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Adam Levine is making his returns to music and to The Voice, all within the span of a few days. On Thursday (May 11), the members of Maroon 5 announced that their new single “Middle Ground” — the band’s first release since 2021 — is set to arrive later this month, which they’ll celebrate with […]
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, Ed Sheeran makes a bold left turn, Lil Baby unearths an old hit, and Megan Moroney presents her first full statement. Check out all of this week’s picks below:
Ed Sheeran, – (Subtract)
In early 2022, Ed Sheeran’s world was upended — so he decided to examine his feelings through his craft. As suggested by muted lead single “Eyes Closed” and a rollout focused squarely on the acoustic nature of the project, – is not your typical Sheeran album, and doesn’t contain the no-brainer radio hits that have colored his full-lengths over the past five years. Yet if – marks a searing left turn in Sheeran’s recording career, his songwriting has long been working up towards an unfiltered, emotionally intelligent statement like this. A superstar who grew from busking on the street to playing stadiums — with just himself onstage — over the course of a decade, Sheeran has been gradually improving his song construction without relying too much on pop machinery, and sounds ready to meet this moment.
Click here to read the full review and track ranking of Sheeran’s new album.
Lil Baby, “Go Hard”
While Lil Baby is currently impacting the charts with a years-old song, “Low Down,” that went viral during March Madness, another fan favorite has been revived for streaming services: “Go Hard” has floated around the Internet for roughly three years as “Again” and “Again (Go Hard),” but now, the official song is here, and hasn’t lost any luster. “I’m not into losin’, I go hard as I can go to win,” Baby declares, providing a mantra — along with the track’s quickened pace — that can be motivation for a top-notch workout.
Toosii feat. Khalid, “Favorite Song (Remix)”
Toosii scored a viral hit on his own this year with the undeniable groove “Favorite Song,” but before his TikTok flare-up, the North Carolina artist had been known for his guest spots on projects by Latto, Lil Tjay and DaBaby. Now, he gets to play host to Khalid, who hops on the “Favorite Song” remix and expertly navigates its woozy vibe with some well-placed crooning; Khalid has been a radio fixture in the past, and this rework will hopefully get some run on rhythmic formats.
Megan Moroney, Lucky
Georgia native Megan Moroney’s voice possesses an earthy rasp that grounds her vulnerable songwriting in a sense of hard-earned reality — it’s part of the reason why she’s become one of country music’s breakout stars of this year. Debut album Lucky makes good on the promise of recent hits “Tennessee Orange” and “I’m Not Pretty,” showcasing Moroney’s storytelling panache and technical skill over the course of 42 satisfying minutes; expect this project to garner lots of love from the country awards, and for Moroney to keep rising.
YoungBoy Never Broke Again, Dermot Kennedy & Bailey Zimmerman, “Won’t Back Down”
Only Dominic Toretto and co. could bring together YoungBoy Never Broke Again, Dermot Kennedy and Bailey Zimmerman for a shared mission: “Won’t Back Down,” from the soundtrack to the upcoming Fast & Furious entry Fast X, finds the three artists’ disparate sounds coming together for some surprisingly effective high-speed inspiration. In particular, Zimmerman’s country warble balances out YoungBoy’s singsong rhyming, helping “Won’t Back Down” speed up and achieve a feeling of multiplex grit.
As the world breaks out their NSYNC “It’s Gonna Be May” memes, we’re breaking out ten of our favorite new releases in R&B and hip-hop from the last seven days. This week R&B dominates, with a handful of tracks to daydream to from Amaria, ASTN, rum.gold, Baby Rose and more. But rap lovers, don’t fret. We’ve got vibe-worthy cuts from Jharrel Jerome and KAMAUU, while Rico Nasty and Lola Brooke are here to hype you up for the week.
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Don’t forget to pay it forward by sharing our Spotify playlist, linked below.
Freshest Find: Rico Nasty, “Turn It Up”
Rico Nasty is here to wake you up. On “Turn It Up,” the rambunctious rapper draws on her early style, delivering gut-punching bar after bar in her signature raspy delivery. The single doesn’t miss a beat, as Rico trespasses, cleans and trashes a family’s home in the 1950s flashback music video.
Amaria, “Will It Last Forever?”
Singer-songwriter Amaria shows that there’s power in the calm. On her second EP, All for You, the burgeoning artist, producer and instrumentalist displays the vastness of her artistry, with closing track “Will It Last Forever?” making us wish it would.
Donalee, “Lifted”
Let Jamaican-born, South London raised singer Donalee put you in a trance with “Lifted.” True to its title, the single exudes elevating energy through Donalee’s ethereal tone, atmospheric layers and visual lyricism.
Baby Rose, “Water”
Possessing one of the most unmistakeable voices in today’s R&B scene, Baby Rose sets the tone for the summer’s quiet moments on her latest album, Through and Through. The perfect accompaniment for summer downpours and early morning showers, “Water” captures the steady fluidity of life’s most precious liquid through Rose’s touching lyrics and melodies.
rum.gold, “Forever in a Song”
Mastering the art of simplicity, “Forever in a Song” stays true to rum.gold’s sound and bold messaging. The track features earthy piano, a simple drum pattern and airy harmonies leaving plenty of room to soak in the melancholic nostalgia.
Jharrel Jerome, “Chinatown”
Emmy award-winning actor Jharrel Jerome is in his music bag. “Chinatown” is an airy and thoughtful rap offering from the rapper-actor’s upcoming project Someone I’m Not, which is slated to release later this year.
ASTN, “How Soon”
“How soon is too soon to move on?” That’s the million dollar question for ASTN who, on his new single, is ruminating about how to move on post-breakup. Leading with vulnerability, the 24-year-old sings with pure emotion over a guitar-laden instrumental laced with fluttering synths.
Aáyanna, “Won’t Cry”
Like ASTN, Atlanta-based singer Aáyanna is also getting over a breakup. On “Won’t Cry,” she grapples with her emotions, questioning if her relationship was ever real and promising to hold back tears. “I wrote ‘Won’t Cry’ after a breakup with someone I thought I’d spend the rest of my life with. I questioned our relationship, and if we were just idealizing each other,” she says in a press statement. “I even questioned myself, because I only acted in the way I thought love was supposed to look like. I didn’t grow up seeing a healthy version of that in a romantic relationship, so all I could do was guess.”
Lola Brooke, “Just Relax”
Lola Brooke says “Just Relax.” Flipping Black Sheep’s “The Choice Is Yours,” the Brooklyn rapper comes out with her booming, gritty vocals as she bridges generations. The song’s video also pays homage through Lola’s street style seen throughout different shots. There is also a cameo by Black Sheep member Andres “Dres” Vargas Titus.
KAMAUU feat. Tobe Nwigwe, “don’t play with my money”
Maryland artist KAMAUU makes it known that things will get ugly if you play with his money, his art and/or his heart. Teaming up with Tobe Nwigwe, the two join forces for the uptempo rap song that appears on his latest debut album Lacuna in the House of Mirrors.
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, Jack Harlow grows from boy to man., Niall Horan keeps his cool, and Kesha takes a bold step forward. Check out all of this week’s picks below:
Jack Harlow, Jackman.
Jack Harlow didn’t have to release a new album in 2023: after all, his 2022 LP, Come Home the Kids Miss You, spawned a No. 1 smash in “First Class,” and in a few weeks he’ll be starring in the White Men Can’t Jump remake. Instead of resting on his laurels and focusing on Hollywood, however, Harlow is back with Jackman., a semi-surprise release and a surprisingly urgent showcase of his technical skills as an MC. Rapping over soul samples and veering away from radio-ready choruses, Harlow treats the 24-minute project as a quick simplification of his craft — after becoming a star, he’s gone back to basics to illustrate his skills before the spotlights arrived.
Niall Horan, “Meltdown”
“When it all melts down, I’ll be there,” Niall Horan promises on new single “Meltdown” — addressing a romantic partner, most likely, but also serving as a beacon of support to the millions of listeners who have leaned on his voice throughout his solo career and time in One Direction. “Meltdown” finds Horan biting off a jumpy pop-rock production and swaggering through some ooo-ooo-ooo melodies; the heartbeat of the song is steady, and the singer-songwriter underlines the reliable pop presence that he was born to inhabit.
Kesha, “Fine Line” / “Eat the Acid”
Anyone who’s been paying attention to Kesha’s output over the past few years won’t be surprised about the sparse sound and unflinching attitude of her two new singles, “Fine Line” and “Eat the Acid” — yet even as she roamed farther away from the turbo-pop sound of her career beginnings, the singer-songwriter has never approached her craft with quite this much unfiltered lyricism and musical fragility. Both songs capture the bitter exhaustion that Kesha has documented during her years-long legal battle with former producer Dr. Luke, and both are striking in their intimacy, as if the listener is sitting next to Kesha during a breathtaking, two-part confessional.
Labrinth, Ends & Begins
Earlier this month, Labrinth scored one of Coachella’s biggest flexes when he brought out Billie Eilish during the first weekend to duet on “Never Felt So Alone,” then welcomed Zendaya onstage for weekend 2 for a pair of songs from the Euphoria soundtrack. The singer-songwriter has long been a highly respected collaborator and well-connected studio presence, and while new album Ends & Begins may be arriving during a particularly high-wattage moment in his career, the project highlights what he’s always been doing: utilizing his sparkling voice to find personal redemption, tinkering with the seams of modern R&B, and playing well off of others (especially Zendaya, who appears uncredited on the searing opener “The Feels”).
Eslabon Armado, Desvelado
As regional Mexican music experiences a frankly astonishing explosion across the U.S. mainstream, “Ella Baila Sola,” the collaboration between Eslabon Armado and Peso Pluma, is helping to lead the charge, pushing into the top 5 of this week’s Hot 100 chart and setting up the California trio’s new album, Desvelado. For both longtime genre supporters and curious new fans, Eslabon Armado’s latest project functions as the perfect flash point: not only do rising stars like Grupo Frontera and DannyLux stop by along with Pluma, but the trio carve out a unique lane within regional Mexican on their own with songs like “Dame Otro Beso” and “Gracias a Ti.”
The National, First Two Pages of Frankenstein
Although The National’s ninth full-length is certainly the indie-rock stalwarts’ most star-studded affair to date — Taylor Swift, Phoebe Bridgers and Sufjan Stevens all stop by, with guest appearances that will surely cause some rubbernecking streams from unfamiliar listeners — First Two Pages of Frankenstein is not some overdue play for mainstream adulation. If anything, The National have never been this hushed before: the 11 songs here sprawl out artfully, providing subtle reflections on the evolution of relationship details and corralling the band’s famous friends into their quiet, graceful atmosphere.
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: