more than words” being featured as the ending theme for the popular anime series Jujutsu Kaisen’s Shibuya Incident story arc and recording an exceptional turnout at this year’s FUJI ROCK FESTIVAL ’23 for a daytime performance on the Green Stage.

The band released its third studio album from a major label called 12 hugs (like butterflies) on Dec. 6. The members chatted about this latest release and shared their thoughts on some of the gender imbalances in the Japanese music industry from their perspective as a mixed-gender group.

Congratulations on the release of your new album 12 hugs (like butterflies). It has a jacket that leaves a lingering impression featuring Ms. Moeka Shiotsuka in a pose known as a butterfly hug. The album itself starts off with an acoustic number that gives off a personal vibe. Could you share a bit about why the album’s lineup turned out this way?

Moeka Shiotsuka: We were thinking of ending the album with an acoustic-type song at first. That’s how the song “Hug.m4a” came about, but when we put it at the end, it gave a really dainty impression and we were like, “This isn’t it.” So we decided to end the album on a strong note with the song “FOOL.” And when we placed “Hug.m4a” as the first track, the lyrics seemed to symbolize the whole album and felt like a great intro to it. That’s why we decided to go with that structure.

Hiroa Fukuda: When Shiotsuka shared the idea of the titles and structure with me, I thought her word choices were excellent. I learned the term “butterfly hug” for the first time with this album, and thought it was perfect because I’d sensed that kind of “giving yourself a hug” vibe in each of the 12 songs on the set. There are many songs that I personally like, and it feels like this album is an updated version of our early stuff.

Yurika Kasai: “Butterfly hug” is a nice sentiment isn’t it? I have a lot of problems, but I’ve come to accept that I am who I am, even including the part about having problems. I now think about how to go on living based on that. I also like how it focuses on the number 12 because each of the 12 songs are different in color.

This album is your first full-length album in a year and a half. It feels like hitsujibungaku expanded its reach dramatically during that period of time.

Shiotsuka: I’m glad we have more opportunities, like performances on TV and in music festivals, to reach people who haven’t been exposed to the kind of music we do. For example, at festivals where multiple artists perform, if I see someone in the audience who looks like they’re not into our show, I feel like, “I really want to make that person smile.” I don’t mean I want everyone to like every one of our songs, just that it’d make me happy if even a small number of people think, “Maybe I like this one,” and the number of people like that increases.

Fukuda: Having popular appeal has been our goal since we started the band. Balancing mainstream and underground. Our music is influenced by various genres like alternative rock, shoegazer, and post rock, and we want people who aren’t familiar with these genres to find out about them. The Jujutsu Kaisen ending theme, “more than words,” is included on our new album, and we’re glad that the people who discovered us through this song will listen to our other stuff as well.

Kasai: Since we’ve had more opportunities to appear in the media, we’ve been able to meet artists of various genres. There’s a lot we can take in from the outside world, and we’re now more aware of reaching “outward.” This is reflected in our stage performances, I think.

Shiotsuka: We deliberately aimed to do pop for our previous album, but this time we tried to do whatever we wanted. I didn’t want to yield anything until I reached a quality that I thought was good.

Fukuda: I also felt like I was going back to my roots. Like, be cynical, don’t play my instrument in a habitual way, and freely do edgy stuff.

Sounds like you’re in a healthy place where you’re able to make an album with that mentality during a period when your reach is growing. Incidentally, this interview series began in part because of the gender imbalance we noticed on the Billboard Japan charts. Ms. Shiotsuka and Ms. Kasai, do you think being a woman has had any impact on your daily lives and musical activities?

Shiotsuka: While this doesn’t pertain to any of our recent shows, I think there’s a tendency where it’s pretty obvious that projects featuring female bands or artists are supported mostly by male fans, especially in small-capacity “live houses” (nightclubs). Of course there shouldn’t be any limitations based on gender in liking a certain band’s music, but I do find myself questioning the guys’ intent, like, “Do they really appreciate the music?”

Kasai: I really get what Moeka is saying. We want people to genuinely enjoy our music, but start wondering what fans of the opposite sex are looking for and become more concerned than necessary about how we look in their eyes.

Shiotsuka: Also, this isn’t really about music, but I feel that the world is inundated with images of women being consumed in a sexual way. Even posters warning people to be careful of traffic accidents depict characters in police uniforms with their breasts emphasized and it makes me wonder why.

Being a woman in a band, I don’t like having the concept of “female modesty” imposed on me from the outside. I used to wear dresses onstage before, but this year I decided to go with pants and it feels like a good fit with what I want to express in this band. It sits right with me.

Kasai:  Also, the staff at concerts and other events are mostly male. It may be unavoidable in part because there’s a lot of heavy lifting involved, but there are very few women when we go around the country on tour.

Shiotsuka: That’s so true. And the boxed lunches (for catering) tend to be calorie bombs. [Laughs] When we have to eat fried food for days on end, we’re like, “God I want to eat vegetables.” 

Other people in this interview series have also mentioned that point about how women are in the minority on the staff side of the (Japanese) music industry. One problem is that there are so few women in the upper ranks of organizations and that influences the entire industry.

On a different note, Mr. Shiotsuka, I read something you said in a past interview about the things you “thought about to keep doing music for a long time.” At that time, you mostly spoke about songwriting and wanting to “make music that you can keep on loving.” I’d like to ask you if there’s anything you wish were different so that female artists can keep doing music for a long time.

Shiotsuka: If a woman wants to continue doing music, it’s hard to avoid the impact of major changes in her life, for example if she chooses to become a mom. I’m 27 years old now and such choices are starting to feel real for me. Like if I were considering having kids, but have a full schedule laid out for next year, I’d definitely think about how my pregnancy could cancel the tour. But I know other female musicians who bring their kids to work and also that everyone will support me, so maybe it’s not really something to be so concerned about.

Kasai: Fukuda would probably take care of our kids if we asked him to keep an eye on them while we record.

Fukuda: [Laughs]

Shiotsuka: He probably would! [Laughs] Regardless of gender, I want to value being a human being before being a musician. It’s fine when work and life are in alignment, but I often put my personal life on the back burner when the balance goes off. I want to remember to prioritize my life.

–This interview by Rio Hirai first appeared on Billboard Japan

A little over a month after Kendrick Lamar headlined an event for Global Citizen’s Move Afrika campaign, the initiative is expanding to West Africa in 2024, with Ghana joining Rwanda as a host nation for a 2024 concert event.

The announcement arrived on Wednesday (Jan. 17) at the World Economic Forum in Switzerland from Global Citizen; pgLang, the creative imprint co-founded by Lamar and Dave Free; Nana Akufo-Addo, President of the Republic of Ghana; and Paul Kagame, President of the Republic of Rwanda.

The Move Afrika: Ghana initiative looks to drive economic investment in the Ghanian entertainment industry, and is part of the wider Move Afrika campaign, which aims to establish an international music touring circuit across Africa. Musical talent at the upcoming 2024 event in Accra, Ghana, has not been announced, but Global Citizen previously brought Usher, SZA, Stormzy and TEMS to a 2022 concert in Accra as part of a different campaign.

“I am excited to announce that later this year, Global Citizen will return to Ghana with Move Afrika: Ghana. Global Citizen is known for leveraging live music events to engage youth while creating social and economic impact,” said President Akufo-Addo. “We are delighted to join Rwanda in becoming the next destination for Global Citizen’s multi-year, multi-market pan-African tour and expect continued impact in the years ahead. Today, we celebrate this milestone for Ghana. We look forward to future announcements on this growing cohort of Move Afrika destinations.”

“We visited Accra for the first time in 2022 and really connected with the people and the culture. Accra will always be a special place for us and we are excited to work with Move Afrika and expand our efforts to Ghana,” pgLang said in a joint statement.

“Congratulations to my brother and friend, President Nana Akufo-Addo, for your partnership with Move Afrika,” offered President Kagame. “Last month, Rwanda was privileged to host the inaugural Move Afrika concert, in partnership with Global Citizen. Without exaggeration, Kendrick Lamar moved the whole city of Kigali with his performance. We are even happier that he took the time to engage with our local artists. Africa has the talent. More often than not, what they lack is mentorship and support. Global Citizen’s commitment to develop the workforce needed for professional concert tours will leave an important economic legacy for our region.”

“We are honored to bring Move Afrika to Ghana. Our partnership with the Ghanaian and Rwandan governments will showcase the best of African creative talent to the world, while generating economic investment into the local creative economy, which will have a lasting impact across the continent for years to come,” said Kweku Mandela, Global Citizen’s chief vision officer, in a statement.

YOASOBI’s “Idol” returns to No. 1 on the Billboard Japan Hot 100, dated Jan. 17, extending its all-time record for weeks atop this chart to 22.

The Oshi no Ko opener is back at No. 1 after 19 weeks — the last time the long-running hit took the top spot was on the chart dated Sept. 6 — and while overall points for the track are down by 13% from the week before, it comes in at No. 1 for streaming, No. 2 for karaoke, No. 4 for downloads and video views, and No. 33 for radio airplay.

Ado’s “Show,” the song tied for second-most weeks at No. 1 (13 weeks) with Official HIGE DANdism’s “Subtitle,” holds at No. 2 this week. Points for “Show” are down by 18%, but the USJ event theme continues to perform well, hitting No. 2 for streaming and video, No. 3 for downloads, and No. 5 for karaoke.

Last week’s No. 1 song, Number_i’s “GOAT,” continues to rule downloads and video, coming in at No. 3 on the Japan Hot 100 this week.

tuki.’s “Bansanka” rises 6-4, breaking the 15-year-old singer-songwriter’s personal record for highest position on the Japan Hot 100. Spotify Japan included the rising artist on its RADAR: Early Noise 2024 list (released Jan. 11), featuring J-artists expected to make great strides this year. This could be one of the reasons why “Bansanka” soared to No. 3 for streaming with 8,893,914 weekly streams, up by about 22%, and No. 8 for downloads with 4,674 units, up 7.7%. The track is also up by about 13% for video (No. 5, 1,655,118 views), and moves 11-7 for karaoke, also the highest position so far for the young artist.

Yorushika’s “Sunny” (Japanese title: “Haru”) jumps 31-8 this week to break into the top 10. The track is being featured as the opener for the anime series Frieren Season 2 and dropped on the day of the season premiere Jan. 5. The track hits No. 2 for downloads with 9,164 units, No. 25 for streaming with 3,660,640 streams, and No. 3 for radio.

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 Jan. 8 to 14, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

The concept of “narrative” in the English language is becoming adapted as a commonly used word in Japan. Unlike the similarly loaned “story” that refers to the content or outline of a tale, the narrator is central to a narrative. Just as in our own lives, there is no fixed plot and nobody knows how it will unfold. In the world of popular music, narratives organically connected to a person’s background or situation are often used as a connection between artist and listener. Artists talk candidly about their own lives and form a kind of community with listeners who accept those narratives,

Wez Atlas is an artist with an extremely rich narrative. His lyrics are candid and personal, written as if they’ve been taken straight out of his diary or journal. Thoughts and landscapes expressed in the first person, rather than an objective third-person perspective, are undoubtedly part of his own narrative. Listening to the quiet flow of his verses filled with intense emotion set to restrained tracks makes us feel like we’re playing a first-person, open-world video game.

Born in 1998 in Oita, Japan, Wez Atlas is a Tokyo-based hip-hop artist with roots in Japan and the U.S. He moved to Colorado as a child and attended public school there, and eventually got into hip-hop music and rapping through artists such as Eminem, Kendrick Lamar, and his biggest influence, J. Cole. He began writing his own lyrics after returning to Japan in high school, and his career as an artist can be traced back to those days he spent jotting down typically adolescent struggles and worries on paper.

With roots in Japan and the U.S. and having internalized those different cultures, Wez’s verses aren’t just superficially bilingual in English and Japanese but are based on a rich musical foundation. Shortly after the release of his first EP, “Saturday,” keen hip-hop listeners began noticing his music.

In 2020, Spotify JAPAN featured a song co-written by Wez and michel ko called “Time” on its official playlist. In June 2021, the young rapper followed up with a collaboration with Grammy-nominated producer starRo called “Zuum!” and graced the cover of the streaming giant’s Next Up playlist.

Wez Atlas then released his first mini-album, Chicken Soup For One in July that year. The artist had just entered his twenties when working on this album, and his lyrics, written during a period when he had no clear vision for the future, genuinely reflect the worries and anxieties he felt at the time. Among the tracks is “T.I.M.M.,” a song that seems to reveal his pain, but other tracks articulate his attempt to turn negativity into positivity. In “Fun + Games,” he expresses the importance of solidarity with the friends who support him, and in “Overthink,” the Japanese lyrics “Maybe I don’t have to read the room” voice his determination to follow his intuition. His flows aren’t intense, but they’re filled with grim determination.

And in March last year, he released his second mini-album, This Too Shall Pass. As the title suggests, this project following his deeply personal debut set is a work that expresses a more detached state of mind. The first track, “Life’s A Game,” is like a shrug of the shoulders, song of positivity stemming from resignation that reflects what Wez was honestly feeling at the time. The song “It Is What It Is” expresses his will to “never stop looking for the light despite adversity.” The TikTok lyric/performance video of this number articulating his positive vision for the future went viral with over 12.4 million views.

His collaborations with VivaOla, Kota Matsukawa, starRo, nonomi, uin, and other producers who support his creativity have also gained further depth. The production is extremely listener-friendly, focusing on Wez’s own comfort and chemistry without fixating on trends — not that they’re being ignored by any means. Wez’s music has widespread appeal because it fits a broad range of situations, from bedroom to driving. The magnetism of his music has been proven by the enthusiastic reactions to his performances at SXSW 2023 in the U.S. and at Kobe Mellow Cruise 2023, one of the largest hip-hop culture festivals in Japan’s Kansai region.

Wez dropped a new song called “RUN” on Dec. 22, an upbeat number that can be considered a new experiment for the rapper. The track starts with a sharply distorted guitar riff, followed by the verse, “Hajimaru aratana Race (A new race begins)/Vamos! Andale! Onore no sadame (my destiny),” then drum’n’bass-like rhythms and hard rock-inspired bass kick in. The music produced by nonomi and Kota Matsukawa might be described as neo-mixture or an evolution of grunge rock. Either way, there’s no doubt the style is unlike anything we’ve heard from Wez before.

His vocal style in this song also feels new, speaking frankly to listeners as if to inspire them. While he gained popularity through the restrained flow of his earlier releases, Wez diverts from his conventional style in “RUN” and swings toward a more direct expression. The fact that he leans towards mostly Japanese in this number means it has potential to reach domestic listeners who normally prefer rock and J-pop. Another notable aspect of his releases is that he doesn’t stay in one genre or style and continues to casually expand the boundaries of his musicality.

“RUN” brilliantly shatters Wez Atlas’ previous soundscapes and messages, hailing his breakthrough into a new phase of his career. This song will surely add further depth to his narrative, and the words he weaves together will spread far and wide, overlapping with the lives of each listener. There’s no doubt Wez will be one to watch in 2024.

—This article by Tomoyuki Mori first appeared on Billboard Japan