Author: Rap Hooks

PRODUCE 101 JAPAN SHINSEKAI is the fourth season of the survival audition show that brought the world JO1, INI, and ME:I. It will culminate in the debut of a 12-person global boy band with members chosen through voting by Japanese viewers (Kokumin Producers) and, for the first time on the show, global viewers (SEKAI Producers) as well. The announcement of the group’s final members is drawing near, so audiences are watching closely to see how the auditions will turn out.

One area that is drawing even more attention, as the audition excitement ramps up, is the choice of music. Episode 4, which aired on April 9, and Episode 5, which aired on April 16, were a GROUP BATTLE. The 101 trainees were broken up into 16 groups, and each group was assigned one of eight songs, with the two teams assigned the same song competing against each other. Not only were the teams judged on their comprehensive abilities (like their vocals, dance, and rap), but the victors were decided by voting by the audience at the battle site. Tensions were high from the very start, as the trainees found who would be in their groups and what song they’d compete with. Unlike past seasons of PRODUCE 101 JAPAN, the addition of the new FREE Part rules meant that the trainees were able to produce parts of the songs, making their own choreography, performance, and structure decisions. This oft-talked about change meant that their self-production abilities would also be subject to closer scrutiny. Of the songs used in the GROUP BATTLE, JO1’s “Love seeker,” Wanna One’s “Energetic,” and Stray Kids’ “CASE 143” were especially noteworthy because of what happened to their streaming numbers.

JO1’s “Love seeker” saw its streaming numbers rise by 197% in Japan between the week before when PRODUCE 101 JAPAN SHINSEKAI aired and the week when it aired. It also had a 197% increase throughout Asia (based on figures from Japan, Korea, Taiwan, Hong Kong, India, Indonesia, Malaysia, Philippines, Singapore, Thailand, and Vietnam). Another likely factor was JO1’s solo dome tour JO1DER SHOW 2026 ‘EIEN,’ which had the group performing at Tokyo Dome on April 8 and 9 and Kyocera Dome Osaka on April 22 and 23.

Streaming numbers for Wanna One’s “Energetic” rose by 468% in Japan between the week before the show and the week of the show, and rose by 219% across Asia as a whole. On April 6, Wanna One had its first fan meeting in seven years in Seoul, Korea, and the official reformation of the group is believed to have further boosted these numbers. Stray Kids’ “CASE 143” saw streaming plays go up by 145% in Japan and 124% across Asia, both significant increases. These upswings in streaming figures are likely the outcomes of numerous viewers re-listening to the music used in the show and recalling the passionate, dramatic scenes involving the trainees.

Episode 6, which aired on April 30, and Episode 7, which aired on May 7, were a “POSITION BATTLE: OPEN ROUND.” In dance and vocal groups, the lines between vocal, dance, and rap positions have disappeared. We’ve entered an age of all-rounders, where people aren’t confined by the limits of fixed positions. Because of this, during the OPEN ROUND, the trainees were judged for their self-production abilities, including the arrangements and structures they chose for their songs. All nine teams competed with different songs, and the top two trainees from the first round ranking and the top person for each song of the GROUP BATTLE were selected as leaders.

Of the nine songs used for this round, streaming figure growth was especially prominent for Imagine Dragons’ “Natural,” INI’s “DOMINANCE,” and ZEROBASEONE’s “Doctor! Doctor!” When the show aired, “Natural” saw its streaming plays rise by 199% in Japan vs. the previous week, and by 104% for Asia as a whole. For “DOMINANCE,” streaming plays rose by 167% in Japan and 166% across Asia, and for “Doctor! Doctor!” the figures rose by 218% in Japan and 173% across Asia. All were significant increases. The fact that INI and ZEROBASEONE were headliners at KCON JAPAN 2026, which was held from May 8 to 10 at Makuhari Messe, is likely another reason for the climbing streaming figures.

Imagine Dragons’ “Natural” was chosen by the “Nature Self” team, led by CHISATO (Chisato Kobayashi). YURA (Yura Abe) was chosen as main dancer by unanimous agreement, but he was struggling with his defeat in the previous GROUP BATTLE. Dance trainer Rino Nakasone advised him of the importance of reflecting the song’s message in his performance, saying “The song ’Natural’ is all about not bowing under pressure. Don’t keep it all pent up inside.” This drew a lot of attention to how much the song “Natural” had to say. “Nature Self” was chosen as the standout team, which is likely another reason for the rise in streaming numbers.

The “PUNCH LINERS” team, led by RYUJI (Ryuji Sugiyama), chose INI’s “DOMINANCE.” INI members Rihito Ikezaki, Hiroto Nishi, and Jin Matsuda made surprise appearances 101 SPECIAL BUDDIES, cheering on the trainees and providing valuable advice, which resonated with viewers. O.YUSEI (Yusei Obayashi), who was selected as main rapper, asked to be replaced, but with the encouragement of his team members, took to the stage with a bold performance. In a dramatic turn of events, he was chosen as the top member of the team in field voting.

The “LOVE MANUAL” team, led by K.DAIKI (Daiki Kato), selected ZEROBASEONE’s “Doctor! Doctor!” The team was made up of some of the most popular and skilled members, but vocal trainer Kevin Woo expressed disappointment, saying “You were like the Avengers of the teams, so I was expecting a lot from you, but I’m not seeing teamwork.” The team had hit a wall. INI members Takumi Ozaki, Hiromu Takatsuka, and Kyosuke Fujimaki listened attentively to the team’s concerns and helped them take them on, strengthening and uniting the team. K.DAIKI and main vocalist SHINHAENG (Oh Shinhaeng) led their team with a highly polished performance of “Doctor! Doctor!”

Now audiences cast their minds back, recalling the drama behind the songs used in the show and waiting with bated breath to see who will debut as PRODUCE 101 JAPAN SHINSEKAI approaches its conclusion.

—This article by Kaori Komatsu first appeared on Billboard Japan

No challenge, it would seem, is too great for Taylor Swift. By recording “I Knew It, I Knew You” for Toy Story 5, her latest project was a love story a lifetime in the making. No pressure, right?

In recent days, Swift dotted a trail with Toy Story 5 easter eggs, and confirmed what super-fans knew all along with the release at midnight of the original song “I Knew It, I Knew You.”

The track will appear in the latest addition of the beloved animated franchise, and is something of a dream come true. If proof were needed, Swift shared an adorable video of herself as a youngster, dressed as cowgirl Jessie, who lassoed us all in at the start of her journey back in Toy Story 2.

“Writing this song felt like a musical departure and coming home at the same time,” Swift writes in a social post. “Creating something for Jessie was a new challenge and also felt like second nature all at once. And being a Toy Story kid from the age of 5 til now… is an adventure I plan to be on, to infinity and beyond.”

Swift gave a shout out to the “brilliant” Toy Story 5 director and screenwriter Andrew Stanton “for imagining me for this, all those years ago when you wrote this newest film.” And gave a thank-you to “the incomparable” Randy Newman for “the gorgeous sonic tapestry of songs and scores you’ve meticulously woven over the years.” Newman, she continued, “created the Toy Story musical world, and we are lucky to get to live in it.”

The “we” includes Swift and her frequent collaborator, producer and “pal” Jack Antonoff, who worked on the single, which she previously revealed was “inspired by the rootin’ tootin’” Jessie.

“We wrote this with so much adoration for these characters that made us laugh and helped us learn lessons and think outside the backyard all throughout our childhoods,” she says of her latest work.

“I Knew It, I Knew You” is Swift’s first release since her hit 2025 album The Life of a Showgirl, and arrives ahead of the movie’s June 19 release, through Disney and Pixar.

Starring Tom Hanks (Sheriff Woody) Tim Allen (Buzz Lightyear), as well as Joan Cusack returning to voice Jessie, Toy Story 5 will show how Andy’s old toys come to grips with a new electronic tablet taking over the attention of their current owner, Bonnie.

AUCKLAND — Universal Music New Zealand is on the hunt for the next generation.

With effect from today, June 4, the major music company presses play on nextWAV., a 12-month industry-first development program that’s designed to find, give a platform to and support emerging young Kiwi talent.

The first-of-its-kind initiative is a holistic one, bringing together organizations and professionals from across NZ’s music industry for provide mentorship and development opportunities for aspiring artists on the way up.

“We created nextWAV. to help shape the future of New Zealand music by supporting local artists at the very beginning of their journey,” comments Matt Kidd, UMNZ co-managing director and co-program creator.

“At a time when discovery is global and competition is greater than ever, it’s critical that aspiring artists are given access to the right tools, networks and opportunities early.”

Adds Myra Hemara, co-managing director, Universal Music New Zealand and co-program creator: “nextWAV. is designed to play a role in this by bringing together the right expertise, partners and support to help shape the next generation of recording artists.”

Participants will receive one-on-one guidance from industry professionals across songwriting, production, branding, live performance and digital strategy, reads a statement, in addition to practical experience in studio environments, creative development spaces and live performance settings.

nextWAV., Kidd continues, “is about building confidence, capability and connection, while establishing a pathway for New Zealand artists to develop sustainable careers both at home and on the global stage.”

The program’s principal funding partners are NZ On Air and Creative New Zealand, while supporters include APRA AMCOS, Big Fan, Live Nation New Zealand, The Tuning Fork, New Zealand Music Commission, Launchpad and Play It Strange.

New Zealand has no shortage of world-class talent, from Lorde, to Benee, Broods, Ladyhawke and the legendary Split Enz, which reunited in 2026 for their first tour in almost 20 years. What NZ and its artists do struggle with are conditions that are no fault of their own. The tyranny of distance and the cost of touring is one challenge, another is being seen and heard above the frontline talent on both sides of the Atlantic, and the mine of golden oldies that lives in perpetuity on streaming platforms.

“Aotearoa has a proven track record of producing globally successful artists and remains an independent and well-established environment for developing talent,” comments Sean Warner, president of Universal Music Australia & New Zealand. “Continued investment in emerging artists is key to sustaining that momentum, and initiatives such as nextWAV. support long-term growth across the wider music ecosystem.”

Those young developing artists (aged 16-18) who are “ready to take the next step” are invited to apply.  Hopefuls must be permanent residents or citizens of Aotearoa New Zealand, have parent or guardian consent, and available to participate in the program on the key dates outlined in the Programme Structure. 

Applications open today, Thursday June 4, 2026 and close Sunday, July 19, 2026. Further information is available at www.nextwav.co.nz.

Stu Mackenzie and Lucas Harwood of King Gizzard and the Lizard Wizard, Julia Jacklin, and trials, lead the first wave of Artist In Conversation sessions at BIGSOUND 2026, one of the most popular daytime spots during Australia’s annual conference and showcase smorgasbord.  

King Gizz, as they’re affectionately known in these parts, are BIGSOUND alum, having performed during the nighttime program back in 2013. The prolific group has gone on to own their lane in the psych-rock space, smashing out a remarkable 25 albums (including five in one year), launching a label (p(doom) Records) and standing out as one of Australia’s leading music exports.

Jacklin, too, has graced the BIGSOUND showcase stages. The indie alt-pop artist made her BIGSOUND debut in 2016, just ahead of the release of Don’t Let The Kids Win, the first of her three studio albums.

A two-time ARIA Award winner, Jacklin this week announced her first-ever global record deal with venerated indie label 4AD, and shared details of her 2026/27 tour that will see her perform throughout North America, the United Kingdom and Continental Europe.

Also confirmed for BIGSOUND’s Artist In Conversation lineup is Ngarrindjeri hip-hop producer, composer and innovator, a founding member of Funkoars and one half of A.B. ORIGINAL, his politically-charged project with Yorta Yorta artist Briggs (an Artist in Conversation participant at last year’s BIGSOUND) that won two ARIA Awards and the coveted Australian Music Prize for best Australian album of the year (with 2016’s Reclaim Australia).

Trials (real name: Daniel Rankine) recently supported Hilltop Hoods on their 10-date arena tour of Australia, and last month released his debut solo project hendle. Also, he has been throwing his support behind Full Stop Australia, one of the country’s leading sexual, domestic and family violence response and recovery services, with profits of his merchandise t-shirt sales from every show donated to the organization.

Previous Artist In Conversation guests have included Tony Watson (aka Tones And I), Kelis, Mallrat, Blur’s Dave Rowntree, and Amy Taylor of Amyl And The Sniffers.

This year’s 25^th anniversary edition of BIGSOUND will play out in the vibrant entertainment district that is Brisbane’s Fortitude Valley, from Sept. 1-4.

International guests confirmed for BIGSOUND 2026 include reps from Partisan Records, Pitchfork, Bonnaroo, Soho House, MOM+POP, ROAM Artists, Reeperbahn, DMT Law Firm, Carpark Records, The Great Escape, True Panther and SXSW.

“BIGSOUND has always been a place where real connections happen, and this year we’re focused on creating even more opportunities for Australian and New Zealand artists and industry to connect with each other and the global market,” comments Kristy Ellis, interim CEO, QMusic, producers of BIGSOUND. “The program focuses on the conversations the industry is having right now — how the business is changing, how we stay ahead, and how Australian and New Zealand artists continue to grow on the global stage.”

Visit bigsound.org.au for more information.

Violet Grohl really is a chip off the old block. The newcomer with the famous surname made her TV debut Wednesday night (June 3) when she stopped by The Tonight Show Starring Jimmy Fallon with a full band.

Want rock? You’ve got it.

Looking cool, calm and dressed right for her late-night premiere in all-black, Grohl performed “Bug in the Cake,” lifted from the grungy rocker’s recently released debut studio album.

It’s been a bright couple months for Violet, who made her official Billboard chart arrival earlier this year as a teenager (aged 19), when “THUM” started at No. 38 on Adult Alternative Airplay. “THUM” marked her first appearance on a Billboard chart as a billed artist, though she did contribute backing vocals to Foo Fighters’ “Show Me How,” which hit No. 21 on Hot Hard Rock Songs in 2023.

Now aged 20, she’s just dropped the 11-track Be Sweet to Me, through Auroura Records/Republic Records, a record that also includes the previously-released “Applefish” and “595.”

Grohl is, of course, the oldest daughter of Dave Grohl, the singer, songwriter and force-of-nature rock star who has been inducted into the Rock And Roll Hall of Fame both with Nirvana (2014) and with Foo Fighters (2021).

According to a release, Be Sweet to Me was recorded from late 2024 into early 2025 at producer Justin Raisen’s Los Angeles home studio with a group of musicians assembled “in the spirit of the Wrecking Crew session players in the ’60s and ’70s,” whose work can be heard on classic recordings by the likes of Sonny & Cher, the Mamas and the Papas, Frank Sinatra and Harry Nilsson, among many others.

“Everything was written in the studio,” Grohl says of her new collection. “I would come in with an inspiration playlist, we would hang and listen for a little while, and then start writing.”

She’s supporting the project with a trans-Atlantic tour, which continues tonight (June 4) with a sold-out performance at New York’s Baby’s All Right.

Watch Violet Grohl’s performance on NBC’s Fallon.