Fresh Picks
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When Beyoncé drops, the world stops and listens. And that’s exactly what happened with the release of her incredibly ambitious 27-track Cowboy Carter LP last weekend (March 29). While the record is framed by Queen Bey’s exploration of the Black roots of country music and her own Southern familial roots across Texas, Louisiana and Alabama, there are still healthy doses of the R&B we all know and love from her, courtesy of collaborators ranging from Pharrell Williams and Raphael Saadiq to The-Dream and Nile Rodgers.
Remarkably, a couple of artists across hip-hop and R&B were able to cut through the Cowboy Carter chokehold. Ye (fka Kanye West) predictably inserted himself in the Drake–Kendrick Lamar back-and-forth, claiming that “there is only one GOAT” and that he “washed” both artists on previous collaborations. Tyla, who is currently enjoying the release of her debut studio album, covered the most recent Billboard print issue and revealed why pulling out of Coachella was “the right decision.” Of course, the Head Barb herself, Nicki Minaj, stayed in the news cycle with the announcement of her first sneaker collection, a winning performance at Madison Square Garden and an appearance at the Knicks game with her family (March 31).
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Beyoné and Shaboozey’s genre-obliterating shootout to Felix Ames’ soulful new single. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Tyrese, “I Would Still Say I Do”
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A sweeping eight-minute tribute to the longevity of matrimony, Tyrese‘s “I Would Still Say I Do” is also a tender love letter to tasteful, old-school soul. The “Sweet Lady” singer has been teasing this track on his official Instagram account — where he’s also been subtly documenting the creation of his forthcoming seventh studio album — and it was absolutely worth the wait. Stirring strings and lush piano serve as the anchors for an arrangement that swells into a mini-orchestra, incorporating bits of jazz along the way. “How foolish would it be/ betting it all after losing everything/ And nothing here makes sense/ Love is worth whatever the consequence,” he croons in a tone that expertly balances yearning with true devotion. The subject matter is reminiscent of “I Still Do” from 2015’s Black Rose, but with even more finesse and gravitas.
Beyoncé, Linda Martell & Shaboozey, “SPAGHETTII”
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“Genres are a funny little concept, aren’t they?/ Yes, they are,” country pioneer Linda Martell chuckles at the beginning of “Spaghetti,” a high-camp Western shootout soundtrack housed on Beyoncé’s latest opus, Cowboy Carter. Here, Beyoncé acts as a bridge between country’s past (Martell) and a fearlessly innovative future that ropes in notes of Southern hip-hop, by way of herself and ascendant country star Shaboozey.
With a rap verse that bears the unmistakable dual fingerprints of both Jay-Z and The Harder They Fall‘s soundtrack, Queen Bey asserts power and dominance over everything in her path. In the context of the album, “Spaghettii” is a smart sonic juxtaposition and a thematic complement to its preceding track, which finds Bey carrying out a murder fantasy — the “I ain’t in no gang, but I got shooters and I bang-bang!” lyric is the bridge between the two — while combining the sounds of country and classical music. Oh, did we mention that she’s also doing all of this over a Brazilian funk sample?
Doechii with JT, “Alter Ego”
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An Ayesha Erotica sample + a Tampa-Miami link-up + an Azealia Banks-esque flow = a bop. The equation really is that simple. Are the “Show Me Love”-esque synths a bit predictable? Yes, but that doesn’t mean they’re still not a worthy addition to the song. On “Alter Ego,” Doechii and JT join forces for yet another bad bitch anthem, but with one foot in the world of house music and the other dipping its toes in histrionic Miami Bass-laden hyperpop, the track sounds fresh, even if its subject matter is far from it. Although “Alter Ego” is less immediately accessible than “What It Is,” it’s still a winning showcase of both ladies’ verve and personality. “Fuck these n—as and these b–ches/ I come through and it be crickets/ I come through and moods be switchin’/ I’m the problem, I’m the villain,” JT spits.
Felix Ames, “Mr. Weatherman”
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As the Milwaukee hip-hop scene continues to bask in its moment in the national limelight, Felix Ames is holding down the city’s soul scene. With “Mr. Weatherman” — which serves as the lead single for the forthcoming deluxe version of JENA, his 2023 debut LP — he sings of both life’s more aimless moments and the search for reassurance and comfort that there truly is a light at the end of the tunnel. “I don’t know where I’m going, but I’m going fast,” he croons before begging, “Mr. Weatherman, tell me something better.” For New Yorkers, those lyrics will feel particularly impactful given spring’s reluctance to stick around for more than two days at a time. For everyone, “Mr. Weatherman” evokes consolation the world is craving in the face of times that are as tumultuous as they are unprecedented.
Machine Gun Kelly & Trippie Redd, “Beauty”
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With this new track, Machine Gun Kelly and Trippie Redd try to navigate finding “beauty” in the breakdown. The Ohio-bred duo returned to bring the emo raps for their genre : sadboy joint project and track two is an early standout from the 10-song project. Built around a pitched-up Frou Frou “Let Go” sample, MGK does most of the heavy lifting on the hook and his numbing verse, while touching on substance abuse, addiction and depression. “21 days clean that won’t break a habit/ 22 days later, I’m a f—-g addict/ Lost a real one, so I went and got him tatted/ Can’t eat, can’t sleep, life doesn’t matter,” he raps. MGK and Tripp join forces looking inward to face their demons and turn those harrowing experiences into cathartic art.
DJ Premier & Snoop Dogg, “Can U Dig That?”
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Inject this into hip-hop purists’ veins. DJ Premier’s signature scratches mixed with Snoop Dogg’s West Coast style make for a laid-back boom-bap rap cocktail here. It’s a sight to behold when a pair of the genre’s dignitaries are still raising the bar three decades into their Hall of Fame careers. “We been doing this s–t, mane, ’bout 25, 26/ S–t, I don’t know, we just been doing it,” Snoop reflects on his lengthy relationship with Preemo, in what’s typically been a young person’s sport. The Doggfather ashes his joint while cruising in his low-rider, and takes a second to show love to Cali peers who also changed the game, like 2Pac, E-40, Ice Cube and Eazy-E. Unfortunately, “Can U Dig That?” appears to be a one-off rather than the lead into a collab project from Snoop and Preemo.
It’s March, and the year is starting to heat up with big albums and even bigger singles from some of the heavy hitters of the Afrobeats community.
Billboard‘s current cover star Tyla polishes her signature popiano sound with her self-titled debut album Tyla, while Odunsi (The Engine) recruits artists from around the world to expand the borders of the alté genre on his forthcoming Leather Park Vol. 1 compilation album. And different dynamic duos underline the power of collaboration, from Aya Nakamura and Ayra Starr getting the girls gassed up on “Hypé,” to Tiwa Savage and ODUMODUBLVCK (who was featured on Billboard‘s 2024 R&B/Hip-Hop Artists to Watch list alongside Tyla) reminding everyone about their worth on “100 Million,” to Ruger and BNXN squashing their beef to put together one of the best songs of the year so far.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Leather Park & Odunsi (The Engine) feat. Minz & Elias Slay6rr, “Crown Bounce”
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Odunsi (The Engine) recruited underground and mainstream international artists as well as producers and engineers for his innovative Leather Park music camp, which took place in Paris Fashion Week last year. The alté leader tapped fellow Nigerian artists Minz and Elias Slay6rr (who were also part of the camp) for the super wavy “Crown Bounce,” the first single from the upcoming Leather Park Vol. 1 compilation album Odunsi executive produced and curated.
On “Crown Bounce,” he’s feeling himself more than all of the girls he has all around the world, comparing himself to both Michaels: “I felt like Jackson when I step/ I felt like Jordan when I shoot.” Minz and Slay6rr can also woo any woman with their infectious, idiosyncratic charm, while the song’s infectious groove can coax any listener to sway their hips. “‘Crown Bounce’ is an extension of a style I’ve been developing for years,” Odunsi tells Billboard. “It expresses my pursuit for mixing classical music as well as nostalgia with modern African groove.”
ODUMODUBLVCK feat. Tiwa Savage, “100 Million”
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Nigerian stars ODUMODUBLVCK and Tiwa Savage are ready to “f–k up the club” with their pricey collaboration “100 Million.” ODUMODUBLVCK fires off verses about his worth, while Tiwa stays in her melodic bag, solidifying her African Bad Gyal status. Sholz and Decster’s polished Afrobeats-meets-drill production (with an underlying lush string arrangement) provides the perfect backdrop for their luxurious lifestyle. That opulence is further highlighted in the accompanying music video, where ODUMODUBLVCK and Tiwa take over the palm tree-dotted streets of Los Angeles, as the former commands The Peppermint Club’s stage from his show back in February.
Tyla, Gunna & Skillibeng, “Jump”
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The South African popiano star recruits Atlanta rapper Gunna and Jamaican dancehall deejay/rapper Skillibeng for the sweltering club banger “Jump,” which will have all the girls sweating off their concealer. Skilli gasses up Tyla by rapping in the intro, “Original gyal, you aren’t a replica (No!)” before she flexes in the first verse, “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer.” The sweat’s bound to be dripping off anyone listening, but leave it to Gunna to provide his girl with the drip: “Told the chauffer take you to a Chanel store/ Ever play with you, it be a world war.” While incorporating amapiano’s log drums, rap’s airhorns and dancehall’s pulsating bass, “Jump” jumps between genres, and can get the party started anywhere around the world.
Kizz Daniel, “Sooner”
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Having already fallen for one woman, Nigerian star Kizz Daniel wishes he had met a second one “Sooner,” the first single on his latest EP TZA — short for Thankz Alot, and meant as a “thank you” for his fans who have been supporting him during his decade-long career (His debut single “Woju” came out in 2014). The Nigerian singer-songwriter feels torn: On one hand, he’s aware he’s already committed to someone, but on the other hand, he doesn’t want to let a new woman go, and finds himself physically tempted to pursue her. Daniel makes his promiscuity entertaining with the song’s steady percussive bounce.
Aya Nakamura feat. Ayra Starr, “Hypé”
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French Malian popstar Aya Nakamura fuels more “Hype” for her first single of 2024 by adding Beninese Nigerian Afropop star Ayra Starr to the mix. Nakamura falls out of love with her terrible ex and hypes herself up as a “hit machine,” while Starr erases her former lover from her memory, singing, “Two chances, too many to track/ Just worry ’bout my bag, I don’t want you back.” And the playful music video makes the power of the Aya x Ayra linkup even more palpable.
Ruger & BNXN, “Romeo Must Die”
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After a few years of publicly jockeying and feuding — some of it in the spirit of competition, some of it petty — two of the most reliable hitmakers in Africa set aside their differences to join forces on this breezy, compelling collaboration that speaks to the primary strength for both artists: melody. It’s a worthy addition to both of their canons, but just as importantly, heals a rift in a way that benefits all — and especially fans.
Tyla feat. Tems, “No. 1”
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Tyla’s self-titled album is the first true event album of the year for African music, and this collaboration with Tems is a clear standout on a project stocked full of great songs. The South African singer-songwriter’s breakout in the past year — crowned with a Grammy for best African musical performance at the Grammys earlier this year — has been one of popular music’s greatest success stories of late, and her teaming up with one of Nigeria’s go-to vocalists of the past few years makes for an engaging and soulful duet that brings the best out of both artists.
King Promise, “Paris”
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King Promise’s rise has been remarkable in recent months, and last year’s “Terminator” was easily a top 10 song of 2023. “Paris” is a great follow, with an amapiano through-line and a hook that is an instant earworm. The Ghanaian star is building a truly top-tier oeuvre, and with a new album on deck for this year, there’s plenty more to come.
Bella Shmurda, “Loner”
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Following the street dance craze of last year’s “Ara (Gen Gen Tin),” Bella Shmurda returns with a more melodic, soulful and introspective cut that shows off his vocals and songwriting skills in a way that goes beyond what he’s been known for in his career so far. A great song, and another step forward for an artist that continues to evolve.
Pheelz, “Go Low”
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With this propulsive, dance-y track, super producer Pheelz comes back with another big track following up on the massive success of last year’s “Finesse.” With a groovy trumpet line, a silky vocal and its strong back line, it’s a perfect cut for dance floors this coming summer.
“Okay, let’s get it” — only one thing mattered this weekend. Well, one verse, rather. On Friday (March 22), Kendrick Lamar came back outside for a culture-rocking verse that threw direct shots at Drake, J. Cole and the very concept of “The Big 3.” That verse appeared on “Like That,” the immediate breakout hit from Future & Metro Boomin‘s new joint album We Don’t Trust You — an LP that easily dominated the weekend’s online conversations. As Drake continues to prep his response to Kung Fu Kenny, several other releases and events are keeping the R&B and hip-hop worlds occupied.
On the R&B front, amapiano crossover sensation Tyla unleashed her debut studio album, TDE R&B crooner SiR returned with his first LP in five years and Bryson Tiller officially launched his eponymous album with his new “Calypso” single. Hip-hop was obviously dominated by the Kendrick, Drake and Future of it all, but GloRilla carved out a bit of airtime for herself thanks to a hilarious clip of her appearing on CNN to comment on her visit to the White House. In the evergreen words of the Grammy-nominated “Tomorrow 2” rapper, “At the end of the day, the day gotta end!”
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Freshest Find: Future & Metro Boomin feat. Kendrick Lamar, “Like That”
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from K. Dot’s incendiary verse to Tyla’s sexy summer smash. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
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Kendrick Lamar lit the fuse for rap’s biggest storyline of the year with his scathing assist on Future and Metro Boomin’s “Like That.” Kenny builds off of Future’s earlier shots at the 6 God by taking aim at both of his “Big Three” running mates J. Cole and Drake with a direct response to their Billboard Hot 100-topping “First Person Shooter.” “Yeah, get up with me, f–k sneak dissing/ ‘First Person Shooter,’ I hope they came with three switches,” he raps before throwing more fuel on the fire. “Think I won’t drop the location? I still got PTSD/ Motherf–k the Big 3, n—a, it’s just big me.”
K.Dot takes the gloves off and hones in on Drake while referencing his For All The Dogs album and compares their relationship to Prince and Michael Jackson. “And your best work is a light pack/ N–a, Prince outlived Mike Jack’/ N—a, bum/ ‘For All your Dogs’ gettin’ buried/ That’s a K with all these nines, he gon’ see Pet Sematary,” he snarls. Kendrick and Drake have had an icy relationship since Dot’s atomic “Control” verse back in 2013, and this should ratchet up the cold war a few notches. Don’t look for “Like That” to exit the zeitgeist all that quickly either, as the Three 6 Mafia-sampling hit is expected to earn a lofty debut on the Hot 100 next week. The ball is now in Drake and Cole’s court, with the hip-hop world anxiously awaiting a response.
Tyla feat. Gunna & Skillibeng, “Jump”
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From “Girl Next Door” and the Grammy-winning “Water” to “Truth or Dare” and “Butterflies,” the road to Tyla’s highly anticipated debut studio effort has been a sight to behold. “Jump,” a genre-bending standout from the self-titled LP, continues her track record of steamy come-hither bops that keep her in complete control at all times. Alongside Gunna and Skillibeng, Tyla writes across a sultry soundscape that combines notes of Afropop, dancehall and R&B. “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer/ I don’t touch no wheel ’cause I gotta chauffeur/ First class how I get ’round the world,” she croons in a cadence that emulates the laid-back rap-sung cadence of Rihanna. Perfectly primed to dominate the summer, “Jump” is certainly one to watch.
Big Sean, “Precision”
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History repeats itself with a Big Sean release day being overshadowed by a Kendrick Lamar verse a decade later — who can forget “Control”? Sean ended his hiatus last week with his first offering of 2024, “Precision,” which finds the reinvigorated Detroit spitter coming out of the gate firing on all cylinders. Sean Don’s scintillating flow hasn’t lost its luster and he can still go toe-to-toe with any of his competition in rap. With his finger on the trigger, Sean attacks the bouncy FNZ production with ambition. “My life was a highlight reel that keep on looping/ You can’t just tell me s–t, ho, you gotta prove it,” he boasts. It’s a welcomed comeback single for Big Sean, and hopefully, he won’t be taking his foot off the gas cruising down I-375 anytime soon.
SiR, “Brighter”
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Heavy, SiR’s first studio album in five years, is some truly dark work. The Inglewood-bred crooner parses through addiction recovery, recommitting himself to love in all of its forms, and the vices that he nearly fell victim to. On “Brighter,” the gospel-inflected album closer, SiR delivers a song that embodies all of the hope and tried-and-tested faith that allowed him to survive and make an album like Heavy. “It’s the hardest where the start is/ But I know we’re gonna make it through,” he passionately croons. “Yes, it’s the darkest where the spark is/ But there’s nothin’ more amazin’ than when lights starts breakin’ through.”
Forest Claudette, “Gold”
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With their new Jupiter EP slated for a May 3 release, Forest Claudette is kicking things off with “Gold.” A shimmering amalgam of macabre lyrics, morose piano and strings, tied together with an evocative vocal performance, “Gold” continues building Forest’s stunning catalog of introspective alternative R&B. “I ain’t no damsel, I get distressed/ Burned out my candles, can’t find the rest/ Where’s the bottom? Where’s the edge? / Not there, not yеt,” he ponders. He effortlessly transposes the traditional soul hallmark into something decidedly more contemporary in its penchant for the existential.
Bairi, “Come My Way”
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Bairi (Inspired by Kingdom Hearts character Kairi) might not be a name as well known as others on this list, but she undoubtedly holds her own here. The Hershey, PA native tantalizes listeners with her luscious vocals on the sultry “Come My Way.” She reels in a love interest with a velvety coo: “If you open up to me you won’t regret it/ I can show you paradise through my gate to heaven.” Her seductive songwriting includes an intoxicating melody made to fill the club’s dancefloor. Bairi isn’t going away either, as the introverted gamer will look to carry this momentum into her debut project Baby Siren, which arrives on April 22.
A triad of star-studded events dominated the worlds of hip-hop and R&B over the past week — the 55th NAACP Image Awards, Rolling Loud California and the final weekend of SXSW. At the NAACP Image Awards — which was hosted by Grammy-winning Kennedy Center honoree Queen Latifah — Chris Brown dominated with three wins, including two trophies for “Sensational,” his hit collaboration with Davido and Lojay. Victoria Monét followed with two wins — outstanding album for Jaguar II and best new artist — while Usher took home outstanding male artist, entertainer of the year and the President’s Award. Of course, The Color Purple movie musical cleaned up with a staggering 12 wins, including outstanding motion picture, outstanding soundtrack/compilation album and four individual acting awards.
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Outside of the awards circuit, hip-hop and R&B had impressive showings at both of March’s marquee music festivals. At SXSW (March 14), PARTYNETDOOR launched his new single “Real Woman,” the first taste from his forthcoming LP, PartyNexxtDoor4, whose release date (April 26) he revealed during his headlining performance at Billboard’s annual THE STAGE at SXSW concert series. A few states over in California, Nicki Minaj turned Inglewood into Gag City, Kanye West and Ty Dolla $ign performed some Vultures cuts without actually performing at all and Metro Boomin and Future previewed some exciting new tracks from their two forthcoming joint albums.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Sexyy Red‘s latest head-banging anthem to Maxo Kream‘s reflective tribute to his late father. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Rapsody, “Stand Tall”
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As she continues to gear up for the release of her forthcoming fourth studio album, Please Don’t Cry, Rapsody is taking some time to address those who are obsessed with the details of her personal life. “Judgment’s on me, they wondering if I’m a ‘Eat the c—chie’ fan/ All because I choose to style in sneakers and some baggy pants/ Used to make me aggy, wanna black out like the Aggie fans,” she spits over a contemplative Eric G-helmed production that’s delicately tempered with twinkling piano keys.
The hat trick of “Stand Tall,” however, is that Rap isn’t giving the messiest people among us the satisfaction of seeing her dedicate an entire song to their speculation. Instead, she flips the script and uses “Stand Tall” to recenter the conversation around the sanctity of family, learning to live with anxiety and a cheeky reminder to read up on the architects of Black political thought. “Navigating through this business, tryna find some decency/ But you only wonder if I eat c—chie or like some d—k in me/ Y’all need to read Dick Gregory, b—tches,” she rhymes before launching into a chorus that has the charming quality of a letter postscript.
Sexyy Red, “Get It Sexyy”
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For most of 2024 so far, Sexyy has been laying low. Outside of a few shows, she’s been enjoying time with her new baby and the continued success of her smash SZA-assisted Drake collab “Rich Baby Daddy.” With “Get It Sexyy,” Sexxy Red SZN is officially in full effect: Over a characteristically rapturous head-knocking beat — courtesy of go-to collaborator Tay Keith and Jake Fridkis — Sexyy delivers a familiar barrage of irresistible catchy couplets (“Booty shorts, c—chie swole/ Thong all up my booty hole”), hilarious background ad-libs (“I’m his favorite hoe!”) and an ingenious interpolation of the “Little Sally Walker” nursery rhyme — “Little miss Sexyy walkin’ down the street/ I don’t know what to do ’cause the n—as after me/ I’m so f—kin’ sexy, yeah, my skin is bustin’ it/ Diamonds hittin’ hard, n—as wanna drive my tank.”
Maxo Kream, “No Then You a Hoe”
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“No Then You a Hoe” is yet another strong addition to Maxo’s recent stream of standalone singles, but it’s also using that position to mask it being a loving tribute to his late father. “Papa Maxo was a soldier and through me forever livin’,” he proclaims in the song’s final line, but not before a pair of harrowing verses that recount the cyclical nature of the dynamic between family and mortality. Across an incredibly sparse Nascent-produced beat, Maxo spits, “Got a call the other day big brother diagnosed with Lupus / He told me he might die soon, I told him, ‘B—ch, you stupid’/ Cause real gangsters live forever.” Maxo’s delivery is caked in grief, the kind that bubbles under the surface while the person it resides in tries their best to hold themselves together. Equal parts reflective and healing, “No Then You a Hoe” is a home run for Maxo.
MaKenzie & TA Thomas, “Maybe”
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For her first official release under Warner Records, MaKenzie taps TA Thomas for a rousing duet that embodies the hallmarks of ’90s and ’00s R&B vocal collaborations without feeling trapped in a corny pastiche of those eras. “Why can’t you look at me in my eyes?/ Believe me, swear that I’m never gon’ make you cry/ Lately, you keepin’ me up at night/ Runnin’, runnin’ through my mind,” they croon harmoniously in the second verse. Their joint affinity for dizzying descending riffs pairs well with the Rob Knox- and Darryl Pearson-crafted beat, which incorporate warped strings and subtle, grounding percussion.
Elmiene, “Crystal Tears”
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Marking his first new single of 2024, Elmiene’s “Crystal Tears” is a winning collaboration with Grammy-winning R&B savant D’Mile. “I apologize for leaving, and I know that/ If I curse my ways/ Won’t mean you might stay,” he croons in his trademark honeyed tone. The British R&B breakout artist’s voice sounds right at home over D’Mile’s sultry guitar-centric arrangement; he dips into his delicate falsetto to convey the most painful parts of his introspection before bringing in his immersive background harmonies to pair with the introduction of twinkling synths and earthy drums. “My dreams are dragged on/ Dеspite of my home/ I might be alonе,” he sings.
Chief Keef & Mike WiLL Made-It Feat. 2 Chainz, “PULL UP GHOST-CLAN”
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The Trap-A-Holics tags pack Chief Keef and Mike WiLL Made-It’s Dirty Nachos with a dose of 2000s mixtape nostalgia that’s lacking in today’s rap landscape. Sosa pours up and slithers in for a syrupy verse on standout track “PULL-UP GHOST-CLAN” before adding a lean PSA for listeners. “N—as drinking brown lean, actin’ like a sipper/ Be careful, ’cause that s–t will probably f–king kill you,” he contests. 2 Chainz invades the party as the perfect guest star, utilizing elementary rhymes that just wouldn’t work if they were spit by just about any other rapper outside of the Drench God. “Don’t try to compare, I’m in a whole ‘nother category/ Everybody know, my flow is nastier than a lavatory/ I’m straight out the laboratory,” he boasts. Dirty Nachos sets the stage for what should be a banner year for both Mike Will and Sosa.
Don Toliver, “Deep in the Water”
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Building off the success of “Bandit,” Don Toliver delivered the woozy “Deep in the Water” in the middle of the week to stand out from the clutter of New Music Friday. The Cactus Jack artist dives headfirst into an emotional kaleidoscope on “Deep in the Water,” which finds him getting candid about his intimacy with girlfriend Kali Uchis as he attempts to curb the vices throwing hurdles into their relationship. “You said you wanna take control of me but I got all the answers/ You want me done with the strip club, you know I’m done with them dancers,” he croons. An accompanying blue-tinted music video gives fans a first glimpse at Toliver in dad mode; Uchis gave birth to the couple’s first child – a baby boy – earlier this year.
And with Al Pacino‘s hilariously casual announcement of Oppenheimer as the winner of Best Picture at the 96th Academy Awards last night (Mar. 10), awards season has finally come to a close. While there wasn’t much hip-hop at the ceremony, the house orchestra did play a cover of 50 Cent‘s “P.I.M.P” — which is repeatedly referenced in the film — when Justine Triet and Arthur Harari walked up to the stage to accept the best original screenplay Oscar for their French legal drama Anatomy of a Fall.
Outside of the close of awards season, North West announced her debut studio album, Elementary School Dropout, Future and Metro Boomin announced that they have two new albums on the way, and Tyla canceled her upcoming North American tour and Coachella performances due to an injury.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Drake‘s rework of 4batz‘s breakout hit to FLO‘s frothy re-entry into the music scene. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Mustafa, “Imaan”
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Fresh off the news that he’s signed to Jagjaguwar, Mustafa has dropped off a stunningly tender amalgamation of soul, American folk music, and traditional Sudanese and Egyptian instrumentation titled “Imaan.” Backed by Snoh Aalegra on guest vocals, Mustafa’s malleable voice colors the soundscape as it shifts into a sweeping chorus earmarked by his yearning for “all that we don’t have evidence of.” “You say praying isn’t easy/ And all the ways you need me are from God/ And all the ways you reach him are flawed/ I know our families will never find their way to the same living room/ All of these bloodlines, all of these costumes,” he croons with heartbroken hoarseness.
Sinead Harnett, “The Most”
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For the third taste of her forthcoming new album, Sinead Harnett is doing “The Most.” Across a moody soundscape accented by light trap drums and gentle guitars, she croons of an inconsistent lover who constantly throws their relationship into turmoil. “Why you so aggravated on the phone/ If I’m so hard to be with, be alone/ You’re projecting your insecurities/ Everything’s all about you, don’t put it on me,” she sings. Delivered with remarkable vocal clarity and emotion that’s palpable, but not overwrought, Sinead Harnett is readying a gem of an album if “The Most” is any indication of what’s to come.
FLO, “Walk Like This”
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FLO is back on the road toward their debut studio album. The U.K. R&B trio have returned with the first offering from their forthcoming LP, the MNEK-penned “Walk Like This.” Also crafted in collaboration with Kabba, Relyt, Talay Riley and Ashton Sellars, “Walk Like This” finds the girls — Jorja, Stella and Renée — doubling down on their penchant for 2000s R&B stylings. Oozing with sass and bit of sultriness, their tight harmonies give body to the bubbly tune, declaring, “There’s a reason I walk like this / My baby, he be lovin’ on this / When he do it, he be workin’ that shit / And every night he got me wantin’ more of it.”
Lola Brooke feat. A Boogie wit da Hoodie & Big Freedia, “Bend It Ova”
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Still pushing her formidable debut album, Dennis Daughter — which will have a deluxe edition out on Apr. 5 — “Don’t Play With It” rapper Lola Brooke has linked up with fellow New York rap star A Boogie wit da Hoodie and New Orleans bounce icon Big Freedia for a rambunctious ode to throwing it back. With A Boogie’s twinkling piano keys finding an unlikely-but-rewarding complement in Freedia’s brash NOLA beat, Lola finds the perfect middle ground for everyone’s sounds to converge. Of course, it’s not an A Boogie track if he isn’t adding a caveat of despondent realism: “Hoodie and a mask, yeah, heart black, yeah/ You want me to throw this cash? Better shake that ass, yeah/ I’m a f—ked up n—a, yeah, I admit it, yeah/ And I got it out the mud, still in the hood, yeah, yeah,” he spits in the hook.
4batz feat. Drake, “act ii: date @ 8 (remix)”
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We knew it was only a matter of time until this moment: Mere weeks after 4batz exploded into the mainstream consciousness with “Date @ 8,” The Boy has added his own spin to the moody, dirty mackin’ R&B track. “There’s no way in hell I see you passing me up/ Almost said I loved your ass right after we fucked/ Don’t know why, girl, it was on the tip of my tongue/ Yeah, found someone I’m fallin’ for,” he croons in a familiar rap-sung cadence, which finds him trying to balance keeping up the untrappable gangster image and giving into the feelings that his heart can’t ignore. Perhaps, most importantly, the “Date @ 8” remix serves as further solidification for 4batz as he continues to scale industry heights with a back catalog of just three songs.
Rexx Life Raj, “Couple Months in LA”
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Any aspiring creative can relate to the daunting expectations that come along with moving to Los Angeles in hopes of conquering their dreams. Being in the industry for a decade and growing up about 400 miles north of the City of Angels, Rexx Life Raj gets candid about the exhausting toll Hollywood’s taken on him mentally. “Tired of wasting my breath, retracing my steps/ Unnecessary expectations got me feeling the stress,” the Berkeley native raps in agony. Raj takes a step back and breathes out a delicate croon to practice restraint because what lies ahead will be worth it: “Quiet your mind, you’re too busy worried about time my boy be patient/ You gotta be patient, cause life don’t always come at your speed.”
From Cardi B‘s Missy Elliott-nodding “Like What” freestyle to RAYE‘s Brit Awards sweep and the kickoff of Nicki Minaj‘s highly anticipated Pink Friday 2: Gag City World Tour, it was a very eventful week for hip-hop and R&B. As usual, New Music Friday (Mar. 1), unleashed a tidal wave of new music, including a terrific new LP from ScHoolboy Q, a feisty new single from Chlöe Bailey and blistering EP from Meek Mill, which landed at the tail end of a social media spiral following the latest lawsuit against Sean “Diddy” Combs.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from 4batz‘s latest low-key anthem to Samara Joy’s impressive entry into the 2025 Oscar race. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
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4batz, “act iii: on god? (she like)”
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Any baseball player would tell you hitting a home run in each of their first three at-bats is nearly an impossible feat, but 4batz has accomplished the musical version of that. With “Act III: on god? (she like),” the atmospheric R&b singer-songwriter delivers more sweet vocals that rain from the clouds and aerate through his Black Shiesty ski mask. The Texas native heavenly croons about a toxic love, creating a paradox with the menacing visual featuring 4batz mobbing in the streets with his homies, only adding to the artist’s mystique. To quote the great hip-hop life coach Fat Joe, yesterday’s price is not today’s price, as record labels continue to wave lucrative checks looking to entice the rising talent to sign on the dotted line.
ScHoolboy Q feat. Rico Nasty, “Pop”
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It hasn’t even been a week but Blue Lips is already a career highlight for ScHoolboy Q — quite possibly a career-best effort. On “Pop,” a shape-shifting, rock-infused collaboration with Rico Nasty, Q plays straight offense, using the grimy boom-bap beat to soundtrack his and Rico’s snarling declarations of dominance over everyone in their way, inside and outside of the rap game. “Put fifty in that, n—a, a hunnid in this, I never could miss/ N—a, we jump out that b—h, yeah, check off the list/ You rappin’ this, n—a, we really do this,” he ruthlessly spits.
That Mexican OT & Moneybagg Yo, “Twisting Fingers”
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Texas Technician, the new album from That Mexican OT, is a loving tribute to his hometown and Southern hip-hop at large, and the Moneybagg Yo-assisted “Twisting Fingers” is an instant standout. The Bay City, TX & Memphis, TN link-up takes place across a laid-back beat — crafted by Bankroll Got It, Ben10k & Danes Blood — that’s reminiscent of old-school Texas rap. That Mexican OT and Moneybagg trade bars about staying true to their gangbanging roots, regardless of how famous they might become. “This s–t get gangster, ain’t no prankin’, outstandin’ member, high rankin’ / If you’re standin’ on what you rep, then twist your fingers like sign language,” Moneybagg closes his verse. Equal parts menacing and funny, “Twisting Fingers” is a stellar balancing act.
Skepta & Portable, “Tony Montana”
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The intersection of grime and Afrobeats has long been a fruitful one, and “Tony Montana” is another strong addition to that legacy. The latest single from Skepta’s forthcoming Knife and Fork LP, “Tony Montana” finds the Brits-nominated rapper joining forces with rising Nigerian rapper Portable for an anthem celebrating their respective impact and influence. With a title that directly alludes to the iconic Scarface character, the relatively jaunty production — courtesy of Jae5 — makes for a welcome sonic contrast that also provides a multilayered soundscape that pairs well with both Skepta’s cocksure flow and Portable’s slinky hook.
Samara Joy, “Why I’m Here”
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An original song for Netflix’s forthcoming Shirley — a biopic of Shirley Chisholm (the first Black woman to be elected to Congress) starring Oscar-winner Regina King in the titular role — “Why I’m Here” continues Samara Joy’s flawless streak of truly spellbinding vocal performances. Produced and co-written by Grammy-winner PJ Morton, the new song finds the jazz star taking a break from her home genre and briefly transitioning into a sweeping, cinematic sound that seamlessly carries her soulful pipes into a more straightforward pop realm. “An easy road was never promised/ And so much has been from taken from us/ But I won’t stop no matter how much I have to go through/ I won’t shed one tear, I know why I’m here,” she croons.
Asha Imuno, “Oozin…”
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22-year-old Moreno Valley, CA native Asha Imuno is on the rise, and “Oozin…” — a cut from his sophomore effort, Pins & Needles — is proof of why. In the contemporary R&B space, the word “oozin” has a sexual connotation more often than not. Here, however, Asha flips the phrase to refer to the anxiety and depression that pour out of him in moments of silence and aloneness. “Oozing/ The anxiety subsides in the moment the dream becomes lucid / & Bruises/ That I can’t hide in this light/ Quantify all the times I felt useless,” he coos in the heartbreaking chorus.
The year is starting to heat up, and with an extra day in February, this month’s Afrobeats Fresh Picks makes it to you just under the wire. This month, there is new heat from bright young hitmakers like Ayra Starr, Black Sherif and Boy Spyce and Khaid, plus new bangers from more established stars like Young Jonn, Joeboy and Adekunle Gold, and some fresh tracks from artists like Rowlene, YKB, Logos Olori and Crayon. And there’s already more great music on the horizon, meaning that this year is still just getting started.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Black Sherif feat. Mabel, “Zero”
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While discerning all of the good (fame) and bad (gossip) that comes with being in the public eye, Ghanaian rapper Black Sherif calls for “Zero” drama in his new single with English R&B/pop singer-songwriter Mabel. The tender melodies evoke the peace Black Sherif is seeking, while Mabel preoccupies herself with “the piano in the hotel lobby” and lights up a “zoot” (British slang for a joint) and Palo Santo to create a carefree environment that cuts through all the other noise. The only voices that matter are theirs.
Logos Olori feat. Davido, “Easy On Me”
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After collaborating with Davido Music Worldwide label boss Davido on “Picasso” from the Grammy-nominated album Timeless, Logos Olori taps him for the easygoing “Easy On Me,” from his new OLORI EP. Olori’s sensual melodies and tropical-inspired production makes it the perfect baecation song, as both artists marvel at women who have them wrapped around their fingers.
Young Jonn feat. Kizz Daniel & Seyi Vibez, “Big Big Things”
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This trio of Nigerian singer-songwriters is only meant for “Big Big Things,” as evidenced by Young Jonn’s latest single that will be featured on his upcoming debut album Jiggy Forever. Powered by an amapiano-infused bassline, rap air horns and a tropical melody, this banger is all about being unstoppable. “When I walk through the valley of the shadow / All eyes on me cause I came in a Lambo,” Young Jonn flexes. In a press release, he describes “Big Big Things” as “a rallying cry for dreamers, go-getters and anyone with an unrelenting desire to achieve greatness.”
Ayra Starr, “Commas”
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The Beninese-Nigerian star simultaneously addresses those who’ve presented roadblocks in her path, and inspires others to never stop chasing their dreams, on her new Afropop single “Commas.” Over a swelling string arrangement and bubbling percussion, she delivers a personal message of resilience for those who need it most – including herself. During her recent Billboard News interview, she revealed that “Commas” will be included in her upcoming album. “The Ayra Starr I want to introduce is excellent, sonically amazing. This album is unique, because I’ve been evolving sonically,” she said.
Adekunle Gold, “The Life I Chose”
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The Nigerian star reflects on “The Life I Chose” in his new single. Produced by Kel-P, the track employs a spellbinding, psychedelic flavor of Afropop that draws listeners in just the way the rockstar lifestyle drew in Gold. He revels in its opulence – “Pool side, sippin’ Don Peri/ All the fine girls won fed gum-body” – while being wary of undercover opps when he realizes, “All of a sudden, everybody act like they love me (Fake love).”
Joeboy, “Osadebe”
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The first single under his new imprint for Warner Music Africa, Young Legend, finds Joeboy paying tribute to highlife icon Chief Osita Osadebe and his 1984 classic “Osondi Owendi,” and dealing with the emotions of balancing such a successful career with remaining humble. “Sometimes I feel like I’m supernatural / But I’m only human / I’m only human,” he sings. A good start to a new chapter for Joeboy.
YKB, “High & Sober”
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A gorgeous ballad, “High & Sober” finds YKB crooning a love letter to his girl over lush production from Pheelz, who supports the vocals with a full backing orchestral section underneath the hook, fleshing out the song and giving YKB the platform to showcase his vocals. After great singles “komplete riddim” and “This Must Be Love” with King Promise last year, YKB is on an upward trajectory.
Crayon, “FADE AWAY”
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An understated beat underscores this unconventional single from Crayon, whose syncopated rhythms and flexible melodies bring an unorthodox style to the track. With occasionally double-tracked vocals and production that relies mostly on its drum pattern but incorporates piano, organ, guitar and saxophone in different sections, the song stands out from a lot of the other songs coming out right now.
Rowlene, “don’t let go”
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For fans of the South African singer, it’s been a long wait after 2020’s excellent 11:11 album, but finally Rowlene has returned with a beautiful three-pack of songs called Moment In Between, with “don’t let go” a particular standout among them. A poignant plea, the song features her ever-engaging vocals, reminding that there’s a lot more to come from one of the leading lights of South African R&B.
Boy Spyce & Khaid, “I Don’t Care”
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Boy Spyce and Khaid made a big impact last year with the carefree, upbeat “Carry Me Go,” which combined an irresistible melody with an earworm of a hook to deliver a song that truly felt like the summertime. “I Don’t Care,” their most recent collaboration, is a different beast entirely, opening with a menacing beat that then gets its edge taken off, instead providing a propulsive platform for their intertwining vocals, a stylistic switch up that nonetheless still works well, with a fun video to accompany it.
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.
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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”
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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”
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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”
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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”
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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”
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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”
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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”
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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’”
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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”
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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.
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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”
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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”
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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”
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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”
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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”
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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”
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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”
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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.
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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“
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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”
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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”
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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”
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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”
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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”
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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”
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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.