State Champ Radio Fresh Picks
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Looks like January is the month of beef — and we’re not just talking about Katt Williams unloading the clip on Club Shay Shay, the lively dancehall clash between Jada Kingdom and Stefflon Don, or the comparatively brief showdown between Teejay and Valiant. From Friday onwards (Jan. 26), no two artists dominated the conversation more than rap titans Megan Thee Stallion and Nicki Minaj.
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With release of “Hiss” — her first solo single of the year — Thee Stallion ripped into a slew of high-profile opps, some of which fans think include Minaj, Drake, Pardison Fontaine, and Tory Lanez. In response, following a near-48-hour spiral across several social media platforms, Minaj unleashed “Big Foot” — one part diss track and one part unhinged spoken word monologue. Naturally, this all sent social media into a tizzy, with both artists’ respective fan bases rallying around their faves while more casual listeners picked their sides.
As the beef continues to simmer, the worlds of hip-hop and R&B kept turning. Mary J. Blige pulled the ultimate finesse and got a higher billing on the jam-packed Lovers & Friends lineup (May 4), Ice Spice put her foot on the gas with “Think U the Shit (Fart),” and Snoop Dogg revealed that he’s been prepping a new LP with contributions from Dr. Dre.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Megan Thee Stallion’s blistering “Hiss” to SiR’s moody return to R&B’s mainstage. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Megan Thee Stallion, “HISS”
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Tina Snow is not to be played with. On this blistering address to the scores of slick talk and rumors that have hounded her since the turn of the decade, Megan Thee Stallion delivers a masterclass in Dirty South s–t-talking realness. Over an ominous beat crafted by Bankroll Got It, LilJuMadeDaBeat and Shawn Jarrett, the H-Town Hottie relishes in her courtroom victories (“I’m the Teflon Don in the courtroom/ They be throwin’ that dirt, don’t s–t stick”) and calls out the hypocrisy some men operate it when it comes to cosmetic surgery (“These n—as hate on BBLs and be walkin’ ’round with the same scars”). With flows switching at the drop of a dime and a cadence that effortlessly shifts from threatening to unbothered, Meg pulls off the difficult hat trick of delivering a hard-hitting diss track that is genuinely an enjoyable song, irrespective of its intended purpose.
SiR, “No Evil”
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For his first official single since 2022, SiR dives head first in to a grittier, more jagged approach to R&B Soundscapes. The Inglewood crooner finds solace in his lover, despite the unsettling things he finds when he looks inwards. “Pardon my superstition/ But with my supervision/ I see so much of myself/ My past, my pain, my pride and my ego,” he sings in the first verse. Taylor Hill’s brooding, dynamic production blends stuttering hi-hats with sultry guitars, making for an instrumental every bit as immersive as Sir’s lead vocal.
Breez Kennedy, “Who’s Been On Your Mind”
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Breez Kennedy — a 17-year-old rising R&B star by way of New Jersey and Florida — just might be next up if “Who’s Been on Your Mind” is anything to go by. Out via Standard Records/Def Jam Recordings, the guitar-anchored single finds Breez living almost exclusively in his falsetto as he questions his lover about who is truly on their mind. “Would be so hard if you replace me/ Only concerned ’cause you been changin’ on me/ Girl, did I not do enough?/ Do people change when they say they’re in love?” he posits. Conveying a level of ache and forlornness far beyond his years, Breez is laying a sturdy foundation for his burgeoning career.
Kimani Jackson, “Good Man”
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Having already experienced viral success thanks to his show-stopping MTA performances in New York City, Kimani Jackson is ready for his next act. On “Good Man,” a booming, standout track from his Icebreaker EP, Jackson dips into a soulful blend of bluesy R&B with hints of gospel and jazz to soundtrack his quest to be, well, a good man. In the same bombastic sonic vein as towering classics like “Sometimes I Feel Like A Motherless Child” and “It’s a Man’s Man’s Man’s World,” “Good Man” is a big swing — one that Jackson pulls off, thanks in no small part to his soaring vocals and pristine vocal control.
YoungBoy Never Broke Again, “Act a Donkey”
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“You invited, ayy, tell Charlamange he invited to Grave Digger Mountain/ All he gotta do is pull up on me, n—a, and talk to me face to face.” That’s certainly one way to open a track!
Although the Megan v. Nicki battle has taken up most of the last week’s conversation, a certain Baton Rogue rapper had a bone to pick with one Breakfast Club host Charlamagne tha God. Over a bouncy Hitmann-helmed beat, NBA YoungBoy unloads the clip on Charlamagne, who recently crowned him “Donkey of the Day” for his less-than-sunny outlook on fatherhood. “Look, I love them graves, we tote them Ks, got Glocks with switch, they tear you up/ I’m 4KTrey, I bang for Dave, enforcement can’t do s—t with us/ Came inside this game and b—h, I f—d it up, I’m a donkey/ And I keep it on me, plenty money, b—h, don’t speak up on me,” he spits.
Lyrical Lemonade feat. Teezo Touchdown, Juicy J, Cochise, Denzel Curry & Lil B, “First Night”
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Already one of the year’s best posse cuts, this cross-regional link-up thrives on juxtaposition. The song — taken from Lyrical Lemonade’s star-studded All Is Yellow project — opens with a somber piano-backed ballad courtesy of Teezo Touchdown. “Somebody help me sing / Somebody help me sing about me,” he coos in a pitch-perfect tongue-in-cheek tone. The track then morphs into a “Black and Yellow”-evoking beat over which Juicy J employs his Memphis-bred cadence to chant, “Let a n—a hit it on the first night/ I just wanna f—k, I’m not tryna fall in love/ Gon’ let a n—a hit it on the first night/ I’m a real n—a, you know I would never judge.” Indeed, Juicy. Indeed.
Maxo Kream, “Bang the Bus”
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Maxo Kream in general is always a treat. Maxo Kream dirty macking over an EvilgIAne beat? Now we’re cooking with gas. A hilariously horny track, “Bang the Bus” fits nicely in betwen the “Slut Me Outs” and “Pound Towns” of the past year: “Redbone, slim, petite, drop it pop it Megan knees/ I need a pound town brown ratchet ghetto bitch for me/ The police kick my door down, you gotta take these pounds from me,” he spits. Evilgaine’s beat never quite settles into a steady groove thanks to that smartly warped sample, but those idiosyncracies offer a nice balance to the general contemplative vibe of the track.
As we get closer to Usher‘s highly anticipated Super Bowl Halftime Show performance, the worlds of hip-hop and R&B are back in full swing with major albums, singles and pop culture moments driving tons of discourse across social media.
From Kendrick Lamar‘s tease of new music to Megan Thee Stallion‘s surprise appearance on Saturday Night Live alongside Reneé Rapp in support of their Mean Girls collaboration, some of hip-hop’s biggest heavyweights used stealth to their advantage. In contrast, Kanye West and Ty Dolla $ign‘s elusive Vultures joint album received yet another release date; this time, the record is slated to arrive on Feb. 9. — just two days before Usher is set to take the stage at Allegiant Stadium in Paradise, NV. There was also a hilarious meme acknowledgment from Drake by way of the rapper’s recreation of TikTok creator Drew Wall’s viral day-in-the-life Target run videos — soundtracked by the Grammy-winner’s “Virginia Beach,” naturally.
Of course, the R&B OGs also had an eventful week — chief among them funk legend George Clinton, who received his star on the Hollywood Walk of Fame on Friday (Jan. 19).
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Anycia and Latto’s new outside anthem to Naomi Sharon’s gorgeous, acoustic paean for love. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Anycia feat. Latto, “Back Outside”
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For their first official collaboration, Anycia and Latto skate over a horn-laden JetsonMade production that perfectly complements the laid-back-yet-urgent feel of each of their respective verses. When Anycia begins her pre-chorus with the deliciously cavalier, “Huh? I’m back outside/ Yeah, huh? N—a done made me mad,” her delivery immediately sets the foundation for a woman on a mission: she’s back outside and ready to get her lick back, but you’ll never see her sweat. As a fellow Atlanta rapper, Latto sounds right at home on the track, delivering yet another strong verse complete with funny punchlines (“And they sayin’ that I rap my ass off/ Turn around like, ‘I can’t tell’) and a healthy dose of shade (“Walked in, young b–ch, I’m turnt/ Got auntie hatin’, she burnt”).
Fivio Foreign & Meek Mill, “Same 24”
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Reuniting for the first time since 2020’s “Demons & Goblins,” Fivio Foreign and Meek Mill get introspective over a drum-heavy beat courtesy of Saint Cardona and Lala the DJ. Worlds away from the Brooklyn drill that dominated his debut studio album, 2022’s B.I.B.L.E., Fivi opens “Same 24” with a stream-of-consciousness verse in which he exalts his tenacity and his maturation journey. “We got the same twenty-four hours, n—a / Why what’s mine gotta be ours, n—a? / Talkin’ ’bout n—as need help, n—as, I was “n—as” / But I rose out of the dirt, give me my flowers, n—a,” he spits. Meek adds a characteristically loud guest verse that celebrates his own come-up by way of slick double entendres; “My granny house a mil’, she ain’t even know I could rap my ass off/ You s–ttin’ me? I was super broke, I took that cast off,” he raps.
Rob49 & Lil Wayne, “Wassam Baby”
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NOLA, stand up! In a week of stellar rap collaborations, Rob49 and Lil Wayne climb into the ring with thei rown “Wassam Baby.” Built around a gritty piano-anchored Mac Fly beat, the two New Orleans rappers wax poetic about their wealth and sexual prowess while spitting game at women from across the city, as Rob emphasizes in the chorus. If that hook sounds familiar, that’s because “Wassam Baby” leaked months ago and made the rounds as a viral sound on TikTok. With the addition of a strong Wayne verse — his balance of alliteration, punch lines and rhyme scheme variations are top-notch — Rob didn’t just give “Wassam Baby” a second wind, he gave it a completely new life.
Andra Day, “Where Do We Go”
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It’s been nearly a decade since Andra Day’s Grammy-nominated “Rise Up” first entered the world, and in the time since, the multihyphenate has earned a slew of major industry awards and honors, including an Academy Award nomination for best actress in a leading role for her starring turn as Billie Holiday in The United States vs. Billie Holiday. Now, she’s back with the lead single for her second non-soundtrack studio album. “Where Do We Go” is a rousing exercise in the pacing of show-stopping vocal performance. Day’s sense of dynamics is on full display as she parses through the complicated process of seeking closure from a relationship she’s not ready to leave. “I see love inside your brown eyes/ Listening to ‘New Sky’/ Is everything an absolute, babe?/ Like, do we absolutely have to say goodbye?” she croons.
1K Phew & Zaytoven, “Let Go Let God”
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For the latest chapter in the ever-evolving relationship between gospel and hip-hop, 1K Phew has finally unleashed his collaborative project with iconic rap producer Zaytoven. Titled Pray for Atlanta, the genre-blending set — which features collaborations with Hunxho and Jekalyn Carr — is a heartfelt address to the city from a rapper who clearly adores his hometown, and a producer who has helped shape the city’s modern sound. Focus track “Let Go Let God,” blends familiar Atlanta rap cadences with a hearty gospel message, finding the common ground between the secular notion of “trusting the process” and the sanctified notion of leaving things in God’s hands. “I been down if that’s okay, had to learn from yesterday/ Took a lot of L’s in my life, baby, and I ain’t goin’ back there, no way/ I got an iced out cross on my neck right now, tryna show him that he already paid,” he spits over Zaytoven’s trap production.
Destin Conrad, “WAR!”
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Last Friday (Jan. 19), Destin Conrad dropped off Submissive2, the sequel to last year’s Submissive. “War,” the fourth track on the set, is a perfect blend of the rising star’s penchant for idiosyncratic Gen Z humor and lustful-yet-subtle R&B melodies. Obviously, the song is about the lengths one will go to for the person they want — rather the person they want to bag — but the trick of “War” is the way Destin plays into the innate melodrama of the concept. “I would smash the windows out your ex’s car without a second thought, baby/ I would gladly take the f–kin’ charge and that’s a criminal offense,” he opens the song.
It’s the chorus, however, that really drives home Destin’s shtick. He plays with his pitch and intonation to embody different characters across a melody that plays on the bounce-rooted “I’ll do [insert outlandish thing] for the d–k” punchline set-up. “I’ll sing Adele for that d–k / Rolling in the deep for that d–k,” the voices joke. It’s all fun and games until one voice proclaims that they’ll “pay for the d–k,” to which Destin comes back down to earth and ends the song, quipping, “Alright, you’re buggin’ (Yeah, b–ch, you dragged it) / You did too much, b–ch, too much.”
Naomi Sharon, “Nothing Sweeter”
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Just a few months removed from the launch of her acclaimed debut album, Obsidian, Naomi Sharon has unveiled another new addition to her growing discography. “Nothing Sweeter” arrives as the latest evolution of the most Sade-influenced edges of Sharon’s sonic profile. The First Lady of OVO lays her elegant vocals over a sparse, delicate guitar-forward instrumental that allows her ample space to showcase her sense of vocal control. Lyrically, she extols the healing power of love while calling back to iconic R&B ballads of yesteryear, singing, “Uncover my skin, undo this pain/ Unbreak my heart/Until I remember the way.”
As the music industry continues to wake from its holiday season slumber and awards season barrels on, there’s much to catch up on in the worlds of hip-hop and R&B.
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Earlier this month (Jan. 6), Jay-Z picked up his second Primetime Emmy — outstanding directing for a variety special for The Apple Music Super Bowl LVII Halftime Show Starring Rihanna. He won his first last year as an executive producer of the 2022 Super Bowl Halftime Show starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar and 50 Cent. In more somber awards news, last Friday (Jan. 12), The Hollywood Reporter exclusively revealed that Diddy — nominated in best progressive R&B album for The Love Album: Off the Grid — would not be attending the upcoming 66th Annual Grammy Awards amid his recent sexual assault allegations.
In non-awards news, Lil Nas X made a characteristically controversial comeback with “J Christ,” Kali Uchis dropped off a new album alongside a pregnancy announcement, Janet Jackson announced new North American dates for her acclaimed Together Again tour and 21 Savage released his first solo LP in five years.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Destin Conrad and Alex Isley’s devastating duet to 21 Savage’s Shining-inspired street anthem. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Destin Conrad & Alex Isley, “Same Mistake”
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We’re only a few months removed from Submissive, but Destin Conrad already has his focus on Submissive 2. “Same Mistake” arrives as a forlorn ballad chiefly concerned with documenting the final moments of a disintegrating romance. “Why you always wanna play games?/ Night time you’re mine, and daylight you act like you don’t even know my name,” Destin croons over Louie Lastic’s ethereal production. Isley first delivers her trademark honeyed vocals as background accompaniment on Destin’s verse before commanding her own verse with equal parts ache and devastation. “Only wanted the best and I’m stickin’ to my story/ This was a moment for me, and this was all it could be,” she sings.
K CAMP & NoCap, “My Flowers”
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Few expressions have been run into the ground in the past half-decade as much as “giving somebody their flowers.” Miraculously, K CAMP and NoCap manage to deliver a spin on the phrase that feels fresh. Featuring production contributions from Trappin N London, Theevoni, MilanoTheProducer & J-RoD, “My Flowers” finds K Camp nimbly flowing over a solemn guitar-inflected trap beat. “N—as playin’ with my worth, you better have a check for me/ Or you better not check for me, angels standin’ next to me,” he spits. NoCap perfectly matches K Camp’s energy with a slightly more melodic flow that picks up on the same lyrical throughlines of loyalty and genuine love.
Kevin Gates, “Birds Calling”
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Kevin Gates is always good for a ratchet bop, and he’s dropped off yet another one in “Birds Calling.” A play on the trope of birds singing at sunrise, Gates waxes poetic about women hitting his line at all hours of the day. With Starrah and 302 on production duties, Gates hides some pretty sobering bars in between the sing-song hook. “Cleansing my sins started healing, I’m righteous/ Free everybody who thuggin’ in Rikers/ Know that I’m free, I’m authentically me,” he raps. “Birds Calling” is a headier complement to “Yonce Freestyle,” the club banger that served as the other pre-release single from Gates’ forthcoming The Ceremony LP.
Jhené Aiko, “Sun/Son”
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It’s been a little over three years since Jhené Aiko last gifted us a studio album, but she’s still remained musically active. Her latest release, “Sun/Son” serves as a loving tribute to her son for his first birthday. Lyrically, Aiko plays on the homophonous quality of the words in the song’s title, painting with broad strokes that contour the “solar power” her son’s love “charges her up” with. Vocally, she opts for a lush flurry of subdued harmonies that reside almost exclusively in her falsetto. It’s a relatively coy vocal performance, but one whose delicateness is the key ingredient to crafting a song with such a self-assured sense of intimacy.
Samaria, “Beating Myself Up”
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This glitchy slice of electronic R&B is the perfect backdrop to a session of serious self-loathing. “Want to think I’m one of a kind/ But it gets way too, too loud/ Used to get professional help/ Too scared of what they found,” Samaria says in a cadence somewhere between rapping, singing and stream-of-consciousness rambling. The flashes of drum’n’bass production drive home the song’s most sinister undertones, but it’s Samaria’s tone — hurt masked by a veneer or apathy — that embodies the destruction of innocence that anchors the track’s sentiments.
Jeymes Samuel, Doja Cat, Kodak Black & Adekunle Gold, “JEEZU”
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Jay-Z caused quite the stir on Spaces last week when he sang Doja Cat’s praises, but he wasn’t just running his mouth. After scoring a runaway hit with “Vegas” from the Elvis soundtrack in 2022, the “Agora Hills” rapper has lent her talents to another blockbuster movie OST. Alongside Adekunle Gold, Kodak Black and film director Jeyemes Samuel, Doja delivers a standout verse for the Book of Clarence soundtrack posse cut. “Y’all got an agenda, but we’ll see how that gon’ turn out/ Many false prophets leavin’ brothers with a firm doubt/ Father, please forgive me, for today, they finna learn now/ Put me in the dirt, and you gon’ see, I make it worthwhile,” she spits over Samuel’s laid-back jazz-inflected production. Adekunle’s impassioned hook is the song’s glue, while Kodak delivers one of his best verses in recent years on the Diaspora-traversing song.
21 Savage, “Redrum”
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A new 21 Savage album normally means the return of the rapper in both savage mode and R&B mode. While both personas made for enjoyable tracks on his newly released American Dream LP, “Redrum” is the unequivocal standout from his “savage mode” tracks. Featuring production from London on da Track, “Redrum” — “murder” spelled backwards, of course — finds the Grammy-winner rattling off his gun collection and delivering a slew of menacing metaphors and one-liners. The key part of the track, however, is the outro, which samples Jack Nicholson’s recitation of the “Three Little Pigs” nursery rhyme from The Shining (1980). Talk about thematic consistency!
And, we’re back! As the industry recalibrates itself from the holiday rush, the hip-hop and R&B worlds are slowly getting back to their weekly tidal waves of new music. The options are a bit sparse this week, as January is typically a slow month for new releases, but there are still some standouts. Even as Nicki Minaj’s Pink Friday 2, Jack Harlow’s “Lovin on Me” and Drake’s For All the Dogs continue to rule the charts, there are few new remixes and singles that could very well grow into the first smash hits of 2024.
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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 Fivio Foreign’s fiery new drill anthem to Megan Thee Stallion’s swing at hip-hop musical theatre. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Erick the Architect & George Clinton, “Ezekiel’s Wheel”
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Erick the Architect of Flatbush Zombie has a solo album on the way, and if “Ezekiel’s Wheel” is anything to go by, we’re in for a stunner of an album. Alongside the legendary George Clinton, Erick blends notes of ’90s East Coast hip-hop, reggae, funk and soul for a song that recounts his experiences growing up in Brooklyn, New York and growing into the rapper he is today. Lyrically, the track is anchored by an allusion to the Biblical story of Ezekiel’s wheel; “Everyone’s keepin’ secrets for oilin’ / Have Ezekiel’s wheels gone squeaky?” Clinton asks in trademark scraggly voice. There’s a gentleness in Clinton’s delivery that nicely offsets the chugging nature of Matt Zara’s production, a wonderful study in sonic contrast.
ScarLip feat. NLE Choppa, “Blick (Remix)”
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For the remix to her latest hit, rising Bronx rapper ScarLip tapped “Slut Me Out” hitmaker NLE Choppa. “Blick” has already been gaining traction on TikTok thanks to a viral dance, and this new remix is sure to give the track an extra boost. Most of the original “Blick” track remains unchanged, ScarLip’s gruff tone anchors high-energy verses and a danceable hook alike, so NLE Choppa smartly adapts his style to her formula. “Shake a n—a down like booty and cheeks/ I’ma Summer Walk s–t down, shout out Lil MeechCall it abuse how we beatin’ the streets/ Jumped off the porch, you was beatin’ your meat,” he raps in his signature blend of sexed-up humor.
Westside Gunn, Conway the Machine & The Alchemist, “F–k & Get High”
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Over a luxurious, drum-heavy instrumental courtesy of The Alchemist, Westside Gunn & Conway the Machine trade verses that prioritize a certain kind of lustful braggadocio. In between their relatively heady proclamations of wealth and success, they use the hook (a notably sparse “All I wanna do is f–k and get high/ That’s all I wanna do”) for some breathing room. It’s a lightweight track, but the depth of Alchemist’s production provides a sturdy foundation for their ruminations on some of the finer things in life.
Sdot Go, SweepersENT, Jay Hound, Sha Gz & Jay5ive, “I Like to Party”
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This song has been going viral on TikTok for months as a snippet, and now it’s finally here in all of its glory. Sdot’s opening lines — “I like to party, but I need b–tches/ Clap-clap to the beat/ Up, I’m tryna see if she wit’ it” — are something of a manifesto. His gruff semi-growl immediately signals the track as a drill anthem (as does the pounding production, courtesy of Ajellz, Nxxre, Bullo Producer and YoJelly) — but, more importantly, his tone is the track’s entire center of gravity. There are a slew of artists on “I Like to Party,” but no one’s voice is as commanding or as charismatic as Sdot’s. And that’s why he can score hits whether he’s behind bars or not.
Ama Louise, “Send Your Loving”
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Rising R&B Singer Ama Louise delivers a slinking, sultry ode to the security of true love with “Send Your Loving.” A quiet storm of twinkling synths and keys soundtrack her pleas for a lover to send their “loving” so she can create some sense of safety for herself. “So send your loving to me tonight/ ‘Cause only you can save me from my mind,” she croons in her honeyed timbre. From the production to Ama’s vocal performance, “Send Your Loving” is an incredibly intimate affair; it’s warm and inviting, but the ache and longing that course through her background vocals are what truly pull the song together.
UMI & V of BTS, “Wherever U R”
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As the BTS boys continue to fulfill their respective military duties and await their long-anticipated comeback, fans have found solace in each group member’s solo endeavors. Last year, Layover, V’s debut solo studio album, reached No. 2 on the Billboard 200 thanks to its tight blend of pop and R&B. Now, the BTS star is kicking off 2024 by throwing an assist to UMI on the tender, guitar-backed “Wherever U R.” “Even on the days, I ain’t right by your side/ I’m keeping my promise that/ I will be wherever you are,” he sings. The duet is incredibly lush in the way UMI’s and V’s voices marry across the tasteful instrumental arrangement. Likely V’s last musical release until he completes his military service, “Wherever U R” is a heartfelt “see you later” to his fans that doubles as a heart-melting anthem of commitment for lovers.
We finally made it, folks! 2024 is here. To kick off the new year, Billboard’s monthly Reggae/Dancehall Fresh Picks column is back with the best selections from December 2023.
As the world celebrated the various December holidays, the biggest names in reggae and dancehall convened in Portmore, Jamaica, for the 40th edition of Sting — the iconic music festival that served as both a debut stage for future reggae superstars and a host site for legendary clashes. The 2023 edition of the festival featured headliners such as Bounty Killer and Capleton, although severe delays prevented several headliners from performing, drawing heated responses from musicians such as Tanya Stephens.
Elsewhere in the reggae and dancehall worlds, Masicka notched a second consecutive No. 2 peak on the Reggae Albums ranking thanks to his new 17-track Generation of Kings album. Teejay, Shenseea, Bunji Garlin, Rupee and Ding Dong all lit up the Hot 97 Winter Jam stage on Dec. 30.
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: Lila Iké, “Good & Great”
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Jamaican reggae star Lila Iké has been performing “Good & Great” in live settings for most of last year, but she finally gifted fans with an official streaming release at the tail end of 2023. Equal parts reggae and gospel, “Good & Great” finds Iké singing her praises to Jah and thanking him for keeping her and blessing her. The lyrics read as confessionals, dripping with vulnerability that’s accentuated by the string arrangements in the background. “Sometimes I fail, oh gosh/ Sometimes I falter/ And feel as though you’ve left me in a corner/ But here you are the light upon my tunnel,” she croons with her irresistably buttery tone.
DEV & Millbeatz, “Rum Hit Meh”
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It is truly a testament to how strong the “Jouvert Jam” riddim is that every song on the five-track compilation is a banger. For his take on the riddim, Trinidadian soca artist DEV shifts his focus to the intricacies of his vocal performance. “Di rum hit meh bahhhhd,” he chants and the chorus, doubling down on the airy qualities of the vowel in the word “bad,” and delivering a level of animation that embodies the balls-to-the-wall energy of J’ouvert festivities.
Dan Evans & Nessa Preppy, “By Mehself”
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Wining is synonymous with much of dancehall and soca, but contemporary cultural conversations concerning consent have sparked some reevaluations of the social cues that are integral to the dance style. For her take on Dan Evans’ “90 Degree” riddim, Nessa Preppy delivers an ode to wining for yourself, not for a man or any other dance partner. The brightness of her tone pairs well with the fairly sparse instrumentation in the beginning of the song, but it’s the giddy glee in her vocal performance that truly conveys the feeling of liberation that comes from dancing for, with and by yourself.
Bunji Garlin, “Forward”
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Three days before he graced the Hot 97 Winter Jam stage, Bunji Garlin provided the opening track to his collaborative “Smoke Riddim” double single with Shurwayne Winchester. On “Forward,” Garlin rides on high-octane soca percussion to deliver a track that doubles as both an anthem of West Indian pride and a party track that is sure to rule the coming year. “Rags in the air is the forward!” he proclaims.
Nicki Minaj, Skeng and Skillibeng, “Forward From Trini”
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Tucked away in the middle of her sprawling, Billboard 200-topping Pink Friday 2 album, “Forward From Trini” stands as the latest in a string of Nicki Minaj’s musical odes to her home country of Trinidad & Tobago. Minaj has collaborated with both Skeng (“Likkle Miss”) and Skillibeng (“Crocodile Teeth”) in the past, but this is the first time all three artists have appeared on the same track. A loving mixture of hip-hop, dancehall and soca (with notes of calypso), “Forward from Trini” serves as a reminder of both the interconnected lineage of those styles and Minaj’s boundless versatility.
Tech Sounds & Millbeatz, “Doh Run”
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As the opening track on Millbeatz’s Jouvert Jam Riddim compilation, “Doh Run” needed to feel massive. With his booming “Doh run!” chants juxtaposed against ever-so-slightly hollow percussion, Tech Sounds delivers a worthy kick-off to the J’ouvert tape. The funky riddim isn’t just infectious, it almost demands listeners to get up and wine their waists.
Fay-Ann Lyons, “Miss B-tch”
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There’s already a litany of songs reclaiming the word “b-tch,” and Fay-Ann Lyons is seeking to add to that legacy with “Miss B-tch.” For her contribution to DJ Avalanche’s “Do You” riddim, Lyons coasts over the electro-soca beat with a tone that can only be described as “gangsta.” There’s a certain bite and assertiveness in her tone that balances out the inherent humor in the drawn-out “This biiiiiitch” chant that punctuates the chorus. While, lyrically, she doesn’t offer any new spins on the word “b-tch,” Lyons’ conviction is far more than enough.
Nailah Blackman & Pumpa, “Born to Fly”
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Just as the Jouvert Jam Riddim compilation captured the rambunctious celebratory energy of J’ouvert festivities, so does “Born to Fly” for the Carnival season in general. Blackman’s piercing, saccharin upper harmony pairs well with Pumpa’s gruff tone as the two recount the feeling of freedom and catharsis that characterize partying during Carnival. The duality of their respective voices — a siren-esque timbre and a rousing roar of rasp — cover the wide expanse of Carnival energies. As they croon in the song and display through their collaboration, the true essence of the season is coming together as one to celebrate.
Masicka & Spice, “WOW”
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At the top of last December, Masicka dropped off his Generation of Kings album, which featured collaborations with a wide range of artists, including the likes of Dexta Daps, Fridayy and Chronic Law. On “WOW,” Masicka teams up with dancehall queen Spice for a no-holds-barred ode to tantalizing sexual chemistry. In a typical fashion, Spice is just as brash and forward as Masicka with her demands for sexual gratification, and the pair’s rhythmic flows recall dancehall’s influence on hip-hop.
Popcaan, “Life Is Real”
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On Christmas (Dec. 25, 2023), Popcaan gifted fans a surprise mixtape titled Best Mood. The project’s closing track, “Life Is Real,” is both an easy standout and a clear continuation of the crossover star’s penchant for somber evaluations of life, with all of the violence and riches that complicate it. “People you show your love and give your things often/ Same one will pop your neck just like a guitar string,” he warns, before proclaiming that no one can ever take his life from him — either literally or metaphorically. There’s a current of hope that courses from the song’s opening notes to those closing piano keys, but it’s Popcaan’s interpolations of family lessons and conversation that truly show just how much he has matured and grown over the past decade.
It’s been a year of incredible growth in the world of African music.
Music from every corner of the African continent, from West Africa’s contemporary, vibrant Afrobeats supergenre to South Africa’s groovy, bubbling amapiano scene, has continued expanding its reach across the globe, while further embedding itself in the U.S. pop market. Rema & Selena Gomez‘s “Calm Down” and Tyla‘s “Water” both became top 10 hits on the Billboard Hot 100. The Grammys, MTV Video Music Awards and American Music Awards added new categories honoring African music. And Uncle Waffles became the first amapiano act to perform at Coachella, while Burna Boy became the first Nigerian act to headline a U.S. stadium during his stint at NYC’s Citi Field.
And we wanted to honor the breadth of work by the continent’s established and emerging stars this year by sharing our individual favorite African songs (with an accompanying Spotify playlist) and albums of 2023, which can be found below.
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Heran’s Favorite African Songs of 2023
Tyla, “Water”
Davido feat. Musa Keys, “Unavailable”
Libianca, “People”
Amaarae, “Princess Going Digital”
Teni, “No Days Off”
Adekunle Gold with Zinoleesky, “Party No Dey Stop”
Crayon & Ayra Starr, “Ngozi”
Victor Thompson & Ehis “D” Greatest, “THIS YEAR (Blessings)”
Ruger, “Tour”
Muzi, “eMtunzini”
Dan’s Favorite African Songs of 2023
Davido feat. Morravey, “In The Garden”
Teni feat. ODUMODUBLVCK, “Devil Dance”
Olamide, “Problem”
Asake, “2:30”
BNXN, Kizz Daniel & Seyi Vibez, “GWAGWALADA”
Khaid, “Jolie”
King Promise, “Terminator”
Tiwa Savage, Ayra Starr & Young Jonn, “Stamina”
Lil Kesh, “Bus Stop”
Libianca, “People”
Heran’s Favorite African Albums of 2023
Amaarae, Fountain Baby
June Freedom, 7 Seas
Bloody Civilian, Anger Management
Tay Iwar, Summer Breeze
Teni, TEARS OF THE SUN
Davido, Timeless
Asake, Work of Art
Burna Boy, I Told Them…
Spinall, Top Boy
Bnxn, Sincerely, Benson
Dan’s Favorite African Albums of 2023
Davido, Timeless
Teni, TEARS OF THE SUN
Olamide, Unruly
Asake, Work of Art
Kizz Daniel, Maverick
Spinall, Top Boy
Lil Kesh, Rhythm & Tunes EP
Joeboy, Body & Soul
Amaarae, Fountain Baby
Burna Boy, I Told Them…
And check out our last Fresh Picks of 2023, while keeping up with the hottest new Afrobeats releases before the year is over with our Spotify playlist below.
Tyla, “Truth or Dare”
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Ahead of her self-titled debut album, Tyla invites an old flame, who wants to reignite what they once had now that he sees how hot she’s become, to play a tantalizing game of “Truth or Dare.” “So let’s play truth or dare, dare you to forget/ That you used to treat me just like anyone/ Truth or dare? Is it true you care? Now that you can see the love from everyone,” she sings in the tongue-in-cheek chorus. But the shuffling beat from the scorching amapiano-infused R&B record feels like Tyla is inviting her past lover onto the dancefloor to win her back. Regardless, it’s Tyla who emerges victorious.
Victor Thompson, “Stallion”
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After blessing listeners with his and Ehis ‘D’ Greatest’s viral, inspirational anthem “THIS YEAR (Blessings),” the Nigerian gospel singer gives thanks to the One who’s given him the strength to conquer this year with his debut album Blessed. On its opening track “Stallion,” Thompson delivers a message of resilience over a buoyant beat that can inspire listeners to bounce back from any hardships they might be enduring. “I’m a stallion/ And I ride on like a champion/ ‘Cause my Father, He has won it all/ And I no fit fall,” he croons with grace.
PsychoYP feat. ECEE, Rhoma BTW & Zaylevelten, “LEAN!”
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From the deluxe version of his Osapa London album, the Nigerian alternative rapper talks his shit on the electrifying cut “LEAN!” Over menacing horns and a punchy bassline that could start mosh pits all over the continent and beyond, PsychoYP flexes that he has “forty mil in four different accounts” and other luxuries that make him untouchable, while up-and-comers ECEE, Rhoma BTW and Zaylevelten show off their distinctive flows that all seamlessly blend into the stimulating sonics of “LEAN!”
Libianca, Oxlade & Chlöe, “Mistaken”
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Following the success of her breakout hit “People,” Libianca continues using her stirring, soul-baring vocals to unload the “baggage that I’ve been carrying for my whole life,” she said in a press statement, with her debut EP Walk Away. On the highlight track “Mistaken,” the Cameroonian American singer-songwriter is pondering whether the man she’s preoccupied with is truly worth her time, with Oxlade playing the man in question, taunting her for being so obsessed with him. But Chlöe reforms from her old ways of being desperate for love from a man who never deserved her, ending “Mistaken” on a high note of resilience.
Wizkid feat. Wande Coal, “Ololufe”
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Wizkid surprise-dropped his first project of 2023 at the tail-end of the year with the four-track EP S2. On the opening track “Ololufe,” the Grammy-winning superstar links back up with renowned hitmaker Wande Coal (following Wiz’s feature on “Ebelebe” from Coal’s Legend Or No Legend album earlier this year) for an amapiano banger, filled with energetic shakers and audacious percussion that can get every party started this Detty December. But Wizzy’s tender-hearted profession of his love for his darling, paired with Coal’s featherlight melodies, remind listeners that “Ololufe” is also a love song — and that feeling in and of itself is exhilarating.
Zinoleesky, “Sakara”
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Zinoleesky’s lyrics have always tended towards the raw, and this year-end single is as introspective as they come, as he sings about struggling to keep his head above water in a world of constant judgment and comparison. But it’s the emotion in his voice that stands out — rarely has he dipped so deeply to convey his feelings beyond just his words, and it makes this song stand out amid his catalog.
Seyi Vibez, “Different Pattern”
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Seyi Vibes has proven to be a chameleon when it comes to his sound, yet his particular flow and vocals always make his songs distinctly his own. “Different Pattern” is a perfect example, combining Highlife instrumentation with his multi-layered vocal delivery to make something that seems odd on paper function seamlessly in practice. It’s a fitting way to bookend a banner year for the young street artist, who held things down from beginning to end with a string of worthy projects in 2023.
Chike & Mohbad, “Egwu”
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From the single artwork, to the production, to the lyrics and the melodies, everything about “Egwu” serves as a tribute to the late Mohbad, who died suddenly and tragically in September at the age of 27. Over an almost orchestral backdrop and with a gorgeous hook, the song turns on a line from Mohbad that serves as a thesis statement: “Music no need permission to enter your spirit.”
Sarz, Asake & Gunna, “Happiness”
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The second single off Nigerian super-producer Sarz’s forthcoming album sees him tap into the talents of two bonafide stars of 2023 in Asake and Gunna over a major-keyed guitar-based beat. Asake carries the track with his infectious delivery reminiscent of some of the themes on his Work of Art album from the summer, while Gunna comes through with a breezy verse that nods to the good life.
Kizz Daniel, “Too Busy to Be Bae”
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Kizz Daniel caps a big year, bookended by the release of his single “Rich Til I Die” and highlighted by his latest album, Maverick, with a new single about the downsides of a suffocating relationship. But despite the subject matter, he can’t help but craft a catchy hook for the earworm single.
As per usual, it’s been a busy week in the world of hip-hop and R&B. With exactly one week to go before Christmas, the worlds of hip-hop and R&B extended their stay in Gag City. Nicki Minaj — who recently clinched her historic third Billboard 200 chart-topper — dropped off another version of Pink Friday 2, this time featuring collaborations with 50 Cent (“Beep Beep”) and Monica and Keyshia Cole (“Love Me Enough”).
The “Super Freaky Girl” rapper also dominated the news cycle with a pair of iHeartRadio Jingle Ball performances, a record-breaking stream with Kai Cenat, and her decision to brush off Kanye West‘s request to clear her beloved “New Body” verse for his and Ty Dolla $ign’s imminent Vultures album. Speaking of Vultures, that album never arrived. Nonetheless, we were treated to new LPs from Bas and YTB Fatt, as well as the highly-anticipated Color Purple soundtrack, which features new original songs by Halle Bailey, Fantasia, Jennifer Hudson, Mary J. Blige, Usher, Coco Jones, H.E.R., Megan Thee Stallion, Missy Elliott, Shenseea and more.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop. From A$AP Twelvyy’s heart-warming A$AP Mob reunion to Madison Ryann Ward’s gorgeous amalgamation of gospel and acoustic R&B, get into these six new picks and be sure to check out the rest of our recs in the Spotify playlist below.
Freshest Find: Fantasia, “Superpower (I)”
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There was simply no way to bring The Color Purple from Broadway to the silver screen without a show-stopping new end-credits song. Leave it to Fantasia and The-Dream to deliver that and then some with their rousing “Superpower (I).” Anchored by ethereal strings and the driving melodies of Negro spirituals, Fantasia croons lyrics that beautifully capture the arc and triumph of both Celie and herself. “I pray you see past my scars/ And assumе all the joy inside/ We all got our own mountains to climb/ Wе’ll take our time goin’ down the sweeter side,” she sings. Known and beloved for her powerhouse vocals, Fantasia plays with her dynamics here, carefully oscillating between soft coos and levee-breaking belts that add new layers of intention and storytelling to The-Dream’s lyrics.
A$AP Twelvyy feat. A$AP ANT, A$AP Rocky & A$AP Ferg, “Yams Day”
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For this loving tribute to A$AP Yams — the late New York rapper who formed A$AP Mob — four of the collective’s brightest stars team up for three minutes of tender nostalgia. Built around a sample of DJ Zirk’s “Ana 4 Ya Hoez,” “Yams Day” draws from the same Southern hip-hop influences that inform Rocky’s sound. The track is the first of five new tracks on the deluxe version of Twelvyy’s Kid$ Gotta Eat and it aptly functions as both a memorial and a victory lap. Between Rocky’s refrain and Ferg’s hook — not to mention the strong verses from Ant and Twelvyy — “Yams Day” captures the beautiful synergy of A$AP Mob, one that feels renewed after some time to heal from Yams’ passing.
Fivio Foreign & 41, “Get Deady”
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Brooklyn rap trio 41 has enjoyed a breakout year in 2023, and they’ve capped off their run with a new Fivio Foriegn collaboration. Steeped in both acts’ Brooklyn drill sound, each rapper delivers a high-octane, punchline-ridden verse over a skittering beat courtesy of AyoAA, Lawyered Beats & Verbxse. “Like, okay, who tryna cyph’?/ Who tryna smoke on a body tonight?” Kyle Richh quips. The chemistry among 41’s members remains palpable (just check out the gusto that namedropping TaTa brings to the end of Jenn’s verse), but their ability to showcase their idiosyncrasies while holding space for Fivio’s dynamism is what really makes this track such a winner.
X4, “Call My Bluff”
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For his latest release of the year, LA rapper X4 opts for ominous synths and laid-back finger snaps to provide the foundation for “X4,” a brooding invitation for his opps to, well, call his bluff. The texture of X4’s voice is what elevates the track, equal parts whispery and hoarse, his tone is a stark contrast to gruff growling that’s currently dominating hip-hop on the other side of the country. He sounds unfazed on “Call My Bluff,” almost purposely monotone. In a way, his delivery underscores the mundanity of the scenes he raps about, and who are we to call his bluff?
Madison Ryann Ward, “Calling My Name”
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With a delicate timbre that recalls Yebba’s, Madison Ryann Ward unleashes an unbelievably tender amalgam of acoustic R&B, gospel, and pop. Her saccharine melodies immediately lodge themselves in your ear, but it’s her fluttery harmonies — ones that find her warping her malleable head voice — that add some intricacies to the melody’s broad strokes. Of course, there are also the lyrics: heartfelt couplets that exalt God and thank Him for being a constant presence in her life. The chorus interpolates portions of “Amazing Grace,” which pairs nicely with the apprehension and self-doubt that courses through her verses: “Help me with my unbelief/ This gonna preach, say I’m forgiven and free/ This is another degree, who, me?/ You really talkin’ to me?” she croons.
Bas feat. Blxckie & A$AP Ferg, “U-Turn”
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The late-night driving crowd is a silent but mighty segment of music listeners, and Bas may have just gifted them their newest anthem. Assisted by South African rapper Blxckie and A$AP Ferg in his second appearance in this week’s column, Bas coasts over mOma+Guy’s luscious production with inimitable sensual swagger. The smooth Afrobeats-inflected beat soundtracks his ode to spinning the block on a lover that you just can’t get out of your head and heart. While he’s present throughout the track, Bas doesn’t have a verse of his own, making “U-Turn” not just an enjoyable song, but also a deft showcase of his curatorial abilities.
As per usual, it’s been a busy week in the world of hip-hop and R&B. In the first full week of December, myriad artists got their announcements and releases out to avoid the Christmas lockdown in the coming weeks. On Sunday (Dec. 10), SZA celebrated the one-year anniversary of her blockbuster SOS album with the announcement of LANA, the forthcoming deluxe version of her nine-time Grammy-nominated sophomore studio album. Of course, the weekend’s most high-profile release was from none other than Nicki Minaj, who unleashed her long-awaited Pink Friday 2 — her fifth studio album and sequel to her 2010 Billboard 200-topping debut LP — on her birthday, Dec. 8.
Elsewhere in the hip-hop and R&B worlds, Cardi B confirmed that she is no longer with Offset, 2 Chainz is thankfully in stable condition after landing in an unfortunate car accident, and Will Smith rocked the house at the star-studded A Grammy Salute to 50 Years of Hip-Hop telecast.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop. From Tokischa and Sexyy Red’s cross-genre collaboration to Usher and H.E.R.’s stunning Color Purple duet, get into these seven new picks and be sure to check out the rest of our recs in the Spotify playlist below.
Freshest Find: Usher & H.E.R., “Risk It All”
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As the highly anticipated Color Purple movie musical draws nearer, the promotion for the flick’s two related soundtracks is kicking into high gear. Usher and H.E.R. started off the weekend — which ended in a pair of Golden Globe nods for lead actress Fantasia Barrino and supporting actress Danielle Brooks — with the release of “Risk It All,” their gorgeous new duet for The Color Purple (Music From and Inspired By), due Dec. 15. Co-written by Oscar winners H.E.R. and Jimmy Napes, Usher and the “Damage” singer harmonize beautifully across the ethereal piano-backed arrangement. “People are cryin’ for it, people are dyin’ for it/ Always the reason we still believe it/ Somethin’ that leaves us hurtin’ is worth it,” the pair croon.
Tokischa feat. Sexyy Red, “Daddy”
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How do you cap off a breakout year that found you opening up for Drake and collaborating with Nicki Minaj? With an infectious cross-genre collaboration, of course! For the latest release in her string of fiery collaborations, Sexyy Red links up with Latin Grammy-nominated Dominican rapper Toksicha, for a sultry, sex-positive reggaeton-meets-house number that plays around with gender in the realm of kink. Across the thumping Yeti Beats- and El Guincho-helmed beat, Tokischa assumes the role of Sexyy’s sugar daddy as they trade hilarious verses, including some tongue-in-cheek bilingual lines from the “Pound Town” rapper herself.
Nicki Minaj, “Fallin 4 U”
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Of course, the Queen scores herself a slot on this week’s round-up. Her gargantuan Pink Friday 2 LP — 22 tracks and counting — features several tracks for every side of her musical personality, but most pale in comparison to “Fallin 4 U.” Placed several songs deep into the album, “Fallin 4 U” is, in many ways, the defining synthesis of Minaj’s creative hallmark. There are her impassioned, high-octane, wordplay-laden bars, emotional Auto-Tuned ad-libs and hooks, a penchant for both the introspective and the braggadocious (often at the same time), and a healthy dose of melodrama via those background strings. If there’s any track on Pink Friday 2 that truly makes the album feel like a descendant of its predecessor, it’s this one.
SXMPRA feat. Juicy J, “Business Man”
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New Zealand rapper SXMPRA combines his ominous underground phonk sound with that of ’90s Memphis rap pioneer Juicy J on the hard-hitting “Business Man.” The pair trade punchline-packed verses asserting their dominance at break-neck speed. “Stand and fight/ Folding chairs and/ Throwing them hands/ Would’ve been the best time of my life,” quips Juicy. The collaboration features production from Juicy J and HitKidd, who put out his own Renegade album this week.
James Fauntleroy, “Sleigh”
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Holiday music seems to be a genre that knows no bounds given how its consumption only increases with each passing year. Four-time Grammy-winning singer-songwriter James Fauntleroy took a daring stab at holiday originals by making his debut studio LP a Christmas album. A compilation of two previous holiday EPs featuring ten tracks, The Warmest Winter Ever is chock-full of steamy between-the-sheets anthems for the Christmas season. “Sleigh,” is one of the album’s instant standouts, with its waterfall of layered harmonies and cheeky Beyoncé shoutout: “She gon’ sleigh like Beyoncé.”
Tems, “Not An Angel”
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For her latest release, Tems subverts the gospel-bent of her preceding “Me & U” single and opts for a rhythmic take on Biblical imagery, rejecting the role of being an “angel” or “savior” for someone who isn’t quite yet ready to be saved. “‘Cause I’m not an angel/ I’m just a girl that knows the truth/ And I couldn’t save you/ You couldn’t see what I’ve been through,” she croons sorrowfully over the Sarz co-produced Afrosoul beat.
Q Da Fool feat. Ot7 Quanny, “Rich Droppaz”
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It’s a bit ironic that a link-up between a DMV rapper and a Philly rapper sounds so far removed from the dominant contemporary sound of either region, but it undoubtedly makes for a banger of a record. A slinking street anthem that coasts on both the duo’s chemistry and their individual charisma, “Rich Droppaz” finds the pairs trading hilarious bars like, “Yeah, I love the money, go me boo’d up/ I can’t do no Ella Mai, I ain’t ‘Boo’d Up.’” Unassuming but still urgent, “Rich Droppaz” is a promising lead into Q Da Fool’s forthcoming Art of Ambition album.
Did anything else happen in the past week besides the premiere of Beyoncé‘s Renaissance: A Film by Beyoncé? The music icon’s latest concert documentary vogued to the top of the weekend box office with $21 million — the biggest opening for a film on this historically sleepy first weekend in December in 20 years. With a pair of star-studded (Taylor Swift! Lupita Nyong’o!) premieres in Los Angeles and London, Queen Bey dominated all things music last week.
Nonetheless, the hip-hop and R&B worlds had plenty happening outside of the Renaissance rush. Debates around who belongs on the “mixtape Mount Rushmore” dominated social media, while other conversations continue to deal with the barrage of high-profile lawsuits filed under New York State’s recently-expired Adult Survivors Act.
On the music side, Sexyy Red repackaged her breakout Hood Hottest Princess tape with a tracklist that doubled the size of the original, Lil Wayne joined forces with Shabba Ranks and Buju Banton for the lead single for the forthcoming Book of Clarence soundtrack and Usher commemorated the close of his Las Vegas residency with his appearance on the remix of Jung Kook‘s “Standing Next to You.”
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop. Get into these seven new picks and be sure to check out the rest of our recs in the Spotify playlist below.
Freshest Find: Antha Pantha feat. A$AP Ferg, “Catwalk”
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Harlem native Antha Pantha unleashed her debut album, Feline Season, last week, with guest appearances from A$AP Ferg (twice!) and HuntDawgg. Ferg lent his talents to the album’s second track, “Catwalk,” an electric tribute to the late ’90s New York hip-hop. He interpolates DMX‘s iconic “meet me outside” chant from “Party Up,” and uses it to evoke the brash energy of the late rapper and his era of high-octane party-rocking crossover hip-hop hits. Antha Pantha skates across the track with the flirtatious charisma of classic-era Lil Kim, always tempered by her own comedic idiosyncrasies in her lyricism and tone. New York’s female rappers just keep on winning.
Beyoncé, “My House”
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Would it be a Beyoncé film event if we didn’t get a new song? Just like the Queen’s winning cover of Frankie Beverly & Maze’s “Before I Let Go” accompanied her Homecoming documentary, “My House” arrives as Beyoncé’s bonus treat for the Renaissance doc. Equal parts marching band-infused dirty South trap and ballroom-ready house, “My House” is Beyoncé’s signature (and somewhat literal) take on house music. Between her animated vocal delivery and those ridiculously lush vocal stacks, the track is unmistakably Beyoncé despite featuring the singer at arguably her most experimental.
BigXthaPlug, “Back on My BS”
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On Friday (Dec. 1), BigXthaPlug capped off his banner year with the release of a new EP titled The Biggest. “Back On My BS” opens the project with a swaggering combination of jazz brass and skittering bass. “The one who put all this together/ They gave me somethin’ good and I made that s–t better/ Turnt up the notch, my watch changed up the weather/ I’m bigger and better, shit bigger than ever,” he spits on the single-verse track. Between his charismatic cadence and Tony Coles’ smooth beat, “Back on My BS” is a knockout opening track.
Dee-1, “Lines Drawn”
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Hip Hop 50 has been wracked with conversation regarding the current scope of the genre’s messaging, the state of hip-hop culture at large and the alleged precariousness of its current position in the music industry. Dee-1, a NOLA rapper, has been vocal about his opposition to the redundancy of mainstream contemporary rap and its glorification of violence. On his new track “Lines Drawn,” which will is presently exclusively available on Audiomack, Dee-1 demands more from both consumers and creators in hip-hop: “I said that glorifying murder in our music is bad/ Now people saying ‘Stop speaking up, we like to hear that!’/ If that’s your preference, that’s cool, but when you get on the defense/ That lemme know my spirit irritatin’ your demons,” he spits over a chugging trap-infused instrumental.
Flo Milli, “Never Lose Me”
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The Alabmama rapper’s long-gestating “Never Lose Me” is finally here — and it was, in fact, worth the wait. A snippet of this song went viral on TikTok, amassing over 100,000 posts in just under two months. The new track, and latest taste of her forthcoming Fine Ho, Stay album, finds Flo delivering smooth, sultry bars over a sample of Babyface Ray & 42 Dugg‘s “Ron Artest.” “Yeah, he my man, he was never your type/ If you try me, ho, it’s on sight/ He totin’ the Uzi, but he actin’ real bougie/ I like to fight over d–k, ho, don’t get hit with the two-piece,” she spits over the synthy instrumental, using her sweet tone as a Trojan horse for hard-hitting barbs.
Tyla, “Truth or Dare”
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As the newly Grammy-nominated South African breakout star continues to rides the waves of “Water” to new commercial heights around the world, she’s already racing to her forthcoming eponymous debut studio album. She released three strong new tracks last week (Dec. 1), including the sensual standout “Truth or Dare.” On the mellow new Afropop-infused track, Tyla employs a staccato delivery in the verses to glean the truth from a lover who got away, ultimately delivering subtle riffs and ear-candy harmonies in the chorus. “Truth or dare? Is it true you care?/ Now that you can see the love from everyone,” she croons.
Hillari, “Blind Then”
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Backed by mournful acoustic guitar, rising Filipina-Norwegian artist Hillari spends “Blind Then” parsing the difficulties of prioritizing music over certain relationships in her life. “Wish I would’ve noticed I was/ Blind then, silenced/ But I never noticed you was/ Right there, beside me,” she sings. It’s a simple arrangement — mostly reliant on a soulful collage of guitar and drums — but it’s Hillari’s weighty voice that illuminates that simplicity. Each quiver of her vibrato rings with the doubt, frustration and yearning she describes in her lyrics.
As the penultimate month of the year comes to a close, it’s time to start reflecting on the past year in music and culture. This month, Billboard unveiled the 2023 Year-End charts across genres, including five rankings celebrating the year in reggae. Greatest hits sets from Bob Marley, Shaggy and Sean Paul ranked as the first, second and third biggest reggae albums of the year, respectively, while 2023 breakout star Byron Messia made an appearance in the top 10 with his No Love album (No. 8). Messia also made an appearance on the 2023 Year-End Billboard U.S. Afrobeats Songs chart thanks to his Burna Boy-assisted “Talibans II” (No. 26).
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Although our general focus has shifted to previewing the new year and reflecting on the current one, 2023 is far from over. To close out the year, Messia, Teejay, Shenseea, Jada Kingdom, Ding Dong and Nadg will perform at Hot 97’s Winter Jam on Dec. 30. There’s still one month to go before that concert, so let’s take some time to sort through the best November releases across reggae, dancehall, soca and their cousin genres and scenes.
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: Duane Stephenson, “Golden Nights (in December)”
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On the day after Thanksgiving, VP records dropped a holiday covers album titled Reggae Christmas Classics. Among the selections — which include a cover of “This Christmas” bv Christopher Martin and a Thriller U rendition of “Feliz Navidad” — is Duane Stephenson’s original track “Golden Nights (In December).” Built around a jazzy intro that launches into a blissful rocksteady groove, Stephenson’s honeyed voice croons about the irreplaceability of his lover on the coldest December nights. “If you’re not here with me in December/ There are no golden nights to remember/ If you’re not here with me in December/ Such a lonely, it’s a lonely time of year,” he coos.
Farmer Nappy, “How ah Livin”
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Relentless optimism and hope in the face of a world that seems hellbent on snuffing the light out of nearly every part of life is not just welcome, it’s vital. That’s part of why soca continues to resonate after so many decades, and it’s also the driving force behind Farmer Nappy’s “How ah Livin.” With joyous percussion sourcing accents from the ebullient background horns, “How ah Livin” is a purposeful reclamation of joy. “How ah livin’?/ Better than them!/ How I lookin’?/ Better than them!” Nappy sing-chants.
Chronic Law & Ireland Boss, “Still Dark”
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Alongside “Talibans” and “Drift,” Ireland Boss and Malie Donn’s “V6” was another summer dancehall hit that dominated the year. After letting that track enjoy months of success, Ireland Boss has unveiled the latest take on his V6 riddim with some help from Chronic Law. “We nah love talk, yeah we popular fi dark/ Them ya gun ah go fi blood like Dracula mi dawg/ When we ah go ah school, have mi ratchet and mi dark/ Know mi and mi matic affi charge,” Chronic spits over the slinky, laid-back instrumental, opting for an approach that brings the riddim closer to the gun chune lane than the sexually charged braggadocio of the original.
Gbmnutron & Jus Jay King, “When Last”
Let’s face it: life has been different since the pandemic no matter how hard a “return to normal” is pushed. With “When Last,” Gbmnutron and Jus Jay King hold space for the feeling of longing for the fetes and parties of years past, infusing both the instrumental and lead vocal with an unmistakable dash of wistful nostalgia. “When last you been to a party?/ Plenty women looking so nice, we must be in paradise/ When last you had a time to remember?/ It’s only bumper to fender, and the drinks cyah done. big up di bartender,” he sings.
Protoje & Zion I Kings, “Jah Deliver Me”
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A delectable slice of more traditional reggae stylings, “Jah Deliver Me” is housed on In Search of Zion a remix album based by Zion I Kings based on Protoje’s 2020 release In Search of Lost Time. In the verses, the two-time Grammy nominee employs a hip-hop-influenced cadence, while the chorus finds him opting for a more legato, melodic approach in his singing. A solemn, introspective track, “Jah Deliver Me” is the perfect soundtrack for the darker moments of the winter months; “I hold my order, give my praises/ Oh, Jah, deliver me through these days/ Sometimes really hard to go and face this/ Oh, this life can truly be amazing,” he sings over hopeful brass.
DSL, “I’m High”
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A dancehall and reggae artist hailing from Ghana, DSL balances atmospheric guitar-tinged arrangements with a languid vocal delivery to embody the greened-out energy of the aptly titled “I’m High.” “Who are these people doing much good to we/ Why do you want to spoil my melody/ So what do you want from me/ The herb is my remedy,” he explains. It’s a simple song, but DSL creates an incredibly immersive sonic space through the attention he pays to the relationship between his rasp-accented vocal and the saccharine female voice in the background.
Darryl Gervais & Fryktion, “Over & Over (Cyah Stop It)”
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On this gospel-indebted selection from Fryktion’s The Rub-a-Dub Project EP, Darryl Gervais sings praises to the Most High over an instrumental pulls equally from modern reggae and soca. “It ain’t nothing that you can do to stop my blessings come through/ Yuh cyah stop it, no, yuh cyah block it,” Gervais proclaims. He delivers his lyrics with the gravity of a person who is unshaken in their face, completely wrapped in their trust in the Lord. Between a catchy melody and that irresistible hook, “Over & Over” achieves the perfect balance of being both a universal anthem of praise and a personal moment of thanks.
Ding Dong, “Rebel”
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Dance is, of course, one of the key cornerstones on dancehall, so it’s no surprise that Ding Dong’s new single celebrates Christina Nelson, also known as Dancing Rebel, one of the most popular Jamaican dancers and choreographers in the world. Already complete with a dance combination courtesy of Nelson, “Rebel” rests on Ding Dong’s commanding voice and engaging ad-libs to morph into what could very well be the next viral dance track from the dancehall scene.
Lyrikal, XplicitMevon & N.M.G. Music, “Fetin’ Mayor”
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XplicitMevon and N.M.G. Music’s resurgence riddim is one of the best riddims of the year, and everyone from Ricardo Drue to Preedy delivered electrifying takes on the accompanying Resurgence Riddim EP. Lyrikal’s version, however, reigns supreme: His magnetic voice booms across the track as proclaims himself mayor of “the nation/ the fetin’ congregation/ the party population.” He cheekily expresses his selflessness in making sure that everyone, not just himself, is having the time of their lives at whatever function they’re at. While the rest of the world is slowing down as winter takes over, Lyrikal is square in the middle of the dancefloor, beckoning us to join.
Viking Ding Dong, “Harder”
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In addition to the Resurgence Riddim EP, November also gifted us the Saying Something Riddim EP. With “Harder,” Viking Ding Dong delivers an anthem of resilience and gratitude. “Life hard but we harder!/ Life hard, but we harder!/ But we haffi give thanks to di Father,” he declares over the thumping percussion and cheerful guitar strums. Obviously we’re in a season of thanks, and Viking Ding Dong doesn’t take that lightly as he skates across the track with sanctimonious reverence.
Bonus Pick: Samory I feat. Lila Iké, “Outside”
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Over thumping, militant drums and a thumping bassline, Samory I and Lila Iké flex their vocal chemistry across “Outside,” an ode humility, perseverance, and faith. Lila’s dulcet timbre rings throughout her voice, providing a gorgeous contrast to Samory I’s soulful tone. When those rock-tinged guitars kick in, however, “Outside” evolves into something different: a genre-smattering love letter to the different sounds styles of the Black diaspora that find a common thread in their musical displays of Black tenacity. “Jah Jah we call upon your name/ Pray you lantern all our days/ When it gets dark, we know you’ll always make a way,” Lila croons. Existing while Black is a task that demands a certain level indefatigability, and the community that can be sourced through that is the backbone of “Outside.”
