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Billboard’s First Stream 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, Pharrell Williams tosses out another major collaboration, Nicki Minaj and Maluma headline a World Cup anthem, and Saweetie toasts to the single life. Check out all of this week’s First Stream picks below:
Pharrell Williams & Travis Scott, “Down In Atlanta”
In addition to producing tracks for artists ranging from Rosalía to Kendrick Lamar to Omar Apollo this year, Pharrell Williams also dropped “Cash In Cash Out,” a masterclass from 21 Savage and Tyler, The Creator with one of the most icy-cold beats of the year. Like “Cash In Cash Out,” new single “Down In Atlanta” finds Williams ceding the floor to a fellow superstar — in this case, Travis Scott, who mixes zonked-out warbling with tales of luxury and fills each line with his larger-than-life persona — while the multi-hyphenate focuses on making each drum-and-synth interaction tingle the listener’s senses.
Nicki Minaj, Maluma & Myriam Fares, “Tukoh Taka”
It’s World Cup season, and to celebrate the 2022 kickoff in Qatar, Nicki Minaj, Maluma and Myriam Fares have joined forces for a frenetic single that is the “Official FIFA Fan Festival Anthem” and sung in English, Spanish and Arabic. “Tukoh Taka” moves swiftly and tries to score efficiently: around the jittery hook, Minaj raps about a girl’s night out (with some soccer references tossed in for good measure), Maluma croons about scoring a goal in the 90th minute of play, and the beat throbs with the intensity of the tournament that the song is designed to celebrate.
Saweetie, The Single Life EP
Saweetie is winding up for a major 2023, but before this year comes to a close, the ascendant MC demonstrates the combination of her current star power and artistic potential on the six-song project The Single Life. The California native sounds collected and charismatic on tracks like “Don’t Say Nothin’” and “Bo$$ Chick,” but it’s “Handle My Truth” — on which she opens up about staying single over throwback, G-funk-informed production — that reminds us of the lyrical depth that Saweetie is capable of achieving in addition to hits like “Best Friend” and “My Type.”
Disturbed, Divisive
Overlook Disturbed at your own risk: the long-running, multi-platinum hard rockers are still catering to genre fans as well as a large group of casual listeners who can’t get enough of their inventive pummel. Divisive, their eighth studio album, contains all the hallmarks of a Disturbed project — in addition to the head-banging material, there’s also an effective ballad, this time a team-up with Heart’s Ann Wilson titled “Don’t Tell Me” — and is also a blast to listen to, regardless of how down with the sickness you may be.
Brockhampton, The Family and TM
If new album The Family and surprise release TM represent the final works of the audacious hip-hop collective Brockhampton, who have been hinting at a going of separate ways for some time, then the group will have gone out with a creative bang: instead of getting lost in contemplation and wobbling toward new beginnings, Brockhampton uses both projects to get back to what made them captivating upon their breakthrough, from zany sing-alongs (the Nickelodeon homage “All That”) to R&B and dance riffs (“Man on the Moon,” which checks both boxes) to hardened bars about who they are and what they want to accomplish (the stirring coda “Brockhampton”). Safe to say that, no matter what happens next, Brockhampton’s music and character will endure.
Billboard’s First Stream 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, Rihanna has another stirring soundtrack single, Bruce Springsteen covers some hand-picked classics and Wizkid is as cool and collected as ever. Check out all of this week’s First Stream picks below:
Rihanna, “Born Again”
Rebirth as a metaphorical concept has been a lyrical trope in popular music for generations as artists shed their creative skins and begin new eras, but “Born Again” — Rihanna’s second single from the Black Panther: Wakanda Forever soundtrack, following the stark ballad “Lift Me Up” — takes that idea and turns it literal, swelling from a somber reflection of someone who’s passed into a thundering new beginning thanks to an extended choral outro. The end of “Born Again” is purposely unrecognizable from its beginning, but Rihanna’s graceful approach serves as the connective tissue; she’s been gone for years, and we’re not taking her for granted now that she’s back.
Bruce Springsteen, Only The Strong Survive
Although cover songs have always been part of the Bruce Springsteen live oeuvre, Only The Strong Survive, a collection of the Boss’ interpretations of older and slightly obscure soul tracks, is his first studio covers collection since 2006’s We Shall Overcome: The Seeger Sessions, and following a prolific recording period that includes 2019’s Western Stars and 2020’s Letters To You. Because Springsteen can set his songwriting aside and focus on his voice with this project, Only The Strong Survive comes across as delightfully free-wheeling, with producer Ron Aniello helping construct snappy renditions of songs like “Nightshift,” “When She Was My Girl” and “Turn Back the Hands of Time.”
Wizkid, More Love, Less Ego
Wizkid’s fifth studio album arrives with expectations unlike anything the Nigerian superstar has experienced before — particularly in North America, where his Tems collaboration “Essence” became a slow-growing top 10 smash last year, and where Wizkid will headline New York’s Madison Square Garden next week. Yet More Love, Less Ego sounds utterly free of professional pressure: the Lagos native may be flaunting a bit more braggadocio on the mic and inviting some new guest stars into the fold (Don Toliver and Skepta are among those who stop by), but Wizkid’s confidence sounds effortless across the project, as if international superstardom was a natural next step.
Rauw Alejandro, Saturno
Rauw Alejandro may have found in urbano music before Saturno, but the Puerto Rican singer-songwriter’s new project accentuates every aspect of his aesthetic across 18 thrilling tracks: this is a euphoric yet personal dance project, full of bleary synth lines, rumbling percussion and the echoing voice of someone who knows how to command the moment. Alejandro has had plenty of memorable moments in popular Latin music prior to Saturno, but this is his most accomplished project to date, and a full-length that sounds essential to understanding the current moment in the genre.
GloRilla, Anyway, Life’s Great…
Anyway, Life’s Great… is the cherry on top of a whirlwind year for Memphis rapper GloRilla — following a breakout hit in “F.N.F (Let’s Go),” a label deal with CMG, and recently a top 10 Hot 100 hit with the Cardi B team-up “Tomorrow 2” — and as such, the nine-song EP basks in the MC’s enviable run while also laying the foundation for an even bigger future. Songs like “No More Love” and “Unh Unh” utilize GloRilla’s microphone tenacity in different ways, the former focused on post-fame betrayal and the latter on mid-stardom flexing, but throughout the project, she sounds ready for an even bigger stage in 2023.
Louis Tomlinson, Faith in the Future
A press release for Louis Tomlinson’s Faith in the Future touts his sophomore solo album as “a collection of songs designed for the live environment,” and indeed, the soaring pop-rock tracks on display here certainly keep the deafening crowds that packed One Direction’s stadium shows in mind. Yet Faith in the Future offers a hopeful vision of Tomlinson as an adult singer-songwriter, carving out a sound after a few years of experimentation — a song like “Silver Tongues,” driven by sprightly piano and shouted hooks, points toward a defined, agreeable aesthetic.
Billboard’s First Stream 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, Drake and 21 Savage expand their collaborative streak across a full-length, Selena Gomez gives us a peek inside her “Mind,” and Joji makes good on his artistic promise. Check out all of this week’s First Stream picks below:
Drake & 21 Savage, Her Loss
Drake and 21 Savage have always pushed each other: while 21 Savage’s menacing flow has challenged Drake to sharpen his bars on their past collaborations, Drake has brought 21’s dense delivery onto some pop-crossover stunners, like their recent No. 1 smash “Jimmy Cooks.” With that dynamic in mind, the joint effort Her Loss functions exactly how you’d expect, and hope — punch and counterpunch, Drake returning to hip-hop braggadocio following his dance sojourn with Honestly, Nevermind, 21 Savage less concerned with pop culture references than ripping beats in half. It’s a focused, slightly chilly, largely riveting effort that ends both artists’ big years on a high note.
Selena Gomez, “My Mind & Me”
“All of the crashin’ and burnin’ and breakin’, I know now / If somеbody sees me like this, then thеy won’t feel alone now,” Selena Gomez sings as an epiphany on her searing new single. With the release of her new documentary My Mind & Me, Selena Gomez has released an accompanying song that captures the issues of sharing yourself with the world (especially as an ultra-famous artist) in the social media age, as well as the conclusion, over stately piano notes, that every struggle has been worth it if it had helped someone else in the process.
Joji, Smithereens
“Glimpse of Us,” the quietly devastating Joji single that became one of the year’s biggest breakthrough hits, may have introduced the 88Rising singer-songwriter to a much wider audience, but anyone familiar with Joji’s dulcet tones and emotionally revealing lyricism could have predicted that he’d become a solo star. New album Smithereens allows Joji to capitalize on a major moment with more melancholy and contemplation, but more accomplished vocals and songwriting than featured on 2020’s Nectar — a song like “Die For You” continues to refine his craft, taking the high of “Glimpse of Us” and pushing further upward.
Various Artists, Black Panther: Wakanda Forever – Music From and Inspired By
Curated by Kendrick Lamar, the 2018 soundtrack to Black Panther was a blockbuster, with multiple crossover hits (“All The Stars,” “Pray For Me”) and a perfectly orchestrated intermingling of superstars and rising artists. The soundtrack to the upcoming sequel boasts similar firepower — its opening track is “Lift Me Up,” the first new Rihanna single in six years, after all — as well as an impressive cross-section of artists either adjacent to or dominating the Afrobeats world, from Burna Boy to Tems to Fireboy DML to CKay, creating another high-profile, powerful showcase of Black culture.
P!nk, “Never Gonna Not Dance Again”
P!nk’s last two albums, 2017’s Beautiful Trauma and 2019’s Hurts 2B Human, were led by singles (“What About Us” and “Walk Me Home,” respectively) that veered away from the pop star’s party-starting image — less “Raise Your Glass,” more raising the emotional stakes, as it were. So while “Never Gonna Not Dance Again” serves as a defiant ode against wasting time and self-seriousness, the song also gives P!nk another chance to operate at a faster tempo and groove over a nu-disco hook, setting up a welcome return to the dance floor.
Lindsay Lohan, “Jingle Bell Rock”
Interested in the Lohanaissance, playing Christmas music multiple weeks before Thanksgiving, and Mean Girls nostalgia? Lindsay Lohan has got you covered with her take on “Jingle Bell Rock,” from the resurgent singer-actress’ upcoming Netflix film Falling For Christmas, which leans into its good-spirited kitschiness and will be at home on any holiday streaming playlist (plus, everybody in the English-speaking WORLD knows this song!).
Billboard’s First Stream 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.
Explore
See latest videos, charts and news
See latest videos, charts and news
This week, Rihanna returns from a far-too-long absence, SZA tries out the full-length version of a long-teased fan favorite, Ice Spice goes under the sea and more. Check out all of this week’s First Stream picks below:
Rihanna, “Lift Me Up”
Rihanna’s much-anticipated return to music comes not with the kind of door-kicking, floor-filling lead single we once expected from her on a yearly basis, but rather with a lush, percussion-less ballad of domestic bliss. Co-written with producer Ludwig Göransson, Afrobeats sensation Tems and film director Ryan Coogler and featured on the soundtrack to the upcoming Black Panther: Wakanda Forever soundtrack, the stirring song showcases Rihanna’s still-improving vocals as she sings of the security she seeks in her partner and her life: “Lift me up/ Hold me down/ Keep me close/ Safe and sound.” A simple and touching love song, also written in part as a tribute to the late Black Panther star Chadwick Boseman.
SZA, “Shirt”
It’s not quite as long-awaited as Rihanna’s comeback, but SZA fans have been waiting for the full version of “Shirt” since she first teased it on TikTok in 2020, spawning a dance challenge in the process. Safe to say the full version of the song fits just right, with the singer-songwriter’s typically scattered and piercing vocals racing over a booming beat, leading to an already trademark chorus: “Blood stain on my shirt/ New b–ch on my nerves.” If the song sounds like something that could’ve played on BET’s Planet Groove in 1999, there’s a reason for that: Turn-of-the-century R&B architect Rodney “Darkchild” Jerkins co-produced and co-wrote the track, along with SZA and “Freaky” Rob Gueringer.
Jin, “The Astronaut”
Coldplay’s first blast off into the BTSverse went pretty well — the two groups’ “My Universe” collab debuted at No. 1 on the Billboard Hot 100, marking the former group’s first time topping the chart since 2008 — so it’s not surprise to hear Chris Martin & Co. called on again for co-writing duties on Jin’s solo single “The Astronaut.” The bilingual love song provides the kind of sparkling pop-rock maximalism we’ve come to expect from the two groups, with Jin’s plaintive vocal perfectly selling the chorus sentiment (“When I’m with you/ There is no one else/ I get heaven to myself”) — with Martin’s own backing cries of course providing valuable assistance underneath.
Polo G, “Bag Talk”
After proving near-ubiquitous in popular music from 2019 to 2021, Polo G has had a more laid-back 2022, with just a couple features and a one-off single (“Distraction”) to his credit so far this year. “Bag Talk” suggests the break might coming to an end: Co-produced by heavy-hitters TM88 and Southside, Polo brings the urgency to the widescreen production, promising “You could pick any location in the city I’m good, b–ch/ Everywhere I go, I’m stamped… I need evеry dime, I stay on my grind/ Like Tony Hawk up that ramp.”
Dove Cameron, “Bad Idea”
Following in the mode of prior releases “Boyfriend” and “Breakfast,” “Bad Idea” is Dove Cameron’s third badass “B” single of 2022, another sultry and alluring pop offering performed with an audibly devilish grin. This time, Cameron also takes cues from another “Bad” singer: With its alternately jaunty and eerie production, darkly pulsing beat and whisper-cooed vocals (with occasional dips into sing-speaking), the song could’ve slotted rather naturally into the middle third of Billie Eilish’s When We All Fall Asleep, Where Do We Go?
Ice Spice, “Bikini Bottom”
Everyone’s favorite viral Bronx hip-hop sensation — and Billboard‘s own R&B/Hip-Hop Rookie of the Month for October — is back with a new single, and it might be her most irresistible yet. Ice Spice hopscotches through a skittering beat and a particularly springy RIOTUSA production in “Bikini Bottom,” spitting, “How can I lose if I’m already chose?/ Like, If she feelin’ hot then I make that b–ch froze.” Running a very replayable 1:46, you can bet that the staff at the Krusty Krab is getting down to this one at any opportunity.
Billboard’s First Stream 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, Taylor Swift turns the clock to Midnights, Arctic Monkeys continue to challenge themselves, and Shakira links up with Ozuna. Check out all of this week’s First Stream picks below:
Taylor Swift, Midnights
Taylor Swift’s 10th studio album, Midnights, was introduced to us as an exercise in restlessness. “This is a collection of music written in the middle of the night,” Swift wrote in August while announcing the project, “a journey through terrors and sweet dreams. The floors we pace and the demons we face.”
This explanation for Midnights makes sense in the context of its arrival. Less than two years after the unexpected, two-pronged opus of Folklore and Evermore, and smack in the middle of her extended process of re-recording (and expanding) her first six studio albums, Swift certainly did not need to release an album of original material this year. Yet like any middle-of-the-night rumination, these songs gnawed at her, begging to be expanded upon instead of stored away for another day. Midnights brims with the bleary-eyed doubts, private triumphs, left-field questions and long-term musings that haunt us in the darkness; Swift felt compelled to hoist hers into the light.
Click here for a full review of Taylor Swift’s Midnights, and a track-by-track breakdown of its standard edition.
Arctic Monkeys, The Car
Casual Arctic Monkeys fans might turn their nose up at The Car, the band’s seventh studio album; why, they might wonder, has the wildly successful UK rock band behind hits like “Do I Wanna Know?” and “I Bet You Look Good on the Dancefloor” pivoted to highly orchestrated lounge music? But Alex Turner and co. haven’t designed The Car for casuals — these are gorgeous, complicated songs, performed with the intimacy and confidence of a band willing to open themselves up to new ideas and having the panache to pull them off.
Shakira & Ozuna, “Monotonía”
After linking up with Raw Alejandro for “Te Felicito,” Shakira has previewed her forthcoming album with another high-wattage Latin music collaboration, this time with Ozuna joining on the spacious bachata tracks “Monotonía.” With vocalists as skilled as Shakira and Ozuna, the production wisely clears out as the two superstars operate with nuance and passion, finding a charming balance between their two tones.
Roddy Ricch, “Aston Martin Truck”
“I’m trying to make another hundred million / Figure out how I’m gone bring my brothers in,” Roddy Ricch raps on new single “Aston Martin Truck,” which possesses a level of urgency that the hip-hop star injects into all of his most accomplished work. A few years after exploding with “The Box,” Ricch is looking for another single to scale the charts, and “Aston Martin Truck” grabs the listener for the entirety of its running time, in a way that suggests this might be the one to make the leap.
Carly Rae Jepsen, The Loneliest Time
This year marks the 10th anniversary of the “Call Me Maybe” phenomenon — the summer-dominating No. 1 smash that made Carly Rae Jepsen an unlikely pop star following years spent as a successful singer-songwriter in Canada — and while Jepsen is now removed from the hits-chasing discourse, she’s still releasing arresting pop gems that deserve to get stuck in your head as well. The Loneliest Time considers new directions for Jepsen after years of perfecting a shimmering retro-pop aesthetic, with slower tempos and more contemplation mixed in to winning sing-alongs like “Surrender My Heart” and the title track (featuring Rufus Wainwright).
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Billboard’s First Stream 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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See latest videos, charts and news
See latest videos, charts and news
This week, Lil Baby takes his turn again, Blink-182 is back and edgier than ever, and The 1975 has a concise mission statement. Check out all of this week’s First Stream picks below:
Lil Baby, It’s Only Me
On the one hand, Lil Baby is a natural star, with a singular voice and the type of charisma that can carry him through solo hits, guest verses and commercial opportunities; on the other hand, Lil Baby’s music, sometimes anxious and often insular, does not line up with the longstanding tenets of mainstream hip-hop. That tension between personality and product has been fascinating to witness as Lil Baby’s profile has exploded since 2020’s My Turn, and makes up the heart of It’s Only Me, which arrives as a blockbuster (with guest spots from Future, Young Thug, Jeremih and Pooh Shiesty, among others) but is defined by Baby’s attention to detail and searing approach to storytelling instead of any lunges toward catchiness. Complex and affecting, It’s Only Me finds Lil Baby embracing his own definition of stardom.
Blink-182, “Edging”
“I’m a punk rock kid, I came from hell with a curse / She tried to pray it away, so I f–ked her in church,” Tom DeLonge sings in the opening minute of Blink-182’s comeback single “Edging,” cutting to the chase on his first Blink single since a years-long hiatus. The trio’s focus is on next year’s enormous reunion tour, but “Edging” proves that DeLonge, Mark Hoppus and Travis Barker still know how to get in a room and create tight, catchy, exceedingly sophomoric pop-punk; it’s great to have them back.
The 1975, Being Funny in a Foreign Language
The 1975 are responsible for some of the most dazzling pop songs of the past decade, so the fact that Matty Healy and co. decided to team up with Jack Antonoff for Being Funny in a Foreign Language — with the seeming intent of making an album about love — should entice anyone who’s even a casual fan of the UK group. What Antonoff offers on the full-length is focus: the band’s typical studio sprawl is streamlined to 11 tracks here, bursting with hope for a better tomorrow in the digital age and adoration of pop song craft (“Oh Caroline,” for instance, is the sound of everyone involved synthesizing the ‘80s and firing on all cylinders).
Zach Bryan, “Starved”
“Starved” serves as a pristine example of why Zach Bryan has become one of country music’s breakout stars of the year: the new single, which follows the prolific singer-songwriter’s American Heartbreak album and Summertime Blues EP, functions more as an apotheosis of his country-rock songwriting than as a stopgap single, drenched in memories and moving forward with a choked-up growl. “There’s no world in which I am good for you,” Bryan concludes in the bridge, as strings quietly soundtrack his hurt.
Red Hot Chili Peppers, Return of the Dream Canteen
Red Hot Chili Peppers may have made fans wait six years for new music following 2016’s The Getaway, but they also made the payoff worth their while, with both Unlimited Love and now Return of the Dream Canteen coming out in 2022 (with a stadium tour across North American in between their releases). At 75 minutes, Return of the Dream Canteen (recorded during the Unlimited Love sessions) is both a deluge of what the Chilis do best — opening track “Tippa My Tongue” gives Anthony Kiedis free range to spit his game — and a project that’s more satisfying than a B-sides collection, especially when it comes to blissed-out cuts like the Eddie Van Halen tribute “Eddie.”
Nessa Barrett, Young Forever
Pop, alternative, pop-punk, emo — however you want to describe Nessa Barrett’s music, the singer-songwriter has found a niche in telling stories that work on radio stations and in TikTok clips. Young Forever, Barrett’s debut album, continues down the emotionally unflinching path that she began with the stunning eating disorder account “Dying on the Inside,” as tracks like “Dear God” and “Tired of California” document feelings of emptiness and ennui above ethereal arrangements.