{"id":275964,"date":"2025-10-04T01:33:11","date_gmt":"2025-10-04T01:33:11","guid":{"rendered":"https:\/\/www.europesays.com\/us\/275964\/"},"modified":"2025-10-04T01:33:11","modified_gmt":"2025-10-04T01:33:11","slug":"brazil-is-our-second-home","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/275964\/","title":{"rendered":"‘Brazil Is Our Second Home’"},"content":{"rendered":"

\n\tIn an interview with Billboard Brazil<\/a>, Backstreet Boys\u2019 Nick Carter and Howie Dorough talk about the 25th-anniversary Into the Millennium tour, their show at The Town, their love for Brazil<\/a>, the Swedish influence on their sound, and how they survived the changes in the music industry. And they confirm: \u201cBrazil is our second home.\u201d<\/p>\n

\n\t\u201cOkay, Claudia. Nick and Howie are ready.\u201d<\/p>\n

\n\tI join the Zoom call with two members of one of the biggest pop acts of the last 30 years: Backstreet Boys\u2019 Nick Carter and Howie Dorough. When they emerged in 1993, pop music was operating at the highest standards, with Michael Jackson as king and Madonna as queen, while rock was turning toward the underground, with movements like grunge and indie.<\/p>\n

\n\tIn this context, the Backstreet Boys were born.<\/p>\n

\n\tFacing two members of BSB, the ball was now in my court. Over a 30-minute interview, I would revisit 32 years of a career from one of the groups responsible for redefining 1990s pop, selling 100 million records, and entering the collective consciousness of generations with anthems like \u201cAs Long as You Love Me,\u201d \u201cEverybody,\u201d \u201cI Want It That Way\u201d and so many other perfectly melodic songs with lyrics designed to make teenage hearts race.<\/p>\n

\n\tBefore diving into our conversation, a quick note on the group\u2019s sixth visit to Brazil: They headlined The Town festival on the Skyline stage on Sept. 12 in S\u00e3o Paulo. It was the only chance for Brazilian fans to reunite with AJ McLean, Howie Dorough, Nick Carter, Kevin Richardson and Brian Littrell as part of the Into the Millennium tour \u2014 an updated version of the 1999 tour, now celebrating the 25th anniversary of the iconic album Millennium. The celebration includes the release of Millennium 2.0, a special edition with remastered tracks, previously unreleased demos, and live recordings from the historic tour that solidified the group as a global<\/a> phenomenon.<\/p>\n

\t\tCOME TO BRAZIL<\/strong>\t<\/p>\n

\n\tIn an exclusive interview with Billboard Brazil, Nick Carter and Howie Dorough appeared smiling and welcoming, speaking to me and Camila Zana, our CMO, from their homes in the United States. My first question was about the Brazilian fandom and our internationally famous phrase, \u201cCome to Brazil!\u201d<\/p>\n

\n\t\u201cFor 20 years, whenever we go to Brazil, we feel at home. We love being there. We always find so much love and support: fans at the airport, at the hotel, in the streets\u2026 It\u2019s like we\u2019re a Brazilian pop band! We even thought about moving there because we love it so much. But seriously, your love is incomparable,\u201d Howie says.<\/p>\n

\n\tNick adds: \u201cBrazil is always the first to remember us as a group. There was never a weak moment in support, through all the highs and lows of our career. It\u2019s always been consistent: a loyalty that never waned. That\u2019s why we love Brazil so much.\u201d<\/p>\n

\n\tThey say they would visit the country more often if logistics allowed. Even so, the fandom \u201creaches them\u201d through social media in full force. \u201cBrazil is always on our mind when we do a tour. Sometimes it\u2019s not possible due to costs. But it\u2019s definitely the country that interacts with us the most on social media,\u201d Nick explains.<\/p>\n

\n\tHowie shares a vivid example of this connection: \u201cI remember fans camping outside Maracan\u00e3 for days in 2001. It\u2019s something you never forget. Their dedication is incredible. We always sent water, food, made sure they were safe. Their well-being was always our priority.\u201d<\/p>\n

\t\tBIRTH CERTIFICATE<\/strong>\t<\/p>\n

\n\tJust like Disney World, founded in Orlando in 1971, the Backstreet Boys were also conceived in the American capital of family entertainment. Like the world-famous park, the group was designed by a visionary businessman, who assembled the band piece by piece, following a proven formula previously applied to Boston\u2019s boy band New Kids on the Block.<\/p>\n

\n\tEach member was handpicked, like a character in an amusement park, following stereotypes: the rebel, the romantic, the youngest, etc. The idea was simple and brilliant: create not just a band, but a perfect product to conquer the teen world, especially girls. What began as a calculated experiment eventually became something real, authentic, and surprisingly enduring. This is the story of how an industrial dream became one of the longest-lasting phenomena in music history.<\/p>\n

\t\tTHE MANUFACTURER<\/strong>\t<\/p>\n

\n\tThe seed of what would become one of the greatest boy bands in history was planted in an unusual way: thanks to an air taxi service. In the early 1990s, businessman Lou Pearlman, owner of an aviation company, counted New Kids on the Block among his clients, a band formed in the mid-1980s.<\/p>\n

\n\tWitnessing firsthand the fortune such a group could generate inspired Pearlman to start a new business. Determined, he went to Orlando, a city that attracted young talent due to its proliferation of theme parks and studios \u2014 the perfect ground to recruit and mold his own stars, and consequently, his gold mine. After numerous auditions with local youths, he selected the quintet that would enter history as the Backstreet Boys, Florida\u2019s answer to New Kids on the Block.<\/p>\n

\n\tPearlman conceived the boy band in 1993 and replicated the model with *NSYNC (1995) and Take Five (1997). His career, however, was marked by a fraudulent scheme that deceived investors and artists for years. In 2008, Pearlman was convicted of conspiracy and money laundering, receiving a 25-year prison sentence. He died in 2016 at age 62, ending the life of an entertainment visionary who was also one of the greatest scams in music history.<\/p>\n

\n\tThe weight of the businessman profoundly impacted the Backstreet Boys: years of legal battles to reclaim what was theirs and gain autonomy over their career. Curiously, even as victims of their creator, they became proof that his \u201cformula\u201d could transcend calculation and manipulation. Surviving Pearlman\u2019s empire collapse, the BSB built a story of artistic resilience and genuine connection with their audience.<\/p>\n

\t\tSWEDES DO IT BETTER<\/strong>\t<\/p>\n

\n\tOne of the Backstreet Boys\u2019 greatest assets lies in their melodies \u2014 easy to remember, hummable, enjoyable, and uplifting. This model could have come from sunny Florida, the boys\u2019 home state. But it didn\u2019t. It came from cold but happy Sweden.<\/p>\n

\n\tBefore diving into this, one must understand a Swedish word that defines the country\u2019s lifestyle: lagom. Its beauty lies in its meaning, which goes beyond a simple translation. Lagom means something like \u201cjust the right amount; neither too much nor too little,\u201d or balance, moderation, and appropriateness.<\/p>\n

\n\tLagom doesn\u2019t directly apply to music but to a way of life. The concept reflects Swedish culture, which values satisfaction, harmony, and detachment from excess.<\/p>\n

\n\tThe Backstreet Boys\u2019 musical identity was forged in Sweden under legendary producers Max Martin and Denniz Pop. Howie describes the collaboration as \u201cmagical.\u201d \u201cI think we captured a moment when music was looking for change. When we started, especially in the U.S., grunge and rap were at their peak,\u201d he explains.<\/p>\n

\n\tIn the early 1990s, Stockholm became a high-level pop production hub, led by Denniz Pop and his prot\u00e9g\u00e9 Max Martin at Cheiron Studios. They developed a precise formula combining irresistible melodies \u2014 inheriting ABBA\u2019s legacy \u2014 with polished production and an almost scientific songwriting structure. This expertise drew Jive Records, which signed the Backstreet Boys and sent them directly there, bypassing traditional U.S. R&B and country routes.<\/p>\n

\n\tThe first Swedish studio sessions were a cultural shock for the group. Howie recalls: \u201cWe were a vocal harmony group, and they saw an opportunity to create a brand together.\u201d Nick adds: \u201cWe went there and sang for them. I must have been 15 the first time I went to Stockholm, so we grew up going there, and it definitely shaped our sound.\u201d<\/p>\n

\n\tWorking with Denniz Pop, singles like \u201cWe\u2019ve Got It Goin\u2019 On\u201d and \u201cQuit Playing Games (With My Heart)\u201d shaped the first album (Backstreet Boys, 1996), introducing electronic beats, modern synths, and unforgettable choruses.<\/p>\n

\n\tBut it was with Backstreet\u2019s Back (1997), under Max Martin\u2019s greater influence, that the \u201cCheiron sound\u201d reached its peak. Massive hits like \u201cEverybody (Backstreet\u2019s Back)\u201d and \u201cAs Long as You Love Me\u201d fused seemingly dissonant elements \u2014 funk guitars, industrial beats, soaring choruses \u2014 into a cohesive and irresistible unit, cementing not only the band\u2019s global success but the gold standard for international pop for decades.<\/p>\n

\n\tThe combination of polished melodies and the group\u2019s vocal harmonies created truly magical music. Nick emphasizes the Swedish touch: \u201cWhen we met Max, Denniz, and all these guys, it was a perfect fit. Like us, they were just starting out.\u201d<\/p>\n

\n\tThe small Stockholm studio became the birthplace of a sound that would conquer the world. Sensitivity to crafting timeless hits became the band\u2019s signature. Totally lagom.<\/p>\n

\n\t\u201cThe greatest legacy of our relationship with these Swedish production wizards. It became a hallmark of our sound \u2014 people know it\u2019s us the moment they hear our songs,\u201d Howie says.<\/p>\n

\n\tEditor\u2019s note: If you love pop music, perfect melodies, and flawless production, explore the history of these and other Swedish producers behind hits by Britney Spears, Justin Bieber, Katy Perry, Beyonc\u00e9, Adele, Demi Lovato, Lady Gaga, The Weeknd, Ariana Grande, Justin Timberlake, Taylor Swift, Rihanna, Maroon 5, and many more.<\/p>\n

\t\t32 YEARS AND COUNTING<\/strong>\t<\/p>\n

\n\tOver three decades, the Backstreet Boys faced ups and downs, experimented with different musical directions, and navigated industry changes. There was a period of \u201csurvival,\u201d as Howie describes, during which the band sought to realign its identity and dealt with some rejection of boy bands.<\/p>\n

\n\tHe calls it reinvention: \u201cI remember a conversation when we decided it was time to dance again, play hits, give the audience what they wanted.\u201d This return to the group\u2019s essence led to the special moment they are in now, with 18 more dates scheduled for 2026 at the Sphere in Las Vegas, after selling out 21 shows between July and August at the world\u2019s most technologically advanced \u2014 and most coveted \u2014 venue.<\/p>\n

\n\tOpened in 2023, the Sphere redefines immersion with impressive specs: the world\u2019s largest 16K internal dome, 160,000 m\u00b2 of LEDs, a spherical fa\u00e7ade with 1.2 million LEDs, and an immersive sound system with 167,000 speakers.<\/p>\n

\n\t\u201cHonestly, it\u2019s probably one of the most important feats of our lives,\u201d Howie says, referring to the Sphere residency. \u201cAnd the coolest part,\u201d Nick adds, \u201cis seeing a mix of generations in the audience \u2014 parents enjoying songs they loved as teens, and kids singing along. It brings a sense of peace in this crazy world we live in.\u201d<\/p>\n

\n\tOn the possibility of bringing a version of the Sphere show to Brazil, Howie is cautious but optimistic: \u201cWe don\u2019t have the whole show fully assembled yet. The idea is maybe to adapt it. It\u2019s a work in progress, but we\u2019re very excited.\u201d<\/p>\n

\t\tWHO\u2019S AFRAID OF AI?<\/strong>\t<\/p>\n

\n\tOf course, the interview wouldn\u2019t end without discussing social media and the much-talked-about artificial intelligence. Considering that the group was born at the threshold between analog and digital \u2014 when the most tech you took to a show was a digital camera or a brick cell phone \u2014 the boys have witnessed an entire industry turn upside down from the stage perspective.<\/p>\n

\n\tHowie reflects on this transformation: \u201cEarly in our career, we had to visit every country in person to promote our music. Today, with social media, your music can reach anywhere without going there.\u201d<\/p>\n

\n\tOn AI, Nick is pragmatic: \u201cWe embrace technology and AI evolution, as long as there\u2019s no abuse.\u201d He advocates for \u201cchecks and balances\u201d to ensure AI doesn\u2019t threaten human creativity.<\/p>\n

\n\t\u201cYou have to care about melody, music, and the intention behind it. We\u2019ve released over 10 albums in our career. Each contains our voices, blood, sweat, tears, emotions. You can\u2019t replace that.\u201d<\/p>\n

\n\tHowie jokes, but seriously: \u201cBackstreet Boys are John Connor, AI is the Terminator. It\u2019s going to be a war,\u201d before adding, \u201cI\u2019m partly joking, but our responsibility is to ensure technology isn\u2019t abused in the music industry.\u201d<\/p>\n

\t\tPOP LEGACY<\/strong>\t<\/p>\n

\n\tThe conversation naturally turned to their relationship with Generation Z, with younger fans discovering their music through TikTok and other platforms. Howie sees this new audience with excitement: \u201cIt\u2019s amazing how a band\u2019s legacy can transcend generations. We were influenced by music our parents listened to, like Journey and Eagles. Now, it\u2019s beautiful to see young fans, including our kids, really enjoying our music.\u201d<\/p>\n

\n\tNick credits their longevity to the fundamental quality of their work: \u201cIt all starts with the music. We\u2019re blessed to have great songs that help this generational transition. People may rediscover our work through new technology, but the foundation is solid music.\u201d<\/p>\n

\n\tHowie adds, highlighting social media\u2019s role: \u201cTikTok is an amazing tool these days. It\u2019s where my kids discover a lot. I think it\u2019s our greatest social ally now, along with Instagram, keeping our music alive and relevant.\u201d<\/p>\n

\n\tThe interview ends with the same warm energy it began \u2014 two pop icons (representing a quintet) who, after three decades, maintain not only talent but genuine appreciation for their fans and the unique journey that transformed them from a calculated experiment in Orlando into one of the most enduring and beloved phenomena in global pop music.<\/p>\n

\n\tBackstreet\u2019s back, all right.<\/p>\n","protected":false},"excerpt":{"rendered":"In an interview with Billboard Brazil, Backstreet Boys\u2019 Nick Carter and Howie Dorough talk about the 25th-anniversary Into…\n","protected":false},"author":3,"featured_media":275965,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[691,738,142735,4214,33421,2126,5499,158,67,132,68],"class_list":{"0":"post-275964","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artificial-intelligence","8":"tag-ai","9":"tag-artificial-intelligence","10":"tag-billboard-brazil","11":"tag-brazil","12":"tag-genre-pop","13":"tag-global","14":"tag-music-news","15":"tag-technology","16":"tag-united-states","17":"tag-unitedstates","18":"tag-us"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/115313325045083943","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/275964","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=275964"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/275964\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/275965"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=275964"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=275964"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=275964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}