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Billboard’s Friday Music Guide serves as a handy guide to this Friday’s most essential releases — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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This week, Taylor Swift and Ice Spice both big-up “Karma,” Dua Lipa shimmies into the summer and Lil Durk continues to unspool his story. Check out all of this week’s picks below:

Taylor Swift feat. Ice Spice, “Karma (Remix)” 

Taylor Swift and Ice Spice may be at different phases in their respective experiences with fame — Swift the biggest name in music, headlining stadiums on the hottest tour of the year; Ice Spice a fresh-faced star in mainstream hip-hop, collecting her first top 10 hits after going viral last fall — but on the remix to “Karma,” from Swift’s Midnights album, the two artists share a musical sensibility marked by an effortless confidence in their craft. The highlight of Swift’s Midnights (The Til Dawn Edition), which also includes a “More Lana Del Rey” version of “Snow On The Beach” and the debut of “Hits Different” on streaming (among other goodies), the “Karma” remix finds Ice co-signing Swift’s philosophy that what goes around will come back around, in her favor: “It’s okay, baby, you ain’t gotta worry, karma never gets lazy / So, I keep my head up, my bread up, I won’t let up,” she raps.

Dua Lipa, “Dance The Night” 

Rejoice: we have a new disco-pop single from Dua Lipa in time for summer. “Dance The Night,” which leads the upcoming soundtrack to the Barbie movie, functions as an uptempo stopgap between Lipa albums in the same way that singles like “One Kiss” and “Electricity” helped soothe impatient fans in between Lipa’s 2017 self-titled debut and 2020’s Future Nostalgia: working with Mark Ronson, Andrew Wyatt and Caroline Ailin on the track, Lipa sends “Dance The Night” into the same hustle-ready stratosphere as “Levitating,” her forceful voice turbo-charging the hooks in the first half of the song and then delivering one of the sleekest bridges in mainstream pop this year.

Lil Durk, Almost Healed 

As Lil Durk has transformed from promising new talent to commercial question mark to late-blooming superstar over the course of his career, the Chicago rapper has remained introspective as both a solo artist and collaborator: put him in any context, over any beat, and he’ll likely share personal stories of past brutalities that help explain his present-day hardened exterior. Almost Healed, which opens with a literal therapy session with Alicia Keys and ends with Durk begging someone not to lie to him over a squealing electric guitar, also boasts guests like J. Cole, Future and 21 Savage, but is once again defined by his confessional, affecting tone.

Peso Pluma, “Bye” 

For as singular a voice as Peso Pluma possesses, and how quickly his profile has expanded from the popular Mexican music scene to the entire world, the 23-year-old has often done so while joined by other artists, from Eslabon Armado on “Ella Baila Sola” to Yng Lvcas on the “La Bebe” remix to Becky G on “Chanel.” “Bye,” his first solo single since 2021’s “Por Las Noches,” capitalizes on both Pluma’s individual momentum and the rapidly shifting boundaries of regional Mexican: as horns and guitars mournfully careen off one another, Pluma proves unafraid of baring his soul and extending his syllables for maximum listener engagement.

d4vd, Petals to Thorns 

Over the course of his short career, as songs like “Romantic Homicide” and “Here With Me” graduated from TikTok flare-ups to streaming smashes with nine-figure plays, d4vd has revealed himself to be a canny, cross-genre multi-hyphenate, an 18-year-old whose songs evoke strong reactions from older rhythmic-pop fans and screen-scrolling teens alike. All of new nine-song EP Petals to Thorns, and particularly stormy new single “The Bridge,” demonstrates his quick-grade evolution: even though “Romantic Homicide” is a highlight of the project, the newly unveiled songs sound more carefully considered than d4vd’s breakthrough hit, as if his songwriting has already adjusted to the brighter lights.

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. 

Explore

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See latest videos, charts and news

See latest videos, charts and news

This week, Jonas Brothers are back for more summer fun, Lil Durk and J. Cole turn contemplative, and Shakira tries to continue her hot streak. Check out all of this week’s picks below:

Jonas Brothers, The Album 

Happiness Begins was, for all intents and purposes, Jonas Brothers’ comeback album, a wildly successful return in 2019 after a 10-year gap between full-lengths that brought the trio to the top of the Hot 100 for the first time and launched a long-running, mega-selling arena tour. Four years later, The Album smartly does not try to recapture lightning in a bottle: instead of trying to manufacture another “Sucker,” the project moves briskly across shared ideas and throwback musical interests, as songs like “Waffle House,” “Summer Baby” and “Montana Sky” function like retro FM radio offerings stuffed with warm harmonies. The JoBros have little to prove at this point in their careers, and the looseness of The Album seems to telegraph: this is where the real fun begins.

Lil Durk feat. J. Cole, “All My Life” 

“All my life, they been trying to keep me down,” a choir of children sings on the new Lil Durk/J. Cole team-up “All My Life,” a nod to the doubt that both rappers faced from hip-hop gatekeepers as they evolved their careers over the past decade-plus. Instead of a straightforward proved-the-haters-wrong anthem, Durk and Cole wisely expand their shared focus on the track, with Durk lamenting the systemic issues that forced him to turn to rap as a form of survival, and Cole sounding haunted by the violence that too often pervades his world.

Shakira, “Acróstico” 

Casual fans might regard “Acróstico,” the tender new single from Shakira, as a heat check from the Colombian superstar, considering the monumental success she’s already achieved this year with her Bizarrap collaboration “BZRP Music Sessions, Vol. 53” and Karol G duet “TQG” both hitting the top 10 of the Hot 100. Yet Shakira has spent her entire mastering this sort of piano ballad as powerhouse vocal display: “Acróstico” shimmers with restrained production and technically dazzling emotion, as Shakira follows a pair of ostentatious team-ups with a gorgeously stripped-down solo showcase.

Bailey Zimmerman, Religiously. The Album 

Bailey Zimmerman’s Leave the Light On EP, featuring his smash hit “Rock and a Hard Place,” is barely six months old at this point, but considering the commercial breakthrough that the country singer-songwriter has experienced since its release, it’s little surprise that his debut album has promptly arrived in time for summer streaming. Fortunately, Religiously. The Album finds cohesion in Zimmerman’s songwriting: the Illinois native supplements his husky drawl with phrases that cut right to the listener’s core, whether he’s asking rhetorical questions (“Fix’n To Break”), setting a dimly lit scene (“You Don’t Want That Smoke”), or asserting the “broken roads that I’m tryin’ to mend” (“Where It Ends”).

BTS, “The Planet” 

A soundtrack single from the action-adventure animated film Bastions, “The Planet” marks a welcome check-in from BTS as the world-conquering K-pop group continues its break from group activities. And while it remains to be seen how much the BTS members can actively promote the new track, “The Planet” sounds like a hit regardless of the marketing plan: a snappy electro-pop track with a pogoing beat and playful vocal performances from all of the members, the song contains the hooks and tempo to highlight several summer playlists.

Lauren Daigle, Lauren Daigle

Nearly five years have elapsed between Lauren Daigle’s 2018 album Look Up Child, which turned the singer-songwriter into one of the most successful artists in contemporary Christian music in recent memory, and this year’s self-titled follow-up, during which Daigle signed a new label deal with Atlantic Records, teamed up with veteran producer Mike Elizondo and generally pushed her artistry into several exciting new directions. Instead of doubling down on the stately balladry of her breakthrough hits, Daigle explores ‘60s pop, folk, jazz and R&B on the project, creating a fantasia of inspiration powered by her mammoth vocal takes.