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There’s still about a month left to go before Paramore‘s highly anticipated sixth studio album, This Is Why, arrives, but it is finally beginning to take shape with the release of new single “C’est Comme Ça.”
Described by frontwoman Hayley Williams as a dance punk return to form, the brand new track arrived Thursday (Jan. 12). It’s the third single to be unveiled off This Is Why, due out Feb. 10, and follows lead single and title track “This Is Why” along with “The News.”
“C’est Comme Ça” largely features the Nashville native delivering sharp, irony-clad lyrics in spoken word form over drummer Zac Farro’s driving percussion and guitarist Taylor York’s percussive riffs. The caustic nature of the verses is turned on its head, though, with every repetition of its cloying main hook: “C’est comme ça, na na na na na na na.”
“I know that regression is rarely rewarded/ I still need a certain degree of disorder,” Williams belts, a rare moment on the track where she sings instead of speaks. “I hate to admit getting better is boring/ But the high cost of chaos?/ Who can afford it?”
Fans have been waiting for the single since Paramore began teasing it in the week prior to its release. At one point, the band posted a cryptic video to its Instagram story, captioning it with nothing but the letters “ccc.”
“I’m trying to get un-addicted to a survival narrative,” Williams said of the song’s meaning in a statement. “The idea of imminent doom is less catastrophic to me than not knowing anything about the future or my part in it. The guys and I are all in much more stable places in our lives than ever before. And somehow that is harder for me to adjust to.”
The trio’s newfound stability comes after a five-year hiatus, which Williams, Farro and York spent taking a break from the demands of being one of the world’s best-loved pop punk groups to reevaluate and explore solo projects. They haven’t released an album since dropping After Laughter in 2017, and prior to their string of live shows last year, they hadn’t toured in nearly as much time.
Speaking to Zane Lowe for Apple Music 1, Williams said Paramore “had a really good time getting back into a little bit of dance punk vibes” when making “C’est Comme Ça.”
“I had been listening to a lot of Dry Cleaning and Yard Act and just artists that talk a lot over great, cool, music,” she shared. “So I guess I was just feeling poetic and feeling a bit critical of myself and fused all that stuff.”
Stream Paramore’s newest single “C’est Comme Ça” below:
Who’s ready for The Weeknd? In a recent interview, the 32-year-old hitmaker revealed that he has new music in the works.
“I’ve definitely been inspired,” he said when asked if he was working on new material, right at the very end of an interview with Hollywood Reporter posted Monday (Jan. 9). “I’ve been in the studio.”
The star, born Abel Tesfaye, just celebrated the one-year anniversary of his most recent album, 2022’s Dawn FM. To mark the occasion, he dropped a new music video for one of the album’s tracks, “Is There Someone Else?” Saturday (Jan. 7).
Tesfaye didn’t share any further details about his next project, and instead spent most of the interview talking about “Nothing Is Lost (You Give Me Strength),” the Oscar-shortlisted theme song that he wrote for James Cameron’s Avatar: The Way of Water. The Idol creator opened up about how the Avatar franchise has served as an inspiration for him ever since he saw the first film in 2009 when he was “homeless,” a period he calls “the darkest time of my life.”
“The best part about writing the song was getting notes from James and making sure that all the lyrics and the tones fit the themes of the film,” he told the publication. “I think I rewrote the song maybe six times to make sure it was perfect.”
The “Blinding Lights” singer also briefly spoke about the song’s potential Academy Award nomination, saying he feels “honored” by the recognition. Tesfaye has previously spoken out about another prominent awards show, the Grammys, which he’s boycotted since his blockbuster 2020 album After Hours was snubbed.
But, according to the musician, the Oscars “definitely feel different” from the Recording Academy. “I’m just grateful,” he continued after it was pointed out that he did win a Grammy for his assistance on Kanye West’s “Hurricane” in 2022, post boycott. “Any kind of recognition, I’m grateful for it. I’m just happy to be in the conversation.”
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.
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These 10 tracks from artists including Monsta X, The New Pornographers, Leony and JW Francis 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 10.
Monsta X, “Beautiful Liar”
The members of Monsta X have always been adept at synthesizing different genres into a fun, immediate product, and on “Beautiful Liar,” the standout track from new mini-album Reason, the K-pop stars mash up funk, hair metal, dance-pop and hip-hop in a manner that doesn’t sound overstuffed or lose its foundation. Plenty of Monsta X singles possess interesting tidbits in their margins, but “Beautiful Liar” keeps its ambition front and center. – Jason Lipshutz
India Theiriot, “Montage”
Ever scroll New Music Friday and hear a pop song so self-assured and satisfying that it stops you in your tracks? That effect undoubtedly happened to anyone lucky enough to stumble upon singer-songwriter India Theiriot’s “Montage,” a heartfelt and ornately produced track that possessed the quality of a breakthrough. Theiriot’s vocal warmth wraps around the synths here, presenting observations and memories with a gravity that invites the listener closer. – J.L.
Leony, “Somewhere in Between”
Now this is how you do a pre-chorus: on “Somewhere in Between,” the new single from Leony, the German pop artist’s voice keeps creeping upward, inching toward higher octaves, before the hook kicks in and the listener feels a rush of speed and danger. Best of all, “Somewhere in Between” matches its construction with a tale of self-confidence (“Got clarity inside of me, I know who I am / No matter what you saw, I know my heart always stayed the same,” Leony sings), so that the payoff feels earned. – J.L.
Debby Friday, “So Hard To Tell”
Debby Friday’s backstory is fascinating enough to fill a novel — the Nigerian-born artist grew up hopscotching across Canada, attending all-night raves, quitting DJ’ing due to personal issues, then picking up the pieces as a singer-songwriter through YouTube tutorials. Even a context-free listen to new single “So Hard To Tell,” however, reveals one of the young year’s most audacious bangers, a daring and cacophonous piece of pop that wants to entrance (or maybe pummel) its listener with its percussion. – J.L.
The New Pornographers, “Really Really Light”
The New Pornographers have been slinging pristine indie-pop hooks for over two decades now, and new single “Really Really Light,” from just-announced album Continue as a Guest, reminds the world of the combined power of A.C. Newman, Dan Bejar and Neko Case as singers, songwriters and complementary pieces in a group setting. “Really Really Light” is at once big and driving, but also reserved and a little clouded, as if the New Pornos want to make their pop sheen slightly askew here. – J.L.
Violet Saturn, “Love U Madly”
Looking to re-create some Warped Tour memories… or at least the time you scream-shouted “good 4 u” with your friends? Siblings Lauren and Spencer Carr Reed have you covered with this enjoyable pop-punk offering from their group Violet Saturn — just don’t headbang too hard to miss the sly time-signature change on “Love U Madly,” where the phrase “My heart stops” literally causes the tempo to rearrange. – J.L.
Neriah, “Puppet on a String”
Los Angeles newcomer Neriah’s latest single successfully see-saws between her airy vocals and some punchier production as the song builds toward a sticky chorus. Though on the shorter side — the track clocks in at two minutes — “Puppet on a String” has just enough for fans to trust where Neriah is headed. – Lyndsey Havens
MyKey, “Bender”
Singer-songwriter MyKey (a moniker inspired by his real name, Mikey… get it?) blissfully blends acoustic riffs with folk-inspired pop melodies, creating contemplative, consuming songs like “Bender.” With its bare-bones production, the single’s power is in its subtlety, but MyKey pulls off a rare feat here. – L.H.
JW Francis, “Going Home to a Party”
With a style reminiscent of the 2000s indie-rock heyday, “Going Home to a Party” could help usher back in a renaissance of rollicking riffs and whimsical production. Courtesy of bedroom pop artist JW Francis, the single is a strong coming attraction of his upcoming album Dream House, out Jan. 27. – L.H.
Suriel Hess, “Wasted”
There’s a refreshing immediacy to “Wasted” that comes from Suriel Hess’ lyrics rather than any grabbing melody. Supported by an acoustic guitar, he sings, “It could be easier, to sit back and just observe, but my mind races.” It’s a perfect lay-up for what follows, as he chronicles what exactly is running sprints through his mind (spoiler alert: it’s a girl). – L.H.
New year, new Paramore song. Just one month out from the release of its highly anticipated album This Is Why, the band surprised fans by teasing what looks like a new track nicknamed “ccc” — though many are confident that this is an acronym for its full French language title, “C’est Comme Ça.”
Lead vocalist Hayley Williams, guitarist Taylor York and drummer Zac Farro first set fans ablaze Sunday (Jan. 8) by posting a cryptic video to the band’s Instagram Stories. The letters “ccc” are backdropped by a glitching, pixelated screen while a brisk guitar riff repeats on a loop.
On Paramore’s official website, an announcement reads: “1.12 – ccc.”
It didn’t take long for fans to deduce that “ccc” likely stands for “C’est Comme Ça,” the title of one of 10 songs listed under the This Is Why album on Apple Music.
“What else could ccc mean besides the French title… paramore have punked us before this feels too easy,” one fan tweeted.
“CCC. C’EST COMME CA. PARAMORE. AH,” tweeted another along with a clip of the upcoming tune.
All signs point to the track being released Thursday (Jan. 12), which would mark the third single released by Paramore in the lead-up to the band’s Feb. 10-slated album.
“I wasn’t expecting another song before the album release i am shaking,” wrote one excited admirer on Twitter.
“Not paramore releasing a new song this week, 2023 has been so good to me so far,” tweeted another.
Paramore hasn’t put out an album since 2017’s After Laughter, and the band is just now making a comeback following a five-year hiatus, making This Is Why one of the most hotly anticipated releases of 2023. And on Dec. 8, the Nashville-based trio dropped the upcoming album’s second single, “The News,” along with a corresponding horror-themed music video.
Before “The News,” they released lead single and title track “This Is Why,” also with a music video. Both singles charted on the Hot Rock & Alternative Songs ranking, the former peaking at No. 34 and the latter at No. 15.
On Feb. 6, the band will celebrate its new album’s release with an exclusive concert at the Grand Ole Opry in Paramore’s hometown of Nashville. The following month, Williams, York and Farro will embark on an arena tour, making a stop in Glendale, Ariz., to open for a couple of shows on Taylor Swift’s Eras Tour.
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, YoungBoy keeps his prolific streak alive, Popcaan and Drake re-team with a new mission, and Shania Twain keeps us dancing into the new year. Check out all of this week’s First Stream picks below:
YoungBoy Never Broke Again, I Rest My Case
YoungBoy Never Broke Again’s output is not only mind-boggling — four mixtapes, one album and a compilation album in 2022, the majority of which reached the top 10 of the Billboard 200 chart — but also serves as a simple way to track the Baton Rouge native’s gradual rise as a musician and lyricist: YoungBoy generally gets more discerning and ferocious with every new project, and I Rest My Case is one of his strongest full-lengths to date. The album’s momentum snowballs from the opening bodyslam of “Black,” “Louie V” and “Swag On Point,” and ends with an affecting open letter, “Hey Pops”; in between, YoungBoy suggests that, if last year had nonstop highs, 2023 could be even bigger.
Popcaan feat. Drake, “We Caa Done”
From “Controlla” on Drake’s Views to “All I Need” on Popcaan’s Fixtape project, the hip-hop superstar and dancehall king have proven reliable collaborators for more than a half-decade — and now, ahead of Popcaan’s album Great Is He, they’ve re-teamed for a triumphant start to the new year. “We Caa Done” functions as a raised glass after overcoming tribulations, with Drake crooning in patois, Popcaan demonstrating a flow that’s long been hypnotic, and the percolating beat helping both along the way, setting up what’s sure to be a club staple across borders in 2023.
Shania Twain, “Giddy Up!”
The story of modern country-pop could not be told without Shania Twain, and as she embarks on a big year that will include a new album and sprawling tour, the legendary singer-songwriter is still serving up crossover singles designed to get hands clapping and butts out of seats. “Giddy Up!” will lead forthcoming album Queen of Me and is indeed a party-starter, all call-and-response problem-shedding and frothy lines written for Friday night gatherings; by the time the acoustic strumming has segued to electric riffing, you’ll find that you, too, would like to shout “Giddy up.”
Yahritza Y Su Esencia, “Cambiaste”
Anyone paying close-enough attention to the rapid rise of Yahritza Y Su Esencia last year understood that the Regional Mexican trio’s TikTok success would probably not be ephemeral — the talents of Yahritza Martinez, and her older brothers Armando and Jairo, were too distinct to ignite and then dissipate. New single “Cambiaste” relies heavily upon Yahritza’s pleading voice and Mando’s 12-string guitar, but that formula remains effective — if not even more emotionally harrowing, especially as the song circles around and then hammers down during the finale.
Skrillex feat. PinkPantheress & Trippie Redd, “Way Back”
After returning earlier this week with “Rumble,” a teeth-smashing dance-rap track featuring Fred again.. and Flowdan, Skrillex has kicked off 2023 with another intriguing three-artist summit: “Way Back,” with PinkPantheress and Trippie Redd, sizzles in the places that “Rumble” shimmers, with Trippie handed hook duties and PinkPantheress weaving a compelling story within a single verse. Both songs are relatively short — “Way Back” clocks in at under two minutes — but are satisfying enough to raise hopes that the year will bring more tunes from a rejuvenated Skrillex.
Ice Spice, “In Ha Mood”
“I’m proud that I’m still gettin’ bigger / Goin’ viral is gettin’ ’em sicker,” Ice Spice raps on the victory-lap single “In Ha Mood.” The Bronx rapper, fresh off of gaining well-deserved fame for her Internet sensation “Munch (Feelin’ U),” serves up another drill track with a refrain that’s primed for TikTok users to feast upon — but “In Ha Mood” is also snappier and more lyrically dense than Ice Spice’s past offerings, allowing her to swoop down upon her naysayers with a sharpened sword.
Halfway through the second annual Miley’s New Year’s Eve Party — which Cyrus co-hosted this year with Dolly Parton and aired live on NBC — the superstar announced her new single “Flowers.” The song will arrive on Jan. 13.
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The announcement came on the heels of posters plastered across various cities that read: New Year New Miley. The NYE tease was first accompanied online by a 17-second clip teasing the music video, which shows Cyrus in a metallic gold outfit and shades walking uphill. Later on in the special, a second teaser clip — this one clocking in at 13-seconds — showed Cyrus in a bathing suit strutting through sprinklers.
Cyrus not only celebrated NYE but also her upcoming “new Miley” era with a handful of guests featured throughout the special including David Byrne, Latto, Sia, Rae Sremmurd, Fletcher and others. She and Parton naturally closed out the night and rang in the new year with a stellar medley of “Wrecking Ball” and “I Will Always Love You.”
As for what’s still to come… Cyrus launched a countdown on her site (currently teasing to something coming in about four days) with more announcements to come this week.
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, SZA’s SOS marks the return of a queen, A Boogie Wit da Hoodie fights inner demons and Lana Del Rey has a beautiful-sounding fun fact for you. Check out all of this week’s First Stream picks below:
SZA, SOS
Five years after dropping a jaw-dropping debut with Ctrl, SZA has finally returned with a follow-up that somehow sounds both pored-over, the product of endless hours in the studio sharpening edges and refining ideas, and as natural as the R&B star’s inherent gifts as a vocalist and songwriter. No one else could sing the words of SOS with an ounce of the personality that SZA brings to each track — in part because these songs are breathtakingly intimate, photographs of years of personal evolution as relationships scale up and sometimes crumble — but mostly because SZA is just that special of a performer, with every syllable on SOS popping out from the dense, varied production. SOS takes plenty of time to unpack across its 23 tracks, but whatever expectations you may have had for SZA’s second album probably weren’t high enough.
A Boogie Wit da Hoodie, Me vs. Myself
If Me vs. Myself, A Boogie Wit da Hoodie’s fourth studio album, ends up being the final major rap release of 2022, the NYC rapper will end up closing out the year on a triumphant note: his latest full-length meets the local-to-national hype that A Boogie has been incubating for years, and features the most complete songs of his career. That list begins with the Lil Durk team-up “Damn Homie,” which augments both rappers’ melodic instincts, and also includes the solo showcase “Ballin” and “Water (Drowning Pt. 2),” a sequel to A Boogie’s recent collaboration with Kodak Black that improves upon the original.
Lana Del Rey, “Did you know that there’s a tunnel under Ocean Blvd”
The Jergins Tunnel, the passageway in Long Beach, Calif. that was abandoned in 1967, is a closed-off tunnel to a California beach — perfect lyrical fodder for Lana Del Rey, who sings on her stirring new track, “I can’t help but feel somewhat like my body marred my soul / Handmade beauty sealed up by two man-made walls.” The title track to her next full-length, “Did you know…” marries Del Rey’s sweeping approach to orchestral pop with an ideal subject, upon which the singer-songwriter can translate her longstanding curiosities with faded American beauty.
Polo G, “My All”
“I’m just tryna drop a hit and make the club jump / But I hate that I was too deep in so young,” Polo G admits at the end of the chorus to “My All,” a new single to close out the year before it appears on his much-anticipated new project dropping in 2023. Most popular rappers wouldn’t close out a hook with a moment of such succinct honesty — at 23 years old, Polo G is already a veteran who has the ability to entertain the masses yet has witnessed too much personal strife — but vulnerability has always been the key to his mainstream appeal, and “My All” sets the stage for more intricate stories to be unfurled next year.
Paramore, “The News”
Five years ago, Paramore preceded their album After Laughter with “Hard Times,” a brilliant bit of sociopolitical satire on which Hayley Williams begged to be excluded from reality’s narrative. Ahead of follow-up album This Is Why, the band grapples with everyday life in more serious fashion: “The News” questions how much space in our minds our modern atrocities, specifically wars in far-off countries, can take up before we explode with uselessness, as the band locks in to a jagged groove and Williams oscillates her tone between jittery and outraged to sell the song’s concept.
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, RM presents a bold solo vision, Metro Boomin ends another big year with a superstar affair, and Lewis Capaldi’s latest will turn your frown upside down. Check out all of this week’s First Stream picks below:
RM, Indigo
Even with the context of every recent solo project from the members of BTS, which have presented their millions of listeners with individual aesthetics and ideas, RM’s official solo debut Indigo ruptures with artistic ambition from the opening minutes, where he raps about his humanity over a buttery R&B beat before Erykah Badu slides in with a majestic pre-chorus. Indigo wriggles free of easy classification, much like its creator: the moment one tries to peg the project as a mainstream hip-hop effort, a song like the arena-ready sing-along “Wild Flower” or the forlorn strummer “Lonely” upends expectations. RM’s curiosity balances out his natural talent on Indigo, resulting in an accomplished, multi-faceted solo step.
Metro Boomin, Heroes & Villains
From Future to 21 Savage to The Weeknd, Metro Boomin has helped mold the sound of some of the biggest mainstream stars of the past decade as a producer and songwriter — so when he releases his own projects, they (and many others) naturally show up to pay homage. Heroes & Villains, the long-awaited follow-up to the Atlanta studio whiz’s underrated 2018 opus Not All Heroes Wear Capes, is a star-studded heat check before the end of the year that allows superstars to operate over slow-rolling beats (“Trance,” a bleary-eyed team-up between Travis Scott and Young Thug, is a highlight), as well as engage in some rollicking genre exercises (“Creepin’” joyfully re-creates Mario Winans’ “I Don’t Wanna Know” with The Weeknd and 21 Savage).
Lewis Capaldi, “Pointless”
Lewis Capaldi became a star on the strength of sorrow: his singles “Someone You Loved” and “Before You Go” grew into unlikely top 10 Hot 100 hits while embracing heart-wrenched balladry, as the singer-songwriter bet on unbridled emotion as a commercial vehicle and won handily. “Pointless,” the second taste of his upcoming sophomore album Broken By Desire to be Heavenly Sent, taps into another rush of feelings, but this one could soundtrack a wedding dance instead of a tearful night in bed: “Everything is pointless without you,” Capaldi sings, the intensity of his voice and stabs of piano drawing the listener into his love story.
Morgan Wallen, One Thing at a Time (Sampler)
After nearly two years of watching his Dangerous: The Double Album become one of the biggest commercial LPs of the past decade, and rebuilding trust in and out of Nashville following some high-profile controversies, Morgan Wallen is setting himself up for a major 2023, with a recently announced international stadium tour accompanied by a three-song sampler of an upcoming studio project. “One Thing at a Time,” “Days That End in Why” and “Tennessee Fan” don’t try to reinvent Wallen’s appeal, instead augmenting the long-running juxtaposition between his rustic, lived-in voice and sparkling, sophisticated country-pop songwriting, while also suggesting that fans will have plenty to look forward to in the new year.
Latto feat. GloRilla & Gangsta Boo, “FTCU”
From the moment you realize that the acronym “FTCU” stands for “f-ck the club up” in the new collaboration between Latto, GloRilla and Gangsta Boo, you hope that the trio can come as correct as Three 6 Mafia and Waka Flocka Flame did on their respective destroying-the-club anthems from different generations of hip-hop. Fortunately, they deliver: “FTCU” is pure, menacing fun, with Latto dropping threats with efficiency and GloRilla relying on her drawl to accentuate punchlines like “Walk up in your party, make that bitch my party, ayy.”
Arcangel, Sr. Santos
Sr. Santos, the new project from former Arcangel & De La Ghetto leader Austin “Arcangel” Santos, will likely draw most of its attention toward the explosive Bad Bunny team-up “La Jumpa,” which sounds ready to dominate clubs for the foreseeable future. Although Arcangel’s new album gains strength from its high-wattage collaborators — Bizarrap, Myke Towers and Duki all swing by — the reggaetón veteran also sounds reinvigorated on the project, surrounding the guest-heavy portions of the projects with sizzling solo tracks like “La Roca” and “PortoBello.”
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, Pharrell Williams tosses out another major collaboration, Nicki Minaj and Maluma headline a World Cup anthem, and Saweetie toasts to the single life. Check out all of this week’s First Stream picks below:
Pharrell Williams & Travis Scott, “Down In Atlanta”
In addition to producing tracks for artists ranging from Rosalía to Kendrick Lamar to Omar Apollo this year, Pharrell Williams also dropped “Cash In Cash Out,” a masterclass from 21 Savage and Tyler, The Creator with one of the most icy-cold beats of the year. Like “Cash In Cash Out,” new single “Down In Atlanta” finds Williams ceding the floor to a fellow superstar — in this case, Travis Scott, who mixes zonked-out warbling with tales of luxury and fills each line with his larger-than-life persona — while the multi-hyphenate focuses on making each drum-and-synth interaction tingle the listener’s senses.
Nicki Minaj, Maluma & Myriam Fares, “Tukoh Taka”
It’s World Cup season, and to celebrate the 2022 kickoff in Qatar, Nicki Minaj, Maluma and Myriam Fares have joined forces for a frenetic single that is the “Official FIFA Fan Festival Anthem” and sung in English, Spanish and Arabic. “Tukoh Taka” moves swiftly and tries to score efficiently: around the jittery hook, Minaj raps about a girl’s night out (with some soccer references tossed in for good measure), Maluma croons about scoring a goal in the 90th minute of play, and the beat throbs with the intensity of the tournament that the song is designed to celebrate.
Saweetie, The Single Life EP
Saweetie is winding up for a major 2023, but before this year comes to a close, the ascendant MC demonstrates the combination of her current star power and artistic potential on the six-song project The Single Life. The California native sounds collected and charismatic on tracks like “Don’t Say Nothin’” and “Bo$$ Chick,” but it’s “Handle My Truth” — on which she opens up about staying single over throwback, G-funk-informed production — that reminds us of the lyrical depth that Saweetie is capable of achieving in addition to hits like “Best Friend” and “My Type.”
Disturbed, Divisive
Overlook Disturbed at your own risk: the long-running, multi-platinum hard rockers are still catering to genre fans as well as a large group of casual listeners who can’t get enough of their inventive pummel. Divisive, their eighth studio album, contains all the hallmarks of a Disturbed project — in addition to the head-banging material, there’s also an effective ballad, this time a team-up with Heart’s Ann Wilson titled “Don’t Tell Me” — and is also a blast to listen to, regardless of how down with the sickness you may be.
Brockhampton, The Family and TM
If new album The Family and surprise release TM represent the final works of the audacious hip-hop collective Brockhampton, who have been hinting at a going of separate ways for some time, then the group will have gone out with a creative bang: instead of getting lost in contemplation and wobbling toward new beginnings, Brockhampton uses both projects to get back to what made them captivating upon their breakthrough, from zany sing-alongs (the Nickelodeon homage “All That”) to R&B and dance riffs (“Man on the Moon,” which checks both boxes) to hardened bars about who they are and what they want to accomplish (the stirring coda “Brockhampton”). Safe to say that, no matter what happens next, Brockhampton’s music and character will endure.
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, Rihanna has another stirring soundtrack single, Bruce Springsteen covers some hand-picked classics and Wizkid is as cool and collected as ever. Check out all of this week’s First Stream picks below:
Rihanna, “Born Again”
Rebirth as a metaphorical concept has been a lyrical trope in popular music for generations as artists shed their creative skins and begin new eras, but “Born Again” — Rihanna’s second single from the Black Panther: Wakanda Forever soundtrack, following the stark ballad “Lift Me Up” — takes that idea and turns it literal, swelling from a somber reflection of someone who’s passed into a thundering new beginning thanks to an extended choral outro. The end of “Born Again” is purposely unrecognizable from its beginning, but Rihanna’s graceful approach serves as the connective tissue; she’s been gone for years, and we’re not taking her for granted now that she’s back.
Bruce Springsteen, Only The Strong Survive
Although cover songs have always been part of the Bruce Springsteen live oeuvre, Only The Strong Survive, a collection of the Boss’ interpretations of older and slightly obscure soul tracks, is his first studio covers collection since 2006’s We Shall Overcome: The Seeger Sessions, and following a prolific recording period that includes 2019’s Western Stars and 2020’s Letters To You. Because Springsteen can set his songwriting aside and focus on his voice with this project, Only The Strong Survive comes across as delightfully free-wheeling, with producer Ron Aniello helping construct snappy renditions of songs like “Nightshift,” “When She Was My Girl” and “Turn Back the Hands of Time.”
Wizkid, More Love, Less Ego
Wizkid’s fifth studio album arrives with expectations unlike anything the Nigerian superstar has experienced before — particularly in North America, where his Tems collaboration “Essence” became a slow-growing top 10 smash last year, and where Wizkid will headline New York’s Madison Square Garden next week. Yet More Love, Less Ego sounds utterly free of professional pressure: the Lagos native may be flaunting a bit more braggadocio on the mic and inviting some new guest stars into the fold (Don Toliver and Skepta are among those who stop by), but Wizkid’s confidence sounds effortless across the project, as if international superstardom was a natural next step.
Rauw Alejandro, Saturno
Rauw Alejandro may have found in urbano music before Saturno, but the Puerto Rican singer-songwriter’s new project accentuates every aspect of his aesthetic across 18 thrilling tracks: this is a euphoric yet personal dance project, full of bleary synth lines, rumbling percussion and the echoing voice of someone who knows how to command the moment. Alejandro has had plenty of memorable moments in popular Latin music prior to Saturno, but this is his most accomplished project to date, and a full-length that sounds essential to understanding the current moment in the genre.
GloRilla, Anyway, Life’s Great…
Anyway, Life’s Great… is the cherry on top of a whirlwind year for Memphis rapper GloRilla — following a breakout hit in “F.N.F (Let’s Go),” a label deal with CMG, and recently a top 10 Hot 100 hit with the Cardi B team-up “Tomorrow 2” — and as such, the nine-song EP basks in the MC’s enviable run while also laying the foundation for an even bigger future. Songs like “No More Love” and “Unh Unh” utilize GloRilla’s microphone tenacity in different ways, the former focused on post-fame betrayal and the latter on mid-stardom flexing, but throughout the project, she sounds ready for an even bigger stage in 2023.
Louis Tomlinson, Faith in the Future
A press release for Louis Tomlinson’s Faith in the Future touts his sophomore solo album as “a collection of songs designed for the live environment,” and indeed, the soaring pop-rock tracks on display here certainly keep the deafening crowds that packed One Direction’s stadium shows in mind. Yet Faith in the Future offers a hopeful vision of Tomlinson as an adult singer-songwriter, carving out a sound after a few years of experimentation — a song like “Silver Tongues,” driven by sprightly piano and shouted hooks, points toward a defined, agreeable aesthetic.