Month: July 2022

“So, we’ve been having some strange weather,” Jackson Browne remarked to his audience early in his Beacon Theatre performance Tuesday — the first of a four-night stand at the New York venue. “I mean, the entire world is having strange weather.”

His comments introduced “Downhill From Everywhere,” a song whose montage of images place a neglected ocean at the center of a distracted and troubled world. It is the title track of the masterful 2021 album from this beloved singer/songwriter who, among many other things, has been on the front lines of climate activism for decades.

Further on in his set, Browne brought forth his 1974 classic “Before the Deluge,” singing of dreamers on “the brave and crazy wings of youth” who were “angry at the way the earth was abused” — who nonetheless responded with the call: “Let the music keep our spirits high.”

These songs, recorded decades apart, were just two highlights of Browne’s joyous return to one of the singer’s favorite venues, in a year that marks the 50th anniversary of his debut album. “I love the Beacon,” said Browne — despite contracting COVID-19 previously at the hall, he acknowledged. His affection extended to the city outside. “I just dig how resilient New York is,” he said.

Dressed in black and sporting a gray beard that he has grown in recent years, Browne looked even more the part of a spiritual music master — guiding his listeners through both mysteries of the heart and the turmoil of a troubled world.

From the bright pop of Tuesday’s opening song, “Somebody’s Baby,” to the closing encore of “Load Out” and “Stay” (the latter a fitting tribute to the resilience of touring musicians at this stage in the pandemic), Browne and his eight-piece band looked back with reflection and ahead with optimism.

Here are five moving moments from Browne’s Tuesday night show.

Tapping the cultural mood

A media study in June found that some 38% of Americans say they often or sometimes avoid the news nowadays. Browne tapped that zeitgeist a decade ago in “The Long Way Around,” which he performed early in Tuesday’s set. “It’s a little hard keeping track of what’s gone wrong,” he sang. “The covenant unravels and the news just rolls along/ I could feel my memory letting go/ Some two or three disasters ago.”

So clear and so bright

In 2004, when Bruce Springsteen inducted his friend Browne into the Rock & Roll Hall of Fame, he said: “In ’70s post-Vietnam America, there was no album that captured the fall from Eden, the long, slow afterburn of the ’60s, its heartbreak, its disappointments, its spent possibilities, better than Jackson’s masterpiece Late for the Sky.” Browne recognizes the enduring power of that work and offered no fewer than four songs from that 1974 album, from the lover “smiling so clear and so bright” in “Fountain of Sorrow,” to “Before the Deluge,” to the album’s title track, and “For a Dancer” — which contains perhaps the most moving lyric ever written about the death of a friend. “I can’t help feeling stupid standing ’round/ Crying as they ease you down/ Because I know you’d rather we were dancing/ Dancing our sorrow away.”

How the pandemic changed a ballad

When Browne performed at the Beacon Theatre in 2019, he introduced a new song, “A Human Touch,” co-written by Leslie Mendelson and Steve McEwan. It was composed for a documentary about the San Francisco General Hospital AIDS ward during the 1980s — and the bravery and devotion of the doctors and nurses who cared for the sick in those years. Onstage Tuesday, Browne brought out Mendelson to duet on the song. Certainly there was more than one member of the audience who said a last farewell to a loved one during the pandemic, without the blessing of a human touch. And this ballad became a fresh tribute to the medical caregivers of the past two-plus years.

Running on a full tank

A Jackson Browne concert does not lack for wonderfully reflective music. As he performed a heartfelt “These Days,” you could not help but marvel at how a very young man had first written this world-weary meditation. But this veteran of Southern California’s freeways also has no hesitation to rock out.

And Browne is touring with an extraordinary band that allows him to do so: bassist Bob Glaub (who goes all the way back to the sessions for The Pretender); drummer Mauricio Lewak; organist Jeff Young; pianist Jason Crosby, who doubled on violin; backup singers Alethea Mills and Chavonne Stewart; and guitarists Val McCallum and Greg Leisz, who also played pedal and lap steel.

In sound that was powerful and crisp from the front rows of the orchestra to the upper balcony (this writer checked), Browne led this ensemble through some of his most riveting, upbeat songs: “Rock Me on the Water,” his cover of Steven Van Zandt’s “I Am a Patriot,” “You Love the Thunder,” “Redneck Friend,” a gospel-like “Doctor My Eyes,” and the set-closing “Running on Empty.”

Reviving a classic song — and segue

“I didn’t sing this song for many years,” Browne began, describing the co-writing sessions he’d had with his late friend and onetime neighbor Glenn Frey, which led to a monster hit for Frey’s band the Eagles (and the suggestion that Browne was covering that band’s song). But for the show’s penultimate encore, Browne beautifully reclaimed “Take It Easy” as an exuberant call to “lighten up while you still can.”

But there was more. As the closing chords of “Take It Easy” swirled in the night, Brown and the band segued into “Our Lady of the Well.” It was a delightful musical juxtaposition that first appeared on Browne’s recording of those songs, on his sophomore album, For Everyman, and it is imprinted on the aural memories of countless fans. It was as if Browne sought to give a knowing gift to those who have traveled with him along the road all these years.

The first seconds of an artist’s debut single can be some of the most important of their career. It’s the chance to hook a new audience and introduce themselves musically.

BLANK2Y‘s debut single “Thumbs Up!” opens with a racing, electrifying production before the beat drops and listeners hear: “Welcome to the BLANK.” The viewer enters BLANK2Y’s musical world, which they describe as created from confidence, friendship and love for their fans.

As South Korea’s music scene becomes increasingly competitive to enter year over year – with 2022 already delivering several superstar acts – BLANK2Y, a new K-pop boy band that launched in May — is establishing itself with a solid musical worldview it hopes will be important to ensuring its long-term success.

In November of 2021, Keystone Entertainment, founded by CEO Sam Choi, was preparing a nine-member boy band for the following year, and was asking fans to follow the journey to their debut. The newly established music label posted on Twitter for the first time on Nov. 15 and included a promise: “We will have the rookies of the year!”

Confident statements like that have been a critical element in creating the new boy band.

Keystone began to reveal hints about the group on Twitter, including that the members of the forthcoming act would include past contestants on popular K-pop competition shows and TV appearances. All this fueled additional interest in the group as each show had audiences and fanbases created from them.

In the ensuing months, Keystone and CEO Choi slowly revealed the members of what would become BLANK2Y. On Dec. 20, 2021, Youngbin was the first member revealed, with fans of I-Land pleased to see the contestant get a fresh start with a new group. Days later, on Christmas, the second member was revealed as Louis, followed by a New Year’s Day announcement of third member, Donghyuk.

With excitement already brewing from a range of different K-pop fans, BLANK2Y began 2022 with more good news, revealing the six other members by the end of February.

Soon, BLANK2Y was complete after revealing Siwoo (who competed on Wild Idol), Mikey (a Japanese native who competed on the singing competition show Produce 101 Japan), Sungjun, as well as U, Sodam and DK.

The mix of already beloved singers and fresh faces was a strong starting point. By the time BLANK2Y officially hit the scene on May 24, 2022, with their debut EP titled K2Y I: CONFIDENCE [Thumbs Up], a sea of new fans were excited to hear what they had to say.

As made clear from the album title and BLANK2Y’s debut strategy, “confidence” is vital for this group. “I think our main concept and charm is related to the theme of our first album, which is confidence!” Sungjun tells Billboard Korea.

But BLANK2Y also wants to spread the message of “confidence” to all listeners. “We hope everyone can gain confidence in themselves through our album, that’s BLANK2Y’s main goal,” DK says.

“Thumbs Up” is BLANK2Y’s debut single and has confidence baked inside it. The band describes the song as “an upbeat trap track with synth sounds and an inspirational message.” The rising intensity, empowering lyrics, plus both Korean and English versions of the song, make “Thumbs Up” a universal anthem for confidence.

“BLANK2Y” is a compound word for “blank,” meaning “blank space,” and “key” meaning “key and clue,” explains DK. “It contains the meaning of ‘the key to open an empty space’ — a musical medium that soothes the emptiness in the hearts of the people and evokes latent passions to connect and build special relationships.”

While confidence is the key word BLANK2Y is looking to spread, the group also notes a special relationship between the nine members themselves. “We are also each other’s best friends,” Sodam says. “That really brings out the best, genuine teamwork.” Adds U: “I thought it would be impossible for nine people to get together, become a team and strive for the same goal, but we clicked right away, and now we are closer than I thought we would be.”

No doubt the genuine trust among the BLANK2Y members is why the group has a system where there is no set “leader” of the group. Instead, the position rotates. “Members take turns every month being the leader,” says Sodam. “Having that kind of role and responsibility taught me a lot.” Adds DK: “we really talk everything out and truly respect each other’s opinions, so it’s easier to solve conflicts or any misunderstandings.”

One thing that is genuinely not a misunderstanding is their excitement and affection for their ever-growing fanbase, named K2YWE and pronounced “Kiwi.” BLANK2Y calls K2YWE the “tenth member” of the group. “Because we consider our fans, K2YWE, as our 10th member, we are more than confident that our fan engagement is special,” says DK. “That’s most important to us.”

While “Thumbs Up” is just the start for BLANK2Y, Billboard Korea dove deeper into the standout rookie group, including their musical inspirations, first-year goals and messages to its fans.

Billboard Korea: What are your favorite tracks on the album other than “Thumbs Up”?

U: Our fan song, “Constellation,” is my personal favorite.

Donghyuk: “Constellation” is my favorite, too. The lyrics are beautiful and heartwarming.

Louis: I love all our tracks, but “Touch,” which is a bright track, is what I would recommend because it goes well with the summer breeze and vibes.

DK: We also have other tracks that are enjoyable so I hope everyone gets a chance to listen to it!

Who are your musical inspirations or motivations? Or what’s on your playlist?

Siwoo: Our role model is The Boyz. I really want to do a collaboration with Juyeon from The Boyz.

Youngbin: I would be really honored to collaborate with The Boyz or Baekhyun, both of whom we respect so much. I have been listening to Baekhyun, B.O., Dean and Colde a lot lately.

Donghyuk: I’ve been listening to Etham’s “12:45.”

U: Personally, I think I get most inspired by performances by NCT’s Taeyong and BTS’ Jungkook.

Mikey: AAA’s “Lil Infinity” music video stirred something inside of me, and that’s when I decided to pursue music.

Louis: My musical inspiration comes from our fans.

What do you guys want to achieve through your music?

Sungjun: I’ve experienced what it feels like to be healed through music and I think it would be amazing if people could find comfort and healing through our music. That’s the kind of music I want to make.

Sodam: We want our music to be relatable to people from all around the world.

BLANK2Y filmed a reality TV series while preparing for your debut. What was the filming process? Any behind-the-scenes moments you want to share?

Sungjun: Before the shoot, I was a bit worried about how we could make the most interesting content for the audience and our fans. But when it actually started, it was so much more fun than I had anticipated, and it was a good way to learn how to be more familiar with the camera. It was fun to see my face on screen and I got to study what camera angle worked best for me!

U: During one of our outdoor shoots, we decided to grill meat for dinner, but it was so cold outside that the meat froze within like three minutes and we couldn’t eat.

What are you most proud of accomplishing as BLANK2Y so far?

Youngbin: We are proud to have become the ambassador for COEX [a mall in Gangnam] and Jeju even before our official debut. I think being an ambassador for something is really special, and we are super grateful for all these amazing opportunities.

Looking ahead, what do you have planned for the rest of 2022?

Donghyuk: Our goal for this year is to win the “Best Rookie” award, so we are going to try our best to promote as much as we can for the rest of the year. We will try our best to showcase the most amazing performances and continue to release good music.

What are you guys most confident in?

Louis: We are most confident in our onstage performances and our ability to express a diverse range of emotions through our music and performances.

DK: We are most confident in our onstage performances, but also are confident that our love for our fans is absolutely exceptional.

What do you guys hope your fans would take away from this album? What other messages do you want to share wish them?

Mikey: We love you K2YWE and thank you so so so much for always being the best energizer and support.

Sodam: Thank you so much for being the best! We are grateful for your love and will try our best to never let you guys down! I love you!

Donghyuk: K2YWE, please stay safe and healthy and let’s always be each other’s best supporters and comfort. Thank you and I love you, K2YWE!

BLANK2Y: We want our fans to know that our love for them is super special and that we are progressing every day!

Country radio has repositioned itself in recent years as the finisher for country hits.

Formerly the medium where new music earned its greatest initial exposure, the genre’s programmers admittedly prefer to let songs validate themselves in other quarters — primarily at Spotify, YouTube, Shazam and Pandora — before they safely add titles that are already proven.

That attitude set up an outlaw challenge from one of country’s edgiest artists. Cody Jinks’ latest single — “Loud and Heavy,” released by the artist’s Late August label to terrestrial stations on July 1 through PlayMPE — is a 7.5-year-old title that has already been certified platinum by the RIAA without any significant broadcast assistance.

“A good song is never dated,” Jinks reasons.

Indeed, “Loud and Heavy” has aged quite well. Included on the 2015 album The Adobe Sessions, the track has amassed 436.5 million on-demand streams, according to Luminate, under a long-tail growth pattern. After generating 570,000 streams in its first year, its consumption climbed annually for the next five years, peaking at 105.2 million streams in 2020. “Loud and Heavy” tallied at least 90 million streams annually in 2019-2021, and with 52.5 million streams through July 22, the song is on pace to net another 94.4 million this year.

Underscoring his market impact, Jinks is headlining amphitheaters this summer — again, without radio’s backing — and he provided immediate support for Luke Combs on a five-artist bill July 23 at Ohio Stadium in Columbus.

“Loud and Heavy” is the best-performing title in a fulsome catalog that has generated four top five sets on Billboard‘s Country Albums, three of which reached No. 2. The song’s delayed release to radio says as much about Jinks’ expanding business muscle as it says about radio’s altered role. “We couldn’t afford to push a single,” Jinks says, reflecting on his economic status when he wrote the song circa 2014.

Now that he has flipped his fortunes, Jinks is promoting it with a fairly light hand. AM/FM airplay would introduce him to new fans who might not be heavy digital music consumers, or go to shows by acts they haven’t heard on the radio. But he’s got enviable numbers, so he figures broadcasters would benefit at least as much as him from plugging it into their rotations.

“The first year, mainstream radio basically told us we weren’t allowed to be in the club — like, we couldn’t release it because we didn’t have the proper backing,” he recalls. “And then they basically said, ‘Well, it’s not a proven hit.’ So after it went platinum, we kind of went back and said, ‘Will you play it now? We checked all the boxes.’ Like, put your money where your mouth is.”

Jinks didn’t have any money himself when he wrote “Loud and Heavy,” inspired during a stormy car ride when son Larson Jinks chanted “loud thunder heavy rain” on his second birthday. The elder Jinks was experiencing an emotional storm, spending a weary 250 days a year touring with his band in a van, though he refused to give up.

“At that particular time, my mother went through a pretty major health scare — ended up being just that, a scare,” he recalls. “The tour schedule was tough. I had two small children at home. My wife and I were more than six figures in debt, because I had floated the band on credit cards. You got to think, in 2008, 2009, when the market burst for the first time, gas shot up to $4.50 a gallon — I don’t know if people remember that — but we were on the road making $500 a night, and that was going to gas. That song is just everything that’s going through a 32-year-old’s mind that has absolutely zero idea what he’s doing or how the hell he’s going to get out.”

Jinks likely knew more about what he was doing than he admits to himself. As an example, his approach to the “Loud and Heavy” writing credits provides son Larson a foundation for the future.

“He’s got half the song,” Jinks says. “I didn’t give him a third or fourth or whatever. Like, I wouldn’t have written the song without him. So whenever we submitted it, it’s Cody Jinks, 50%, Larson Jinks, 50%. He has his own publishing account set up. And all the money from that song goes in there. So by the time he’s 18, he will be his own millionaire.”

Much like his buddy Cody Johnson, Jinks built his brand through relentless touring, solid songwriting with old-school roots and a dogged independence. Johnson eventually got an enviable contract when he signed with Warner Music Nashville. Jinks has also heard from potential suitors, but he swears he will remain outside the major-label system, citing an early label experience in which he did most of his own marketing work by year three in a five-year deal.

“Record companies don’t build artists for success,” he says. “Record companies are in business for their own success. If the artist happens to be successful, it’s because they happened to find an oil well that they actually hit on. Record companies are wildcatters. They just have all these oil wells, hopefully one hits.”

Jinks is, in fact, intending to expand his own role as a label with an eye toward developing young talents with the same work ethic that propelled him. The plan is to offer a deal that is more equitable to the artists than they’re likely to find elsewhere while reducing his risks at the A&R level “Our philosophy is going to be, ‘Don’t go get all the oil wells, go find a sure thing, and put everything you’ve got into that thing,’ ” he says.

Ironically, that’s the same mindset broadcasters are employing in their own approach to their stations’ content. And it’s why he decided to release “Loud and Heavy” to radio after seven-plus years — he understands that the medium is looking for a fairly sure thing. The “Loud” story tells itself much better in 2022 than it did in 2014.

“We probably needed them more back then,” he says. “It’s nicer to be able to say, ‘Look, we still don’t need you. But we’re still willing to come play ball.’ We don’t have to be on the same basketball team, man, but we can play on the same court.”

Stromae and Camila Cabello dropped a music video for their new duet version of “Mon Amour” on Wednesday (July 27).

The kooky visual features both stars as a pair of contestants on a Love Island-esque reality show called Villa Mon Amour. Competing to become a finalist, the two fight with their housemates and record confessionals, as Cabello coos, “You think only you can have fun, think again/ I’ve been boy crazy since I was like 10/ I like him but also like his friend/ Twenty-something, first time I’m feelin’/ This summer I belong to me.”

“Far from disliking or mocking reality TV, it serves as a perfect prism to sublimate the human comedy that is played out in Stromae’s lyrics, because in these candidates there is a bit of each of us,” the track’s producer Luc Van Haver, who also happens to be Stromae’s younger brother, said in a statement.

Stromae’s solo version of the song appears on his third album Multitudes, which was released in March via Mosaert/Polydor. The former Fifth Harmony member jumped on the remix after meeting the Belgian musician at the 2022 Met Gala and connecting over how much she loved his music.

The new video adds to what has already been an exciting week for the artists, as Stromae and Cabello both picked up nominations at the 2022 MTV Video Music Awards when nods were unveiled on Tuesday. It’s Stromae’s first-ever nod at the show, with “L’Enfer,” Multitude‘s lead single, nominated in the video for good category. Four-time winner Cabello, meanwhile, garnered a 2022 nom for best cinematography for “Bam Bam” with Ed Sheeran.

Watch Stromae and Cabello’s hilarious music video for “Mon Amour” below.

Colombian pop singer Shakira has opted to go to trial instead of accepting a deal offered by Spanish prosecutors to settle allegations she defrauded Spain’s government of 14.5 million euros ($15 million) in taxes, her public relations team said Wednesday (July 27).

Shakira, 45, “trusts her innocence and chooses to leave the issue in the hands of the law,” the PR firm Llorente y Cuenca said in a statement.

Spanish prosecutors charged the singer in 2018 with failing to pay 14.5 million euros in taxes on income earned between 2012 and 2014. She faces a possible fine and prison sentence, if found guilty of tax evasion.

There were no immediate details available on the deal prosecutors offered. No date for the trial has been set.

Shakira’s public relations firm said she has deposited the amount she is said to owe with the Spanish Tax Agency and has no pending tax debts.

The case hinges on where she lived 2012-14. Prosecutors allege it was mostly in Spain even though Shakira’s official residence was in the Bahamas.

Shakira, whose full name is Shakira Isabel Mebarak Ripoll, has two children with Barcelona soccer star Gerard Pique. The couple used to live together in Barcelona but recently ended their 11-year relationship.

Iggy Azalea is sharing just how much she loves her son. The 32-year-old rapper shared a photo of her two-year-old son, Onyx, via Instagram Story on Monday (July 25).

The picture featured Onyx — whom Azalea shares with ex-boyfriend Playboi Carti — wearing a gray t-shirt featuring Toy Story‘s Buzz Lightyear and Woody, grey shorts and white sneakers and holding up his pointer finger for his mother. “Onyx is such a cutie I can’t handle it,” Azalea captioned the sweet snap.

The Instagram Story update is a rare one for Azalea — in 2021, the rapper stated via Twitter that she would no longer be sharing images or updates about Onyx after people started bullying him on the social media while he was an infant.

“I’ve decided I won’t be posting about onyx or sharing images online anymore. Y’all not about to be out here playing with my baby on my watch, nope!” she shared at the time. “I don’t play about my baby. At ALLLLLLL.”

She added, “My child is not a sub-brand for his fathers fans to obsess over or clown on because the reality is that y’all don’t like his mom so you think it’s cute to be rude about a baby and what funny stuff he wears,” she said. “Know that I will smack you in person, and so will his dad.”

Azalea is gearing up to go on road with Pitbull for his Can’t Stop Us Now North American tour, which is scheduled to begin in Raleigh, N.C. on July 28; she revealed that she will be taking Onyx with her for the six-week trek.

JoJo Siwa is losing her hair, but not from age. On Tuesday (July 26), the star revealed via TikTok that she is losing a large chunk of her hair and explained the link it has to her tenure on Dance Moms — as opposed to her famous side ponytail.

“This is because I was little,” Siwa explained to a fan who speculated that her signature hairstyle caused the issue. “You can actually see I had a little bit of one right now. When I was little I had a really bad stress rash right here on Dance Moms and I would pick at it all day long and I damaged every single hair follicle that has ever been right there.”

“So now I’m carrying her love with me, right there,” the Dance Moms alum concluded her video, highlighting the sparse spot on the right side of her head.

Siwa’s Dance Moms revelation comes on the heels of her saying that Fuller House‘s Candance Cameron Bure was the rudest celebrity she ever met. After her comments went viral online, Bure personally reached out to Siwa to chat.

In a video, Bure detailed their conversation and recalled “She [Siwa] said ‘I met you at the Fuller House premiere and I was 11 years old, and we were all on the red carpet. I had come up to you and said “Can I have a picture with you?” and you said to me “Not right now.” And then proceeded to do what you were doing and taking pictures with other people on the red carpet.’

“The lesson that we can learn is to be mindful that no matter how many followers you have, even a 10 second trending TikTok video can do damage, because our words matter and our actions matter… There’s no drama. That’s the tea,” Bure concluded.

See Siwa’s new TikTok as well as Bure’s explanation below.

“The lesson that we can learn is to be mindful that no matter how many followers you have, even a 10 second trending TikTok video can do damage, because our words matter and our actions matter… There’s no drama. That’s the tea.”

— Candace Cameron Bure pic.twitter.com/gj1FEY6iqS

— Pop Crave (@PopCrave) July 27, 2022

London-based rock group black midi re-enters Billboard‘s Emerging Artists chart (dated July 30) at No. 1, leading for the first time thanks to the arrival of its third studio album, Hellfire.

The LP, released via Rough Trade, debuts at No. 13 on Top Alternative Albums with 9,000 equivalent album units earned in the July 15-21 tracking week, according to Luminate. Of that sum, nearly 8,000 were in traditional album sales, with 6,000 on vinyl, prompting a No. 8 start on Top Album Sales and a No. 4 entrance on Vinyl Albums.

black midi first appeared on Billboard‘s charts in 2019 with its debut LP Schlagenheim, which reached No. 15 on Heatseekers Albums. Its 2021 sophomore effort, Cavalcade, hit No. 16 on Top Album Sales and No. 10 on Vinyl Albums.

The group consists of Geordie Greep on vocals and guitar, Cameron Picton on vocals, bass and synths and Morgan Simpson on drums.

black midi is the third group to hit No. 1 on Emerging Artists this year, after NCT Dream and PUP.

Among other Emerging Artists moves, The Linda Lindas launch at No. 4, thanks to their debut studio album Growing Up, released via Epitaph. The set debuts at No. 19 on Top Album Sales (5,000 sold) and No. 10 on Vinyl Albums (4,000).

Before this week, the Linda Lindas had appeared on Billboard‘s charts with one prior title, as their 2021 single “Oh!” rose to No. 29 on Alternative Airplay and No. 31 on Rock & Alternative Airplay.

The group comprises siblings Lucia and Mila de la Garza on guitar and drums, Bela Salazar on guitar and Eloise Wong on bass. All four members contribute vocals.

Plus, beabadoobee re-enters Emerging Artists at No. 8, nearly matching her No. 7 peak, as her sophomore LP Beatopia, released on Dirty Hit, begins at No. 30 on Top Album Sales (3,000 sold). Its single “Talk” reached No. 28 on Alternative Airplay and No. 30 on Rock & Alternative Airplay in April and No. 38 on Adult Alternative Airplay last month.

The Filipino-British singer-songwriter (born Beatrice Lauss) broke through in 2020 as featured on Powfu’s “Death Bed,” which reached No. 23 on the Billboard Hot 100 and samples her song “Coffee.” She’s placed three songs on Alternative Airplay: “Death Bed” (No. 2, June 2020), “Care” (No. 18, November 2020) and “Talk” and sent her debut album to No. 16 on Top Album Sales in October 2020.

The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100, Billboard 200 and the Social 50. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard‘s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.