Backstreet’s Back… In Brazil: Backstreet Boys Talk AI, 25 Years of ‘Millennium’ & Why ‘Brazil Is Our Second Home’

In an interview with Billboard Brazil, Backstreet Boys’ Nick Carter and Howie Dorough talk about the 25th-anniversary Into the Millennium tour, their show at The Town, their love for Brazil, the Swedish influence on their sound, and how they survived the changes in the music industry. And they confirm: “Brazil is our second home.”

“Okay, Claudia. Nick and Howie are ready.”

I join the Zoom call with two members of one of the biggest pop acts of the last 30 years: Backstreet Boys’ 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.

In this context, the Backstreet Boys were born.

Facing 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 “As Long as You Love Me,” “Everybody,” “I Want It That Way” and so many other perfectly melodic songs with lyrics designed to make teenage hearts race.

Before diving into our conversation, a quick note on the group’s sixth visit to Brazil: They headlined The Town festival on the Skyline stage on Sept. 12 in São 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 — 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 phenomenon.

COME TO BRAZIL

In 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, “Come to Brazil!”

“For 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… It’s like we’re a Brazilian pop band! We even thought about moving there because we love it so much. But seriously, your love is incomparable,” Howie says.

Nick adds: “Brazil 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’s always been consistent: a loyalty that never waned. That’s why we love Brazil so much.”

They say they would visit the country more often if logistics allowed. Even so, the fandom “reaches them” through social media in full force. “Brazil is always on our mind when we do a tour. Sometimes it’s not possible due to costs. But it’s definitely the country that interacts with us the most on social media,” Nick explains.

Howie shares a vivid example of this connection: “I remember fans camping outside Maracanã for days in 2001. It’s 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.”

BIRTH CERTIFICATE

Just 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’s boy band New Kids on the Block.

Each 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.

THE MANUFACTURER

The 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.

Witnessing 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 — 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’s answer to New Kids on the Block.

Pearlman 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.

The 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 “formula” could transcend calculation and manipulation. Surviving Pearlman’s empire collapse, the BSB built a story of artistic resilience and genuine connection with their audience.

SWEDES DO IT BETTER

One of the Backstreet Boys’ greatest assets lies in their melodies — easy to remember, hummable, enjoyable, and uplifting. This model could have come from sunny Florida, the boys’ home state. But it didn’t. It came from cold but happy Sweden.

Before diving into this, one must understand a Swedish word that defines the country’s lifestyle: lagom. Its beauty lies in its meaning, which goes beyond a simple translation. Lagom means something like “just the right amount; neither too much nor too little,” or balance, moderation, and appropriateness.

Lagom doesn’t directly apply to music but to a way of life. The concept reflects Swedish culture, which values satisfaction, harmony, and detachment from excess.

The Backstreet Boys’ musical identity was forged in Sweden under legendary producers Max Martin and Denniz Pop. Howie describes the collaboration as “magical.” “I 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,” he explains.

In the early 1990s, Stockholm became a high-level pop production hub, led by Denniz Pop and his protégé Max Martin at Cheiron Studios. They developed a precise formula combining irresistible melodies — inheriting ABBA’s legacy — 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.

The first Swedish studio sessions were a cultural shock for the group. Howie recalls: “We were a vocal harmony group, and they saw an opportunity to create a brand together.” Nick adds: “We 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.”

Working with Denniz Pop, singles like “We’ve Got It Goin’ On” and “Quit Playing Games (With My Heart)” shaped the first album (Backstreet Boys, 1996), introducing electronic beats, modern synths, and unforgettable choruses.

But it was with Backstreet’s Back (1997), under Max Martin’s greater influence, that the “Cheiron sound” reached its peak. Massive hits like “Everybody (Backstreet’s Back)” and “As Long as You Love Me” fused seemingly dissonant elements — funk guitars, industrial beats, soaring choruses — into a cohesive and irresistible unit, cementing not only the band’s global success but the gold standard for international pop for decades.

The combination of polished melodies and the group’s vocal harmonies created truly magical music. Nick emphasizes the Swedish touch: “When we met Max, Denniz, and all these guys, it was a perfect fit. Like us, they were just starting out.”

The small Stockholm studio became the birthplace of a sound that would conquer the world. Sensitivity to crafting timeless hits became the band’s signature. Totally lagom.

“The greatest legacy of our relationship with these Swedish production wizards. It became a hallmark of our sound — people know it’s us the moment they hear our songs,” Howie says.

Editor’s 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, Beyoncé, Adele, Demi Lovato, Lady Gaga, The Weeknd, Ariana Grande, Justin Timberlake, Taylor Swift, Rihanna, Maroon 5, and many more.

32 YEARS AND COUNTING

Over three decades, the Backstreet Boys faced ups and downs, experimented with different musical directions, and navigated industry changes. There was a period of “survival,” as Howie describes, during which the band sought to realign its identity and dealt with some rejection of boy bands.

He calls it reinvention: “I remember a conversation when we decided it was time to dance again, play hits, give the audience what they wanted.” This return to the group’s 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’s most technologically advanced — and most coveted — venue.

Opened in 2023, the Sphere redefines immersion with impressive specs: the world’s largest 16K internal dome, 160,000 m² of LEDs, a spherical façade with 1.2 million LEDs, and an immersive sound system with 167,000 speakers.

“Honestly, it’s probably one of the most important feats of our lives,” Howie says, referring to the Sphere residency. “And the coolest part,” Nick adds, “is seeing a mix of generations in the audience — parents enjoying songs they loved as teens, and kids singing along. It brings a sense of peace in this crazy world we live in.”

On the possibility of bringing a version of the Sphere show to Brazil, Howie is cautious but optimistic: “We don’t have the whole show fully assembled yet. The idea is maybe to adapt it. It’s a work in progress, but we’re very excited.”

WHO’S AFRAID OF AI?

Of course, the interview wouldn’t 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 — when the most tech you took to a show was a digital camera or a brick cell phone — the boys have witnessed an entire industry turn upside down from the stage perspective.

Howie reflects on this transformation: “Early 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.”

On AI, Nick is pragmatic: “We embrace technology and AI evolution, as long as there’s no abuse.” He advocates for “checks and balances” to ensure AI doesn’t threaten human creativity.

“You have to care about melody, music, and the intention behind it. We’ve released over 10 albums in our career. Each contains our voices, blood, sweat, tears, emotions. You can’t replace that.”

Howie jokes, but seriously: “Backstreet Boys are John Connor, AI is the Terminator. It’s going to be a war,” before adding, “I’m partly joking, but our responsibility is to ensure technology isn’t abused in the music industry.”

POP LEGACY

The 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: “It’s amazing how a band’s legacy can transcend generations. We were influenced by music our parents listened to, like Journey and Eagles. Now, it’s beautiful to see young fans, including our kids, really enjoying our music.”

Nick credits their longevity to the fundamental quality of their work: “It all starts with the music. We’re blessed to have great songs that help this generational transition. People may rediscover our work through new technology, but the foundation is solid music.”

Howie adds, highlighting social media’s role: “TikTok is an amazing tool these days. It’s where my kids discover a lot. I think it’s our greatest social ally now, along with Instagram, keeping our music alive and relevant.”

The interview ends with the same warm energy it began — 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.

Backstreet’s back, all right.