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As we inch closer and closer to Pride Month, there’s no better time to get back in touch with your favorite queer artists than right now! 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 Kim Petras’ retro team-up with Nicki Minaj to MUNA’s latest banger, check out just a few of our favorite releases from this week below:
MUNA, “One That Got Away”
There’s simply nothing better than getting to rub your success in an ex’s face, which is exactly the approach MUNA takes with their potent new kiss-off, “One That Got Away.” In this deliciously petty electro-pop jam (that was debuted during the band’s their weekend one set at Coachella), the trio are at the zenith of their collective sound, as they pity the lover who missed their shot with them. “You never let me know I’m what you want,” Katie Gavin’s voice coyly sings over the song’s chorus. “Maybe that’s why I’m the one that got away.”
Kim Petras feat. Nicki Minaj, “Alone”
There’s never a bad time to be reminded that Alice Deejay’s classic hit “Better Off Alone” is an absolute banger — and it certainly helps when Kim Petras and Nicki Minaj are the ones reminding you. On “Alone,” Kim and Nicki bounce effortlessly off of one another, with the former’s tried-and-true pop vocals balancing just right with the latter’s earworm bars in the song’s second verse. Add in a healthy amount of interpolation from “Better Off,” and you’ve got a song that’s guaranteed to be inescapable this summer.
Christine and the Queens feat. 070 Shake, “True Love”
Never one to offer up anything simple, Christine and the Queens unveiled his testament to sensuality with 070 Shake in “True Love.” Throughout the hypnotic new song, Chris leans on his lilting falsetto often, forcing you to lean in as he sings about allowing yourself to feel vulnerable in front of someone. Just as the song has you in its trance, Shake enters to break it up with a smooth, ecstatic bridge. If “True Love” is any indication of the artistic angle fans can expect from the star’s upcoming album, then they’re in for a treat.
Arlo Parks, “Blades”
Even when you’re surrounded by people, a house party can be an isolating place. But Arlo Parks knows that even just spotting a friend in the crowd can dispel that unease, as she explores on her new alt-pop single “Blades.” Keeping the general sonic landscape that’s permeated much of her recent era, Parks ratchets the good vibes up to 11, as she floats her way through the sublime feeling of feeling seen.
Brandy Clark, “She Smoked in the House”
Let’s take a beat to slow things down and reflect, as Brandy Clark does on her sweet new song. “She Smoked in the House” is the country singer-songwriter’s tribute to her grandmother and the time she lived in. Accompanied by some acoustic guitars, a piano and some drums, Clark charmingly remembers all the idiosyncrasies that made her grandmother who she was — good, bad and otherwise.
The Japanese House, “Sad To Breathe”
For the first minute or so of The Japanese House’s “Sad to Breathe,” you feel like you know what you’re in for. Amber Bain’s sonorous voice plaintively sings about the immediate sting of heartbreak, while streaming piano lines stir up the detritus left behind a breakup. But just as you settle in for a well-made ballad, the song shift — unrelenting drums, a pumped-up bassline and some rhythmic guitar patters suddenly kick in, sending “Sad to Breathe” careening into uncharted territory and perfectly encapsulated the all-encompassing chaos that comes with a relationship’s end.
JORDY, BOY
Transitioning into adulthood is nothing short of a nightmare for most people — so, rising pop singer JORDY wanted to make sure everyone going through that knew that they weren’t alone. BOY, the singer’s sophomore effort, bounces around the different topics that nearly every 20-something has to content with, be it sexual unrest (“Dry Spell”), social anxiety (“Hypothetical Party”), or the general feeling of having absolutely no clue what you’re doing (“IDK SH!T”). JORDY threads the needle of bearing his soul while creating a narrative that others can relate to — a skill he’ll no doubt keep honing for years to come.
Dreamer Isioma, Princess Forever
For years, singer-songwriter Dreamer Isioma has been writing and re-writing their own story, testing the waters to see what felt right. With Princess Forever, it feels like they’ve found their footing. This lush, intricate concept LP follows Isioma through the perspective of the titual character as they fight for a better future, while mixing together the sounds of psychedelic rock, pop, R&B, Afrobeats and more. It’s a journey that stands to benefit anyone who listens, if only for the magnificent energy maintained through this beautifully-crafted album.
Iniko, “Jericho”
You may have already heard the viral acapella stylings of Iniko singing this song on TikTok, but don’t be mistaken — you haven’t heard “Jericho” until you’ve listened to their full version. This spellbinding single is a masterclass is using the voice as an instrument; as Iniko chants the other-worldly lyrics of her song, she’s joined by very simple-yet-effective production that only heightens the moody atmosphere of the track, making for a potent song you’ll be listening to on repeat.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
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, The Weeknd and Future are “Double” trouble, Bad Bunny co-signs an ascendant regional Mexican group, and Kim Petras and Nicki Minaj are not, in fact, better off alone. Check out all of this week’s picks below:
The Weeknd & Future, “Double Fantasy”
As The Weeknd’s embattled HBO series The Idol finally premieres in June and looks to prove the doubters wrong, the superstar has preceded the fictional music-industry drama with a new single that should heat up the charts in real life: “Double Fantasy” reunites The Weeknd and frequent co-star Future, who brought Abel Tesfaye into his trap universe on past collaborations like “Low Life” and “Comin Out Strong,” and returns the favor by contributing to The Weeknd’s synth-pop fantasia here. “Double Fantasy” has plenty of double entendres built around a juicy, radio-ready chorus, but works because both A-listers sound especially engaged on the track, making a bid for another hit rather than tossing out a loose soundtrack single.
Grupo Frontera & Bad Bunny, “un x100to”
While Bad Bunny has broken barriers for Spanish-language music across the mainstream over the past year, regional Mexican music has become absolutely dominant in recent months, with multiple artists unlocking chart achievements that would have been unthinkable at the beginning of this decade. One of those artists is Grupo Frontera, who have already established a global footprint despite only forming as a group last year — and “un x100to,” a high-wattage new collaboration with Bad Bunny, will only grow their presence, as the artists share a breezy, charmingly sincere love song about using the final one percent of a phone battery to express how you really feel.
Kim Petras with Nicki Minaj, “Alone”
Alice Deejay’s timeless dance hit “Better Off Alone” gets a modern facelift thanks to Kim Petras and Nicki Minaj, who join forces for a new single that was summer-song aspirations apparent in every detail. The sample propels “Alone” forward, but Petras is steadily in the synth-pop lane of her excellent early singles, and Minaj provides some extra juice to the song in its second half — this is smartly orchestrated pop that offers both low-stakes fun for listeners as well as carries lofty commercial ambitions for its two stars.
YoungBoy Never Broke Again, Don’t Try This at Home
Hip-hop’s most prolific artist is actually speeding up: a little over three months after YoungBoy Never Broke Again released the sonic left turn I Rest My Case, he’s already back with Don’t Try This at Home, a 33-song opus that offers something for every type of fan thanks in part to its gargantuan run time. The new album may be as long as a feature film, but Don’t Try This at Home never feels like a slog: YoungBoy is adept at telling gritty street stories that command the listener’s attention, and when the guests (Post Malone, Nicki Minaj, The Kid LAROI, Mariah the Scientist) show up, they agreeably switch up the album’s flavor.
Foo Fighters, “Rescued”
“It came in a flash,” Dave Grohl sings to open the new Foo Fighters single, “it came outta nowhere / It happened so fast, and then it was over.” Hearing those introductory words, one can’t help but think of the shocking death of longtime Foos drummer Taylor Hawkins last year, and how the rest of the band must be processing that loss — yet the arena rockers soldier on with “Rescued,” reaching out for help without wallowing in sorrow, and honoring Hawkins’ memory with a song that slams forward with guttural growls, crisp guitar work and, yes, righteous drum fills.
Agust D (Suga), D-Day
With D-Day, Suga not only resumes his Agust D moniker to close out a trilogy of projects that he started in 2016 — the BTS member also grows in front of our eyes, evolving his songwriting and presentation in meaningful ways as more global fans than ever before pay attention to his solo work. Although the boisterous “HUH?!?,” featuring J-Hope, will surely please BTS fans, D-Day also contains several highlights featuring Suga on his own, from the swaying “SDL” to the percussive “Haegeum,” the latter of which boasts some of his tightest rhymes to date.
Matthew Schonfeld and RaShaad Strong used to play a simple game to pass the time while working at Manhattan’s Only NY boutique.
“We started going on SoundCloud to find the artist with the least followers [who had] the song that was more fire than the next one,” Schonfeld says. The pair would alternate playing “SoundCloud rabbit hole” finds from now-established acts. While Strong usually had the best picks, Schonfeld unwillingly admits, both music lovers emerged as winners.
In 2016, the duo began their music discovery podcast Not97 — its name, of course, a “tongue-in-cheek” reference to renowned New York hip-hop FM station Hot97. “We love Hot97,” Schonfeld says. “It does its thing for [big] artists, and we’re going to do what we do for [emerging] artists.”
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Five years later, Not97 was picked up by Human Re Sources and The Orchard after seven seasons, and recently landed at No. 2 on the Apple Music Podcasts Chart. Along with their newest co-host Athena Yasaman, the trio of music lovers — who double as professional managers, curators and fashion industry creators — search the depths of the internet to find the best under-underground artists and pass the aux back and forth, highlighting their favorite finds across genres.
“What I liked most about Not97 is how it felt similar to our mission as a company of being disruptive,” says Human Re Sources CEO and EVP of creative development at Sony Music, Jay Erving. “They have a very high taste level and batting average in terms of picking artists that are ultimately going to have success.”
Each episode also features guests who bring two of their own music picks — including fashion designers, curators, DJs, A&Rs, music journalists, artists, music executives and directors. This season’s guests will include artists Jordan Ward, Fana Hues and Alex Vaughn.
“[Not97] has given artists an outlet that’s less abrasive,” explains co-founder Strong. “We’re one of the few platforms that if you come on to the show, we’re not even going to ask you many questions about your actual artistry. It’s a safe space.”
Instead, the artists spend their time uplifting other artists smaller than them that they admire, leaning into a community-based approach that is uncommon in the world of music interviews.
Founded in 2016, Not97 carved out its own uncharted space amidst an influx of music podcast start-ups, including Drink Champs and The Joe Budden Podcast (formerly known as I’ll Name This Podcast Later), among others. While wildly popular podcasts from known veteran music personalities like N.O.R.E., Joe Budden and Angie Martinez have thrived with superstar guests, co-founders Schonfeld and Strong made a name for themselves by leaning into the exact opposite.
“I got bored of blogs — I didn’t feel like I was finding new music there,” Schonfeld explains. “I was trying to figure out how I could effect some sort of change within music discovery for young artists. The podcast is kind of built as a means to an end for that.”
Schonfeld’s strategy has remained the same over the years: going down those SoundCloud rabbit holes in the hopes of finding a diamond in the rough. And his strategy has worked: Not97 featured Baby Keem, King Princess, Giveon, Kenny Mason, Arlo Parks, Tierra Whack, Fousheé and plenty of other now-notable acts before their breakout moments.
“You can read 500 words about an artist and still not press play on the song,” he says. “So [we thought], ‘Let’s streamline it and create a way to listen to a podcast and to eight songs.’”
Not only does Not97 expose small artists to an audience of thousands, but the platform has also become a strong networking tool for small acts to secure otherwise inaccessible opportunities. Schonfeld says he and his collaborators spent the first year of Not97 building relationships with artists, reaching out to ask permission before playing their songs. Featuring recorded tracks soon turned to holding full performances, when the team began their Not a Showcase series in Los Angeles and New York, setting the stage for a few acts to perform live for a ticketed audience and creating opportunities for those acts to profit from their art.
Beyond opportunities directly tied to Not97, the podcast allows for the show’s guests to be exposed to music from acts with small audiences. Over the course of nine seasons, Not97 has had music industry guests including artists, sync licensing coordinators, label executives and music journalists, with some artists whose music was featured going on to secure booking agents and performances thanks to their inclusion on episodes.
“When we started this, we didn’t set out to be the biggest podcast — we were using the podcast medium as a means of sharing music,” Schonfeld says. “We were like, ‘This is the easiest way for us to play this music, have these conversations and get it out there.’ In the last, like, four or five years, everybody started a podcast — it’s just gone crazy. That being said, I do think that the music podcast world is still fairly untapped.”
But despite the boom of podcast listenership, some companies are cutting back. In March, NPR announced that it would be canceling four podcasts — Invisibilia, Louder Than a Riot, Everyone & Their Mom and Rough Translation — to close a $30 million budget gap. In an article from NPR announcing the cancellation and a layoff of 10 percent of their staff, the platform attributed the slashing of those podcasts to “advertisers’ growing reluctance to spend money, particularly on podcasting, in an uncertain economy.”
“The problem is a lot of these companies don’t necessarily know what they’re doing with this content,” Schonfeld says. “I don’t think NPR realizes how important what they have is. They’re going to be producing Louder Than a Riot for this whole season and I hope by the end of it, NPR rethinks their [decision].”
When asked if he worries for Not97, Schonfeld is confident. “Not97’s tagline is, ‘Not a podcast, not a radio show.’ That has put us in a space that’s one foot in, one foot out,” he says. “A lot of our success up until now has been on the music side of things. I think of Not97 as an overarching brand and the podcast being the nucleus of that.”
Schonfeld says that the collaboration with Human Re Sources and The Orchard will allow them to provide resources to artists that they otherwise wouldn’t have access to. “Having a global distribution platform behind us where I can pitch artists to internal teams that [handle] music distribution, marketing, digital marketing services,” he lists. “The Orchard really builds itself out to be a full support system for artists.”
“Both Spotify, Apple and others are really leaning into podcasts,” says Erving. “I think we’re gonna start to see them behind the paywall, which will lend itself to a lot more revenue in the space.”
When it comes to the future of Not97, co-founder Strong has big plans for expansion. “[We’re thinking about] potentially going to a larger platform to amplify what we already do in terms of video,” he says. “Matt has always wanted to do a label from when I met him, before we even did the podcast. So a label would be the next thing. That was the ultimate goal.”
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, SZA and Doja Cat craft a killer reunion, Post Malone is back with some pop chemistry, and Metallica are still riding the lightning. Check out all of this week’s picks below:
SZA feat. Doja Cat, “Kill Bill (Remix)”
While SZA’s “Kill Bill” has been one of the defining smashes of the first half of 2023, the SOS single has done it while stuck outside of the Hot 100’s top spot — this week spending its eighth nonconsecutive week at No. 2 on the chart. Will this remix with her “Kiss Me More” pal Doja Cat give “Bill” the push it needs to No. 1? Regardless of chart effects, Doja’s inclusion on the track injects a new excitement: the superstar opens up the remix with detailed rap storytelling, documenting a violent run-in with her ex and his new girlfriend that makes SZA’s well-worn hook leap off the speakers once again and potentially serves as a prelude to the hip-hop album that Doja Cat has been hinting at for some time.
Post Malone, “Chemical”
When “Circles” became one of the biggest hits of Post Malone’s career upon its 2019 release, the hip-hop superstar seemed to be gesturing at a new pop-rock template for his crossover singles. Last year’s Twelve Carat Toothache downplayed that transition a bit, but “Chemical,” Posty’s first new release of 2023, adamantly embraces that sonic tweak: this single is giddy pop euphoria, with a driving beat, sunny guitar strums and upper-register singing about a relationship finally collapsing. Although Post Malone has demonstrated an ability to straddle both sounds, “Chemical” sounds like a nod toward top 40 radio, and a surefire summer smash.
Metallica, 72 Seasons
Metallica may take their time with studio albums these days — 72 Seasons arrives six-and-a-half years after 2016’s Hardwired… to Self-Destruct, which came eight years after 2008’s Death Magnetic — but whenever they return, they pummel longtime fans with riffs, hooks and kinetic energy. At 77 minutes, 72 Seasons presents its ideas over an extended period of time, but at a breakneck speed: Kirk Hammett’s technical skill works overtime on songs like “Lux Æterna” and “Shadows Follow,” while James Hetfield hasn’t lost a step across a four-decade career, conjuring personal pain and hoisting it up with classic thrash-god instincts. Metallica’s studio output may have slowed a bit, yet 72 Seasons showcases how vital they remain.
Ice Spice feat. Nicki Minaj, “Princess Diana (Remix)”
A key component of Ice Spice’s meteoric rise is her skill as a collaborator: from the top 10 smash “Boy’s a Liar Pt. 2” with PinkPantheress to “Gangsta Boo,” the Lil Tjay team-up that highlights her Like..? EP, the Bronx rapper knows exactly how to accentuate her own voice while making room for other types of artistry. The remix to “Princess Diana” not only slides a huge co-sign from Nicki Minaj into her back pocket, but seamlessly brings a larger-than-life personality into the world of a very good existing song — after Ice Spice’s slick cadence and internal rhymes glide across the beat, Minaj provides new highlights with quotable sneers like “She the princess, so f–k who you lames is?”
Dominic Fike, “Dancing in the Courthouse”
After experiencing some run-ins with the law while growing up in Florida, Dominic Fike synthesizes his experiences and resulting emotions on “Dancing in the Courthouse” — part tongue-in-cheek riff on our modern legal system, part joyful return of a rising singer-songwriter, whose sophomore album is due out later this year on Columbia Records. “Dancing in the Courthouse” makes good use of both Fike’s subtle wordplay and pop sensibility, with each barbed line eventually coalescing into one of the most soaring refrains of his career thus far.
Marshmello & Farruko, “Esta Vida”
One month after linking up with Colombian reggaeton star Manuel Turizo on the new single “El Merengue,” Marshmello continues his exploration of disparate Latin pop styles with “Esta Vida,” a summer-ready anthem co-starring Puerto Rican party-starter Farruko. “Esta Vida” clearly takes inspiration from the playbook Farruko used on the stadium-sized hit “Pepas” — the thousand-voiced effect returns on the chorus here — but both artists bring their A-game to the dance cut, with rubbery synth production backing Farruko’s smooth oscillation between rapping and singing.
Another week, another opportunity to catch up on the latest tracks from you 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 Ashnikko’s fierce new track to Yaeji’s truth-telling LP, check out just a few of our favorite releases from this week below.
Ashnikko, “Weedkiller”
You can run all you want, but you cannot hide from Ashnikko’s wrath. On “Weedkiller,” the titular single off the rising star’s forthcoming album, Ashnikko dives headfirst into a fearsome, violent persona, intent on hunting down those who have wronged her. The chaotic drum beats and glitching strings further add to the frenzied energy of this electric single, as Ashnikko declares that she “will be the one to eliminate you.”
Yaeji, With a Hammer
Most fans know Yaeji as the dance artist behind “Raingurl” — but the Korean-American star is ready to smash that perception apart With a Hammer. On her remarkable new album, Yaeji is done dealing with image and perception — Hammer is the DJ’s unflinching look at her interior life, parsing through the deep sadness (“Passed Me By”), simmering anger (“Fever”) and generational aches (“Done (Let’s Get It)”) of her life, all while maintaining her signature sound.
Cub Sport, Jesus at the Gay Bar
With Easter Weekend officially upon us, Cub Sport wants to propose a toast to all of the queer folks brought up in Christian homes who never had a chance to explore their sexuality or gender expression until later in life. Jesus at the Gay Bar, the Australian indie trio’s fifth full-length, sees Cub Sport bursting with unbridled queer joy — tracks like “High for the Summer,” “Always Got The Love” and “Magic in U” are practically bursting with sparkling house music, while even the more pared-down tracks like “Hold” and “Zoom” still manage to bring feel-good energy back into the mix. Put simply, this exuberant LP is the ode to queerness that so many need to hear right now.
Corook, “CGI”
Get ready to groove along to Corook’s thrumming new single. The latest from the singer-songwriter is “CGI,” a deliciously funky love song where she revels in the utter perfection of her lover. As she declares that “your face is so perfect like CGI,” a bouncing bass line pumps along with the stacked synth chords, marking a clear departure from the budding star’s softer sound into something slicker.
KiNG MALA, “Dirty Dishes”
With April upon us, plenty of people are looking to get their spring cleaning done as soon as possible. But KiNG MALA is in no rush, as she proves on her new single “Dirty Dishes.” Imbued with a funk-fueled guitar-and-bass section, the new track sees the pop upstart reveling in the grime surrounding her, as she lets a prospective lover know that she’ll only be motivated to tidy up if they come over and help her out. While the delectable production is certainly worth noting, the star of the track is KiNG MALA’s gorgeous vocal, as she promises that if you “come on over, I’ll get it figured out for you.”
Dorian Electra, “Freak Mode”
It’s been a few years since electro-pop artist Dorian Electra graced our ears with new solo music. But don’t worry; they’re here to let you know that they’re still ready to give you weird new tunes. “Freak Mode” is Electra at their best — the shock-rock-meets-hyperpop aesthetic provided by producer Clarence Clarity is a perfect fit as the experimental star revels in everything that makes them “different.”
Arthur Moon, “7 O’Clock Clap”
Brooklyn avant-pop singer Arthur Moon wants to get out of the hole they dug for themselves. “7 O’Clock Clap,” the latest track off their aptly named forthcoming album Chaos! Chaos! Chaos! Side B, blends together two distinct, often intentionally separated melodies, as Lora-Faye Åshuvud (the artist behind Arthur Moon) waxes poetic on the performance of personality. As the track picks up speed, Åshuvud proves to be in complete control, bringing the haywire production in for a smooth landing.
LEADR, “Aeiou Nothin”
Rising indie-pop artist LEADR promises that they have approximately no time for your relationship nonsense with this fiery breakup anthem. “Aeiou Nothin” doesn’t give into the schmaltzier, “I’m gonna love me for me” side of things — LEADR even turns their nose up at the idea early in the song’s lyrics. Instead, this brutal kiss-off sees the emerging artist letting their ex know that they’re not pressed. After all, “the fine print says karma’s a bitch.”
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
It took more than a year for Labrinth to finally release “Never Felt So Alone,” one of his Euphoria season two standouts originally left off the show’s soundtrack — but it was well worth the wait. That’s because none other than Billie Eilish joined him for the song’s official release, a collaboration the 34-year-old producer revealed has been a long time in the making.
“I’ve been a fan of Billie for a long time,” Lab told Eddie Francis on Apple Music 1’s New Music Daily show in an interview that aired Friday (April 7). “I think she’s an amazing artist. I remember Noah [Cyrus] was doing some of the same shows Billie was in that time, and everybody kept on coming back talking about this Billie Eilish girl.”
“Then I think the first time I heard her on a record was ‘Bury a Friend,” he continued, noting he’d also met Finneas, Eilish’s brother and producer, years beforehand. “And I was just like, ‘This is a sick record.’”
It wasn’t until Lab sent “Never Felt So Alone” to Eilish that he discovered that she’d been a fan of his for just as long as he’d been following her. “Once I started piecing the song together, I was just like, “Do you know what? I think this is the moment where I think Billie would be a sick addition,’” the “Mount Everest” musician said.
“When we spoke, she was like, ‘Lab, I’ve been listening to your music for years.” I was like, ‘What?’ It was like, ‘Billie? What? You?’ She was like, ‘Yeah, been a fan.’ She was like, ‘I love this song as well, so I would love to do it with you.’”
The two artists first started teasing their team-up in the weeks leading up to its Friday release, with Eilish leaving comments on Labrinth’s promotional Instagram posts about the track. A figure that resembled her then appeared in a trippy teaser video for the project.
The clues extend even farther back, though, as the two performed the song together during Labrinth’s guest appearance at Eilish’s December hometown shows at the Kia Forum in Inglewood, Calif.
“That was big for me because I felt like we both get each other musically,” he added of the new collaboration. “It didn’t feel foreign to me, and I love what she’s done on the record.”
Lab also explained why it took so long for “Never Felt So Alone” to be released alongside its fellow soundtrack songs: It had actually been intended for his upcoming album, which he’d sent to Euphoria creator Sam Levinson. “I sent him my album alongside composing music for the show, and they ended up using it on the show,” he recalled. “But I always planned in the future to make it into a song, and I just always loved that hook.”
“Then when it showed up in Euphoria, it just seemed like everybody felt the same way I did, but I always planned to make that into a song,” he added. “I just loved it so much. And I was like, ‘I’m going to turn this thing into something.’ And this was the moment I was just like, ‘I feel like I’m ready to do it.’”
Listen to “Never Felt So Alone” featuring Billie Eilish below:
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, Drake makes noise while awaiting rescue, Suga’s Agust D persona returns, and Youngboy Never Broke Again gets a high-wattage assist from Nicki Minaj. Check out all of this week’s picks below:
Drake, “Search & Rescue”
While Drake’s decision to sample a Kim Kardashian speech and crash it into the middle of “Search & Rescue” — along with using a superimposed image of the two of them together in matching motorcycle helmets — will likely dominate social chatter around the new single, “Search & Rescue” also marks an interesting sonic choice from the superstar, who pivots away from the cutthroat rapping heard on the 21 Savage collaborative project Her Loss to croon about yearning for uncomplicated love. Both the sampled audio and Drake’s audio suggest emotional incompletion after many years of mind-boggling commercial success, and paired with subtly detailed production from Sad Pony and BNYX, the vulnerability proves effective.
Suga (Agust D) feat. IU, “People Pt. 2”
As the members of BTS continue rolling out solo projects, sometimes as their first officially released statements on their own, Suga’s upcoming D-Day has been a long time coming, as the end of his trilogy under the moniker Agust D (following 2016’s Agust D and 2020’s D-2). “People Pt. 2,” the sequel to one of D-2’s most fully realized pop-rap tracks, spins Suga’s narrative forward with a more complex blend of hip-hop, R&B and top 40 hooks: in between the swelling beauty of IU’s chorus, Suga reflects on connection and loss with a nimble vocal approach and an effortless sense of gravity.
Youngboy Never Broke Again feat. Nicki Minaj, “WTF”
“Cross YoungBoy, then you cross the Queen,” Nicki Minaj declares to open her verse on “WTF,” a new team-up with Youngboy Never Broke Again that juxtaposes their rap methods but still places them squarely on the same side. After Youngboy’s voice warbles, squeals and unfurls in the same intoxicating manner as heard on his album I Rest My Case from earlier this year, Minaj plays the more traditional role until making a vocal run at the end of her verse; as one of hip-hop’s greats who has expanded the ways in which singing can be deployed in rap music, Minaj sounds right at home alongside Youngboy on “WTF.”
Jonas Brothers, “Waffle House”
When Jonas Brothers made their grand comeback in 2019 with the Hot 100-topping smash “Sucker” and reunion full-length Happiness Begins, they timed the rollout to the spring of that year, so that the single and album could be enjoyed all summer long. “Waffle House,” the trio’s new single which precedes next month’s The Album, could be destined for a similar warm-weather flare-up: the JoBros are locked in with a huge, giddy anthem here, singing about how they’ll always arrive at the right path as bright harmonies explode around them. It’s only April, but don’t be surprised to hear “Waffle House” on this year’s beach playlists.
NF, Hope
Last week, NF announced an international tour that kicks off in July, runs for three months and will hit plenty of arenas along the way; in case anyone doubted the Michigan rapper and producer’s commercial appeal after becoming an underground titan over the years, that itinerary should put those worries to rest. New album Hope is less of a victory lap than another shot at telling his singular story: fusing elements of alternative rock, modern pop, classic soul and different eras of hip-hop, NF plays upon childhood nostalgia while pondering the state of the world and his own future.
Labrinth, “Never Felt So Alone”
Did you recognize that voice harmonizing with Labrinth on his woozy new single “Never Felt So Alone”? That’s Billie Eilish, who reached out to the singer-songwriter expressing how much she loved the in-the-works track being produced by her brother Finneas before providing some lilting vocals and leads the second verse. “Never Felt So Alone” certainly speaks to Eilish’s experimental side: Labrinth has long been capable of classically crafted balladry, but here, his words are warped and processed, the production shuddering around his falsetto as he contemplates his solitude.
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, Boygenius offers three-for-one greatness, Jisoo steps forward as a solo star, and Chlöe delivers on years of promise. Check out all of this week’s First Stream picks below:
Boygenius, The Record
Five years ago, Phoebe Bridgers, Lucy Dacus and Julien Baker were all up-and-coming singer-songwriters who decided to combine their indie-rock stylings for a six-song EP, under the name Boygenius; since then, all three artists have enjoyed critical acclaim and exponentially bigger audiences, while their shared EP has adopted cult-classic status. A full Boygenius album could have very well never happened, but what a treat for fans that it now does: The Record not only rejoins three singular talents, but the reunion is rendered with effortless enthusiasm and remarkably affecting writing, as Bridgers, Dacus and Baker reflect on their friendships and artistic bonds by amplifying their solo and collective strengths.
Jisoo, Me
Roughly two weeks before Blackpink makes history by becoming the first K-pop Coachella headliner, the quartet’s Jisoo has made a promising solo debut, with a two-song project, Me, that combines the group’s arena-ready pop craft and a subtly revealed individual skill set. While “All Eyes On Me” unleashes an imposing, mass-appeal chorus defined by Jisoo declaring the titular phrase, “Flower” creeps forward with a vocal delicacy and rich production. Jisoo capably navigates both sonic approaches, turning Me into a well-rounded preview of (hopefully) a larger body of work.
Chlöe, In Pieces
Chloe Bailey possesses a generational level of talent — we’ve known this for a while, based on her work as one-half of Chloe x Halle and her years of solo singles preceding this debut album. Listeners have been waiting for an official project to let those gifts fully shine, and In Pieces functions as that long-awaited showcase, with dazzling vocal displays (the luxurious “Looze U” boasts some breathtaking technical skill) as well as crackling featured guests (“Cheatback,” in which Chlöe plots revenge on a cheating boyfriend alongside acoustic guitar strums and Future’s warbled encouragement, is an easy highlight).
Tyler, The Creator, Call Me If You Get Lost: The Estate Sale
“Call Me If You Get Lost was the first album I made with alot of songs that didn’t make the final cut,” Tyler, The Creator shared on Twitter earlier this week. “Some of those songs I really love, and knew they would never see the light of day, so I’ve decided to put a few of them out.” Thus, one of the most critically acclaimed full-lengths of 2021 has been bestowed with eight extra tracks, as “The Estate Sale” deluxe edition, that thankfully live up to the quality of its host album: “Dogtooth” sounds like a no-brainer breakout hit, while “Wharf Talk,” featuring an especially nimble A$AP Rocky, is unrepentant hip-hop joy.
Becky G & Peso Pluma, “Chanel”
While Becky G has spent the past five years reinventing herself as a versatile Latin pop star, Mexican rapper-singer Peso Pluma has recently taken off as a corrido tumbado sensation, flooding the streaming charts with multiple ascendant singles. Together, the two artists inject regional Mexican music with a sense of yearning on the new duet “Chanel,” on which Becky enters relatively unfamiliar musical terrain with a natural ease, while her counterpart’s voice keeps up with her own — no easy feat, considering how Becky’s vocals can outshine plenty of other singers.
Melanie Martinez, Portals
If there were any lingering doubts that Melanie Martinez was not a typical pop singer-songwriter, new album Portals — a meditation on death, reincarnation, repeating patterns and gazing into the universe’s nothingness — should promptly put an end to them. Although Martinez has long operated within lofty concepts and ambitious multimedia executions, Portals also contains some of the most directly accessible songs of her career, from the rhythmic trot of “Spider Web” to the darkly lit pop-rock of new single “Void” — with the new album, Martinez caters to listeners who love enveloping themselves in her world, as well as those looking for a new pop-playlist jam.
In need of some new music from your favorite queer artists? We’ve got you covered — 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.
From Victoria Monét’s long-awaited return to Demi Lovato’s rocked-out reinvention of a classic song, check out just a few of our favorite releases from this week below.
Victoria Monét feat. Lucky Daye, “Smoke”
Victoria Monét is back, and she’s ready to serve up some delicious R&B with her latest single “Smoke.” The undulating, funk-filled single picks up right where Monét left off with her 2021 single “Coastin’” — with delectable bass lines accentuating her silky smooth vocals as she compares loving her to lighting up a fat blunt. With guest vocals from fellow R&B star Lucky Daye, “Smoke” is sending off a signal that you can’t ignore; Victoria Monét’s superstar era is here.
Demi Lovato, “Heart Attack (Rock Version)”
Over the last 10 years, Demi Lovato has practically become a different person than she was when she unveiled her 2013 album Demi. Just take one listen to the new rocked-out remake of their hit single “Heart Attack” and you’ll see why. The singer reimagined every aspect of the fan-favorite single, swapping out 808s and synths for fiery guitars and pounding drums, while also giving re-recording her vocals to flex her matured pipes. It’s a recontextualization that puts the old track in a brand new light, all while delivering all the thrills you could ask for.
Rina Sawayama, “Eye for an Eye”
Ahead of her co-starring role in the new John Wick movie, Rina Sawayama would like to set the tone. “Eye for an Eye” brings the hard-rock stylings that appeared more in the background of the star’s debut album Sawayama to the forefront, as she spins a tale of revenge and retribution familiar to anyone who’s seen Keanu Reaves’ deadly hitman in action.
Billy Porter, “Baby Was A Dancer”
Put on your dancing shoes, folks, because Billy Porter wants to see you getting down to his brand new disco single. The crux of “Baby Was A Dancer” is a third-person autobiographical exploration of Porter’s own upbringing, as he recalls the preachers, teachers and naysayers who tried to shame him for being who he was. But it’s on the unavoidable chorus where the Pose star gets to the meat of the matter, resolving to be himself and dance all that pain and heartache away — a feeling we in the LGBTQ community can definitely relate to right now.
Saucy Santana, “1-800-Bad-Bxtch”
Saucy Santana’s number might be toll-free, but that doesn’t mean you’re getting away without paying up. On the rapper’s latest bop, “1-800-Bad-Bxtch,” Santana takes charge by taking calls from his prospective partners, listing off one by one the things he’s looking for from a lover. Add onto that a ferocious beat and some of Saucy’s slickest verses, and you’ve got a certified banger on your hands.
Donna Missal, “Flicker”
With her frenetic new single, Donna Missal is taking advantage of the ephemeral while she still can. From the moment it starts, “Flicker” refuses to let up — a driving beat sinks into every second of the track, providing a sense of urgency that’s only ratcheted up by the increasingly chaotic production. By the time reaches its first chorus, it has already exploded into a euphoric hyperpop symphony, before Missal’s otherworldly vocals bring you right back down to start the process all over again.
MAY-A, “Your Funeral”
Self-sabotage is a pretty surefire way to wind up alone, as indie rock artist MAY-A points out on her latest track. “Your Funeral” takes on a cynical, sardonic point of view from it’s first few bars, and spends the rest of the song proving why it’s probably not the best way to approach your own love life. The banging drums and skittering guitars further punch up the declaration that “loving me is your funeral,” before using an excellently crafted bridge to get real about self-doubt and lowered expectations.
Wrabel, “One Drink Away”
Sobriety is a life-long journey — which means that it’s also a life-long struggle. That’s the argument that Wrabel poignantly sends home on his deeply personal new song “One Drink Away.” Looking back on his life before getting sober, Wrabel perfectly communicates the mixed feelings of dread at the person he was and frustration at how hard it is to maintain the person he is now. It’s only a further testament to the singer-songwriter’s skill with his pen that in just 3 short minutes, he can translate the struggles of staying clean with such eloquence on this heartbreaking single.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Billboard’s Friday Music Guide serves as a handy guide to this week’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
This week, Ed Sheeran honors a fallen friend, Lana Del Rey hoists up her ambitions, and Luke Combs ages gracefully. Check out all of this week’s picks below:
Ed Sheeran, “Eyes Closed”
One year after tragically losing his best friend, Jamal Edwards, to a sudden heart attack, Ed Sheeran has returned with a poignant single that makes his struggle universal and attempts to help any listener mourning a loved one. “Eyes Closed,” which previews the superstar’s affecting new album – (Subtract), combines producer Aaron Dessner’s knack for subtly whirring arrangements with Sheeran’s gift for delivering a memorable hook; grief is a tricky subject for a top 40 mainstay to address in a non-ballad, but “Eyes Closed” provides catharsis through lyrical detail and a unifying refrain.
Lana Del Rey, Did you know that there’s a tunnel under Ocean Blvd
“I’m a different kind of woman,” Lana Del Rey states plainly on “Sweet,” adding a few seconds later, “If you wanna go where nobody knows, that’s where you’ll find me.” The singer-songwriter has spent her career proving the former statement — taking a personalized approach to pop craft, forever valuing honesty and innovation — but Did You Know That There’s a Tunnel Under Ocean Blvd, her mammoth and often luminous ninth full-length, indeed exists at a wholly unique intersection in modern music, as the artist’s most singular statement to date.
Click here to read a full review and tracks ranking of Lana Del Rey’s latest album.
Luke Combs, Gettin’ Old
As a companion piece to last year’s Growin’ Up, Luke Combs’ Gettin’ Old better plays to the songwriting strengths of the country superstar, who reflects on his experiences and the time he has left (“That hourglass we have don’t last forever / Been thinking ‘bout it more and more these days,” he sings in the opening minutes of the album) in a way that’s both gracious and entertaining. Whether he’s looking back on a lost love, his hometown, his career beginnings and the start of a more durable type of romance, Combs sounds comfortable in his own skin on Gettin’ Old, and the song quality lives up to his perspective.
Rosalía & Rauw Alejandro, RR
It’s not every day that a couple gets to announce their engagement concurrently with releasing a highly anticipated collaborative project, but Rosalía and Rauw Alejandro are in rarefied air: RR, a three-song release that captures the flamenco pop queen’s predilection for yearning melodies and the reggaeton star’s charisma across quickening tempos, could have been a vanity project for the happy couple but instead crackles with creative chemistry. And RR sound like it’s just the tip of the iceberg — as Alejandro puts it in a press release, “I will be spending my days writing and writing many more songs about and with her.”
Jimin, Face
It’d be easy (and a bit lazy) to place the BTS members’ solo projects side-by-side as they continue rolling out, but Jimin’s new album Face resists comparison: the tracks here represents an account of personal evolution amidst mind-boggling fame, a global pandemic, feelings of loneliness and the process of growing into the man that the singer-songwriter has become. Jimin’s gentle vocals ground songs like the sizzling “Face-off” and the ‘80s-indebted “Like Crazy,” accentuating the melodies with a light touch and expressing each lyric with impressive confidence.
Fall Out Boy, So Much (For) Stardust
Fall Out Boy’s new album, So Much (For) Stardust, arrives almost 10 years to the day after the band returned with 2013’s Save Rock and Roll, which ended a prolonged hiatus and returned the Warped Tour breakouts to arena audiences. The group has spent the subsequent decade humming along, collecting more hits and touring the world, and their new album represents the work of a locked-in collective: on songs like “Hold Me Like a Grudge” and “So Good Right Now,” Fall Out Boy’s long-running pop appeal remains intact but the turns are pinpoint and the grooves are tighter, as if the quartet is operating with machine-like efficiency for maximum enjoyment.