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It’s rare to see two huge consumer tech brands put down their swords and come out with a collaboration, but that’s just what Skullcandy and Bose have done.
The two speaker brands teamed up to release a $99 earbud that offers the incredible sound that Bose is known for, with the color-forward, board sports-infused style created by Skullcandy. The Method 360 ANC earbuds come with Skullcandy’s Pez dispenser-like charging case, and they’re available in five different colorways. To help announce this major industry collab, Skullcandy released a quirky, fun short film that starred none other than skateboarding legend Tony Hawk.
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As for the earbuds, they not only punch above their weight class — they punch above the weight classes of much more expensive models. They offer the incredibly powerful, clear sound that Bose is known for, and they even have the loud bass that might come to mind when you think of Skullcandy. The noise-canceling capabilities are amazing, and they also manage to keep the noise from leaking out of your ears. If you typically struggle with fit when it comes to earbuds, they also really knocked it out of the park in this category — they’re comfortable and stay put better than any earbuds I’ve ever worn. With a 40-hour battery life that’s almost unheard of, these are a great option for anyone looking for earbuds that will stick with them through almost any activity.
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Skullycandy Method ANC Earbuds
$99.99
$129.99
23% off
After watching the video at the release party on April 15, Hawk spoke on a panel with executives from both brands, during which he explained that he’s been a longtime fan of the brand and loves how it has always shown its support of skate culture. After the panel, Hawk spoke with Billboard about the impact music has had on his life and his crazy journey back to health after breaking his femur.
Tony Hawk’s Pro Skater introduced an entire generation of kids to punk and ska. Do you have favorite songs or bands that were on those first games?
I think one of my proudest accomplishments was getting Dead Kennedys because bands like them — like Circle Jerks and Black Flag — were the soundtrack to my youth and skate skating in my youth.
And so to be able to do a game, and for them to ask me who I want — I wanted what I was listening to. It felt like, you know those bands were beloved in their era, but no one really knew about them, right? So, it wasn’t hard for them to get clearances. But the idea that if you really listen to their lyrics in “Police Truck,” it’s a punk rock song, you know? It’s against authority and the fact we got that on a mainstream platform was amazing.
Surely after the first game, you had to have bands trying so hard to get you to listen to their music.
Still to this day. I just got an email from — I won’t name them — but a pretty big band. The lead singer was like, ‘Hey, man, can we get in the game?’ And I was like, :I can’t believe I have to tell you no, because we’ve already locked it up.” But for the three and four, really, yeah. It’s been happening.
You’re kind of like the biggest agent in the music industry.
It’s all bands that I love and respect, so I’m excited.
Who are you most impressed or excited by in this new generation of skaters?
Well, I’m coming off the heels of this big premiere of Tom Schaar’s video. Tom Schaar is just on a different level of what we do on ramps. He’s kind of unlocked some new secret to going even higher and doing things that are ridiculously impossible, but easily. I would have said that at any point, but the fact I just saw his video drives him home.
I love that you’re so excited about the continuation of the sport. I interviewed Sky Brown soon after she fell, and I know there was all this coverage about you encouraging her to get back out there.
You know, that was an extreme case, but it takes a certain perseverance and willingness to overcome stuff like that, because at some point you are going to get hurt along the way. I don’t think it’s the most dangerous thing, but how you deal with that first injury sets the tone for how you’re going to keep skating.
Speaking of injuries, you just broke your femur. What has been the hardest thing to relearn?
Well, if you want to get into the weeds, the hardest thing to relearn that I still struggle with is my tuck knees, which means the way that I grab my board and that I can kind of tweak my body. I’ll think that I have it [the board] in my hand, and I’m not quite there yet most of the time. That was the hardest.
The hardest thing mentally to overcome was 540s because I broke it doing a 540. So, when I finally got my strength back, and with my wife’s tentative approval, I went and did a 540 again. And I made sure she was watching, because I can’t get hurt with her watching. More like I’m not allowed.
Do you have a favorite accomplishment?
Honestly, it’s doing this at my age. You know, I never imagined I get to be a pro skater into my 40s, and now I still do it in my 50s and like, it’s all just fun. There’s no pressure, and I just get to do it because I love it. Learning new tricks now overcoming challenges has way more meaning.
Who do you play as when you’re playing Pro Skater?
I’m not going to tell you that I play with myself, but I play as my character because I know all my special moves. Inevitably, if you have a game with your name on it, people are going to challenge you and you better actually be able to play your own game. So I play my own skater by default. If I’m not playing my skater, then my son Riley is in the game, so I play as him.
TDE’s Punch claims Kendrick Lamar took out even more harmful disses aimed at Drake on the song “Euphoria.” In a three-hour conversation with Curtiss King on Thursday (April 17), Top Dog Entertainment’s president spoke on all things TDE, including the high-profile rap battle between Drake and K-Dot. When asked about the rumored 18-minute version of […]
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Cassie is clapping back at Diddy in court, accusing him of overstepping with a subpoena that’s digging way too deep into her personal business.
According to new legal documents obtained by TMZ, Cassie is asking a judge to shut down a subpoena she says was served by Diddy’s legal team on March 19. The Bad Boy tainted mogul is reportedly demanding that Cassie turn over a wide range of personal material, including any and all draft memoirs, autobiographies, journals, diaries, or written notes.
Basically anything that could potentially expose or discuss their past relationship. Diddy’s legal team is also requesting any communications Cassie’s had about publishing, or even thinking about publishing, a tell-all or similar document. It doesn’t stop there, Cassie claims he also wants access to her bank statements, which she sees as a major invasion of privacy with no legit legal basis.
In response, Cassie is urging the court to kill the subpoena, saying the requests are excessive and appear to be nothing more than intimidation tactics. She argues the subpoena is just another attempt by Diddy to control or silence her, especially in light of her previous abuse allegations. This latest legal move adds more tension to the ongoing fallout between the two former partners, as Cassie continues to fight for her voice and her privacy in the face of mounting pressure.
More news to come as the story develops.
Morgan Wallen banks his 17th No. 1 on Billboard’s Country Airplay chart as “I’m the Problem” ascends a spot to the top of the list dated April 26. The song increased by 7% to 28.8 million audience impressions April 11-17, according to Luminate.
The co-write by the 31-year-old from Sneedville, Tenn., reaches the penthouse in 11 weeks. It completes the quickest trip to No. 1 since Post Malone’s “I Had Some Help,” featuring Wallen, needed just seven frames to reign last June.
“I’m the Problem” is Wallen’s third Country Airplay No. 1 from his album of the same name, ahead of its May 16 arrival. “Love Somebody” dominated for three weeks in February, after “Lies Lies Lies” led for a week in November. He scored his initial No. 1 in June 2018 as featured on Florida Georgia Line’s “Up Down.”
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Wallen’s new LP bulges with 37 tracks, one more than on his 2023 blockbuster, One Thing at a Time. That set has ruled the Top Country Albums chart for 82 weeks, the second-most in the chart’s history, after only his own Dangerous: The Double Album, which ran up a record 97 weeks at No. 1 beginning in January 2021.
Wallen also surges 30-22 on Country Airplay with his newest single from I’m the Problem, “Just in Case” (6.6 million, up 53%). Plus, the album’s “I Ain’t Coming Back,” his second collab with Post Malone, was released Friday (April 18).
‘Holy’ Lands in Top 10
Bailey Zimmerman nets his fifth consecutive career-opening Country Airplay top 10 as “Holy Smokes” lifts 11-10, up 2% to 15.9 million in reach. His first four entries all hit No. 1: “Where It Ends” (last October, for two weeks); “Religiously” (September 2023, one); “Rock and a Hard Place” (beginning in April 2023, six); and “Fall in Love” (December 2022, one).
Zimmerman earned his first No. 1 on the multimetric Hot Country Songs chart (dated April 19) as featured on rapper BigXthaPlug’s “All the Way,” which soared in at the summit. (The single is not currently being promoted to country radio.)
Whens she’s not making music, chances are you’ll find Tinashe (aka SniperNashe) sniping away at bad guys in Call of Duty: Warzone. The singer loves to talk about her obsession with the game — including with Billboard last August — and all that chatter has paid of in a new promo featuring Tinashe hyping the return of the Verdansk map.
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And even if some people still look sideways at her game skills, she’s not sweating it. “I think it’s something that you kind of expect with the territory and within the culture, and something that I’m definitely used to,” she told Rolling Stone of the side-eye women gamers still get sometimes. “Gaming culture is super huge, and especially women — young women — [are] an underappreciated fan community. So, it’s really nice to be able to represent that. And yeah, hopefully with more representation, the less we’ll have those kind of stigmas.”
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Because of her obsession, the “Nasty” vocalist told the magazine that she always brings her PlayStation console on tour to set up in venues before her shows. “It’s one of the ways that I can still stay connected with the things I love to do at home, because you have so much downtime on the road before shows,” she said. “If I’m flying show to show, I probably won’t bring it because it’ll just be a little bit of a hassle going through security, but whenever we’re on a bus tour, I definitely always bring it.”
Her focus on the game is so intense, in fact, that she admitted she’d rather play than work on new music when she’s on the road. “I’m not really a big fan of recording while I’m touring because it’s hard for me to split my energy and attention that way,” she said of her attention to Call of Duty‘s free-to-play first-person shooter game that debuted in 2020 during the COVID-19 pandemic when she, and everyone else, had a lot of free time at home. “But now the Match My Freak Tour is done, and I’m just doing more spot dates, a couple here and there. So, now I’m really kind of more focused on creative mode.”
At Billboard’s Women in Music 2025 event in March, the Tinashe promised now that her dates are over she “excited to get in there [the studio] and work on what’s next musicwise.”
Watch Tinashe describe the sniper tower rampage that earned her her killer nickname in the promo video for the return of the beloved original Verdansk map below.
Canadian musicians and music organizations are speaking out ahead of the federal election on April 28.
Indie folk artist The Weather Station took to Instagram on April 15 to make an impassioned plea to Canadians not to check out of this election. She had just returned from a tour in the U.S., supporting her new album Humanhood, and told followers that now is the time to prevent Canada from following in America’s footsteps.
“I cannot articulate the level of relief I felt this time crossing the border back into Canada,” she says. “I think we have no lived understanding of how bad things could get.”
The Weather Station, whose name is Tamara Lindeman, has previously spoken out about the U.S. administration, citing authoritarianism, threats to free speech and the right to protest, and dismantling of public services serving climate, education, health care and social security.
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In her new video, she highlights the people fighting for those issues and to build community amidst the crisis south of the border.
“Loved the shows, loved all the people we met, but it’s so incredibly painful to see what people are going through,” she says. “People feel exhausted, they feel afraid and at risk, they feel powerless…a lot of people increasingly feel kind of silenced, which is really scary.”
Speaking to Billboard Canada about why she felt compelled to share the video, Lindeman adds that when it comes to this election, the stakes couldn’t be higher. “For an avalanche of reasons — from Trump’s threats of annexation, to how misinformation and MAGA-style politics are moving across the border, to the immensity of the climate crisis, to the affordability crisis across this country,” she elaborates.
She also points out Conservative leader Pierre Poilievre‘s desire to defund the CBC as particularly concerning for musicians, given how the public broadcaster supports Canadian music through radio airplay and events.
Her post received positive comments from fellow Canadian musicians like Jill Barber and Bells Larsen. Larsen, a folk singer-songwriter, last week shared that he cannot tour in the U.S. due to changes in Visa application policy that target trans musicians, requiring legal ID to match sex assigned at birth.
Canadian music organizations have also been emphasizing the importance of this election across party affiliations, against the backdrop of American politics.
Allistair Elliott, AFM vice president from Canada, sent out a message today to American Federation of Musicians members in Canada titled “Make Your Vote Count.”
“The upcoming election is critical for Canadians — no matter your political leanings, your vote matters,” Elliott writes. “Look south of the border to understand what can happen. In the last U.S. election, 32% of votes went to Republicans and 31% to Democrats. That means 68% of U.S. voters did not vote for the current president. True democracy is achieved when everyone votes. Plan, do your research, and most importantly, vote. It really matters, can, and will make a difference.”
The message stops short of endorsing particular parties or candidates, but highlights policy areas that affect musicians and arts workers, such as generative artificial intelligence, diversity equity and inclusion, trade tariffs, and strengthening public health care.
The Canadian Live Music Association published a note last week from President Erin Benjamin, emphasizing the importance of the live music industry in Canada to both the country’s economy and its cultural identity.
Benjamin called on supporters to send a letter to federal election candidates of all parties, calling on them to leverage Canadian music for the future.
The Canadian federal election is Monday, April 28. –Rosie Long Decter
Hamilton Indie Label Sonic Unyon Launches SUM Artist Management, Headed By Wayne Pett
Hamilton-based independent label and music company Sonic Unyon Records has unveiled its latest initiative, SUM Artist Management. It’s a new arm of the company dedicated to representing and developing artists, identifying and opening opportunities to them.
Taking the helm as both director of artist management at SUM Artist Management and label operations for Sonic Unyon Records is Wayne Petti, a well-known figure on the Canadian music scene as frontman for highly-regarded roots-rockers Cuff the Duke. At SUM, Petti will work in league with Sonic Unyon owner/CEO Tim Potocic, representing a musically diverse and notable roster of clients.
That includes roots-rock singer-songwriter Terra Lightfoot, Polaris Prize-winning auteur Owen Pallett, Hamilton shoegaze combo Basement Revolver, American feminist performance artist and electro-rocker JD Samson (Le Tigre), retro cover band Born in the Eighties, multi-instrumentalist and composer Michael Peter Olsen, and three bands at the forefront of an Indigenous wave in Canadian rock, Zoon, OMBIIGIZI and Status/Non-Status.
“We’re about constant evolution,” says Potocic. “As a label, we’ve signed newcomers and longtime favourites as well as bigger bands like Danko Jones and Big Wreck. All of that is super exciting and some of the best music we’ve ever released. At the same time, this is not an industry that rewards sitting still. It’s a challenging time and a tough landscape, but opportunities still abound. We’ve always believed in the value of our artists, and artists more generally, so artist management is the natural outgrowth of that.”
In an interview with Billboard Canada, Petti notes that, “I’ve been involved in artist management for close to 10 years now. I have a unique perspective on the music business having both experienced what it’s like to be a recording artist and everything that goes along with that, plus experiencing working with artists and helping to guide them through their own careers. I’m very much an ‘artist first’ type of manager. I don’t chase things just for the money. I want the artists I work for to feel supported. I want them to focus on being creative and unique artists and I’m just there to help facilitate their vision and goals artistically.”
“Our main goal at SUM is to work with unique artists regardless of whether they are Canadian, American or from somewhere else around the world,” he continues. “I think we’re off to a great start.”
Petti previously made a major mark in artist management during eight years with Hamilton-based Straight & Narrow Management, which handles major international stars The National, as well as Broken Social Scene, Hannah Georgas, Kevin Drew and Georgia Harmer.
The creation of SUM Artist Management aligns with Sonic Unyon’s expansion into industry sectors beyond the traditional duties of a record label. Sonic Unyon Distribution was founded in 1998 to distribute Sonic Unyon and other labels in Canada, going on to build a roster that included dozens of domestic imprints and the exclusive representation of over 200 international independent labels in Canada. –Kerry Doole
For Alex Warren, it’s been a long, steady ascent to get to this point. After first coming to prominence through videos on TikTok and other social media platforms and as a co-founder of the Hype House content creator hub, the young singer started releasing music in 2021 before signing to Atlantic Records the following year. Since then, a steady stream of singles led to increasingly positive returns, and Warren made his first appearance on the Billboard Hot 100 last fall with “Burning Down,” which peaked at No. 69 in October.
But then came “Ordinary,” his latest single, initially released Feb. 7. The song quickly flew onto the Hot 100, debuting at No. 61, and picked up steam on social media — and the steady ascent began. With several television appearances, including on Jimmy Fallon and a Love Is Blind reunion episode, the song began climbing the charts, not just in the U.S., but internationally, reaching No. 1 in the U.K. (where it has remained for four weeks), Australia and Canada. This week, it rose into the top 10 of the Hot 100 at No. 7 — helping Atlantic Records vp of A&R Michael Parker earn the title of Billboard’s Executive of the Week.
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Here, Parker talks about Warren’s journey as a songwriter since signing him three years ago and what has made “Ordinary” such an extraordinary breakout hit. “Alex saw the whole path forward from moment one on that song,” Parker says. “He had the vision, the drive and he knew exactly how to finish it and promote it. So naturally, the record took off on this amazing path and immediately connected with his fans.”
This week, Alex Warren’s “Ordinary” reached the top 10 of the Hot 100 for the first time, after a nine-week climb. What key decision did you make to help make that happen?
Of course, it starts with the music. I’m a firm believer that every artist needs the right people they connect deeply with around them, and that they have access to all of the tools to help realize their vision. “Ordinary” was a track made during recording sessions late last year with his closest collaborators. It was one of those songs that the second you hear it, you just know. Alex saw the whole path forward from moment one on that song. He had the vision, the drive and he knew exactly how to finish it and promote it. So naturally, the record took off on this amazing path and immediately connected with his fans.
The amazing group of people who have worked alongside Alex deserve a shoutout: Adam Yaron, Mags Duval, Cal Shapiro, who have written and produced the album with Alex. Brian Sokolik, the best manager, and the incredible teams at Atlantic and Wasserman.
You first signed Alex in 2022. How have you seen him develop since then, and what role have you played in that?
Since we first signed Alex, he’s truly continued to raise the bar song after song. My job is to keep that bar held up and to never let it fall. Alex has earned the trust of everyone he works with over that time span because we know that if he has a vision for it, he will make it happen. That confidence in himself and his music is infectious to the rest of us, and it’s been amazing to see that develop over the years. Every artist I work with needs support in different ways, and I look to do so by piecing together the right team and being their musical confidant, and that’s exactly what I aim to be for Alex.
He got his start in the public eye as an influencer. How did that affect his career? Did it help or hurt?
Alex has always been a musician first. Connecting with people came naturally to him, and using his platform helped him to do so. Just by being himself and sharing music with his fans, he was able to do what he loves and have a deep connection with them. It’s been great to watch the wonderful interaction between Alex and his fans.
This song is not just blowing up in the U.S., but it’s also hit No. 1 in several countries in Europe, including the U.K., as well as places like Australia and Canada. Why do you think it’s resonating so much around the world?
Alex makes really universal music. It doesn’t matter where you are in the world, what age you are, how much money you have, what you believe in. Alex’s songs are personal and powerful, and all true stories ripped right out of his life that most can relate to. It’s also a huge testament to our U.S. and international teams working closely together to achieve global success. It’s incredible to see the global reach that Alex and his music are having.
How have you guys helped to continue to promote this song over the course of the year so far?
We try to amplify every step along the way. Incredible content, syncs, new versions, new performance opportunities. Each thing that came in has propelled it a little bit further. A first-ever Love is Blind live reunion performance that sent the already soaring song off like a rocket ship, as well as making his late-night TV debut on The Tonight Show Starring Jimmy Fallon!
In this era where it can be harder than ever to break an act, what is your approach to A&R?
Alex really changed my perspective in that regard. His work ethic makes all the difference. Now, all I care about are artists or projects that want to approach this industry in a different way. As long as the artists I’m working with are equally or more passionate than me, I know they won’t quit on that dream.
This week, Billboard is publishing a series of lists and articles celebrating the music of 20 years ago. Our 2005 Week continues here with a conversation with Amerie about her 2005, which included the release of her biggest and most-beloved hit to date: the pop&B classic “One Thing.”
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When Amerie recorded her Billboard Hot 100 top 10 hit “1 Thing” in New York City, she was a twenty-something singer/songwriter fully immersed in her craft, using a bag of Guacamole Doritos to keep her motivated. Racing to finish the go-go-tinged track, she and producer Rich Harrison paced through the arduous 12-hour session, as the singer occasionally treated herself to one or two chips after completing a section of the song.
“I was growing and vocally coming into myself, and that was playing off what [Harrison] was creating,” she recalls of the song’s creation. “He was able to create based on what I was bringing. I was like his muse. For me, we’re like musical soulmates. We just fit. When it came to anyone really doing anything, there was going to be an element of me and Rich in that, because we created something special together. It’s hard to get away from it.”
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For Amerie, it’s hard to get away from music. After a 16-year hiatus since her last studio album, In Love & War, the singer-songwriter will mark her triumphant return to music with her upcoming self-titled album — while also releasing a new novel, This Is Not a Ghost Story.
“Overall, it’s easier for me to take constructive criticism as a writer of fiction versus songwriting in music,” says Amerie, whose new book drops June 10. “When I try to create songs, I do the least amount of thinking. With writing, it’s very cerebral. Doing so much writing and rewriting helped me get my ideas across much clearer and faster in my songwriting.”
Below, Billboard speaks to Amerie about the 20th anniversary of “1 Thing,” why the label was initially against the record, if Jennifer Lopez almost had the song before her and more.
I heard Doritos played a huge role during the recording process of “One Thing.” Is that true?
I remember I needed a [metaphorical] carrot. I was almost like a puppy. I needed a treat, and I gotta space them out. It’s like when you study; if you read two pages, you get two cheese balls. So for me, it became a game and kind of way to keep me going in the studio. It was like, “If you get this verse right, you get a chip.” [Laughs.]
So when I recorded “One Thing,” I was eating the Guacamole Doritos. I don’t even know if they make ’em anymore, but it was like, “You get a chip after finishing a take.” It was like I’d get two chips and then I’d have a tea — it was green tea. That kind of kept me going through the session, because you gotta belt that song out. Like the whole song. That kept me going those 12 hours [of recording].
Your producer Rich sampled The Meters’ “Oh Calcutta” for the song and it had such a go-go flare to it. Was it easy for you to adapt to that kind of production?
And he did that. The original sample, you can feel the vibe there, but the way he flipped it is what really made it feel go-go. It was pretty easy, because I was used to Rich at that point. So all of that was different from some of the stuff that we did before. There’s a certain kind of common thread that he has in his percussion and his production, but I will say when I first heard it, it was a little like, “OK.” It was that moment when I was like, “All right. I’m gonna sing over this. ‘Kay.”
But Rich and I have such a trust sonically. We always fit together like two puzzle pieces. There’s so much trust there that he didn’t really have to convince me to be like, “We should try this, or try that.” That’s kind of why we gelled so much when we started working together. When we met for the first time, I played him so stuff that he written and he played me some stuff that he was working on. I kind of knew there was something there and then when we actually went in for our first session, we just clicked really quickly. Nothing has ever been a reach for us.
The label said the record felt “very linear” when they first heard the record. What were your initial thoughts to their feedback?
I remember they sent some different suggestions of the hook that I thought to not really be right at all. Not terrible on their own… but trying to make that hook a part of the song was a bad idea. I was like, “Don’t you hear that sounds not good?” But they were just thinking, “What is a big hook?” Thinking, instead of feeling it. But their reasons were good. They were trying to make the biggest record possible.
It’s like a careful dance everyone has to do on their sides. At the end of the day, you just have to remember, everyone is not going to get it every time.
Did you have an “A-ha” moment when you guys leaked the record and the feedback from the fans came back positively? How did the label take it?
Well, I think they were playing catch-up. I didn’t have an “a-ha” moment, because everything was moving too fast. For me, it was, “How do we catch up?” The label was on board and I’m glad it worked out. It was too quick for me, but I did learn an important lesson, though.
One song that was gonna be a single was “Talkin About,” which was so dope. The reason why it didn’t was because I was traveling a lot. Again, things were happening so quickly and they were ready for the video, but I just didn’t like the video treatments I was getting. They weren’t the worst, but they weren’t exactly right. I took too long to decide, because I was overseas, and all this stuff was happening. Because I took so long, it gave them too much time to be like, “You know what? We can just work on another album. Let’s put the money towards another album.” I was like, “Wait, no!” But they’ve already made that decision.
So then I learned an important lesson — you gotta be nimble and move fast. When things happen quickly, switch. And don’t be a perfectionist — ‘coz I am a perfectionist, and being a perfectionist sometimes will freeze you.
Were you a fan of the movie Hitch, and how much the song was incorporated into the film?
Carl, what if I hated the movie? [Laughs.]
And that’s OK! 20 years later, you might have different thoughts.
No, I thought the movie was really cute. I really did like it. I enjoyed it. There’s so many people around the world that know the song because of the movie, which surprises me every time. It shows you the power of multimedia. You have the music itself, but just from the film, I’m so surprised how many people know it from that ’cause they would be like, “Hitch! Hitch. ‘1 Thing.’ Hitch.” So they’re attached together. I’m glad it was attached to something that was a feel-good movie. It made sense.
You handpicked Eve for the remix. What went into that decision considering the standard formula back then was grabbing a male hip-hop star to balance out the song with a female R&B artist?
Looking at it now, there’s so many female rappers, and so many of them made such inroads in the game that you can forget that it was pretty difficult [back then]. You can count on one hand how many were really prominent. It didn’t feel like it was groundbreaking at the time. She was just dope, and had good energy. I knew she would bring a lot to the record.
I heard Jennifer Lopez first wanted the record. Was that true?
I don’t know that for a fact, because I didn’t know if it was her who wanted the record or people working with her that wanted the record for her. So I don’t know that.
I thought it was funny, because then Rich produced J-Lo’s “Get Right” shortly after.
Rich and I really did create a sound. Like, he was already doing music, of course and I think he actually played a song with Mary [J. Blige] on [The Breakthrough]. He had a really beautiful song with her that had this hypnotic vibe to it. In any case, he already has his place in it. I was trying to get in the business for a minute and I’d been writing and just trying to figure it out, but when we came together, we really did create something new.
“Touch” was the next single after “1 Thing.” Looking back, would you have done things differently and gone along with another single on the album?
Looking back, I think the next single should have been “Talkin’ About.” The third single was gonna be “Talkin’ About.” It’s not that we should have never gone to “Touch” ever, but I think it should have been “1 Thing” [first] And instead of “Talkin’ About” being a third [single], we should have went ahead and secured it as the second. Then, after that, “Rolling Down My Face” should have been three.
I always thought “Like It Used to Be” was the sequel to “Why Don’t We Fall in Love,” and that it could have worked too.
That’s interesting. I think if there’s any songs that are really essentially puzzle pieces to moments in a relationship, really, they can all fit in all different kinds of ways. “Like It Used To Be” could have been a single. It could actually work now.
Fast forward, you’ve returned to the music space with your new single “Mine” produced by Troy Taylor. It was one of the few records you’ve teased on IG Live. Why was this the first one to come out?
“Mine” we teased when we did a three-song sampler and just played everyone a verse and a hook of three different songs. We listened to how they were feeling about it and we knew how people felt about “Undeniable” as well as one of the up-tempos we played for people too. Those are still coming, they’re still on the album. For the first song, I wanted to give them something that they haven’t heard the whole thing of and come back to “Undeniable” because the song is dope and I want them to hear it for real on streaming and with great amazing quality. I also just wanted them to have something different.
This week in dance music: Interscope Records announced a forthcoming Avicii compilation album that will feature a new song with vocals from Elle King, and PinkPantheress, 2hollis and Skrillex made moves on the dance charts.
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And to round it out, these are the best new dance tracks of the week.
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Barry Can’t Swim & O’Flynn, “Kimpton”
Ahead of performances at Terminal V festival and Brooklyn Steel this weekend, producer of the moment Barry Can’t Swim has dropped the gorgeous “Kimpton” with London producer O’Flynn.Emotive, enchanting and exotic, the track weaves kalimba and chanting vocals with soft, brooding piano and string parts — and even a subtle harp. Of course, as dance artists, Barry (his real name is actually Joshua) and O’Flynn tie these delicate elements together with a hefty kick drum. It’s easy to imagine “Kimpton” mesmerizing Barry’s crowds this weekend; taking listeners into those oh-so-memorable moments of elation before bringing back the beat and locking them into the groove. The track comes ahead of Barry Can’t Swim’s sophomore album, Loner, coming July 11 via Ninja Tune.
Dom Dolla & Kid Cudi, “Forever”
Kid Cudi earned his EDM stripes almost two decades ago with David Guetta’s legendary “Memories” and Steve Aoki’s party-fueled remix of “Pursuit Of Happiness.” Now, he joins Dom Dolla on “Forever,” a melodic progressive house track that evokes those EDM vibes of old, along with the good vibes approach we’ve come to expect from Dolla. As the Aussie DJ/producer puts it, the pair “went to the studio to write something that takes you to a happier time and place. It’s something a little different from both of us.” Dolla debuted the track at his sold-out March doubleheader show at Madison Square Garden, bringing Kid Cudi on-stage to belt it out live. You can watch the moment in the music video for “Forever”, if you haven’t seen it online already — clips shared previously by Dolla racked up over 20 million views.
Dove & Kehina, “Chroma 009”
Belfast’s underground heroes, Bicep, are back with a mellow, hazy breaks track under their Dove alias, released on the duo’s Chroma label. Joined by vocalist Kehina, the track is laden with rich synth pads, meticulous beats and a glistening synth arp that floats in and out of the track; much like Kehina’s vocals. This track probably won’t be the most floor-filling moment at one of Bicep’s coveted Chroma shows, but instead is prime material for the more pensive moments at the party. Expect to see this accompanied with stunning visuals at upcoming Bicep shows.
Speaking on the track, Kehine says: “It’s a dizzying, trance-like track that weirdly reminds me of a lot of the music my mum used to play when I was a kid, particularly North African Gnawa music. That same hypnotic rhythm, that trance you fall into while dancing” Kehina comments on the new single. “I recorded and wrote this a month or two after vocal surgery. It really helped pull me out of my head and reminded me why I love making music in the first place. It helped me imagine a future in something I’d had to step back from for a while.”
HiTech feat. George Riley, “Take Yo Panties Off”
You might be looking for the “Skip Ad” button when watching the music video for HiTech’s “Take Yo Panties Off ft. George Riley.” But fret not, this is just the intro, which is just as fun and wacky as the rest of the track. The fast-tempo track hits you hard with a collage of bizarre sounds that’ll make you think, “Wait, was that the sound of a player taking fall damage in Minecraft?” (Yes. Yes it was.)
But beyond the fun and freaky sounds in the track, there’s a serious amount of groove in “Take Yo Panties Off” that’ll make you truly want to… Actually, better keep ‘em on. From George Riley’s infectious cadence throughout the track, the rapid walking bassline, smooth synth stabs and, of course, the repeating “Real freak bitches, tho” vocal part, there’s a whole lot to get down to. HiTech, the Detorit trio comprising King Milo, Milf Melly and 47Chops, have released the song via Loma Vista Recordings amidst their HoneyPaqq tour. They’re previewing tracks from the HoneyPaqq VOL. 1 mixtape, so you can expect a whole lot more booty-shakin’ material at their shows.
Surf Mesa, “Holding On”
Los Angeles-based producer Surf Mesa had a lightning in a bottle moment in 2020 when his breakout hit “ily (i love you baby)” had a lengthy run at the top of Hot Dance/Electronic Songs. He’s steadily released singles and EPs in the five years since, the latest of which is “Holding On” with Danish American producer John Alto. The moody track falls square in the lane Bob Moses has long carved out, giving (in the best way) Chris Isaak goes tech house vibes. The track is out on the recently launched Breakaway Projects, the new label and management venture from the company behind Breakaway Music Festival.
“I’m really excited to be working with Breakaway for a few records this year and even more excited to begin that partnership with ‘Holding On,’ a favorite of mine with my good friend John Alto,” says the artist born Powell Aguirre. “This record has been super close to my heart from the moment we started the demo and is the third or fourth idea John and I made one day in the studio. We knew immediately we had to get it out asap.”
Aaron Hibell & Dan Heath, “Odyssey“
Next week, lauded livestream producer Cercle launches its much-hyped touring show, Odyssey, in Mexico City, with the events brand and label releasing the official soundtrack to the shows ahead of the premiere. Created by rising producer Aaron Hibell and Golden Globe nominated composer and producer Dan Heath, “Odyssey” is a sweeping, cinematic scene-setter in the grand tradition of Hans Zimmer, with its swells of violin and drums adding to the already significant anticipation for this show. Odyssey which will have ten nights in Mexico City (with headliners including The Blaze, Beh Böhmer, Jungle and Mura Masa) before heading to Los Angeles then on to Paris. “Odyssey” is out on Cercle Records.
The Weeknd gave fans another sneak peek at his upcoming Hurry Up Tomorrow movie through the lens of his “Drive” music video, which arrived on Friday (April 18). Directed by Trey Edward Shults, who also helms the movie portion, the heart-racing clip will give viewers goosebumps as they go from a state of euphoria to […]
