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Justin Bieber is calling out the “darkness” in Los Angeles, particularly what he experiences from paparazzi.
On Instagram Friday (April 25), the pop star shared a video showing his point of view while stepping outside to blinding camera flashes, with several photographers following him every step of the way to his car and frequently blocking his path. “Look at these guys, man,” Bieber’s voice says disapprovingly from behind his camera, while his security guard repeatedly tells the paps to back up.
“This has to stop,” the musician captioned the clip.
In other posts, Bieber shared his thoughts on the culture as a whole in his home city. “Everyone telling me to move from La,” he wrote in a block of text on his feed. “U think I’m gonna get bullied to leave where my influence is most needed? How can we make a change if we run away from the darkness?”
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Admitting that he too has “been caught up in the transactional nature of Hollywood” in the past, Bieber went on to say that he now wants “nothing to do with that as a grown adult with a wife and son.” The “Peaches” artist, who married model Hailey Bieber in 2018, welcomed first child Jack Blues in August.
“I just want to be submerged in the culture learning from any and everyone,” he added. “And be a proponent and advocate for LOVE AND EQUALITY.”
Also sharing a photo of a stately lion, Bieber wrote, “IM CURRENTLY ASKING [GOD] TO HELP ME WITH PATIENCE BECAUSE It CAN BE REALLY HARD TO NOT RIP THESE F–KIN GUYS HEADS OFF.”
“Today I’m forgiving myself for my own selfishness, AND forgiving THOSE WHO SEEK TO USE AND ABUSE ME SIMPLY BECAUSE THEY WANT TO CAPITaLIze off of me, Or Their jealousy makes them want to make me feel small like how they feel,” he continued. “People have had to die cuz of this s–t princess Diana is the first that comes to mind smh. We gotta do better please can we make a change?”
Bieber has long clashed with the paparazzi. Enduring consistent hounding since he first debuted in 2009 at just 15 years old, the “Baby” artist has spoken out against the invasive practice on multiple occasions, with Friday’s post echoing something he said after his Ferrari was rear-ended by a persistent photographer in 2014. “There should be laws against what I just experienced,” he posted on X at the time. “We should have learned from the death of Princess Diana…”
His latest posts follow a string of candid musings Bieber has been sharing on Instagram lately, with the star writing the day prior that he’s working to forgive people who “gossip and spread lies” on the internet. “Honestly if I was u it would be hard not to be jealous if I saw me and Hailey going so brazzzzyy,” he also added Thursday (April 24).
See Bieber’s new posts below.
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Source: Gareth Cattermole / Getty /Ryan Coogler / Sinners
Ryan Coogler is highly thankful to all the support and love his phenomenal vampire flick, Sinners, starring Michael B. Jordan, is receiving, so he took the time to thank them personally.
Despite becoming one of Hollywood’s most successful filmmakers, Ryan Coogler remains humble and recognizes that it is the viewing audience that has helped him achieve his success.
Keeping the same energy after fans flocked to theaters to see Black Panther: Wakanda Forever, Coogler penned an open letter thanking moviegoers for running, not walking, to see the film, leading to it taking a massive bite out of the box office and dethroning A Minecraft Movie in the process.
Fans also contributed to the film becoming one of the highest-grossing horror films of all time.
Coogler Expresses Eternal Gratitude To Fans
In the typewritten letter shared on the Sinners, Proximity Media, and Warner Bros. Instagram accounts, he wrote:
“Eternal Gratitude. I want to thank each and every one of you who bought a ticket to see SINNERS. Who decided to drive to see the film in different formats,” he begins. “Who bought popcorn and a drink, booked a sitter and carpooled, and stood in the lobby afterward and talked and made a friend. Who changed their work schedules. Who saw the film in groups.”
He further thanked viewers for the success of Sinners, as the project was deeply personal to him, drawing inspiration from his late uncle and his passion for blues music, one of the film’s many themes, alongside the vampiric element.
Coogler continued, “I had the gift of the opportunity to make a film inspired by my family and ancestry, but it was always a film that we wanted to make for audiences.” We always had our minds on you, the audience, and felt a deep responsibility to entertain you, and move you in the way only cinema can.”
Ryan Coogler Vows To Keep Making Cinematic Heat To Repay Fans For Their Support
The Black Panther director also noted he would repay fans by continuing to put out cinematic heat while showing love to his “cinematic influences,” Spike Lee, John Singleton, Steve McQueen, Ava DuVernay, Barry Jenkins, Quentin Tarantino, Jordan Peele, Francis Coppola,, Steven Spielberg, the Safdie brothers, Stephen King, Martin Scorcese, Brian De Palma, George Lucas, and Ta-Nehisi Coates.
Of course, he also had to thank his longtime collaborator, Michael B. Jordan, for their 13-year partnership, his wife, Zinzi, and his picture editor, Michael Shawver.
Sinners is still in theaters and on track to gross $100 million, despite publications like Variety attempting to downplay the film’s success.
Social media continues to praise the movie as well. You can see those reactions in the gallery below.
HipHopWired Featured Video
CLOSE
Source: Gareth Cattermole / Getty /Ryan Coogler / Sinners
Ryan Coogler is highly thankful to all the support and love his phenomenal vampire flick, Sinners, starring Michael B. Jordan, is receiving, so he took the time to thank them personally.
Despite becoming one of Hollywood’s most successful filmmakers, Ryan Coogler remains humble and recognizes that it is the viewing audience that has helped him achieve his success.
Keeping the same energy after fans flocked to theaters to see Black Panther: Wakanda Forever, Coogler penned an open letter thanking moviegoers for running, not walking, to see the film, leading to it taking a massive bite out of the box office and dethroning A Minecraft Movie in the process.
Fans also contributed to the film becoming one of the highest-grossing horror films of all time.
Coogler Expresses Eternal Gratitude To Fans
In the typewritten letter shared on the Sinners, Proximity Media, and Warner Bros. Instagram accounts, he wrote:
“Eternal Gratitude. I want to thank each and every one of you who bought a ticket to see SINNERS. Who decided to drive to see the film in different formats,” he begins. “Who bought popcorn and a drink, booked a sitter and carpooled, and stood in the lobby afterward and talked and made a friend. Who changed their work schedules. Who saw the film in groups.”
He further thanked viewers for the success of Sinners, as the project was deeply personal to him, drawing inspiration from his late uncle and his passion for blues music, one of the film’s many themes, alongside the vampiric element.
Coogler continued, “I had the gift of the opportunity to make a film inspired by my family and ancestry, but it was always a film that we wanted to make for audiences.” We always had our minds on you, the audience, and felt a deep responsibility to entertain you, and move you in the way only cinema can.”
Ryan Coogler Vows To Keep Making Cinematic Heat To Repay Fans For Their Support
The Black Panther director also noted he would repay fans by continuing to put out cinematic heat while showing love to his “cinematic influences,” Spike Lee, John Singleton, Steve McQueen, Ava DuVernay, Barry Jenkins, Quentin Tarantino, Jordan Peele, Francis Coppola,, Steven Spielberg, the Safdie brothers, Stephen King, Martin Scorcese, Brian De Palma, George Lucas, and Ta-Nehisi Coates.
Of course, he also had to thank his longtime collaborator, Michael B. Jordan, for their 13-year partnership, his wife, Zinzi, and his picture editor, Michael Shawver.
Sinners is still in theaters and on track to gross $100 million, despite publications like Variety attempting to downplay the film’s success.
Social media continues to praise the movie as well. You can see those reactions in the gallery below.
The European Commission said on Friday it will investigate Universal Music Group’s planned acquisition of Downtown Music Holdings, according to a statement.
The investigation will determine whether “the transaction threatens to significantly affect competition in certain markets of the music value chain, where both companies are active, in Austria and in the Netherlands,” which requested the probe, according to an announcement by the EC. UMG is legally registered in the Netherlands and its stock trades on the Euronext Amsterdam.
A UMG spokesperson said a statement that the company looks “forward to continuing to co-operate with the European Commission in the weeks ahead. We are confident that we will close this acquisition in the second half of the year, on its original timeline.”
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UMG, the world’s largest music company, announced plans late last year to acquire Downtown for $775 million. The deal would significantly expand UMG’s presence in the market catering to do-it-yourself artists, songwriters and indie labels.
New York-based Downtown is the owner of the direct-to-creator distributor CD Baby, and the direct-to-business technology and distribution platform FUGA, the administration business SongTrust, and royalty and financial services companies, including Curve.
The fast-growing sector of the music business serving artists and companies that want to maintain greater control of their works has seen a flurry of investment and acquisitions in recent years.
In addition to its bid for Downtown, UMG acquired a controlling stake in the indie label group [PIAS], an expansion of its 2022 investment in the London-based business.
IMPALA, the European association of independent music companies, which has been critical of UMG’s prior acquisitions, said it welcomed the EC’s investigation and hopes regulators will stop “UMG’s juggernaut strategy.”
“The acquisition would further entrench UMG’s position across European music markets, squeezing out competition, narrowing opportunities for independents and the artists they work with and allowing UMG to exercise more control over streaming services,” IMPALA said in a statement.
In a research note published this week, analysts at J.P. Morgan agreed the deal would increase UMG and Virgin Music’s reach, and said it would enhance UMG’s “support of independent music entrepreneurs … [and] double Downtown’s [earnings before interest, taxes, depreciation, and amortization] over 2-3 years.”
UMG’s deal must receive regulatory approval to proceed, and the European Commission said it has asked UMG to officially report the deal.
Shaboozey is celebrating his success with Friday’s release of Where I’ve Been, Isn’t Where I’m Going: The Complete Edition, an expanded version of his breakthrough March 2024 third LP Where I’ve Been, Isn’t Where Going. Explore See latest videos, charts and news See latest videos, charts and news Among the bonuses accompanying the revamped album […]
Most of Gen Z met Destin Conrad, 24, over a decade ago on Vine, where he shared hilarious clips that frequently intersected with music. In one classic clip, for instance, he freestyled “To the- to the- to, to the left!” over a lunch table beat.
Music has remained at the center of the Tampa native’s creative output in the years since, with his debut EP, Colorway, arriving in 2021. The year prior, he wrote several songs on Kehlani’s It Was Good Until It Wasn’t, setting the foundation for his slow-burning ascent in the R&B world. His ethereal mélange of hazy acoustic guitars, explicitly Black and queer lyrics and soulful, heartfelt vocal performance quickly spun early hits out of cuts like “In the Air,” which he recently performed as a surprise guest at the first Brooklyn show of FLO’s Access All Areas Tour.
Across a slew of post-Colorway EPs – including Satin (2022), Submissive (2023) and Submissive 2 (2024) – Conrad continued honing his sound, slowly crafting a singular lane in the contemporary R&B space through his incorporation of left-of-center subjects like the worlds of leather and BDSM. Those projects landed him supporting gigs on tours by alt-R&B stars Kehlani and Syd, as well as his own 2024 headlining tour.
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Over eight years since Vine disappeared, Destin has finally unleashed his debut studio album, Love on Digitial. Released on Friday (April 25) via Above Ground Entertainment and EMPIRE, Love on Digital trades on the futuristic percussion of turn-of-the-century R&B and disarmingly frank lyrics that explore the intricacies of navigating Black queer love in the digital age. Assisted by Lil Nas X, Kehlani, Cari, Teezo Touchdown and serpentwithfeet, Love on Digital is a stellar full-length project – and one that feels extra sweet for fans who have patiently waited for Conrad songs longer than two minutes. The new set is the culmination of all the things Conrad has learned in the years leading up to his formal debut.
“I’m still learning so many important things, but one of the main ones is that whatever I see for myself can be real,” he tells Billboard over a saucy Cava bowl. “There’s also a lot of different jobs and moving parts — making the music is literally just one part. Being onstage is another job, and then I gotta market myself too, there’s so many factors. Learning what I like most and what feels most natural to me has been fun.”
In a candid conversation with Billboard, Destin Conrad talks Love on Digital, performing with FLO, Black queer representation in R&B and defeating imposter syndrome.
How do you feel now that your debut album is finally out in the world?
Happy for it to be out. I’m also excited to move on. I’ve been trying to not make [the pressures of a debut album] real because it’s only real if you make it real. I’ve been reminding myself that I will keep making music after this; this isn’t the end-all be-all, even though it’s my debut. I’m going to grow and make better music.
Do you view Love on Digital as an introduction, a re-introduction or neither?
An introduction. I feel like people haven’t gotten to hear a full-length from me, and that’s been a common theme with my last couple projects. Everybody’s like, “All these songs are so short!” And I’m like, “Okay, well, I’m going to give y’all a bridge and you’re gonna know what a full song sounds like from me.” It also feels like I’m actually putting thought and intention behind a lot of things that we didn’t really do in the other projects for whatever reason. It feels like an album.
When did you officially begin and finish working on the album?
I recorded the first song [“Kissing in Public”] almost two years ago. I’ve had that one for the longest time; I made it in Tulum. I made a lot of the other songs in many different places: London, L.A., New York. I knew that I didn’t want to put “Kissing in Public” on Submissive, but I didn’t know it was going on my album. It didn’t fit [on Submissive], but it’s stood the test of time.
How would you characterize the sound of your debut? Would you say it builds on or moves away from sounds you’ve explored on your EPs?
I describe the sound as digital. It’s R&B through a different lens than what we view it in. Loud. Queer.
How and when did you land on the title?
I don’t know! And that’s the crazy part — I don’t remember [specifically] thinking about it. I called it Love on Digital because it’s a nod to the digital era of R&B. I feel like R&B used to be very instrument-heavy and then there was a shift where we got new software, and it became a different sound and style. Over time, [the title] gained a new definition and reason. It’s also me thinking about love from a long-distance standpoint and using the Internet to stay connected to people. Over the past year or two, the title has been in my ether.
What frustrates you most about navigating love in the digital age?
I hate being on the phone for hours talking on FaceTime. I really envy the people that can just sit and talk to their boo. That’s how I know I really like you – if I’m sitting on FaceTime with you. And even then, I don’t like it! I really enjoy being present and I love doing things with my time physically. One of my love languages is definitely physical touch. I need whoever my partner is to be there. I’m not equipped enough to do long-distance.
Have your feelings of imposter syndrome subsided now that you’ve made it to your debut album?
1000%. I still experience imposter syndrome, but not to that magnitude. Going on tour watered a lot of that down for me, seeing real people and real faces. [Those feelings] were there because I dropped Colorway during the pandemic, so I didn’t really get to do a full, traditional rollout.
After that, I toured Submissive, and I opened for Syd — that was my first time singing my songs anywhere. And then I opened for Kehlani, which was also really tight. But it’s a different feeling doing my own headlining shows. My fans have helped me navigate my imposter syndrome.
You were giving Main Pop Boy energy in the “Kissing in Public” video, hitting choreography and all. What was that video shoot like? Do you want to dance more in the future?
I definitely want to dance more! It was so fun shooting that video. [It was directed by] Zev York, who I’ve shot a couple of videos with, and my friend Kassidy Bright choreographed it, and she’s a joy to work with. I’m excited to keep pushing that and seeing what it looks like when we add movement to the visuals.
“Mr. E” is so witty. What was your songwriting process like for this album?
I wrote all of Colorway, and then I slowly started working with more writers. With [2022’s] Satin, it was me, my best friend Ambré, Jean Deaux, and one of my friends Astyn [Turr]. We went to Joshua Tree and made a good chunk of Satin in a week.
I’ve been working with a lot of different writers that are established in their field; I feel like that’s what’s different with this album. I worked with Starrah on “P.B.S.,” which was really different for me. Mack Keane also was a huge collaborator for this album. I wanted to challenge myself and push it in a different direction.
When you bring new cooks into the kitchen, how do you still keep the essence of Destin at the center?
I’m just not going to lie on the song. If it’s not something I genuinely resonate with, I’m not going to sing it.
Conceptually, you pull from a lot of really cool places, from leather and BDSM to the evolution of technology. Where do you get the confidence to create R&B through these lenses?
Fear is definitely still a thought; it’s not a non-factor to me. I definitely think about things all the time. I kind of just throw myself into s—t and see what sticks. I’m also very gay and that’s a factor. I feel like there’s not a lot of people like me in the R&B space, so I want to poke at people a little bit and not be mute or minimize myself – and do it in a way that’s still tasteful and authentic to me.
You and Lil Nas X reunited again on “P.B.S.” What does it mean to you to be able to connect with another young, black gay music star and have the work penetrate the mainstream?
I think what he’s doing is so bold that I wanted to bring it into my world a little bit. And he’s actually my friend! That was something I was very adamant about: working with people I’m actually cool with in real life and not just getting people on my album because they’re popping. I was like, “Who genuinely inspires me?” And [Lil Nas X] was definitely on that list. I sent him “P.B.S.” and he was like, “I’m going to do a verse tomorrow and send it.”
Who were some artists you felt a connection to growing up?
Brandy is at the top of my list when it comes to any form of inspiration in music. My mom loved Luther Vandross, and I grew up listening to a lot of him. Michael Jackson’s fearlessness. Stevie Wonder’s approach. I’m a melting pot of inspiration.
“Soft Side” is so intimate and Black. Talk to me about linking with serpentwithfeet for that one.
Serpent is also a huge inspiration. He’s somebody I’ve wanted to work with since I first heard his music. He’s a Cancer like me, and he’s so well-spoken and articulate. He asked me what my perspective was from my verse, and I feel like a lot of artists don’t really ask me what I was thinking when I made the song. “Soft Side” is definitely one of my favorites.
You popped out for FLO’s first Brooklyn show on their ‘Access All Areas’ tour earlier this week. How was that?
I love FLO! I’ve been a fan of them since they popped out. It’s so amazing to see them blossom and become such amazing performers. The last time I saw them was in D.C., I had a college show and they had a show the same night. I went to go pull up on them and it was a really small, intimate show. Going to see them play last night in front of thousands of people was so inspiring. They’re definitely at the forefront of the argument against R&B being dead, and I love that.
What does it feel like as a rising R&B artist to constantly hear people say that the genre is dead?
I never hear anybody say rap is dead! I just feel like people aren’t digging. They want it to come to them. Sometimes I just go on my Apple Music, and I literally just search for music. I feel like people don’t want to do that anymore. I feel like people just want it to be handed to them on a silver platter. I’m not going to lie, I like some artists, but I don’t love every song by them. I find what I do like and keep it pushing, it’s all subjective. But for you to say the whole genre is dead, that’s a stretch.
Can we expect a Love on Digital tour anytime soon?
Very soon! We’re actually working on it right now.
Veteran record label executive Gina Tucci has launched a new independent dance label, 146 Records. Today’s launch happens in conjunction with the label’s first release, “Sunrise,” by rising Swedish producer Discrete.
146 Records is based in New York City and currently has a team of four. Distribution is being handled by Virgin Music Group, where, Tucci says, “we benefit from their extensive industry expertise, global reach and robust distribution capabilities to effectively launch and scale our artists’ music.”
“For years, I’ve envisioned an electronic dance music label that nurtures artists with a song-first approach, prioritizing the music above all else,” she continues. “At 146, we provide artists the necessary time, resources and attention to produce their best work. My goal is to discover and develop the next generation of dance music talent, crafting the kind of hits that become classics, hits that resonate decades from now. I want 146 to feel like a creative home — a place artists can experiment, collaborate closely with me and our team, and leverage cutting-edge technology. The goal is to build enduring music catalogs that sustain lifelong careers.”
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Prior to founding 146, Tucci was the longtime head of Atlantic Records’ dance imprint Big Beat Records, the label founded by Atlantic Records CEO Craig Kallman in 1986. Here, Tucci helped lead the label’s 2010 relaunch and over the next 14 years broke acts including Skrillex, Clean Bandit, Icona Pop and Joel Corry, bringing dance music to new levels of visibility in tandem with the genre’s early 2010’s explosion in America. In the role she also led A&R creative for Galantis, Martin Solveig, Cash Cash, The Knocks, 100 gecs, Tiësto and more. Tucci has appeared on myriad Billboard Dance Power lists through the years.
“I bring to 146 the rigorous standards and global perspective I developed running Big Beat at Atlantic Records under Craig Kallman for over a decade,” Tucci says. “At Big Beat, I learned firsthand the intricacies of successfully launching and breaking dance records globally, recognizing that each rollout requires a uniquely tailored strategy. Dance music has always thrived on global connectivity, and I’m adept at leveraging data-driven insights to map out precise, effective release strategies that connect deeply with audiences worldwide.”
Today’s release from Discrete begins a weekly release schedule where, says Tucci, “we’re diving headfirst into exploring the new sound designs and grooves, but the art of great melodies will always remain paramount.” Discrete’s upcoming tour dates include May shows at Elsewhere in New York City and EDC Las Vegas.
“A lot of today’s tracks flash moments of brilliance but don’t fully ignite,” Tucci continues. “At 146, we’re closing that gap. We’re committed to sweating every detail, inspiring our artists to leave no creative stone unturned. It’s about elevating dance music from disposable moments into timeless anthems.”
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Fans from all around the world can tune in to Phish’s three-night concert series as part of the rock band’s spring tour, slated for Friday (April 25), Saturday (April 26) and Sunday (April 27).
The concert series livestreams from Hollywood Bowl in Los Angeles at 10 p.m. ET/7 p.m. PT during each evening on Live Phish. Read on for details on how to stream on Live Phish.
How to Watch Phish: Live From the Hollywood Bowl
Live Phish subscribers can livestream Phish Live from the Hollywood Bowl for $14.99 (regularly $29.99) per concert. If you’re not subscribed, you can sign up starting $9.99 per month. However, if you only want to livestream the concert, it’s priced at $29.99 per evening. Alternatively, you can watch all three concerts starting at $77.99 ($25.99 each) for non-subscribers.
Powered by Nugs.net, Live Phish features livestream concerts, a catalog of past shows going all the way back to 2002, exclusive archive footage and bonus interviews, music streaming, discounts and other benefits. Learn more about Live Phish here.
Live Phish
Phish: Live From the Hollywood Bowl
April 25, April 26 and April 27 at 10 p.m. ET/7 p.m. PT each evening.
Want to attend the Phish concert in person? There are still last-minute tickets available via Vivid Seats (get $20 off purchases of $200 and over with code BB30), StubHub and GameTime (score $20 off ticket orders of $150 and over with code SAVE20). Prices vary depending on the city and seats available.
Moreover, you can get $150 off when you spend $500 with promo code BILLBOARD150, or $300 off when you spend $1,000 with promo code BILLBOARD300 at TicketNetwork.com.
Meanwhile, those who want to watch internationally can access the streaming service with a VPN, such as ExpressVPN or NordVPN.
Taking place on Friday (April 25), Saturday (April 26) and Sunday (April 27), Phish: Live from the Hollywood Bowl livestreams from Los Angeles with a start time of 10 p.m. ET/7 p.m. PT each evening. You can watch the event live starting at $14.99 each on Live Phish.
Want more? For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Lorde shakes us awake, Megan Thee Stallion is ready “whenever” and Benson Boone shows off a different side. Check out all of this week’s picks below:
Lorde, “What Was That”
Lorde has made a habit of returning every four years with a bold new solo statement, and with “What Was That,” the pop auteur circles back into our orbit in her late twenties, chasing new highs in New York City and feeling a little more bruised by breakups; the subtle, slightly twitchy production and subject matter draw a line back to 2017’s Melodrama, but Lorde is evolving her feelings, sharpening the specificity of her lyrics and treating a much-anticipated new single like a too-honest piece of poetry.
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Megan Thee Stallion, “Whenever”
Megan Thee Stallion blacks out in the second verse of her new single “Whenever,” rattling off lines like “I love when I hear that a b—h don’t like me, stalk my IG / This pretty face on her FYP,” in a way that recalls her ferocious early mixtapes — it’s a moment that reminds us of Meg’s effortless drive when she wants to pick up the pace, and stirs up even more anticipation for her next project.
Benson Boone, “Mystical Magical”
Unless you’ve spent the past year under a rock, you know that Benson Boone possesses the type of soaring vocals that can startle listeners, and serve as the engine of a smash. Unlike “Beautiful Things,” however, new single “Mystical Magical” peppers that force into a more delicate arrangement, with Boone delivering the titular phrase in a blissed-out falsetto as the bass pops beneath him.
Young Thug feat. Future, “Money on Money”
After a few guest spots in recent months, Young Thug has unveiled his first proper single since leaving jail on a plea deal last year, and it’s a doozy: “Money on Money” is opulent Atlanta rap, with a killer beat switch, a reinvigorated Thugger calling out those who doubted him (and declaring that he’s “blowing money fast like a cheetah”), and Future supporting his frequent collaborator on the back end.
Coco Jones, Why Not More?
Coco Jones has already translated legions of Disney fans into R&B listeners, scored a crossover hit in “ICU” and taken home a Grammy, yet the release of her long-awaited debut album Why Not More? feels like a momentous occasion — as well as the proper full-length showcase that her voice deserves, as Jones spends the first half of the album sans guests and letting her sensual delivery commanding our attention.
Tucker Wetmore, What Not To
The reason why Pacific Northwest singer-songwriter Tucker Wetmore has broken through in Nashville involves his adeptness at emotional storytelling as well as party-ready singles; debut album What Not To boasts both across its 19-song track list, from the finger-snapping viral hit “Brunette” to the searing title track.
D4vd, Withered
Throughout his short career, D4vd has refused to trade in viral success for mainstream pandering, instead using the platform afforded by his early hits to keep exploring his sonic interests — and Withered, his first proper album, sounds like a young singer-songwriter comfortable in his own skin, drifting toward dreamy rhythmic pop that should be a natural springtime soundtrack.
Editor’s Pick: Samia, Bloodless
Bloodless is the sound of a talented artist achieving clarity: Samia Finnerty has released intriguing albums before, but nothing comes close to the stylistic command and singular point of view she demonstrates on her third album, which oscillates between alt-folk and indie-pop to study gender norms in modern society and present Samia’s full self without compromise.