Ariana Grande’s ‘thank u, next’ debuts at #1 on the Billboard 200, occupying the top 3 on the Billboard Hot 100 chart

Ariana Grande’s Thank U, Next storms in at No. 1 on the Billboard 200 albums chart with 360,000 equivalent album units earned in the U.S. in the week ending Feb. 14, according to Nielsen Music. The set launches with the biggest week for a pop album in over a year and garners Grande her fourth No. 1 — and second in less than six months. Of Thank U, Next’s starting unit sum, 116,000 were in album sales.

Thank U, Next, released on Feb. 8 through Republic Records, is Grande’s fourth Billboard 200 No. 1. It also launches with the biggest streaming week ever for a pop album.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Feb. 23-dated chart (where Thank U, Next debuts at No. 1) will be posted in full on Billboard‘s websites on Wednesday, Feb. 20 (a day later than usual, owed to the U.S. Washington’s birthday holiday, often referred to as Presidents’ Day, on Feb. 18).

Grande’s Fourth No. 1 Album: It follows Sweetener (which debuted atop the list dated Sept. 1, 2018), My Everything (Sept. 13, 2014) and Yours Truly (Sept. 21, 2013). Grande ties Taylor Swift for the second-most No. 1s among women this decade, trailing Lady Gaga, with five leaders since 2010.

Two No. 1s in Less Than Six Months: Thank U, Next opens at No. 1 less than six months after Grande last topped the chart, with Sweetener, on the Sept. 1, 2018-dated chart. That span of five months and 22 days is the shortest gap between new No. 1s on the Billboard 200 for a woman since 1974-75, when Olivia Newton-John waited just five months and three days between the first weeks at No. 1 for If You Love Me Let Me Know (Oct. 12, 1974) and Have You Never Been Mellow (March 15, 1975). Both titles spent one week at No. 1.

Grande’s accumulation of her two latest No. 1s is the fastest since K-pop group BTS notched its first two No. 1s in a little over three months just last year (Love Yourself: Tear on June 2, 2018 and Love Yourself: Answer on Sept. 8, 2018). In 2017, rapper Future nabbed an unprecedented pair of back-to-back new No. 1s in successive weeks (with his self-titled album March 11 and HNDRXX on March 18).

Biggest Week for a Pop Album in Over a Year: As Thank U, Next starts with 360,000 units, the set earns the biggest week for a pop album in over a year. The last pop set to tally a larger week was Swift’s Reputation, which began at No. 1 on the chart dated Dec. 2, 2017 with 1.24 million units earned. Thank U, Next also scores the biggest week for an album by a woman since reputation.

Thank U, Next has the largest week of any album since Oct. 13, 2018, when Lil Wayne’s Tha Carter V bowed at No. 1 with 480,000 units.

Largest Streaming Week for a Pop Album & Any Album by a Woman: Of Thank U, Next’s starting unit sum of 360,000 units, 228,000 are in SEA units. That latter sum translates to a whopping 307 million on-demand audio streams for the album’s songs during the tracking week. That’s a remarkable sum considering most-heavily-streamed albums are hip-hop sets. (Of the top 20 largest-streaming weeks ever for an album, Thank U, Next is the only non-hip-hop title.)

Thank U, Next easily sets the record for the largest streaming week for a pop album (beating the debut frame of Ed Sheeran’s ÷ [Divide] with 126.7 million on-demand audio streams for its songs; March 25, 2017) and the biggest streaming week for an album by a woman (surpassing the debut week of Cardi B’s Invasion of Privacy with 202.6 million; April 21, 2018).

Thank U, Next has the ninth-largest streaming week for an album overall, and the eighth-biggest debut week. Drake’s Scorpion remains the streaming record-holder among all albums, with 745.9 million on-demand audio streams registered for its songs in its debut week (July 14, 2018). (Scorpion actually has two of the top nine biggest weeks, as the album’s second-week streaming sum is the fourth-largest overall, with 391 million.).

Source: billboard.com


Ariana Grande becomes the first artist to hold the Nos. 1, 2 and 3 spots on the Billboard Hot 100 songs chart simultaneously since The Beatles in 1964, as her new album Thank U, Next launches at No. 1 on the Billboard 200 albums tally.

Grande’s “7 Rings” rules the Hot 100 (dated Feb. 23) for a fourth week, while “Break Up With Your Girlfriend, I’m Bored” debuts at No. 2 and former seven-week leader “Thank U, Next” rebounds from No. 7 to No. 3. All three songs are from the Thank U, Next album, released on Republic Records.

Grande is just the second act in the Hot 100’s 60-year history to monopolize the top three in a week. The Beatles earned the honor for five weeks in March and April 1964, even claiming the entire top five on the April 4, 1964-dated chart.

“7 Rings” No. 1 again: Grande’s “7 Rings” spends a fourth week atop the Hot 100, encompassing its entire run on the chart. “Rings” leads the Streaming Songs chart for a fourth frame, with 63.5 million U.S. streams, up 10 percent, in the week ending Feb. 14, according to Nielsen Music. On Radio Songs, “Rings” rises 10-9, up 23 percent to 61.7 million audience impressions in the week ending Feb. 17, good for the Hot 100’s top Airplay Gainer award for a third week.

“Break Up” bows at No. 2: New Thank U, Next single “Break Up With Your Girlfriend, I’m Bored” blasts onto the Hot 100 at No. 2 (marking Grande’s 13th top 10). It launches at No. 2 on both Streaming Songs (59.2 million) and Digital Song Sales (36,000 sold), while drawing 13.4 million airplay impressions.

“Next” up, at No. 3: Meanwhile, the Thank U, Next title track and lead single rebounds 7-3 on the Hot 100, after spending seven weeks at No. 1, beginning with its Nov. 17 debut at the summit. It’s powered most heavily by its 36.8 million U.S. streams, up 52 percent, as it surges 14-5 on Streaming Songs and claims the Hot 100’s top Streaming Gainer nod.

Ariana meets The Beatles: Grande is only the second act in the Hot 100’s history to rank at Nos. 1, 2 and 3 simultaneously and the first in nearly 55 years. The Beatles achieved the feat for five weeks in 1964, that March 14, 21 and 28 and April 4 and 25; on April 4, 1964, the group claimed the entire top five.

“7 Rings,” “Break Up” and “Next” mark the first triple-up for an artist at Nos. 1, 2 and 3 on the Hot 100 since The Beatles held the same spots on April 25, 1964, with “Can’t Buy Me Love,” “Twist and Shout” and “Do You Want to Know a Secret,” respectively. (Thus, the last time the honor was earned, the No. 1 song was about how “I don’t care too much for money; money can’t buy me love”; “7 Rings” finds Grande declaring “retail therapy my new addiction.”)

Pop’s resurgence: Meanwhile, Grande has been at the forefront of a turnaround for pop songs’ fortunes atop the Hot 100. On Sept. 22, 2018, Drake’s “In My Feelings” spent its 10th and final week at No. 1, wrapping a record 34-week streak of rap leaders (29 by Drake). Since then, pop songs have led for 20 of 22 weeks, thanks to Maroon 5’s “Girls Like You,” featuring Cardi B (seven weeks at No. 1); Grande’s “Next” (seven); Halsey’s “Without Me” (two); and Grande’s “7 Rings” (four).

In that 22-week span, two rap titles each spent a week at No. 1: Travis Scott’s “Sicko Mode” and Post Malone and Swae Lee’s “Sunflower (Spider-Man: Into the Spider-Verse).”

Women at No. 1 in 2019: Plus, women have now spent seven weeks at No. 1 on the Hot 100 on charts dated 2019, starting with the seventh and last week on top on for Grande’s “Next” on the chart dated Jan. 5 (followed by two weeks in charge for “Without Me” and four for “7 Rings”). Thus, as of late February, women in lead roles have almost matched last year’s total time atop the Hot 100, as women as credited leads tallied eight weeks at No. 1 in all of 2018 (including the first six weeks on top for “Next”; Camila Cabello and Cardi B also ruled for a week each as leads in 2018).

Source: billboard.com

Ariana Grande announces new album “thank u, next” and releases song

On November 3rd, Ariana Grande took it to Twitter to drop subtle hints about her upcoming 5th studio album, and after a few hours later, she revealed that the title of her album is called thank u, next, as she kept tweeting lyrics from the song.

Right before 11 PM EST, she surprise drops the song herself! Listen to the song below!

ITUNES | APPLE MUSIC | SPOTIFY

Ariana Grande’s ‘Sweetener’ debuts at #1 on the Billboard 200

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Sept. 1-dated chart (where Sweetener launches at No. 1) will be posted in full on Billboard‘s websites on Tuesday, Aug. 28.

Grande’s Third No. 1: Sweetener is Grande’s third leader on the Billboard 200, following the chart-topping debuts of her second album, My Everything (Sept. 13, 2014), and her debut effort, Yours Truly (Sept. 21, 2013). Of her four full-length studio sets, only her third release, Dangerous Woman, missed the top. It debuted and peaked at No. 2 on June 11, 2016 (stuck behind Grande’s labelmate, Drake, with his blockbuster album Views, which was in its fourth of 14 nonconsecutive weeks at No. 1).

‘Sweetener’ Surpasses ‘Dangerous’: With Sweetener’s start of 231,000 units, it beats the bow of Grande’s last album, Dangerous Woman. The latter entered the chart at No. 2 with 175,000 units.

Second Biggest Week of 2018 for a Woman: Sweetener secures the second-largest week for an album by a woman in 2018. Only Cardi B’s Invasion of Privacy launched with a larger figure: 255,000 units (No. 1, April 21-dated chart). Thus, Sweetener also has the biggest week for a pop album by a woman. Speaking of pop albums by women…

Largest Streaming Week Ever for a Pop Album by a Woman: Sweetener’s songs collected 126.7 million on-demand audio streams in its debut frame — the largest streaming week for a pop album by a woman. It’s also the biggest streaming week for any non-hip-hop effort by a womanSweetener is the rare pop album that performed strongly on streaming services — generally rap albums post big streaming numbers in comparison to other genres.

Source: Billboard.com

Songwriter Savan Kotecha talks about the making of “Sweetener”

On August 23rd, Ariana’s songwriter Savan Kotecha’s interview with Vulture was posted! He talks about the making of Sweetener. Check it out below!


In his impressive career as a pop songwriter and producer, Savan Kotecha has helped craft some of the biggest radio hits of the last decade. The bulk of One Direction’s discography, including their career-making debut “What Makes You Beautiful?” was written by Kotecha. The Weeknd’s groovy 2015 signature “Can’t Feel My Face?” Kotecha helped write that one too. Usher’s “DJ Got Us Falling in Love,” Maroon 5’s “One More Night” and Demi Lovato’s “Cool for the Summer?” He was part of those too. But Kotecha has perhaps worked most closely with Ariana Grande, helping concoct a string of her hits: “Problem,” “Love Me Harder,” “One Last Time,” “Into You” and “Break Free,” just to name a few. So it stands to reason that Grande would call on Kotecha to help concoct the songs for what would become her fourth album, Sweetener. Alongside the legendary pop mastermind Max Martin and producer Ilya, the team crafted four of the album’s standout tracks, including recent singles “No Tears Left to Cry” and the anthem “God Is a Woman.” Here, Kotecha breaks down the stories behind the songs: including studio therapy sessions, fruitful 11th-hour additions, and how working with Grande creatively reinvigorated him.

You recently posted on Instagram about how, just a year ago, you were in a total funk and felt like just moving on from songwriting. Why you were feeling that way?
There’s some internal business stuff that got me uninspired, as it can do to creative people. I was just being really hard on myself, looking at my life and how much time I spend away from my kids, not just physically but mentally. I was searching and searching and felt like things weren’t working. I wasn’t meeting that many artists I was inspired by. I can’t do the hip-hop thing, so if that’s where it is now, it isn’t for me. Streaming is also a tricky thing because songwriters don’t get paid a lot for those royalties. I have some of the biggest songs on Spotify and when I see the streaming income on the checks, it’s barely minimum wage, and I spend so much time on every song. I was feeling that maybe my process and my way of doing things — where I do so few songs a year and spend so much time on them — wasn’t working anymore. It’s an insecurity thing. For the first time I can remember since I was 15, I woke up not feeling like going to the studio. I thought, Maybe that’s it. Maybe it’s a young guy’s game.

Is that when you heard from Ariana?
I think she’d agree we have a great bond, so we’re in touch all the time. She’s been an important part of the last five years, and I think vice versa, and we had spoken earlier about how she wanted to go in a different direction and try working with other people which I was totally fine with. I was like, “Yeah, you should. You should branch out as an artist, do what you feel is right, challenge your audience and expand sonically.” That was around the time when I was not feeling good anyway. But randomly she texted me and said, “Hey, I really wanna go back in.” So she came to the studio with me and Max [Martin] for a little bit. That day, me and her sat and just listened to music, and it was something about that day and her energy and excitement lit the spark again. I used to have ideas popping up all the time, like the idea for “Problem” came from an airplane bathroom. That stuff wasn’t happening for a big chunk of last year, but after that meeting she lit the fuse again.

What did you listen to during that meeting? I’m assuming it provided some sort of musical bedrock for what Sweetener would become.
We listened to The Miseducation of Lauryn Hill. I think Max brought up Brandy’s “I Want to Be Down.” We just listened to great songs that I loved growing up, and I know Ariana does too. We talked and she had amazing ideas which were inspiring and we just got going. I woke up the next morning wanting to create again.

It’s interesting because you usually you hear how a producer or writer inspires an artist, but this time was the opposite.
For me, absolutely. Also what she went through after Manchester; just as a friend the toll that took and how strong a person has to be to come back from that was inspiring.

Sweetener’s first single was “No Tears Left to Cry,” which sounds kind of like a throwback, but also very of the moment. Was that the goal? Did you have artists in mind that you were inspired by? You mentioned Lauryn Hill …
Well, we started talking when we were listening to Lauryn Hill about chord changes and why we stick to four chords all the time. She wanted to go back to when the verses and the chorus had different chord changes. I was also listening to a lot of En Vogue [like “Don’t Let Go”] and the changes in a few others. She was also very insistent on starting a song as a ballad and then just becoming an up-tempo [track]. I think it was Max who started singing that melody of the chorus, which was fantastic and magical, so we just took it from there. Ari made it clear that she didn’t want to dwell on what happened [in Manchester]. She wanted to touch on it, but at the same time wanted this album to be positive, about light and sharing love. It was really important to her that whatever the first thing she did coming back had to be hopeful. At one point she said something like, “I don’t have any tears anymore, I don’t have any tears left to cry.” We were like, that’s it! That’s it. That’s the line. And we went from there.

So that fake-out where the first ten seconds or so sounds like a ballad, and then it launches into something up-tempo — was the initial idea to build on that?
Yeah, that was all Ariana’s vision. It was important to her to start as a ballad and Max and Ilya started playing those chords and it just fit; it was magical. It all came together and had this flow. One thing that was super challenging was the pre-chorus, we spent a lot of time on it. We tend to spend a lot of time on pre-choruses if I’m involved in the song. “Side to Side” took two weeks, for example. Then Ilya made the groove super tight and knocking in the right way.

Tell me about the lyrical architecture here. It sound very simple, but that’s also deceiving because I’m sure this was plotted out painstakingly. Ariana sings, “I’m pickin’ it up, I’m pickin’ it up, I’m lovin’, I’m livin’, I’m pickin’ it up.” How long does a line like that take to put together?
I think it’s just instinctual flow. It’s already quite a complicated song, chord-wise, and the audience right now is so used to hearing a loop of a beat or a loop of chords. Keep in mind that when we were writing, [Post Malone’s] “Rockstar” was the biggest song on the radio, and that’s just one melody repeating itself over and over. Compared to that, this song is very complicated. You want things to be digestible, but when it gets too complicated with the chord changes and the melodic shifts, the lyrics need to be easier to grasp.

Ariana recently told Jimmy Fallon that “Breathin” came to fruition when she was having an anxiety attack. How does an episode like that become a pop song?
I think we started that day with her saying she wanted to do a song that had a specific vibe. Ilya started coming up with an instrumental hook and she went in and started singing melodies. Even before she started feeling that way I started singing “breathing and breathing” as a hook. I collect titles and I was using “breathing” [as a placeholder]; sometimes we’ll use bullshit words just for the sake of filler for the moment. It sounded so magical when she sang it, but she had to take pauses because she was having a tough day. We were concerned, and she was talking it out. We’re all friends and the studio is a therapy session for us all; whether I’m going through something or Ilya’s going through something or she’s going through something. It was quite impressive because sometimes artists don’t wanna say what’s really there and she was willing to put it in the lyrics. The melodies make it a pop song, but it’s the lyrics that make it an artist’s song.

It’s fascinating to watch pop’s lyrical evolution. It wasn’t that long ago that pop songs were focused on having fun and talking about how life is carefree, but now we’re in a phase where pop stars are more relatable. The Chainsmokers had lyrics about drinking too much on “Closer,” and Shawn Mendes is singing out laying on his bathroom floor, “feeling overwhelmed and insecure,” on “In My Blood.” Is this evolution something you think about?
It’s all cyclical, right? We’re in a cycle now that culturally people want authenticity. Artists collectively want to be as authentic as possible in their music. Someone like myself and the teams I frequently collaborate with, our jobs is to help artists do that in a way that it connects to the masses. You don’t want to lose that authenticity and heart, but help shape it into something that connects. Maybe it also has to do with social media as well? Though at the same time, this is also Ariana’s fourth album [its concepts] had to do with her being determined to have more depth in her music. She’s done the [lighter] pop thing, and was determined to express herself in ways she hasn’t before. It’s a healing process for her, but to also help others. She came out of Manchester determined to make the world better.

Speaking of that, what makes for the perfect pop song? Is there a recipe?
I don’t think there’s a recipe, because it changes with culture and where music is. I always like to think of melody first, along with the right lyric or punchline. Back in the Backstreet Boys days, those songs had amazing melodies and the punchline was catchy but the lyrics made no sense. If you can get that lyric that connects that’s catchy with a melody that’s different enough and simple, that’s where your magic is, [but] it’s hard to do. Just as the best athletes in the world make it look easy, the best songwriters in the world make it seem simple too. You say, “I can write that!” And when you try and it’s pretty difficult.

Those elements kind of come together in “Everytime,” which is lyrically simple, but also an earworm.
We already had some of the melody and we were in the middle of trying to figure out if it was anything when Ariana texted to see what we were doing and came by. She heard the skeleton of the idea and said, “I love that, that’s mine, let’s finish it!” She recorded it and it was magic. She puts her voice on something and it comes alive in a way nobody can expect. All of it was based on her direction.

How about “God Is a Woman”? Did that begin with a concept, lyrics, or the instrumental?
That was the one that was unique compared to the other Sweetener tracks. I love to write from concepts and titles, and before I got in my funk I had this chorus idea. I was alone in a room and started singing into my phone … [Hums the melody to “God Is a Woman”] Rickard [Göransson] walked into the room and heard me singing this melody and he grabbed a guitar and started to figure out chords to what I was singing, which I finish with the phrase “You’ll find out God is a woman.” It was before Ariana came calling, so we didn’t know what to do with it. We played it for another artist or two and it didn’t work out. Then maybe [we were thinking] we’d get a rapper on the verses? Our big dream is always Drake. [Laughs] We had to have someone who could write the lyric for the chorus, because all I had was “You’ll believe God is a woman.” I couldn’t write the full lyrics, it had to be a girl to write it to pull the whole concept off.

Working with Ari was the most obvious thing I could ever think of, but I never thought of it. So two days before her label listening meeting when they were supposed to hear the Sweetener songs, she came to just hang in the studio. Ilya goes, “Why don’t we play Ariana ‘God Is a Woman?’” and she goes, “What? What did you just say? You play that for me right now.” She heard the hook and was like, “You guys are stupid, why would you not play that for me all this time?!” I was like, of course, there’s nobody else who could pull this off. She’s a feminist, her mom’s a feminist, and her aunt is this trailblazing feminist. Sure enough, she came back the next day with lyrics; her nonna was there, her mom was there and she recorded it. It was the last thing we did before her label meeting. She took it and owned it and was like, “This is what I wanna say and this is what I’m about.”

Source: Vulture.com

Ariana Grande listed in Billboard’s 2016 Year End Charts

On December 8th, Billboard published their 2016 Year End Charts, which are a cumulative measure of a single or album’s performance in the United States during the year. Ariana has made many lists with the success of her album Dangerous Woman. Check out where she has been ranked in!

Top Artists

7. Ariana Grande

Top Artists – Female

4. Ariana Grande

Hot 100 Songs

36. Ariana Grande – Dangerous Woman
51. Ariana Grande – Into You
77. Ariana Grande – Side To Side (feat. Nicki Minaj)

Hot 100 Artists

10. Ariana Grande

Top Billboard 200 Albums

26. Ariana Grande – Dangerous Woman

Top Billboard 200 Artists

31. Ariana Grande

Radio Songs

35. Ariana Grande – Dangerous Woman
55. Ariana Grande – Into You

Radio Songs Artists

12. Ariana Grande

Digital Songs

36. Ariana Grande – Dangerous Woman

Digital Songs Artists

16. Ariana Grande

Streaming Songs

41. Ariana Grande – Into You
57. Ariana Grande – Dangerous Woman
58. Ariana Grande – Side To Side (feat. Nicki Minaj)

Streaming Songs Artists

11. Ariana Grande

Top Twitter Tracks

7. Ariana Grande – Dangerous Woman
10. Ariana Grande – Into You
18. Ariana Grande – Side To Side (feat. Nicki Minaj)

Social 50 Artists

2. Ariana Grande

On-Demand Songs

35. Ariana Grande – Into You

On-Demand Songs Artists

10. Ariana Grande

Pop Songs

21. Ariana Grande – Dangerous Woman
35. Ariana Grande – Into You

Pop Songs Artists

7. Ariana Grande

Adult Contemporary Songs

41. Nathan Sykes – Over And Over Again (feat. Ariana Grande)

Rhythmic Songs

50. Ariana Grande – Dangerous Woman

Rhythmic Artists

10. Ariana Grande

Dance Club Artists

16. Ariana Grande

Dance Club Songs

26. Nathan Sykes – Over And Over Again (feat. Ariana Grande)

Dance/Mix Show Songs

48. Ariana Grande – Into You

 Japan Hot 100

61. Ariana Grande – Break Free (feat. Zedd)

Canadian Hot 100

30. Ariana Grande – Into You
41. Ariana Grande – Dangerous Woman
55. Ariana Grande – Side To Side (feat. Nicki Minaj)
87. Ariana Grande – Focus

Canadian Hot 100 Artists

8. Ariana Grande

Top Canadian Albums

18. Ariana Grande – Dangerous Woman

Ariana Grande is nominated at the 2017 GRAMMY Awards

On December 6th, the nominations for the 2017 GRAMMY Awards have taken place, the biggest award show in the music industry. Ariana has been given TWO nominations! Best Pop Vocal Album & Best Pop Solo Performance! Check out who she is up against:

Best Pop Solo Performance

Hello – Adele
Hold Up – Beyoncé
Love Yourself – Justin Bieber
Piece By Piece (Idol Version) – Kelly Clarkson
Dangerous Woman – Ariana Grande

Best Pop Vocal Album

25 – Adele
Purpose – Justin Bieber
Dangerous Woman – Ariana Grande
Confident – Demi Lovato
This Is Acting – Sia

The 59th Annual Grammy Awards ceremony will be held on February 12, 2017. The CBS network will broadcast the show live from the Staples Center in Los Angeles, hosted by James Corden.

LISTEN: Hairspray Live! Soundtrack

On December 3rd, the Hairspray Live! (Original Soundtrack of the NBC Television Event) has officially released! Check out the songs below, including the 4 songs that Ariana is featured on:

Mama I’m a Big Girl Now – with Maddie Baillio, Dove Cameron, Harvey Fierstein, Andrea Martin & Kristin Chenoweth

Without Love – with Garrett Clayton, Maddie Baillio e Ephraim Sykes

You Can’t Stop the Beat – with the entire cast

Come So Far (Got So Far to Go) – a duet with Jennifer Hudson.

BUY THE HAIRSPRAY LIVE! SOUNDTRACK ON ITUNES

Mac Miller talks Ariana Grande on The Divine Feminine with Vogue

On September 27th, an interview with Mac Miller and Vogue has been released and he talks about Ariana Grande. Check out the excerpts where he gets asked about Ariana!


But the song that has gotten the most attention is the jazzy R&B track “My Favorite Part, ” in which Miller duets with Ariana Grande. A few weeks before the song came out, TMZ outed them as a couple with grainy photos of the two kissing on a dinner date. Grande recently made their relationship Instagram official with a post that has garnered more than 1 million likes. “A lot of people think it’s a whole album about her,” he said. “And I get it. It makes sense. But ‘My Favorite Part’ was actually one of the last songs we made [on the album].”

Though he’s quick to deny his new record is all about his burgeoning relationship with Grande, Miller spends most of our coffee date gushing like a man who’s head over heels. “I think a lot of times people just want to be cool, and to be in love is not cool,” he said. “But I think it’s the coolest. I think love is the coolest thing that there is.” Over four-shot espressos at The Smile, Miller opened up about The Divine Feminine, his newfound sobriety, Grande, and why he’s in the best place he’s ever been.

Did Ariana have any influence musically on the album?
A lot of people think it’s a whole album about her. And I get it. It makes sense. But “My Favorite Part” was one of the last songs we made. I had talked about doing a record with her for the album. We hadn’t talked in a really long time, and I bring her this song, and then we go to the studio and do her part. And then, after that. . . . we started spending more time together.

Her voice introduces the whole album, but who are the other women on the first track?
It’s [Ariana], and then Chloe Clancy, who’s my manager’s daughter, she’s now 9 and she’s been this symbol of innocence in my life that has been this guiding light. Whatever I do—because I’ve been in my own form of destruction—I have to keep it together for her. And the other voice is Kilo Kish, who is just such a creator and pure and an incredible soul. And her voice puts me in that place; she’s very cerebral to me. The album ends with my grandma finishing the whole thing with a true actual love story; a real one that I’ve cried listening to. When that came on, I was just sitting there bawling.

Is she psyched about being on the album?
She’s actually not. She’s embarrassed because she thinks that she talks for too long and it’s the cutest thing ever. She’s like, “I’ve ruined the whole album.” And I’m like, “No, you’re the best part.” I joke around and tell her she’s getting nominated for an American Music Award for Best Interlude.

Let’s talk about “My Favorite Part,” your song with Ariana. Did you write this song when you were together?
Obviously the emotion that we’re singing with is real. I’m big about things on music that I make being authentic. But the funny thing is that we made that song before we even got together. We were friends.

But there was obviously something there between the two of you.
Well yeah, obviously. It’s just interesting; all this stuff comes at a weird time, because I’m not trying to sit here and market my relationship, but I’m not trying to not talk about that song. That song is beautiful and it’s an aspect about my life. I’m still trying to figure out how to navigate [talking about my relationship]. It’s tricky. But as long as I’m honest, I’m good with it.

Did you write that song always with her in mind to sing it?
For sure.

So you had an agenda?
[Laughs.] The agenda wasn’t—I didn’t think this was going to happen.

Are you worried at all about all the attention your relationship with Ariana is getting?
My main thing is that my life is going to continue to be my life. I think that I’m not going to get involved in it. It’s there, cool. But we’re low-key. If we’re going to go to dinner, we’re going to go to dinner. And let the world speak, say whatever. That stuff is just its own thing. It’s different for me, but it has nothing to do with us, it’s its own separate thing.

Source: Vogue.com

Mac Miller talks collaboration with Ariana Grande in The Divine Feminine

On August 17th, Mac Miller had an interview with Milk Studios about his upcoming album The Divine Feminine, and he talks about collaborating with Ariana!

The Divine Feminine is the upcoming fourth studio album by American rapper Mac Miller. It is scheduled to be released on September 16, 2016

Check out the interview below:

So you just released a song with Anderson .Paak, you’ve got a song with Kendrick Lamar, and you’ve collaborated with a ton of other artists. Who was your favorite person to collaborate with on The Divine Feminine

There’s a song on there with Ariana [Grande] that’s really, really tight. I’m singing the whole time and the difference in both of us from when we were younger [in 2013] to now? We’ve both grown so much. [The song is] very vulnerable for me too because it’s me just singing, straight-up.

Was it intimidating to sing with her?

No, our voices sound really good [together]! She’s going to be an incredible singer [because] her voice can do anything. My voice? I emote very well and it’s very raw and real. It’s like, “Oh shit you can sing.” I’m self-conscious about it but it’s my favorite thing to do.

Just a week ago, the two artists surprised fans with the Into You Remix! This isn’t their only collaboration, as they teamed up together in Ariana’s first hit single The Way back in 2013. What do you guys think about another song by the two stars?

Source: Milk.xyz

Ariana Grande performs at Vevo Presents: Ariana Grande Live in NYC

On May 18th, Ariana Grande performed at a concert Vevo Presents: Ariana Grande Live in NYC, where she sang a bunch of fan-favourite songs from Dangerous Woman before its official release, May 20th. She sang Problem, Dangerous Woman, Be Alright, Into You, Side To Side, Greedy, Sometimes, and much more! Check out the photos + videos below!

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