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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, 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.
“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.
Del Rey’s voice has always been unmistakable, but no other artist could have come close to showcasing this 77-minute set of ideas, sometimes mysterious and occasionally shambolic, but always exciting and brimming with integrity. The adventurous spirit of this album flirts with a gleeful recklessness: Del Rey has explored her thoughts on sex, devotion, family and American decay in the past, but never with so many unexpected guests, songs mashed into each other and restless detours. In an era of the music industry that rewards TikTok-ready hooks, Del Rey has sprinted in the opposite direction: the songs here proudly stretch out, dismissing verse-chorus structures so that Del Rey can travel across another bridge or three.
Yet Del Rey’s pen holds Ocean Blvd together. Writing primarily with Jack Antonoff, Mike Hermosa and Drew Erickson, Del Rey conjures images that continue to haunt her and presents lyrics that jangle around the listener’s brain. From the boarded-up past of the title track to the post-grief forward motion of “Kintsugi” to the giddy friendship of “Margaret,” Del Rey roams across topics and deftly handles them all. For an album that clearly challenges its creator, Ocean Blvd once again concludes that Del Rey is different, in the best way possible.
While all of Lana Del Rey’s new album is worth digging into, we already have some early favorites after several listens. Here is our preliminary track rankings for Did You Know That There’s a Tunnel Under Ocean Blvd:
“Judah Smith Interlude”
Placing a fiery, four-and-a-half minute spoken-word interlude from megachurch pastor Judah Smith in a prime spot on the album track list is certainly an audacious choice from Del Rey — and while the sermon grazes the central themes of the songs around it, the interlude is a chance taken that doesn’t work within the presentation of the album.
“Jon Batiste Interlude”
“Jon Batiste Interlude,” which arrives right after the We Are album of the year Grammy winner’s harmonizing at the end of “Candy Necklace,” functions as a playful extension of that track, with Batiste whooping it up and then crooning with Del Rey as the piano twinkling comes into focus. The interlude creates a voyeuristic atmosphere — you feel the two artists’ bond in the studio — but doesn’t offer much as a standalone track.
“Taco Truck x VB”
The “VB” in the title stands for “Venice Bitch,” and instead of merely nodding to one of her most iconic songs, Del Rey fully revisits the Norman F–king Rockwell! song in the second half of this two-part epilogue, as if she’s remixed the song “Taco Truck” with her former self as the guest artist. “Taco Truck x VB” can’t outrun the looming shadow of one of Del Rey’s most towering achievements, but that’s not its intention anyway: the song encapsulates the album’s ramshackle beauty by demonstrating how Del Rey’s past informs her present, like an endless loop that will never stop spinning.
“Candy Necklace” feat. Jon Batiste
Candy necklaces: sugary and addictive, but the opposite of nutritious! They serve as the metaphor for a poisonous relationship on “Candy Necklace,” where Del Rey floats into a falsetto on the pre-chorus before deploying a hypnotic singsong hook. “Candy Necklace” doesn’t resonate quite as strongly following the blistering first quarter of the album, although it’s worth sticking around for the swirling outro, where Jon Batiste’s murmur joins Del Rey’s own.
“Let The Light In” feat. Father John Misty
Father John Misty shows up to support Del Rey’s lead vocals on the lilting country track “Let The Light In,” and while fans of the kindred-spirit songwriter may be disappointed that he doesn’t have more of a spotlight here, his voice is utilized perfectly in the context of the song — assisting her chorus, forming a sense of comfort around the words “Ooh, turn your light on / Look at us, you and I, back at it again.” Sometimes, a guest spot can be great for its lack of showiness.
“Kintsugi”
Following the gospel flourishes that arrive earlier in the track list, Del Rey approaches “Kintsugi” like a hymn, her voice billowing unadorned above a piano as she prods at her grief. “That’s how the light gets in,” she chants, using the titular Japanese art of repairing broken pottery and leaving the cracks on display as a hopeful method of transforming sorrow into a strengthening feeling.
“Fishtail”
Del Rey upends expectations as soon as the Auto-tune arrives on “Fishtail,” abruptly putting an end to the hushed vocals and abetted by programmed beats. The production choice crystallizes the song’s message of misread perception — Del Rey repeats, “You wanted me sadder,” but defiantly tells the partner trying to bring her down that “I’m not that smart, but I’ve got things to say” — and also just works as an upshift, positively startling the listener during one of the album’s quieter passages.
“Margaret” feat. Bleachers
Instead of pulling frequent producer and co-writer Jack Antonoff, performing here as the leader of Bleachers, into her thematic universe for the duet “Margaret,” the song instead centers on Antonoff’s romance with (and upcoming marriage to) actress Margaret Qualley, going so far as to happily announce a wedding date. “Margaret” offers a glimpse of the intimacy between close friends and collaborators — Del Rey sounds genuinely thrilled to sing “When you know, you know,” about her pal finding his partner — and Antonoff’s voice, deep and a little wobbly, makes for a lovely foil.
“Peppers” feat. Tommy Genesis
While Tommy Genesis presents a catchy-as-hell chorus built around an Angelina Jolie simile, Del Rey shouts out the Red Hot Chili Peppers — another California institution, which provide the song title here — goes for a midnight drive, dismisses a COVID scare and dances sans clothes for her neighbors. “I threw caution to the wind,” she sings, and “Peppers” certainly shrugs off any structural or lyrical hazards to instead barrel toward a mischievous charm, right down to the interlude where the two artists suggest mashing up their songs together into this final product.
“Did you know that there’s a tunnel under Ocean Blvd.”
Part of the reason why “Did you know that there’s a tunnel under Ocean Blvd.” made such an effective lead single for the album of the same name is because it is, simply, Classic Lana, in its sweeping grandeur, idiosyncratic lyrics and musings on faded American beauty. If you listen more closely, however, the nuance in Del Rey’s vocal performance sets the song apart from similar explorations — expertly navigating between resignation and yearning, accepting fate and likewise thrashing against it.
“Sweet”
“Sweet” may open with Del Rey hiking in Griffith Park, awash in memories and regrets, but the track sounds primed to stun across town at the Hollywood Bowl, its melancholy piano and string arrangements the pristine soundtrack for a lightly chilly evening overlooking a town of movie magic. As the song bends toward romance, Lana delivers one of the most effectively simple lines on the album: “I’ve got things to do, like nothing at all,” she blurts out, “I wanna do them with you.”
“Fingertips”
Upon first listen, the sprawl of “Fingertips” is overwhelming: at nearly six minutes and without a chorus in sight, the song is positioned as an extended diary entry, leaping across thoughts and themes while the production lingers in the background. Those themes reveal themselves more clearly after repeat visits to “Fingertips,” however, with allusions to motherhood, psychiatric drugs and unexpected loss deepening when the listener is given time to catch up to Del Rey’s wordplay; on first or tenth encounter, the song stands as one of the album’s most ambitious moments, but the latter makes “Fingertips” one of its most rewarding.
“Paris, Texas” feat. SYML
The album’s most dramatic “now for something completely different” change-up arrives when Del Rey follows the stream-of-consciousness “Fingertips” with “Paris, Texas,” a relatively short and traditionally structured pop song full of breathy exclamations and graceful piano. Within the middle third of the album — after some of the more experimental turns in Del Rey’s songwriting — “Paris, Texas” arrives as an exhalation, but even removed from the track list, the track shimmers with California sunlight (Venice gets name-checked as her “home” here) and a cool simplicity.
“Grandfather please stand on the shoulders of my father while he’s deep-sea fishing” feat. RIOPY
While plenty of moments on the album opt for subtle production flourishes, “Grandfather please stand on the shoulders of my father while he’s deep-sea fishing” boasts a climax with a sumptuous cacophony of electric guitar, keys, synth and even a little saxophone; Del Rey, meanwhile, tries to use her voice to quell the noise and grasp for a sign from above. The lines about the perceived machine behind Del Rey’s success (“I know they think that it took thousands of people / To put me together again, like an experiment / Some big men, behind the scenes / Sewing Frankenstein black dreams into my songs / But they’re wrong”) are some of the most incisive, and memorable, on the album.
“The Grants”
The gospel harmonies on “The Grants” are purposeful: titled after Del Rey’s family name, the opener takes its listener to church with reflections on the afterlife and booming piano that could rattle pews. Yet Del Rey is focused more on legacy than religion here: “I’m doing the hard stuff, I’m doing my time / I’m doing it for us, for our family line,” she asserts, a thoughtful way of framing both emotional and professional work as a means of honoring the blood that precede and follow us.
“A&W”
The seven-minute length isn’t particularly daring for Del Rey: anyone who’s ever vibed out to “Venice Bitch” understands that she can let a song coast beyond standard run times and retain a sense of awe. Yet “A&W” (which stands for “American Whore”) stands as one of most spectacularly brave songs in her discography, a two-sided plunge into sex, drugs and Americana, full of stark declarations about how young women are perceived, and dismissed, in modern society. The first half locks into a haunting finger-picked arrangement, but when “A&W” switches into a dark, minimalist electronic groove — the potential for emotional devastation fully realized — the song transcends its shell, turning an ambitious concept into one of Del Rey’s best songs to date.
Get your St. Patrick’s Day weekend off to the right start with some new tracks from your favorite queer artists. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ artists.
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From Doechii’s pitch-perfect new collab with Kodak Black to Joy Oladokun’s life-affirming new anthem, check out just a few of our favorite releases from this week below.
Doechii feat. Kodak Black, “What It Is (Block Boy)”
Simply put, Doechii has never sounded better than she does on “What It Is (Block Boy).” On her bouncing new track, the rising singer lets her voice loose over an instantly-catchy backing track complete with light guitar riffs, chunky piano chords and a killer beat. Add into it a verse from “Super Gremlin” superstar Kodak Black, and you have a certified banger on your hands.
Joy Oladokun feat. Noah Kahan, “We’re All Gonna Die”
Existentialism has never sounded quite as good as it does on Joy Oladokun’s new anthem. The aptly-titled “We’re All Gonna Die” sees the singer-songwriter taking on a “f–k it, let’s see what happens” approach to just about everything has to offer. While the lyrics might occasionally dip into a slightly more pessimistic worldview than fans of Oladokun are used to hearing, the sweet, churning production immediately casts away all doubt — “We’re All Gonna Die” is truly about having fun with what little time you’ve got in this world.
Princess Nokia, I Love You But This Is Goodbye
There’s something about I Love You But This Is Goodbye, the sparkling new EP from Princess Nokia, that is deeply endearing. Throughout the project, which sees the star switching up her hip-hop stylings for a pop-rock-meets-electronica vibe, Nokia charts a full journey from love to loss and back again. Her pen is fully intact with some A-plus songwriting on tracks like “Angels & Demons,” while others like lead single “Closure” let you bask in their delicious production. It’s a remarkable EP from an artist in need of much more recognition than she’s already earned.
ODESZA feat. Claud, “To Be Yours”
For their very first collaboration together, electronic duo ODESZA and indie star Claud prove to be a perfect match. “To Be Yours” perfectly toes the line between each of the artists’ respective worlds, employing the crystal clear production work of the sought-after dance pair as well as the confessional songwriting of the fast-rising bedroom pop singer into one gloriously fun single. If you’re in search of a good song to simply vibe out to this weekend, look no further.
Greyson Chance, “Herringbone”
Greyson Chance would like his jacket back please — and if you could bring his heart back with it, that would also be very helpful. “Herringbone,” the heartbreaking new single from the alt-pop singer-songwriter, is an ode to all things lost as Chance begs his lover to please come back after their breakup. With a gentle touch and some very well-written lyrics, Chance owns every ounce of his own anguish on this gorgeous new song.
Siena Liggins, “3 Bad”
Siena Liggins is ready for some experimentation. On “3 Bad,” the singer’s latest track, Liggins manages to take hyper-pop sounds (pitched-up vocals, plinking percussion and blown-out bass drums, to name a few) and make a deeply introspective, chaotically sad breakup song. While she promises self-destruction to her old flame, Liggins doesn’t implode — she expands her sound and dives into a new era of her career headfirst.
Shelly Fairchild feat. Shamir, “Fist City” (Loretta Lynn cover)
There is something so deeply engaging about artists as different as Shelly Fairchild and Shamir teaming up to tackle a Loretta Lynn classic like “Fist City.” The pair don’t lean away from the distinctive sounds of the country superstar — instead they lean in, bringing a folksy twang to every beat of this delicious cover. With a set of voices uniquely suited to one another, Fairchild and Shamir shine on this gorgeous tribute to a late icon.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Billboard’s First Stream 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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See latest videos, charts and news
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This week, Taylor Swift unveils some secret songs, Kx5 points toward the dance floor and Hozier makes a long-awaited return. Check out all of this week’s First Stream picks below:
Taylor Swift, “All of the Girls You Loved Before”
To celebrate the kickoff of her Eras stadium tour on Friday (Mar. 17), Taylor Swift has cracked her vault open and given fans a few unexpected goodies: the “Taylor’s Version” takes on previously released tracks “If This Was a Movie,” “Safe and Sound” and “Eyes Open,” as well as “All of the Girls You Loved Before,” an unreleased gem from her Lover era. Like the best moments on that 2019 album, “Girls” crackles with rhythm and romance, as Swift sings about how past mistakes have created a better reality and concludes on the swaying chorus, “Every dead-end street, led you straight to me.”
Kx5, Kx5
“It was literally a product of us saying, ‘F–k it,’” deadmau5 told Billboard of the formation of Kx5, his superstar team-up with Kaskade. “I’m not saying we don’t love it, but we don’t need it, financially speaking. It’s just something we want.” That carefree desire is imprinted across new album Kx5, as the duo of dance music titans use these 10 tracks try things out in the context of their respective styles, and more often than not — from the breathless groove of the AR/CO collaboration “Bright Lights” to the strobing, dance-siren emotion of “Escape” with Hayla — that process of saying “f–k it” pays dividends.
Hozier, Eat Your Young EP
Hozier has been able to transcend the success of breakthrough smash “Take Me To Church” due to his songwriting panache — it’s the reason why he’s headlining Madison Square Garden later this year instead of being relegated to one-hit wonder status. Eat Your Young, a new three-song EP that precedes his upcoming third album Unreal Unearth, references Dante’s Inferno and the sins of gluttony and heresy, but does in a way that draws in the listener without preening like a college paper: the title track, for instance, charms with a strings-laden, bluesy chorus, letting its message seep in slowly and effectively.
Melanie Martinez, “Death”
Melanie Martinez is the type of artist that does not drop by between album cycles for one-off singles and tossed-off collaborations: the avant-garde pop auteur instead creates bold, expansive worlds with each project, and when one is complete, she stows away for a few years to make another. “I’m back from the dead, back from the dead,” Martinez declares on the chorus of “Death,” the lead single to upcoming album Portals, and while the dramatic five-minute track can be connected to her artistic reawakening with every project, the kinetic drums and electronic elements will also make listeners feel reborn, too.
Avenged Sevenfold, “Nobody”
On their first new single since 2016, hard-rock veterans Avenged Sevenfold try to make up for lost time by seemingly deploying all of their finely crafted skills in six minutes — guitar chugs morph into searing solos, pummeling verses lead into sky-high hooks, and the groove conveys a nervousness before all of the tension is eventually released. “Nobody” evolves around M. Shadows’ philosophical prodding, his voice heavy with the weight of his life questions — but that man can howl like no other, and his vocals still take hold of the listener after a long layoff.
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
These 10 tracks from artists including d4vd, Hatchie, Christine and the Queens and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all of our pop favorites for 2023!
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d4vd, “Worthless”
Quick-rising newcomer d4vd continues his hot streak of successful singles, including “Romantic Homicide” and “Here With Me,” with “Worthless,” an exasperated alt-rock song that shows the artist’s vocal range. “It’s easier said than done / I’m trying to find my purpose,” the Houston teen sings — but to those on the outside looking in, it’s clear he already has. — Lyndsey Havens
Christine and the Queens, “To be honest”
French indie-pop auteur Christine and the Queens is gearing up for an epic 20-track album titled PARANOÏA, ANGELS, TRUE LOVE, co-produced with Mike Dean. Yet for as ambitious as the project sounds, lead single “To be honest” doesn’t over-exert itself — its genius is in the subtle, ominous pull of the production, which creates a perfect canvas for honest confessions like “I’m trying to love, but I’m afraid to kill.” — L.H.
Angel Olsen, “Nothing’s Free”
Acclaimed singer-songwriter Angel Olsen’s latest is familiarly chilling, as “Nothing’s Free” showcases what she does best: create space. For as soft as the song is, it’s equally intimidating in the way in which it takes its time, leaving plenty of room for big breaths and horn solos galore. — L.H.
Softee, “Isn’t Enough”
DIY pop artist Softee — the moniker of singer-songwriter and actress Nina Grollman — will soon release her second album, Natural, much of which she wrote while recovering from a breakup over Christmas. Current single “Isn’t Enough,” a slinky and intimate mid-tempo track, puts listeners right there with her, encouraging an empowered sing-along on lines like, “All along, I loved you, oh it wasn’t fake / But I need to love myself in my space.” — L.H.
Hatchie feat. Liam Benzvi, “Rooftops”
“I watch the sunset melt from the rooftop,” Hatchie and Liam Benzvi sing together on “Rooftops,” “Smile as the clouds roll over the sea.” It’s a serene image, and the song around those words is just as breathtaking: a new track from the deluxe edition of Hatchie’s great 2022 album Giving the World Away, “Rooftops” embraces a ‘90s alternative jangle and lush, languid harmonies to become a highlight of an expanded project. – Jason Lipshutz
Nation of Language, “Sole Obsession”
Brooklyn trio Nation of Language has previewed their upcoming album Strange Disciple with the hard-knocking, jittery “Sole Obsession,” which cloaks its emotional vulnerability in an avalanche of synthesizer and a rapid tempo. The hooks satisfy, but the song’s true power comes in the slow fade, as all of the neon-colored noise dissipates into a silence that begs to be broken. – J. Lipshutz
Echosmith, “Hindsight”
A decade removed from “Cool Kids,” Echosmith is still releasing highly enjoyable pop-rock, and a single like “Hindsight” demonstrates just how much Sydney Sierota has evolved as a vocalist since the group’s breakout single. “Reminisce too much to look forward / I get out of reverse when I know it’s true,” she sings, her melancholy enveloping every word as an electric guitar pokes its head up into the mix. – J. Lipshutz
Nicole Han, “Nerve”
Over spacey, pillowy beats, Nicole Han delivers pointed post-breakup barbs (“I don’t know how / you’re happier than you deserve / I’m a lesson that you never learned”) in a soft but resolute cadence on “Nerve.” The Orange County singer-songwriter’s pen recalls Olivia Rodrigo’s diaristic lyrics, but the ethereal chorus is pure Taylor Swift. – Joe Lynch
Misha Biork, “In Your Head”
Little is known about Misha Biork, who released a string of singles throughout 2022 before returning at the top of the year with new material. His latest offering, “In Your Head,” uses the elements of nature to provide an atmospheric instrumental, heightened by D’n’B and breakcore bits to match the frantic pace of an overthinking mind. – Starr Bowenbank
Baby Storme, “Painkillers”
“If I pause my breathing, would that make it stop?” Baby Storme opens her latest track, “Painkillers.” The emotive track sees the New York native grappling with an overflow of emotions that she’s unable to cope with, while the track’s sparse instrumentals — gossamer-like synth, thumping beats and delicate piano — complements her soft vocal delivery, as her feelings fall to the floor in delicate ribbons. – S.B.
Billboard’s First Stream 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, Miley Cyrus makes summer last forever, TWICE prepares for their biggest year yet, and Calvin Harris re-teams with a pop-star pal. Check out all of this week’s First Stream picks below:
Miley Cyrus, Endless Summer Vacation
Miley Cyrus’ new album, Endless Summer Vacation, is many things: a self-described love letter to the city of Los Angeles, a full day in two distinct halves (the track list is divided into “AM” and “PM” songs), a fresh start on the new label home of Columbia Records, a commercial comeback thanks to lead single “Flowers” becoming Cyrus’ first Hot 100 chart-topper in nearly a decade. Above all, however, Endless Summer Vacation is an apotheosis. After spending the decade following her Disney Channel rise by trying on different styles of popular music, from hip-hop to country-pop to guitar-rock, Cyrus positions her latest full-length as a culmination of her experiences and strengths, with a variety of sonic approaches folded into the mix. Cyrus, one of the more gifted pop artists of her generation, knows exactly who she is, and Endless Summer Vacation reckons with both where she’s been and where she might be headed next.
Click here for a full review and preliminary track ranking of Cyrus’ Endless Summer Vacation.
TWICE, Ready To Be
Although Ready To Be marks TWICE’s 12th mini album, the K-pop stars have been making notable recent strides as both a commercial unit and recording group: as they make the rounds on U.S. television and prepare to embark on a world tour next month, TWICE is expanding the boundaries of their pop aesthetic and delivering some of their strongest hooks to date. Ready To Be highlights like “Set Me Free,” “Blame It On Me” and the previously released hit single “Moonlight Sunrise” will get stuck in your head, but more importantly, they’ll pull you into TWICE’s world by showcasing what they do best as individual members and a cohesive unit.
Calvin Harris & Ellie Goulding, “Miracle”
After previously conjuring dance magic with “I Need Your Love” in 2012 and “Outside” in 2014, Calvin Harris and Ellie Goulding have once again teamed up on “Miracle,” a trance track that instinctively plays to the best qualities of both artists. Goulding is able to inject warmth into the heart of the song’s intro before sending her voice skyward on the chorus, and Harris provides the throbbing blueprint — when the drop arrives on “Miracle,” the listener feels overwhelmed with movement, and unable to resist.
Lauren Daigle, “Thank God I Do”
With her 2018 album Look Up Child, Lauren Daigle became of the biggest breakout stars of the contemporary Christian music scene in recent memory; then, she stepped away, taking multiple years to finish her follow-up. “Thank God I Do” not only previews that self-titled full-length, due out on May 12, but also suggests an evolution of Daigle’s approach: the piano ballad features the signature soar that fans have been waiting to return, but her voice has deepened with time, matching the epic sweep of the strings on the track and readying the masses for a prolonged showcase this spring.
Fever Ray, Radical Romantics
As one-half of The Knife and within their Fever Ray project, Karin Dreijer has made some of the most urgent electronic music of this century — and on Radical Romantics, the follow-up to 2017’s Plunge, they are able to both recall some of their career’s most indelible moments (Siren Shout fans are going to love this project) as well as forge ahead with provocative new questions. Dreijer contemplates legacy, identity and the contours of love, with tempos shifting and then collapsing, and pop exercises giving way to experimentation; Radical Romantics builds upon a towering career with one of the most well-rounded projects in Dreijer’s catalog.
Miley Cyrus’ new album, Endless Summer Vacation, is many things: a self-described love letter to the city of Los Angeles, a full day in two distinct halves (the track list is divided into “AM” and “PM” songs), a fresh start on the new label home of Columbia Records, a commercial comeback thanks to lead single “Flowers” becoming Cyrus’ first Hot 100 chart-topper in nearly a decade.
Above all, however, Endless Summer Vacation is an apotheosis. After spending the decade following her Disney Channel rise by trying on different styles of popular music, from hip-hop to country-pop to guitar-rock, Cyrus positions her latest full-length as a culmination of her experiences and strengths, with a variety of sonic approaches folded into the mix. Cyrus, one of the more gifted pop artists of her generation, knows exactly who she is, and Endless Summer Vacation reckons with both where she’s been and where she might be headed next.
“Flowers” previewed the ‘70s haze of the album’s overarching pop-rock approach, but Endless Summer Vacation also includes nods to the psychedelica of the Dead Petz era, the sturdy rock of Plastic Hearts and the trap beats of Bangerz, as Cyrus revisits relationships that didn’t work out, peaceful blips that should have lasted longer, and personal truths that have led her to this moment as a fully self-assured 30-year-old. The themes are presented confidently, and the guest list is limited; Brandi Carlile and Sia appear on “Thousand Miles” and “Muddy Feet,” respectively, but their voices are mostly used to buttress Cyrus’ own, which has always been a remarkable instrument but has developed even greater nuance. She sings with purpose throughout the album, imbuing lines that could be delivered in any standard pop track with enough personality to convince the listener that, no, only Miley could sing this.
That’s always been Cyrus’ calling card — there’s no one else in pop music quite like her. And with Endless Summer Vacation, an irreplaceable talent pulls together all of the ideas she’s previously explored into a single, grand statement.
So which songs are the early standouts? Although all of Cyrus’ new album is worth exploring, here is a preliminary ranking of every song on Endless Summer Vacation.
“Flowers (Demo)”
The value in both versions of “Flowers” — the chart-topping original, and the stripped-down demo version — appearing on the Endless Summer Vacation track list lies in how the song’s message contorts: the hit version of “Flowers” conveys pop strength through self-care, but when accompanied by only a synthesizer here, Cyrus sounds like she’s trying to convince herself that no one can love her better than she can. Even if the demo take isn’t crucial, its fragility provides a stark, fascinating contrast.
“Muddy Feet” feat. Sia
Cyrus often sounds great while unfurling her rage in the vocal booth, and the highlight of “Muddy Feet” is that unbridled anger, with her growls and hoarse declarations directed toward the person constantly dragging dirt into her tidy life before a swelling outro featuring some choice Sia melismas. With its short running time and repeated phrases, “Muddy Feet” comes across as slightly incomplete compared to the rest of the Endless Summer Vacation tracks — but boy, is this one going to rip when Cyrus performs it live.
“Handstand”
How you personally feel about Miley Cyrus & Her Dead Petz will likely serve as your litmus test for “Handstand,” a trippy synth fantasia that kicks off with a spoken-word psych-out that includes the line “My friend Big Twitchy rode the boat to the light,” before digging into a clipped, surprisingly catchy breakdown. Knowingly messy but captivating in its weirdness, “Handstand” could be misplaced in the heart of Endless Summer Vacation or exactly at home as the meltdown of the album’s Side A, depending on your vision of the track list; either way, points to Cyrus for never giving up her freak flag.
“Wildcard”
Consider “Wildcard” as the grown-up version of Cyrus’ “Can’t Be Tamed”: all these years after rejecting the various boxes that modern society and popular culture tried to place her in, she’s still never going to be defined — in this case, as her identity relates to domesticity (“Maybe I could stay and not break your heart / But don’t forget, baby, I’m a wildcard,” she warns). “Wildcard” functions as a late-album vocal showcase, the snares complementing Cyrus’ statements of self before ceding the floor to showy synths on the high-powered hook.
“Island”
On an album full of compelling proclamations of who Cyrus is and what she wants, “Island” offers unexpected softness: sure, there are pangs of missing a significant other, but when a stranded Cyrus sings, “No one here needs nothin’ from me, and it’s kind of nice,” the listener can hear one of the more prolific pop artists of the past decade relax a little bit. The song’s breezy tone proves beguiling — credit to producer BJ Burton, who oversees a gorgeous mix — and Cyrus sparkles as its star.
“Rose Colored Lenses”
Credit to Cyrus for perfectly capturing the feeling of sprawling out and nestling into a comfortable setting on “Rose Colored Lenses” — “Let’s stay like this forever,” she breathes, as if hypnotizing her subject — as the production recalls the guitar-rock chug of her Plastic Hearts era before landing on a saxophone solo. “Rose Colored Lenses” contains the title Endless Summer Vacation in the second verse, and it makes sense: Cyrus is capturing a warm moment in time here, and pleading for it to stay eternal.
“Thousand Miles” feat. Brandi Carlile
At first glance, “Thousand Miles” resembles a straightforward country song — the first couplet includes the phrase “beat-up old Mercedes,” natch — with Brandi Carlile corralled in to deliver some yearning harmonies about nagging regrets and too-late calls. Yet a closer look reveals a shapeshifting sonic tapestry, with grand piano, harmonica, guitar and programmed drums pushing the song somewhere between Americana and synth-pop; whatever its genre classification, “Thousand Miles” recalls the twangy Cyrus masterclass “The Climb,” which is always a good thing.
“Wonder Woman”
The power of “Wonder Woman,” the tearjerking piano ballad that serves as the final non-demo song on the Endless Summer Vacation track list, lies in its universality: when Cyrus sings, “She’s a million moments / Lived a thousand lives / Never know she’s hopeless / Only when she cries,” she could be speaking as a pop star who’s had to charm the mainstream through several album eras, or as a woman being forced to bear too much in an imperfect society. “Wonder Woman” provides connection to those who seek it, and Cyrus sounds superb as the piano notes roll on, drawing out each line and extracting meaning from every moment.
“Jaded”
Immediately following “Flowers” on the Endless Summer Vacation track list, “Jaded” again reflects on a breakup, but focuses on the impact it had on Cyrus’ ex instead of herself: “You’re lonely now, and I hate it,” she sings, convinced that breaking up but necessary but still swimming in lingering concern. As the only track here produced by Greg Kurstin, “Jaded” leans on the echoes of bending guitar lines to express melancholy, then balls up its resolve during a grand, affecting chorus.
“River”
There’s a reason why “River” is being positioned as Cyrus’ potential follow-up smash to “Flowers”: the single handles its synth-pop flourishes and sexual innuendoes with funk and personality, its melodies blasted out like laser beams and Cyrus opting for sashaying monotone on the verses to offset the “ooh-ooh-OOH!” maximalism of the chorus. The foundation of “River” recalls the shimmering pop-rock tone of “Flowers,” but the intricate production keeps pushing the tempo, yielding a dance track that’s going to pop up at a lot of parties this summer.
“Flowers”
As “Flowers” has become Cyrus’ longest-running hit atop the Hot 100 in recent weeks, its appeal has only deepened — as if the major-key chorus and tabloid rumors launched the single as an early 2023 smash, but then the luxurious details, from the strings to post-chorus shuffle, helped the song sustain its run at No. 1. Yes, Cyrus has had flashier hits, but not too many as complete as this one, and the combination of stadium-sized melodies and polished subtleties makes “Flowers” sing.
“Violet Chemistry”
“Violet Chemistry” boasts quite the studio pedigree — Cyrus worked with Mike WiLL Made-It, Sia, James Blake, Jesse Shatkin, Maxx Morando and Max Taylor-Sheppard on the track — and that cacophony of ideas was somehow streamlined into a sleek, singular wallop of a synth-pop song. Cyrus works wonders on the forget-about-tomorrow anthem, her voice commanding in some moments and pleading in others, and the extended bridge, where the production simplifies to focus on the beats and bass as Cyrus turns sex into a Monet simile, makes “Violet Chemistry” both the longest song on Endless Summer Vacation, and one of the best.
“You”
One achievement that Plastic Hearts subtly unlocked for Cyrus: if you looked beyond the more uptempo singles and towards searing tracks like “High” and “Angels Like You,” she had clearly mastered her brand of the pop ballad. One album later, “You” exists as a lovestruck waltz but abides by the same tenets of those tracks, sparkling with lyrical gems (“I wanna cut off my hair and kick off my boots / Dance in the wind just to do it again”) and approaching its hook, an ode to embracing a flawed partner unconditionally, with tenacity and verve. Cyrus’ balladry bursts with her personality, which is why a song like “You” is so uniquely effective.