Latest news with #ErykahBadu
New York Times
a day ago
- Entertainment
- New York Times
Erykah Badu's Woozy Flirtation, and 9 More New Songs
Every Friday, pop critics for The New York Times weigh in on the week's most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs. Erykah Badu and the Alchemist, 'Next to You' Erykah Badu floats some companionable requests — 'I wanna take walks with you,' 'I wanna just talk with you,' 'I can't wait to see you after school' — in this leisurely, woozy, increasingly hypnotic track. The Alchemist's production gathers countless layers of Badu's vocals, with and without lyrics, but places most of them at a distance, for a happy tangle of inner voices. Brittany Davis, 'Sun and Moon' Brittany Davis, a blind, nonbinary pianist, singer and songwriter based in Seattle, recorded their second album, 'Black Thunder,' leading a classic jazz piano-bass-drums trio. 'Sun and Moon' reaches back to Nina Simone for its husky, organic, bare-bones dynamics. This six-minute song rises ever so gradually, affirming everyday pleasures; 'In the sun, my heart is full of joy and light,' Davis sings. 'In the moonlight, I'm thankful for the blessings of the night.' The track has a jammy, improvisational feel, with serious purpose behind it. Billie Marten, 'Clover' The English songwriter Billie Marten calmly savors tensions and contradictions in 'Clover': 'You're raining heavy, I'm almost dry / I'm only learning to love you right.' The tempo is relaxed; keyboards plink and twinkle through mild dissonances. It's affectionate but watchful: 'Don't push me over, I'm half your size,' she admonishes. Kehlani, 'Folded' Kehlani dramatizes the most reluctant of breakups in 'Folded.' Yes, she's waiting for her ex to 'come pick up your clothes,' neatly folded. But this isn't the door-closing scenario from Beyoncé's 'Irreplaceable.' Kehlani urges, 'Meet me at my door while it's still open' and notes, 'It's getting cold out but it's not frozen.' Descending chords, a string section, little guitar licks and Kehlani's voice all convey a world of regret and a chance to reunite. Cari, 'Luvhiii' Cari Stewart-Josephs, an English songwriter, surrenders to infatuation in 'Luvhiii,' from an EP due July 10. 'You hit me like a truck,' she sings, 'And I never will get enough.' A loping bass line, jazzy piano chords and a faraway but insistent tambourine arrive, enfolding Cari's multilayered vocals in a trip-hop haze as she succumbs. Want all of The Times? Subscribe.
The Guardian
10-06-2025
- Entertainment
- The Guardian
‘I'm closer to the end than the beginning': British soul legend Omar on EastEnders, Stevie Wonder and his industry battles
Omar's fans are united in believing that he's a genius that should have been a superstar. 'The undisputed architect of what we now know as neo-soul', goes one YouTube comment, acknowledging that the British musician's albums predate the genre's US benchmarks such as D'Angelo's Brown Sugar and Erykah Badu's Baduizm. Another: 'Really don't know why Omar didn't go on to be big worldwide.' And then: 'D'Angelo was the closest they [America] had to someone of Omar's calibre and even he pales in comparison from a wholly musical standpoint.' 'That's dangerous talk!', the musician laughs when I relay the last quote back to him. But 40 years into his career, he's proud of his musical legacy. 'When I started out at 14, I said I wanted to make music that, as soon as you hear the first four bars, you know it's me,' he says. 'I think I've achieved that.' His other goal? 'To make pure bangers.' Born Omar Lyefook, the 56-year-old is an MBE-decorated multi-instrumentalist, producer, songwriter and sublime singer, who has scored a musical and acted in EastEnders. Stevie Wonder wanted to write a No 1 for him, and he's worked with the neo-soul era's US greats, including Badu, Common, Jill Scott and the late Angie Stone. While he may not have their profile, he's put out music since the mid-80s and his importance is acknowledged not just by YouTube commenters but by successive generations of tastemakers and artists, from livestreaming sensation DJ AG – who recently did a pop-up gig with Omar outside a London McDonald's – to Children of Zeus. As Konny Kon of that Manchester neo-soul duo puts it: 'Omar is a national treasure who laid the foundations. His production should be recognised just as much as his vocals.' I meet Lyefook at the Canary Wharf outpost of plush restaurant chain Boisdale, where he's playing with supergroup the British Collective. Their website's no-messing mission statement: 'to put the soul back into British R&B and keep it there.' 'I live in a world where Prince, Michael Jackson, Whitney Houston are still alive,' says Lyefook, and he's not just feeling nostalgic because of music. 'There's certain things about this era where I'm like, can we rewind? All this madness with Trump, the wars …' He pauses. 'It's a lot to get into. I'm just a vibes man.' That's modest. Lyefook longs for unity on his optimistic ninth studio album Brighter the Days, a self-described magnum opus over 18 tracks, originally born of lockdown frustration. 'I'm closer to the end than I am the beginning, and I refuse to be negative about stuff,' he says. 'I need to find the good in everybody.' In person, he's exceptionally down-to-earth but on record, he has a supernatural gift for blending genres like funk, jazz, samba, hip-hop and salsa, and on Brighter the Days, he turbo-charges this with lush strings. There's plenty of transatlantic guests, too, plus others closer to home in Brighton – namely his teenage twin daughters. 'I had to pay them proper rates. £200!' Lyefook grew up in a musical family in Kent: those Latin influences could have subconsciously come from his Cuba-born grandmother, his Chinese-Jamaican father is a reggae drummer who put out his son's first singles on his label, and his siblings are all musicians. He was classically trained at Guildhall School of Music and Chetham's, and his first professional gig was playing percussion with Paul Weller's Style Council in Japan in 1989. Weller offered his studio for Brighter the Days and played on the track On My Own. 'That dude had [about] five albums out in one year' recently, Lyefook jokes. 'It took me seven to get one out.' His breakout moment was in 1990 with There's Nothing Like This – and at the time, there really wasn't. Riffing on Ohio Players' Heaven Must Be Like This, the gently sinewy soul-jazz ballad detailed a romantic night in, over a seriously memorable groove. 'I just pictured a fireplace, a rug … Fuck knows what 'champagne wine' is,' he hoots. The song and album of the same name each went Top 20 when they were rereleased on Norman Jay and Gilles Peterson's Talkin' Loud label a year later. Lyefook fondly recalls that time: the acid-jazz explosion, driving his Saab convertible around London clubs and getting his trademark eyebrow piercing. But while he earned the respect of critics, execs at the major label that owned Talkin' Loud offered less support. 'Norman and Gilles being DJs, they're into the music. The higher ups, they're not,' he explains 'They'd say, 'there's no budget for videos', but then they're giving budgets to all the rock acts.' Those execs asked for his string sections to be played on synths, 'so we don't have to pay the musicians. Then Jason Donovan had a song out on the same label and he's got the exact same string section I was using.' His subsequent albums didn't break him in the US, despite cameos such as Wu-Tang Clan's Ol' Dirty Bastard who was enlisted on 1997 track Say Nothin' for '10 grand, two hookers and a bottle of Baileys,' laughs Lyefook. 'I had nothing to do with it!' Meanwhile, in the UK, 'it was one in, one out'. An A&R told his manager: ''We don't need Omar, we've got Craig David.' It doesn't matter where I go, there's something stopping me from getting that attention.' But he doesn't like to dwell on it. 'If I wasted time thinking about that then it might affect my creativity.' Lyefook has released plenty of albums in the following years, and his track It's So, a euphoric Afrobeat-style shuffle, has endured in DJ sets since it first lit up dancefloors in 2004. He's rarely stopped gigging, yet he hasn't put out an LP since 2017. Instead, there have been forays into acting: in 2022, he was on Albert Square for a two-week stint playing Avery Baker, estranged brother of Mitch Baker. 'When they showed me the part, it's a dude who wears a three-piece suit, smoking a cigar, driving a Bentley and playing the piano in the pub.' So not that far from real life? 'Exactly. I was like, 'This is me'.' Brighter the Days took a while on several fronts: finishing songs, finding a label and finalising paperwork with collaborators (he also underwent brachytherapy in 2024 for early-stage prostate cancer). Lyefook wanted Common, who he'd worked with on the rapper's seminal 2002 album Electric Circus, but it wasn't to be. 'I'm a big believer in timing. First time I was meant to work with Stevie, it took eight years. Don't set your watch by him, put it that way.' In 1992, he was in LA, and his manager also had Wonder as a client. 'He played my album to him. Stevie wants to write my first No 1. Fantastic! Midnight, I got the call: come down to the studio. Finally, he's ready. We're talking. And then …' He snores. 'So that was the end of that session. I waited all day for him to fall asleep.' 'Then seven or eight years later, I got a phone call out of the blue when I'm in London: 'Yo, man, it's your boy'. Who's that? 'Steve!' Steve who? 'Stevie Wonder!' Yeah, bollocks – sing me something. And he did.' For the next two weeks, 'I was like his ambassador. I had to take him to restaurants, clubs, hotels. We finally went to the studio, but the song we started with, it's alright but it's not blowing my skirt up. And then I had an idea to take him to my friend's studio where they were jamming' (the result was the 2006 track, Feeling You). Another session involved the late beatmaker J Dilla who Lyefook had met through Common in Detroit around 2000. 'We went to a strip club, J Dilla paid for a stripper, and then we went to the studio. It seemed to be a normal Tuesday for him!' A beat that Dilla made with Omar in mind was recently rediscovered by Lyefook's brother, the producer Scratch Professer, but 'it wasn't ready for this album, probably the next one'. Among the guests that did make it on to Brighter the Days is UK rapper Giggs. 'I wasn't that aware of him before,' says Lyefook – Giggs wrote 'Yo, uncs!' as he reached out via Instagram. 'That's what they call me now. Well, it's better than grandpa.' British rap, he says, can be 'gritty, and you got to be hardcore' – very different to the 'good times, barbecues, chilling out' vibes of soul (though the pair find mutual ground on We Can Go Anywhere, where Giggs invites you to help yourself to his party buffet). Lyefook appreciates grime, he says, but 'it's so not my world. I mean, Stormzy's album cover [2017's Gang Signs and Prayer] was how many men in balaclavas? Great artist, but they didn't have that in Canterbury.' Lyefook once protested the Mobos for not having a soul category. His peers, including Bluey from Incognito, unrolled posters on the red carpet reading Mobos: Where's Your Soul? 'And so they relented and made it R&B/soul – but those are two different animals,' Lyefook laments. 'One year I got nominated and Adele's in the same category. It's not just a black and white thing, it's generational. I'm just filler.' The musician is content these days, however, with his elder statesman role. 'It used to be, 'my sister likes your music'. Then 'my mum likes your music'. Now it's 'my nan likes your music',' he quips. 'I've been lucky – they passed it down through the generations.' While other musicians are part-time, he continues, 'I've managed to make a career that can pay the bills. It's not ostentatious. I would love it to be. But the love that I've been getting has been enough.' Brighter the Days is out now on Impressive Collective and BBE Music
Forbes
30-05-2025
- Entertainment
- Forbes
André 3000's No Bars Era: What It Means For Hip-Hop And Jazz Fans
As André 3000 turns 50, the backlash over his refusal to rap on recent projects like 'New Blue Sun' and '7 Piano Sketches,' reveals more about the hip-hop community's resistance to artistic growth than any failure on his part. People were expecting the 'Da Art of Storytellin'' 3K. The 'Southernplayalisticadillacmuzik' 3K. The 'Ms. Jackson' 3K. The 'Hey Ya!' 3K. However, that was over two decades ago. André was in his early thirties when Outkast released their last album, Idlewild, in 2006. Before dropping his first solo album, he certainly dropped bars across the hip-hop universe. Three Stacks and Big Boi reunited Outkast for the highly anticipated 2007 UGK collaboration 'International Players Anthem,' hopped on Erykah Badu's 2015 'Hello,' worked with Frank Ocean twice ('Pink Matter' and 'Solo'), appeared on N.E.R.D.'s 'Rollinem 7s,' and made several more surprise features with Rick Ross, Anderson .Paak, and James Blake. His last collaboration before 2023's New Blue Sun was with Kanye West, where he dropped bars on 'Life of the Party,' once again fueling hip-hop fans' desire to witness a living 3 Stacks bless the masses with profound, modernized bars. However, they were not prepared for what the Outkast emcee had in store. On Tuesday, the world commemorated André 3000 as he welcomed the ripe age of 50. For an adult man, this is typically a time for thorough self-reassessment. According to a German study by Dr. Kurt Seikowski on men and midlife crisis, as a man approaches 50, he is poised to qualitatively reorient himself. I am not suggesting that André 3000's recent projects are a reflection of the negative aspects often associated with a midlife crisis. Rather, I advocate the view that these works are the product of a legendary emcee's personal reinvention as he officially enters the next phase of his life—also a testament to his intellectual rigor. Moreover, the backlash that New Blue Sun and its successor EP, 7 Piano Sketches, received from a fraction of the hip-hop community suggests a growing forgetfulness of hip-hop's long-standing relationship with jazz. New Blue Sun was foreseen as the highly anticipated solo debut of André 3000, a man who, alongside Big Boi, is solidified as a hip-hop legend as a member of one of the most influential duos in hip-hop history, Outkast. Of course, it is 3 Stacks' signature cadential flow, displayed throughout the Outkast discography, that hip-hop heads were anticipating an aural blessing from. As warned on the cover of the work—adorned with an outline of the seasoned flutist and featuring a hard-to-miss lime green label: No Bars. The album is almost entirely instrumental, featuring a polyphonic blend of percussion, strings, keyboards, synths, and woodwinds, with André's flute driving the downbeat. There are only faint, textural vocals performed by Mia Doi Todd. Other than that, no vocals. No bars. This ruffled some hip-hop heads, who utterly dismissed André's official foray into jazz musicianship. Not only did a portion of hip-hop heads criticize the lack of rapping, but others accused the album and its various movements of lacking rhythm—a critique reminiscent of Western composers who once dismissed the advent of jazz. This is ironic, given that jazz is a precursor to hip-hop culture, forms a subgenre within it, and is heavily in classic hip-hop records, from Duke Ellington and John Coltrane to Miles Davis. The defining mark of jazz music is the act of improvisation. André 3000's recent works, including 7 Piano Sketches, feature an elementary approach to improv, as the hip-hop icon describes it, he simply spreads his 'fingers out on the keys and randomly but with purpose moves them around until' he found 'something that feels good or interesting.' This same 'feel good' spontaneity is present in Louis Armstrong's trumpet cadenza on 'West End Blues,' in Miles Davis' open trumpet solo on 'So What,' and in the four-note motif John Coltrane springs in 'A Love Supreme.' For those who listen to Fela Kuti, the Afrobeat pioneer and jazz enthusiast—improvisation is also the signature of his infectious musical movements. Some 20th-century critics held biased views about jazz, deeming it unoriginal, nonlinguistic, and musically untutored, ultimately suggesting a certain feebleness in the genre due to its embrace of improvisation. Sociologist William Bruce Cameron described jazz 'non-literate,' while others, such as British composer Constant Lambert, initially expressed a racist, anti-jazz bias. Lambert later conceded that a 'small section' of the jazz technique was 'genuinely negroid' and based on 'sophisticated material,' ultimately acknowledging its intellectual rigor. The criticism of the lack of rapping on André 3000's recent works is telling as to a certain forgetfulness, or perhaps unawareness, among some hip-hop heads, particularly those who value lyrical virtuosity, regarding hip-hop's historical connection to jazz. During hip-hop's golden era in the late 1980s and early 1990s, jazz rap emerged just as gangsta rap and pop rap were dominating the airwaves and climbing the charts. Thanks to crews like the Native Tongues (A Tribe Called Quest, De La Soul, Jungle Brothers, etc), Digable Planets, and Gangstarr, jazz class acts like Ron Carter, Sonny Rollins, Charlie Parker, Herbie Hancock, alongside a plethora of jazz-infused funk records (including the drum breaks on Bill Wither's 'Use Me' and the horn licks from Kool and the Gang's 'N.T')—jazz rap came into fruition through sampling and brewed a profound subculture. This subgenre stands out for its socially, politically, and spiritually charged lyrics and themes rooted in Afrocentricism. The culture of jazz rap often thrived in underground cafés, jazz clubs, record stores, niche unauthorized radio stations, and college campuses—including HBCUs like Howard, R1 institutions like NYU, and Ivy Leagues like Columbia. Its grand favor among college students is attributed to the subgenre's lyrical complexity, philosophical depth, and pro-Black rhetoric, all of which are seen as intellectually engaging. Jazz rap has frequently been regarded as an elite cerebral art form, with a magnetic pull for a highbrow, cultivated, and educated audience. With the documented history between jazz and hip-hop, it's reasonable to expect any practitioner of the genre to pursue a jazz musicianship in singularity. André 3000 appeared at this year's Black Dandyism-themed Met Gala, dawning a seven key piano shaped ensemble—a clever marketing ploy for his latest work, 7 Piano Sketches. Time and space are central to this work, as André revealed, most of the album was recorded over a decade ago on his iPhone and laptop while he and his son were renting a house in Texas. The music was recorded through pure emotional trial and error, rendezvousing his favorite piano composers, including Thelonious Monk, Phillip Glass, and Joni Mitchell. Though the release may have seemed sporadic and impromptu, it ultimately moreover solidifies the Outkast emcee's commitment to creating and releasing instrumental movements, professionally. These last two works are not the first time he is showcasing this ability. It has been burgeoning since the prime of Outkast. On Outkast's 2003 'My Favorite Things,' 3 Stacks played and arranged the piano which was a tribute to the great John Coltrane. In 2018, he released the EP Look Ma No Hands, featuring James Blake on the piano, which André himself on the base clarinetist—a straight up jazz piece and ode to his late mother, marking his first true jazz project which also shocked hip-hop heads. Over the past decade, he has also been spotted amid the wilderness of American civilization, unapologetically playing his flute on the corners of Soho, on church steps in Philly, and at airports throughout. New Blue Sun was nominated for two Grammys this year—Album of the Year and Best Alternative Jazz Album. While a portion of hip-hop heads disfavored the absence of rapping, jazz enthusiasts and abstract music lovers embraced the work. It is a reality to face regarding the nature of this backlash: although hip-hop heads are under no obligation to favor the work, it is fair to suggest that objectivity should be applied when evaluating the work. Consider the stage of life 3 Stacks is in, and acknowledge a potentially haunting reality for hip-hop heads: one of your top three might just evolve out of rap.
Perth Now
23-05-2025
- Entertainment
- Perth Now
Erykah Badu and Henry Lau set for SXSW London
Erykah Badu and multi-instrumentalist Henry Lau are set play the inaugural SXSW London. Europe's leading platform for cross-industry networking is taking place from June 2-7 across 25 venues in Shoreditch, London. Grammy-winner Erykah Badu is set to perform under her alias DJ Lo Down Loretta Brown with a headline set on the House of R'n'B stage. Other special guests include Mabel, Sasha Keable, NAO, and Miraa May. Henry Lau will take to the stage for the Opening Performance supported by MetaMoon at Village Underground from 3pm to 4pm on Monday, June 2. Adem Holness, Head of Music at SXSW London, said: 'For me, Badu is one of our most important living artists, so to have her join our inaugural festival is unbelievable. I can't wait to share in the excitement with the people coming to SXSW London and dance the night away in the House of R amp;B. We couldn't be more excited to have Badu and Lau bookend a week that will establish SXSW London as a vital new destination for musical discovery and cultural exchange.' Music Festival Wristbands are available now from £25 on DICE. Tickets for the Opening Performance featuring Henry Lau are sold separately and are also available to purchase via DICE.
Gulf News
19-04-2025
- Entertainment
- Gulf News
BTS took a break and still stayed unstoppable: Chapter 2 solo success stories that became a love letter to ARMY
June 2022, BTS Festa. You just had to be there. The BTS Live that is often considered the real 'horror film' by ARMYs—was filled with bittersweet and tearful confessions, mixed with the band's taste of fun and hilarity. Yet the essence was: They were going to take a break as a band. They were tired, fearful of being mechanical and losing the meaning of what it meant to be BTS, as an overwrought RM said. Instantly, social media broke apart—the band was breaking up. They were on indefinite hiatus. We won't ever see all seven of them on stage. It's all over, and fans penned emotional letters, thanking them for everything. The members were stunned. This wasn't what they expected. So, individually, they penned letters comforting ARMY—they weren't breaking up. They were just on a break. For a while. And they would continue to deliver RUN BTS episodes, as part of their variety show projects. And, there would be solo projects. Some fans were sceptical. Solo eras? Would that even work? After all, it's BTS—yes everyone know they were established artists who had also pursued individual projects, but a solo era for each? Not sure. Well, BTS set that thought straight with their 'Chapter 2', where each member continued paving the way for the band. J-Hope The solo era kicked off with J-Hope 's Jack in The Box, where he was determined to burn down the 'old' polished image of himself as his song Arson showed—and prove the different facets of himself. But that was just the beginning—from 2022, and even while he was in mandatory enlistment—his awards just kept stacking up. Achievements: Jack in the Box debuted at No. 17 in July 2022. Re-entered at No. 6 in August 2023 with the HOPE Edition, marking his first solo top 10 entry. Hope on the Street Vol.1 debuted at No. 5 in April 2024, setting a new personal best. First South Korean artist to headline Chicago's Lollapalooza in 2022. Embarked on his first solo tour, Hope on the Stage, in 2025, with performances across major cities including Seoul, Brooklyn, Chicago, Los Angeles, and San Antonio. RM From releasing the thoughtful album Indigo, 'the last archive of his twenties' to the emotional unravelling in Right Place, Wrong Person, and everything in between, the leader of the band kept himself busy. He released a distinct range of songs too, some like Smoke Sprite, and the sassy Never Play. 1. Indigo (Released: December 2, 2022) RM's debut solo studio album featured collaborations with Erykah Badu, Anderson .Paak, Tablo, and more. The album debuted at No. 15 and later peaked at No. 3 on the Billboard 200, making RM the first Korean soloist to achieve a Top 3 spot on the chart. Indigo became the longest-charting album by a Korean soloist on the Billboard 200, with seven non-consecutive weeks. The title track, 'Wild Flower''featuring Youjeen, debuted at No. 83 on the Billboard Hot 100, marking RM's first solo entry on the chart. 2. Right Place, Wrong Person (Released: 2024) RM's second solo album leaned into experimental and genre-blending soundscapes, drawing from funk, alt-rock, and avant-garde influences. The album includes collaborations with international artists such as Little Simz and Moses Sumney. Critics praised the album's philosophical themes and boundary-pushing sound. Chart achievements Following its vinyl release, Indigo re-entered the Billboard 200 at No. 53, and topped the Vinyl Albums chart at No. 2—the highest for any Korean soloist. Indigo debuted at No. 45 on the UK's Official Albums Chart, making RM the third Korean soloist to do so after PSY and Agust D (SUGA). Collaborations and notable Projects In September 2024, RM collaborated with Megan Thee Stallion on the single 'Neva Play,' their second joint effort after the 2021 Butter remix. He released the documentary RM: Right People, Wrong Place in late 2024, offering a behind-the-scenes look at the creative process for his second solo album, as well as personal reflections during BTS's group hiatus. Jin He might have been the first to leave for military service, but even in the short span of time since he returned in 2024—the vocalist has already made up for the last two years, with variety shows, fashion endorsements, variety shows and collaborations. Achievements The Astronaut (October 28, 2022) Jin's solo debut single, co-written with Coldplay, sold over 1 million copies within 16 days, setting a record for the fastest-selling Korean solo album at the time. Happy (November 15, 2024) Jin's debut solo album, featuring six tracks including 'Running Wild' and I'll Be There, debuted at No. 4 on the Billboard 200, making BTS the first K-pop group with all members achieving solo Top 10 albums. The album sold over 953,000 units in its first week in South Korea, becoming the country's best-selling solo album of 2024. Echo (Scheduled for May 2025) Jin's second solo album, Echo, is set to release in May 2025. Notable performances and appearances Olympic torchbearer (July 14, 2024): Jin carried the Olympic Flame through the Louvre Pyramid in Paris as part of the 2024 Summer Olympics torch relay, symbolizing peace and harmony. Solo Concert Tour – RunSeokjin Ep. Tour (June–August 2025): Jin's first solo world tour, supporting his albums Happy and Echo, includes performances across North America, Asia, and Europe. Media and Brand Engagements Variety Shows: Jin launched his own web variety show, Run Jin, and appeared in other programs like The Half-Star Hotel in Lost Island and I Love Everyone's Zoo. Brand Ambassadorships: He became the global ambassador for several brands, including Fred, Gucci, Laneige, and Alo Yoga, highlighting his influence in fashion and lifestyle sectors. Suga We might not have heard from him since 2023—but Suga, the rapper of the band, has managed to continue creating discussion and buzz even in his absence. Achievements D-DAY (April 21, 2023) Suga released his first official solo studio album under his alter ego Agust D. D-DAY debuted at No. 2 on the US Billboard 200, tying with Jimin's FACE as the highest-charting album by a South Korean soloist at the time. The album re-entered the Billboard 200 following the release of its vinyl edition, marking a sixth week on the chart. Solo world tour Suga became the first BTS member to hold a solo world tour. The tour visited cities in the US, Indonesia, Thailand, Singapore, South Korea, and Japan. It grossed over $57.2 million from 28 sold-out shows. He broke records at the Kia Forum in Inglewood, California, earning over $3 million per night—one of the highest grosses for a Korean soloist. Awards and recognition Golden Disc Awards 2023: Won Digital Bonsang for "That That" with PSY. MAMA Awards 2023: Won Best Rap & Hip Hop Performance for "People Pt. 2" with IU. Brand endorsements Valentino: Appointed global ambassador and face of the Maison Valentino Essentials campaign in January 2023. NBA: Named an ambassador in April 2023, with appearances at official events and cross-promotional content. Jimin Inspired by his hyungs raw and vulnerable style of music, Jimin decided to take a different route for himself in terms of music, and that, set new records too. FACE (March 2023) Jimin's debut solo album, FACE, featured the hit single Like Crazy, which debuted at No. 1 on the Billboard Hot 100, making him the first South Korean solo artist to achieve this feat. Like Crazy became the fastest song by a K-pop male soloist to surpass 200 million streams on Spotify. MUSE (2024) His second solo album, MUSE, included the single "Who," which broke BTS's "Dynamite" record as the longest-charting K-pop song in Billboard Hot 100 history. Who also became the longest-running No. 1 by a K-pop soloist on the Billboard Global 200 chart and surpassed 900 million streams on Spotify within 106 days of release. Awards and recognitions Jimin earned multiple No. 1 positions on Billboard's Digital Song Sales chart in 2023, with Like Crazy and other tracks. As of early 2025, Jimin has accumulated an estimated total of over 115 awards in his solo career. V BTS' V, while keeping up with his music and releasing a woozy album, also became an important fashion symbol. Layover (September 8, 2023) V's debut solo album, Layover, showcased a blend of pop, R&B, and jazz, receiving critical acclaim for its sophisticated sound. The album sold over 1.67 million copies on its opening day, setting a new record for the highest first-day sales by any solo K-pop artist in Hanteo Chart history. It debuted at No. 2 on the US Billboard 200, with 100,000 equivalent album units earned in its first week, making V one of the highest-charting Korean solo artists in Billboard chart history. Layover became the first Korean solo album to chart for eight non-consecutive weeks on the Billboard 200, breaking the previous record held by RM's Indigo'. The pre-release track "Love Me Again" surpassed 100 million streams on Spotify within 30 days of its release, tying as the fastest solo song by a South Korean soloist to reach this milestone. Fri(end)s (March 15, 2024) V released the digital single "Fri(end)s," an English-language pop soul R&B track, accompanied by a short film ahead of the music video release. "Winter Ahead" with Park Hyo Shin In December 2024, V collaborated with Park Hyo Shin on the single Winter Ahead, which debuted at No. 99 on the Billboard Hot 100, marking his fifth solo entry onto the chart. Awards and recognitions At the 2024 Korea Grand Music Awards, V received the Trend of the Year – K-pop Solo award, making him the only BTS member to win at the event that year. He won the Best Music – Fall award at The Fact Music Awards in 2023 for "Slow Dancing" and the "Best Music – Spring" award in 2024 for "Fri(end)s." V's Layover won Favorite Debut Album at the 2024 iHeartRadio Music Awards. Jungkook Last, but definitely not the least, the youngest member carved his own path and released albums, collaborations, all of which, broke different records. Left and Right (2022): Chart performance: The song achieved significant commercial success, peaking at No. 22 on the Billboard Hot 100 and charting in multiple countries, including South Korea, the United States, and several European markets. Billboard Global 200: The song reached No. 1 on the Billboard Global 200 chart, becoming one of the most popular K-pop songs of 2022. Award Recognition: It earned a nomination at the 2 022 Mnet Asian Music Awards (MAMA) for "Best Collaboration" and was well-received by fans and critics alike for its catchy melody and memorable collaboration. Golden, 2023 Seven (feat. Latto) (2023): Jungkook's debut solo single topped the Billboard Hot 100, making him the second BTS member to achieve this feat. It also reached No. 1 on the Billboard Global 200 and remained there for seven consecutive weeks. Golden(2023): His debut solo album debuted at No. 1 on the Billboard 200, making Jungkook the first BTS member to lead the chart with a solo project. Awards and recognitions
