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We made it! Awards season is finally over. With the Brits and the Academy Awards holding their respective ceremonies last week, the 2025 awards cycle has ended. Whether you’re still not over Beyoncé‘s Cowboy Carter victory or reeling from Wicked’s Oscar losses, you have a few weeks to grieve and celebrate before we start all over again.
At the Brits (March 1), Charli XCX swept with five wins, capping off her career-shifting Brat era. Raye took home best R&B act for a second consecutive year, Stormzy won best hip-hop/grime/rap act and singer-songwriter Myles Smith was named Rising Star. The following night (March 2), Cynthia Erivo and Ariana Grande opened the Oscars with a goosebump-inducing medley of “Somewhere Over the Rainbow” from The Wizard of Oz, “Home” from The Wiz and “Defying Gravity” from Wicked, honoring the staggering legacy of the classic American story. Erivo’s rendition of “Home” previewed Queen Latifah‘s performance of “Ease On Down the Road” later in the ceremony. The hip-hop legend and Oscar-nominated actress played The Wiz anthem in honor of the late Quincy Jones, the first Black composer nominated for best original song.
And, of course, Oscar host Conan O’Brien found a way to joke about the Kendrick Lamar–Drake beef.
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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 RealestK’s heartfelt new ballad to Fridayy and Meek Mill’s emotional collaboration. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Avenoir, “Art of War”
South African-born, Alberta-raised R&B singer-songwriter Avenoir is yet another rising Canadian star looking to pick up the $$$4U torch and run with it. Teaming up with longtime collaborator and fellow producer YMC, “Art of War” finds Avenoir settling into a sparkling alt-R&B fantasia complete with ebullient synths and lush keyboard chords cradling his breathless falsetto. “Don’t use a soft tongue when you speak of love/ Curse the mouth that speaks the flame on us/ Show devotion, never hide the truth/ Love is war and that’s just principle,” he croons at the end of a single stream-of-conscioussness verse, which quickly gives way to a Prince-esque instrumental breakdown in the outro. — KYLE DENIS
Fridayy & Meek Mill, “Proud of Me”
Fridayy and Meek Mill are bonded by the loss of their fathers. While Meek’s dad passed when he was a kid and Fridayy lost his pops over FaceTime last year, the pain never subsides. Even when his album was turned in, the Philly-bred singer pulled up on Meek in NYC at the 11th hour, and greatness came out of that 12-hour studio session with the powerful “Proud of Me.” Meek broke his writer’s block and delivered an early guest verse of the year candidate. “Scared to show up at your grave ’cause I might try dig you out/ Like you know I did this shit for you/ Never heard you say it back, still be like, ‘I miss you too,’” he raps, sending shivers through the spines of every listener around the globe. — MICHAEL SAPONARA
Jaz Karis & Kenyon Dixon, “LYTM (Remix)”
South London R&B star Jaz Karis dropped “LYTM Remix,” featuring multi-GRAMMY nominee Kenyon Dixon. Originally produced by Camper for her debut album Safe Flight, “LYTM” — which stands for “Love You That Much” — is about knowing when to love someone from a distance. Kenyon Dixon adds a new layer to the track, reflecting on his verse, “Sometimes the best way to love someone is to step back, even when it hurts.” The song captures the bittersweet pain of letting go when love still lingers but staying would mean repeating the same mistakes. From the start, there’s a sense of powerlessness — “It’s out of my hands, it’s out of the question/ ’Cause you were the one who made the decision.” A mature, soul-stirring take on heartbreak, “LYTM Remix” is a reminder that sometimes walking away is the ultimate act of love. — CHRISTOPHER CLAXTON
Wiz Khalifa & LaRussell, “I Might Be”
Wiz has been back in his blog era bag lately with all the music he’s been dropping. This track is no different, as he and the Bay’s LaRussell go off about their come-up and consistent hustle, over this smoothed out Mike G Beatz production for all the playas with popped collars and good weed out there. Make sure to play this in the morning when you’re getting to the money. — ANGEL DIAZ
1900Rugrat & Lil Yachty, “Bussin Baby”
Well over a decade since changing the rap game as a pioneer of Chicago drill, Chief Keef’s influence traveled south to burgeoning rhymers like 1900Rugrat. 19 teams up with Yachty for “Bussin Baby” and with Lil Boat being an artistic chameleon, he has no issue meshing with the eerie trap production. Rugrat bats second, and references his turbulent relationship with his mother, who kicked him out of the house while growing up. “Ma dukes kicked me out soon as that money hit, swear she miss me,” he raps. South Florida got another one. — M.S.
Johnny Venus & 6LACK, “So Beautiful”
“So Beautiful” paints a vivid picture of infatuation and deep attraction, blending romantic admiration with an almost addictive longing. Johnny Venus sets the tone with a chorus that expresses an overwhelming desire to stay connected, comparing love to a drug he can’t resist. His verses reinforce the urgency of living in the moment, emphasizing that time is fleeting and there’s no point in holding back feelings. 6LACK’s verse builds on this theme, exploring the intensity of a relationship that feels both exhilarating and consuming. He acknowledges the risks of falling too deep but embraces the possibility of something extraordinary. His lyrics balance vulnerability with confidence, expressing a willingness to commit while letting his partner choose their own path. The song’s repeated hook reinforces the sheer admiration felt for the subject, describing them as “so, so beautiful,” both physically and emotionally. — C.C.
Fatboi Sharif & Driveby, “Battlestar Galactica”
I once watched Driveby do some s–t during a beat set on a Jersey City rooftop that I’ve never seen before. It’s still hard to describe, but he was building a beat live, and had this motion sensor machine that allowed him to speed up and slow down the beat without touching it. So, when I peeped that he was doing a project with fellow Jersey native Fatboi Sharif, I had to show love. I’ve never watched the show, but I’m positive this is what the space in Battlestar Galactica sounds like. — A.D.
RealestK, “Deja Vu”
Toronto native RealestK delivers a downcast, plaintive reflection on the phenomenon of seeing and recognizing your true love for who they are at multiple points throughout your life. “Is it me, or is it parts of me that I can never understand?/ Too many things in life where I might need a helping hand/ And all you wanna do is play all these games/ And put it all on me,” he coos over an ethereal soundscape of swirling synths and strings. His gentle voice plays well against how spacious the mix feels, but his haunting ad-libs truly round out his disarming introspection. — K.D.
Juhovah, “Rooftop Dinner”
You never know when you’re going to meet “the one” in life, but preparation is key. Juhovah ruminates about the woman of his dreams and wants to make sure his paper is properly stacked before it’s go-time. “Don’t reach for the check, lady, I’m a big tipper,” he raps. The North Carolina native can switch lanes with ease between trunk-rattling bars and moody R&B. After pressing play on “Rooftop Dinner,” make sure to check out his impressive 2024 project Soft Girl Era. — M.S.
Aqylia, “Wolf”
“Wolf” captures the emotional exhaustion and betrayal in a toxic relationship. Aqylia calls out their partner for manipulative behavior, stating, “You playing in my face now/ Don’t pull me on your way down.” The chorus uses the “crying wolf” metaphor to describe how the partner’s lies make trust impossible, with lines like, “You and truth are incompatible.” In the second verse, the partner’s actions are so unreliable that they would “leave me for dead” if Aqylia let her guard down. The bridge exposes how the partner craves drama and attention, creating emotional strain. By the end, Aqylia refuses to fall for the lies, making a final statement of strength. The song is a powerful declaration of self-worth over manipulation, a track that everyone dealing with a tough relationship can use as motivation. — C.C.
Ray Vaughn, “Cemetery Lanterns”
Back with a hard-hitting, percussive cut helmed by The Rayo and Kyu Steed, rising TDE star Ray Vaughn has delivered yet another knockout single ahead of his forthcoming The Good, The Bad & The Dollar Menu EP. “What’s the point of a rep if you dead by a summer?/ You think them n—as gon’ love you like momma or brother, huh?/ You think the hood gon’ cry for you like your niece will?/ Your big homie cold if he telling you you should keep still,” he venomously spits, positing tough questions about the dark underbelly of gang culture amidst a gripping narrative that furthers his progression as an MC and writer. — K.D.
The 2025 Oscars were full of beautiful renditions from Ariana Grande, Doja Cat, Cynthia Erivo and more. Keep watching for the best moments in music at the 2025 Oscars. Who was your favorite performance? Let us know in the comments! Tetris Kelly:The Wicked besties defy gravity as LISA slays the academy stage, and we see […]
Can Kendrick Lamar still hold No. 1 this week? Tetris Kelly:This is the Billboard Hot 100 top 10 for the week dated March 8. Down to 10 is “Squabble Up.” Teddy is back in the top 10 as is Chappell Roan up to eight. “Birds of a Feather” is at seven. “APT.” is at No. […]
Kendrick Lamar and SZA’s “Luther” leads the Billboard Hot 100 songs chart for a second week. A week earlier, the single – whose title is an ode to late R&B legend Luther Vandross, who is sampled on the track — became Lamar’s sixth No. 1 and SZA’s third. “Luther” is also making unprecedented moves on […]
Juanita Stephens, a barrier-breaking music industry veteran who helmed media and artist relations departments at major labels such as Warner Bros., MCA and Polygram, died March 1 in Atlanta after a lengthy battle with cancer.
Stephens’ industry background also includes a tenure with Bad Boy Worldwide. After that, the well-respected executive launched her own media and publicity firm, JS Media Relations, with bases in New York and Atlanta. Under that banner, she helped oversee the solo career of Grammy-winning artist Bobby Brown.
“Juanita Stephens was a true trailblazer — one of the first Black female executives to shatter barriers in the music industry,” veteran entertainment attorney and longtime friend Rev. Dr. Denise J. Brown tells Billboard.
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Founder of the faith-based entertainment content incubator Oikeo Ministries, Brown (no relation to the singer) also remembers Stephens as “a consummate professional and relentless perfectionist. She never accepted ‘no’ as an answer, fiercely championing every artist and project she believed in. Her impact was profound, her presence commanding and her legacy unshakable. The industry has lost a pioneer, and she will be deeply missed.”
Stephens was born in New York’s Spanish Harlem, moving with her family to Queens as a young child. Her initial entry into the music business occurred in 1987 when she joined MCA Records as assistant to the vp of publicity, longtime friend Katie Valk. With no prior record company experience, Stephens learned the ropes by helping to organize national and international campaigns for a roster of pop, heavy metal and country artists that included superstars such as Elton John, Dolly Parton and The Kinks.
Later tapped as director of publicity by the heads of MCA’s Black music division, Jheryl Busby and Louil Silas, Stephens oversaw campaigns for Bobby Womack, Patti LaBelle, New Edition, Jody Watley and The Jets, among others. From there, Stephens became the first Black female vp of publicity and artist development appointed at MCA, working with Bobby Brown along with a multi-genre roster that included hip-hop, alternative, jazz, gospel and reggae acts.
In a comment sent to Billboard, Bobby Brown notes, “Juanita was a beautiful and gifted sister. We had decades of memories, and I could always count on her wisdom and kindness. I love you, Juanita. You will be deeply missed.”
After MCA, Stephens segued to similar senior executive-level posts with Polygram in 1992, Warner Bros. Records (now Warner Records) in 1995 and then Bad Boy Worldwide in 1998. She exited the in-house label publicity circuit to establish JS Media Relations in 2000; its clients included Charlie Wilson and Tito Jackson.
Through JS Media Relations, Stephens handled publicity for tours featuring LaBelle and Stephanie Mills in addition to Brown and Wilson. Among the various media events with which JS Media Relations collaborated were the BET Awards, American Music Awards, Trumpet Awards, VH1 Music Awards and the Otis Redding 70th Birthday Tribute.
Angie Stone died in a car crash on Saturday (March 1), a representative for the R&B and soul singer, who was also a founding member of the trio The Sequence, confirmed to Billboard. With a career in music that spanned the late ’70s through her sudden passing, Stone topped both the Top R&B/Hip-Hop Albums and Adult R&B Airplay charts and was nominated for three Grammy Awards.
“Unfortunately, at around 4 a.m. while heading back to Atlanta from Alabama, the Sprinter flipped over and was subsequently hit by a big rig. Thankfully, all survived except for Angie,” Walter Millsap, president of Conjuction Entertainment, said in a statement obtained by Billboard Saturday afternoon.
Stone was on the lineup of the Mardi Gras Association’s Grand Marshal’s Ball in Mobile, Alabama, on Friday (Feb. 28).
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“My mommy is gone,” performer Ladi Diamond, Angie’s daughter with Rodney Stone, wrote in a Facebook post on Saturday. Stone is also survived by her son with singer D’Angelo, Michael D’Angelo Archer II, who goes by stage name Swayvo Twain.
Born Angela Laverne Brown on Dec. 18, 1961, in Columbia, South Carolina, Stone’s career in music began with female rap trio The Sequence, known for their single “Funk You Up” that reached No. 15 on the Billboard Hot R&B/Hip-Hop Songs chart in 1980.
Five of Stone’s albums as a solo singer reached the top 10 on the Top R&B/Hip-Hop Albums chart. She saw her set The Art of Love & War rise to No. 1 in 2007, while Dream made it to No. 3 (2015), Mahogany Soul and Stone Love both reached No. 4 (in 2001 and 2004, respectively), and Black Diamond charted at No. 9 (2000).
Stone had six top 10 hits on the Adult R&B Airplay chart, including two No. 1s, “No More Rain (In This Cloud)” (1999) and “Baby” (2007). The four other top 10s were “Wish I Didn’t Miss You” (No. 2, 2002), “Brotha” (No. 3, 2002), “More Than a Woman” (No. 4, 2002) and “Sometimes” (No. 7, 2008).
“No More Rain (In this Cloud)” also reached the top 10 on the Hot R&B/Hip-Hop Songs chart, on which it peaked at No. 9 in 2000.
Though Stone never won a Grammy Award, she was a three-time nominee. She received nods for best R&B performance by a duo or group with vocals for “More Than a Woman” with Joe in 2003, best female R&B vocal performance for “U-Haul” in 2004, and best R&B performance by a duo or group with vocals for “Baby” with Betty Wright in 2008.
Stone was the founder of national nonprofit Angel Stripes, with the goal of facilitating artistry and neighborliness in communities.
Memorial service details will be announced by Stone’s family members, who at this time request privacy.
Kendrick Lamar has had a year full of big wins and big performances. We’re breaking down his hottest moments. What’s your favorite song that he’s dropped? Let us know in the comments! Tetris Kelly:It’s been Kendrick Lamar’s year, and as we’ve taken this month to highlight Latin and Black artists, we close out Black History […]
There will never be enough time or space to recognize all the unsung heroes and trailblazers in the music industry that deserve to be acknowledged. But as Black History Month winds down, one pioneer stands out: Regina Jones, former co-owner and editor-in-chief of the groundbreaking music and entertainment publication, SOUL Newspaper.
Predating Rolling Stone and Creem, Los Angeles-based SOUL became a cultural force as the first-of-its-kind newspaper chronicling Black music and entertainment from the mid-1960s through the early 1980s. That period saw the publication expand its reach and impact from local to nationwide and then international as it covered icons-in-the-making such as Quincy Jones, Richard Pryor, Aretha Franklin, James Brown, Diana Ross, Gladys Knight and Stevie Wonder. SOUL and Jones’ intertwined journeys unfold in the new documentary, Who in the Hell Is Regina Jones?
As Jones notes in the documentary, SOUL was inspired by the flames that erupted during the Watts Riots in August 1965. She was 21, a mother of five and married to aspiring news reporter and radio DJ Ken Jones — later to become L.A. television’s first Black weeknight news anchor in L.A. She was also working as an LAPD dispatcher on the second shift when she took the first distress call about the riots on Aug. 11, after which she alerted her husband, who filed on-the-street radio reports during the six-day tumult.
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“As we watched the riots happening and saw our neighborhood burning,” Jones tells Billboard, “Ken said, ‘Something needs to be done for our people.’ That’s when he came up with the idea to start a newspaper primarily about Black music and entertainment. He was the visionary; I was the nuts-and-bolts implementer. That’s how SOUL was born.”
Less than a year later, the first 15-cent, eight-page weekly was published. Dated April 14, 1966, the cover featured James Brown and Mick Jagger alongside the headline, “White Artists Selling Negro ‘Soul.’” The first run sold 10,000 copies. By 1967, the newspaper had expanded to 16 pages published twice a month.
“It was hard work,” Jones recalls with a laugh about putting the issues together on their dining room table “with my five kids around me” before moving the operation into an office. At that point she had quit her LAPD job and was wearing several hats: handling the phone as the receptionist, hustling advertising and negotiating with distributors before adding editor-in-chief stripes after husband Ken clinched the television anchor gig.
Regina Jones
Courtesy of SOUL Newspaper
Among the innovative business strategies that Regina employed at SOUL was partnering with R&B radio stations around the country — such as KGFJ in L.A., WOL in Washington, D.C. and WWRL in New York — to publish branded editions with charts and advertisements provided by these local Black stations and DJs. At one point, SOUL’s reach was certified at 125,000 copies. And its key international markets included England and Japan.
SOUL’s pivotal role in raising visibility and awareness of Black music and artists was a crucial and influential turning point. But there were other uphill battles as well that Jones fought. Like when Donna Summer was the cover subject. Her team was going to give SOUL an image taken by a Caucasian photographer. “And I said, ‘No,’” remembers Jones. “’If you want her to be in SOUL, my photographers have to do the shoot.’” Summer’s team finally acquiesced. And instead of the 40-60 minutes originally slotted for the shoot, Summer gave the photographer four hours.
“I had to do things like that, call people out,” adds Jones. “I was a very militant young Black woman, so I immediately had to start hiring people of color.” With her self-described “foot on your butt” management style, she nurtured a staff of future stars in their own right. Among the names Jones proudly reels off are noted photographers Bruce Talamon and Howard Bingham, ex-SOUL editor/Pulitzer Prize-winning writer Leonard Pitts and journalists/writers Steve Ivory, Mike Terry and Connie Johnson.
By the early ‘80s, as the documentary relates, SOUL had gone monthly owing to the economic climate draining the ad pool plus burgeoning competition from other mainstream publications starting to tap into the Black music scene. And after 20-some years, Jones and husband Ken were divorcing. SOUL’s final issue was published May/June 1982. Donated to UCLA and Indiana University in 2010, the SOUL archives were digitized by Jones’ grandson Matt Jones and made available online in 2023.
Regina Jones with Dick Griffey and Desmond Tutu
Courtesy of SOLAR Records
But Jones wasn’t finished yet. She tells Billboard that she was “brought back to life” a year later when Black label executive Dick Griffey of SOLAR Records recruited her as his VP of publicity. At the time, the label’s roster included Shalamar, the Whispers, Lakeside, Midnight Star, The Deele and Klymaxx. While there, Jones also handled publicity for Jesse Jackson when Dick Griffey Productions signed on as West Coast manager for Jackson’s 1984 presidential run. Jones shares that it was she and OLAR promotion executive Darryl Stewart who orchestrated Jackson’s host gig on Saturday Night Live — the very first presidential candidate to do so.
Three years later, Jones launched her own PR firm. Among Regina Jones & Associates’ clients were Geffen and Capitol Records, the Black Women’s Forum and actress Cicely Tyson. A major client for 13 years was the NAACP Image Awards. Jones then joined the staff of Crystal Stairs, a well-known childcare development agency on the West Coast.
All of which is chronicled in Who In the Hell is Regina Jones?, which has been shown at the New Orleans Film Festival and Pan African Film Festival. “I wish I could tell you that I woke up one day and decided I wanted to be in the music business, a publisher, a publicist or fundraiser,” reflects Jones. “My life has been a lot of surprise gifts and blessings.”
After dropping her Bruises EP and gifting the world three cross-genre collaborations with H.E.R. (“He Loves Us Both”), Joey Bada$$ (“Fry Plantain”) and Mahalia (“Pressure Points”), Lila Iké has finally unleashed her first solo single of 2025.
Titled “Too Late to Lie,” the new track finds Iké crooning of a bleak conclusion to a romance that, at some point, promised forever. “I know my life will never be the same/ You made your choice and I will not complain/ Don’t raise your voice/ Please don’t speak my name/ Just say goodbye/ It’s too late to lie,” she coos at the song’s onset over Winta James’ plaintive, live instrumentation. “Too Late to Lie” — which arrived accompanied by a Remi Laudat-helmed music video — is set to appear on Iké’s forthcoming debut studio album, which will be released through Wurl Iké Records and In.Digg.Nation Collective under exclusive license to Ineffable Records.
2025 will also be a major touring year for Iké. In late March, she will play five shows in music halls across Japan, and from April 8 to 10, she will play her first headlining shows in the U.K. with her full Wurl Band, including stops in London, Bristol, and Manchester.
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Released on the last day of Reggae Month in Jamaica — and just one day before Women’s History Month in the U.S. — “Too Late to Lie” celebrates both the essence of reggae music and Iké’s femme-forward approach to songwriting. “[The new single] highlights the importance of protecting one’s space and energy, and being vigilant about where you invest your time and trust,” she said in a press release.
In celebration of Reggae Month, Lila Iké has shared a playlist of her all-time favorite reggae songs exclusively with Billboard, alongside bits of commentary for each track. Check out the playlist below and stream “Too Late to Lie” now.
Lila Iké’s 10 Favorite Reggae Songs
1. Garnet Silk, “Hello Mama Africa“
“Garnet Silk is my favorite reggae artist of all time. This song has connected with me ever since I was young because it was my mother’s favorite song.” — LILA IKÉ
2. Bob Marley feat. Lauryn Hill, “Turn Your Lights Down Low”“Bob Marley’s contribution to reggae music will never not be recognized, but this song was how I discovered Lauryn Hill, and discovering her music changed my life. Her ability to sing and rap effortlessly blew me away.” — L.I.
3. Dennis Brown, “Lips of Wine“
“I love the production of this song, the guitar, and the organs. I love how Dennis sounds so young and innocent, but successfully belts one of the most beautiful love songs I’ve ever heard. I also love the harmonies.” — L.I.
4. Stephen Marley & Capleton, “Break Us Apart“
“Stephen is one of my favorite producers of all time; the mix of this song is insane!” — L.I.
5. Damian “Jr. Gong” Marley, “Old War Chant“
“Damian Marley’s Mr. Marley is my favorite project from him. I love this particular song due to how militant he sounded at such a young age!” — L.I.
6. Protoje, “Come My Way“
“This was the first song I actually heard Protoje sing on, and it made me a Protoje fan immediately. I loved the topic of the song and how vulnerable he was. I began to really pay attention to his writing after this.” — L.I.
7. Chronixx, “Rain Music“
“This song was the first song I heard from Chronixx! It’s a beautiful song, amazing music and very nostalgic.” — L.I.
8. Samory I, “Is It Because I’m Black“
“This song gets me emotional every time I hear it. Samory I’s voice is one of a kind. I think his delivery on this song is one of the best covers of all time in reggae music.” — L.I.
9. Jesse Royal – “Feel Your Pain”“Jesse Royal’s music has always had that effect where every time he makes music specifically for women, it immediately makes you feel appreciated and safe. This song was exceptionally written and produced.” — L.I.
10. Ini Kamoze, “Wings With Me“
“The drums in this song are insane — especially the dub effect on the drum roll! I was immediately drawn the first time I heard it. I absolutely love how unique Ini Kamozi’s sound is. The thing about this song that captures me the most is how abstract the writing is! [Laughs]. I still don’t completely understand what exactly is being ‘wings with me.’” — L.I.
As the progeny of Ernie Isley — a key songwriter and multi-instrumentalist of The Isley Brothers, perhaps the most prolific soul group of all time — Alex Isley knows a thing or two about sensuality and intimacy. With her self-penned, Camper-produced new single “Hands,” the two-time Grammy-nominated R&B singer seeks to enter a new era marked by fresh sonics, fearlessly self-assured narratives — and a new home at Free Lunch Records.
As announced earlier this month (Feb. 19), Warner Records entered a strategic partnership with veteran hip-hop/R&B executive Tim Hinshaw, expanding his Free Lunch Agency creative and tour company into a record label. With Isley and Syd — the Grammy-nominated R&B songwriter of The Internet fame – as the first signees, Warner artists will be able to access and leverage Free Lunch’s creative, touring and sync services. “I talked to a few labels, but with Warner, it was [about] the synergy and the timing,” Isley says. “I’m a firm believer in God’s timing. In talking with [Free Lunch Records general manager] Ericka Coulter and getting to know her and the Warner team, everything aligned.”
On Friday (Feb. 28), Isley unleashed the first taste of her forthcoming new era: “Hands.” Written “almost exactly a year ago,” “Hands” finds Isley building on the tender sensuality of tracks like last year’s Terrace Martin-assisted “2 Step in the Living Room,” infusing Camper’s earthy, bass-driven soundscape with a tasteful vocal performance showcasing her buttery falsetto and effortless melisma.
“I wasn’t necessarily expecting to start and finish a record that night with Camper, but that’s just how it happened,” Isley tells Billboard with a slight chuckle. “I wanted to create something moody and leaned more into my sensual side.”
Mood sensuality is also the guiding light for the “Hands” music video. Directed by City James and starring One of Them Days breakout star Patrick Cage II, the “Hands” music video casts Isley as an alluring vixen, expertly building up unmistakably carnal tension without feeling excessive or unnatural. To color her version of sensuality, Isley called upon her synesthesia – a condition that allows her to correlate colors with certain keys or chords. “This particular song evokes warm oranges, gold, and yellow tones,” explains Isley of her “Hands” mood board. “It’s also a bit moodier, almost like sunset tones. I wanted to paint with that color palette as much as possible.”
“Hands” previews Isley’s forthcoming album, one that Coulter calls “a true story you gotta read from start to finish. In addition to Camper, Isley also tapped Grammy-winning DJ and producer Kaytranada, longtime collaborator Jack Dine and producer Oh Gosh Leotus, who helped capture the sonic essence of Los Angeles. Though she was born in New Jersey, Isley has lived in L.A. for the vast majority of her life, and she hopes her new music is reflective of the unwavering community and togetherness the City of Angels displayed in the wake of January’s devastating fires.
“I’m not sure if I was aware of how resilient the city is because we’ve never seen anything like these fires,” remarks Isley. “Being able to see and feel that in January was heavy but also very inspiring. It made me want to be even more intentional with my music and how I share it. It just means that much more to me to be able to share the music at this time.”
Stream “Hands” below.