On June 4, YOASOBI played the last show of its first arena tour, YOASOBI ARENA TOUR 2023 “DENKOSEKKA,” at Saitama Super Arena, Japan.

With 19,000 fans in attendance, this was YOASOBI’s largest-ever solo show — and it was also being broadcast live around the world. YOASOBI’s newest single, “Idol,” has broken countless records in the charts, and is maintaining tremendous momentum, even taking the number one spot on the Billboard’s Global Excl. U.S. chart. The Saitama Super Arena show was an once-in-a-lifetime opportunity to experience that power first-hand.

Watching the show, the first things that stood out to me were the bold presence of vocalist ikura and composer Ayase, and their solid performance. YOASOBI is a musical unit that produces music inspired by novels. Their big break came with an animated music video. Partly because they debuted during the pandemic, their first stage performance was an online show. They later began performing at shows and festivals with live audiences, but it wasn’t until this tour that they finally began to have normal shows where audiences shouted or sang along. They’re not a unit forged in the fires of frequent live shows. However, the indelible impression the show left me with was of the physical strength of the duo. The passionate vocals and performance, which the two threw themselves into with every fiber of their being, brought the whole arena together as one. Their show packed a tremendous punch.

At curtain time, laser light danced through the air and a four-on-the-floor beat and electro melody began ringing out through the venue. The set, suspended from the ceiling, rose up, and Ayase, ikura, and their band members appeared, dressed in yellow track suit-like costumes. “It’s time for YOASOBI to start things up!” declared ikura, and they launched into the first song of the night, “The Blessing.” The audience began chanting out the rhythm of the exciting electro number. They followed this up with their hit song “Into the Night.” ikura shouted “Get up and jump around!” and the audience’s energy suddenly reached fever pitch. When Ayase yelled “Let’s make this a night to remember!” and the band began performing “RGB,” the audience swung their towels above their heads. From the very start, the air was filled with excitement.

After some call & response between the band and the audience, YOASOBI shifted into the middle of their show, playing the songs “Seventeen,” “Mister,” “Umi No Manimani,” and “Suki Da” from their Hajimete no EP. Each of these songs was based on a story by a leading Japanese novelist, and the colorful visuals on the massive LED screen behind the band wove the aesthetics of each story.

Ayase then introduced the band — guitarist AssH, bassist Hikaru Yamamoto, keyboardist Zakuro Misohagi, and drummer Honogumo. He reflected on the tour, deep emotion in his voice as he recalled, “We’ve had lots of difficulties and struggles, but looking back, it was all fun. This experience has really been a tremendous support, and I’m truly happy that we’ve been able to make each new day a great one.”

ikura gave a moving speech to the crowd, expressing the joy and gratitude she felt as she realized one of her dreams. She recalled the first time she came to Saitama Super Arena, ten years ago, at the age of 13. She watched one of her very favorite musicians, Taylor Swift, from the very last row of the second floor stands. “I remember being amazed by just how moving music could be. I was moved, and at the same time, I thought about how much I wanted to stand on this same stage — how I wanted it to be my own voice that enveloped the crowd. And today, here I am!” She continued, “I want YOASOBI to be the kind of band that you dream about, and for us to keep putting on shows that are dreams come true for all of you, too!”

In the second half of the show, YOASOBI sang wistful ballads, starting with “Comet” and leading into “If I Could Draw Life.” The pop tune groove of “Haven’t” got the audience swaying and vibing. Then, after a quick introduction of the show’s merch and the staff, which provided a glimpse of the duo’s friendly and approachable personalities, Ayase and ikura performed a run of light, cute, popular songs: “Halzion,” “Haruka,” and “The Swallow.”

The show then headed towards its climax. Over the electro sound effects, ikura yelled out “Everyone, raise your voices and shout it out with me!” and launched into “Monster.” The audience’s fists pumped and their shouts filled the air as bright red lasers flittered across the arena. This was followed by “Blue,” and the whole audience lifted their voices together as the chorus rang out, “See what, see what, covered deep inside.” The show ended with a performance of “Adventure,” a rapturous closer that brought the whole audience together as one.

The audience began chanting for an encore, and Ayase, ikura, and the rest of the band took to the stage once again. The last song they played was “Idol.” During the intro, which had extended for the live set, ikura shouted out “Now let’s give it all we’ve got and dance till we drop!” and filled the arena with feverish excitement through the powerful song, switching between rapping and rapid-fire vocals. As silver confetti flittered through the air, ikura, a huge smile on her face, shouted “We are YOASOBI! Thank you!” took a deep bow, and left the stage.

The show was intense — the kind of show that leaves your heart racing with excitement even after it ends. For each and every one of the 19,000 people in the audience, it must have been like a dream coming true.

On August 5 and 6, YOASOBI will be performing at Head In The Clouds festival in Los Angeles. It is certain to show their unparalleled momentum and their tremendous potential as a live act.

—This article by Tomonori Shiba first appeared on Billboard Japan

YOASOBI‘s “Idol” continues to blaze the trail as it adds another week to its record-breaking run atop the Billboard Japan Hot 100 chart, released June 22.

Scoring its 10th consecutive week at No. 1, the points for “Idol” in streaming, video views, karaoke and radio airplay began increasing again this week after showing a slight downtrend. Dominating those four metrics for the fourth week in a row, total points for the Oshi no Ko opener increased by 1.7 percent to 21,616, which is more than the total from two weeks ago.

Meanwhile, SixTONES’ “Kokkara” debuts at No. 2 on the Japan Hot 100 after hitting No. 1 for physical sales (497,843 copies) and radio. The theme of the drama series Daga, Jonetsu wa aru starring member Shintaro Morimoto and King & Prince’s Kaito Takahashi also performed well in video (No. 3) but couldn’t overtake “Idol” as it continues its domination over the Japan song chart.

BTS’s “Take Two,” which debuted at No. 6 on the Japan Hot 100 last week, slips to No. 8 this week. The track performed favorably, coming in at No. 7 for downloads, No. 8 for streaming, No. 4 for video and No. 7 for radio, but saw a significant decrease in downloads from 30,821 to 6,151 units this week.

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 June 12 to 18, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

After two decades as a band, Taiwanese indie group Sodagreen has grown and evolved, emerging triumphant and standing on the stage together once more.

For young people, turning 20 can be a defining moment, marking the end of their rebellious teenage years and the start of adulthood. But for a band, reaching the milestone of 20 years is an incredible achievement. What keeps a band together is the relationships between its members.

Everyone has a rebellious period in their life, but it doesn’t always come at the same time. Shin-Yi’s came during his teenage years, while Jia-Kai’s happened in his 40s. For Sodagreen as a group, the rebellious period was during their hiatus. They each explored different paths, living a second life, until 2023 when they reunited under the name Sodagreen and started anew. This is what the band members call “Sodagreen Round 2.”

Regarding Sodagreen’s 20th anniversary, Jia-Kai explains it this way: “When I look back on my life journey, I really don’t have many friends who have been with me for over 20 years. I can count them on my 10 fingers. Friends who have been together for over 20 years won’t fall out and will definitely stay until the end. We are really rare. There is nothing like Sodagreen that has been going on for 20 years in a row.” Faced with Jia-Kai’s emotional perspective, Tsing-Fong jokingly responds in a very Sodagreen-like manner: “I hope you will be a good person in the future, Jia-Kai!”

It’s been 26 years since Tsing-Fong and Shin-Yi first met. Reflecting on their friendship, Shin-Yi couldn’t help but express her amazement: “It’s so scary!” But when they find something they both enjoy, time seems to fly by.

Yu-Chi says Madonna has been their idol for over 20 years. For the past two decades, Madonna has been a beacon of fashion, continuously adapting to the changing times and setting new trends. But it’s not just the iconic singer who has been inspiring fans for so long; Sodagreen has also been a source of innovation and transformation for that amount of time, encouraging fans to explore different paths in life.

On May 30, Sodagreen returned to the same place they said goodbye six years ago: the outdoor stage of the Taipei City Art Square. It was a special day for the band, as it marked the day they released their first single. Shin-Yi said it was a great opportunity to reconnect with their fans in the most direct way possible. It was also a promise that Sodagreen made to their fans — to come back and celebrate together.

Individual Growth & Exploration

Sodagreen’s hiatus was a time of individual growth and exploration for each of the band members. During their break, Jyun-Wei became an investment expert, Jing-Yang a cross-disciplinary curator, Yu-Chi combined classical and pop music, Shin-Yi a concert director, Jia-Kai a film score composer, and Tsing-Fong a Golden Melody king. This time away from the band gave them the opportunity to explore different possibilities and pursue their own personal goals. Sodagreen’s hiatus was a period of growth and development that has allowed them to come back stronger than ever.

Jyun-Wei shared that the most essential part of their growth during the hiatus was not just in music, but in their personal lives. They were able to take the time to get married, become parents, start businesses, and explore new interests that they hadn’t had the opportunity to do before. With the newfound freedom, they were able to do all the things they wanted to do and come back without any regrets. Now, they have the strength and motivation to make music again.

Jyun-Wei found that being decisive was a key lesson he learned during his years away from music. “Investment requires finding the right people to work with, as well as ensuring the product is of a high quality. Rather than just making money, investing provided me with the opportunity to learn about different industries and ecosystems, making it a much more meaningful experience.”

Jing-Yang is a passionate advocate for environmental sustainability and has worked hard to transform Giant Park into a paradise for both adults and children. He has also taken on the role of mentor and curator to young musicians, offering them the opportunity to learn and grow.

In his own words, Jing-Yang said, “I’m just trying to reach out to different audiences in a different way. Everything I do is rooted in the foundation of the band. Sodagreen is embarking on a new journey, and I’m hoping for the best.”

Yu-Chi has taken his musical journey to the next level by blending classical and pop music. His solo album KUNG’s vol.1 earned him a nomination for best album in the instrumental music category at Taiwan’s Golden Melody Awards. He has also performed on stages around the world, showcasing his unique sound. During his time away from the band, Yu-Chi went through a period of self-discovery that has resulted in a new musical energy for Sodagreen.

Yu-Chi was deeply impacted by the death of his beloved pet and found himself reflecting on the meaning of separation and death, channeling these honest feelings into his creative work. “I believed that music was a way to learn and grow, and that each member of the band could bring new ideas and sparks to our performances by sharing our life experiences. Together, we could create something truly special.”

Shin-Yi became a successful concert director during the hiatus and welcomed a second child into her life. Shin-Yi’s journey from the stage to the director’s chair was nothing short of remarkable. “It’s all about serendipity. I took on the role of concert director with a relaxed attitude and mainly wanted to make new friends and explore the world of concert directing. I was lucky enough to found myself in the company of world-class producers, learning new ways of working and creating.”

Jia-Kai’s latest project, the film Marry My Dead Body, set a box office record this year. As the sole composer of the soundtrack, Jia-Kai faced a unique challenge. “I was involved in the early stages of production and was able to apply the skills I learned at Berkeley to the composition and writing of the scores. When I finished, I felt a real sense of accomplishment.”

Jia-Kai also had the opportunity to work with the iconic Jolin Tsai on the theme song “Untitled.” He learned a lot from her, including the way she structured the melody and the clever way she depicted the relationship between two cultures in the lyrics. The most impressive moment for Jia-Kai was when he visited the set and saw actor Greg Hsu’s amazing performance of “Dancing Diva.”

Tsing-Fong, nominated for best male Mandarin singer with “Mallarme’s Tuesdays,” isn’t expecting to win, but is more interested in having fun with his bandmates. When asked if there’s pressure for his bandmates to perform alongside him, he had a humorous response: “It’s already stressful for them to perform with me! Jia-Kai and Jing-Yang have always been under a lot of pressure when performing with me, but I’m looking forward to the day when they can perform without any stress,” he laughs.

New Journey

If we were to compare Sodagreen to a big fashion brand, then Oaeen – the unique side product line – would be the perfect analogy. The debut album of Oaeen, The Pond, received a variety of reactions from the public. While some praised the music, others thought it was “too weird.” In response to the different opinions, the six members who are part of both Sodagreen and Oaeen said, “We like it, and that’s what matters most.”

Jyun-Wei said, “When The Pond was first released, it was met with some surprise. Despite this, we were confident in our own standards and felt that the album was ready for release. We don’t think Oaeen’s songs are particularly mysterious; we are simply being true to ourselves and not making the music too out of the ordinary. The album was created through a collaborative process, with everyone adding their own musical influences from different genres, resulting in a unique and complete piece.”

Oaeen’s re-recording of Sodagreen’s old album series is an exciting journey of rediscovery. From Different Albums to Little Universe, from Incomparable Beauty to Sing With Me, each album brings a new emotion to the songs we know and love because of their new arrangements, orchestrations and presentations.

Jyun-Wei describes the remaking process as starting from Ground Zero: “With some songs, it was difficult to reproduce the original feeling due to the special instruments and sounds used. To overcome this, we decided to re-record all the instruments in a new and exciting way. This process allowed us to experience the joy of remaking and reproducing the songs all over again.”

For Yu-Chi, Oaeen’s re-recording of their new album has surpassed the original version of Sodagreen’s records and become a unique version of its own. It’s a reflection of the life experiences of everyone involved, and you can hear the different mind-sets in the music. As Shin-Yi grows older, she believes that the process of re-recording the new version is a way to reconnect with her life journey. “When we were young, we thought this way, and it was so simple!”

Even though the interpretations of Sodagreen’s songs may vary, the emotions behind them remain the same. A devoted fan recently shared their thoughts on the new version with Jyun-Wei: “My love and support for Sodagreen isn’t just about the music; it’s about the attitude. I admire Sodagreen’s attitude, so no matter what version they release, those who love Sodagreen will accept it all.”

The sincere response from fans moved Sodagreen deeply, inspiring them to be more cautious and careful in creating new works. Yu-Chi says: “We are using our current abilities to create something new, unlocking new possibilities.” Tsing-Fong adds: “We strive to perfect the small details, while the grandeur is up to the listeners to interpret.”

Do you remember Sodagreen’s comeback single “Tomorrow Will be Fine” in 2020? The music video featured a nostalgic concept of a group chat on a mobile phone, with conversations during the band’s hiatus, making die-hard fans tear up. Four members of the band have become “Sodagreen second generation” parents, and after performances, their schedule is no longer about celebrating with drinks but rushing home to take care of their kids and playing them lullabies. Despite the twists and turns, Sodagreen has stayed strong and united throughout these past 20 years.

–Written by Jifan Wang for Billboard China

Billboard Japan has released its mid-year charts for 2023, including “Niconico VOCALOID SONGS TOP20,” a chart of Vocaloid music newly launched in December 2022, where Tsumiki has maintained a consistent presence at the top since its inception. 

Billboard Japan spoke to the musician behind “Phony” on how he felt about the song, which remains widely loved even now, roughly two years after its release, and the reason for his constant activity, not only as a Vocaloid producer, but also as a songwriter and as a solo artist.

“Phony,” which you released in June 2021, remains a fixture in the top of the Billboard JAPAN “Niconico VOCALOID SONGS TOP20” chart. Today, I’d like to talk with you about “Phony,” which has been an extraordinarily long-lived hit, and about your relationship with Vocaloid. To start off with, what led to the release of “Phony” in 2021?

Tsumiki: When I wrote “Phony,” in 2021, social networks were really taking off, and everyone was masked up because of COVID. I felt like, at the time, there was a strong and growing shift toward anonymity throughout the world, both mentally and in a real-world sense. It felt like people were putting on masks. Japan’s “ronpa boom,” that fad of shooting down other people’s arguments, was another example of it. It was like people were brandishing justice as a weapon. I was recoiling from that a bit. I started writing “Phony” to put those feelings to music. It all began with a request I got to promote the KAFU artificial singing synthesizer. KAFU was made by feeding the voice of virtual singer KAF into an AI. That’s why I felt that it had a connection to the situation at the time, where everyone was wearing ‘masks,’ and to the themes of deceit and falsehood.

The sound is very different from the songs on your first album, SAKKAC CRAFT, which you released on February 2021. I feel like “Phony” has a more danceable sound.

Tsumiki: The music I made up through SAKKAC CRAFT was made using a kind of additive approach. From “Phony” onward, I started to want to let the material breathe. Instead of adding more and more over the course of a few days, I wanted listeners to be able to hear the sound like it first came out. I think that while I was trying out new things using this approach, the music became more and more danceable.

Looking back, why do you think you were trying to change your music that way?

Tsumiki: I thought that approach would be more universal. Also, until then, most of the songs I made were made using Hatsune Miku, but the only information that Hatsune Miku works with is melody and voice. You have to express things like breathing and falling tones by using notes. With KAFU, though, breathing is put in automatically. There’s a lot more data than there is with Hatsune Miku. Looking back, I think that I started using a composition approach where the vocals would draw the listener in themselves, to make the vocals stand out more.

I feel like the themes of deceit and falsehood were part of your music even before “Phony” came out. For example, “Phony” starts out with “There are no flowers in this world more beautiful than artificial flowers,” lyrics that really make a strong impression. Artificial flowers are also mentioned in your song “tautology doubtful.” The “fake” in the title of the first song you ever uploaded, “tokyo diver fake show,”, is also in the same vein as “Phony.”

Tsumiki: When I write music, I try to always be there for the underdog. I myself tend to be really introspective, and I want to write music that compensates for that part of my own personality. I often write my songs and lyrics with the hope that they’ll reach a lot of other people, as well. In that sense, in some ways my music is like taking on mounting feelings of deceit or guilt. For example, when you’re having a hard time at work, there are times when you have to put on a brave face. I think of that as a kind of lie. I think through all of my music runs an intent to create something that rescues people from that deceit.

How much do you think about ‘modernity,’ like you mentioned earlier?

Tsumiki: I can’t write about things I don’t believe. When I’m inspired about the misfortune I’m confronted with in our modern age, I start writing it all down. That’s where my songwriting starts, so I guess in a way it’s inevitable that my music would have a feeling of modernity. It could be something as simple as “Dammit, there’s no toilet paper! That sucks!” (laughs) I expand on that little everyday gloom, sublimating it into pop music.

What kind of impact do you think the widespread support for “Phony” has had on your activities after its release?

Tsumiki: I think it was a major turning point for me in my own musical life. My efforts to make music focused on universality came to fruition. I’ve always liked music that strayed from the confines of pop, and, precisely because of that, it was a big deal that my own vision of pop grew into full maturity.

As I mentioned earlier, “Phony” has consistently kept a top position in the “Niconico VOCALOID SONGS TOP20” chart. How do you feel about the existence of this Vocaloid-specific chart, which was launched in December 2022?

Tsumiki: I guess for someone getting into music production, rankings are important. Knowing what position your song reached can help motivate you to make music. In that sense, having Vocaloid-exclusive rankings, and the dreams that come with them, is a good thing. The chart might be what makes someone who is just starting their music production think, “yeah, I just might be able to do this.”

So rankings are like metrics or entry points for younger generations.

Tsumiki: I got into Vocaloid production back when I was in a band, because my friend Tatsuya Kitani was using Vocaloid. He showed me what to do. When my music appeared in the ranking, he spread the word about that, and I think a lot of people discovered me as a result. I want to let the newer generations know that things like this can happen.

Do you think about the chart when you write music?

Tsumiki: Honestly, personally, I feel like if what I’m putting out there resonated with even one person, I could die happy. But I’m not making my music alone, and I think the chart is important for all kinds of people, so I don’t want to neglect the chart, and I hope that I can claim a position on it by putting out good music. I want to keep on believing in my own creations, and I don’t want to make the people who believe in me feel ashamed.

You said that if your music resonated with even one person, you could die happy. The fact that you could say that with such conviction really shows what a dedicated artist you are.

Tsumiki: I don’t want to make music as an advertisement, I want to make music as music. On the flip side of that, as long as I can convey the true essence of music, I think anything goes. That’s why I design the external trappings of my music, like the thumbnails of my videos, to communicate with as many people as possible. Then, when everything is stripped away, if there’s even a single person that I’ve truly reached, that’s enough to make me happy.

The ranking also shows the presence of music from other artists from your own generation. What kind of influence does this have on you?

Tsumiki: Of course, it has a lot of influence on me. I submitted my first song in 2017, and a lot of the other artists on the chart are my contemporaries, like Threee and Ayase. We started watching Nico Nico Douga back when we were around elementary school age. We were the generation that was watching artists like wowaka, Hachi, and DECO*27 hold those ‘good music battles.’ It feels like we’re going back to the culture of those days. Competing purely for fun, with that feeling of “I won!” or “oh, no, I lost” — there’s a kind of nostalgic appeal to it. I know that rankings aren’t everything, of course, but I hope people also understand that they can be enjoyed in that way, too.

Recently, you’ve been doing a lot outside the conventional Vocaloid category, like collaborating with other artists as a songwriter or working in the unit NOMELON NOLEMON with Maria Miki. Looking at this growing range of activities gives me a sense of your spirit of exploration as a creator, and your desire to take on new challenges. What do you think is behind your musical activities taking so many forms in so many places?

Tsumiki: Personally, I don’t feel a big divide between these other activities and my Vocaloid music creation. I didn’t start making music because I wanted to make Vocaloid songs, I just had Vocaloid sing the music that I wanted to create. I formed a musical unit for the same reason — if it would help me reach people, then it’s what I wanted to do. I hope that engaging in music creation in all these ways will help me share the music I have deep inside.

This “music you have deep inside” — does that tie into your desire to be there for the underdog, as you mentioned when we were talking about “Phony”?

Tsumiki: Yes, it does. Well, I say ‘the underdog,’ but I really want my music to reach all kinds of people. It’s just that there have been so many times when music has saved me. When that happens, I’m filled with an overwhelming desire to create music. Every day, even if we aren’t confronted with major problems, we encounter little annoyances in our daily lives. There are times when we just don’t feel motivated. When I listen to music during these little downs in my day, the music sometimes inspires me. It gives me the boost I need to move forward.

So, looking on it now, what do you think is the appeal of the expressive medium of Vocaloid?

Tsumiki: It would have to be how easy it is to get started. To become a Vocaloid producer, all you need is a computer and the software. In the past, I think that being a musician required you to follow a process: contracting with an agency, getting signed to a label, renting a studio, performing…With Vocaloid, you can do the equivalent of all of that from your own room, with just a computer. I think that’s really important. I see this lowering of the barriers to making music to be a positive thing.

Do you have any goals of your own right now?

Tsumiki: It’s still a vague idea, but ever since I was little, I listened to music, and the joy of music saved me and enabled me to hang in there. So I want to give back to music — to take what I’ve gotten from previous generations and pass it on to future generations. It feels like the times we’re living in are just getting darker and darker. It’s precisely because of this that I want to create a world where children can be saved by the joy of music. That’s why I hope someday to write songs for children.

—This interview by Fumiaki Amano first appeared on Billboard Japan

Niall Horan takes a bow as The Show (via Capitol) starts at No. 1 in the U.K.

The Irishman’s third studio album is his second leader, following 2020’s Heartbreak Weather, and third-successive top 3 effort, after his debut solo album release, 2017’s Flicker, peaked at No. 3.

The Show had led the midweek all-genres chart and finishes the week as the best-seller on wax.

According to the Official Charts Company, The Show is the sixth leader by a former member of One Direction, a list that includes Zayn’s Mind of Mine (from 2016), Harry Styles’ eponymously-titled debut (2017) and Harry’s House (2022), Louis Tomlinson’s Faith in the Future (2022) and Horan’s brace.

As a member of 1D, Horan landed four U.K. No. 1 albums and as many leaders on the national singles survey. Horan’s The Show also leads Australia’s ARIA Chart and arrives at No. 2 on the Billboard 200, behind Morgan Wallen’s One Thing at a Time.

Landing at No. 2 on the Official U.K. Albums Chart, published Friday, June 16, is McFly’s Power to Play (BMG). The pop-punk veterans’ seventh studio album is also their seventh top 10.

Completing an all-new top 3 is Manchester-formed, Britpop era band James with Be Opened by the Wonderful (Nothing But Love Music). It’s new at No. 3 for the “Laid” group’s 11th top 10 appearance on the albums tally.

Also new to the top 10 is Christine and the Queens’ Paranoia, Angels, True Love (Because Music), arriving at No. 7. It’s the French alternative pop outfit’s third top 10 slot, following 2016 debut Chaleur humaine (No. 2) and 2018’s Chris (No.3).

Finally, Vermont-born singer and songwriter Noah Kahan earns his first appearance in the top 40 with Stick Season (Island) at No. 17, while London-born singer, songwriter, rapper and producer King Krule (real name: Archy Ivan Marshall) scores his third top 40 album with Space Heavy (XL Recordings), new at No. 18.

Before Juan Luis Guerra launched his smooth bachata to global fame; or before the samba of Gilberto Gil’s samba traversed beyond Brazil; or Cuban son exploded out of the Caribbean in the late ‘90s, Putumayo championed world music.

The company, founded in New York by entrepreneur Dan Storper, began in the 1970s as a store of handicrafts and musical discoveries that the American globetrotter brought back from his travels in Latin America, Africa, India and elsewhere. But over time, the music became bigger than expected — and in 1993, he created Putumayo World Music, a record label that has served as a benchmark for captivating sounds from all over the planet.

Through the label, genres that in the U.S. had largely been considered world music curiosities — such as bachata from the Dominican Republic, bossa nova from Brazil, Afrobeats from West Africa or bhangra from India — became better-known, as Putumayo played a big role in their global growth. 

“I look back with a certain measure of pride at the fact that we’ve really introduced so many people to music that they were not familiar with — whether it be Latin, African, Caribbean, European, and more,” Storper tells Billboard Español, as he reflects on his three-decade legacy. He mentions, for example, that Carlos Santana met certain African bands through his catalog that he later ended up working with.

With a discography of more than 200 physical albums — many of which are now available via most streaming services — the pioneering label drops their first digital full-length album today (June 16), Acoustic Latino. Continuing their quest for finding treasures for those seeking a journey into the heart and soul of disparate cultures, the ten-track compilation offers songs by Mexican son band Chéjere, whose folk style from the Yucatan peninsula reflects their Afro-Cuban influences; Colombian songwriter Alejo Garía, who explores elements of jazz, folk and rock with contemporary sounds; Cuban singer Niuver, who’s influenced by trova, bossa nova, and chanson; and more. 

“Putumayo’s strength is not only selecting some great songs with that human touch, but putting together a sequence to take you on a musical journey, and as we say, it’s guaranteed to make you feel good,” says Storper.

Billboard Español caught up with the label’s founder to talk about Putumayo World Music’s most memorable moments in its 30-year history. 

When you reflect back on your record label’s legacy, what comes to mind? 

It’s hard to imagine that it is 30 years. I look back with a certain measure of pride at the fact that we’ve really introduced so many people to music that they were not familiar with, whether it be Latin, African, Caribbean, European, and more. The Putumayo company that I founded actually started as a little retail shop in New York City in 1975. I was importing handicrafts, and a bit of clothing from Latin America. The Putumayo store started 48 years ago, and Putumayo World Music is 30 years old.

Talk to me about the origins of the Putumayo shop. 

I was a Latin American studies major in college and traveled to Latin America in 1974. I studied [abroad] and decided to import handicrafts from mostly Colombia, Ecuador, Peru and Bolivia. I opened a little shop [called Putumayo] in 1975 in New York City selling clothing and handicrafts from Latin America. I started playing African and world music in my shops. I mixed in the music I brought back from the Andean highlands with Latin music and [artists] I like, such as Bob Dylan and others, to help create an environment. People started freaking out — not just saying, “This is great music,” but “I want to buy it. Where is it from? Where can I find it?” 

How did Putumayo World Music start?

That led me to Rhino Records, who I approached on doing a compilation. I knew its co-founder Richard Foos through an organization called the Social Venture Network. In 1993, we released our first two albums [as Putumayo World Music]. It was a time when no one really knew much about international music. If you were a Latino, you might know many of the artists outside [the U.S.], but the Anglo world wasn’t familiar with a lot of the great music that was coming out of Latin America and much of the world.  

We needed a package. I really didn’t like the plastic jewel case, and the digipak had just started. Record stores didn’t care for [digipaks] because they tended to get damaged. Rhino was desperately trying to talk me out of using them, but I insisted. 

The covers and artwork are emblematic of the Putumayo brand. What’s the story behind them?

By another happenstance, a woman that did the interiors and window displays of our retail shops happened to have a friend who was visiting from London [named Nicola Heindl]. [The interior designer] came into my office and said, “Dan, you know that greeting card you have on your bulletin board? That’s done by my friend. She’s from England and is coming to New York in a few days. Would you like to meet her?” I had picked up this greeting card that I really liked in a London store a year before — so I said, “Of course!” We were getting ready to start the record label and I liked her art. [When I met Heindl] I told her, “How do you feel about doing the first album cover?” She did, and the people really liked it. We’ve used her art forever. 

How did you envision your role when Putumayo World Music was coming to fruition?

In a way, I saw my role as being an introducer [of world music] in a nontraditional or specialty retail outlet, where we introduced people to music from artists that they wouldn’t have known about or heard on the radio. We sold a lot of CDs throughout record stores, gift shops and museum shops, where this music created a background. That was a big part of our history. I had a Dominican assistant designer for our clothing and handicraft company and she said, “Now that you’re starting this label, you should listen to Juan Luis Guerra.” Juan Luis Guerra was on the first track of the first Putumayo album [World Vocal (1993)] with [“Ojalá Que Llueva Café”]. We also included Gilberto Gil and Jorge Ben from Brazil.  

What are other big highlights that you recall fondly that were essential to your label’s success?

The first album we did, Cuba, came out at the same time as the Buena Vista Social Club [documentary in 1999]. We rode that wave with that album; it was good timing. Then, the first artist we signed was Ricardo Lemvo, a Congolese artist from L.A, and we did a music video called “Mambo Yo Yo” that became popular. I remember Carlos Santana telling me it was one of his favorite songs of all time. I bumped into Carlos at the [1996 Summer] Olympics in Atlanta, and I gave him a copy of the One World (1996) album. He told me he got inspired by [“Guerrilla”] by Touré Kunda that was on that album, and invited them to participate in his Supernatural (1999) project. The song that they worked on together is “Africa Bamba.” 

[In 1998] we released Cairo to Casablanca that had a track by Rachid Taha called “Ya Rayah.” I’ll never forget getting a call from our Colombian distributor saying there was a DJ in Bogotá who started playing that track and people flipped out. It became this huge hit and we couldn’t keep up with it in Colombia. Then it spread to Latin America. I don’t want to take credit for the interest in Arabic music that exploded in Latin America in the ’90s, but to some small part, I think we played a role in that. One of the great things many have told me is that they’ve traveled to certain countries because they fell in love with its music and decided to visit.

[Another] favorite story is when Brasileiro (1999) was released, a Brazilian music expert I knew told me, “Dan, this is blowing my mind. I’m supposed to be the leading Brazilian music expert in the United States, and you’ve just put out an album [whose] first four songs and artists I’ve never heard.” That was a testament to the idea that we were searching for artists we could introduce to people who weren’t familiar with them.

How did you come across these rare gems? 

I give a lot of credit to Jacob Edgar, who has been working with me for about 20 years. He has his own label called Cumbancha. He’s [also] an ethnomusicologist at National Geographic and leads Lindblad Expeditions, [where] he is responsible for the music component of their cruises. He and I have traveled around the world, we’re naturally curious. We have a database of about 50,000 songs that we like enough to consider that grows every week. The idea that there’s great music in all parts of the world, whether it’s reggae, Latin, African… 

I remember going to Costa Rica, Colombia and other places, and people constantly gave me CDs. We used to get scores of CDs in the mail before the Internet became a big thing. In that course, we learned about artists who were not mainstream yet or particularly known. We also included tracks by people like Bob Marley and the Gipsy Kings, because we really like them — but we took great pleasure in finding artists that were little-known. Then we would hear stories about these artists getting discovered through the Putumayo collection, and their songs would appear in films, TV or advertising; they would get an agent, a record deal, or start touring. 

Why did you name your company Putumayo?

There’s a place called the Putumayo River that starts in the foothills of the Andes in southern Colombia, and it runs into the Brazilian Amazon, touching on the border of Ecuador and Peru. I was down there in 1991, collecting handicrafts, sitting by the side of a small stream tributary in the Putumayo Valley, and I was struck by [its] beauty. Carnival celebrations were beginning on this beautiful spring day, and indigenous people were coming in from the fields dressed in their wonderful, colorful costumes. They were all in a happy mood and about to celebrate. There were mountains in the distance, lush foliage and flying birds. I felt like everything was right with the world.

Unfortunately, as you probably have realized, Putumayo and much of Colombia for many years went into a challenging political time, with a civil war and a drug problem. The area became off limits for some time. But it really inspired me to name my company Putumayo, because of that magic moment. My sense is that music helps people rise up and survive challenging times.

It’s the Niall Horan Show on the ARIA Albums Chart this week as the Irish pop artist bows at No. 1.

The former One Direction star arrives at the summit with The Show (Capitol/Universal), his third studio album — and his first solo leader.

Horan clears the last hurdle after his previous two albums, Flicker (from 2017) and Heartbreak Weather (2020) both peaked at the runner-up position.

As a member of 1D, Horan tasted victory with four albums: Up All Night (2011), Take Me Home (2012), Midnight Memories (2013) and Four (2014).

He’ll support the latest album in these parts when ‘The Show’ Live On Tour heads Down Under in April and May 2024, presented by TEG Live and Nova Entertainment.

Completing the podium on the latest ARIA Chart, published Friday, June 16, is Metro Boomin Presents Spider-Man: Across The Spider-Verse (Republic/Universal, up 2-3, and Stray Kids’ 5-Star (ING), down 2-3.

The next-best debut belongs to American rockers Extreme, as Six (Ear/RKT) starts at No. 32. Six is, as its name would suggest, the sixth album from the “More Than Words” band, and their first studio LP since Saudades de Rock dropped in August 2008.

Over on the ARIA Singles Chart, “Sprinter” (Virgin Music Australia/Universal) by Dave and Central Cee outraces the opposition to start a second week at No. 1.

Country music is booming in Australia this year, led by U.S. starts Morgan Wallen and Luke Combs — who currently occupy two of the top 3 positions. On the latest tally, Wallen’s former leader “Last Night” (Republic/Universal) holds at No. 2, and Combs’ cover of “Fast Car” (Columbia/Sony) rises 5-3, surpassing the No. 4 peak of the original cut by Tracy Chapman back in 1988.

Kylie Minogue keeps the hits coming with “Padam Padam” (Liberation), which climbs 40-29 for a new high. The saucy EDM tune is the Aussie “princess of pop’s” 43rd top 30 hit in her homeland, ARIA reports, and her first since “Timebomb” peaked at No. 12 in 2012.

Finally, BTS bags the highest new entry on the latest chart with “Take Two” (BigHit Entertainment/ING) released as part of the celebrations for the superstar K-pop act’s 10th anniversary. The band’s biggest hit here is “Dynamite,” which exploded to No. 2 in 2020.

YOASOBI‘s “Idol” logs its ninth consecutive week atop the Billboard Japan Hot 100, released June 14, dominating four metrics of the chart’s methodology for the third straight week.

Nine consecutive weeks at No. 1 breaks the record previously held by Official HIGE DANdism’s “Subtitle” (eight straight weeks), and the song is now tied with Aimer’s “Zankyosanka” in terms of total weeks at No. 1. “Subtitle” is currently the record-holder for most weeks at No. 1 (13 weeks), and “Idol” still maintains the momentum to catch up with the long-running hit from late last year.

The Oshi no Ko opener holds at No. 1 on the Japan Hot 100 powered by streaming, downloads, video views, and karaoke, where it rules for the third week in a row. Total points for the track is almost triple that of the song at No. 2, MAN WITH A MISSION x milet’s “Kizuna no Kiseki.” The track also sailed past 200 million streams on its ninth week on the chart, breaking the previous record held by “Subtitle” (11 weeks) for number of weeks it took to hit the milestone. It looks like the track’s unprecedented record-breaking streak is likely to continue.

Johnny’s WEST’s “Shiawase no Hana” debuts at No. 2 on the Japan Hot 100, selling 220,040 copies in its first week to rule sales. The theme of the TV series Gekikaradou 2 starring member Akito Kiriyama also hit No. 22 for radio airplay.

BTS’s “Take Two” — the digital single released June 9 to commemorate the 10th anniversary of the septet’s debut — bowed at No. 6 on the Japan Hot 100 after coming in at No. 2 for downloads and No. 61 for streaming. A video of the seven members singing, including Jin and J-Hope who are currently serving in the South Korean military, was also released on Tuesday (June 13), and the track is expected to move further up the charts in the future.

Stray Kids’ “S-Class” from the group’s new album 5-STAR rises 39-8 after jumping to No. 7 for streaming. The album is at No. 4 on Billboard Japan’s download albums chart, and also hit No. 1 on the Billboard 200. Aimyon’s “Ai no Hana” (“Flower of Love”) also moves 32-9 on the Japan Hot 100 after the CD hit No. 6 for sales.

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 June 5 to 11, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.

The race is on! Dave and Central Cee‘s “Sprinter” (via Live Yours/Neighbourhood) edges into the lead on the midweek U.K. singles chart, after JHus and Drake came out fast from the starting blocks with “Who Told You”.

If “Sprinter” maintains its pace, it’ll land a second straight chart title. The track bowed at No. 1 last week, for Dave’s third leader and Central Cee’s first. And it set records in the process, by becoming the biggest-ever streaming week for a hip-hop single.

J Hus’ “Who Told You” (Black Butter/OVO/Republic) featuring Drake led the First Look chart, which gauges the most popular songs after the first 48 hours of the chart week. The track slows slightly, and is set to debut at No. 2 based on midweek sales and streaming data.

The Mercury Prize nominated rapper has 13 top 40 hits to his name, including three top 10s. If “Who Told You” shows a clean pair of heels in the days ahead, it’ll give the Stratford, England artist a first-ever U.K. No. 1, and Drake a seventh leader.

“Sprinter” is one of three tracks set to impact the top 20 from Dave and Central Cee’s surprise EP drop, Split Decision, as “Trojan Horse” rides to No. 10 and “UK Rap” appears at No. 14 on the chart blast.

Further down the midweek list, drum ‘n’ bass crew Rudimental’s “Dancing Is Healing” (Room Two) with  Charlotte Plank and Vibe Chemistry could lift 8-5.

Also on the way up is Scottish DJ Hannah Laing and singer RoRo’s “Good Love” (WUGD), which cracked the top 40 last Friday and is set to burst into the top 20, at No. 13.

All will be revealed when the Official U.K. Singles Chart is published Friday (June 16).

Niall Horan welcomed fans to The Show (via Capitol). Now he’s set to be rewarded with the U.K. chart title.

The Irish pop singer’s third solo album leads the midweek U.K. chart race, piloting an all-new top 5 featuring new releases from McFly, James, Christine & The Queens and Extreme.

If it holds its course, The Show will give the former One Direction star his sixth leader overall and second solo No. 1, following 2020’s Heartbreak Weather. Horan’s debut solo effort Flicker peaked at No. 3 in 2017.

As a member of 1D, Horan landed four U.K. No. 1 albums and as many leaders on the national singles survey.

Arriving at No. 2 on the Official Chart Update is McFly’s Power to Play (BMG), which is set to become the pop-punk band’s seventh top 10 release.

The podium at the midweek stage is completed by Britpop-era Manchester band James, with Be Open to the Wonderful (Nothing But Love Music). James has ten U.K. top 10 albums, including a No. 1 for 1998’s The Best Of.

French alternative pop outfit Christine & The Queens could net a third U.K. top 10 with Paranoia, Angels, True Love (Because Music). The three-part LP is new at No. 4 on the midweek chart.

Close behind at No. 5 is veteran U.S. rock band Extreme with Six (Ear Music), which set to become the “More Than Words” act’s first U.K.-charting album since 1995’s Waiting for the Punchline (No. 10 peak). Six could be Extreme’s third top 10 release.

Further down the midweek tally is Tears For Fears’ 40th anniversary reissue of their debut album The Hurting (Mercury), which originally led the chart in 1983. The Hurting is poised to return at No. 7.

And finally, English singer, producer and rapper King Krule could bag his first top 10 LP with Space Heavy (XL Recordings), new at No. 8 on the chart blast.

All will be revealed when the Official U.K. Albums Chart is published Friday (June 16).