Australia, despite its reputation as a nation obsessed with rough-and-tumble sports, has produced its share of inventions and leading-edge initiatives in the digital age.  

Wi-fi technology, the electronic pacemaker, and the black box flight recorder were all developed in the Great Southern Land. Boxed wine — colloquially known in these parts as “goon” — is one of ours, too. In December 2025, Australia became the world’s first country to ban social media for children, implementing groundbreaking laws that block under-16 from such platforms as TikTok, Instagram, Facebook, and YouTube. Other countries have followed suit.

And just last month, Australia’s prime minister Anthony Albanese committed to strict copyright protections in the AI age, and gave the strongest of assurances that tech companies would not have the right to copyright-protected content, including music, to train AI “without the artist’s control.”

With that announcement, the PM also unveiled a new Office of AI, which would design the new Australian standards — essentially a functioning licensing framework built on consent and payment.

Those high-level pledges weren’t lost on Sam Duboff, Spotify’s global head of artists, marketing & policy, the executive who leads the streaming giant’s work on artist policy, streaming transparency and responsible AI, making him one of the business’ most senior voices on the intersection of music, technology and public policy.

Duboff recently visited Australia to talk with artists and partners in the domestic industry about its own AI protections and initiatives.

Albanese’s comments feel to be “very aligned with our approach,” he tells Billboard. “From what I’ve seen,” Duboff notes, “it feels like the (Australian) government positions are really similar to our approach, which is respect for copyright, and making sure this AI age is helping existing IP holders.”

One of the messages carried during those meetings down under were on Spotify’s AI music products that “we’ve announced and are planning to build with the industry,” Duboff explains. “The history of Spotify is all about respect for copyright. Spotify was born 20 years ago out of the plate of piracy and we were able to build a license experience that was, you know, making fans want to pay for music. We see a similar opportunity today where a lot of emerging AI tech platforms are, their focus on music products are competing with artists, or trying to replace artists.”

Duboff continues, “we think we could build products that respect copyright in partnership with the industry, that power existing artist careers.”

As Spotify works to increase transparency around AI usage in songs and on artist profiles, it recently announced partnerships with Universal Music Group (UMG) and Merlin to allow for AI remixing of songs, effectively allowing users to create AI remixes and covers of songs by participating artists signed to labels under the UMG and Merlin umbrellas. Remixing capabilities will be made available as a paid add-on for premium subscribers.

Earlier this week, the tech business announced the creation of a new label that will be applied to AI-generated artists and begin rolling out in mid-September. Music from artists bearing the label, called “AI Persona,” will not be included in personalized recommendations on the platform.

Duboff points to Spotify’s four core “artist-first” AI principles, coming soon off the back of an announcement that it was strengthening its policies on negative use cases of AI-generated music.

“We’re trying to bet big on human artistry. Our belief is, in the AI era, the platform that’s gonna win is the one where listeners can trust what they’re listening to the most. And so, in the same breath that we’re fighting spam and (AI) slop, we’re building these new tools that let artists get verified for being authentic, upload video, share their song DNA, and everything else.”

Based in New York, Duboff also leads the teams responsible for many of the music streaming leader’s biggest initiatives for artists, including Spotify for Artists, Loud & Clear, Wrapped for Artists, Countdown Pages, Clips, Campaign Kit and Spotify Charts.

One Australia-specific initiative that caught his eye was Spotify’s Turn Up Aus Live event series, presented in central Sydney. A throwback to the classic pub gig, the fan-first events are meant to celebrate Aussie artists — and “share that local flair” — at a time when so many are struggling to be seen and heard above the 100-million-plus songs available online at the touch of a screen.

During the southern winter, Hooligan Hefs and Genesis Owusu have performed under the Turn Up Aus Live banner at The Bat & Ball in Redfern. “The success of that is something we’d like to look at for different countries,” he explains. “Turn Up Aus is one of one.”

The live campaign is a phase of a so-called “local pride” stamp that began 12 months ago, explains Spotify’s Australian and New Zealand head of music, Ben Watts. During that time, the streamer has worked with 500 local artists; produced more than 1,000 billboards locally and abroad; including Times Square, and counted 2,000 fans engaging in the live events and activations.

In recent years, Australian recording artists have overpowered by North American and European artists in ARIA’s year-end charts and triple j’s Hottest 100 poll, a situation the domestic industry and its partners have been trying to rectify. It won’t be an easy fix.

As previously reported by Spotify, the Turn Up Aus program is making a difference by generating 223 million more streams of domestic music in Australia for 2024-25. “We’re really happy with that in real numbers,” Watts tells Billboard, “and we see this as only the beginning. It’s not just about the streams. It is really about helping the artist build that fandom and that will be ongoing.”

BMG and Suno have reached a licensing deal allowing BMG’s recorded and music publishing works to be used to create derivative works on the platform, the companies jointly announced on Tuesday (Aug. 11).

“Together, the companies will develop entirely new music experiences that reimagine how artists and fans can connect,” a press release announcing the deal reads. The agreement is part of Suno’s upcoming launch of a new AI music model it created in consultation with industry stakeholders.

Under the deal, BMG artists and songwriters must opt in before their music can be used for inputs (training) and outputs (derivative works created by Suno users). Artists and songwriters who opt in will be compensated under the deal, which also settles Suno’s prior use of BMG’s recordings and publishing works.

The agreement follows Suno’s release of a set of principles via a blog post on Thursday (Aug. 6) that reiterated the company’s plan to limit users’ downloads of AI songs from its platform — which would make good on a promise included in its settlement and licensing deal with Warner Music Group (WMG) in November.

The blog post, written by Suno co-founder and CEO Mikey Shulman, went on to detail Suno’s AI training strategies, including its contention that it does not use artists’ names in its training metadata — though that has not stopped it from facing lawsuits from all three major labels, German collection society GEMA (which prevailed in court last week) and the Danish rights organization Koda. Shulman also said Suno would attempt to regulate the flood of AI songs on music platforms by creating “new watermarking and fingerprinting techniques” that would be available “in the coming weeks.”

The Suno principles were released just one week after a German court found the company liable for illegally training its AI model on unlicensed songs administered by GEMA. A source told Billboard at the time that the announcement of the principles was already in the works before the court ruling.

In July, a coalition of music companies including the RIAA and IFPI released a proposal that suggested adding labels to AI-generated and AI-assisted recordings, though disclosures of AI use would be voluntary under the plan. Later that month, a different coalition, including the three major labels, proposed a set of rules governing the chart eligibility of AI-generated songs.

“We believe the future of music will be more participatory, creating entirely new ways for artists and fans to connect,” said Shulman in a statement on the BMG deal. “Building that future responsibly means working directly with the people who make music and the companies that represent them. Together with BMG, we can develop new experiences that give artists and songwriters real choice, generate new revenue, and make music a bigger part of people’s lives.”

Added Celine Joshua, executive vp of global marketing and streaming at BMG: “The future of AI in music will be defined by whether artists and songwriters remain at the center of the opportunity and share in the value it creates. Choice is the guiding principle. This agreement establishes strong protections, clear economics, and new creative possibilities for artists and their fans. As we enter the era of creation, we look forward to shaping that future together with our creators and Suno.”

Billboard U.K.’s inaugural 40 Under 40 list is set to arrive this autumn in conjunction with an exclusive launch event at the Beyond The Music conference in Salford, Greater Manchester.

An extension of Billboard’s 40 Under 40 franchise, the list and event will celebrate the young executives and difference-makers across the sector, including labels and distributors, management, publishing, streaming companies, the live business, rights associations and more.

Set to be published in early October, the 40 Under 40 list will be nominated by executives’ peers and companies, and selected in full by Billboard U.K. editors. Nominations are now open here, and close on Aug. 19 at 11:59 p.m. (BST). Eligible executives must be under the age of 40 on Oct. 7, 2026 and based in the U.K.

The list will be celebrated with an exclusive event at the Beyond The Music on Oct. 7 as part of the conference’s official programming.

“The U.K.’s music industry remains a world-leading sector where ambition meets expertise. Billboard UK’s inaugural 40 Under 40 List will honour rising and established executives whose innovative thinking and limitless vision are shaping the future of the market,” Mo Ghoneim, president, Billboard U.K, said in a statement.

“We look forward to recognising this year’s honourees at Beyond The Music 2026, where this shared ethos is fiercely championed.” 

Beyond The Music returns to MediaCity in Salford, Greater Manchester between Oct. 6-9. The music and creative industry conference will open with a 24th anniversary premiere of 24 Hour Party People on Oct. 6. The screening will be accompanied by a keynote conversation with director Michael Winterbottom and actor Steve Coogan, who played the role of Factory Records co-founder Tony Wilson in the film.

Elsewhere, the event will encompass panel discussions across AI, regional investment in the arts, the creative wealth gap, the live sector and more. Closing the programme will be the All Content AI Summit, convened by the newly appointed prime minister and former mayor of Greater Manchester mayor, Andy Burnham. According to a press release, the session will look at how the industry can “align on a shared, rights-based position for AI and ways to protect art and its creation, whilst ensuring commerce can grow and flourish alongside modern technology.” 

Confirmed speakers to appear at the conference so far include Tommas Arnby (manager, Yungblud), Stacey Tang (co-president, RCA U.K.), Dr. Jo Twist (CEO, BPI), Tom Gray (chair, The Ivors Academy) and more.

SYDNEY, Australia — Fat Papi and prodshushy, the Aotearoa / New Zealand creative team behind the viral hit “Freaked Out,” have signed with Warner Chappell Music for worldwide representation.

The agreements encompass Fat Papi’s and prodshushy’s entire catalogue and future works, including “Freaked Out,” a Billboard Hot 100 and Spotify Global Top 100 hit.

A Kurdish rapper, singer and songwriter raised in NZ, Fat Papi is known for blending melodic hip-hop, synth-driven club production, and infectious hooks. With his collaborator prodshushy, who is making moves in dance-rap and synth-club spaces, the duo have captured more than 100 million streams with “Freaked Out,” while pushing viral trends across socials.

Ignited in part by content themed around summer haircuts, “Freaked Out” gave Fat Papi his first career entry on the Billboard Hot 100 when it debuted at No. 89, lifting to No. 88 on the latest chart.

“I’m excited to join Warner Chappell Music, home to so many legends and icons. I’m also really proud to represent both my Kurdish and New Zealand people with my music on the international stage,” he comments in a statement.

Prodshushy adds: “It’s a privilege and an honor to be represented by Warner Chappell Music for publishing. I’m looking forward to working with the team and building connections with their fantastic roster of writers.”

Cracking the Hot 100 was an “insane” career moment, Fat Papi tells Billboard. “Being from New Zealand and Kurdish, “this doesn’t happen a lot.” There’s new music coming soon, he insists.

On welcoming the artists to Warner Chappell’s global roster of songwriters and producers, says Dan Rosen, president of Warner Chappell Music Australasia, “we look forward to building on this momentum to support their long-term global careers.”

Adds John Halstead, senior A&R manager at Warner Chappell Music Australia: “Fat Papi and prodshushy bring a level of originality that’s impossible to ignore. ‘Freaked Out’ is a huge moment, but it’s their vision for what comes next that really excites me. Proud to welcome them to Warner Chappell and back them for the long haul.”

Fifty, Fiddy. Boo Boo. All these have been, at some point, nicknames for Curtis Jackson.

Fortunately, Boo Boo never quite took off, the hip-hop star told Jimmy Fallon on Tuesday night (Aug. 11) when he stopped by NBC’s The Tonight Show.

Jackson, or Fifty as he’s happy to be called, revealed his unfortunate old nickname while going a few rounds on his new TV series, and philanthropic ventures. The Queens rapper has just returned from the United Kingdom, where Starz‘s new drama Fightland was filmed.

A drama that enters the ring of professional boxing and London’s criminal underbelly, Fightland is Jackson’s first U.K.-based production through G-Unit Film & Television.

“I was able to get some guys to work on it. I was using my juice card, know what I mean, calling up people,” he tells Fallon. The series has been in development since 2022, premiered July 31, and stars Howard Charles as a former heavyweight champion who, after a lengthy stint behind bars, returns to prize fighting with revenge on his mind.

Damione Macedon and Raphael Jackson Jr. (Power, Genius: MLK/X) are showrunners, writers and executive producers, while Daniel Fajemisin-Duncan and Marlon Smith serve as writers and EPs.

Jackson and Starz have a longstanding relationship; he’s an executive producer of the Power franchise, BMF and the unscripted The BMF Documentary: Blowing Money Fast. But there’s one genre he hasn’t cracked. Comedy. “I want to do a scripted comedy show,” he tells Fallon. Naturally, the talkshow host put his hand up.

The New York hip-hop heavyweight, who scored four No. 1s on the Billboard Hot 100 in the 2000s, including a nine-week reign with 2003’s “In Da Club,” is also the proud owner of green thumbs.

Jackson recounted the opening of the Curtis “50 Cent” Jackson Community Garden in the South Jamaica neighborhood of Queens, a green space inspired by Bette Midler’s New York Restoration Project and his G-Unity Foundation. “When I realized what they did,” he said of the project to transform a neglected lot into an outdoor learning space, “I wanted to do that in my neighborhood.”

Watch the interview below.

Blake Bergere would much rather fill hearts and minds with his music than flip burgers. That’s what’s at stake for the singing hopeful, who along with his childhood friend Nick Lorenz is chasing the dream on NBC’s America’s Got Talent.

The musical duo from New Albany, Ohio are competing as Bird & Byron in this 21^st season of AGT. Bergere, a vocalist with soul in his chest, and Lorenz, with his effects-laden guitar work and programmed backing instruments, took the less easy route through the competition by way of the Judges’ Callbacks, a new second-chance round for acts that earned “Yes” votes during regular auditions. 

On Tuesday night’s episode (Aug. 11), and facing elimination, the pair performed an original number, “By My Side.” For Bergere, progress in AGT is nothing short of a dream opportunity. Back home, he works at a burger restaurant. “There’s a lot on the line here,” he remarks in a package.

So, nerves could be forgiven.

“I think you’re great,” judge Howie Mandel enthused after their performance. “And your music and your voice is so distinctive. But, you know, we’re talking about the showmanship.”

For this week two of Judges’ Callbacks, Mandel and Sofía Vergara received support from guest advisors Nikki Glaser, Lele Pons, and Sebastián Yatra.

Glaser chimed in, sharing with Bergere some advice on leading from the front. “I saw you close your eyes,” the comedian explained. “You didn’t open them again. And I was thinking, man, if he opened his eyes, he’d see we’re all just grooving so hard right now. And you’re scared of seeing something that wasn’t even happening.” She insisted, “be the front man.”

Mandel agreed. “You’re closing us off. Share the vibe. And share the vibe with America.”

The childhood friends would be the last act to learn of their future in the contest.

“Your singing is so good. Your playing is so haunting. It’s really original,” Mandel remarked in his sit-down with the lads. “I think that you guys, regardless of what happens here, are already a success. If it was up to me, I would let you go to the live show.”

After a pregnant pause for effect, and a reminder that, yes, Mandel does have that power. And he waved them through. They’re going to the Live shows, along with the likes of Nene Royal, Cris Sosa, Daniel Alvarez, Kameron Marshall, Brook Lynn and Olivia Befus. Those acts eliminated included Naimana and Daniele, Rynia Kando, Vahtang and Darrell Moten.

The Live Quarterfinals begin Tuesday, Aug. 18 on NBC, and stream the following day on Peacock.

Watch the performance and results videos below.

Olivia Rodrigo takes the pain out of the festival experience with Daisy Chain Fields — the inaugural edition has no overlapping sets.

The pop superstar will headline the all-women fest later this month, the schedule for which has been published (check it out below).

Rodrigo and her “special guests” will perform from 8:40pm-10pm on the Dandelion Stage, her start time giving fans a good 10 minutes to complete the walk from Not For Radio’s set at the Marigold Stage (7:50pm-8.30pm).

Performers on the day include Chappell Roan, Garbage, Doechii, The Breeders, Mitski, Bikini Kill, KATSEYE and others. Those “special guests” include Karen O, Sarah McLachlan and Stevie Nicks.

Daisy Chain Fields will be presented Saturday, Aug. 29 at Great Park in Irvine, Calif. Its founder previously confirmed that 100 percent of the net proceeds would go to charities dedicated to advancing and advocating for women and girls.

“The lineup is truly insane and full of my heroes and friends,” Rodrigo said with the festival announcement in June. “I firmly believe that joy, community, and music can be the drivers of meaningful change and I’m hopeful this festival will be just that.”

Beneficiaries include the organizations Baby2Baby, Black Mamas Matter Alliance, Center for Reproductive Rights, FreeFrom, Jhpiego, Johns Hopkins Center for Indigenous Health, National Domestic Workers Alliance, National Institute for Reproductive Health, National Women’s Law Center and Planned Parenthood. 

Four tiers of ticket prices were made available, from $255 (general admission) up to $1,255 (pit viewing). The waitlist is at daisychainfields.com.

The day-long fundraiser is the latest in Rodrigo’s tireless efforts to make the world a better place for women and girls. In 2024, she launched her Fund 4 Good to raise money for reproductive rights, education and actions against domestic violence, later announcing that she had donated more than $2 million to charities through proceeds raised on her Guts World Tour. In 2025, Planned Parenthood presented her with its Catalyst of Change award.

Rodrigo will hunker down for a long stint on the road with her Unraveled Tour, which will visit arenas for multiple night stands in North America, Europe and the United Kingdom this fall and winter beginning with a Sept. 25 show at PeoplesBank Arena in Hartford, Conn, and wrapping up May 10, 2027 at The O2 in London, England.

Those dates come in support of her third studio album, you seem pretty sad for a girl so in love, which opened at No. 1 on the Billboard 200 in June, her third consecutive leader after GUTS (in 2023) and SOUR (2021). With Pretty Sad, Rodrigo enjoyed career-best opening weeks in the Unites States, the United Kingdom (where it debuted at No. 1, completing a perfect three-from-three), and elsewhere.

SYDNEY, Australia — Olly Arkins, chief executive officer of the Australian Festival Association, will depart from the trade body later this month.

AFA chair Adelle Robinson pays tribute to Arkins for leading the AFA through “one of the most consequential periods for the festival industry,” a chapter than included the fallout from the pandemic, the effects of which are still being felt by festival organizers.

Under Arkins’ leadership, the AFA has worked with members, governments and industry partners “to secure greater recognition of festivals as an essential part of Australia’s cultural infrastructure,” Robinson comments in a statement.

Arkins’ last day with the AFA is next Friday, Aug. 21. Speaking with Billboard, Arkins points to the opportunity to rewrite the Music Festivals Act in New South Wales, resulting in significant reforms passed by the state parliament in September 2024, as her “biggest achievement” in five years with the AFA.

Also, Arkins advocated for the federal government to establish and then increase Revive Live funding, including dedicated support for music festivals; helped secure the introduction of drug-checking services at music festivals in both Victoria and New South Wales; renegotiated the OneMusic licence scheme to secure improved terms for music festivals; and more.

“Olly arrived at a time when festivals were still trying to work out whether we had a future. She leaves the AFA with governments listening to our industry and festivals firmly at the table in music industry-wide advocacy,” Robinson remarks.

“She has taken the needs and aspirations of festival promoters directly to decision-makers and turned advocacy into increased funding, legislative reform and stronger working relationships with the agencies that regulate festivals.

“On behalf of the AFA board and our members, I want to thank Olly for her relentless commitment to ensuring Australia has a thriving and sustainable music festival sector.”

The AFA was unveiled in December 2018, representing festival organizers, suppliers and stakeholders across Australia’s music festival sector. Its mission, to advocate the festival industry, promoting best-practice safety and operational standards, providing a unified voice, and facilitate policy reform and investment.

Today, its members include Fuzzy, CMC Rocks, Live Nation, Hardware, Laneway, Groovin’ The Moo, Lost Paradise and many others.

“I am incredibly thankful for the opportunity the AFA board gave me to advocate for our members and this remarkable industry. It has been the experience of a lifetime,” Arkins comments in a statement.

“I will always cherish the support I received from Adelle and the entire team, including the support they gave me as I transitioned during my time at the AFA.

“Together, we all made the case that festivals are major employers and tourism drivers. Importantly for me, they also give Australian artists some of their first opportunities to perform on a major stage and allow more fans to discover them.

“Festivals provide formative cultural experiences and help create lifelong music fans, benefiting the entire industry. I know this because I am one.

“I am incredibly proud of what we have achieved over the past four years. Our association is stronger, the industry has an influential voice with government and in the media, and there is now a much deeper understanding of the cultural and economic value of festivals.”

Fleetwood Mac’s Greatest Hits, first released in 1988, reaches the top 10 on Billboard’s 35-year-old Top Album Sales chart for the first time, following its expanded reissue.

The set re-enters the Aug. 15-dated chart at No. 10, besting its previous high of No. 13 (set in 2016), after the album was bolstered with seven additional hits and issued digitally and on multiple physical formats.

Greatest Hits also soars 69-13 on the overall Billboard 200, surpassing its peak of No. 14, set in 1989. The collection also sees a new peak of No. 5 on the Vinyl Albums chart (a reentry, besting its peak of No. 7, first reached in 2019), vaults 18-4 on Top Rock & Alternative Albums, rises 14-3 on Top Rock Albums (matching its peak, reached in March) and reenters the Indie Store Album Sales chart at No. 6.

The standard version of Greatest Hits remains a 16-song edition, and the new deluxe edition adds seven further hits. The deluxe set was released via digital download services and streamers on June 10, and physical formats followed on July 31. The deluxe package bowed across six double-vinyl variants and a two-CD offering.

In the tracking week ending Aug. 6, Greatest Hits sold nearly 6,000 copies in the United States, according to Luminate — a gain of 286% as compared to its sales in the previous week.

On Top Album Sales, as Greatest Hits re-enters at No. 10, Ariana Grande captures her eighth No. 1 with the debut of petal. Plus, Shaboozey gets his highest-charting set as his new studio effort The Outlaw Cheri Lee & Other Western Tales bows at No. 4. (Check out the entire Aug. 15-dated Top Album Sales chart.)

Davido lands 12 songs from his Oriadé album on the Billboard U.S. Afrobeats Songs chart, collecting his 12th top 10 in the process. The tracks flood the chart dated Aug. 15, pushing the Nigerian-American superstar to 56 career entries since the chart launched in April 2022.

“B4 B4,” a collaboration with Mayorkun and FOLA, leads Davido’s new appearances with its No. 6 entrance. The song traces its start almost entirely to 626,000 chart-eligible, official streams in the United States for the July 31-Aug. 6 tracking week, according to Luminate. For Mayorkun, “B4 B4” marks his first top 10 in four appearances on U.S. Afrobeats Songs; FOLA adds an eighth to his ledger, of 25 total entries.

As mentioned, Davido claims a 12th top 10 with “B4 B4.” Here’s a recap of his collection:

Song Title, Artist (if other than Davido), Peak Position, Peak Date
“Stand Strong,” feat. Sunday Service Choir; No. 9, May 28, 2022
“Over Dem,” No. 10, April 15, 2023
“Unavailable,” feat. Musa Keys, No. 3, Aug. 26, 2023
“Awuke,” with YG Marley; No. 9, Nov. 16, 2024
“Funds,” feat. ODUMODUBLVCK & Chike; No. 5, Dec. 21, 2024
“Be There Still,” No. 7, March 29, 2025
“Titanium,” feat. Chris Brown; No. 6, May 3, 2025
“Offa Me,” feat. Victoria Monét; No. 5, May 3, 2025
“With You,” feat. Omah Lay; No. 5, May 17, 2025
“I Know Who I Be,” with JAZZWRLD & GL_Ceejay; No. 6, July 11, 2026
“Gimme Dat Thing,” with No11; Aug. 1, 2026
“B4 B%,” with Mayorkun & FOLA; No. 6 (to date), Aug. 15, 2026

Oriadé, released on July 31 through DaVido/RCA Records, registered 5,000 equivalent album units for the tracking week. It debuts at No. 8 on the World Albums chart, giving the performer his sixth consecutive top 10 visit. He first entered the ranking with the EP Son of Mercy, which peaked at No. 4 in 2016, and followed with A Good Time (No. 6, 2019); A Better Time (No. 4, 2020); Timeless (No. 2, 2023) and 5ive (No. 2, 2025).

To review Oriadé’s impact, here’s a review of its placements on U.S. Afrobeats Songs. All are debuts, except “I Know Who I Be,” which peaked at No. 6 and climbs 14-13 this week, while “Gimme Dat Ting,” a No. 7 hit, slips 17-18.

No. 6, “B4 B4,” with Mayorkun & FOLA
No. 11, “Tell Everybody,” feat. Leon Thomas
No. 13, “I Know Who I Be,” with JAZZWRLD & GL_Ceejay
No. 15, “Already Falling”
No. 17, “Amazing Grace,” feat. Black Sherif
No. 18, “Gimme Dat Ting,” with NO11
No. 19, “On the Road”
No. 22, “Constantly”
No. 23, “Julie”
No. 24, “Yaya,” featuring Aya Nakamura
No. 28, “Guide”
No. 35, “Zanzibar”