Fresh Picks
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As the R&B and hip-hop worlds prepare to descend on Philadelphia, PA, for Roots Picnic 2024 (June 1-2), a bevy of the scenes’ hottest stars kept the headlines jumping.
Between Sean Kingston‘s arrest for fraud and theft last Thursday (May 23) and Nicki Minaj‘s live-streamed Amsterdam arrest for allegedly “carrying drugs,” legal woes continued to plague hip-hop in a year that’s included watershed cases — including several levied against Sean “Diddy” Combs, whose transgressions were painstakingly detailed in a harrowing Rolling Stone exposé on Tuesday (May 28).
In lighter news, Drake took a stab at the viral “BBL Drizzy” beat, Sexyy Red made her WWE debut and Kehlani gave an impassioned plea for her peers to speak up against the atrocities in Gaza. “[I don’t care] about the roll out the formula the strategy the algorithm at this point i’m begging U TO BE PEOPLE. BE A F–KIN HUMAN BEING,” she wrote on Instagram (May 28).
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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 Sugarhill Ddot’s Ginuwine-sampling banger to ASTN’s introspective take on navigating troubled waters in relationships. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Sugarhill Ddot, “Like This”
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The sexy drill movement has taken over the NYC rap scene, and its momentum is only going to grow with the block parties and outside antics in store for the summer. The 15-year-old Sugarhill Ddot is a burgeoning star helping push the sub-genre to the mainstream, and he’s not even old enough to drive just yet. Luckily, since he hails from Harlem’s Sugar Hill neighborhood, he doesn’t need a car to maneuver around the Big Apple. Ddot returned on Friday (May 23) with a love story putting his drill spin on Ginuwine’s classic “Differences,” which arrived nearly a decade before the Dominican rhymer was even born. An accompanying music video was also released depicting an all-too-familiar date night scene for teens at the local bowling alley. With co-signs from Drake and Lil Durk, the future is bright for the Priority Records signee.
FLO, “Caught Up”
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For their second release of 2024, U.K. pop&B trio FLO pivot away from the lovestruck tone of March’s “Walk Like This” and return to the head-over-heart sensibilities of fan favorites like “3 of Us” and “Cardboard Box.” “I found some receipts last night/ That didn’t quite match up with your time/ You say that you’re with your boys on vacation/ And you just post a picture with the girl you say you ain’t hit,” Renée Downer [sings] over a mélange of sexy, skittering guitar licks and bouncy drums. The trio’s harmonies are as tight as ever, lifting into a slight modulation in a bridge that elevates the entire affair while helping the group zero in on a sound that evokes ’00s pop&B without falling into the pitfalls of pastiche. With names like Sevyn Streeter, Pop Wansel and Jay Versace in the credits, “Caught Up” earns its rightful spot in the lexicon of well-crafted warnings to doggish men.
Vince Staples, “Justin”
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Vince Staples put a bow on his decade-long odyssey with Def Jam last week. Some of the Long Beach rapper’s most vivid storytelling comes on Dark Times standout “Justin,” where Staples recounts nearly falling for a love interest from Qatar. The ecstasy of a euphoric date night in Venice quickly becomes a nightmare when he’s stonewalled with an introduction to her actual boyfriend. She saves face by referring to Vince as her “little cousin Justin,” and Staples is left with DJ Khaled shouting in his head, “Congratulations, you played yourself.” While a story like this would surely spark intense debate with arrows shot across “relationship Twitter,” Staples says his piece on the outro, “Women lie a lot, put that on the dead homies/ Women lie a lot, on God.”
ASTN, “The Makeup Song”
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Perhaps best known for his viral R&B-tinged reimagining of Billie Eilish’s “Happier Than Ever,” emerging R&B/pop singer-songwriter ASTN has unleashed the latest single from his forthcoming What a Night to Be in Love EP. The new self-penned, Jake Melvin-helmed track finds him perusing the rough patches of a relationship over sparse, forlorn guitars, airy synths, plucky 808s and a catchy staccato flow. “If you look my way, I’m in front of you/ Make that angry face, it made me fall for you/ I got time today, and you got nothin’ to lose/ So don’t stress all the little things,” he croons. Side-stepping flowery metaphors and opting for a more direct and upfront approach to lyricism, “The Makeup Song” is yet another winner from ASTN.
Groovy feat. Kanii, “Mariah”
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Meshing the worlds of Jersey club and intoxicating R&B (which he’s coined as luv club), Groovy makes good on his name, all while hailing from the Garden State himself. His latest luv club offering comes in the form of his Crying in the Club EP filled with atmospheric tunes including an infectious collaboration with DMV singer Kanii titled “Mariah.” Over warm pulsating synths, Groovy comes to grips that the woman he adores is actually a liar (fittingly named Mariah), and the lust hypnotizes him into trying to look past the dishonesty. “You drive me crazy,” he comes clean. With Groovy’s father making waves as a Jersey club DJ, the apple didn’t fall far from the tree.
Kehlani, “After Hours (Cater 2 U Mix)”
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Kehlani is living her best 2004 life. After sampling the coolie riddim used in Nina Sky’s iconic “Move Your Body” for the hip-rocking dance tune “After Hours,” the Grammy-nominated R&B star turned to another 2004 hit to reimagine her latest single. Borrowing the sparkly synths of Destiny’s Child’s beloved “Cater 2 U,” Kehlani ups the breathless sexual tension of “After Hours” with an instrumental that focuses on dancing the night away in the bedroom instead of on the dancefloor. There are no new lyrics in this version of “After Hours,” and that’s probably for the better; the change in production does enough heavy lifting to highlight the duality of the song’s tone and concept.
With Kendrick Lamar‘s “Not Like Us” enjoying a Billboard Hot 100 No. 1 debut — alongside an ever-extending stint at the top of the zeitgeist thanks to Baltimore Mayor Brandon Scott — the Compton rapper’s musical scuffle with Drake continues to cast an unmistakable shadow over R&B/hip-hop and pop culture discourse.
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Nonetheless, the past week has seen the industry collectively begin to pick its jaws up from the ground and return to regularly scheduled non-Kendrick/Drake-centric programming. Both Vince Staples and Lupe Fiasco announced new albums — Dark Times and Samurai, respectively — while Lil Wayne headlined Travis Kelce‘s Kelce Jam 2024, which also featured performances from 2 Chainz and Diplo. Of course, a harrowing 2016 surveillance video appearing to show Sean “Diddy” Combs assaulting his then-girlfriend Cassie Ventura in a hotel surfaced via CNN, effectively corroborating Ventura’s account of the 2016 assault in her now-settled lawsuit against the Bad Boy mogul.
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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 Lila Iké & H.E.R.’s sultry “Boy Is Mine”-esque duet to Elijah Blake’s nostalgic reflection on two lovers who just can’t seem to make things work. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Lila Iké & H.E.R., “He Loves Us Both”
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The legacy of Brandy & Monica‘s seminal “The Boy Is Mine” is well-documented, and this seductive new duet from reggae star Lila Iké and R&B dynamo H.E.R. showcases just how far that ’90s Grammy-winning tune has traveled. “I know you probably judgin’ what I did/ I know you probably hopin’ I forgive/ He don’t make it easy to walk away/ I know because he make me feel the same,” they croon back and forth, effortlessly emulating the tug-of-war that anchors Brandy & Monica’s original. Iké’s soulful, intentional phrasing plays well against H.E.R.’s riff-laden performance. Both of their voices wrap around the plaintive guitars and steady percussion, prioritizing selective restraint over bombastic belts which drives home the tension between the position of each vocalist. This is how crossover collaborations should sound.
2Rare feat. Skilla Baby & Rob49, “C4”
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Nearly four decades later, Eazy-E’s classic single “Boyz N the Hood” is once again being revitalized in rap’s mainstream — but here, 2Rare flips the hardcore West Coast anthem into a raunchy club banger, with help from Skilla Baby and Rob49 looking to heat up just in time for the summer. Instead of Eazy’s ‘64 Impala, Rare plays off of the explosive C4: “She the type to blow just like C4/ Fiending for the D like I was giving her dope,” he raps on the chorus while mimicking Eazy-E’s flow. This year is slated to be another busy campaign for the Warner Records signee, and the Philly native has plenty of more energetic tunes on the way with a project also on the horizon.
Elijah Blake, “Sugarwater & Lime”
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Elijah Blake has spent the better part of the last decade writing on hits for R&B heavyweights — including Usher (“Climax”) and Rihanna (“No Love Allowed”) — but, recently, he’s shifted his focus to his own output. With “Sugarwater & Lime,” the latest single from his forthcoming eponymous LP, Blake explores the frustration of trying to make something work without having all of the right ingredients. “Baby, we can’t make lemonade/ From sugarwater and lime/ But we tried/ We couldn’t make lemonade/ But maybe we can heal from heartbreak/ In due time,” he sings over a brassy arrangement accented by warbling bass, symphonic strings and ’70s-esque drum licks. Blake’s voice ranges from tender falsetto to nimble rap-sung cadences and dizzying riffs, tracing the inevitably convoluted route of an almost-there love.
Your Old Droog, “Mercury Thermometers”
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Classic boom-bap rap might have taken a backseat compared to the force it was decades ago in the culture, but Your Old Droog is still doing the sub-genre justice. The New York rapper connected with Conductor Williams for “Mercury Thermometers” and Droog’s shrewd wordplay over the dusty production and cymbal drums doesn’t disappoint. “This is Bob Dylan without the harmonica/ This some iconic bars and a hard moniker,” he raps. Y.O.D. boasts about taking the hard route to fame with no handouts or stimulus packages, but still being able to persevere. Look for Droog to work with plenty of acclaimed hip-hop producers on his upcoming album, Movie, which arrives on June 21.
Deb Fan, “Lady”
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With “Lady,” the first single from R&B artist-producer Deb Fan’s forthcoming sophomore EP, the Hong Kong-raised, L.A.-based singer challenges restrictive stereotypes and outdated portrayals of womanhood in Asian culture. “There’s some beauty in made-up rules/ King of my world with none to lose,” she coos in an ethereal tone over sparse, atmospheric production reminiscent of contemporary R&B stars like Kali Uchis, while still finding room for the slinky bass of ’90s R&B. With a vocal performance that simultaneously mourns the constricting nature of expectations placed on women and rings with the hope of a concerted rebirth, Deb Fan makes some real magic on “Lady.”
BIG30, “Come Save Me”
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BIG30 paints his hood love story with the first verse of “Come Save Me.” This isn’t exactly Romeo and Juliet, but the Memphis native admits he’s been “looking for love in all the wrong places” recently. He realizes how toxic this love is, but he’s not trying to hide it anymore and even wants her to have his baby. “Ain’t talkin’ ’bout with no picture, baby, pop out with my child,” he raps. Adding another layer to the chaos, the wind instrument loop hilariously sounds like it recalls the Austin Powers theme song. Learn more about BIG30 as his Still King album is filled with gripping street tales from the NLess rapper.
Now that we’re solidly in May, it looks like the Great Rap War of 2024 finally has a victor. If TDE founder Anthony “Top Dawg” Tiffith’s X post is anything to go by, the battle is indeed over — even though Drake‘s “The Heart Part 6” effectively shifted public opinion to Kendrick Lamar’s side.
Outside of that beef — which is still unfurling outside of the music — the worlds of R&B and hip-hop have had much to ponder over the past week. On Monday (May 13) Childish Gambino released a polished version of 2020’s 3.15.20 titled Atavista and both Shaquille O’Neal and King Combs released diss tracks — against Shannon Sharpe and 50 Cent, respectively — further solidifying 2024 as the year of the hater and the year of beef. Thanks again, Katt Williams!
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Rosehardt’s dirty-macking midtempo to RaealRichIzzo’s latest addition to the contemporary Midwest rap lexicon. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
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Rosehardt, “Headass”
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One of the classic elements of male R&B is dirty macking — and Rosehardt kicks off “Headass” with a whole lot of it. “What does he have? What does he do?/ He must be bad, he must be cool too/ I’m just the past, he’s something new/ But I bet he don’t love you, like I do,” his distorted vocals croon in the intro. Betweent he chugging production, sultry yet understated bass, and a vocal performance that balances tender hoensty (“I’m just a man who believes in love”) with a sinister undertone of trying to convince a love interest who has already clocked his shortcomings as a partner. Taken from his new The World Gets Smaller Each Day It Seems to Shrink LP, “Headass” finds Rosehardt (aka Drama League Award-nominated actor Caleb Eberhardt) fully immersing himself in the role of imperfect bachelor without necessarily relishing that position.
Snow tha Product, “So What”
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With this bouncy, snap-laden ode to the comforts of ambivalence, Snow tha Product embraces the unknown. Although she sings of using the classic “so what?” question to keep her “feelings detached,” she, in fact, cycles through the myriad emotions of a tumultuous relationship, in which she’s always one step away from walking out. “So what / If you tell me its over/ Guess Imma have to chill to your back,” she sing-raps with a smug wink and smirk. She’s in control here, making for an intricate mind-game that finds a sly, unassuming soundtrack in the buoyant beat.
Chief Keef feat. Tierra Whack, “Banded Up”
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Sosa finally delivered his highly-anticipated Almighty So 2 project on Friday (May 10). One of the early standouts from the drill pioneer’s LP came courtesy of Tierra Whack’s explosive assist on “Banded Up,” which gives the Philly MC an immediate guest verse of the year candidate. Whack posted voice messages from Chief Keef in disbelief asking her, “Why would you do me like that on my song?” T-Whack blacks out over Sosa’s thumping production with a mini-uzi flow that sounds as if she was recorded in 5x speed. “These rappers are food and that’s why I be cooking/ You can’t pull no strings and I just keep it pushin’/ B-I-G, but I was not born in Brooklyn,” she snarls. The 28-year-old turned Sosa’s playground into Whack World.
4Fargo & Honey Bxby, “Ex for a Reason”
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4Fargo and his tender croon are looking to leave their mark on the current landscape of R&B. The Georgia-bred singer unleashed his major label debut project Express&B last week via Republic Records. Heartbreak has long been the engine behind the genre and 4Fargo is no different in flipping his pain and anguish into cathartic art. The infectious “Ex for a Reason” is pretty self-explanatory with the father of two listing off why a toxic love has moved to his rear-view mirror. Misery loves company and Honey Bxby joins the party while showing off her vocal range. “Leavin’ you sounds like a lullaby/ Blockin’ all your numbers, don’t ask why/ Poppin’ all that shit know it’s a lie/ I’ma show you why you’re mine,” she powerfully sings. Give the charismatic 4Fargo a follow on Instagram for a look into his endearing personality, you won’t regret it.
RealRichIzzo, “Free Key”
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Kicking off with an iPhone FaceTime call that immediately situates “Free Key” in media res, “Free Key” is one of the more potent storytelling moments of his new Welcome to Inkster album. In his ode to his guys, RealRichIzzo offers a peek into his high-octane life that brings him from place to place with just a moment’s notice. “Yeah, drop the lo’/ Ain’t no spots inside the rental, we gon’ stash ’em in the floor/B—h, the striker on the way, mask up, we finna go/ Lil’ bro just called back, blow the light, it’s fo’ sure,” he rap-chants in the magnetic chorus, which simultaneously reads as play-by-play of him and his boys hitting a lick and functions as an irresistible hook. With Inkster, Michigan on his back, RealRichIzzo is staking a claim for himself at the forefront of the current Midwestern rap boom.
Andra Day, “Bottom of the Bottle”
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On this bluesy reflection on the swirling depths of memory only accessed by surrendering to the throes of alcohol, acclaimed multi-hyphenate Andra Day focuses on restraints over the room-shaking belts that shot her to fame. “I only see you when it’s last call/ I only see you when the house lights come on/ And you’re not only to blame, no/ Dazed and consumed by the wild flames/ Though we know it’s combustible,” she muses over plucky piano and steady percussion courtesy of an all-star team of producers, including Nando Raio, Shay Godwin, Dave Wood, Charles Jones, Caleb Morris and Spencer Guerra. With a deliciously nasal drawl in the spirit of Amy Winehouse, Day delivers an introspective midtempo that allows her to show off how effortlessly she freewheels between the different parts of her voice.
It might be May now, but the Great Rap War of 2024 feels like it’s finally really getting going. It’s been an acrimonious week for two hip-hop’s biggest titans, with Drake and Kendrick Lamar committing to the mudslinging over the course of an EP’s worth of new music.
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From K. Dot’s blistering “Euphoria” to his immediately anthemic “Not Like Us” — and who can forget the bone-chillingly incisive “Meet the Grahams” and “6:16 in LA” — the Compton MC has been bringing the heat with each new song. Drake, to his credit, has also been throwing some major punches, from the explosive “Family Matters” to the searing, yet defensive, “The Heart Part 6.”
Of course, the other big story to rock the R&B and hip-hop worlds this weekend was the shocking last-minute cancellation of Lovers & Friends. On Friday night (May 3), the festival’s organizers announced that the jam-packed one-day-only show would be called off due to high wind warnings from the National Weather Service.
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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 Skylar Simone’s radio-ready debut single to Hunxho‘s latest ATL anthem. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Ravyn Lenae, “Love Me Not”
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In 2022, Ravyn Lenae enraptured music heads with Hypnos, her impressive debut LP. With the first tastes of her forthcoming sophomore studio album, Lenae is laying the groundwork for her mainstream commercial breakthrough. “Love Is Blind” serves up more of the ethereal R&B that grounded Hypnos, but “Love Me Not” signals a slick pivot into a rollicking guitar-packed pop-facing sound that evokes longtime collaborator Steve Lacy and his runaway Billboard Hot 100 smash, “Bad Habit.” “Soon as you leave me, we always lose connection/ It’s gettin’ messy, I think that your affection/ Don’t loosen your grip, got a hold on me/ Now, forever, let’s get back together,” she sweetly croons, cycling through a relationship that clearly relishes its built-in road bumps.
Baby Money, “Shinin”
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Baby Money is a breath of fresh air and another shooting star out of Detroit’s bubbling rap scene. “Shinin” arrives just a week ahead of the rapper’s H.I.M. (Hustle In Me) project as Baby looks to make right on his promise to Quality Control as the famed label’s first signee out of the D. The 26-year-old flexes the badge of honor and pressure that comes with ending generational curses as his family’s first millionaire. He then recalls a street tale preaching what goes around comes around as one can never fully detach from street life. “He got a body as a kid and tried to leave the streets/ They caught his ass years later like Keefe D,” Money candidly raps while referencing Keefe D’s arrest for murdering 2Pac well over two decades later. We don’t recommend boiling your icy diamond chains on the stove like he does in the “Shinin” music video though.
Coco Jones, “Here We Go (Uh Oh)”
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2023 marked a landmark year for Coco Jones. From her first Grammy win to a chart-topping hit in “ICU,” Jones has quickly ascended to some of contemporary R&B’s most towering heights. For the first offering from her new forthcoming LP, the Disney alumna opts to double down on her smoky tone, delivering a track that’s rooted in the raspy storytelling of Jazmine Sullivan. “I was rollin’ in his bed, you was rent free in my head/ I thought I was done with that, please, please/ I wanna love another person/ Can I please love another person?” she pleads over slinky, soulful production courtesy of Cardiak and WU10. Between the Lenny Williams “‘Cause I Love You” sample and Coco’s alluring voice — that slight vocal fry hits all the right notes — “Here We Go” is a winner.
Hunxho feat. Mike Will Made-It & 2 Chainz, “Come Over”
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It’s an ATL affair with Hunxho, 2 Chainz and Mike Will Made-It running the three-man weave through Georgia’s capital city. Instead of drowning their sorrows throwing bands at Magic City, Hunxho and the Drench God pass the baton back and forth while spewing about how they’re showering their woman with luxury gifts and the best life has to offer. “I done got her every bag, I’m talkin’ ’bout every purse,” the 24-year-old boasts as Chainz offers to go the extra mile while cracking the lobster of a surf-and-turf meal or fixing her ponytail and shooting a Zelle transfer to bolster her bank account. The only complaint about “Come Over” would be the last minute being strictly instrumental, leaving room for another verse from either of the Atlanta natives or another special guest that is never properly taken advantage of.
Skylar Simone, “Shiver”
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To celebrate her recent signing to Def Jam, Skylar Simone has recruited renowned Grammy-winning producer D’Mile for her debut single under the label. Effortlessly flipping between full-bodied belts and fluttery falsetto-housed ad-libs, “Shiver” captures both the sweetness and the sensuality that comes with leaning into the power of sexual and romantic tension. “Make it melt like ice when I shiver/ River open wide when I shiver,” she coos. By the time those whistle notes come in at the tail end of the song, “Shiver” has established itself as a well-crafted ode to the sweetest pop&B confections of the late ’90s and early ’00s.
4batz, “act v: there goes another vase”
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The Dallas native delivered his first project in the form of his u made me a st4r last week. The final single recalls a ’90s R&B aesthetic as 4batz croons about the pain of a toxic lover. (He revealed to Complex that the EP was inspired by his ex Jada). “Thought we was good, why you blocked me/ You tell your friends why you love me/ They won’t understand ’cause you’re perfect for me,” he sings with his heart on ice. 4batz continues his ascension with the EP in another stepping stone toward stardom – even if it means picking at the scar tissue left from a fractured relationship, which inherently helps others – along with himself – cathartically heal.
We’re whipping through the Carnival calendar, and the music just keeps on coming.
April was a characteristically busy month for the world of Caribbean music, with noteworthy performance, album announcements and historic achievements cutting through the noise. Sean Paul, who recently sat down with Billboard for a wide-ranging interview ahead of his Greatest Tour, won his very first Latin American Music Award, triumphing in the crossover collaboration of the year category for his Feid collab “Niña Bonita.”
“I always learn from my collabs, man,” the “Temperature” singer told Billboard. “There’s no time that I don’t learn… I learn something every time and I take that with me, so it helps my songwriting.”
Shenseea, who collaborated with Paul on her 2022 debut LP, announced her forthcoming sophomore studio album on Tuesday (April 30). Titled Never Gets Late Here, the album is due May 24 and features collaborations with Coi Leray, Anitta and Wizkid. “Hit & Run” (with Masicka & Di Genius) serves as the set’s lead single.
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In addition, a pair of performances made major waves. Jamaican dancehall artist Pamputtae opened for Nicki Minaj‘s Pink Friday 2 World Tour in Toronto, CA, on Tuesday. “First and foremost I want to give thanks to the most high God,” she wrote in an Instagram post commemorating her performance (May 1). “Big up [Nicki Minaj] for allowing me to open her second show in Toronto.”
Across the globe, Skeng returned to Guyana to headline the Real All Black concert, marking his first live performance in the country in two years. In 2022, Minister of Home Affairs Robeson Benn proclaimed that Skeng and a bevy of dancehall artists were banned from the country due to their behavior and violence-promoting lyrical content. The emcee delivered a high-octane set that included “Likkle Miss,” which Minaj remixed in 2022 for her Queen Radio: Volume 1 greatest hits compilation.
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: Jaz Elise, “Gunman”
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On this deliciously dramatic mixture of R&B and reggae, Jaz Elise pleads for her rude boy lover to leave his life of reckless abandon behind and settle down with her. It’s a story that’s been told countless times before, but Jaz’s emotive abilities inject “Gunman” with nuance and verve. When she sings, “Me nuh wah fi bury you early/ Nuh wah yuh fi live a life a crime/ So, baby, if yuh love me/ Me beg yuh fi leave it all behind,” you can hear every last bit of desperation dripping from each syllable. Of course, the drama truly intensifies in the song’s final minute, with a swirling orchestra of backing vocals, impassioned ad-libs and grandiose strings driving the song home.
Etana, “Thankful”
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For her take on the Engraph Riddim, Jamaican reggae singer-songwriter Etana flexes the full expanse of her vocal range over swaggering guitars that employ just the slightest bit of swing. “I lift my hands to the man from whence my health comes, yes/ And every day I give thanks for the rising sun, yes,” she croons as she somersaults through dizzying riffs as easily as she dips into the depths of her sultry lower register. A laid-back praise and worship song that doubles as a vocal showcase, “Thankful” is a winner.
Lu City, “Sexy Love”
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St. Lucian duo Lu City has a catalog that stretches across the scenes of dancehall, reggae and electronic music, and their latest LP — I Miss You, the official follow-up to 2022’s Lucidity — offers more of that intoxicating amalgam. On “Sexy Love,” which feels like a dancehall-bred cousin on the Ne-Yo song of the same name name, the duo marry their respective AutoTune-tinged voices over a relatively sparse soundscape that relies on moody synths and a healthy dose of Afrobeats percussion. “Sexy Love,” like all of I Miss You, is a true testament to how the African diaspora’s myriad genres all lead back to each other.
Anika Berry feat. Lil Jelo, “Safe”
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Soca always gets the body moving, and “Safe,” a new collaboration from Anika Berry and Lil Jelo, is no different. Here, their joy isn’t sourced from the Road March or the general Carnival mood. They find their joy in one another and their monogamous love. Their vocal chemistry is strong, with Anika’s vibrato anchoring her “You safe with me / Youn in good hands, you in proper hands” refrain. Their call-and-response structure also helps play up their complementary tones while remaining true to the anthemic nature of power soca.
Subatomic Sound System, Mykal Rose & Hollie Cook, “Get High”
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For the first taste of their forthcoming collaborative album, Subatomic Sound System, Mykal Rose and Hollie Cook have teamed up to deliver a new 4/20 anthem. Although the brooding bass signals a more forward-looking sound, classic reggae production — including ominous conga percussion courtesy of Larry McDonald and sultry brass from Troy Simms — is ultimately the name of game in “Get High.” Most impressive is the track’s mixing, the way Hollie’s upper harmonies are layered evoke the ever-unfurling clouds of marijuana smoke. Mary Jane enthusiasts, your time is now.
Mr. Vegas, “Dancing Grung”
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On this sweet ode to the eternal life of dancehall, Mr. Vegas pays tribute to both the physical and creative spaces that comprise the sound and culture. His flow is catchy and the breakdown at the end is fun, if not a bit on-the-nose. Nonetheless, what’s interesting about “Dancing Grung” isn’t how easy it is to start bussing a wine to — Mr. Vegas has plenty of those — it’s the way he subtly flips the notion of “exerting dominance.” Instead of crowning himself king, he casts himself as Lord of the Vibes on “Dancing Grung.” “Dancehall will never die,” he proclaims at the song’s start, and with a deejay as infectious as him on the helm, he’s absolutley right.
Marcia Griffiths, “Looking Up”
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Reggae legend Marcia Griffiths has still got it. With “Looking Up,” the former I-Threes member offers a slice of sanctified reggae. At 74 years old, not only does her voice still sound like it’s in pristine condition, she also remains a gifted and intelligent vocal performer. Between her pitch-perfect diction and her introspective delivery, her storied life clearly informs every last phrase that she sings. Her conviction is the song’s ultimate anchor. When she sings, “It’s the only life that’s worth living” with that slight tinge of darkness before the light comes in by way of her exclamatory “Looking up!” quip — that’s magic.
Shenseea, “Neva Neva”
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After delighting dancehall fans with Di Genius and Masicka-assisted “Hit & Run” earlier this year, Shenseea introduces a more pop-forward sound with “Neva Neva,” the new single from her forthcoming Never Gets Late Here LP. The song oscillates between straightforward pop and dancehall with more finesse than anything on Alpha, Shensea’s debut album. She remains deep in her dancehall cadence and attitude during the verses, but the hooky chorus pushes her into a space that essential U.S. top 40 radio — and she sounds great. Moreover, “Neva Neva” — with its rumination on the endlessness of a good relationship — offers a smart contrast to the hit-it-and-quit-it energy of “Hit & Run.”
Chippa Don, “Clubscout”
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From the tinny background synths to the breakneck flow switches, Chippa Don flexes his chops as both an emcee and a sonic world-builder on “Clubscout.” Firmly entrenched in the modern dancehall take on gun chunes, “Clubscout” is inherently sinister; “Gwan f–k around around/ Whole place haffi move/ Di glock, di clip long / But di K me a use,” he spits. It’s Chippa’s delivery, however, that makes this song stick. He’s playful, but there’s some bite and snarl to his voice that subtly reiterates that he’s calling his opps out because he knows he can handle them.
Masicka, “Forever”
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Kicking off with contemplative country-adjacent guitar strums, “Forever” is a stunning ballad from Masicka, who released his latest album, Generation of Kings, last year (Dec. 1, 2023). “Forever brave, forever strong / Forever me, that’s who I am,” he croons, making for a ballad that makes the evergreen question of authenticity an introspective one while also showcasing yet another side of Masicka’s sprawling artistic profile. There’s a reason Sean Paul named him dancehall’s current leader.
This month has produced the biggest bounty of great releases from African artists in 2024 so far, with some of the most exciting, innovative and fastest-rising artists and veterans releasing not just big singles, but long-awaited albums — and with much more promised for the coming months as summer approaches.
Tems released her reimagining of Nigerian singer-songwriter Seyi Sodimu’s 1997 smash “Love Me Jeje” following her debut performance of the single at Coachella. It’s the first single from her upcoming debut album Born in the Wild, which will be released in May. Meanwhile, Joeboy linked with teenage sensation Qing Madi, ODUMODUBLVCK and Blaqbonez lined up a distinctive collaboration and Black Sherif turned up the aggression with a new banger.
Nigerian Afropop singer Minz talks a big game on his new single “shadow” with German trio 255, who also produced 1da Banton and Bella Shmurda’s “Evidence” collaboration, which has been featured in this column. Speaking of collabs, Ruger and Bnxn put their past troubles behind them and celebrate their harmonious relationship on their joint album RnB. And Young Jonn helped Jamaican dancehall hitmaker Sean Paul earn his career-first entry on Billboard‘s U.S. Afrobeats Songs chart this month with “Hold On,” from the latter’s long-awaited debut album Jiggy Forever.
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“I’m an artist and I go to Africa, and they are so appreciative of what we brought to the table. It’s been a symbiotic relationship back and forth over the years,” he told Billboard in an interview last week about the dynamic between Afrobeats and dancehall music. “We’re using drums from the sound that’s been Afro music, people like Fela Kuti and all of these great musicians, and we’re producing it the way we hear it [and] feel it. In Afrobeats [now], they have taken the hint from how we produce and done their own thing with it.”
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.
Minz & 255, “shadow”
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Minz dials up 255 for his bouncy new single “shadow.” “It’s certain, you know I’m killing it,” he flexes in the first verse, while assuring his haters won’t go far in the chorus. His self-assured flow fits perfectly with his and 255’s spirited production.
Bloody Civilian, “Head Start”
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On the heels of her electrifying debut EP Anger Management, Bloody Civilian remains a force to be reckoned with on her first single of 2024, “Head Start.” She leaves her opps quaking, so much so “you go think say they be dancers. Congratulations, you’re the best dancers,” she jeers in the chorus. But the track’s stirring Afropop production, with its alarming sirens, ominous synths and intoxicating percussion, will leave listeners dancing right alongside her opps. “This track is quite raw. Basically, I made a vengeance track that’s Afrobeats but is also low-key Travis Scott coded,” Bloody says in a press release.
1da Banton & Bella Shmurda, “Evidence”
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Nigerian singer-songwriters 1da Banton and Bella Shmurda join forces for the first time on their summery two-track pack, Evidence / Holy Man. The first single, “Evidence,” is a vibrant, mid-tempo celebration of their success, with its hook “And the evidence choke/ Evidence choke, and the boys dem know/ Boys dem know, and the everywhere I go” proving its up for the boys. Produced by 255, the track’s acoustic guitar drives its laidback production, while the atmospheric pitched-up melodies interspersed throughout “Evidence” adds an extra touch of levity.
Ruger & Bnxn, “Not Done”
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Ruger and Bnxn make it clear that they’re “Not Done” with their past relationship (even if their ex feels otherwise) on the midtempo closing track of the Afropop stars’ remarkable joint album RnB. Produced by Blaisebeatz, “Not Done” tells the toxic tale of a man who won’t accept the end of a relationship, with Ruger questioning why she would ever want to leave him and Bnxn reminding her who treats her better in the bedroom. “When two artists like us come together, it’s sending a message to everyone around the industry,” Ruger said in a recent Billboard News interview. “For Afrobeats right now, many of us don’t really work together. People don’t drop joint projects like that. But this project actually is taking us to another level.”
Young Jonn feat. Sean Paul, “Hold On”
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Young Jonn links up with reggae legend Sean Paul on the sensual highlight “Hold On” from his debut album Jiggy Forever. With its stirring string arrangement, melodic vibes, Jonn’s come-hither vocals and Paul’s lustful lyrics, “Hold On” is the kind of record you sing while whining up on your significant other or even a stranger on the dance floor on a warm summer’s night. “I recorded this song in Madrid and was actually in the studio with Memphis Depay. He was actually gonna take the beat, but before you know it, I’d recorded the chorus!” he told Apple Music about the song. “I sent the song to my manager — she’s a very imaginative person and was like, ‘We should get Sean Paul on it.’ Earlier this year she sent me a message saying we got Sean Paul; it was crazy!”
Young Jonn, “Bahamas”
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The super-producer has been stringing us along with top-shelf single after top-shelf single for more than a year now, but his Jiggy Forever album is finally here, and it’s no surprise that there are a slew of absolutely beautiful songs sprinkled throughout. His songs have always had a touch of nostalgia, or yearning, to them, both lyrically and musically, and “Bahamas” fits into that lineage perfectly the latest in what is becoming a formidable catalog of big, aspirational hits.
Tems, “Love Me JeJe”
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As she gears up for the release of her debut album Born In the Wild in May, Tems comes with a new single that’s perfectly in her pocket, showcasing her voice and her laid-back style, on a track that takes its name from Seyi Sodimu’s 1997 hit. The hook “I’m on your wave right now/ I’m on your vibe now” — finds Tems right where she’s always been best: feeling her way through the music as effortlessly and coolly as any of us could ever hope to.
Black Sherif, “Shut Up”
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The Ghanaian street MC has been on a roll lately, with his latest single a fiery, in-your-face cut that takes a derisive swipe at the competition, both inviting attacks from others while chronicling his no-doubt rise to the point he’s at now. It’s more aggressive than the “January 9th” single he dropped earlier this year, which took a more introspective approach, but it’s a status he’s earned by this point.
Joeboy feat. Qing Madi, “Adenuga”
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Reliable hitmaker Joeboy recruits the young Nigerian singer Qing Madi to assist him on his latest, a platform for their two voices to dovetail in unexpectedly gorgeous ways as the song winds its way towards its finish. Before that, Joeboy himself tells the story of melting an icy tough exterior as he falls in love, displaying the melodic chops that helped him rise to the top of the Nigerian pop scene. It’s a duet that simply works fantastically.
ODUMODUBLVCK & Blaqbonez feat. Lekaa Beats, “Technician”
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There may not be a more distinctive voice in African music in the past two years than ODUMODUBLVCK, whose flow and style are instantly recognizable and add an element to his music that others could wish to have. But if anyone could rival him for originality it might be Blaqbonez, and this collaboration is two fighters sparring at the highest level, with Lekaa Beats’ vocals the perfect icing.
Although Taylor Swift‘s chart-busting Tortured Poets Department dominated the news cycle of the last weekend in April, the hip-hop and R&B worlds kept churning out hot new tracks and buzzy news stories to keep us occupied.
In yet another update to 2024’s Great Rap War, Drake complied with the Tuapc Shakur estate’s request to take down his new “Taylor Made Freestyle,” which featured verses spit by AI-generated versions of Snoop Dogg‘s and Pac’s voices. Kendrick Lamar has still not responded.
In other news, Ice Spice blessed Cash Cobain & Bay Swag’s “Fisherrr” remix, Ne-Yo smashed his NPR Tiny Desk set with a mixture of hits he’s penned for both himself and other artists, and Eminem announced a new album entitled The Death of Slim Shady (Coup De Grâce) out this summer.
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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 Susan Carol’s soulful debut to Tommy Richman’s fast-rising smash. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Susan Carol, “Karma”
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Fresh off her first career Grammy win (best traditional R&B performance for “Good Morning” with PJ Morton), Susan Carol is celebrating her recent signing to Def Jam with new single “Karma.” Produced by Harmony Samuels, “Karma” finds Carol delivering a biting vocal performance that plays well against the lush combination of swanky guitars, steady percussion and ornate strings. “Think you better than you is/ And I swear the d–k was mid/ It’s just like a boomerang/ Your’re throwing out bulls–t & it comes right back on you/ There’s nothing left for me to do,” she sings before the production opens up into a soulful symphony of lounge jazz influences. The concept of the song is simple, yet effective, why waste time plotting revenge when you can let karma fight your battles for you? Well said, Susan.
Tommy Richman, “Million Dollar Baby”
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Tommy Richman has arrived. The Virginia native guested on Brent Faiyaz’s Larger Than Life album last year — but now, he’s capitalizing on his chance to fully introduce himself to the world. A TikTok snippet scorched the platform, and “Million Dollar Baby” hit the ground running on Friday (April 26). Released via Brent Faiyaz’s Iso Supremacy in partnership with Pulse Records, “Million Dollar Baby” sounds like a cousin of BROCKHAMPTON’s catalog, with Richman alternating roles and jumping octaves in his vocal range. For those that enjoy a grungier aesthetic, the unpolished DVD version of the track is also available featuring clipped drums and a fuzzy bassline. “Million Dollar Baby” could be making a splash on the Billboard Hot 100 with a lofty debut, as a bona fide song of the summer contender has arrived.
Normani feat. Gunna, “1:59″
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For the first taste of her long-awaited debut studio album, Dopamine, Normani recruits Gunna for a sultry midtempo that combines the lush vocal stacks of Brandy, the effortless seductiveness of Aaliyah and the Fifth Harmony alum’s own trademark enigmatic allure. As he does on his own R&B-adjacent collaborations, Gunna slinks in and out of harmony with Normani, presenting welcome contrasts to the song’s overall languid feel and providing a bit of dynamism for the “Motivation” singer to play off of in the back half. Now that her debut LP finally has a release date (June 14), “1:59” is a solid introduction to the Normani of Dopamine.
Anycia & Cash Cobain, “That’s Hard”
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Here’s an unexpected collaboration from the pair of rising rappers leaving their mark in 2024. Everything Cash Cobain lends his Midas Touch to is turning to gold these days. Cash freestyles another silky chorus and welcomes Anycia into his world with a Slizzy summer on the horizon. She matches his typically laid-back and raunchy vibes. “I’m getting top in the back of a brand-new car/ Nene the hardest/ He singing my s–t by the bar,” Anycia brags in her raspy flow. “That’s Hard” is a fun standout from Nene’s robust Princess Pop That debut, which arrived via UnitedMasters on Friday (April 26).
JT, “Okay”
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JT is on the cusp. Between her smart moves in the fashion world, the fan base she’s solidifying through her current club tour and club-ready records like “Alter Ego” (with Doechii) and now “Okay,” 2024 is shaping up to be a career-defining year for the City Girls rapper. “I’m pretty than a motherf–ker, h–s be lookin’ okay/ She think that she f–kin’ with me, is this bitch okay?/ He said he ain’t f–kin’ ’round, I look at him like, ‘Okay’/ I used to be down bad, but now a b—h okay,” she splits in her typically unbothered tone of rattling production from Akachi and Shawn Ferrari. With a hook this sticky and a string of solo singles as strong as “Okay,” “No Bars” and “Sideways,” JT’s forthcoming City Cinderella mixtape could very well take her to the next level.
Babyface Ray, “Glory”
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A rose bloomed from the concrete of Detroit. Babyface Ray has been as consistent as they come from the thriving Midwest rap scene. Ray basks in his glory as his smoky flow aerates the twinkly production. However, the 33-year-old can’t relate to his Gen Z peers in some ways like publicly broadcasting street violence. “I’m glad I was raised by bosses, these n—as lost in the sauce keep talkin’ ’bout killing/ All of the killers I know, they don’t even talk, so I’m sayin’ too much right now,” he contests. Ray switches gears and paints a picture of his baby boy waving bye-bye from the back of his Benz – it’s all about versatility. He claimed the Summer’s Mine with his 2023 project, we’ll see if he can find his way into the mix again this season.
Camper feat. Tank & Syd, “I Need It”
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Camper, the Grammy-winning producer behind chart-topping hits like Coco Jones‘ “ICU,” is stepping into the limelight. For his new single, the R&B craftsman recruited Syd and Tank, two voices that — while they evoke two separate eras of R&B — make for an absolutely gorgeous duet. Between Syd’s beguiling tone and the buttery seduction of Tank’s delivery, “I Need It” finds the two singers beautifully painting across Camper’s intimate, bedroom-ready production. “Find a better reason/ Why we shouldn’t lay up/ Get back to freakin’ right now/ All I know is/ I need it,” Syd declares.
Bairi, “Man Enough”
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Bairi’s luscious vocals could melt a heart made of ice. Sampling British art-pop group Art of Noise, “Man Enough” finds The Siren radiating about a distant lover trying to decode where they went wrong along the way. “Trapped in your sea, stuck in your weeds, begging you please, come back to me/ But I ain’t tripping if you want to leave, then leave/ Just don’t leave me on an empty guarantee,” she softly sings. Word to Ariana Grande, Bairi’s got no tears left to cry and she’s ready to move on from her former flame who couldn’t perform up to standard. “Man Enough” is just a peek into Bairi’s talent exuded on her intoxicating debut album Fire Siren.
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.