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After sending fans into a clue-finding frenzy, Olivia Rodrigo has now ended their suffering by at last unveiling the official tracklist to her upcoming sophomore album, Guts. In a second teaser video Tuesday (Aug. 1) — which followed one day after Rodrigo shared a mysterious clip filled with hidden song titles for fans to decode […]
Summertime may be in full swing, but it’s never too late to find your song of the summer. Billboard Pride is here to help with 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 Sam Smith’s new collaboration with Calvin Harris to Anne-Marie’s new album, check out just a few of our favorite releases from this week below:
Calvin Harris feat. Sam Smith, “Desire”
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Each time Calvin Harris and Sam Smith have teamed up to make music, the results have been blissful — whether it was the cooled-down stylings of 2018’s “Promises,” or the disco euphoria of this year’s “I’m Not Here to Make Friends.” Their latest collaboration “Desire” follows in those same footsteps; a thundering trance beat and a set of stuttering synth lines perfectly match with Smith’s delicate vocal, as they declare that just “the thought of you is keeping me awake.”
Anne-Marie, Unhealthy
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Trying to encapsulate what Anne-Marie’s Unhealthy is all about is like trying to grab a fish with your bare hands — just when you think you have a good grasp, it manages to wriggle away. But that’s part and parcel of the accomplishment in the pop singer’s latest LP; Unhealthy is about embracing chaos and learning to accept what can’t be fully understood. The sonics match that theme — Anne-Marie oscillates between gorgeously-sung ballads (like “You & I” featuring Khalid), angsty pop-rock anthems (“Haunt You”), and pure pop anthems (“Trainwreck”), the British phenom refuses to just be one thing, when she can be everything.
CHIKA, Samson
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Much like the titular Bible character, Chika is ready to find strength in what makes her vulnerable. On her full-length debut Samson, the rapper goes beyond proving why she deserves recognition for her pen game, and acknowledges the emotional turmoil that has plagued her life for the last few years. Embracing blatant honesty to devastating effect, Chika burns bridges (“Mad”), flexes her skills (“Prodigy”), and weaves a compelling narrative web of an artist rejecting her position as an overlooked superstar. Chika didn’t mince her words, so we won’t either; Samson is a masterpiece.
Shamir, “The Beginning”
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Looking for a throwback to the late ’90s? Shamir has got you covered with “The Beginning,” a scrumptious pop-rock jam that’s ready to transport you straight back to the age of Savage Garden and Third Eye Blind. It’s fitting, then, that the lyrics to the delectable new song are all about looking back on the good old days of a relationship, and realizing that maybe they weren’t as “good” as you thought they were. “The Beginning” is just another reason why Shamir remains a vital voice in the indie pop-rock scene.
Kidd Kenn, “Coming”
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That’s Mr. Kenn, if you’re nasty — and “Coming” will certainly encourage you to access your nasty side. With his latest single, rising rap star Kidd Kenn is happy to go full “WAP,” but this time for the gays, flexing all of the various way that he can get his lover hot over an entrancing melody and booming beat. Yes, “Coming” is exactly what it sounds like — a hip-hop banger for you to press play on immediately.
MAY-A, “Something Familiar”
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When Hamlet said that we would all “rather bear those ills we have than fly to others that we know not of,” MAY-A felt that. On her latest single “Something Familiar,” MAY-A gives into comfort over consistency, basking in knowing the person she’s with well, even if she doesn’t really like them all that much. Add in her updated, rocked out sound to give the song a boost of adrenaline, and you’ve got yet another jam from the rising star.
Jaboukie, “not_me_tho”
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If you want to work yourself to the bone to get ahead, that’s just fine — just don’t expect Jaboukie Young-White to join you. On his latest single off of his upcoming new album, the comedian-turned-writer-turned-actor-turned-musician is skewering hustle culture with a carefree, shrugged-off anthem. Throwing up a middle finger to late-stage capitalism, “not_me_tho” is Jaboukie at his most effortless, laughing at the social climbers sweating their way to the top as he casually waves at them from his self-made pedestal.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
These 10 tracks from artists including Tinashe, Lizzo, Poppy and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all 10.
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Poppy, “Knockoff”
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While Poppy is ostensibly singing about a relationship on “Knockoff,” the first single from forthcoming album Zig, it’s hard not to think about the questions of authenticity currently propelling debates about AI while enjoying its stormy, sinewy groove. “How you gonna prove to me that you’re the real thing?” Poppy sings, the synths around her constructing a metallic fortress that the soft, human warmth of her voice effectively breaks. – Jason Lipshutz
Jenna Raine, “It Is What It Is”
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Handclaps, hard acoustic strums, piano melodies and boisterous group vocals are all helping Jenna Raine get out of the funk of growing up on “It Is What It Is,” a brisk charmer that gives the singer-songwriter ample room to showcase her personality over a short run time. Raine eye-rolls her way through hardship before mining some positivity, deploying snappy lyrics that could feasibly blow up in the next uplifting TikTok trend. – J. Lipshutz
Rosie Darling, “Boxes”
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The ornately detailed post-breakup songwriting of hits like Olivia Rodrigo’s “Drivers License” and Lizzy McAlpine’s “Ceilings” is present in Rosie Darling’s “Boxes,” on which the Boston-born singer-songwriter examines the messiness that comes with a split — the changed locks, the tearful trip home, the call from an unaware family member. Darling nails those quiet moments, but also balls up her frustration in affecting big-picture questions: “What did you want from me? / I gave you everything.” – J. Lipshutz
Mitch Rowland, “Come June”
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Those familiar with Mitch Rowland’s work alongside Harry Styles — he co-wrote and played on multiple Harry’s House tracks, including performing drums on the chart-topping smash “As It Was,” and joined Styles’ Love On Tour world trek — should check their preconceived notions at the door when pressing play on debut single “Come June.” Instead of trying to re-create that magic, the singer-songwriter has found some of his own in a subtle indie-folk template, unfurling his own fragile voice with confidence. – J. Lipshutz
Becca Means, “My Darling”
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Nineteen-year-old Becca Means has accrued 3 million TikTok followers through a series of cover songs, demos and entertaining clips that showcase her personality — and while translating social media charm into a catchy song is often a tall order, Means pulls it off on debut single “My Darling.” The beguiling kiss-off pulls from ‘60s pop but feels modern and lived-in, with plenty of melodies worth returning to tucked into the verses. – J. Lipshutz
Bruno Major, “The Show Must Go On”
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The first verse of Bruno Major’s “The Show Must Go On” is split in half between fantasy and reality: after describing a scene of a hero triumphing, getting the girl and evoking crowd applause, Major snaps back into a more common occurrence of staring at a ceiling late at night, full of existential dread and ennui. “The Show Must Go On” demonstrates Major’s songwriting panache as a prescription for living your truth: his voice soulfully winds through ideas and scenario, dispensing advice in second person. – J. Lipshutz
The Beaches, “Me & Me”
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With “Me & Me,” a driving rock track about prioritizing yourself, Canadian foursome The Beaches deliver an updated take on the Beyoncé classic “Me, Myself and I”: Over a fuzzed-out riff, vocalist Jordan Miller confidently observes, “When I’m with myself, it’s honestly zen / Might as well be my girlfriend.” Elsewhere, she asks if spending time with herself is really such a sin, or more of a win; judging by the unbothered tone of “Me & Me,” it seems to be the latter. – Lyndsey Havens
Lizzo, “Pink”
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Unlike Dua Lipa’s “Dance the Night,” which could’ve appeared in the soundtrack to any number of summers flicks, Lizzo’s contribution to the blockbuster Barbie film features lyrics that serve as a meta commentary on the action of the film’s brilliant opening scene. Like the movie itself, the bright, buoyant tones of “Pink” set up a frozen plastic perfection that – by the time Lizzo spells out an acronym for the color, ending with ‘K’ standing for ‘cool’ – you know is bound to crack. – Joe Lynch
Tinashe, “Talk to Me Nice”
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With a soft, skittering rhythm and looped vocal syllable repeating throughout (courtesy of producers Nosaj Thing and Scoop DeVille), “Talk to Me Nice” finds Tinashe in her sweet spot, delivering shadowy, sensual R&B that’s hypnotic in its beauty. It’s a promising tease of the singer’s upcoming 2023 project, BB/ANG3L. – J. Lynch
NewJeans, “Get Up”
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After a successful run of singles (“Attention,” “Hype Boy,” “Ditto” and “OMG”) in less than one calendar year, NewJeans’ Get Up EP, released on July 21, quickly became one of the most highly anticipated K-pop project of the summer. While the first half of the EP employs Baltimore dance and UK garage beats for an energetic listen, title track “Get Up” – albeit only 36 seconds long – acts as an interlude to catch your breath. Minji, Hanni, Danielle, Haerin and Hyein’s voices melt into airy synth instrumentals as they dabble in R&B, offering a hopeful glimpse at what’s to come from their future releases. – Starr Bowenbank
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.
