State Champ Radio new music
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Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
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This week, Travis Scott forms a super-team with Bad Bunny and The Weeknd, Zayn reintroduces himself and Britney Spears links back up with Will.i.am for more electro-pop. Check out all of this week’s picks below:
Travis Scott, Bad Bunny & The Weeknd, “K-Pop”
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Nearly every major Travis Scott hit, from “Sicko Mode” to “Highest in the Room” to “Goosebumps” to “The Scotts,” has been only minimally danceable, the rapper turning into a superstar with abrupt beat switches and zonked-out melodies; that may change with “K-Pop,” the first taste of his long-awaited Utopia album, which sends Scott’s flow to the club and corrals Bad Bunny and The Weeknd as his entourage. All three artists adapt to the sweaty Afrobeats tempo, with Scott and Benito anchoring the song’s first half — The Weeknd shimmers across the finale, and unpacks the drug reference of the song title — and provoking some mid-summer movement.
Will.i.am & Britney Spears, “Mind Your Business”
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“Paparazzi shot me, I am the economy / Follow me, follow me, follow me,” Britney Spears sings on new single “Mind Your Business” — harkening back to her Blackout era, where she used her pop smashes to fend off the outside world obsessed with her every move. Here, Spears reunites with Will.i.am, the Black Eyed Peas leader with whom she scored a hit a decade ago with “Scream & Shout,” for another electro-pop bumper that, much like its predecessor, worms its way into your skull and refuses to let go.
Zayn, “Love Like This”
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Think of “Love Like This” as the start of Zayn 3.0: after becoming a global sensation as part of One Direction and then bursting out as a solo artist with the No. 1 hit “Pillowtalk,” the pop star has switched record labels, rejiggered his sound and returned with a re-energized outlook. Riding some UK garage production and aiming squarely at summer-jam status, Zayn uses “Love Like This” to demonstrate what every version of his musical career has been founded upon: the marriage of melodic understanding and sensual, deeply felt vocals.
Various Artists, Barbie The Album
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Sorry, Oppenheimer: only one major theatrical release this weekend comes with a star-studded soundtrack, and it belongs to Greta Gerwig’s big-screen adaptation of a certain beloved Mattel doll. Although the Barbie soundtrack has been previewed for weeks ahead of its official release — with previously released songs by Dua Lipa, Charli XCX, Billie Eilish and Nicki Minaj & Ice Spice (with Aqua), among others — the full album still has plenty of new A-list firepower, from Lizzo’s kicky “Pink” to Tame Impala’s “Journey to the Real World” to Sam Smith’s kinetic “Man I Am.”
Ice Spice, Like..? (Deluxe)
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Ice Spice’s debut EP was released only six months ago, but it feels like much, much longer: after all, the Bronx rapper has convincingly captured a lifetime’s worth of hip-hop buzz as well as crossed over to pop in that half-year, scoring top 10 hits with Taylor Swift, Nicki Minaj and PinkPantheress all since releasing Like..? in January. The deluxe edition of the EP includes four new songs — highlighted by “Deli,” a relentless thumper that should be scooped up by DJs ASAP — as well as some bonus goodies like the Minaj remix of “Princess Diana.”
Diplo feat. Jessie Murph & Polo G, “Heartbroken”
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“Heartbroken” may follow Diplo’s recent country music project titled Diplo Presents Thomas Wesley: Chapter 2 – Swamp Savant, but the spirit of his new single recalls that of his mid-2010s Major Lazer work, where he’d put artists like Justin Bieber and MØ in positions that allowed their artistic elements to form a compound. With “Heartbroken,” rising singer-songwriter Jessie Murph’s dejected twang shines over simple acoustic strums, while Polo G’s gritty storytelling is translated into a more universal verse, his singsong flow balancing out Murph’s perspective.
Editor’s Pick: Chris Stapleton, “White Horse”
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It’s an understatement to say that, with the first taste of his November album Higher, Chris Stapleton has come roaring back: unlike past lead singles like “Traveller” and “Starting Over,” the country star has preceded his latest project with a hell-raising anthem, meant to be blared with windows down and enjoyed with ears ringing. “White Horse” finds Stapleton pairing an outlaw swagger with some heaven-scraping vocals, going for the gusto throughout the chorus to try and match the guitar snarl — it’s not a reinvention as much as a showcase for the passion that’s always lurking in even Stapleton’s most muted songs.
Move over, “Scream & Shout.” There’s a new Britney Spears, Will.i.am collaboration in the club. After giving fans just a one-day heads up, the two all-star musicians have dropped their new single “Mind Your Business” — a full decade after first working together on 2012’s “Scream & Shout.” On the track, Brit and the Black […]
Travis Scott is bringing something sweet to fans, as he took to Instagram on Wednesday (July 19) to tease a new collaboration with The Weeknd and Bad Bunny. The star-studded team up is seemingly titled “Lollipop,” as the rapper shared the cover art featuring a single red lollipop and captioned the post with three lollipop […]
With a hot and sticky summer comes our latest picks of hot songs from your favorite queer artists. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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From Troye Sivan’s sweaty return to dance-pop to Reneé Rapp’s self-talk anthem, check out just a few of our favorite releases from this week below:
Troye Sivan, “Rush”
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No, Troye Sivan’s new single is not explicitly about your favorite brand of poppers — at least not directly. With “Rush,” the Australian pop superstar unleashes a half-decade of pent up energy, released in a flurry of relentless dance beats, chunky synth chords and Sivan’s crystal-clear voice. Celebrating dopamine-fueled 3 a.m. dance parties, Sivan soaks every single second of the song’s two and half minutes in beatific dance floor ecstasy, delivering this year’s most definitive queer anthem right when we need it most.
Reneé Rapp, “Talk Too Much”
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It’s hard to stand a chance when self-sabotage is your love language, as Reneé Rapp masterfully points out on her excellent new single. Throughout “Talk Too Much,” the soon-to-be-former Sex Lives of College Girls star goes searching for flaws in her partner, only to be met with punchy guitars and the reassurance that she’s the one waving red flags. The song is as funny (her self-questioning soliloquy as a bridge is perfect) as it is irresistibly catchy.
PVRIS, Evergreen
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On her latest album, Lynn Gunn wanted to create something that was both timeless and of the moment. Evergreen, the latest full-length album from her solo project PVRIS, manages to accomplish that goal with shocking effect. Singing about everything including burnout from our specific semi-apocalyptic reality (“I Don’t Wanna Do This Anymore”) to fighting off a more generalized feeling of ennui (“Senti-Mental”), PVRIS successfully taps into a new wavelength, making it clear that they are here for the long run.
Chelsea Cutler, “I Don’t Feel Alive”
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Who would’ve thought that a song about dissociation could feel so good? Chelsea Cutler has always excelled at taking raw sincerity and turning it into fabulous music, and the same is true for “I Don’t Feel Alive.” Over a seemingly joyful, jangling acoustic guitar and a stomp-clamp beat, Cutler dives deep into her own self doubt, questions her reality and points out all of her worst tendencies, all while combatting an all-encompassing sense of detachment from her own life. By the song’s end, though, she’s looking at her progress, and looking to a better future.
Claud, Supermodels
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Based on its singles alone, you would be forgiven for thinking that Claud’s sophomore album Supermodels was going to be a pretty sad album. You wouldn’t be entirely wrong — the album follows the path of a relationship in turmoil, occasionally seeing Claud own their own faults (“Dirt”) or call out their lover’s (“Every F–king Time”). But on bright spots like “A Good Thing” (which now has a music video featuring America’s Sweetheart Paul Rudd), Claud lets themselves dabble in hope and happiness, bringing a thematic and sonic variety to this excellent new album.
Maddie Zahm, “Where Do All the Good Kids Go?”
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Being asked to be a grownup while actively growing up can leave a person feeling robbed of their childhood. Maddie Zahm, for one, is ready to talk about that experience on “Where Do All the Good Kids Go,” her heartwrenching new single. Pairing her sensitive voice with a moving piano melody, Zahm recounts years of adults expecting more out of her while her peers kept their distance, and the endless recursion loop of confusion and hurt that came as a result. It’s a stunning piece of confessional songwriting that manages to break you down while also giving you just an ounce of hope by the time the final chord is struck.
Palehound, Eye on the Bat
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El Kempner always excelled at writing insightful and poetic lyrics as a part of Palehound — but not ever like they do in Eye on the Bat. Throughout this vulnerable, chaotic new project, Kempner strips away much of the edifice surrounding their past music, now letting themselves get vulnerable and be seen through get real about people pleasing (“U Want It U Got It”), breakups (“Independence Day”) and much more. It’s all done through the star’s singular indie rock style, making Eye on the Bat a must-listen album.
Shamir, “Our Song”
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Shamir is feeling nostalgic for the good ‘ol days on his latest song. Performing through the lens of looking back on the bitter ending of a relationship, the singer-songwriter spends much of “Our Song” wishing things were different — wishing he was a bigger person back then, wishing that his ex hadn’t managed to “infiltrate” his mind, and so forth. To fit the stirring lyrics, the song’s sound manages to smartly straddle the line between dreamy pop music and grittier rock offerings, making “Our Song” a fascinating must-listen.
Idman, Risk
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If you somehow haven’t listened to rising singer-songwriter Idman yet, allow us to introduce you with their fabulous new EP. Risk sees the star-in-the-making mix together pop, R&B and hip-hop into a eclectic mix of must-listen bangers talking about heartbreak (“Hate”), infatuation (“Still”), and pure confidence (“Beach”). With beats and melodies as versatile as the blissful riffs they regularly sing throughout each song, Risk is exactly the kind of project that makes us want to hear more and more from Idman.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Mark your calendars, Zayn-iacs. Zayn Malik has finally announced the title and release date of his highly anticipated new song “Love Like This,” his first release since signing with Mercury Records last month. After teasing the comeback track for a week on social media, the 30-year-old pop star at last revealed that his new era […]
Happy Monday! With new R&B/hip-hop releases dropping left and right, it can be quite overwhelming navigating the newcomers in the genre. But that’s why Fresh Picks exists! This week, we have an eclectic array of sounds, from alt-R&B and Jersey club to jazz rap — everything you need to get you through this second week of July.
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And of course, don’t forget to check out this month’s Fresh Picks (so far) in our Spotify playlist, linked below.
Freshest Find: Dominic Fike, “7 Hours”
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This week’s Freshest Find goes to alt-rock/rap/pop straddler, Dominic Fike: last Friday (July 7), the multi-hyphenate released his second album, Sunburn, a collection of older songs that explores themes related to his past. Fike explores his alt-R&B side with standout album cut, “7 Hours,” where he sings about driving seven hours to see his lover, only for them to not give him the time of day.
FendiDa Rappa feat. Cardi B, “Point Me 2”
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Cardi B is continuing her outstanding feature run by hopping on FendiDa Rappa’s “Point Me 2.” The collab comes after Fendi’s viral Jersey club-inspired single, “Point Me to the Sl-ts,” where she calls out her male counterparts (“N—-as dissing when they rap, should we call it drill?/ N—-as capping in they raps, should we give ’em deals?”) and proudly showcases her lust. Here, Cardi checks in around the 2:20 mark and wastes no times matching Fendi’s energy, rapping, “B—hes talkin’ all that rah rah, I don’t feel it though/ Like the Plan B didn’t work, baby, I’m in this hoe.”
LUCKI, “2021 Vibes”
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The Cash Cobain-produced track “2021 Vibes” sees LUCKI delving deeper into his world of hazy hedonism. Through a drowsy delivery, the Chicago rapper calls himself the “codeine cowboy in the flesh” — which makes sense given the title of its parent album, s*x m*ney dr*gs.
Mick Jenkins feat. JID, “Smoke Break-Dance”
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Mick Jenkins and JID linked to take a smoke break: this bass and piano-driven jazz rap song is particularly introspective, with an accompanying video that shows scenes of Jenkins unbothered amongst chaos and young Black men succumbing to societal pressures. “Smoke Break-Dance” acts as a conversation piece about Black male plight in America, with the end of the video including a bell hooks quote that reads, “The first act of violence that patriarchy demands of males is not violence toward women. Instead patriarchy demands of all males that they engage in acts of psychic self-mutilation, that they kill off the emotional parts of themselves. If an individual is not successful in emotionally crippling himself, he can count on patriarchal men to enact rituals of power that will assault his self-esteem.”
Avenoir, “WHO DO U LUV”
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Slowing things down a little, Avenoir goes deep in his bag on his new single, “WHO DO U LUV.” The Canadian singer questions his lover’s feelings towards him, but also assures that the two can rekindle their emotions by making love, before the four-minute song concludes with an electric guitar solo.
AntsLive, “Ooh La La”
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UK rapper AntsLive is practicing his French on “Ooh La La.” With his (not actual) grandfather in tow in the video, the rising rapper shows a chic side to his repertoire, with his trademark tongue-in-cheek vocals about ongoing relationships and international love interests.
Marques Martin, “Butterfly”
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Brooklyn-based musician Marques Martin collides synths and deep bass lines for a chaotic, yet somehow cohesive, new offering called “Butterfly.” “The beat at most points feels heavy, but then the synth floats euphorically in and out of the song,” he told Billboard about the song’s productions. “The combo gives the track gravity and lets it sit in a middle ground of aggressive/assertive but uplifting.” “Butterfly” appears on his new EP, sex on the first.
In this week’s batch of new songs, Jo Dee Messina extends her current career resurgence with an uplifting empowerment anthem, while Frank Ray offers a 15-song debut that serves as a perfect soundtrack for any party. Elsewhere, bluegrass wunderkind Wyatt Ellis showcases his mandolin prowess on a new song with bluegrass stalwart (and fellow mandolin powerhouse) Sierra Hull. Also, veteran country quartet Girls Next Door reunites again after more than a decade.
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Jo Dee Messina, “Just to Be Loved”
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Following her recent career resurgence, thanks to her classic “Heads Carolina, Tails California” being interpolated as part of Cole Swindell’s chart-topper “She Had Me at Heads Carolina” (in addition to their subsequent collaboration on a remake of track), Messina returns with this uptempo track she wrote with Jess Cates, Tim Nichols and Jordan Mohilowski. Here, Messina’s voice is as charismatic as ever, further elevated by sprightly mandolin and shimmering production. She delivers this song’s uplifting message with conviction, making its statement of valuing self-acceptance and self-love over chasing the adoration of others a worthy addition to the country canon of uplifting female empowerment anthems such as Martina McBride’s “This One’s For the Girls” and Maren Morris’ “Girl.”
Girls Next Door, “What’s This Thing (You’ve Got About Leaving)”
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The quartet of Cindy Nixon Psanos, Diane Williams Austin, Tammy Stephens Smith and Doris King Merrit notched nine singles on the Billboard country charts in the late 1980s and early 1990s, including the 1986 top 10 hit “Slow Boat to China.” The group disbanded in 1991 to focus on their families, and briefly reunited in 2011. They come together again on this fiddle-drenched, harmony-soaked track that reflects on fighting urges to take flight from a steady relationship. Though the production here sounds slightly dated, the group’s harmonies are tight and joyous.
Frank Ray, Frank Ray
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Ray first broke through with his Spanish-incorporating song “Streetlights,” and followed with the top 20 Country Airplay track “Country’d Look Good on You.” Both songs are included on his 15-track debut album, which is a deft mix of country, R&B and Latin. “Wasting Your Words” is a sultry, horn-driven blend of Latin and R&B. Elsewhere, his extends his affable vocal to showcase his range on “Learn Something New.” Evidenced by songs like “Let It Drop,” “Out on Me,” the twangy “Party With Strangers” and the ‘80s pop shaded “Spring Break,” this album is a light-hearted soundtrack that’s perfect for any party.
Drew Baldridge, “Honky Tonk Town”
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Like many artists at the moment, Baldridge draws on the enduring popularity of rock-influenced, high-octane ‘90s country music. He teamed with writers Lydia Dall and Joel Hutsell on this track, which feels like an amalgam of the boot-scootin’, dancehall ready songs that artists like Brooks & Dunn, Alan Jackson and Shenandoah took to the top of the country charts in the 1990s. Propelled by relentless drums and guitars and laced with mandolin and keyboard, this track is a more successful result than most attempts at incorporating ‘90s country, thanks in part to Baldridge’s confident, rollicking vocals.
Lauren Alaina, “Just Wanna Know That You Love Me”
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Alaina prolifically follows her recent Big Loud Records EP, Unlocked, with this pensive piano ballad with a simple plea — she doesn’t require all the finer things in life, and can withstand any adversity, as long she knows her lover’s commitment is uncompromising. It’s fitting that Alaina performed the song on a recent episode of The Bachelorette, as the song’s power-pop balladry construction houses a made-for-television quality. This elegant song comes courtesy of Brandy Clark, Sam Ellis and JoyBeth Taylor, and as always, Alaina displays her versatile, powerful vocals.
Wyatt Ellis with Sierra Hull, “Grassy Cove”
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Mandolin player and teenage phenom Ellis has quickly cemented himself as a sterling newcomer in the bluegrass scene, having shared the stage with artists including Billy Strings, Marty Stuart, and Molly Tuttle, and also having played Merlefest and the Grand Ole Opry. On his latest, Ellis teams with veteran mandolin player and mentor Hull on this gorgeous instrumental piece, with the two musicians layering twin, agile mandolin parts. He and Hull co-wrote this ode to a small town in East Tennessee, with Justin Moses producing the song; impressively, the song is the result of Ellis’ first time in a recording studio.
Camille Parker, “Heartless”
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Parker is a member of CMT’s Next Women of Country Class of 2022, and was a contestant on Apple TV+’s talent show My Kind of Country. Written by Parker, Sara Bares and Reid Sorel, this is a superb, searing track that’s melded in retro-pop. Embedded in this danceable anthem is a empathetic salve for anyone who has followed their heart more than their logic when it comes to a toxic relationship. “That was the last time I’d throw caution to the wind/ I’ll never do it again,” Parker vows atop layers of guitar grooves and pedal steel, resulting a celebratory moment of emotional maturation and freedom.
Kat Hasty, “Why Do Good People Die”
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After releasing the eight-song acoustic project, Drowning in Dreams, in 2021, Hasty returns with the three-song live EP Midland, highlighted by this sparse, rolling acoustic track that puts Hasty’s Texas twang front and center. The introspective song embodies inner contemplation of a musician in her late ’20s, focusing on the struggle between “standing out and fitting in,” between the pull of life on the road, and the tug of guilt that perhaps life would be better spent closer to home. She also ponders the existence of a higher power — and whether that higher power is good, when she sees good people dying around her.
It’s a jam-packed Friday (June 30), with some of today’s biggest stars gearing fans up for the long Fourth of July weekend by releasing new tracks to enjoy. Olivia Rodrigo made her long-awaited musical return with her bloody good new single “Vampire,” Lil Uzi Vert treated fans to a whole new album with Pink Tape, […]
It’s the last day of Pride Month, but certainly not your last chance to check out some new tunes from your favorite queer artists! Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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From The Japanese House’s thrilling new album, to Mxmtoon’s team-up with Ricky Montgomery & Cavetown, check out just a few of our favorite releases from this week below:
The Japanese House, In the End It Always Does
“Perform my stupid rituals, everything in cyclical,” Amber Bain sings on her new album. “Hold on to this feeling ’cause you won’t feel it for long.” This is the prevailing sentiment behind In the End It Always Does, the sometimes-nihilistic, otherwise-curious new album from The Japanese House that ponders the patterns of our emotional inner lives. Whether it’s a lack of physical connection (“Touching Yourself”), or predetermination in the middle of a relationship (“Morning Pages” with MUNA), Bain examines the cycles of her love life with surgical precision, and through the lens of some impeccably-crafted indie-pop.
Mxmtoon, Ricky Montgomery & Cavetown, “Nobody Loves Me”
Turns out when you take three exceptionally gifted singer-songwriters and put them together on one song, you get a pretty great final product. “Nobody Loves Me,” the collaboration between Mxmtoon, Ricky Montgomery and Cavetown, sees the trio offering up their own interpretations of hopelessly pining after the objects of each of their affection. With soft, silky production that lends itself perfectly to the delicate subject at hand, “Nobody Loves Me” is exactly the kind of song to sit and introspect to.
Greta Van Fleet, “The Falling Sky”
No, it’s not Chicken Little — it’s just Greta Van Fleet letting you know that the sky is, indeed, falling. In this delicious rock single, the band struggles against the seemingly unyielding problems of the world, as frontman Josh Kiszka opines that “I don’t wanna lose this time.” Add in some flavorful guitars and even a brassy harmonica solo, and “The Falling Sky” quickly becomes a must-listen anthem for perseverance — especially given Kiszka’s recent coming out, and the state of affairs for queer people in this country.
Daya, “Juliene”
Looking for a sizzling, sexy anthem for your summer playlists? Enter Daya. “Juliene,” the singer’s latest single, follows Daya as she pursues the titular character down a burning-hot beach so they can find some alone time. Some A+ alt-pop production and an ethereal vocal performance later, “Juliene” transcends into a flowing, scintillating jam that’s bound to get stuck in your head shortly after your first listen.
Chika feat. Freddie Gibbs, “Truth or Dare”
If you’ve ever wanted to be let into a songwriter’s process, then Chika has exactly the song for you. On “Truth or Dare” (featuring a fabulous guest verse from rap superstar Freddie Gibbs) the 25-year-old rapper focuses her aim at the industry and her own career, calling out shallow trends and materialist incentives before turning her focus inward. Throughout the dexterous second verse, Chika slowly deconstructs herself before wondering if any of this is really even worth it. “Nowadays, music about a few seconds that make you sway from side to side,” she spits. “Why am I thinking so much ’bout my lyrics? Forreal I’m just wastin’ my time.” That may be how Chika feels, but we think pressing play on “Truth or Dare” is maybe one of the best uses of your time today.
G Flip, “The Worst Person Alive”
Ever had an ex that decided to treat you like Public Enemy No. 1? G Flip most certainly has, as they explain on their latest single “The Worst Person Alive,” a scathing indictment of the multi-hyphenate’s past relationship. Fueled by a pounding drum beat (performed by G Flip themselves) and seething lyrics that question any and all intentions from their former flame, “Worst Person” seeks to find answers amid the mess and drama of a relationship at its end.
MAY-A, “Lola”
Australian indie-rock star MAY-A wants to talk about growing apart. On “Lola,” the first single off of her forthcoming EP Analysis Paralysis, the singer-songwriter looks her relationship with two different people; the person she gets to be with in private and the person they change themselves into in public. Through the dreamy guitars and subdued percussion, MAY-A paints a vivid image of a relationship where no one knows where they stand, making this an excellently evocative single to kick off her new era.
Check out all of our picks in our Queer Jams of the Week playlist below:
“It’s very nerve-racking,” Olivia Rodrigo tells Billboard during a call a few days before the release of her new single, “Vampire.” But also, she admits, “I haven’t put out music in, what, two years now?”
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Two years, one month and nine days, to be exact: with 2021 debut album Sour, Rodrigo ascended to superstardom and capitalized on the Billboard Hot 100-topping enormity of its lead single, the brilliant breakup ballad “Drivers License.” A pastiche of pop-punk flare-ups, bedroom-pop ruminations and crunchy alternative, Sour led to a best new artist Grammy win, a sold-out 2022 headlining tour, a documentary and a prom-themed concert film… but zero new music from Rodrigo since its release, save for a few previously recorded tunes from her role on the DIsney+ series High School Musical: The Musical: The Series.
Rather amazingly, all 11 songs on Sour have peaked within the top 30 of the Hot 100 — but they haven’t been followed by any bonus tracks, guest features or stopgap songs. No wonder “Vampire,” the lead single to Rodrigo’s forthcoming sophomore album GUTS (due out Sept. 8 on Geffen Records), is arguably the most anticipated new single of the year.
Created with her main Sour collaborator, writer-producer Daniel Nigro, “Vampire” begins as a betrayal-strewn piano ballad in the vein of “Drivers License,” but then busts open into a pop-rock epic full of jittery percussion and wounded, dramatic vocal runs — something like My Chemical Romance’s The Black Parade, refracted through a generation raised on Taylor Swift and Lana Del Rey. “Vampire” represents a go-for-the-gusto pop statement that both pushes Rodrigo’s songwriting forward while also providing plenty for Sour fans. It sounds purposely huge, and like it’s about to be inescapable.
“Putting out a new song is a little bit daunting, but ultimately really exciting,” Rodrigo says. “I just feel really lucky to have so much support coming from all angles.” Below, Rodrigo explains how the song became her new single, and the period of growth she experienced since Sour that will inform GUTS. (Ed. note: this interview has been edited for clarity.)
How did “Vampire” come together?
I wrote it on the piano, the original version, in December of last year, and I really liked it. I remember writing it and feeling like something special was there. And I took it to my producer Dan, and we finished it up together and rewrote some things and produced it. It was quite a long production — it’s pretty lush, so it took us a while. But I’m really happy with the way it came out.
I love how the song opens up after the first chorus into this huge, multi-part, theatrical statement. At what point did it become obvious that this would be the lead single?
We always said that it was kind of our version of a rock opera. [Laughs.] I think as the album was coming together, we were coming up with a bunch of songs that we really liked, but this one always stuck out to me as something that I felt like was honoring my singer-songwriter roots, but felt like an evolution — in a good way that wasn’t too stark. And so I really liked it for that, and it was always one of my favorites.
I’m curious about the messaging of the song — your take on someone using you, and leeching off of your fame. Where did those themes come from? Had they been rattling around in your mind for a while?
I think it’s just a song about feeling used, and all of the anger and regret and heartbreak that comes with it. And I think that’s a common feeling, whether or not someone’s famous. That was something that was just really bubbling inside of me — it’s kind of an angry song, and I think I have a lot of trouble expressing feelings like anger and regret, those are particularly tough ones for me to express. I go to songwriting to get those feelings out that aren’t super comfortable to express in everyday life. So it was a very therapeutic experience, writing this song.
It’s hard to imagine how cathartic this one is going to feel for you when you first perform it live.
Oh my gosh, I’m so excited. I’m really excited for the live show — I feel like the album is shaping up to be a really fun set.
You’ve spoken recently about the incredible growth you’ve experienced over the past two years — this whirlwind that included Sour, touring, the Grammys, traveling, now writing again. When you look back on the past two years, what was the most surprising part, something that the Olivia of two years ago never would have expected?
I mean, the Olivia of two years ago definitely wouldn’t have expected her career to do all the crazy, wonderful things that it did so quickly, and I’m very grateful for that. I’ve changed so much in the past few years. All that crazy stuff happened in my career — “Drivers License” came out and it broke all these records, and I was lucky enough to win some Grammys, which was a huge dream of mine ever since I can remember.
But I think the most change I’ve felt was just in Olivia as a girl — growing up and changing from being a teenager to a 20-year-old. All of the maturing and figuring yourself out, that’s just on a normal human-to-human level — I think that was the most surprising thing for me.
Is the pressure you’re feeling ahead of this single release significantly different than what you were feeling ahead of “Drivers License” or Sour?
Totally. It’s definitely a different feeling, and it felt different making this album too. I mean, it’s a lot of pressure. I’d be lying if I said that I didn’t feel that. But I think I got to a place throughout making the record where I really shifted my perspective from being like, “Oh, we have to make something that’s gonna impress everyone, and beat the last one!” All of this was just swimming in my head, and I wasn’t writing songs that I resonated with. It wasn’t productive, and conducive to good work.
And so I had to shift my perspective into just trying to make music that I would like to hear on the radio, and once I did that, things started flowing a little easier. So I just try to maintain that that perspective.
How indicative is “Vampire” of the sound of the rest of the album?
I actually feel like the album is really, incredibly diverse. There are other kinds of ballads — I guess I consider “Vampire” a ballad on the record — but yeah, I don’t know! It’s all pretty different.
With “Drivers License,” you translated this painful personal moment into something relatable for a wide audience. Now that you’re at the top of that roller coaster again with this lead single and ready to rush down, how does it feel to be sharing this new piece of yourself?
I mean, not gonna lie, it’s pretty scary! I was definitely a little more dauntless last time with “Drivers License,” because I had no idea that anyone would listen to it – but it’s scary to think about putting a song out into the world that’s vulnerable and represents painful feelings for you.
I’m just trying to not think about it, to keep my head down and do all the work. Everything else is out of my control. It’s kind of nice to give it to people, and then it’s not yours anymore. It’s a beautiful thing! So I’m just trying to remember that.
