State Champ Radio Fresh Picks
That’s right, the year of beef is still raging on. Just as they did a few weeks ago with their Billboard 200-topping We Don’t Trust You album, Future and Metro Boomin set the tone for the weekend in hip-hop and R&B with a sprawling collection of new collaborations that include a few more shots at a fellow named Drake — or “BBL Drizzy,” if you’re Rick Ross.
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Alongside We Still Don’t Trust You — 2024’s second joint album from Future and Metro — a pair of diss tracks from Drizzy and Rozay titled “Push Ups” and “Champagne Moments,” respectively. Both songs were worthy additions to the ongoing back-and-forth between Drake and Future & Metro, which came to a head with the Billboard Hot 100-topping, Kendrick Lamar-assisted “Like That.” In other beef-related news, J. Cole made good on his promise to remove “7 Minute Drill,” his response to Lamar’s “Like That” verse, from streaming services, and Uma Thurman offered up her Kill Bill jumpsuit for Drake to truly get battle-ready.
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As we await Kung Fu Kenny’s response, let’s parse through this week’s new drops. With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from the latest preview of PARTYNEXTDOOR’s upcoming album to Maiya the Don‘s funky come-hither pop-rap banger. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Jean Deaux feat. Destin Conrad, “Thinkin”
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Taken from her Nowhere, Fast EP, Jean Deaux’s new Destin Conrad duet, “Thinkin’,” is a gorgeous slice of slinky, sultry R&B. “Thinkin’, thinkin’, thinkin’, thinkin’/ But if it wine, how your touch gon’ feel with mine?/ I been/ Drinkin,’ thinkin’/ I’m reminded, we’ll never know if we don’t try,” she croons over ethereal guitars and synths. As he does with essentially every duet he partakes in, Destin Conrad brings a lovely, idiosyncratic dimension to the track, providing a warm vocal complement to Deaux. The atmospheric energy of the record helps bring to life the intimacy-sourced escapism the pair croon about across Lido’s production.
Kalan.FrFr, “Everybody”
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LA rapper Kalan.FrFr delivers a sneak attack of an anthem built on a Bankroll Got It production that’s infused with trademark West Coast bounce. “Everybody got a homie that’s a Blood/ Got a homie that’s a Crip/ Got a homie that’s a b–ch/ Got a homie that’s a pimp/ Got a homie that’s a trick/ Got a homie that whip p—y/ Got a homie p—y whipped,” he spits with a flow that’s as laid-back as it is tongue-in-cheek. Outside of how catchy the track is, “Everybody” is an unlikely ode to how much we all have in common — even if those commonalities are the nefarious activities our homies may or may not be getting up to.
BBG Steppaa, “Bisexual Glock”
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“Glock is bisexual, aim at women too / Niggas told, what you mean what your friend do? / It’s up with the whole town, beefin’ with kin too,” snarls Newark drill rapper BBG Steppaa on “Bisexual Glock,” his provacative new single. While the message is hardly one that should be endorsed, the new track — which features production contributions from AyyoLucas, Spaceman and EMRLD — finds Steppaa proclaiming his ruthlessness when it comes to protecting himself and those most loyal to him. The contrast of the high-drama string-laden embellishments juxtaposed against the drill snares make for a perfectly high-octane listening experience.
PARTYNEXTDOOR, “Lose My Mind”
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Now that dust has settled around PND’s NSFW new album cover, it’s time to get back to the music. For the latest taste of his fothcoming project, Party builds on a sample fo DMX’s classic “Party Up (Up In Here).” In fact, the entire hook is repurposed from that of DMX’s original, with Party providing the lead-in line — “Y’all gon’ make me lose my mind” — as he sings about the borderline tragic allure of beautiful women. The murky trap&B balladry that grounds the track is also quite reminiscent of classic PND.
Maiya the Don, “Mean It”
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“Show me that you need it, that you need it/ Say it like you mean it, like you mean it,” Maiya challenegs a potential lover on “Mean It.” The Bankroll Got It-helmed track banks heavily on the rising New York rapper’s seductive edge, with her gruff tone evolving into something particulalry inviting against the funky left-of-pop/rock production. Showing no signs of slowing down after blowing up with “Telfy” and “Dusties” over the past two years, “Mean It” could turn into a nice spring hit for Maiya the Don.
Future & Metro Boomin feat. The Weeknd, “All to Myself”
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Metro turns the clock back a few decades with some vintage babymaking R&B production to set the candle-lit scene. Motown Future continues his Future Vandross evolution entering his lover era. The Weeknd and his falsetto make another appearance. However, his dulcet assist is soured by speculation he was adding to the flavor of the month, dissing Drake. “They could never diss my brothers, baby/ When they got leaks in they operation/ I thank God that I never signed my life away/ And we never do the big talk/ They shoot us, makin’ TikToks,” he sings.
Tinashe, “Nasty”
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Tinashe leans into her Nasty Nashe alter-ego for her sultry new single. The R&B singer-songwriter’s robotic hook casts a hypnotic spell on listeners and will have them repeating after her within seconds. Nashe has been known to dabble in painting in the studio while recording and she paints an evocative picture with her sensual second verse depicting a perfect date night. “Shotgun, my thighs on his seat/ I ain’t got nothing underneath/ Looks like you’re ’bout to spend the night/ Freak side, I’m ’bout to change your life,” she promises. 2024 is slated to be a busy campaign for Tinashe with “Nasty” serving as the lead single heading into her BB/ANG3L PT. 2 – QUANTUM BABY project.
Key Glock & Young Dolph, “Let’s Go (Remix)”
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Key Glock is one of rap’s reclusive stars, so when he reveals a collaboration is on the horizon, fans’ ears perk up. With the “Let’s Go” remix, Glizzock surprised the Paper Route Empire family with a posthumous appearance from his mentor Young Dolph. Dolph’s verse fit like a glove over the trunk-rattling production so well that fans thought it was AI-generated, a theory that Glock quickly put to rest. His braggadocios assist embodied everything that people loved about the Memphis rapper – brimming with boisterous boss talk and a peek into his raunchy romantic ways. A fitting tribute to one of rap’s voices gone way too soon. RIP Young Dolph.
The Pandora’s Box that Katt Williams opened in January isn’t closing any time soon. While Beyoncé enjoyed big wins in the country and Americana worlds, the rap game was in complete disarray the past week: Grammy-nominated “F.N.F.” rapper GloRilla dominated headlines with the release of her new Ehhthang Ehhthang mixtape which housed a new track titled “Aite” where she spits, “‘Cause Cardi and Nicki on a track would break some f–kin’ records/ Me and JT ain’t the best of friends but we ain’t beefin’.”
While that line was intended to be unifying, it opened the floodgates for heated social media back-and-forth between GloRilla and JT of City Girls. While the exact details of the origin of their beef are unclear, in this instance, JT was upset at being name-dropped in that bar after GloRilla let rumors of her slapping the “No Bars” rapper fly unchecked. This, of course, bookmarked a weekend that began with J. Cole responding to Kendrick Lamar‘s Billboard Hot 100-topping “Like That” verse on “7 Minute Drill.” That track, which served as the final track on his surprise Might Delete Later mixtape, garnered very mixed reactions, and Cole eventually walked the whole thing back by Sunday evening (April 7) at Dreamville Fest.
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“That s–t don’t sit right with my spirit,” Cole said. “That s–t disrupts my f–king peace… I want to say right now tonight, how many people think Kendrick Lamar is one of the greatest motherf–kers to ever touch a f–king microphone? Dreamville, y’all love Kendrick Lamar, correct? As do I.”
As we deal with the aftermath of Cole’s culture-quaking decision and continue to wait for Drake’s “Like That” response, there’s still so much new music to explore. With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Fivio Foreign’s fiery new drill anthem to Bryson Tiller‘s sultry new Victoria Monét duet to J. Cole’s cross-generational link-up with Cam’ron. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: The Amours & TA Thomas, “Pick Me Up”
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Ahead of their new Changes EP (out April 26), sister duo The Amours team up with R&B savant TA Thomas for the gorgeous “Pick Me Up.” Forlorn guitars immediately introduce the track, with the duo trading devastating lines about the turbulent nature of growing together in a relationship. Their tight harmonies function as just another instrument in the overall arrangement, which allows for the song to maintain a conversational, back-and-forth feel despite there technically being three vocalists on the track. “You can always be yourself around me/ Caught in the middle of trust and belief,” they croon harmoniously. TA Thomas, of course, delivers a characteristically silky vocal performance that provides just enough depth to contrast with the brighter tones of The Amours.
GloRilla & Megan Thee Stallion, “Wanna Be”
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Most people opened Instagram on Sunday to a two-minute clip of Megan Thee Stallion flaunting “the best a– on IG” while promoting her new GloRilla collaboration “Wanna Be.” While the clip is certainly a winner, so is the new song. Built on samples from a pair of timeless tracks — Soulja Boy‘s “Petty Boy Swag” and Project Pat‘s “Don’t Save Her” — the two Southern rap stars flaunt their independence and reject the notion of being “claimed.” With an all-star line-up of Ace Charisma, Payday, MKMentality and Yo Gotti on production duties, “Wanna Be” boasts one of the most infectious beats of the year so far. If that weren’t enough to secure its spot as a viable summer anthem, both Glorilla and Meg delivery fiery verses and an incredibly catchy, Instagram caption-ready hook, to boot.
Bryson Tiller feat. Victoria Monét, “Persuasion”
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With D’Mile on production, you know you’re in for a treat. Add Victoria Monét and Bryson Tiller, and you’re in for some heat too. “Persuasion,” one of two collaborations of Bryson Tiller’s new eponymous album, is easily one of the LP’s best offerings. Across the bouncy ’90s-inspired instrumental, Bryson and Victoria trade verses where they play with enunciation and innuendo, teasing listeners with phrasing that hints at expletives before delving into something cleaner — and sneakily more nuanced. “He asked if he could grab all on my— absolutely/ I’m in no opposition so I’m gonna sit on that decision tonight,” Victoria croons. The two R&B stars have palpable verve and chemistry on this track, adding just the right amount of dynamism for an instant standout.
J. Cole feat. Cam’ron, “Ready ‘24”
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J. Cole comes out of the gate guns blazing on this Might Delete Later standout, hilariously bragging about being able to pull your girl without a haircut while rocking some Crocs. Admittedly, his puffed-out chest declarations about “nobody being better” than him on the planet are hitting differently after copping a plea at Dreamville Fest and waving the white flag in his feud with Kendrick Lamar. The Barbara Mason-sampling tune uses the same lift as a Dipset classic from two decades earlier, and Cam’ron himself steps into the booth here like he hasn’t lost a step since Diplomatic Immunity dropped.
Khalid, “Please Don’t Fall In Love With Me”
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It’s been a minute since Khalid led R&B conversations as he did with blockbuster hits such as 2017’s “Location” or 2019’s “Talk.” “Please Don’t Fall In Love With Me” could thrust him back into that limelight. Produced by Jason Kellner and featuring an interpolation of Alicia Keys‘ “Unthinkable (I’m Ready),” the new single finds Khalid updating his plaintive, atmospheric R&B style with some trap inflections. Pounding bass soundtracks his nimble rap-sung in the verses, while the production opens up into synthy mirage when he lifts into his falsetto in the hook. “I hope that you believe in the end that I got you/ How can I move forward when every relationship I get in/ Don’t hit the same ’cause it’s not you?” he asks. With a pen as sharp as ever and a sound that feels fresh and believable, Khalid appears to be back on track.
Doja Cat feat. Teezo Touchdown, “MASC”
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Only Doja Cat can flip threats to end a relationship into a light-hearted angelic chorus. With cinematic production that sounds as if it could’ve landed on Kanye West’s Vultures, Doja aims to have her man sleeping on the couch again while revealing this love story needs a rewrite. “You gave me the d–k / Then gave the d–k without the D,” she cleverly rhymes. Teezo Touchdown steps in to play Doja’s romantic interest in the fried relationship, and attempts to win her back. “I need your time, I need your feet cuddlin’ mine,” he sings. Doja Cat and Teezo Touchdown’s rap-singing styles smoothly mesh, making for a robust collaboration between the eccentric RCA labelmates.
G-Eazy feat. Coi Leray & Kaliii, “Femme Fatale”
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After taking over a year off, G-Eazy kicks off his next era by catering to the women and “sex positivity.” In his hitmaking prime, Young Gerald meticulously dished out catchy hooks and he crafts another one centered around Century Steel Band’s “Heaven and Hell Is on Earth.” Eazy invites rising female rap stars Coi Leray and Kaliii to join him at the party and Leray steals the show with a raunchy assist. “Get this p—y, get more wings and I could get him to fly/ G-Eazy want a bite and I could see in his eyes/ But slow down, don’t rush, baby, give it some time,” she raps. With an album on the way set for this fall, it’s a step in the right direction for the Bay Area rhymer looking to reclaim his hip-hop titan status.
As Jamaica prepares for Carnival (April 7), Road March-ers have heaps of new music to celebrate and dance to, including some enjoyable selections from the month of March across reggae, dancehall, soca, calypso and more.
While clashes and the Bob Marley: One Love biopic dominated January and February, respectively, March was all Vybz Kartel‘s. On March 14, the Judicial Committee of the Privy Council (JCPC) overturned the dancehall king’s murder conviction. Having already served 12 years in prison — alongside three other alleged co-conspirators — after being found guilty in 2014 for the 2011 murder of Clive “Lizard” Williams, the dancehall king’s future is now in the hands of Jamaica’s Court of Appeal, as the body decides whether to release him or order a retiral. Fans around the world have taken the JCPC’s decision as a good omen for Kartel’s freedom, including Drake, who shared a picture of a “Free Kartel” t-shirt to his official Instagram story on Tuesday (April 2).
Outside of Kartel, Bob Marley: One Love continues to bless people around the world. On Tuesday (April 2), One Love co-producer Cedella Marley announced a call for U.S. applications for 10 Bob Marley: One Love social impact scholarships. In her announcement — which she made via her official Instagram page — she detailed the scholarships as a partnership between the box office-topping film and the Congressional Black Caucus Foundation.
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The 10 scholarships will be granted to undergraduate students “pursuing social justice-related degrees” at HBCUs, including Bowie State University, Clark Atlanta University, Dillard University, Florida A&M University, Hampton University, Morehouse College, Morgan State University, Spelman College, Texas Southern University and the Xavier University of Louisiana.
Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: KES feat. Queen Omega, “Rise Up”
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In a recent interview with Billboard, soca superstar Kes detailed his five favorite tracks from Man With No Door — the band’s first album in a decade. One of those tracks, the Queen Omega-assisted “Rise Up,” is also one of the album’s most impressive offerings. Drawing inspiration from social justice-minded roots reggae tracks from acts like Capleton and Richie Spice, “Rise Up” is a brassy, militant ode to that era. Both Kes and Queen Omega deliver impassioned vocal performances that anchor their pleas for “humanity [to] rise up.”
As Kes pointed out in his Billboard interview, this track had to be shared with somebody, particularly Queen Omega who spits a blazing verse that drips with grit and hope. “I have deep love for humanity and sometimes deep concern too of where things are going,” Kes said. “I really wanted to write a song to capture that part of me.”
Skillibeng, “Missbnasty”
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Skillibeng has been a leader of dancehall’s new class for some years now, and he shows no signs of slowing down with his new single, “Missbnasty.” Inspired by a famed adult content creator, Skillibeng gets predictably nasty on this slinky bass-heavy Afrobeats-inflected beat courtesy of P2J. “Lovе when yuh bounce pon my d–k/ Cau yuh sweet like a pornstar b—h/ She’ll steal your interest/ Make a whole profit,” he croons in a voice that’s caught somewhere between a breathless whisper and raspy chant.
Sevana, “Keep Going (Chosen)”
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Fresh off her feature film debut in Bob Marley: One Love, Jamaican singer-songwriter Sevana is back with a brand new single. Titled “Keep Going,” a sultry slice of meditative reggae, the new track finds her crooning, “God know mi special, mi naw fi listen/ Know that I’m a king/ In this wicked jungle and that’s why I sing/ Blessed to be so gifted, so mi caan waste it.” A reminder of your purpose, greatness and claim to a life well-lived is always a welcome reminder, and Sevana delivers one by way of a vocal performance that exudes the warmth and sternness of a beloved mentor.
Romain Virgo, “Red Dress”
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For the midpoint of his The Gentle Man album — which arrived on March 1 — Romain Virgo delivers the thesis of his latest record. On “Red Dress,” Virgo effortlessly morphs into a bachelor, albeit a tasteful one that prioritizes mature, if not wistful, seduction over straightforward sleaze. He employs a strikingly reflective tone as he sings, “Please wear that red dress again/ Take me back to the beginning/ Love to watch you in it/ And I′ll cherish every minute.” The entire album is an exploration of what it means to reflect on different stages of your life, and “Red Dress” presents a Virgo who is ready to be an example of the premiere “gentle man” for the next generation.
Stalk Ashley & Skillibeng, “Really Like You”
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Cash Cobain and Bay Swag’s “Fisherrr” may be signaling a shift in the dominant sound of New York’s music scene, but that doesn’t mean drill is completely out the door. On “Really Like You,” a low-key sexed-up duet between Jamaican singer and internet personality Stalk Ashley and Skillibeng, the skittering snares of New York drill provide an urgent energy to the bare-bones dancehall beat. “One life weh me know bout/ So mi a do whatever I want/ F–k whoever I want, yeah/ And mi really like you baby,” she croons. The song is pretty much as far away from dancehall as you can get, but it is a winning showcase of the versatility of both drill motifs and the artists involved.
Shaneil Muir, “Protected”
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Jamaican singer Shaneil Muir places her focus on the Most High with her new “Protected” single. Soundtracked by raw acoustic guitar, plaintive piano keys and tender finger-snaps, she croons, “Yow damage, mi pray for miself/ Stop worry bout people and mi better miself.” Shaneil’s vocal performance on the song’s verses is the best part of the song, she expertly manipulates her tone to exude the alluring, comforting energy of a storybook reciter. A solemn reprieve from the high-octane tunes of Carnival season, “Protected” finds Shaneil surrendering herself to Jah and trusting that he will stand alongside and behind her as she fights the various battles life sends her way.
D-Major, “Alpha and Omega”
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On his new Morning Prayer EP, Jamaican singer D-Major is in his praise and worship bag. Consisting of six tracks, the project is quite succinct, but standout track “Alpha and Omega” dramatically boosts the EP’s replay value. “With God as your firm foundation, foundation of our lives now/ If you’re in a bad situation, he’ll provide a way for you to get out,” he proclaims over the highly percussive, calypso-inflected production. With a soaring vocal performance that finds assistance with rousing choir-esque background harmonies, “Alpha and Omega” is a delightful slice of gospel-reggae.
Khaliah, “Taboo”
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Effortlessly exuding the sensuality of smooth reggae bass, Khaliah’s seductive, siren-esque tone lifts “Taboo” to towering heights. “Selective with my time, my dear/ But I give to you/ The sweetest love from January/ Straight back to June,” she croons. Almost Tyla-esque in the way that she forgoes expletives and still finds a way to express the sultry come-hither bent of her lyrics, Khaliah makes quite the impression on “Taboo.” Especially when she lifts her voice into a few belts over the song’s final chorus. Unfussy both lyrically and production-wise, Khaliah’s “Taboo” understands that, sometimes, simplicity truly is key.
Upsetta, Loud City & Popcaan, “Devil Works (Never Work)”
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For his take on Upsetta and Loud City’s new “Devil Works” riddim, Popcaan rides the buoyant beat with a proclamation that he’s “nuh ‘fraid of nuh devil works.” His cadence here is a bit brighter than the ones he cycled through on last year’s Best Mood mixtape, but it’s the perfect complement to a song that doesn’t exactly try to hide its sanctified roots. Upsetta and Loud City’s riddim infuses electronic elements into their dancehall bass, but those pounding drums and sparkling synths ensure a sense of levity to go with Popcaan’s heady declarations.
Kabaka Pyramid, Sean Paul & Jemere Morgan, “Energy (Remix)”
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Kabaka Pyrmaid’s Grammy-winning The Kalling LP may have dropped in 2022, but the renowned reggae star is still working the record. Produced by Damian “Jr Gong” Marley, this new Sean Paul-assisted “Energy” remix is set to appear on the forthcoming deluxe edition of The Kalling. Already a funky track bursting with dynamism — from the rollicking guitar riffs to Kabaka’s playful vocal delivery — Sean Paul injects some fiery dancehall flavor with his new verse. “Busy with my own focus mi deh on the grind/ Gotta get my own, gotta set my home in tact/ Can’t waste time cause you will never get that back/ Haffi reach fa di bag, so I get that stack,” he spits. The word “energy” can feel particularly banal nowadays, but this track couldn’t have been titled anything else — it’s literally vibrating with an unbreakable approach to all life has to offer.
When Beyoncé drops, the world stops and listens. And that’s exactly what happened with the release of her incredibly ambitious 27-track Cowboy Carter LP last weekend (March 29). While the record is framed by Queen Bey’s exploration of the Black roots of country music and her own Southern familial roots across Texas, Louisiana and Alabama, there are still healthy doses of the R&B we all know and love from her, courtesy of collaborators ranging from Pharrell Williams and Raphael Saadiq to The-Dream and Nile Rodgers.
Remarkably, a couple of artists across hip-hop and R&B were able to cut through the Cowboy Carter chokehold. Ye (fka Kanye West) predictably inserted himself in the Drake–Kendrick Lamar back-and-forth, claiming that “there is only one GOAT” and that he “washed” both artists on previous collaborations. Tyla, who is currently enjoying the release of her debut studio album, covered the most recent Billboard print issue and revealed why pulling out of Coachella was “the right decision.” Of course, the Head Barb herself, Nicki Minaj, stayed in the news cycle with the announcement of her first sneaker collection, a winning performance at Madison Square Garden and an appearance at the Knicks game with her family (March 31).
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Beyoné and Shaboozey’s genre-obliterating shootout to Felix Ames’ soulful new single. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Tyrese, “I Would Still Say I Do”
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A sweeping eight-minute tribute to the longevity of matrimony, Tyrese‘s “I Would Still Say I Do” is also a tender love letter to tasteful, old-school soul. The “Sweet Lady” singer has been teasing this track on his official Instagram account — where he’s also been subtly documenting the creation of his forthcoming seventh studio album — and it was absolutely worth the wait. Stirring strings and lush piano serve as the anchors for an arrangement that swells into a mini-orchestra, incorporating bits of jazz along the way. “How foolish would it be/ betting it all after losing everything/ And nothing here makes sense/ Love is worth whatever the consequence,” he croons in a tone that expertly balances yearning with true devotion. The subject matter is reminiscent of “I Still Do” from 2015’s Black Rose, but with even more finesse and gravitas.
Beyoncé, Linda Martell & Shaboozey, “SPAGHETTII”
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“Genres are a funny little concept, aren’t they?/ Yes, they are,” country pioneer Linda Martell chuckles at the beginning of “Spaghetti,” a high-camp Western shootout soundtrack housed on Beyoncé’s latest opus, Cowboy Carter. Here, Beyoncé acts as a bridge between country’s past (Martell) and a fearlessly innovative future that ropes in notes of Southern hip-hop, by way of herself and ascendant country star Shaboozey.
With a rap verse that bears the unmistakable dual fingerprints of both Jay-Z and The Harder They Fall‘s soundtrack, Queen Bey asserts power and dominance over everything in her path. In the context of the album, “Spaghettii” is a smart sonic juxtaposition and a thematic complement to its preceding track, which finds Bey carrying out a murder fantasy — the “I ain’t in no gang, but I got shooters and I bang-bang!” lyric is the bridge between the two — while combining the sounds of country and classical music. Oh, did we mention that she’s also doing all of this over a Brazilian funk sample?
Doechii with JT, “Alter Ego”
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An Ayesha Erotica sample + a Tampa-Miami link-up + an Azealia Banks-esque flow = a bop. The equation really is that simple. Are the “Show Me Love”-esque synths a bit predictable? Yes, but that doesn’t mean they’re still not a worthy addition to the song. On “Alter Ego,” Doechii and JT join forces for yet another bad bitch anthem, but with one foot in the world of house music and the other dipping its toes in histrionic Miami Bass-laden hyperpop, the track sounds fresh, even if its subject matter is far from it. Although “Alter Ego” is less immediately accessible than “What It Is,” it’s still a winning showcase of both ladies’ verve and personality. “Fuck these n—as and these b–ches/ I come through and it be crickets/ I come through and moods be switchin’/ I’m the problem, I’m the villain,” JT spits.
Felix Ames, “Mr. Weatherman”
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As the Milwaukee hip-hop scene continues to bask in its moment in the national limelight, Felix Ames is holding down the city’s soul scene. With “Mr. Weatherman” — which serves as the lead single for the forthcoming deluxe version of JENA, his 2023 debut LP — he sings of both life’s more aimless moments and the search for reassurance and comfort that there truly is a light at the end of the tunnel. “I don’t know where I’m going, but I’m going fast,” he croons before begging, “Mr. Weatherman, tell me something better.” For New Yorkers, those lyrics will feel particularly impactful given spring’s reluctance to stick around for more than two days at a time. For everyone, “Mr. Weatherman” evokes consolation the world is craving in the face of times that are as tumultuous as they are unprecedented.
Machine Gun Kelly & Trippie Redd, “Beauty”
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With this new track, Machine Gun Kelly and Trippie Redd try to navigate finding “beauty” in the breakdown. The Ohio-bred duo returned to bring the emo raps for their genre : sadboy joint project and track two is an early standout from the 10-song project. Built around a pitched-up Frou Frou “Let Go” sample, MGK does most of the heavy lifting on the hook and his numbing verse, while touching on substance abuse, addiction and depression. “21 days clean that won’t break a habit/ 22 days later, I’m a f—-g addict/ Lost a real one, so I went and got him tatted/ Can’t eat, can’t sleep, life doesn’t matter,” he raps. MGK and Tripp join forces looking inward to face their demons and turn those harrowing experiences into cathartic art.
DJ Premier & Snoop Dogg, “Can U Dig That?”
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Inject this into hip-hop purists’ veins. DJ Premier’s signature scratches mixed with Snoop Dogg’s West Coast style make for a laid-back boom-bap rap cocktail here. It’s a sight to behold when a pair of the genre’s dignitaries are still raising the bar three decades into their Hall of Fame careers. “We been doing this s–t, mane, ’bout 25, 26/ S–t, I don’t know, we just been doing it,” Snoop reflects on his lengthy relationship with Preemo, in what’s typically been a young person’s sport. The Doggfather ashes his joint while cruising in his low-rider, and takes a second to show love to Cali peers who also changed the game, like 2Pac, E-40, Ice Cube and Eazy-E. Unfortunately, “Can U Dig That?” appears to be a one-off rather than the lead into a collab project from Snoop and Preemo.
It’s March, and the year is starting to heat up with big albums and even bigger singles from some of the heavy hitters of the Afrobeats community.
Billboard‘s current cover star Tyla polishes her signature popiano sound with her self-titled debut album Tyla, while Odunsi (The Engine) recruits artists from around the world to expand the borders of the alté genre on his forthcoming Leather Park Vol. 1 compilation album. And different dynamic duos underline the power of collaboration, from Aya Nakamura and Ayra Starr getting the girls gassed up on “Hypé,” to Tiwa Savage and ODUMODUBLVCK (who was featured on Billboard‘s 2024 R&B/Hip-Hop Artists to Watch list alongside Tyla) reminding everyone about their worth on “100 Million,” to Ruger and BNXN squashing their beef to put together one of the best songs of the year so far.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Leather Park & Odunsi (The Engine) feat. Minz & Elias Slay6rr, “Crown Bounce”
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Odunsi (The Engine) recruited underground and mainstream international artists as well as producers and engineers for his innovative Leather Park music camp, which took place in Paris Fashion Week last year. The alté leader tapped fellow Nigerian artists Minz and Elias Slay6rr (who were also part of the camp) for the super wavy “Crown Bounce,” the first single from the upcoming Leather Park Vol. 1 compilation album Odunsi executive produced and curated.
On “Crown Bounce,” he’s feeling himself more than all of the girls he has all around the world, comparing himself to both Michaels: “I felt like Jackson when I step/ I felt like Jordan when I shoot.” Minz and Slay6rr can also woo any woman with their infectious, idiosyncratic charm, while the song’s infectious groove can coax any listener to sway their hips. “‘Crown Bounce’ is an extension of a style I’ve been developing for years,” Odunsi tells Billboard. “It expresses my pursuit for mixing classical music as well as nostalgia with modern African groove.”
ODUMODUBLVCK feat. Tiwa Savage, “100 Million”
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Nigerian stars ODUMODUBLVCK and Tiwa Savage are ready to “f–k up the club” with their pricey collaboration “100 Million.” ODUMODUBLVCK fires off verses about his worth, while Tiwa stays in her melodic bag, solidifying her African Bad Gyal status. Sholz and Decster’s polished Afrobeats-meets-drill production (with an underlying lush string arrangement) provides the perfect backdrop for their luxurious lifestyle. That opulence is further highlighted in the accompanying music video, where ODUMODUBLVCK and Tiwa take over the palm tree-dotted streets of Los Angeles, as the former commands The Peppermint Club’s stage from his show back in February.
Tyla, Gunna & Skillibeng, “Jump”
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The South African popiano star recruits Atlanta rapper Gunna and Jamaican dancehall deejay/rapper Skillibeng for the sweltering club banger “Jump,” which will have all the girls sweating off their concealer. Skilli gasses up Tyla by rapping in the intro, “Original gyal, you aren’t a replica (No!)” before she flexes in the first verse, “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer.” The sweat’s bound to be dripping off anyone listening, but leave it to Gunna to provide his girl with the drip: “Told the chauffer take you to a Chanel store/ Ever play with you, it be a world war.” While incorporating amapiano’s log drums, rap’s airhorns and dancehall’s pulsating bass, “Jump” jumps between genres, and can get the party started anywhere around the world.
Kizz Daniel, “Sooner”
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Having already fallen for one woman, Nigerian star Kizz Daniel wishes he had met a second one “Sooner,” the first single on his latest EP TZA — short for Thankz Alot, and meant as a “thank you” for his fans who have been supporting him during his decade-long career (His debut single “Woju” came out in 2014). The Nigerian singer-songwriter feels torn: On one hand, he’s aware he’s already committed to someone, but on the other hand, he doesn’t want to let a new woman go, and finds himself physically tempted to pursue her. Daniel makes his promiscuity entertaining with the song’s steady percussive bounce.
Aya Nakamura feat. Ayra Starr, “Hypé”
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French Malian popstar Aya Nakamura fuels more “Hype” for her first single of 2024 by adding Beninese Nigerian Afropop star Ayra Starr to the mix. Nakamura falls out of love with her terrible ex and hypes herself up as a “hit machine,” while Starr erases her former lover from her memory, singing, “Two chances, too many to track/ Just worry ’bout my bag, I don’t want you back.” And the playful music video makes the power of the Aya x Ayra linkup even more palpable.
Ruger & BNXN, “Romeo Must Die”
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After a few years of publicly jockeying and feuding — some of it in the spirit of competition, some of it petty — two of the most reliable hitmakers in Africa set aside their differences to join forces on this breezy, compelling collaboration that speaks to the primary strength for both artists: melody. It’s a worthy addition to both of their canons, but just as importantly, heals a rift in a way that benefits all — and especially fans.
Tyla feat. Tems, “No. 1”
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Tyla’s self-titled album is the first true event album of the year for African music, and this collaboration with Tems is a clear standout on a project stocked full of great songs. The South African singer-songwriter’s breakout in the past year — crowned with a Grammy for best African musical performance at the Grammys earlier this year — has been one of popular music’s greatest success stories of late, and her teaming up with one of Nigeria’s go-to vocalists of the past few years makes for an engaging and soulful duet that brings the best out of both artists.
King Promise, “Paris”
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King Promise’s rise has been remarkable in recent months, and last year’s “Terminator” was easily a top 10 song of 2023. “Paris” is a great follow, with an amapiano through-line and a hook that is an instant earworm. The Ghanaian star is building a truly top-tier oeuvre, and with a new album on deck for this year, there’s plenty more to come.
Bella Shmurda, “Loner”
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Following the street dance craze of last year’s “Ara (Gen Gen Tin),” Bella Shmurda returns with a more melodic, soulful and introspective cut that shows off his vocals and songwriting skills in a way that goes beyond what he’s been known for in his career so far. A great song, and another step forward for an artist that continues to evolve.
Pheelz, “Go Low”
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With this propulsive, dance-y track, super producer Pheelz comes back with another big track following up on the massive success of last year’s “Finesse.” With a groovy trumpet line, a silky vocal and its strong back line, it’s a perfect cut for dance floors this coming summer.
“Okay, let’s get it” — only one thing mattered this weekend. Well, one verse, rather. On Friday (March 22), Kendrick Lamar came back outside for a culture-rocking verse that threw direct shots at Drake, J. Cole and the very concept of “The Big 3.” That verse appeared on “Like That,” the immediate breakout hit from Future & Metro Boomin‘s new joint album We Don’t Trust You — an LP that easily dominated the weekend’s online conversations. As Drake continues to prep his response to Kung Fu Kenny, several other releases and events are keeping the R&B and hip-hop worlds occupied.
On the R&B front, amapiano crossover sensation Tyla unleashed her debut studio album, TDE R&B crooner SiR returned with his first LP in five years and Bryson Tiller officially launched his eponymous album with his new “Calypso” single. Hip-hop was obviously dominated by the Kendrick, Drake and Future of it all, but GloRilla carved out a bit of airtime for herself thanks to a hilarious clip of her appearing on CNN to comment on her visit to the White House. In the evergreen words of the Grammy-nominated “Tomorrow 2” rapper, “At the end of the day, the day gotta end!”
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Freshest Find: Future & Metro Boomin feat. Kendrick Lamar, “Like That”
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from K. Dot’s incendiary verse to Tyla’s sexy summer smash. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
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Kendrick Lamar lit the fuse for rap’s biggest storyline of the year with his scathing assist on Future and Metro Boomin’s “Like That.” Kenny builds off of Future’s earlier shots at the 6 God by taking aim at both of his “Big Three” running mates J. Cole and Drake with a direct response to their Billboard Hot 100-topping “First Person Shooter.” “Yeah, get up with me, f–k sneak dissing/ ‘First Person Shooter,’ I hope they came with three switches,” he raps before throwing more fuel on the fire. “Think I won’t drop the location? I still got PTSD/ Motherf–k the Big 3, n—a, it’s just big me.”
K.Dot takes the gloves off and hones in on Drake while referencing his For All The Dogs album and compares their relationship to Prince and Michael Jackson. “And your best work is a light pack/ N–a, Prince outlived Mike Jack’/ N—a, bum/ ‘For All your Dogs’ gettin’ buried/ That’s a K with all these nines, he gon’ see Pet Sematary,” he snarls. Kendrick and Drake have had an icy relationship since Dot’s atomic “Control” verse back in 2013, and this should ratchet up the cold war a few notches. Don’t look for “Like That” to exit the zeitgeist all that quickly either, as the Three 6 Mafia-sampling hit is expected to earn a lofty debut on the Hot 100 next week. The ball is now in Drake and Cole’s court, with the hip-hop world anxiously awaiting a response.
Tyla feat. Gunna & Skillibeng, “Jump”
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From “Girl Next Door” and the Grammy-winning “Water” to “Truth or Dare” and “Butterflies,” the road to Tyla’s highly anticipated debut studio effort has been a sight to behold. “Jump,” a genre-bending standout from the self-titled LP, continues her track record of steamy come-hither bops that keep her in complete control at all times. Alongside Gunna and Skillibeng, Tyla writes across a sultry soundscape that combines notes of Afropop, dancehall and R&B. “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer/ I don’t touch no wheel ’cause I gotta chauffeur/ First class how I get ’round the world,” she croons in a cadence that emulates the laid-back rap-sung cadence of Rihanna. Perfectly primed to dominate the summer, “Jump” is certainly one to watch.
Big Sean, “Precision”
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History repeats itself with a Big Sean release day being overshadowed by a Kendrick Lamar verse a decade later — who can forget “Control”? Sean ended his hiatus last week with his first offering of 2024, “Precision,” which finds the reinvigorated Detroit spitter coming out of the gate firing on all cylinders. Sean Don’s scintillating flow hasn’t lost its luster and he can still go toe-to-toe with any of his competition in rap. With his finger on the trigger, Sean attacks the bouncy FNZ production with ambition. “My life was a highlight reel that keep on looping/ You can’t just tell me s–t, ho, you gotta prove it,” he boasts. It’s a welcomed comeback single for Big Sean, and hopefully, he won’t be taking his foot off the gas cruising down I-375 anytime soon.
SiR, “Brighter”
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Heavy, SiR’s first studio album in five years, is some truly dark work. The Inglewood-bred crooner parses through addiction recovery, recommitting himself to love in all of its forms, and the vices that he nearly fell victim to. On “Brighter,” the gospel-inflected album closer, SiR delivers a song that embodies all of the hope and tried-and-tested faith that allowed him to survive and make an album like Heavy. “It’s the hardest where the start is/ But I know we’re gonna make it through,” he passionately croons. “Yes, it’s the darkest where the spark is/ But there’s nothin’ more amazin’ than when lights starts breakin’ through.”
Forest Claudette, “Gold”
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With their new Jupiter EP slated for a May 3 release, Forest Claudette is kicking things off with “Gold.” A shimmering amalgam of macabre lyrics, morose piano and strings, tied together with an evocative vocal performance, “Gold” continues building Forest’s stunning catalog of introspective alternative R&B. “I ain’t no damsel, I get distressed/ Burned out my candles, can’t find the rest/ Where’s the bottom? Where’s the edge? / Not there, not yеt,” he ponders. He effortlessly transposes the traditional soul hallmark into something decidedly more contemporary in its penchant for the existential.
Bairi, “Come My Way”
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Bairi (Inspired by Kingdom Hearts character Kairi) might not be a name as well known as others on this list, but she undoubtedly holds her own here. The Hershey, PA native tantalizes listeners with her luscious vocals on the sultry “Come My Way.” She reels in a love interest with a velvety coo: “If you open up to me you won’t regret it/ I can show you paradise through my gate to heaven.” Her seductive songwriting includes an intoxicating melody made to fill the club’s dancefloor. Bairi isn’t going away either, as the introverted gamer will look to carry this momentum into her debut project Baby Siren, which arrives on April 22.
A triad of star-studded events dominated the worlds of hip-hop and R&B over the past week — the 55th NAACP Image Awards, Rolling Loud California and the final weekend of SXSW. At the NAACP Image Awards — which was hosted by Grammy-winning Kennedy Center honoree Queen Latifah — Chris Brown dominated with three wins, including two trophies for “Sensational,” his hit collaboration with Davido and Lojay. Victoria Monét followed with two wins — outstanding album for Jaguar II and best new artist — while Usher took home outstanding male artist, entertainer of the year and the President’s Award. Of course, The Color Purple movie musical cleaned up with a staggering 12 wins, including outstanding motion picture, outstanding soundtrack/compilation album and four individual acting awards.
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Outside of the awards circuit, hip-hop and R&B had impressive showings at both of March’s marquee music festivals. At SXSW (March 14), PARTYNETDOOR launched his new single “Real Woman,” the first taste from his forthcoming LP, PartyNexxtDoor4, whose release date (April 26) he revealed during his headlining performance at Billboard’s annual THE STAGE at SXSW concert series. A few states over in California, Nicki Minaj turned Inglewood into Gag City, Kanye West and Ty Dolla $ign performed some Vultures cuts without actually performing at all and Metro Boomin and Future previewed some exciting new tracks from their two forthcoming joint albums.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Sexyy Red‘s latest head-banging anthem to Maxo Kream‘s reflective tribute to his late father. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Rapsody, “Stand Tall”
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As she continues to gear up for the release of her forthcoming fourth studio album, Please Don’t Cry, Rapsody is taking some time to address those who are obsessed with the details of her personal life. “Judgment’s on me, they wondering if I’m a ‘Eat the c—chie’ fan/ All because I choose to style in sneakers and some baggy pants/ Used to make me aggy, wanna black out like the Aggie fans,” she spits over a contemplative Eric G-helmed production that’s delicately tempered with twinkling piano keys.
The hat trick of “Stand Tall,” however, is that Rap isn’t giving the messiest people among us the satisfaction of seeing her dedicate an entire song to their speculation. Instead, she flips the script and uses “Stand Tall” to recenter the conversation around the sanctity of family, learning to live with anxiety and a cheeky reminder to read up on the architects of Black political thought. “Navigating through this business, tryna find some decency/ But you only wonder if I eat c—chie or like some d—k in me/ Y’all need to read Dick Gregory, b—tches,” she rhymes before launching into a chorus that has the charming quality of a letter postscript.
Sexyy Red, “Get It Sexyy”
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For most of 2024 so far, Sexyy has been laying low. Outside of a few shows, she’s been enjoying time with her new baby and the continued success of her smash SZA-assisted Drake collab “Rich Baby Daddy.” With “Get It Sexyy,” Sexxy Red SZN is officially in full effect: Over a characteristically rapturous head-knocking beat — courtesy of go-to collaborator Tay Keith and Jake Fridkis — Sexyy delivers a familiar barrage of irresistible catchy couplets (“Booty shorts, c—chie swole/ Thong all up my booty hole”), hilarious background ad-libs (“I’m his favorite hoe!”) and an ingenious interpolation of the “Little Sally Walker” nursery rhyme — “Little miss Sexyy walkin’ down the street/ I don’t know what to do ’cause the n—as after me/ I’m so f—kin’ sexy, yeah, my skin is bustin’ it/ Diamonds hittin’ hard, n—as wanna drive my tank.”
Maxo Kream, “No Then You a Hoe”
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“No Then You a Hoe” is yet another strong addition to Maxo’s recent stream of standalone singles, but it’s also using that position to mask it being a loving tribute to his late father. “Papa Maxo was a soldier and through me forever livin’,” he proclaims in the song’s final line, but not before a pair of harrowing verses that recount the cyclical nature of the dynamic between family and mortality. Across an incredibly sparse Nascent-produced beat, Maxo spits, “Got a call the other day big brother diagnosed with Lupus / He told me he might die soon, I told him, ‘B—ch, you stupid’/ Cause real gangsters live forever.” Maxo’s delivery is caked in grief, the kind that bubbles under the surface while the person it resides in tries their best to hold themselves together. Equal parts reflective and healing, “No Then You a Hoe” is a home run for Maxo.
MaKenzie & TA Thomas, “Maybe”
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For her first official release under Warner Records, MaKenzie taps TA Thomas for a rousing duet that embodies the hallmarks of ’90s and ’00s R&B vocal collaborations without feeling trapped in a corny pastiche of those eras. “Why can’t you look at me in my eyes?/ Believe me, swear that I’m never gon’ make you cry/ Lately, you keepin’ me up at night/ Runnin’, runnin’ through my mind,” they croon harmoniously in the second verse. Their joint affinity for dizzying descending riffs pairs well with the Rob Knox- and Darryl Pearson-crafted beat, which incorporate warped strings and subtle, grounding percussion.
Elmiene, “Crystal Tears”
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Marking his first new single of 2024, Elmiene’s “Crystal Tears” is a winning collaboration with Grammy-winning R&B savant D’Mile. “I apologize for leaving, and I know that/ If I curse my ways/ Won’t mean you might stay,” he croons in his trademark honeyed tone. The British R&B breakout artist’s voice sounds right at home over D’Mile’s sultry guitar-centric arrangement; he dips into his delicate falsetto to convey the most painful parts of his introspection before bringing in his immersive background harmonies to pair with the introduction of twinkling synths and earthy drums. “My dreams are dragged on/ Dеspite of my home/ I might be alonе,” he sings.
Chief Keef & Mike WiLL Made-It Feat. 2 Chainz, “PULL UP GHOST-CLAN”
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The Trap-A-Holics tags pack Chief Keef and Mike WiLL Made-It’s Dirty Nachos with a dose of 2000s mixtape nostalgia that’s lacking in today’s rap landscape. Sosa pours up and slithers in for a syrupy verse on standout track “PULL-UP GHOST-CLAN” before adding a lean PSA for listeners. “N—as drinking brown lean, actin’ like a sipper/ Be careful, ’cause that s–t will probably f–king kill you,” he contests. 2 Chainz invades the party as the perfect guest star, utilizing elementary rhymes that just wouldn’t work if they were spit by just about any other rapper outside of the Drench God. “Don’t try to compare, I’m in a whole ‘nother category/ Everybody know, my flow is nastier than a lavatory/ I’m straight out the laboratory,” he boasts. Dirty Nachos sets the stage for what should be a banner year for both Mike Will and Sosa.
Don Toliver, “Deep in the Water”
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Building off the success of “Bandit,” Don Toliver delivered the woozy “Deep in the Water” in the middle of the week to stand out from the clutter of New Music Friday. The Cactus Jack artist dives headfirst into an emotional kaleidoscope on “Deep in the Water,” which finds him getting candid about his intimacy with girlfriend Kali Uchis as he attempts to curb the vices throwing hurdles into their relationship. “You said you wanna take control of me but I got all the answers/ You want me done with the strip club, you know I’m done with them dancers,” he croons. An accompanying blue-tinted music video gives fans a first glimpse at Toliver in dad mode; Uchis gave birth to the couple’s first child – a baby boy – earlier this year.
And with Al Pacino‘s hilariously casual announcement of Oppenheimer as the winner of Best Picture at the 96th Academy Awards last night (Mar. 10), awards season has finally come to a close. While there wasn’t much hip-hop at the ceremony, the house orchestra did play a cover of 50 Cent‘s “P.I.M.P” — which is repeatedly referenced in the film — when Justine Triet and Arthur Harari walked up to the stage to accept the best original screenplay Oscar for their French legal drama Anatomy of a Fall.
Outside of the close of awards season, North West announced her debut studio album, Elementary School Dropout, Future and Metro Boomin announced that they have two new albums on the way, and Tyla canceled her upcoming North American tour and Coachella performances due to an injury.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Drake‘s rework of 4batz‘s breakout hit to FLO‘s frothy re-entry into the music scene. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Mustafa, “Imaan”
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Fresh off the news that he’s signed to Jagjaguwar, Mustafa has dropped off a stunningly tender amalgamation of soul, American folk music, and traditional Sudanese and Egyptian instrumentation titled “Imaan.” Backed by Snoh Aalegra on guest vocals, Mustafa’s malleable voice colors the soundscape as it shifts into a sweeping chorus earmarked by his yearning for “all that we don’t have evidence of.” “You say praying isn’t easy/ And all the ways you need me are from God/ And all the ways you reach him are flawed/ I know our families will never find their way to the same living room/ All of these bloodlines, all of these costumes,” he croons with heartbroken hoarseness.
Sinead Harnett, “The Most”
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For the third taste of her forthcoming new album, Sinead Harnett is doing “The Most.” Across a moody soundscape accented by light trap drums and gentle guitars, she croons of an inconsistent lover who constantly throws their relationship into turmoil. “Why you so aggravated on the phone/ If I’m so hard to be with, be alone/ You’re projecting your insecurities/ Everything’s all about you, don’t put it on me,” she sings. Delivered with remarkable vocal clarity and emotion that’s palpable, but not overwrought, Sinead Harnett is readying a gem of an album if “The Most” is any indication of what’s to come.
FLO, “Walk Like This”
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FLO is back on the road toward their debut studio album. The U.K. R&B trio have returned with the first offering from their forthcoming LP, the MNEK-penned “Walk Like This.” Also crafted in collaboration with Kabba, Relyt, Talay Riley and Ashton Sellars, “Walk Like This” finds the girls — Jorja, Stella and Renée — doubling down on their penchant for 2000s R&B stylings. Oozing with sass and bit of sultriness, their tight harmonies give body to the bubbly tune, declaring, “There’s a reason I walk like this / My baby, he be lovin’ on this / When he do it, he be workin’ that shit / And every night he got me wantin’ more of it.”
Lola Brooke feat. A Boogie wit da Hoodie & Big Freedia, “Bend It Ova”
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Still pushing her formidable debut album, Dennis Daughter — which will have a deluxe edition out on Apr. 5 — “Don’t Play With It” rapper Lola Brooke has linked up with fellow New York rap star A Boogie wit da Hoodie and New Orleans bounce icon Big Freedia for a rambunctious ode to throwing it back. With A Boogie’s twinkling piano keys finding an unlikely-but-rewarding complement in Freedia’s brash NOLA beat, Lola finds the perfect middle ground for everyone’s sounds to converge. Of course, it’s not an A Boogie track if he isn’t adding a caveat of despondent realism: “Hoodie and a mask, yeah, heart black, yeah/ You want me to throw this cash? Better shake that ass, yeah/ I’m a f—ked up n—a, yeah, I admit it, yeah/ And I got it out the mud, still in the hood, yeah, yeah,” he spits in the hook.
4batz feat. Drake, “act ii: date @ 8 (remix)”
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We knew it was only a matter of time until this moment: Mere weeks after 4batz exploded into the mainstream consciousness with “Date @ 8,” The Boy has added his own spin to the moody, dirty mackin’ R&B track. “There’s no way in hell I see you passing me up/ Almost said I loved your ass right after we fucked/ Don’t know why, girl, it was on the tip of my tongue/ Yeah, found someone I’m fallin’ for,” he croons in a familiar rap-sung cadence, which finds him trying to balance keeping up the untrappable gangster image and giving into the feelings that his heart can’t ignore. Perhaps, most importantly, the “Date @ 8” remix serves as further solidification for 4batz as he continues to scale industry heights with a back catalog of just three songs.
Rexx Life Raj, “Couple Months in LA”
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Any aspiring creative can relate to the daunting expectations that come along with moving to Los Angeles in hopes of conquering their dreams. Being in the industry for a decade and growing up about 400 miles north of the City of Angels, Rexx Life Raj gets candid about the exhausting toll Hollywood’s taken on him mentally. “Tired of wasting my breath, retracing my steps/ Unnecessary expectations got me feeling the stress,” the Berkeley native raps in agony. Raj takes a step back and breathes out a delicate croon to practice restraint because what lies ahead will be worth it: “Quiet your mind, you’re too busy worried about time my boy be patient/ You gotta be patient, cause life don’t always come at your speed.”
From Cardi B‘s Missy Elliott-nodding “Like What” freestyle to RAYE‘s Brit Awards sweep and the kickoff of Nicki Minaj‘s highly anticipated Pink Friday 2: Gag City World Tour, it was a very eventful week for hip-hop and R&B. As usual, New Music Friday (Mar. 1), unleashed a tidal wave of new music, including a terrific new LP from ScHoolboy Q, a feisty new single from Chlöe Bailey and blistering EP from Meek Mill, which landed at the tail end of a social media spiral following the latest lawsuit against Sean “Diddy” Combs.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from 4batz‘s latest low-key anthem to Samara Joy’s impressive entry into the 2025 Oscar race. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
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4batz, “act iii: on god? (she like)”
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Any baseball player would tell you hitting a home run in each of their first three at-bats is nearly an impossible feat, but 4batz has accomplished the musical version of that. With “Act III: on god? (she like),” the atmospheric R&b singer-songwriter delivers more sweet vocals that rain from the clouds and aerate through his Black Shiesty ski mask. The Texas native heavenly croons about a toxic love, creating a paradox with the menacing visual featuring 4batz mobbing in the streets with his homies, only adding to the artist’s mystique. To quote the great hip-hop life coach Fat Joe, yesterday’s price is not today’s price, as record labels continue to wave lucrative checks looking to entice the rising talent to sign on the dotted line.
ScHoolboy Q feat. Rico Nasty, “Pop”
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It hasn’t even been a week but Blue Lips is already a career highlight for ScHoolboy Q — quite possibly a career-best effort. On “Pop,” a shape-shifting, rock-infused collaboration with Rico Nasty, Q plays straight offense, using the grimy boom-bap beat to soundtrack his and Rico’s snarling declarations of dominance over everyone in their way, inside and outside of the rap game. “Put fifty in that, n—a, a hunnid in this, I never could miss/ N—a, we jump out that b—h, yeah, check off the list/ You rappin’ this, n—a, we really do this,” he ruthlessly spits.
That Mexican OT & Moneybagg Yo, “Twisting Fingers”
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Texas Technician, the new album from That Mexican OT, is a loving tribute to his hometown and Southern hip-hop at large, and the Moneybagg Yo-assisted “Twisting Fingers” is an instant standout. The Bay City, TX & Memphis, TN link-up takes place across a laid-back beat — crafted by Bankroll Got It, Ben10k & Danes Blood — that’s reminiscent of old-school Texas rap. That Mexican OT and Moneybagg trade bars about staying true to their gangbanging roots, regardless of how famous they might become. “This s–t get gangster, ain’t no prankin’, outstandin’ member, high rankin’ / If you’re standin’ on what you rep, then twist your fingers like sign language,” Moneybagg closes his verse. Equal parts menacing and funny, “Twisting Fingers” is a stellar balancing act.
Skepta & Portable, “Tony Montana”
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The intersection of grime and Afrobeats has long been a fruitful one, and “Tony Montana” is another strong addition to that legacy. The latest single from Skepta’s forthcoming Knife and Fork LP, “Tony Montana” finds the Brits-nominated rapper joining forces with rising Nigerian rapper Portable for an anthem celebrating their respective impact and influence. With a title that directly alludes to the iconic Scarface character, the relatively jaunty production — courtesy of Jae5 — makes for a welcome sonic contrast that also provides a multilayered soundscape that pairs well with both Skepta’s cocksure flow and Portable’s slinky hook.
Samara Joy, “Why I’m Here”
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An original song for Netflix’s forthcoming Shirley — a biopic of Shirley Chisholm (the first Black woman to be elected to Congress) starring Oscar-winner Regina King in the titular role — “Why I’m Here” continues Samara Joy’s flawless streak of truly spellbinding vocal performances. Produced and co-written by Grammy-winner PJ Morton, the new song finds the jazz star taking a break from her home genre and briefly transitioning into a sweeping, cinematic sound that seamlessly carries her soulful pipes into a more straightforward pop realm. “An easy road was never promised/ And so much has been from taken from us/ But I won’t stop no matter how much I have to go through/ I won’t shed one tear, I know why I’m here,” she croons.
Asha Imuno, “Oozin…”
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22-year-old Moreno Valley, CA native Asha Imuno is on the rise, and “Oozin…” — a cut from his sophomore effort, Pins & Needles — is proof of why. In the contemporary R&B space, the word “oozin” has a sexual connotation more often than not. Here, however, Asha flips the phrase to refer to the anxiety and depression that pour out of him in moments of silence and aloneness. “Oozing/ The anxiety subsides in the moment the dream becomes lucid / & Bruises/ That I can’t hide in this light/ Quantify all the times I felt useless,” he coos in the heartbreaking chorus.
The year is starting to heat up, and with an extra day in February, this month’s Afrobeats Fresh Picks makes it to you just under the wire. This month, there is new heat from bright young hitmakers like Ayra Starr, Black Sherif and Boy Spyce and Khaid, plus new bangers from more established stars like Young Jonn, Joeboy and Adekunle Gold, and some fresh tracks from artists like Rowlene, YKB, Logos Olori and Crayon. And there’s already more great music on the horizon, meaning that this year is still just getting started.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Black Sherif feat. Mabel, “Zero”
Trending on Billboard
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While discerning all of the good (fame) and bad (gossip) that comes with being in the public eye, Ghanaian rapper Black Sherif calls for “Zero” drama in his new single with English R&B/pop singer-songwriter Mabel. The tender melodies evoke the peace Black Sherif is seeking, while Mabel preoccupies herself with “the piano in the hotel lobby” and lights up a “zoot” (British slang for a joint) and Palo Santo to create a carefree environment that cuts through all the other noise. The only voices that matter are theirs.
Logos Olori feat. Davido, “Easy On Me”
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After collaborating with Davido Music Worldwide label boss Davido on “Picasso” from the Grammy-nominated album Timeless, Logos Olori taps him for the easygoing “Easy On Me,” from his new OLORI EP. Olori’s sensual melodies and tropical-inspired production makes it the perfect baecation song, as both artists marvel at women who have them wrapped around their fingers.
Young Jonn feat. Kizz Daniel & Seyi Vibez, “Big Big Things”
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This trio of Nigerian singer-songwriters is only meant for “Big Big Things,” as evidenced by Young Jonn’s latest single that will be featured on his upcoming debut album Jiggy Forever. Powered by an amapiano-infused bassline, rap air horns and a tropical melody, this banger is all about being unstoppable. “When I walk through the valley of the shadow / All eyes on me cause I came in a Lambo,” Young Jonn flexes. In a press release, he describes “Big Big Things” as “a rallying cry for dreamers, go-getters and anyone with an unrelenting desire to achieve greatness.”
Ayra Starr, “Commas”
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The Beninese-Nigerian star simultaneously addresses those who’ve presented roadblocks in her path, and inspires others to never stop chasing their dreams, on her new Afropop single “Commas.” Over a swelling string arrangement and bubbling percussion, she delivers a personal message of resilience for those who need it most – including herself. During her recent Billboard News interview, she revealed that “Commas” will be included in her upcoming album. “The Ayra Starr I want to introduce is excellent, sonically amazing. This album is unique, because I’ve been evolving sonically,” she said.
Adekunle Gold, “The Life I Chose”
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The Nigerian star reflects on “The Life I Chose” in his new single. Produced by Kel-P, the track employs a spellbinding, psychedelic flavor of Afropop that draws listeners in just the way the rockstar lifestyle drew in Gold. He revels in its opulence – “Pool side, sippin’ Don Peri/ All the fine girls won fed gum-body” – while being wary of undercover opps when he realizes, “All of a sudden, everybody act like they love me (Fake love).”
Joeboy, “Osadebe”
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The first single under his new imprint for Warner Music Africa, Young Legend, finds Joeboy paying tribute to highlife icon Chief Osita Osadebe and his 1984 classic “Osondi Owendi,” and dealing with the emotions of balancing such a successful career with remaining humble. “Sometimes I feel like I’m supernatural / But I’m only human / I’m only human,” he sings. A good start to a new chapter for Joeboy.
YKB, “High & Sober”
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A gorgeous ballad, “High & Sober” finds YKB crooning a love letter to his girl over lush production from Pheelz, who supports the vocals with a full backing orchestral section underneath the hook, fleshing out the song and giving YKB the platform to showcase his vocals. After great singles “komplete riddim” and “This Must Be Love” with King Promise last year, YKB is on an upward trajectory.
Crayon, “FADE AWAY”
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An understated beat underscores this unconventional single from Crayon, whose syncopated rhythms and flexible melodies bring an unorthodox style to the track. With occasionally double-tracked vocals and production that relies mostly on its drum pattern but incorporates piano, organ, guitar and saxophone in different sections, the song stands out from a lot of the other songs coming out right now.
Rowlene, “don’t let go”
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For fans of the South African singer, it’s been a long wait after 2020’s excellent 11:11 album, but finally Rowlene has returned with a beautiful three-pack of songs called Moment In Between, with “don’t let go” a particular standout among them. A poignant plea, the song features her ever-engaging vocals, reminding that there’s a lot more to come from one of the leading lights of South African R&B.
Boy Spyce & Khaid, “I Don’t Care”
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Boy Spyce and Khaid made a big impact last year with the carefree, upbeat “Carry Me Go,” which combined an irresistible melody with an earworm of a hook to deliver a song that truly felt like the summertime. “I Don’t Care,” their most recent collaboration, is a different beast entirely, opening with a menacing beat that then gets its edge taken off, instead providing a propulsive platform for their intertwining vocals, a stylistic switch up that nonetheless still works well, with a fun video to accompany it.
