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As we hurdle closer to spring, there’s no better time to start freshening up your playlists with new tracks from your favorite LGBTQ 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 Halsey’s solo rendition of a popular collab to Adam Lambert’s full cover song fantasy, check out just a few of our favorite releases from this week below.
Halsey, “Die 4 Me”
It’s been four years since Halsey made a surprise appearance on Post Malone’s “Die For Me,” delivering a scathing verse on a deep-cut off the superstar’s Hollywood Bleeding album. Today, they’re finally ready to share the full, only-Halsey version of that track, much to her fans’ delight. The new “Die 4 Me” sees Halsey still owning the anger that defined their first pass at the track, now unleashing it with expert precision to make a killer pop song. Her biting verses perfectly fit within this new context, re-establishing a 2019 track as 2023’s newest breakup anthem.
Adam Lambert, High Drama
Time and time again, Adam Lambert has proven himself as a master of the cover song. Whether it was on American Idol or the Kennedy Center, the superstar knows how to take a song and make it entirely his own, which he proves yet again on his new LP, High Drama. Covering everyone from Bonnie Tyler to Billie Eilish, Lambert revels in his glam-rock sensibilities to deliver pure entertainment at every given opportunity on this delectable album of tasty updated classics.
Reneé Rapp, “Bruises”
Following her musical breakthrough with her stellar EP Everything to Everyone, Reneé Rapp is ready for a victory lap. With the release of her deluxe version of the project, Rapp is treating fans to “Bruises,” the emotionally-devastating song that didn’t make it to the original project. With a tender guitar line accompanied by her delicately-placed vocals, “Bruises” sees Rapp trying to open up emotionally, but ultimately shutting down out of her fear to get hurt — a feeling that, even if you’ve never felt it, you’ll be able to relate to the second she starts singing.
Channel Tres, Real Cultural Shit
Hope you’re ready to dance this weekend, because Channel Tres’ stunning new EP Real Cultural Shit is here to turn the heat up at every club night. The long-awaited follow-up to the artist/producer’s self-titled 2018 EP, Real Cultural Shit follows through on the promise of it’s title delving straight into Tres’ own modern take on house music, funk, and disco. Whether he’s slowing it down for some real talk on “Sleep When Dead,” or cranking it up to 11 with dance banger “All My Friends,” Tres is here to show you a good time with this new project.
Princess Nokia, “Complicated”
Since the start of her career, Princess Nokia has never fit into one “sound.” So with her latest songs, she decided to throw the idea of labels out the window entirely. “Complicated,” her latest single, dabbles lightly in some of the R&B stylings she’s touched on before, but focuses itself much more on an early-2000s-rave-meets-modern-hyperpop sound, marking brand new territory for this beloved talent.
Yaeji, “Done (Let’s Get It)”
On it’s face “Done (Let’s Get It)” by rising dance superstar Yaeji is a fun, vibe-fueled song that seems intentionally innocuous on its surface. But take a listen to the lyrics — sung in both English and Korean — and you’ll hear an artist intentionally trying to break the continuing cylce of generational trauma and passed-down habits. Balancing tough themes with her lighthearted musical style has always been one of Yaeji’s strengths, and “Done (Let’s Get It)” is no exception to that rule.
Dreamer Isioma feat. Redveil, “Technicolor Love”
Join Dreamer Isioma, one of the most fascinating voices in the indie songwriting scene, as they take you on a fabulous trip with “Technicolor Love.” This trippy, grooving new single sees Dreamer falling head over heels for a woman, even if that love is toxic. The blissed-out production floods your body with endorphins, which are only further heightened by guest star Redveil and his thrilling rap verse.
Ryan Cassata, “If You Ever Leave Long Island”
After a career of self-publishing heartbreaking indie tracks, Ryan Cassata is ready to make a splash with his new song, “If You Ever Leave Long Island.” The singer-songwriter’s debut single on Kill Rock Stars, “If You Ever” sees Cassata taking a sonic left turn into rocked-out heartbreak. Gone are the folksy, gentle love ballads, now replaced with amped-up guitars, pop-punk drums and an excellently angsty performance from Cassata as he ushers in a brand new era.
Allison Ponthier, “Character Development”
Growing and making changes are obviously important — but not more important than the health and well-being of the women around you. That’s the very topic Allison Ponthier expertly skewers in her new song “Character Development,” a supremely catchy and incredibly scathing indictment of misogynistic writing tropes that tend to see female characters suffer so their male counterparts can grow (a.k.a. the “women in refrigerators” phenomenon). Ponthier uses her musical prowess to take on the part of the oft-hurt female character, this time throwing a middle finger in the face of writers, characters and anyone else that would see her suffer so they can learn a valuable lesson. In short; hell yeah, Allison.
Check out all of our picks on Billboard’s Queer Jams of the Week playlist below:
Make way for the Queen of Rap. Nicki Minaj is returning with her first solo single of 2023, a track called “Red Ruby Da Sleeze” coming March 3.
The rapper announced the track Thursday (Feb. 23) with behind-the-scenes clips from a music video shoot, afterward posting the single’s official artwork on Instagram. In the photo, she poses next to a chef hard at work in a restaurant kitchen, staring down the camera as she stirs a frying pan. As usual, Minaj is the most colorful thing in the room, wearing a brightly patterned vintage Jean Paul Gaultier dress, yellow heels and split-dyed hair, half red and half pink.
In the behind-the-scenes clips for the “Red Ruby Da Sleeze” music video, the Queen Radio host raps along to her unreleased lyrics as a darkly-lit dance party unfolds behind her. Minaj later revealed the video was filmed in her home island of Trinidad and Tobago, where she’s been spending time this week amid the island’s 2023 Carnival.
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“Hunnit rounds on dat gratata,” she raps as women twerk on each side of her.
The new track is bound to be Minaj’s first solo release since last summer’s “Super Freaky Girl,” a reimagined version of Rick James “Super Freak” that debuted at No. 1 on the Billboard Hot 100. It was the “Super Bass” artist’s first ever solo song to top the chart, and the first No. 1 debut for a hip-hop song by a female artist with no accompanying acts since Lauryn Hill’s “Doo Wop (That Thing)” in 1998.
“You did it barbz,” Minaj thanked fans on social media after the track went No. 1. “You did it. I love you so much. like so so SO much. Thank you.”
See the official artwork and music video behind-the-scenes for Nicki Minaj’s upcoming single “Red Ruby Da Sleeze” below.
Need some new tunes to jam out to for your long weekend? Look no further — 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 Janelle Monáe’s return to music to Omar Apollo’s TK new single, check out just a few of our favorite releases from this week below:
Janelle Monáe feat. Seun Kuti & Egypt 80, “Float”
“No I’m not the same/ I think I done changed.” It’s quite the statement coming from Janelle Monáe, a pop cultural chameleon who has spent the last decade of their career effortlessly switching between sounds, professions and styles, but always remaining uniquely herself. “Float,” then, feels like an anthem to Monáe’s status of consistent fluctuation. The beat and melody ease into your eardrums offering near-instant serotonin boosts, as Monáe celebrates herself for a moment.
Omar Apollo, “3 Boys”
Omar Apollo just can’t let go, despite his best efforts. On his latest single “3 Boys,” the rising R&B superstar attempts to move on from a relationship, but realizes that there will always be more than one in the relationship. His silky vocals arc perfectly over an aching melody, arriving at a falsetto zenith with the song’s blissful chorus.
Beabadoobee, “Glue Song”
Being “stuck to someone like glue” may not be groundbreaking territory for song lyrics, but when Beabadoobee sings them on “Glue Song,” they can’t help but feel fresh. This soft, sweet love song sees the indie singer-songwriter falling head over heels, accompanied by an unchallenging, gorgeous melody. If you’re feeling that post-Valentine’s Day dip, don’t hesitate to let Beabadoobee boost you back up.
Cavetown, “Del Mar County Fair 2008” (Underscores cover)
Sometimes, a song is so good that you don’t need to change much for a cover. That’s certainly the case for Cavetown’s rendition of Underscores’ “Del Mar County Fair 2008,” wherein the indie sensation puts their own spin without needlessly altering this tender track. Playing with pitch switches and a sweet guitar melody, Cavetown simply nails his version with all of the emotive expression fans have come to expect.
Deb Never, “Momentary Sweetheart”
“Momentary Sweetheart” is designed to fool you. What starts out as a quiet, simple song about trying to hold yourself together quickly devolves into a Deb Never banger about finding comfort in someone else’s arms. The slow-build of the song perfectly suits Never’s angsty-yet-sincere performance here, as she confidently asks, “Don’t you hate when I go?”
Shea Couleé, “Material”
Ever since her first appearance on RuPaul’s Drag Race season 9, drag superstar Shea Couleé stood out with her musical chops. Now, she’s back and asking you to just look at the “Material.” This pounding club track sees Couleé once again asserting herself as The One™, effortlessly switching between ethereal vocals and rapid-fire raps. Placing it all over an excellently-crafted dance track, “Material” is sure to wind up in a club near you ASAP.
The Aces, “Always Get This Way”
Alt-pop purveyors The Aces are ready to give you the goods this weekend. “Always Get This Way,” the band’s new single off their forthcoming album, is a glittering ode to anxious insomnia, as lead singer Cristal Ramirez recounts the many sleepless nights she’s spent confronting her own insecurities. Don’t worry, though — while the subject matter may be dour, “Always Get This Way” is nothing but alternative bliss, and one of The Aces’ best yet.
Serpentwithfeet, “Gonna Go”
There is a difference between being in a relationship that’s “comfortable” and one that’s actually good. That’s a realization baroque pop singer Serpentwithfeet comes to in the middle of “Gonna Go,” his latest near-perfect queer love song. While the production and musical energy of the track deserve plenty of praise, it’s the star’s songwriting that shines bright here; lines like “all those crumbs don’t make it pie” and “I’ve been crunching numbers and it says you’re not the one” perfectly evoke the matter-of-fact point of this lush new track.
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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This week, Skrillex ends a long album drought, P!nk takes us on a journey, and both Janelle Monáe and Niall Horan return with splashy new singles. Check out all of this week’s First Stream picks below:
Skrillex, Quest for Fire
Casual Skrillex fans might be shocked to learn that Quest for Fire is only his second album — after all, the 35-year-old was a defining figure of the EDM boom during the 2010s, a prolific producer and collaborator over the past decade, and one of the more exhilarating presences at the many festivals he played across several years. Quest for Fire is his first album in nine years, but perhaps Skrillex was simply winding up for this moment: the long-awaited follow-up to 2014’s Recess sounds just as vital in its dance visions as his best work, and riotously diverse, with a song like “RATATA,” in which Missy Elliott stops by to breathe new life into a “Work It” refrain, leading into “Tears,” a slam-bang showcase for dubstep king Joker.
P!nk, Trustfall
In a recent chat with Billboard about new album Trustfall, P!nk explained why her ninth studio LP is a “f–king journey” that can’t be contained by one mood. “This album could have easily been, Side A is Roller Skate Time, and Side B is No Sharp Objects in the Kitchen Time!” she said. “But that’s not life. Life is messy and beautiful and messy again.” And Trustfall is true to P!nk’s reality: working with a range of collaborators, from Max Martin to Chris Stapleton to Fred Again.. to First Aid Kit, the pop superstar presents herself as a woman, wife, mother and industry veteran capable of dancing away her troubles and pleading for understanding on the same collection of sometimes uptempo, often emotional songs.
Janelle Monáe feat. Seun Kuti & Egypt 80, “Float”
Janelle Monáe lives up to the title of her new single: “Float” is all about hovering over muddled discourse and rising above petty details, being able to leave earthly trappings and find grace in artistry. It’s a skill that the multi-talented Monáe has flaunted over the course of her breathtaking career, and “Float,” created with Seun Kuti and Egypt 80, gives her a chance to bask in her achievements over simmering trap drums and a boisterous mid-tempo piece of production; “Float” may introduce a new body of work, but even if it doesn’t, Monáe has earned the chance to levitate above the naysayers.
Niall Horan, “Heaven”
When boy band members disperse, they often leap into establishing a solo presence to keep the public’s attention, then gradually settle into a sound for themselves. Such has been the case with the members of One Direction since they went on hiatus, and particularly with Niall Horan, who has found a warm pop-rock niche and strengthened his songwriting since debuting with solo hits like “This Town” and “Slow Hands.” “Heaven,” which previews third album The Show, reaches for eternal love with a vocal elasticity and guitar chug that play off each other with ease.
Polo G feat. Future, “No Time Wasted”
“I know you waitin’ / Gettin’ fed up, you runnin’ out of patience,” Polo G declares to open the chorus of “No Time Wasted”; he could be addressing his ravenous fan base, which didn’t get a new album from the Chicago rap star in 2022 after three straight years of doing so, but Polo spends the rest of the new single demonstrating that, when he does return, his storytelling instincts will be sharper than ever. Guest star Future slides onto Polo G’s contemplative level here, simultaneously bragging and commiserating about the trappings of fame, but Polo owns the track by mulling his fears, memories and nightmares in evocative detail.
Omar Apollo, “3 Boys”
Fresh off of a breakthrough year and a best new artist Grammy nod, Omar Apollo has returned with “3 Boys,” a smoky synthesis of doo-wop in which he concludes that a multiplication of romantic partners would be the only way to overcome a bitter heartbreak. The new single smartly showcases the multi-faceted enormity of Apollo’s voice — his ability to deliver ghostly harmonies, ethereal falsetto and desperate, full-throated cries — and becomes another winner for the rising star because of it.
Perhaps no album from a band in recent months has been as anticipated as Paramore‘s sixth studio set, This Is Why. The group, which currently consists of lead vocalist Hayley Williams, guitarist Taylor York and drummer Zac Farro, released their poppier, ’80s-tinged LP After Laughter in 2017 and later, took a break that resulted in the trio trading the sadness behind their rose-colored glasses for anger — and for what feels like the first time, political discontent.
“Everything is political, and it’s either politicized to a degree that maybe isn’t fair or it just inherently is political,” Williams said in the group’s recently Billboard cover story. “Even if I tried to not say one word about anything political [on the album], I think it was just in the DNA. It was in every conversation.”
And the group tackles the issues seamlessly, albeit with a new groove that sounds equal parts fresh and familiar to new and old fans alike. This Is Why‘s title track (also the first on the record) establishes the band’s mission statement, critiquing society’s lack of empathy and the human tendency to be unyielding with our beliefs. Follow up singles “The News” and “C’est Comme Ça” expands, with the former heaving an exasperated sigh at current events and the latter taking the aftermath with a resigned shrug of the shoulders. The preliminary songs the band offered — and the album as a whole — cut the weight of their themes with a danceable, punk leaning edge.
While there are no definite skips on the album, certain tracks of the group’s newest offering in years do stand out a bit more than others. Here is a preliminary opinion on every song that appears on Paramore’s This Is Why.
Want more on Paramore’s new album? Click here to read Billboard’s cover story with the band, in which they talk at length about This Is Why.
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, Paramore unveils its first album in six years, Lizzo taps SZA for a “Special” rework, and Taylor Swift hits the dance floor. Check out all of this week’s First Stream picks below:
Paramore, This Is Why
There’s a difference between surviving and thriving, and while Paramore should be given credit for enduring through several lineups, rock generations and music industry iterations, they deserve even more for continuously evolving in smart, exciting ways. Hayley Williams, Taylor York and Zac Farro could have used long-awaited new album This Is Why to dive back into the synth-heavy new wave of 2017’s After Laughter, or returned to the pop-punk of their beginnings as the sound receives a revival; instead, the new project brims with hopped-up post-punk, as Williams further prods at the anxieties of the outside world and within herself. This Is Why is expertly conceived and stands apart from everything in the band’s catalog… just like every album from Paramore, a band that captures fascinating moments in time and then keeps moving forward.
Lizzo feat. SZA, “Special (Remix)”
Talk about a special week for both Lizzo and SZA: days after the former won the record of the year Grammy for her No. 1 smash “About Damn Time,” the latter has been named Billboard’s Woman of the Year as her blockbuster sophomore album, SOS, potentially returns to No. 1 on the Billboard 200 chart. To celebrate their various successes, the two A-listers have teamed up on a remix of Lizzo’s Special title track, with SZA refusing to be pigeonholed by her peers: “Woke up this mornin’ to somebody judgin’ me,” she sings, “No surprise they judgin’ me, don’t know who I’m ‘posed to be / I’m just actin’ up, I’m crass as f–k, and never sayin’ sorry.”
Taylor Swift, “Lavender Haze (Felix Jaehn Remix)”
From the opening coo of “Meet me at midnight,” Taylor Swift’s “Lavender Haze” possesses a shimmying groove that’s perfect for a head knock or shoulder wiggle; this newly released official remix of the rising Midnights hit, courtesy of German producer Felix Jaehn (best known in the States for “Cheerleader,” his No. 1 smash with Omi from 2015), turns that subtle movement into a blown-out club force. The tempo ramps up, the synthesizers pile, the chorus goes double-time, and Jaehn remakes “Lavender Haze” with an inventive dance approach.
Dove Cameron & Khalid, “We Go Down Together”
As a duet, “We Go Down Together” exists in an intimate emotional space shared by Dove Cameron and Khalid — the instrumentation here is unobtrusive enough that, as they sing about their co-dependency and roller-coaster relationship, the two artists sound wholly alone with each other in the song’s shared universe. Cameron, fresh off of a breakthrough year, continues showcasing the fragile beauty of her voice, while Khalid demonstrates the soulfulness that made him an arena-headlining star (and, hopefully, will explore in more music this year).
Luke Combs, “Love You Anyway”
Everything clicks into place on Luke Combs’ “Love You Anyway,” the latest offering from the country star’s upcoming Gettin’ Old album: the sincerity in Combs’ devotion is captured by the sturdiness of the slide guitar, the chorus swells with a graceful touch, and while the song is rife with metaphors, they all land with invested feeling (“If your touch shattered me like glass / I’d be in pieces trying to make the breaking last,” Combs declares). “Love You Anyway” is not the flashiest Combs track, even by the standard of his love ballads — still, it immediately sounds like one of his strongest to date.
D4vd, “Placebo Effect”
With “Romantic Homicide” and “Here With Me,” D4vd has watched two lovelorn, genre-defying singles go viral and then sustain their momentum to become chart-conquering hits. New single “Placebo Effect” represents both an attempt for the teen singer-songwriter to go three-for-three, as well as a refinement of his sound and point of view: still heartsick after confusing a fizzling relationship for real love, D4vd operates over stray guitar licks and lets his voice crack through his clipped pleas, for maximum emotional devastation.
Twenty years after the release of Meteora, Linkin Park is revisiting their mega-selling sophomore album: Meteora 20th Anniversary Edition will be released through Warner Records on Apr. 7, the band announced on Friday (Feb. 10), and will include multiple previously unreleased songs in addition to several other fan-friendly collectibles.
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One of those unreleased songs, “Lost,” arrives today as a fleshed-out, fully realized showcase for the band’s Chester Bennington, who passed away in 2017. Linkin Park recorded “Lost” for Meteora but the track didn’t make the final track list; while scavenging through hard drives for the 20th anniversary of the album, the group rediscovered the song and Bennington’s intensely riveting vocals that serve as its highlight.
“Finding this track was like finding a favorite photo you had forgotten you’d taken, like it was waiting for the right moment to reveal itself,” the band’s Mike Shinoda says in a press statement. “For years, fans have been asking us to release something with Chester’s voice, and I’m thrilled we’ve been able to make that happen in such a special way. I think they’re going to be floored when they hear and see all the incredible unreleased songs and video footage in Meteora 20.”
“Lost” will be among six unreleased songs on Meteora 20, in addition to demos, live shows, B-sides and previously unaired footage with the band. The project will be available in multiple variations, including a limited edition super deluxe box set, deluxe vinyl box set, deluxe 3-CD and digital download.
The 20th anniversary reissue of Meteora follows the 2020 release of Hybrid Theory: 20th Anniversary Edition, which toasted Linkin Park’s diamond-selling 2000 debut. “It’s a nice time to pause and think and focus on what it took to make that record, the impact it had, and the opportunity it allowed us to continue with our careers,” the band’s Joe Hahn told Billboard at the time. “For me, it’s a testament to the camaraderie between all the guys in the band, to our friendship, to our work ethic, to the values in how we approached not just making music, but the business of making music, and the way we interact with our fans.”
Released in March 2003, Meteora includes some of Linkin Park’s most enduring hits, from “Numb” to “Breaking the Habit” to “Faint” to “Somewhere I Belong” to “Lying From You” — all of which topped Billboard’s Alternative Songs chart — as well as essential fan favorites like “Nobody’s Listening” and “Easier to Run.” Meteora has earned 8.5 million equivalent album units to date, of which 6.5 million are in traditional album sales, according to Luminate.
To celebrate the Meteora 20 announcement and the release of “Lost,” Linkin Park will relaunch their official Discord on Friday, with a Q&A on the Discord Stage. The band is also teasing “more surprises” leading up to the April release.
Watch the official video for “Lost” — which was produced and animated by by pplpleasr and Maciej Kuciara’s Web3 studio, Shibuya — 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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This week, GloRilla feeds the “Trolls,” Shania Twain is ready to come back over, and Morgan Wallen previews a huge new release. Check out all of this week’s First Stream picks below:
GloRilla, “Internet Trolls”
After breaking through last year with the Hitkidd team-up “F.N.F. (Let’s Go)” and proceeding to establish herself as a riveting new voice in hip-hop, GloRilla takes aim at those who have hid behind keyboards and tried to tear her down, with Hitkidd back to provide the soundtrack. “Internet Trolls” is a relatively short but dramatically rendered check-in, with GloRilla sneering, “They don’t wanna clap for you, they just want you to clap back,” while simultaneously proving those same haters wrong.
Shania Twain, Queen of Me
While Shania Twain has plenty of hits to enshrine her legacy and bring in packed audiences whenever she heads out on the road, Queen of Me, her new album and second since kicking off a comeback with 2017’s Now, continues to forge ahead with rollicking country-pop and a seasoned perspective. More than any one song on Queen of Me, Twain’s sense of perspective and determination shines through: the album offers more cup-hoisting anthems that recall her Come On Over days, but their fabric is time-honored, and their sense of joy is hard-earned.
Morgan Wallen, “Last Night” / “Everything I Love” / “I Wrote the Book”
A press release for Morgan Wallen’s forthcoming One Thing at a Time previews the 36-song effort as a “deeply personal album that combines Wallen’s musical influences — country, alternative and hip-hop.” And while the gargantuan LP will no doubt take some stylistic detours, this three-pack of songs ahead of its release finds Wallen in the crowd-pleasing modern country sphere that he’s become a force within: “Last Night” in particular sounds like it will be inescapable for months, its snappy rhythm and warbled harmonies ripe for endless country radio replays.
Karol G & Romeo Santos, “X Si Volvemos”
“X Si Volvemos” is a breakup song, with both Karol G and Romeo Santos acknowledging that lingering physical temptations bring complications to a clean split — and while both artists understand how to deliver wide-reaching choruses, the nuances of their vocal deliveries make this collaboration shine. Both artists’ vocals ache over Ovy On The Drums’ scintillating production, as they try to move on from a fractured reality but their tones keep circling back toward each other.
RAYE, My 21st Century Blues
To describe RAYE’s debut album “long-awaited” would be an understatement: the pop singer-songwriter tried for years to get her former record label to give the project a release date to no avail, eventually turned independent, and fortunately for her, scored a top 40 smash in “Escapism” to lead into My 21st Century Blues. Although her path has been winding, RAYE’s ambition has never wavered: the album soars with genre explorations (“Oscar Winning Tears” is a top-notch R&B showcase) and intimate songwriting (“Body Dysmorphia” is as harrowing as its title suggests), as she makes the most of her opportunity to finally share her story.
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, Sam Smith continues a hot streak, Rosalía is down for fake love and The Kid LAROI brings things back to basics. Check out all of this week’s First Stream picks below:
Sam Smith, Gloria
Sam Smith has scored several hits over the course of their career, but “Unholy,” his team-up with Kim Petras that became their first No. 1 single, sounded like none of them when it was released last year; the smash not only revitalized Smith’s voice at top 40 radio, but suggested a major shift in sonic approach. Gloria, their fourth studio album, sports a level of freedom rarely heard in Smith’s past oeuvre of precisely drawn pop: their vocal gifts are positioned toward sweaty, sexually liberated dance floor anthems like “I’m Not Here to Make Friends” as well as fearless midtempo confessionals like “Perfect,” with Smith sounding more relaxed in every mode on the album.
Rosalía, “LLYLM”
“I don’t need honesty / Baby, lie like you love me, lie like you love me,” Rosalía pleads on new single “LLYLM,” switching over to English and soaring into a falsetto as she explores the theme of fake affection. “LLYLM” is not a complicated single — created in part with Max Martin, the song’s handclaps and muted synthesizers eventually evaporate for a sparse, guitar-led interlude — but Rosalía remains one of the most magnetic vocal presences in music today, and powers “LLYLM” with technical skill and unadulterated emotion.
The Kid LAROI, “Love Again”
Anticipation is high for The Kid LAROI’s first full-length album, and the release of lead single “Love Again” was preceded by a lead-in intro track, “Can’t Go Back to the Way It Was,” last week, and is being paired with a one-of-a-kind Fortnite experience. Yet LAROI wisely decided not to one-up that rollout with an overly grandiose song: “Love Again” recalls the raw acoustic nerve that his breakout hit, “Without You,” touched to make LAROI a star, and this time he offers clipped, unflinching rhetorical questions while trying to find resolution in a relationship.
Chlöe, “Pray It Away”
After years of readying her solo debut, Chlöe’s first album will arrive in March, and “Pray It Away,” an ode to heading to church to shake off the energy of a romantic mistake, displays a greater confidence in personal craft that should excite longtime believers in the powerhouse vocalist. The harmonies on “Pray It Away” are downright gorgeous, even as Chlöe admits to unsavory thoughts and decisions — a gleeful juxtaposition of soulful R&B and pissed-off exclamations that the singer handles masterfully.
Zach Bryan feat. Maggie Rogers, “Dawns”
With his epic project American Heartbreak last year, Zach Bryan enjoyed the type of breakthrough year that Maggie Rogers, who issued her sophomore album Surrender, experienced three years earlier with her debut LP Heard It In a Past Life; the artists may be at slightly different chapters in their respective stories, but as two supremely gifted songwriters, a collaboration was always going to yield an interesting product. “Dawns” is delightfully haunted, a broken howl of a duet on which Bryan sounds lost as he navigates a breakup, and Rogers steadies his hand and centers the song’s intensity.
Lil Yachty, Let’s Start Here.
Let’s start here: Lil Yachty’s new album is not a rap project, even slightly. Those expecting the veteran hip-hop star to follow up his recent viral rap single “Poland” with a mainstream victory lap will be upended by this freaky, fuzzed-out psychedelic rock album, which Yachty created with a host of guitar-toting collaborators in an effort to capture his love of Pink Floyd. Somehow, the full-throttle detour completely works: Yachty’s warbling sounds natural over the swirling ‘70s-indebted production, and even when the instruments pile up, Let’s Start Here. never implodes, or bores the listener.
XG, the seven-member Japanese girl group that debuted last year, has unveiled the music video for its dynamic third single, “Shooting Star,” on Wednesday (Jan. 25). “Shooting Star” marks the group’s first single of 2023 and was premiered along with a bonus track, “Left Right,” with a live performance of both songs broadcast prior to their release.
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Both songs express an elevated determination for the group, which launched under the XGALX label last January. “‘Shooting Star’ is about our desire to become a world-class group, and ‘Left Right’ is about our commitment to move forward, the only direction we know,” XG’s Jurin tells Billboard in an exclusive statement. “I personally believe that believing in yourself and becoming the person you want to be are keywords that apply to everyone and are the purpose of life. I also think that we were able to express a new side of XG with these two songs. … I hope we inspire courage in everyone!”
The group’s Harvey adds, “In the part I sing in verse 1, there is a line, ‘We a movement / Never losin’ / Making moves, stay poppin.’’ When I hear this line, I think of someone strong that can’t be beaten by anyone. I really like the lyrics, since they express the desire to keep chasing a dream with a strong foundation, no matter how uncertain things may be! I feel very strong when I sing this part!”
Composed of members Jurin, Chisa, Hinata, Harvey, Juria, Maya and Cocona, XG (short for ‘Xtraordinary Girls’) debuted last year with the hip-hop-inspired rhythmic pop single “Tippy Toes,” followed by the combustible, dance-ready “Mascara.” The latter reached No. 14 on the Billboard Japan Hot 100 last year.
For “Shooting Star,” Chisa says, “Each part of this track has a different vibe, rhythm, and melody, allowing us to bring out more of our individuality. When recording my part, I really tried to picture the atmosphere in my head and visualized what Chisa would be like for this particular song.”
Check out the “Shooting Star” visual above, and listen to “Left Right” below: