Fresh Picks
Page: 6
The year is starting to heat up, and with an extra day in February, this month’s Afrobeats Fresh Picks makes it to you just under the wire. This month, there is new heat from bright young hitmakers like Ayra Starr, Black Sherif and Boy Spyce and Khaid, plus new bangers from more established stars like Young Jonn, Joeboy and Adekunle Gold, and some fresh tracks from artists like Rowlene, YKB, Logos Olori and Crayon. And there’s already more great music on the horizon, meaning that this year is still just getting started.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Black Sherif feat. Mabel, “Zero”
Trending on Billboard
[embedded content]
While discerning all of the good (fame) and bad (gossip) that comes with being in the public eye, Ghanaian rapper Black Sherif calls for “Zero” drama in his new single with English R&B/pop singer-songwriter Mabel. The tender melodies evoke the peace Black Sherif is seeking, while Mabel preoccupies herself with “the piano in the hotel lobby” and lights up a “zoot” (British slang for a joint) and Palo Santo to create a carefree environment that cuts through all the other noise. The only voices that matter are theirs.
Logos Olori feat. Davido, “Easy On Me”
[embedded content]
After collaborating with Davido Music Worldwide label boss Davido on “Picasso” from the Grammy-nominated album Timeless, Logos Olori taps him for the easygoing “Easy On Me,” from his new OLORI EP. Olori’s sensual melodies and tropical-inspired production makes it the perfect baecation song, as both artists marvel at women who have them wrapped around their fingers.
Young Jonn feat. Kizz Daniel & Seyi Vibez, “Big Big Things”
[embedded content]
This trio of Nigerian singer-songwriters is only meant for “Big Big Things,” as evidenced by Young Jonn’s latest single that will be featured on his upcoming debut album Jiggy Forever. Powered by an amapiano-infused bassline, rap air horns and a tropical melody, this banger is all about being unstoppable. “When I walk through the valley of the shadow / All eyes on me cause I came in a Lambo,” Young Jonn flexes. In a press release, he describes “Big Big Things” as “a rallying cry for dreamers, go-getters and anyone with an unrelenting desire to achieve greatness.”
Ayra Starr, “Commas”
[embedded content]
The Beninese-Nigerian star simultaneously addresses those who’ve presented roadblocks in her path, and inspires others to never stop chasing their dreams, on her new Afropop single “Commas.” Over a swelling string arrangement and bubbling percussion, she delivers a personal message of resilience for those who need it most – including herself. During her recent Billboard News interview, she revealed that “Commas” will be included in her upcoming album. “The Ayra Starr I want to introduce is excellent, sonically amazing. This album is unique, because I’ve been evolving sonically,” she said.
Adekunle Gold, “The Life I Chose”
[embedded content]
The Nigerian star reflects on “The Life I Chose” in his new single. Produced by Kel-P, the track employs a spellbinding, psychedelic flavor of Afropop that draws listeners in just the way the rockstar lifestyle drew in Gold. He revels in its opulence – “Pool side, sippin’ Don Peri/ All the fine girls won fed gum-body” – while being wary of undercover opps when he realizes, “All of a sudden, everybody act like they love me (Fake love).”
Joeboy, “Osadebe”
[embedded content]
The first single under his new imprint for Warner Music Africa, Young Legend, finds Joeboy paying tribute to highlife icon Chief Osita Osadebe and his 1984 classic “Osondi Owendi,” and dealing with the emotions of balancing such a successful career with remaining humble. “Sometimes I feel like I’m supernatural / But I’m only human / I’m only human,” he sings. A good start to a new chapter for Joeboy.
YKB, “High & Sober”
[embedded content]
A gorgeous ballad, “High & Sober” finds YKB crooning a love letter to his girl over lush production from Pheelz, who supports the vocals with a full backing orchestral section underneath the hook, fleshing out the song and giving YKB the platform to showcase his vocals. After great singles “komplete riddim” and “This Must Be Love” with King Promise last year, YKB is on an upward trajectory.
Crayon, “FADE AWAY”
[embedded content]
An understated beat underscores this unconventional single from Crayon, whose syncopated rhythms and flexible melodies bring an unorthodox style to the track. With occasionally double-tracked vocals and production that relies mostly on its drum pattern but incorporates piano, organ, guitar and saxophone in different sections, the song stands out from a lot of the other songs coming out right now.
Rowlene, “don’t let go”
[embedded content]
For fans of the South African singer, it’s been a long wait after 2020’s excellent 11:11 album, but finally Rowlene has returned with a beautiful three-pack of songs called Moment In Between, with “don’t let go” a particular standout among them. A poignant plea, the song features her ever-engaging vocals, reminding that there’s a lot more to come from one of the leading lights of South African R&B.
Boy Spyce & Khaid, “I Don’t Care”
[embedded content]
Boy Spyce and Khaid made a big impact last year with the carefree, upbeat “Carry Me Go,” which combined an irresistible melody with an earworm of a hook to deliver a song that truly felt like the summertime. “I Don’t Care,” their most recent collaboration, is a different beast entirely, opening with a menacing beat that then gets its edge taken off, instead providing a propulsive platform for their intertwining vocals, a stylistic switch up that nonetheless still works well, with a fun video to accompany it.
After weathering two globe-traversing clashes in January, dancehall spent much of February reeling from those showdowns. If January was focused on the global reach of some of the biggest stars across dancehall, then February was a month of reflection for the most towering icon of West Indian music and culture: Bob Marley.
On Valentine’s Day (Feb. 14), Bob Marley: One Love — directed by Reinaldo Marcus Green and starring Kingsley Ben-Adir and Lashana Lynch as Bob and Rita Marley, respectively — hit theatres to the delight of millions of fans around the world. Despite middling reviews, the film has quickly proven to be a blockbuster, crossing $100 million at the worldwide box office in just 10 days and earning the biggest opening day for a film in Jamaica, as per Deadline. As the film continues its formidable box office run, another Marley — namely YG Marley — has been climbing the charts thanks to his breakout hit “Praise Jah in the Moonlight,” which recently became his first Billboard Hot 100 top 40 hot (No. 39, chart dated Mar. 2).
Although One Love kept spirits high, February bid the world goodbye with some devastating news. On Sunday (Feb. 25), Grammy-winning reggae group Morgan Heritage announced the passing of lead singer Peter “Peetah” Morgan. Morgan Heritage’s publicist, Sean ‘Contractor’ Edwards, told DancehallMag that the 46-year-old vocalist passed in the United States following a stroke. Morgan Heritage has released a plethora of albums, including Don’t Haffi Dread (1999), Full Circle (2005), Avrakedabra (2017) and Strictly Roots (2015), which hit No. 1 on Top Reggae Albums.
Trending on Billboard
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: Eesah, “Behold the Conquering Lion”
[embedded content]
When the opening track to your debut album is stunning as this, you know you’re setting yourself up for quite the career. On “Behold the Conquering Lion,” Jamaican singer-songwriter Eesah delivers a riveting mélange of roots reggae, jazz and gospel. “Immortal and omnipotent/ Carry the world pon your shoulder, you nuh need no help/ The work you do is so excellent/ No fear, no fly by night or pestilence,” he croons. Musically, the mix is so clean that it almost sounds innocent, but Eesah’s subtly gravelly tone alludes to a weariness and maturity that gives credence to the faith he sings of. With “Conquering Lion” — and the rest of his debut LP, Deep Medz — Eesah looks to reggae’s past to envision its future.
Teejay, “4th of July”
[embedded content]
Last month, Teejay dominated online conversation thanks to his clash with Valiant. In a complete 180°, the “Drift” singer kicked off February with the release of his I Am Chippy EP (Feb. 2), his first formal project under his new Warner Music deal. While the complete tape is impressively consistent, “4th of July” emerges as an instant standout. Featuring what appears to be a haunting interpolation of Billie Eilish and Khalid’s “Lovely,” “4th of July” is a sly bait and switch. The somber trap dancehall instrumental signals similarly bleak lyrics, but, before even starts singing, Teejay assures us, “Me not even a sing no sad song pon di riddim yah, enuh/ Issa frass song hehehe/ Issa high song, dawg.” And that it is. An ethereal ode to the transformative properties of Mary Jane, “4th of July” finds Teejay at his most interesting and ambitious on I Am Chippy.
Sean Paul & Beres Hammond, “Tender Tender”
[embedded content]
Few artists have so seamlessly oscillated between the worlds of dancehall and reggae on a global stage for nearly three decades like Sean Paul has. For his latest single, he joins forces with beloved Jamaican reggae crooner for a sweet love song titled “Tender Tender.” Balancing Hammond’s earthy, raspy tone with Sean Paul’s trademark brassy timbre, “Tender Tender” is rooted in traditional reggae, with heavy emphasis on the sultry guitar licks and steady percussion. “You lift me higher/ Higher than before/ Bonfire’s burning/ Burning to the core,” Hammond belts, his voice dripping with passion.
J Boog, “Always Been You”
[embedded content]
February is the month of love, so it’s not a surprise that some of the warmest reggae tracks of the year made their debut this month. On “Always Been You” — a winning symphony of soothing background vocals, a tasteful rocksteady melody and jaunty horns and percussion — J Boog croons of the inevitability of his one true love. “It’s always been you/ Hunny just you/ Always been you/ Forever babe,” he sings in the simple, but highly effective, chorus.
F.S. & Ireland Boss, “Chasing Dreams”
[embedded content]
There was a period where the innate moroseness of trap dancehall’s sparse soundscapes regularly gave way to deeply introspective tracks. With “Chasing Dreams,” St. Thomas emcee F.S. injects a healthy dose of hope into the dynamic. In an interview with World Music Views, F.S. describes the Ireland Boss-produced track as “ghetto gospel… my life story, what me been through,” and that’s a pretty apt description. The essence of gospel lyricism — the belief in something bigger than yourself and the persistence to keep going in the face of endless trials and tribulations — are all over “Chasing Dreams,” just in a decidedly contemporary dancehall context.
Jah Vinci, “Where Is the Love”
[embedded content]
Taken from the “Breadcrumbs” riddim, Jah Vinci’s “Where Is the Love,” is a soaring, melodic inquiry of where the true love is in a world like ours. “Where is the love that they all speak of/ I have no one that i can truly trust/ Where is the love that they claim to give/ Nobody nuh real again, nuh trust no family, nuh trust no friend,” he belts in the chorus. Is it it a bit grim? Sure, but it also speaks to a very real emotion millions of people have as we collectively witness the implosion and demise of several states and socioeconomic systems around the world. While “Where Is the Love” fits well in the contemporary reggae soundscape, Jah Vinci’s lyrics reveal a steadfast commitment to the genre’s history of speaking truth to power.
ZJ Chrome & Christopher Martin, “The Hate Song”
[embedded content]
Has Valentine’s Day really passed if nobody has made a song flipping the concept of Love Day? For his take on ZJ Chrome’s “Above the Lines” riddim, Christopher Martin rides the electric guitar-inflected reggae jam with heart-wrenching lyrics that trace the interconnected feelings of love, hate, and infatuation. “I hate you/ More than anything in this world/ But you know I like/ And love you for life,” he croons. Martin has a gorgeous, rich tone that pairs well with the wailing guitars and plucky rhythm that comprise ZJ Chrome’s riddim. When he employs that tiny bit of rasp at the end, we get a taste of why rock and reggae are such close musical relatives.
Charly Black, “Oxtail ‘Extra Gravy’”
[embedded content]
Here’s another question: have you lived if you’ve never asked (and faced the inevitable embarrassment of doing so) for oxtail with “extra gravy” from a proper Caribbean spot? You simply haven’t. For his new track, dancehall staple Charly Black put his own spin on the popular culinary request. The spin in questioning? Likening his lady’s nether regions to the delectable dish that is oxtail with extra gravy. With guitar licks and drum patterns sourced from Afrobeats, this culture-bridging track could very well become a sleeper hit as 2024 barrels on.
King Cruff & Runkus, “Fallback”
[embedded content]
At the tail end of the month, King Cruff and Runkus linked up for “Runkus,” a sleek ode to heartache inna di dancehall. “Winter cold, girl you freezing/ By the spring, then you waan come back/ You love me like the seasons (Just fall back!),” they harmonize over the electro R&B-infused riddim. Dancehall tracks are often preoccupied with extolling the escapism of a night of wining, but “Fallback” crashes the party with a tasteful take on the seemingly endless back-and-forth that can sometimes come with dealing with a flaky lover.
From 126-song mixtapes (looking at you, French Montana) to the media blitz of Tyler Perry’s Mea Culpa starring Kelly Rowland and Trevante Rhodes, the past week has been a characterstically busy one for the worlds of hip-hop and R&B. With awards season firmly in the rearview mirror and the Super Bowl over and done with, we’re in a period of relative calm before festival season kicks off in earnest.
Until then, we’ve spent the last week fawning over Tyler, the Creator‘s campy new collection for Louis Vuitton, where Pharrell Williams currently serves as men’s creative director. Speaking of the legendary artist-producer, Williams has also been teasing a forthcoming new collabortion with Miley Cyrus, who he previously joined forces with on 2013’s Bangerz and 2014’s G I R L.
Trending on Billboard
Of course, we can’t forget about Jeezy‘s smooth Tiny Desk performance, which saw the veteran flipping his trap anthems into soulful, stripped-back arrangements. And the news cycle hasn’t been entirely positive, with Drake taking to his Instagram story early this morning (Feb. 26) to post what appears to be a call for the release of Tory Lanez — who was sentenced to 10 years for shooting Megan Thee Stallion in the foot (Aug. 8, 2023) — from prison.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Usher‘s vulnerable new Coming Home track to Rhyan Dougas’ contemplative ode to the cyclical nature of romance. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Marlon Craft & Method Man, “Muggsy Bogues”
[embedded content]
Whenever Method Man gets on a track, it’s going to be an event. On “Muggsy Bogues,” named after the shortest NBA player in history, Meth and independent New York rapper Marlon Craft spar over a dark, gritty beat crafted by Arbus and Moo Latte. “I pulled up in the Muggsy Bogues with the pennies/ ‘Cause I’m short on time, so don’t be short on a penny/ In our New York, they would envy the flavor/ Now it’s a bunch of white girls callin’ delis bodegas,” Craft opens his verse. There’s a lot about this track — from the chugging drums to the emphasis on dense, almost understated wordplay from both rappers — that’s unmistakably New York. It’s regional in a way that beckons to prime of East Coast rap while still feeling fresh enough to secure a place alongside contemporary iteration’s of the city’s classic sound.
Usher, “Naked”
[embedded content]
So much of Usher’s musical and artistic persona is predicated on his multilayered relationship with sex that when he flips that entire concept on a song as disarming as “Naked,” it’s a particularly stunning moment. “When we strip down, can’t run from real truth/ When we strip down, we gotta face it/ Until I get it right, I’m not gon’ lie/ I’ma need me and you tonight to be naked,” he croons over a lush combination of wailing electric guitar, steady percussion and sultry bass licks. Here, Usher — the man behind such bedroom classics as “Bedtime,” “Hey Daddy” and “Trading Places” — tempers the “sex-a-holic” label with an exploration of his youth, a time where he would try to find his “manhood inside a woman’s body.” It’s heady stuff, sure, but it’s also easily the best song on the new expanded edition of Coming Home.
SiR & Isaiah Rashad, “Karma”
[embedded content]
Just a few weeks after unleashing “No Evil,” SiR has recruited TDE labelmate Isaiah Rashad for “Karma,” a continuation of his emphasis on self-reflection as he ramps up the campaign for his forthcoming fourth studio album, Heavy, due out Mar. 22. “Ooh, I need to stop treating hoes like I need ’em/ I’m too busy making promises when I can’t keep ’em/ It’s time I slow this ‘Llac down to a hunnid/ I keep making the same mistakes when I should be learning from it,” he croons over atmospheric piano and skittering kick drums. Additionally, Rashad delivers a strong verse that nicely complements SiR’s lyrical allusions to a Biblical take on karma.
Ray Vaughn feat. Pusha T, “Problems”
[embedded content]
It may only be February, but TDE is on a mission to own 2024. With their second of three entries on this week’s column, Ray Vaughn links up with Pusha T for the sparse “Problems.” Over a synth-inflected, somewhat mournful beat crafted by Rayo & WizzleGotBeats, the rappers play their respective roles of rookie and elder statesman. Ray Vaughn spends his verse firing off heated shots to those who deride him as a “backpack rapper” (“Let ’em label me a backpack rapper turned to a school shooter/ All they top five get hit, unless they cool tutors”), while Pusha exudes a complementary cool that underscores his words of advice for longevity in the rap game. “Listen, Ray Vaughn, be clear of your peers/ ‘Cause in a couple years it’d be musical chairs/ We done seen n—as panic and show us they tears/ Reminiscin’ over hits but the money ain’t there,” he spits.
SZA, “Saturn”
[embedded content]
After debuting this track during the 2024 Grammys, SZA has finally uploaded “Saturn” to digital streaming platforms. An instant fan favortie, “Saturn” — co-written by SZA, Carter Lang, Rob Bisel, Solomonophonic and Monsune — finds the four-time Grammy winner musing over the possibilities of starting life anew on Saturn, after being faced with little but devastation on Earth. “Stuck in this paradigm/ Don’t believe in paradise/ This must be what Hell is like/ There’s got to be more, got to be more,” she croons over a characteristically ethereal beat bridging R&B, pop and alternative.
Hunxho & Summer Walker, “Your Friends”
[embedded content]
Atlanta rapper Hunxho is getting ready for what could be a major breakout year, and this new Summer Walker-blessed version of “Your Friends” is sure to keep up his momentum. “Your Friends” was arguably the biggest hit from Hunxho’s For Her album, and this new remix with fellow ATL native Summer Walker adds a woman’s perspective to its exploration of the thorny dynamics that emerge when friendships bleed into romance and vice versa. “Y’all n—as no better, no cheese, no cheddar/ Be concerned what your homies tellin’ me, I deserve better/ Be concerned with your homies blowin’ me, writin’ love letters,” she warns Hunxho over Avedon & Diego Ave’s moody trap beat.
Rhyan Douglas, “Spin the Block”
[embedded content]
The phrase “spin the block” has been run into the ground in recent years, so it takes a special artist — like one Rhyan Douglas — to pull something fresh and real out of that trio of words. A love song with two feet placed firmly in the technology-steeped romance waters of the 2020s, Brampton native Rhyan Douglas croons about the wealth of opportunities that could arise should he bite the bullet and spin the block on a former lover. “But you spin the block/ If all I did was fix up, I’m tryin’ hard/ I’m tryin’ not to give up on you/ Forgot we crossed our lines,” he coos over dry acoustic guitars that recall the best of Daniel Caesar’s stripped-down moments.
Against all odds — and a brief disappearance from digital streaming platforms — Vultures I is finally here. The new joint LP from Kanye West and Ty Dolla $ign launched atop the Billboard 200 on Sunday (Feb. 18), while its breakout single, “Carnival,” starts at No. 3 on the Billboard Hot 100 (chart dated Feb. 24).
Although that new set, which features appearances from North West and Playboi Carti, dominated much of the conversation in the hip-hop and R&B worlds, it was far from the only thing of note to occur over the past week. On Valentine’s Day (Feb. 14) — or “Worst Day” if you’re a part of the Future Hive — Maze frontman Frankie Beverly announced his farewell tour. Beverly, of course, lent his voice to the seminal “Before I Let Go,” covered by Beyoncé for her 2019 Homecoming live album. Her version peaked at No. 65 on the Hot 100.
Trending on Billboard
In other R&B performance news, Usher added yet another new slate of dates to his ever-growing Past Present Future tour (Feb. 20) and the Roots Picnic announced their 2024 headliners, which include Jill Scott, Nas, Lil Wayne & The Roots and André 3000. On the hip-hop side of things, there’s no getting around the eye-popping new music video for Drake, SZA and Sexyy Red‘s “Rich Baby Daddy.” The clip — which has already amassed over 7.5 million YouTube views — finds Drizzy and Solána partying in a hospital while the “Pound Town” rap princess (who recently gave birth to her second child in real life) goes into labor.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Bryson Tiller‘s new heater to Rae Khalil’s tender meditation on existentialism. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Pratt & Moody & Cold Diamond & Mink, “Creeping Around“
[embedded content]
Finnish soul duo Pratt & Moody are dishing up heavy old school vibes on their new Cold Diamond & Mink-produced single “Creeping Around.” Their take on contemporary soul is infused with an especially haunting approach to melody. The grandiosity of the song’s production — built almost exclusively around Moody’s sultry guitar — evokes the most stirring of James Bond themes, while the duo’s expansive combine vocal ranges trade off fluttery falsettos with robust full-voice crooning. “We gotta stop creeping around” is a simple, but incredibly effective hook; the song’s lyrical sparseness allows the meticulous arrangement ample room to breathe, making it a flawless backdrop for the slight twang that contours each repetition of “creeping around.”
Bryson Tiller, “Whatever She Wants”
[embedded content]
After initially appearing on his Slum Tiller, Volume 2 mixtape last November, Bryson Tiller has finally unleashed fan-favorite track “Whatever She Wants” on all digital streaming platforms. Crafted with the intent to appear on a stripper’s pre-show playlist, “Whatever She Wants” finds Bryson far-removed from his heart-bearing hip-hop-inflected R&B. Instead, the Grammy nominee skates across TylianMTB-produced Detroit-inspired beat with all of the effortless swagger and braggadocio of a guy who could quite literally buy the whole club. “CC, Gucci, hit Bottega, whatever she want/ She piss me off, somehow she still get whatever she want,” he spits, somehow striking a fine balance of gruffness and seduction in his delivery.
Tierra Whack, “27 Club”
[embedded content]
Mental health has long been a lyrical touchstone in hip-hop, just as the “27 Club” — an infamous collection of celebrities who passed at age 27 — has been a figment of pop culture’s obsession for decades. Thus, the convergence of these two concepts is fairly natural, and Tierra Whack expertly tackles them both on her new track, “27 Club.” Produced by J Melodic and ProdbyBRIANNA, “27 Club” finds Tierra contemplating suicide. “When your life gets hard but it’s simple/ When everybody ’round you suspenseful/ It ain’t really hard to convince you/ Lookin’ for somethin’ to commit to?” she spits. The dark beauty of this song is that Tierra wholly rejects the notion of a happy ending or a narrative of triumph; she simply sits in the aching self-loathing, guilt and depression that comes with suicidal ideation.
Lola Brooke & 41, “Becky”
[embedded content]
Last year, both Lola Brooke and 41 dropped off full-length projects — Dennis Daughter and 41 World: Not the Album, respectively — and now the two fast-rising New York rap breakout stars are kicking off 2024 with a new collaboration. Predicated on a definition of “Becky” that refers to fellatio, the fiery drill joint marks the union of some of the most exciting voices in the contemporary hip-hop scene. Lola’s characteristically menacing delivery is a smart complement to TaTa’s boisterous ad-libs and Kyle Ricch’s high-octane flow. Of course, the “Don’t Play With It” rapper also pairs well with 41’s Jenn Carter, whose slick wordplay makes her closing verse the strongest.
Chantae Cann & Kenyon Dixon, “B-Side”
[embedded content]
Kenyon Dixon has been on something of a hot streak lately between his 2024 Grammy nomination and a recent string of gorgeous duets. On “B-Side,” his new joint alongside Billboard-charting jazz and soul signer Chantae Cann, he keeps that streak alive. Produced and co-written by Masego, there’s a throughline of sultry, “come-hither” energy that encapsulates the innate, tasteful allure of the slinkiest jazz-inflected R&B melodies. Cann delivers the hook in a breathy tone that pairs well with Dixon’s whimsical descending riffs. Who said grown and sexy R&B was dead?!
Rae Khalil, “Is It Worth It”
[embedded content]
In celebration of the announcement of her signing with Billboard chart-topping rapper-singer Anderson .Paak‘s APESHIT label, Rae Khalil has unleashed a new .Paak-produced single titled “Is It Worth It.” Built around an understated drum-laden and bass-anchored soundscape, Khalil asks “Is it worth it?/ If I show up when I want/ In the sea of the same face/ Is it worth my time, time?” The lyrical battle between her own pride and her desire for connection and yearning to be wanted and desired come to a head in the lush instrumental break that simultaneously serves as the song’s bridge and outro — talk about a stunner.
ScHoolboy Q, “Yeern 101”
[embedded content]
Q’s new LP, Blue Lips, arrives in just under two weeks, and the Grammy-winning rapper is amping up his rollout. Built around a skittering, bass-blaring beat crafted by Cardo, J.LBS, Johnny Juliano & Yung Exclusive, “Yeern 101” finds the TDE star effortlessly skating over the track with a borderline breathless flows. There are no easy hooks or choruses here, these are two heady voices chock-full of smart wordplay, high-speed flow switches and sly changes in inflection and intonation — both of which are elevated by the ever-intensifying instrumental. “I’m a n—a out here, everything come free/ I ain’t never met God, but I bet he know me/ Put the money in a set, a n—a die in them streets/ Threw the boy alley oop, now he ridin’ on fleek,” he spits.
Last night (Feb. 11), not only did Megan Thee Stallion and Nicki Minaj‘s beef seemingly come to an end — the H-Town Hottie’s “Hiss” debuted atop the Billboard Hot 100 — the duo’s war of words took a backseat to a much more daunting showdown: the San Francisco 49ers v. the Kansas City Chiefs.
Ultimately, the Chiefs — led by star quarterback Patrick Mahomes and Taylor Swift‘s loverman Travis Kelce — pulled out a last-minute win over the 49ers. As thrilling of a game as the Super Bowl was, all eyes in the hip-hop and R&B worlds were squarely fixed on Usher‘s dazzling halftime performance. A flashy, maximalist ode to Black performance history and Las Vegas iconography, the King of R&B sprinted through his hit-packed catalog, including anthems such as “Superstar,” “U Got It Bad,” “OMG,” “Nice & Slow” and “Yeah!”
Of course, the top-level entertainer was in prime form, showing off intricate footwork and boundless sex appeal as he trotted out surprise guests such as Alicia Keys, H.E.R., Lil Jon, Jermaine Dupri and Ludacris. Between a major Grammy night for Victoria Monét and SZA — both ladies took home three trophies — and Usher’s three-pronged blitz of a killer halftime show, a star-studded new LP and a massive forthcoming headlining arena tour, R&B and hip-hop are starting off Black History Month with a bang.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Honey Bxby’s blunt Other Woman™ anthem to Nardo Wick and Sexyy Red’s meme-interpolating “Somethin’.” Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Honey Bxby, “Fkn Him Too”
[embedded content]
While some of her contemporaries would rather cry over a toxic situationship, Honey Bxby is relishing the innate messiness of being the Other Woman™ on her new single. “I’m f—kin’ him too!/ I don’t know what you’re gonna do/ It’s time you heard the truth/ That he don’t belong to you,” she proclaims in the chorus. Reverb-drenched backing harmonies and a booming 808-laden trap&B beat provide the song’s foundation, and Honey paints across the soundscape with a tongue-in-cheek tone that highlights the jauntiness of the track’s “F—k You Tonight”-evoking melody.
Jermaine Dupri feat. Nelly, Ashanti & Juicy J, “This Lil’ Game We Play”
[embedded content]
Reuniting Nelly and Ashanti for their first song together since 2008’s “Body on Me,” Jermaine Dupri delivers a joint that perfect captures the essence of the two stars’ era of R&B/hip-hop crossover collaborations. Assisted by Juicy J, Nelly and Ashanti contour Dupri’s Miami bass-inflected beat with heated lust as they wax poetic about the cat-and-mouse courtship game. To his credit, Juicy adds some of his trademark sexual brazenness to balance out the couple’s reliance on innuendo. “Don Julio, ass so fat, I might lose composure/ Take you back to my penthouse, see if you can squirt like a Super Soaker/ Gon’ head, touch your toes, baby, maybe we can do a little roleplayin’/ Maybe we can have us a night cap, maybe you can be my throat baby,” he rhymes.
Nardo Wick feat. Sexyy Red, “Somethin’”
[embedded content]
If you’re a late Millennial or early Gen Z, you know the glory days of IceJJFish’s social media reign. On their new track, Nardo Wick and Sexyy Red team up for a hood love song that hinges on a sample of one of IceJJFish’s viral tracks. “It’s somethin’ ’bout my b—h I love, I can’t put my finger on it,” Nardo chants in the chorus, riffing on decade-old “On the Floor.” Over an ominous, piano-anchored beat, the two rappers trade vulgar, no-holds-barred verses about the things they love about their significant other. Sexyy maintains her hot streak of enjoyable guest verses, finessing some hilarious onomatopoeia-centric rhymes in the process. “Have a hood n—a singin’, “Fah-la-la”/ Let him hit the c—chie like grrah, grrah, grrah/ Swervin’ all in traffic, gettin’ freaky in the car/ If he try to leave me, then it’s bah-bah-bah,” she spits.
GloRilla, “Yeah Glo!”
[embedded content]
It’s been some time since her dominant run of “F.N.F.,” “Blessed” and “Tomorrow 2” (with Cardi B), but GloRilla is back in top form with her latest single, “Yeah Glo!” A return to focusing on straightforward, unvarnished Memphis rap over too-obvious ploys for pop crossover success, “Yeah Glo” finds the Grammy nominee getting real busy over a rattling beat crafted by B100, Go Grizzly & Squat Beats. “Yeah, Glo! Stomp a lil’ p—y ho with some shell toes/ Slappin’ rap b—hes and makin’ bail, ho/ Two-tone Cartier match the nails, ho/ No competition, these b—hes stale, ho,” she chants in the chorus. Although she never specifies who exactly she slapped, her gruff Gangsta Boo-esque tone provides the perfect vehicle for her rambunctious rhymes.
Latto, “Sunday Service”
[embedded content]
Not even a week after “Hiss” vs. “Big Foot,” the rap ladies are now treating us to… “Think U the S—t (Fart)” vs. “Sunday Service?” Although Latto has skirted around plainly labeling “Sunday Service” as a diss record, there are enough likely shots at fellow ascendant rap star Ice Spice to warrant that label. Across a trap-rooted beat courtesy of Go Grizzly, Pooh Beatz & Bankroll Got It, Latto spends her first verse rapping about her wealth and looks, but by the second verse, she’s focused on addressing those that would rather tweet than rap. “Do you rap or do you tweet? ‘Cause I can’t tell, get in the booth, b—h/ Stop all that motherf—n’ yellin’, ho/ ‘Cause I ain’t buyin’ what you’re sellin’, ho/ Think I’m the s–t? B—h, I know it, ho / Jesus walked on water, I got ice boilin’ though,” she spits.
Kith, Cam’Ron & Swizz Beatz, “Last Stop”
[embedded content]
For the first-ever track under Kith Records, New York rap icons Cam’Ron and Swizz Beatz team up for a rousing new single titled “Last Stop.” Anchored by hearty drums and funky guitars, the Dipset frontman delivers several cocky couplets about his legacy, his sexual prowess, his rap skills and his unshakeable position as an elder statesman in the rap game. Even when he gets especially dirty — “Brought her friend with her, watch em eat each other out/ The way I f—ked her face, man, she gon’ need another mouth” — he makes sure to balance that out with more tasteful bars of good old fashioned New York braggadocio. “Different leader, same habits/ I know I’m what you want but you can’t have it/ You got bad habits, me I’m a bank magnet/ And the coupe roof missing like Frank Mathis,” he raps.
Usher, “I Am the Party”
[embedded content]
A new cut from the R&B maestro’s Coming Home album — released the Friday before his Super Bowl halftime show (Feb. 9) — “I Am the Party” finds Usher in a familiar gear: dirty macking as the top player in the game. Through lyrics that run the gamut from corny to cheeky (“Club in my house, I call it G-spot”), Usher paints, alongside longtime collaborators Jermaine Dupri and Bryan Michael-Cox, gently toes the line between dated slogs and enjoyable throwback pastiche. As per usual, Usher’s voice is the main attraction; he delivers a vocal performance so committed to the song’s eternal bachelor bit that you can’t help but be overwhelmed by his melismatic charisma. Oh, and who can resist, a nice warning shot to the competition: “N—as talmbout Verzuz with me, please stop/ Know you think he is, but baby, he’s not,” he croons.
Katt Williams certainly set the tone for 2024. Less than a week after the Emmy-winning comedian fired shots at peers such as Rickey Smiley and Tyler Perry on Shannon Sharpe’s Club Shay Shay podcast, two of contemporary dancehall’s leading ladies launched their own lyrical battle.
Funnily enough, the two major January dancehall clashes — Jada Kingdom v. Stefflon Don and Teejay v. Valiant — center around the two biggest dancehall crossover smashes of 2023: Teejay & DJ Mac’s “Drift” and Byron Messia & Burna Boy‘s “Talibans II.” Thankfully, both clashes were kept on wax, as all artists involved participated in the battles for fans’ entertainment and the greater dancehall culture over anything else.
“This is dancehall music, and once it is [a] lyrical battle, I am down for it,” Teejay told DancehallMag. “Nothing violent; nothing out of the studio, nothing outrageous… just music, and if it seems like it’s getting too far, I will definitely wrap this up, because you know we have to get back to the money at times— that’s the bigger picture… for now, we have to just entertain people but nothing serious. I don’t know about the next side, but on my side I am positively sure that it is just music.”
While the hip-hop world is frenzied with haphazard rap beefs peppered with days of spiraling in lieu of actual good music, dancehall’s clash culture is still going strong and further emphasizing the global reach of this iteration of the genre — especially considering how much these battles dominated online conversations in January. If you’re not already familiar with the details, here’s a primer on both of them.
Jada Kingdom v. Stefflon Don
As the old saying goes: Think of the messiest person you know. It’s a man, ain’t it?
At the eye of the hurricane that was Jada Kingdom and Stefflon Don’s five-song clash lies Grammy-winning Afrobeats crossover star Burna Boy. The “Last Last” singer is an ex of Stefflon Don’s, and once pictures of Jada and him started making the rounds on social media, tensions began to rise. Before the ladies took it to the booth, Steff threw some vague Instagram Story shade that she later clarified as directed towards her former managers. The “Hurtin Me” singer would soon throw more shade that eventually sparked the first track in her clash with Kingdom.
Before that moment, however, Burna’s remix of Byron Messia’s breakout hit, “Talibans,” hit the airwaves. In verse three of the song — which hit No. 99 on the Billboard Hot 100 — Burna croons, “All of the best pumpum deh yah Kingston/ So me buy a Birkin fi Jada Kingdom.” Burna wasn’t just bragging about his new fling; the line is also a play on the “You gon need a Birkin if you wanna show me off” lyric from Jada’s “Turn Me On” (with The 9ine).
By autumn, Jada — also known as Twinkle — was seen with Pardison Fontaine, Grammy-winning songwriter and former beau of Megan Thee Stallion. But with the rumor mill swirling about a December reconciliation between Steff and Burna, the timeline between the two flings started to look a bit funky.
Naturally, months of tension gave way to Steff putting her feelings to wax. At the top of the new year, the award-winning Brit shared a teaser of a new song on Rvssian’s “Dutty Money” riddim, in which she threatens to “box” an unspecified woman who messed with her man. In total bad gyal realness, Jada not only confirmed a casual fling with Burna Boy, but she also pressed Steff to clarify just who was going to get boxed. After a bit more back and forth, Steff’s “Dat a Dat” arrived and the clash ensued, eventually ending after two tracks from Jada and three from Steff.
“For everyone who’s saying ‘war start’, war jus done! Well, for me that is,” Jada Kingdom wrote in an Instagram Story (Jan. 9). “I’m in a happy and healthy relationship now, I won’t be prolonging this nonsense.”
Teejay v. Valiant
Teejay & DJ Mac’s “Drift” was one of the defining global hits of 2023 — and debate over which artist is more responsible for the song’s success is the basis of this clash. During an Instagram Live a few months ago, Teejay blasted Mac for allegedly trying to swindle Panda out of production credits on the hit song.
On his October DJ Mac-produced “Beer & Salt” single — which was featured on that month’s Reggae/Dancehall Fresh Picks column — Valiant jabbed, “Mac them a link when them can’t find a hit song,” a clear hit at Teejay, who recently repped dancehall on one of Billboard‘s five Genre Now cover stories this month (Jan. 10). In a Jan. 14 interview on the Let’s Be Honest podcast hosted by Jaii Frais, Teejay acknowledged the shade, and soon enough, Valiant responded to the acknowledgement via Instagram, spurring Teejay to preview a diss track shortly thereafter.
Nonetheless, the clash stayed on social media for a bit longer. Valiant responded to Teejay’s preview with a message on his Instagram Story that read, “Me naah give you no strength for you EP sir, go work and promote it.” I Am Chippy — Teejay’s first project since signing to Warner Records last year — is slated for a Feb. 2 release. Right after the IG Story jab, Valiant then went live with DJ Mac himself as the “Drift” riddim played in the background. After one more Instagram Live from Teejay’s side, in which he doubled down on his DJ Mac’s disses, the musical phase of the clash began.
After two tracks each from both Teejay and Valiant, the two artists put their beef to bed. While all four songs are currently available on their respective official YouTube pages, both dancehall stars have since removed the songs from their respective official Instagram pages out of respect for one another.
Without any further ado, here’s a ranking of the eight songs that made up two of the biggest contemporary dancehall clashes of the young decade.But first be sure to check out our Spotify playlist highlighting January’s hottest new tracks across reggae, dancehall, soca, calypso and more.
Teejay, ‘Chapter 2’
While 2023 represented a year of remarkable growth for African music, 2024 is already shaping up to be a year where multiple new stars are discovered. Singer-songwriter-producer Yung D3mz was selected as Apple Music’s Up Next artist in Ghana at the end of last year, and new fans can discover his recent EP Before the Sun Comes Down. And after scoring high-profile features on Davido and Olamide‘s albums, Nigerian singer-songwriter Fave is making a name for herself, especially with her new single “Belong to You.”
And 2024 will also be the year that the superstars will receive higher honors than ever before. On Sunday (Feb. 4), the Recording Academy will give out the Grammy award for best African music performance for the first time. Nominees in the category include Mr. Money Asake, who doesn’t stop getting after the money in his new single “Only Me,” and Davido, who reunited with Kizz Daniel for the first time since their 2018 collaboration “One Ticket” on the remix of “Twe Twe.”
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Get into our first Fresh Picks of 2024, and start off the new year with some new tunes in our Spotify playlist below.
Chssom & Crayon, “Chemistry Luv”
[embedded content]
Chssom and Crayon capture the intense pull of “Chemistry Luv” with high-pitched piano chords that could be transposed for the woman of their dreams to walk down the aisle to. “Girl, I’ve never felt like this before!” Chssom exclaims in the hook, demonstrating the potency of the spell he’s under.
Yung D3mz & Tera Kòrá, “Futuristic”
[embedded content]
Yung D3mz recruits Curaçaoan producer Tera Kòrá for the sun-soaked penultimate track of his latest EP, Before the Sun Comes Down. Kòrá’s “soulswing” sound – which he describes as “a warm and moving, loungey vibe” that’s inspired by his “sunny Caribbean roots” – breathes new life into D3mz’s Afro-fusion. From the dizzying flute melodies to the bubbling bassline, it’s impossible not to sway your hips to this song.
KJ Spio, Oxlade & Sarkodie, “Undress You”
[embedded content]
Ghanaian music executive and self-proclaimed “culturepreneur” KJ Spio taps Oxlade and Sarkodie for this slinky, sensual track. With a swoon-worthy melody inspired by T-Pain’s 2005 smash “I’m Sprung,” “Undress You” paints a lascivious picture of how they plan on letting the night unfold, with Oxlade crooning “Time to have sex” in the chorus (a la Mad Cobra’s 1992 dancehall hit “Flex”) and Sarkodie rapping, “More sex less talk we waking up to the sunset.”
Highlyy, “Honest”
[embedded content]
The Essex-born Congolese breakout sensation bares her soul on the “Honest” cut from her debut EP +243. The twinkling keys and pensive pitter-patter of the percussion give listeners a glimpse of the war between Highlyy’s head and heart, as she remains firm in her decision to end things with a lover – even if it’s one of the toughest decisions she’s had to make. “I was talking to a boy, a very toxic situationship. There’s always that person that you say you’re done with but keep running back to them. That song means everything to me because it’s so true,” she told Clash.
PsychoYP & Jeriq, “Disintegrate”
[embedded content]
No one and nothing can break down indomitable Nigerian rappers PsychoYP and Jeriq on “Disintegrate,” the first track off their joint EP Evil Twin. The two effortlessly feed off of each other’s flows, flexing with lines like “Afum your 12 missed calls during a business meeting, I’m sorry but I won’t call you back unless Inwe ezigbo reason,” because the hustle doesn’t stop for anyone.
Fave, “Belong To You”
[embedded content]
The young Nigerian singer broke out in a big way in the past few years, with high-profile features on tracks by Davido and Olamide and her own single “Baby Riddim,” but this new cut is something different from her — a straight-up R&B-pop cut that showcases her powerful vocals and the emotion in her voice as she relates a relationship seemingly broken, but with deep wells of feeling under the surface. She’s poised for a breakout look.
Asake, “Only Me”
[embedded content]
Sometimes it seems like the breakout star of the past two years can do no wrong, and Asake keeps up the relentless pace of his output here with another catchy, melodic hit for the catalog. He has a way of crafting these earworms out of small phrases that give his songs a lasting quality, and his inclination to always incorporate choral backing vocals gives his songs a cinematic feel that others just can’t match.
Black Sherif, “January 9th”
[embedded content]
Celebrating his 22nd birthday, the Ghanaian takes time to reflect on his position and the weight of the pressure on him, while seeming to take a very zen point of view on the matter. The production is deeply soulful and his lyrics rise to the occasion, making this single a mission statement of sorts — with everything he’s got going on, everything is still alright. It’s a good sign for his forthcoming album.
Kizz Daniel & Davido,” Twe Twe”
[embedded content]
The remix to Kizz’s latest single features one of Africa’s biggest stars, and has fun playing with and overlaying different rhythms and syncopation, which helps it stand out from many of its contemporary songs on the scene right now. The lush production propels it forward and the duo — together on a track for the first time in several years — brings it home.
Ckay, “Is It You?”
[embedded content]
Afrobeats’ resident emotional loverboy returns with another entry in the genre, with a wistful hook and verses that see him pining over a woman he’s just met. His melodies and vocals have continually set him apart, and while we wait to see what else he’s got in store, he keeps hitting his sweet spot with songs that recall some of his biggest hits, though with a bouncier beat behind him here.
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.
Explore
See latest videos, charts and news
See latest videos, charts and news
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
“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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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!”
[embedded content]
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”
[embedded content]
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.
Explore
See latest videos, charts and news
See latest videos, charts and news
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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”
[embedded content]
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!