State Champ Radio RnB
Four years ago, two-time Grammy-nominated R&B crooner SiR guest starred in Issa Rae’s Emmy-nominated cultural phenomenon Insecure. In that episode, titled “Lowkey Movin’ On,” SiR and fellow TDE artist Zacari perform their single “Move” ahead of Issa’s career-shifting block party; it’s one of those priceless TV moments where a fictional story pays tribute to the real city in which it takes place, this one being Inglewood, CA. Now, with the release of his deeply introspective and self-confrontational new LP, Heavy, SiR is lowkey moving on from a life-altering five years of destruction and healing.
Heavy – a harrowing project that features contributions from Ty Dolla $ign, Anderson .Paak, Ab-Soul and Isaiah Rashad – marks the official follow-up to 2019’s Chasing Summer, a record that boosted SiR’s career to a new level of fame and success while also serving as one of the strongest efforts from that era of contemporary R&B. Where Chasing Summer was an ode to languid, sun-soaked West Coast soul – bookmarked by collaborations with Jill Scott and Kendrick Lamar – Heavy is much grittier.
Trending on Billboard
Between the COVID-19 pandemic and the 2020 U.S. presidential election, the past half-decade has been nothing short of monumentally transformative for most of the world. For SiR, those kinds of world-shifting events served as mere backdrops to personal crises that threatened to upend the very life he built for himself. “I was taking the attention I was getting and using it the wrong way for selfish purposes and eventually that started to affect my home life in a way that I couldn’t talk about,” he says. “The only way I knew how to medicate or get through all of it was to self-medicate. And we know what drugs do. Don’t take long, you know? I have to learn these lessons the hard way.”
As a result, TDE CEO Anthony “Top Dawg” Tiffith held up the release of SiR’s new record until he was sober, both literally and emotionally. “We always going to put our best foot forward at TDE, that should be an understatement,” SiR says. “We’ll wait five years if we got to. When we come, we come correct. We had to take a step back and reevaluate.” That approach has drawn ire from some TDE fans – remember how some fans reacted to the delays leading up to SZA’s SOS? — but it’s proven to be an effective one. SiR’s stint in rehab brought him back home to himself. The poems he wrote during his stay and during group therapy meetings turned into the 16-track opus that is Heavy. Last week (March 22), SiR broke down his five favorite Heavy tracks — from “Ricky’s Song” to “You.”
Below,, SiR unpacks his approach to album sequencing, the impact of gospel music and his faith on his new LP and that sticky Kai Cenat controversy.
[embedded content]
Heavy is your first full-length album in five years. Obviously, much has changed in the world and in your personal life during that time. Talk to me about the time since Chasing Summer.
The last five years were hectic for me, man. I’ve been through a lot. I was struggling with addiction and I had to sit myself down. A lot of people always look at the whole TDE thing, and they think that Top holds artists back or anything like that — Top just ain’t gonna release nothing unless it’s time for it. Or unless you’re ready. If you’re unhealthy or you’re not prepared or your music ain’t it… he’s gonna let you know. And I had a lot of growing to do.
The pandemic was rough on everybody. I hate to even bring it up. It’s been such a long time, but it was hard on so many people. I got the s—t end of the stick, and just wasn’t taking good care of myself. I needed some time to sit down and get my s—t together. Once we actually got me healthy, then it was time for us to start telling the story because it wasn’t like I went through it by myself. There’s so many people dealing with the issues I was dealing with. I think it was important for us to show people my humanity. As artists, we always get put on these pedestals and [thought] so highly of us, but, man, we’re human just like anybody else. And we go through things. Sometimes we make it out, sometimes we don’t.
I was blessed to make it out and be able to have a second chance at life. I just wanted to show the world what I was going through, but the only way I really get a chance to tell my side of the story is through my music. So we did a great job of being as transparent as possible with where we’ve been on wax, and where we’re going on wax. I think that for my fans especially, I just wanted them to know that I wouldn’t have never waited this long if it wasn’t for good reason. They’ll never have to wait this long again on music for me. I have a playlist right now that I’m working on. It’s great music, hopefully, we’re looking at 2025. But with the music that I’m dropping now, I just want fans to know that this is who I was. It’s honest. There’s pain in there, but it’s good pain. It’s beautiful pain, and I hope I’m putting this out for people to relate to, and I hope that I was so connected that it spreads like wildfire and people understand it because they’ve been through it or they’ve seen somebody go through it.
Why was it important for you to get so honest and so specific at this point in your artistic journey?
It wasn’t like I wanted to. I was going through it with most of these songs. Most of these are poems that I wrote while I was in rehab or stuck somewhere that I didn’t want to be. In some type of meeting or some type of therapy or whatever. [The songs] came from the actual places. It’s not like I waited until after and wrote the song; I was going through it when I was writing these songs. And it’s the only way I really know how to write things. All the stuff that people love from me comes from such a personal place. The only real way I know how to share my art is honesty. I’ve tried to write cool lyrics and write a single or a banger, but it just doesn’t work out for me trying to do it that way. I feel like I’m always going to have to find it in here before I get anything that’s worth listening to.
When did you know that you had an album in the works? When did these tracks start to coalesce into Heavy?
We been sitting on this playlist for damn near two years. Even last year, we were just biding our time because there’s been so much change in the music industry. There’s so many new artists coming out, we didn’t want to just drop in dead space. We want to make sure that everything we do has purpose. It’s crazy to say it’s been five years. So much music has come out. So many things have happened. But I think we picked the timing based what we had to say, too. We wanted to make sure that we dropped it in the right space and I think it’s the perfect time for this to come.
You’ve previously noted some similarities between Heavy and Kendrick Lamar’s Mr. Morale & the Big Steppers, because of both albums’ focus on mental health and personal growth. Were there any specific moments on that album that inspired you? What other albums did you look to (if there were any at all) to prepare to take yourself to that headspace?
You know what’s crazy? There’s another album that I just learned about recently, Heavy by Jean Deaux, and didn’t know it existed. But the similarities… her cover and everything looked exactly like mine! You know what I mean? I say that to say, I feel like with creatives, there’s a pool of creativity that we all pull from, and sometimes we pull the same ideas and have the same thoughts coming from the same place.
I feel like there are so many similarities on The Big Steppers. I wasn’t listening to it when I was writing my music, but listening to it made me realize that whatever [Kendrick] was going through, I was going through. Wherever he was pulling from, I was pulling from. And saying with Jean Deaux.
I think that that’s the coolest thing about creativity, you can see your own creativity shine through other people and what they were doing or saying. I definitely feel like this round of music is so personal to me that it’s going to connect with other people and there are going to be so many similarities seen because mental health is a big conversation. Personal growth should always be a big conversation. I’m just making myself a part of that conversation, that’s all.
Let’s talk about “No Evil.” That was a very different sound for you, especially for a lead single. What went into picking that track to introduce Heavy?
Man, that was the curveball of all curveballs. [Laughs.] I think with that one that, that was a huge risk. I mean, making it the first single and taking that chance, the ode to D’Angelo, it was all risk, but a risk that paid off. That’s one thing you got to know about me — I’m not scared to fall on my face. We’ll take the chances. We’ll learn from them or we’ll win. And this one just so happened to be a win. We were already confident in the vocal and confident in the production and stuff. The visual and the timing of it was what we were most worried about, so having it work out feels really good. It was a scary moment for me, for sure.
The vocal on “No Evil” really is ridiculous. There are flashes of Prince and Lenny Kravitz and D’Angelo in there, you’re in full rock star mode. What do you tap into emotionally or mentally to pull off a vocal performance like that?
Oh man, straight up Metallica rock energy. It took a couple of times to figure that out. I started real soft and was like “That’s not what I’m saying, what am I saying?” Let’s yell. [Laughs.] The emotion had to fit the statement. And that song, it’s really about drugs of choice. It’s not about being an actual superhero. I flipped it on its head. It’s a poem I wrote in rehab based on the fact that I see no evil in you having an issue. Flipped that s—t on his head and it just became such a powerful thing.
[embedded content]
Now, “Karma” with Isaiah Rashad. There are a few really dope moments like the percussive alliteration in the hook and this line: “Wish I never bought the game my uncle sold me/ It’s a little too late to save the old me.” Talk to me about the writing process for this one.
“I need to stop treating h–s like I need them,” that’s the first line I came up with. When I heard the music, I knew I wanted to do something that was true to me. I knew I wanted to do something that was correct for me and where I was at that point. I rented a studio on the east side and it was my own space. I was sitting there getting high all the time, not really working. And I wasn’t taking care of myself. This song came out of that time. So, it came out of turmoil; those lyrics came from the depths of my heart. I was trying to be playful about it, but when you really listen to it, that’s a cry for help. It really is. And it’s me being aware, and for a lot of people, self-awareness is what they lack. It’s me being aware that I got issues and I got problems and if I don’t fix them I’m going to have to pay the price. There is no measurement on how big a sin is. A sin is a sin and you have to atone. It was me being transparent.
And we knocked it out of the park. That’s another one where I’m talking crazy. I remember thinking, “I don’t know how my female audience is gonna take this. I don’t know how my audience is gonna like me being this transparent. How dudes are going to like me putting them on blast?” It’s kind of similar to “The Recipe.”
As soon as I played it for [Isaiah Rashad], it was a no-brainer. He got it. So, “Karma” is special and the lyric is what I needed to say. A lot of these lyrics is what I needed to get off my f—king chest, you know? I want to normalize my life. I don’t want to be SiR, I want to be Darrell. Most times I’m SiR, because I get paid to do it. I got to remember that and respect it, you know. So having those lyrics where I’m showing the world that I got an ugly side, and y’all want to see me healthy and happy? Keep me that way.
There’s so much gospel coursing through “Brighter” from the melody to the way you arranged your background harmonies. How did gospel, and your faith in general, manifest during the creation of Heavy?
I think if you’re really listening to my music, you notice that all of my harmonies, all the stacks, all that stuff is choir-based. My mother is still administering music at our church, Bible Enrichment Fellowship International Church. Pastor Beverly “BAM” Crawford still out there. She’s at the helm. I’m a [preacher’s kid] through and through. Can’t run from it. I think it’s a part of my job to hold on to my roots and to show where I come from as much as possible. There are slight nuances that people miss, and they won’t know that it comes from where I’m from. But the people that know me hear it.
“Brighter” is like the most obvious Easter egg. If you can’t tell I grew up in the church from this song… [Laughs.] It was meant to happen, and in the direction that the album was heading, I needed God at the tail end because that’s where we were headed. We were headed from the dark place into the light, and it worked out perfectly. It’s perfect placement. Just a week ago, I changed the order one more time to make sure that “Brighter” had its moment.
[embedded content]
What is your approach to sequencing an album?
I turned in this project [the week before it came out] I changed the order 8 days [before]. I’m telling you! It’s because it’s an emotional push and pull. The best records that I’ve heard are roller coaster rides with peaks, lows, great endings and great beginnings. Steady beginnings, you know? So, I always try to mimic the albums that I love most as far as structuring them. Now, mind you, mimicking what the structure is is one thing. Trying to copy the order and the speed and the tempo… stay away from that. You’re structuring it based on your preferences. So, it comes from having done it a few times.
With this one, in particular, I took my time. I wanted to do it in an emotionally charged order. If I were going to go dark, I want to start dark and continue on that path until we started to feel an emotional change. If I was going to start light, we’d probably end with “Ignorant” and start with “Brighter” you know? But this was the order that I think the album dictated it be in.
Heavy boasts a lot of familiar collaborators. How do you go about securing collaborations for a project?
A lot of phone calls, man. I gotta call these people personally, because we don’t do the whole reaching out thing. I will never buy no feature — unless it was like I got another Dot verse or I’m getting a Cole verse. But even with them, I would want to be there directly. I want to be in the studio. I would want it to happen organically. My features always happen organically, and I’ve tried, man. I’ve reached out to so many different artists, and I don’t know what it is… just business, I don’t know.
I think the people that that rock with me have always rocked with me and it makes it easy for us to make records that will stand the test of time. I don’t chase features and they come naturally and that’s the best way to do it.
How does it feel putting out your first project in five years? Especially since the music industry has changed so drastically since Chasing Summer.
I feel like a new kid on the block, honestly. There are a lot of fans that have stuck around and have been by my side for sure. But a lot if people don’t know who I am still and that’s crazy to me. I hate to say it like that — that makes me seem so arrogant. With all of the impact that we made over the last few years, I definitely feel like we could be getting bigger opportunities, and maybe there’s something in the heavens that’s keeping me out the door. Maybe it’s not my time yet.
But I love the adventure of being discovered. I’m putting this music out, and people are like, “Oh, s—t, wait! He’s got six albums. He got an actual following. They don’t go nowhere. Like they really love him. If I say something bad about him, they’re going to go off on me.” That’s a blessing to watch. And the new fans are sweet, and I tried my hardest to communicate with them and be online on my phone. My manager tries to get me to actually work on my Instagram, but I’m just scrolling. [Laughs.]
But in those periods, I’m commenting on people’s pages, I’m trying to talk to fans as much as possible and, with the new singles and so many new people coming, it’s been beautiful to see myself be reintroduced to my old fans and introduced to new fans.
Speaking of being on socials… we gotta talk Kai Cenat. A few weeks ago you tweeted some commentary on the Omah Lay concert situation and Kai’s role in the aftermath. That was met with some pretty swift backlash. How did you handle that?
I shouldn’t have took it down, because when I realized what people were actually mad at — and I realized it before we apologized, mind you — I was like… y’all mad at me because I know who he is? I just was at the All-Star Weekend with the kid! There was a lot of people not knowing and me trying to save face.
At the end of the day, I f–ked up. I’m human. I make mistakes. I really regret that it came out like it did. There’s so much confusion in the situation at the end of the day, nobody really knows that I know what happened. They think I’m ignorant to it. The fans that were tripping, when I really looked at them, they weren’t followers. They were just random people on the Internet and all of my actual followers were like, “Why didn’t you stand on business?!”
I think we live and we learn. I didn’t bat an eye, not like it messed my day up or made me feel like I should be worried about my rollout being messed up. That wasn’t the feeling that I got off of it. It was actually very laughable. That whole situation with the Omah Lay concert bleeding over into Kai Cenat, I’ve learned that in the realm of having an opinion on those type of things, it’s best not to. Just leave it alone, shut the f—k up and mind your business. That was my lesson, and thank God it went as light as it did. Could have been way worse! I’ll be more mindful next time.
Are there any plans for a tour to support Heavy?
Tour is looking like July, August — and we are excited to paint a different picture. It’s not going to be Chasing Summer. It’s not going to look anything like anything anyone’s ever seen from me. I’m so healthy and so happy. This is the healthiest I’ve been in a long time, so I’m just excited to go out and show my fans this side of me.
It’s been five years since SiR launched a full-length album – and the world is a very different place from what it was back in 2019. More importantly, however, SiR is also a different person. The Inglewood-bred R&B crooner has kept a relatively low profile over the past half-decade, as he took some time to […]
From Cardi B‘s Missy Elliott-nodding “Like What” freestyle to RAYE‘s Brit Awards sweep and the kickoff of Nicki Minaj‘s highly anticipated Pink Friday 2: Gag City World Tour, it was a very eventful week for hip-hop and R&B. As usual, New Music Friday (Mar. 1), unleashed a tidal wave of new music, including a terrific new LP from ScHoolboy Q, a feisty new single from Chlöe Bailey and blistering EP from Meek Mill, which landed at the tail end of a social media spiral following the latest lawsuit against Sean “Diddy” Combs.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from 4batz‘s latest low-key anthem to Samara Joy’s impressive entry into the 2025 Oscar race. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Trending on Billboard
4batz, “act iii: on god? (she like)”
[embedded content]
Any baseball player would tell you hitting a home run in each of their first three at-bats is nearly an impossible feat, but 4batz has accomplished the musical version of that. With “Act III: on god? (she like),” the atmospheric R&b singer-songwriter delivers more sweet vocals that rain from the clouds and aerate through his Black Shiesty ski mask. The Texas native heavenly croons about a toxic love, creating a paradox with the menacing visual featuring 4batz mobbing in the streets with his homies, only adding to the artist’s mystique. To quote the great hip-hop life coach Fat Joe, yesterday’s price is not today’s price, as record labels continue to wave lucrative checks looking to entice the rising talent to sign on the dotted line.
ScHoolboy Q feat. Rico Nasty, “Pop”
[embedded content]
It hasn’t even been a week but Blue Lips is already a career highlight for ScHoolboy Q — quite possibly a career-best effort. On “Pop,” a shape-shifting, rock-infused collaboration with Rico Nasty, Q plays straight offense, using the grimy boom-bap beat to soundtrack his and Rico’s snarling declarations of dominance over everyone in their way, inside and outside of the rap game. “Put fifty in that, n—a, a hunnid in this, I never could miss/ N—a, we jump out that b—h, yeah, check off the list/ You rappin’ this, n—a, we really do this,” he ruthlessly spits.
That Mexican OT & Moneybagg Yo, “Twisting Fingers”
[embedded content]
Texas Technician, the new album from That Mexican OT, is a loving tribute to his hometown and Southern hip-hop at large, and the Moneybagg Yo-assisted “Twisting Fingers” is an instant standout. The Bay City, TX & Memphis, TN link-up takes place across a laid-back beat — crafted by Bankroll Got It, Ben10k & Danes Blood — that’s reminiscent of old-school Texas rap. That Mexican OT and Moneybagg trade bars about staying true to their gangbanging roots, regardless of how famous they might become. “This s–t get gangster, ain’t no prankin’, outstandin’ member, high rankin’ / If you’re standin’ on what you rep, then twist your fingers like sign language,” Moneybagg closes his verse. Equal parts menacing and funny, “Twisting Fingers” is a stellar balancing act.
Skepta & Portable, “Tony Montana”
[embedded content]
The intersection of grime and Afrobeats has long been a fruitful one, and “Tony Montana” is another strong addition to that legacy. The latest single from Skepta’s forthcoming Knife and Fork LP, “Tony Montana” finds the Brits-nominated rapper joining forces with rising Nigerian rapper Portable for an anthem celebrating their respective impact and influence. With a title that directly alludes to the iconic Scarface character, the relatively jaunty production — courtesy of Jae5 — makes for a welcome sonic contrast that also provides a multilayered soundscape that pairs well with both Skepta’s cocksure flow and Portable’s slinky hook.
Samara Joy, “Why I’m Here”
[embedded content]
An original song for Netflix’s forthcoming Shirley — a biopic of Shirley Chisholm (the first Black woman to be elected to Congress) starring Oscar-winner Regina King in the titular role — “Why I’m Here” continues Samara Joy’s flawless streak of truly spellbinding vocal performances. Produced and co-written by Grammy-winner PJ Morton, the new song finds the jazz star taking a break from her home genre and briefly transitioning into a sweeping, cinematic sound that seamlessly carries her soulful pipes into a more straightforward pop realm. “An easy road was never promised/ And so much has been from taken from us/ But I won’t stop no matter how much I have to go through/ I won’t shed one tear, I know why I’m here,” she croons.
Asha Imuno, “Oozin…”
[embedded content]
22-year-old Moreno Valley, CA native Asha Imuno is on the rise, and “Oozin…” — a cut from his sophomore effort, Pins & Needles — is proof of why. In the contemporary R&B space, the word “oozin” has a sexual connotation more often than not. Here, however, Asha flips the phrase to refer to the anxiety and depression that pour out of him in moments of silence and aloneness. “Oozing/ The anxiety subsides in the moment the dream becomes lucid / & Bruises/ That I can’t hide in this light/ Quantify all the times I felt useless,” he coos in the heartbreaking chorus.
From 126-song mixtapes (looking at you, French Montana) to the media blitz of Tyler Perry’s Mea Culpa starring Kelly Rowland and Trevante Rhodes, the past week has been a characterstically busy one for the worlds of hip-hop and R&B. With awards season firmly in the rearview mirror and the Super Bowl over and done with, we’re in a period of relative calm before festival season kicks off in earnest.
Until then, we’ve spent the last week fawning over Tyler, the Creator‘s campy new collection for Louis Vuitton, where Pharrell Williams currently serves as men’s creative director. Speaking of the legendary artist-producer, Williams has also been teasing a forthcoming new collabortion with Miley Cyrus, who he previously joined forces with on 2013’s Bangerz and 2014’s G I R L.
Trending on Billboard
Of course, we can’t forget about Jeezy‘s smooth Tiny Desk performance, which saw the veteran flipping his trap anthems into soulful, stripped-back arrangements. And the news cycle hasn’t been entirely positive, with Drake taking to his Instagram story early this morning (Feb. 26) to post what appears to be a call for the release of Tory Lanez — who was sentenced to 10 years for shooting Megan Thee Stallion in the foot (Aug. 8, 2023) — from prison.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Usher‘s vulnerable new Coming Home track to Rhyan Dougas’ contemplative ode to the cyclical nature of romance. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Marlon Craft & Method Man, “Muggsy Bogues”
[embedded content]
Whenever Method Man gets on a track, it’s going to be an event. On “Muggsy Bogues,” named after the shortest NBA player in history, Meth and independent New York rapper Marlon Craft spar over a dark, gritty beat crafted by Arbus and Moo Latte. “I pulled up in the Muggsy Bogues with the pennies/ ‘Cause I’m short on time, so don’t be short on a penny/ In our New York, they would envy the flavor/ Now it’s a bunch of white girls callin’ delis bodegas,” Craft opens his verse. There’s a lot about this track — from the chugging drums to the emphasis on dense, almost understated wordplay from both rappers — that’s unmistakably New York. It’s regional in a way that beckons to prime of East Coast rap while still feeling fresh enough to secure a place alongside contemporary iteration’s of the city’s classic sound.
Usher, “Naked”
[embedded content]
So much of Usher’s musical and artistic persona is predicated on his multilayered relationship with sex that when he flips that entire concept on a song as disarming as “Naked,” it’s a particularly stunning moment. “When we strip down, can’t run from real truth/ When we strip down, we gotta face it/ Until I get it right, I’m not gon’ lie/ I’ma need me and you tonight to be naked,” he croons over a lush combination of wailing electric guitar, steady percussion and sultry bass licks. Here, Usher — the man behind such bedroom classics as “Bedtime,” “Hey Daddy” and “Trading Places” — tempers the “sex-a-holic” label with an exploration of his youth, a time where he would try to find his “manhood inside a woman’s body.” It’s heady stuff, sure, but it’s also easily the best song on the new expanded edition of Coming Home.
SiR & Isaiah Rashad, “Karma”
[embedded content]
Just a few weeks after unleashing “No Evil,” SiR has recruited TDE labelmate Isaiah Rashad for “Karma,” a continuation of his emphasis on self-reflection as he ramps up the campaign for his forthcoming fourth studio album, Heavy, due out Mar. 22. “Ooh, I need to stop treating hoes like I need ’em/ I’m too busy making promises when I can’t keep ’em/ It’s time I slow this ‘Llac down to a hunnid/ I keep making the same mistakes when I should be learning from it,” he croons over atmospheric piano and skittering kick drums. Additionally, Rashad delivers a strong verse that nicely complements SiR’s lyrical allusions to a Biblical take on karma.
Ray Vaughn feat. Pusha T, “Problems”
[embedded content]
It may only be February, but TDE is on a mission to own 2024. With their second of three entries on this week’s column, Ray Vaughn links up with Pusha T for the sparse “Problems.” Over a synth-inflected, somewhat mournful beat crafted by Rayo & WizzleGotBeats, the rappers play their respective roles of rookie and elder statesman. Ray Vaughn spends his verse firing off heated shots to those who deride him as a “backpack rapper” (“Let ’em label me a backpack rapper turned to a school shooter/ All they top five get hit, unless they cool tutors”), while Pusha exudes a complementary cool that underscores his words of advice for longevity in the rap game. “Listen, Ray Vaughn, be clear of your peers/ ‘Cause in a couple years it’d be musical chairs/ We done seen n—as panic and show us they tears/ Reminiscin’ over hits but the money ain’t there,” he spits.
SZA, “Saturn”
[embedded content]
After debuting this track during the 2024 Grammys, SZA has finally uploaded “Saturn” to digital streaming platforms. An instant fan favortie, “Saturn” — co-written by SZA, Carter Lang, Rob Bisel, Solomonophonic and Monsune — finds the four-time Grammy winner musing over the possibilities of starting life anew on Saturn, after being faced with little but devastation on Earth. “Stuck in this paradigm/ Don’t believe in paradise/ This must be what Hell is like/ There’s got to be more, got to be more,” she croons over a characteristically ethereal beat bridging R&B, pop and alternative.
Hunxho & Summer Walker, “Your Friends”
[embedded content]
Atlanta rapper Hunxho is getting ready for what could be a major breakout year, and this new Summer Walker-blessed version of “Your Friends” is sure to keep up his momentum. “Your Friends” was arguably the biggest hit from Hunxho’s For Her album, and this new remix with fellow ATL native Summer Walker adds a woman’s perspective to its exploration of the thorny dynamics that emerge when friendships bleed into romance and vice versa. “Y’all n—as no better, no cheese, no cheddar/ Be concerned what your homies tellin’ me, I deserve better/ Be concerned with your homies blowin’ me, writin’ love letters,” she warns Hunxho over Avedon & Diego Ave’s moody trap beat.
Rhyan Douglas, “Spin the Block”
[embedded content]
The phrase “spin the block” has been run into the ground in recent years, so it takes a special artist — like one Rhyan Douglas — to pull something fresh and real out of that trio of words. A love song with two feet placed firmly in the technology-steeped romance waters of the 2020s, Brampton native Rhyan Douglas croons about the wealth of opportunities that could arise should he bite the bullet and spin the block on a former lover. “But you spin the block/ If all I did was fix up, I’m tryin’ hard/ I’m tryin’ not to give up on you/ Forgot we crossed our lines,” he coos over dry acoustic guitars that recall the best of Daniel Caesar’s stripped-down moments.
Against all odds — and a brief disappearance from digital streaming platforms — Vultures I is finally here. The new joint LP from Kanye West and Ty Dolla $ign launched atop the Billboard 200 on Sunday (Feb. 18), while its breakout single, “Carnival,” starts at No. 3 on the Billboard Hot 100 (chart dated Feb. 24).
Although that new set, which features appearances from North West and Playboi Carti, dominated much of the conversation in the hip-hop and R&B worlds, it was far from the only thing of note to occur over the past week. On Valentine’s Day (Feb. 14) — or “Worst Day” if you’re a part of the Future Hive — Maze frontman Frankie Beverly announced his farewell tour. Beverly, of course, lent his voice to the seminal “Before I Let Go,” covered by Beyoncé for her 2019 Homecoming live album. Her version peaked at No. 65 on the Hot 100.
Trending on Billboard
In other R&B performance news, Usher added yet another new slate of dates to his ever-growing Past Present Future tour (Feb. 20) and the Roots Picnic announced their 2024 headliners, which include Jill Scott, Nas, Lil Wayne & The Roots and André 3000. On the hip-hop side of things, there’s no getting around the eye-popping new music video for Drake, SZA and Sexyy Red‘s “Rich Baby Daddy.” The clip — which has already amassed over 7.5 million YouTube views — finds Drizzy and Solána partying in a hospital while the “Pound Town” rap princess (who recently gave birth to her second child in real life) goes into labor.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Bryson Tiller‘s new heater to Rae Khalil’s tender meditation on existentialism. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Pratt & Moody & Cold Diamond & Mink, “Creeping Around“
[embedded content]
Finnish soul duo Pratt & Moody are dishing up heavy old school vibes on their new Cold Diamond & Mink-produced single “Creeping Around.” Their take on contemporary soul is infused with an especially haunting approach to melody. The grandiosity of the song’s production — built almost exclusively around Moody’s sultry guitar — evokes the most stirring of James Bond themes, while the duo’s expansive combine vocal ranges trade off fluttery falsettos with robust full-voice crooning. “We gotta stop creeping around” is a simple, but incredibly effective hook; the song’s lyrical sparseness allows the meticulous arrangement ample room to breathe, making it a flawless backdrop for the slight twang that contours each repetition of “creeping around.”
Bryson Tiller, “Whatever She Wants”
[embedded content]
After initially appearing on his Slum Tiller, Volume 2 mixtape last November, Bryson Tiller has finally unleashed fan-favorite track “Whatever She Wants” on all digital streaming platforms. Crafted with the intent to appear on a stripper’s pre-show playlist, “Whatever She Wants” finds Bryson far-removed from his heart-bearing hip-hop-inflected R&B. Instead, the Grammy nominee skates across TylianMTB-produced Detroit-inspired beat with all of the effortless swagger and braggadocio of a guy who could quite literally buy the whole club. “CC, Gucci, hit Bottega, whatever she want/ She piss me off, somehow she still get whatever she want,” he spits, somehow striking a fine balance of gruffness and seduction in his delivery.
Tierra Whack, “27 Club”
[embedded content]
Mental health has long been a lyrical touchstone in hip-hop, just as the “27 Club” — an infamous collection of celebrities who passed at age 27 — has been a figment of pop culture’s obsession for decades. Thus, the convergence of these two concepts is fairly natural, and Tierra Whack expertly tackles them both on her new track, “27 Club.” Produced by J Melodic and ProdbyBRIANNA, “27 Club” finds Tierra contemplating suicide. “When your life gets hard but it’s simple/ When everybody ’round you suspenseful/ It ain’t really hard to convince you/ Lookin’ for somethin’ to commit to?” she spits. The dark beauty of this song is that Tierra wholly rejects the notion of a happy ending or a narrative of triumph; she simply sits in the aching self-loathing, guilt and depression that comes with suicidal ideation.
Lola Brooke & 41, “Becky”
[embedded content]
Last year, both Lola Brooke and 41 dropped off full-length projects — Dennis Daughter and 41 World: Not the Album, respectively — and now the two fast-rising New York rap breakout stars are kicking off 2024 with a new collaboration. Predicated on a definition of “Becky” that refers to fellatio, the fiery drill joint marks the union of some of the most exciting voices in the contemporary hip-hop scene. Lola’s characteristically menacing delivery is a smart complement to TaTa’s boisterous ad-libs and Kyle Ricch’s high-octane flow. Of course, the “Don’t Play With It” rapper also pairs well with 41’s Jenn Carter, whose slick wordplay makes her closing verse the strongest.
Chantae Cann & Kenyon Dixon, “B-Side”
[embedded content]
Kenyon Dixon has been on something of a hot streak lately between his 2024 Grammy nomination and a recent string of gorgeous duets. On “B-Side,” his new joint alongside Billboard-charting jazz and soul signer Chantae Cann, he keeps that streak alive. Produced and co-written by Masego, there’s a throughline of sultry, “come-hither” energy that encapsulates the innate, tasteful allure of the slinkiest jazz-inflected R&B melodies. Cann delivers the hook in a breathy tone that pairs well with Dixon’s whimsical descending riffs. Who said grown and sexy R&B was dead?!
Rae Khalil, “Is It Worth It”
[embedded content]
In celebration of the announcement of her signing with Billboard chart-topping rapper-singer Anderson .Paak‘s APESHIT label, Rae Khalil has unleashed a new .Paak-produced single titled “Is It Worth It.” Built around an understated drum-laden and bass-anchored soundscape, Khalil asks “Is it worth it?/ If I show up when I want/ In the sea of the same face/ Is it worth my time, time?” The lyrical battle between her own pride and her desire for connection and yearning to be wanted and desired come to a head in the lush instrumental break that simultaneously serves as the song’s bridge and outro — talk about a stunner.
ScHoolboy Q, “Yeern 101”
[embedded content]
Q’s new LP, Blue Lips, arrives in just under two weeks, and the Grammy-winning rapper is amping up his rollout. Built around a skittering, bass-blaring beat crafted by Cardo, J.LBS, Johnny Juliano & Yung Exclusive, “Yeern 101” finds the TDE star effortlessly skating over the track with a borderline breathless flows. There are no easy hooks or choruses here, these are two heady voices chock-full of smart wordplay, high-speed flow switches and sly changes in inflection and intonation — both of which are elevated by the ever-intensifying instrumental. “I’m a n—a out here, everything come free/ I ain’t never met God, but I bet he know me/ Put the money in a set, a n—a die in them streets/ Threw the boy alley oop, now he ridin’ on fleek,” he spits.
Last night (Feb. 11), not only did Megan Thee Stallion and Nicki Minaj‘s beef seemingly come to an end — the H-Town Hottie’s “Hiss” debuted atop the Billboard Hot 100 — the duo’s war of words took a backseat to a much more daunting showdown: the San Francisco 49ers v. the Kansas City Chiefs.
Ultimately, the Chiefs — led by star quarterback Patrick Mahomes and Taylor Swift‘s loverman Travis Kelce — pulled out a last-minute win over the 49ers. As thrilling of a game as the Super Bowl was, all eyes in the hip-hop and R&B worlds were squarely fixed on Usher‘s dazzling halftime performance. A flashy, maximalist ode to Black performance history and Las Vegas iconography, the King of R&B sprinted through his hit-packed catalog, including anthems such as “Superstar,” “U Got It Bad,” “OMG,” “Nice & Slow” and “Yeah!”
Of course, the top-level entertainer was in prime form, showing off intricate footwork and boundless sex appeal as he trotted out surprise guests such as Alicia Keys, H.E.R., Lil Jon, Jermaine Dupri and Ludacris. Between a major Grammy night for Victoria Monét and SZA — both ladies took home three trophies — and Usher’s three-pronged blitz of a killer halftime show, a star-studded new LP and a massive forthcoming headlining arena tour, R&B and hip-hop are starting off Black History Month with a bang.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Honey Bxby’s blunt Other Woman™ anthem to Nardo Wick and Sexyy Red’s meme-interpolating “Somethin’.” Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Honey Bxby, “Fkn Him Too”
[embedded content]
While some of her contemporaries would rather cry over a toxic situationship, Honey Bxby is relishing the innate messiness of being the Other Woman™ on her new single. “I’m f—kin’ him too!/ I don’t know what you’re gonna do/ It’s time you heard the truth/ That he don’t belong to you,” she proclaims in the chorus. Reverb-drenched backing harmonies and a booming 808-laden trap&B beat provide the song’s foundation, and Honey paints across the soundscape with a tongue-in-cheek tone that highlights the jauntiness of the track’s “F—k You Tonight”-evoking melody.
Jermaine Dupri feat. Nelly, Ashanti & Juicy J, “This Lil’ Game We Play”
[embedded content]
Reuniting Nelly and Ashanti for their first song together since 2008’s “Body on Me,” Jermaine Dupri delivers a joint that perfect captures the essence of the two stars’ era of R&B/hip-hop crossover collaborations. Assisted by Juicy J, Nelly and Ashanti contour Dupri’s Miami bass-inflected beat with heated lust as they wax poetic about the cat-and-mouse courtship game. To his credit, Juicy adds some of his trademark sexual brazenness to balance out the couple’s reliance on innuendo. “Don Julio, ass so fat, I might lose composure/ Take you back to my penthouse, see if you can squirt like a Super Soaker/ Gon’ head, touch your toes, baby, maybe we can do a little roleplayin’/ Maybe we can have us a night cap, maybe you can be my throat baby,” he rhymes.
Nardo Wick feat. Sexyy Red, “Somethin’”
[embedded content]
If you’re a late Millennial or early Gen Z, you know the glory days of IceJJFish’s social media reign. On their new track, Nardo Wick and Sexyy Red team up for a hood love song that hinges on a sample of one of IceJJFish’s viral tracks. “It’s somethin’ ’bout my b—h I love, I can’t put my finger on it,” Nardo chants in the chorus, riffing on decade-old “On the Floor.” Over an ominous, piano-anchored beat, the two rappers trade vulgar, no-holds-barred verses about the things they love about their significant other. Sexyy maintains her hot streak of enjoyable guest verses, finessing some hilarious onomatopoeia-centric rhymes in the process. “Have a hood n—a singin’, “Fah-la-la”/ Let him hit the c—chie like grrah, grrah, grrah/ Swervin’ all in traffic, gettin’ freaky in the car/ If he try to leave me, then it’s bah-bah-bah,” she spits.
GloRilla, “Yeah Glo!”
[embedded content]
It’s been some time since her dominant run of “F.N.F.,” “Blessed” and “Tomorrow 2” (with Cardi B), but GloRilla is back in top form with her latest single, “Yeah Glo!” A return to focusing on straightforward, unvarnished Memphis rap over too-obvious ploys for pop crossover success, “Yeah Glo” finds the Grammy nominee getting real busy over a rattling beat crafted by B100, Go Grizzly & Squat Beats. “Yeah, Glo! Stomp a lil’ p—y ho with some shell toes/ Slappin’ rap b—hes and makin’ bail, ho/ Two-tone Cartier match the nails, ho/ No competition, these b—hes stale, ho,” she chants in the chorus. Although she never specifies who exactly she slapped, her gruff Gangsta Boo-esque tone provides the perfect vehicle for her rambunctious rhymes.
Latto, “Sunday Service”
[embedded content]
Not even a week after “Hiss” vs. “Big Foot,” the rap ladies are now treating us to… “Think U the S—t (Fart)” vs. “Sunday Service?” Although Latto has skirted around plainly labeling “Sunday Service” as a diss record, there are enough likely shots at fellow ascendant rap star Ice Spice to warrant that label. Across a trap-rooted beat courtesy of Go Grizzly, Pooh Beatz & Bankroll Got It, Latto spends her first verse rapping about her wealth and looks, but by the second verse, she’s focused on addressing those that would rather tweet than rap. “Do you rap or do you tweet? ‘Cause I can’t tell, get in the booth, b—h/ Stop all that motherf—n’ yellin’, ho/ ‘Cause I ain’t buyin’ what you’re sellin’, ho/ Think I’m the s–t? B—h, I know it, ho / Jesus walked on water, I got ice boilin’ though,” she spits.
Kith, Cam’Ron & Swizz Beatz, “Last Stop”
[embedded content]
For the first-ever track under Kith Records, New York rap icons Cam’Ron and Swizz Beatz team up for a rousing new single titled “Last Stop.” Anchored by hearty drums and funky guitars, the Dipset frontman delivers several cocky couplets about his legacy, his sexual prowess, his rap skills and his unshakeable position as an elder statesman in the rap game. Even when he gets especially dirty — “Brought her friend with her, watch em eat each other out/ The way I f—ked her face, man, she gon’ need another mouth” — he makes sure to balance that out with more tasteful bars of good old fashioned New York braggadocio. “Different leader, same habits/ I know I’m what you want but you can’t have it/ You got bad habits, me I’m a bank magnet/ And the coupe roof missing like Frank Mathis,” he raps.
Usher, “I Am the Party”
[embedded content]
A new cut from the R&B maestro’s Coming Home album — released the Friday before his Super Bowl halftime show (Feb. 9) — “I Am the Party” finds Usher in a familiar gear: dirty macking as the top player in the game. Through lyrics that run the gamut from corny to cheeky (“Club in my house, I call it G-spot”), Usher paints, alongside longtime collaborators Jermaine Dupri and Bryan Michael-Cox, gently toes the line between dated slogs and enjoyable throwback pastiche. As per usual, Usher’s voice is the main attraction; he delivers a vocal performance so committed to the song’s eternal bachelor bit that you can’t help but be overwhelmed by his melismatic charisma. Oh, and who can resist, a nice warning shot to the competition: “N—as talmbout Verzuz with me, please stop/ Know you think he is, but baby, he’s not,” he croons.
Looks like January is the month of beef — and we’re not just talking about Katt Williams unloading the clip on Club Shay Shay, the lively dancehall clash between Jada Kingdom and Stefflon Don, or the comparatively brief showdown between Teejay and Valiant. From Friday onwards (Jan. 26), no two artists dominated the conversation more than rap titans Megan Thee Stallion and Nicki Minaj.
Explore
See latest videos, charts and news
See latest videos, charts and news
With release of “Hiss” — her first solo single of the year — Thee Stallion ripped into a slew of high-profile opps, some of which fans think include Minaj, Drake, Pardison Fontaine, and Tory Lanez. In response, following a near-48-hour spiral across several social media platforms, Minaj unleashed “Big Foot” — one part diss track and one part unhinged spoken word monologue. Naturally, this all sent social media into a tizzy, with both artists’ respective fan bases rallying around their faves while more casual listeners picked their sides.
As the beef continues to simmer, the worlds of hip-hop and R&B kept turning. Mary J. Blige pulled the ultimate finesse and got a higher billing on the jam-packed Lovers & Friends lineup (May 4), Ice Spice put her foot on the gas with “Think U the Shit (Fart),” and Snoop Dogg revealed that he’s been prepping a new LP with contributions from Dr. Dre.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Megan Thee Stallion’s blistering “Hiss” to SiR’s moody return to R&B’s mainstage. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Megan Thee Stallion, “HISS”
[embedded content]
Tina Snow is not to be played with. On this blistering address to the scores of slick talk and rumors that have hounded her since the turn of the decade, Megan Thee Stallion delivers a masterclass in Dirty South s–t-talking realness. Over an ominous beat crafted by Bankroll Got It, LilJuMadeDaBeat and Shawn Jarrett, the H-Town Hottie relishes in her courtroom victories (“I’m the Teflon Don in the courtroom/ They be throwin’ that dirt, don’t s–t stick”) and calls out the hypocrisy some men operate it when it comes to cosmetic surgery (“These n—as hate on BBLs and be walkin’ ’round with the same scars”). With flows switching at the drop of a dime and a cadence that effortlessly shifts from threatening to unbothered, Meg pulls off the difficult hat trick of delivering a hard-hitting diss track that is genuinely an enjoyable song, irrespective of its intended purpose.
SiR, “No Evil”
[embedded content]
For his first official single since 2022, SiR dives head first in to a grittier, more jagged approach to R&B Soundscapes. The Inglewood crooner finds solace in his lover, despite the unsettling things he finds when he looks inwards. “Pardon my superstition/ But with my supervision/ I see so much of myself/ My past, my pain, my pride and my ego,” he sings in the first verse. Taylor Hill’s brooding, dynamic production blends stuttering hi-hats with sultry guitars, making for an instrumental every bit as immersive as Sir’s lead vocal.
Breez Kennedy, “Who’s Been On Your Mind”
[embedded content]
Breez Kennedy — a 17-year-old rising R&B star by way of New Jersey and Florida — just might be next up if “Who’s Been on Your Mind” is anything to go by. Out via Standard Records/Def Jam Recordings, the guitar-anchored single finds Breez living almost exclusively in his falsetto as he questions his lover about who is truly on their mind. “Would be so hard if you replace me/ Only concerned ’cause you been changin’ on me/ Girl, did I not do enough?/ Do people change when they say they’re in love?” he posits. Conveying a level of ache and forlornness far beyond his years, Breez is laying a sturdy foundation for his burgeoning career.
Kimani Jackson, “Good Man”
[embedded content]
Having already experienced viral success thanks to his show-stopping MTA performances in New York City, Kimani Jackson is ready for his next act. On “Good Man,” a booming, standout track from his Icebreaker EP, Jackson dips into a soulful blend of bluesy R&B with hints of gospel and jazz to soundtrack his quest to be, well, a good man. In the same bombastic sonic vein as towering classics like “Sometimes I Feel Like A Motherless Child” and “It’s a Man’s Man’s Man’s World,” “Good Man” is a big swing — one that Jackson pulls off, thanks in no small part to his soaring vocals and pristine vocal control.
YoungBoy Never Broke Again, “Act a Donkey”
[embedded content]
“You invited, ayy, tell Charlamange he invited to Grave Digger Mountain/ All he gotta do is pull up on me, n—a, and talk to me face to face.” That’s certainly one way to open a track!
Although the Megan v. Nicki battle has taken up most of the last week’s conversation, a certain Baton Rogue rapper had a bone to pick with one Breakfast Club host Charlamagne tha God. Over a bouncy Hitmann-helmed beat, NBA YoungBoy unloads the clip on Charlamagne, who recently crowned him “Donkey of the Day” for his less-than-sunny outlook on fatherhood. “Look, I love them graves, we tote them Ks, got Glocks with switch, they tear you up/ I’m 4KTrey, I bang for Dave, enforcement can’t do s—t with us/ Came inside this game and b—h, I f—d it up, I’m a donkey/ And I keep it on me, plenty money, b—h, don’t speak up on me,” he spits.
Lyrical Lemonade feat. Teezo Touchdown, Juicy J, Cochise, Denzel Curry & Lil B, “First Night”
[embedded content]
Already one of the year’s best posse cuts, this cross-regional link-up thrives on juxtaposition. The song — taken from Lyrical Lemonade’s star-studded All Is Yellow project — opens with a somber piano-backed ballad courtesy of Teezo Touchdown. “Somebody help me sing / Somebody help me sing about me,” he coos in a pitch-perfect tongue-in-cheek tone. The track then morphs into a “Black and Yellow”-evoking beat over which Juicy J employs his Memphis-bred cadence to chant, “Let a n—a hit it on the first night/ I just wanna f—k, I’m not tryna fall in love/ Gon’ let a n—a hit it on the first night/ I’m a real n—a, you know I would never judge.” Indeed, Juicy. Indeed.
Maxo Kream, “Bang the Bus”
[embedded content]
Maxo Kream in general is always a treat. Maxo Kream dirty macking over an EvilgIAne beat? Now we’re cooking with gas. A hilariously horny track, “Bang the Bus” fits nicely in betwen the “Slut Me Outs” and “Pound Towns” of the past year: “Redbone, slim, petite, drop it pop it Megan knees/ I need a pound town brown ratchet ghetto bitch for me/ The police kick my door down, you gotta take these pounds from me,” he spits. Evilgaine’s beat never quite settles into a steady groove thanks to that smartly warped sample, but those idiosyncracies offer a nice balance to the general contemplative vibe of the track.
As we get closer to Usher‘s highly anticipated Super Bowl Halftime Show performance, the worlds of hip-hop and R&B are back in full swing with major albums, singles and pop culture moments driving tons of discourse across social media.
From Kendrick Lamar‘s tease of new music to Megan Thee Stallion‘s surprise appearance on Saturday Night Live alongside Reneé Rapp in support of their Mean Girls collaboration, some of hip-hop’s biggest heavyweights used stealth to their advantage. In contrast, Kanye West and Ty Dolla $ign‘s elusive Vultures joint album received yet another release date; this time, the record is slated to arrive on Feb. 9. — just two days before Usher is set to take the stage at Allegiant Stadium in Paradise, NV. There was also a hilarious meme acknowledgment from Drake by way of the rapper’s recreation of TikTok creator Drew Wall’s viral day-in-the-life Target run videos — soundtracked by the Grammy-winner’s “Virginia Beach,” naturally.
Of course, the R&B OGs also had an eventful week — chief among them funk legend George Clinton, who received his star on the Hollywood Walk of Fame on Friday (Jan. 19).
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Anycia and Latto’s new outside anthem to Naomi Sharon’s gorgeous, acoustic paean for love. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Anycia feat. Latto, “Back Outside”
[embedded content]
For their first official collaboration, Anycia and Latto skate over a horn-laden JetsonMade production that perfectly complements the laid-back-yet-urgent feel of each of their respective verses. When Anycia begins her pre-chorus with the deliciously cavalier, “Huh? I’m back outside/ Yeah, huh? N—a done made me mad,” her delivery immediately sets the foundation for a woman on a mission: she’s back outside and ready to get her lick back, but you’ll never see her sweat. As a fellow Atlanta rapper, Latto sounds right at home on the track, delivering yet another strong verse complete with funny punchlines (“And they sayin’ that I rap my ass off/ Turn around like, ‘I can’t tell’) and a healthy dose of shade (“Walked in, young b–ch, I’m turnt/ Got auntie hatin’, she burnt”).
Fivio Foreign & Meek Mill, “Same 24”
[embedded content]
Reuniting for the first time since 2020’s “Demons & Goblins,” Fivio Foreign and Meek Mill get introspective over a drum-heavy beat courtesy of Saint Cardona and Lala the DJ. Worlds away from the Brooklyn drill that dominated his debut studio album, 2022’s B.I.B.L.E., Fivi opens “Same 24” with a stream-of-consciousness verse in which he exalts his tenacity and his maturation journey. “We got the same twenty-four hours, n—a / Why what’s mine gotta be ours, n—a? / Talkin’ ’bout n—as need help, n—as, I was “n—as” / But I rose out of the dirt, give me my flowers, n—a,” he spits. Meek adds a characteristically loud guest verse that celebrates his own come-up by way of slick double entendres; “My granny house a mil’, she ain’t even know I could rap my ass off/ You s–ttin’ me? I was super broke, I took that cast off,” he raps.
Rob49 & Lil Wayne, “Wassam Baby”
[embedded content]
NOLA, stand up! In a week of stellar rap collaborations, Rob49 and Lil Wayne climb into the ring with thei rown “Wassam Baby.” Built around a gritty piano-anchored Mac Fly beat, the two New Orleans rappers wax poetic about their wealth and sexual prowess while spitting game at women from across the city, as Rob emphasizes in the chorus. If that hook sounds familiar, that’s because “Wassam Baby” leaked months ago and made the rounds as a viral sound on TikTok. With the addition of a strong Wayne verse — his balance of alliteration, punch lines and rhyme scheme variations are top-notch — Rob didn’t just give “Wassam Baby” a second wind, he gave it a completely new life.
Andra Day, “Where Do We Go”
[embedded content]
It’s been nearly a decade since Andra Day’s Grammy-nominated “Rise Up” first entered the world, and in the time since, the multihyphenate has earned a slew of major industry awards and honors, including an Academy Award nomination for best actress in a leading role for her starring turn as Billie Holiday in The United States vs. Billie Holiday. Now, she’s back with the lead single for her second non-soundtrack studio album. “Where Do We Go” is a rousing exercise in the pacing of show-stopping vocal performance. Day’s sense of dynamics is on full display as she parses through the complicated process of seeking closure from a relationship she’s not ready to leave. “I see love inside your brown eyes/ Listening to ‘New Sky’/ Is everything an absolute, babe?/ Like, do we absolutely have to say goodbye?” she croons.
1K Phew & Zaytoven, “Let Go Let God”
[embedded content]
For the latest chapter in the ever-evolving relationship between gospel and hip-hop, 1K Phew has finally unleashed his collaborative project with iconic rap producer Zaytoven. Titled Pray for Atlanta, the genre-blending set — which features collaborations with Hunxho and Jekalyn Carr — is a heartfelt address to the city from a rapper who clearly adores his hometown, and a producer who has helped shape the city’s modern sound. Focus track “Let Go Let God,” blends familiar Atlanta rap cadences with a hearty gospel message, finding the common ground between the secular notion of “trusting the process” and the sanctified notion of leaving things in God’s hands. “I been down if that’s okay, had to learn from yesterday/ Took a lot of L’s in my life, baby, and I ain’t goin’ back there, no way/ I got an iced out cross on my neck right now, tryna show him that he already paid,” he spits over Zaytoven’s trap production.
Destin Conrad, “WAR!”
[embedded content]
Last Friday (Jan. 19), Destin Conrad dropped off Submissive2, the sequel to last year’s Submissive. “War,” the fourth track on the set, is a perfect blend of the rising star’s penchant for idiosyncratic Gen Z humor and lustful-yet-subtle R&B melodies. Obviously, the song is about the lengths one will go to for the person they want — rather the person they want to bag — but the trick of “War” is the way Destin plays into the innate melodrama of the concept. “I would smash the windows out your ex’s car without a second thought, baby/ I would gladly take the f–kin’ charge and that’s a criminal offense,” he opens the song.
It’s the chorus, however, that really drives home Destin’s shtick. He plays with his pitch and intonation to embody different characters across a melody that plays on the bounce-rooted “I’ll do [insert outlandish thing] for the d–k” punchline set-up. “I’ll sing Adele for that d–k / Rolling in the deep for that d–k,” the voices joke. It’s all fun and games until one voice proclaims that they’ll “pay for the d–k,” to which Destin comes back down to earth and ends the song, quipping, “Alright, you’re buggin’ (Yeah, b–ch, you dragged it) / You did too much, b–ch, too much.”
Naomi Sharon, “Nothing Sweeter”
[embedded content]
Just a few months removed from the launch of her acclaimed debut album, Obsidian, Naomi Sharon has unveiled another new addition to her growing discography. “Nothing Sweeter” arrives as the latest evolution of the most Sade-influenced edges of Sharon’s sonic profile. The First Lady of OVO lays her elegant vocals over a sparse, delicate guitar-forward instrumental that allows her ample space to showcase her sense of vocal control. Lyrically, she extols the healing power of love while calling back to iconic R&B ballads of yesteryear, singing, “Uncover my skin, undo this pain/ Unbreak my heart/Until I remember the way.”
As the music industry continues to wake from its holiday season slumber and awards season barrels on, there’s much to catch up on in the worlds of hip-hop and R&B.
Explore
See latest videos, charts and news
See latest videos, charts and news
Earlier this month (Jan. 6), Jay-Z picked up his second Primetime Emmy — outstanding directing for a variety special for The Apple Music Super Bowl LVII Halftime Show Starring Rihanna. He won his first last year as an executive producer of the 2022 Super Bowl Halftime Show starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar and 50 Cent. In more somber awards news, last Friday (Jan. 12), The Hollywood Reporter exclusively revealed that Diddy — nominated in best progressive R&B album for The Love Album: Off the Grid — would not be attending the upcoming 66th Annual Grammy Awards amid his recent sexual assault allegations.
In non-awards news, Lil Nas X made a characteristically controversial comeback with “J Christ,” Kali Uchis dropped off a new album alongside a pregnancy announcement, Janet Jackson announced new North American dates for her acclaimed Together Again tour and 21 Savage released his first solo LP in five years.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Destin Conrad and Alex Isley’s devastating duet to 21 Savage’s Shining-inspired street anthem. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Destin Conrad & Alex Isley, “Same Mistake”
[embedded content]
We’re only a few months removed from Submissive, but Destin Conrad already has his focus on Submissive 2. “Same Mistake” arrives as a forlorn ballad chiefly concerned with documenting the final moments of a disintegrating romance. “Why you always wanna play games?/ Night time you’re mine, and daylight you act like you don’t even know my name,” Destin croons over Louie Lastic’s ethereal production. Isley first delivers her trademark honeyed vocals as background accompaniment on Destin’s verse before commanding her own verse with equal parts ache and devastation. “Only wanted the best and I’m stickin’ to my story/ This was a moment for me, and this was all it could be,” she sings.
K CAMP & NoCap, “My Flowers”
[embedded content]
Few expressions have been run into the ground in the past half-decade as much as “giving somebody their flowers.” Miraculously, K CAMP and NoCap manage to deliver a spin on the phrase that feels fresh. Featuring production contributions from Trappin N London, Theevoni, MilanoTheProducer & J-RoD, “My Flowers” finds K Camp nimbly flowing over a solemn guitar-inflected trap beat. “N—as playin’ with my worth, you better have a check for me/ Or you better not check for me, angels standin’ next to me,” he spits. NoCap perfectly matches K Camp’s energy with a slightly more melodic flow that picks up on the same lyrical throughlines of loyalty and genuine love.
Kevin Gates, “Birds Calling”
[embedded content]
Kevin Gates is always good for a ratchet bop, and he’s dropped off yet another one in “Birds Calling.” A play on the trope of birds singing at sunrise, Gates waxes poetic about women hitting his line at all hours of the day. With Starrah and 302 on production duties, Gates hides some pretty sobering bars in between the sing-song hook. “Cleansing my sins started healing, I’m righteous/ Free everybody who thuggin’ in Rikers/ Know that I’m free, I’m authentically me,” he raps. “Birds Calling” is a headier complement to “Yonce Freestyle,” the club banger that served as the other pre-release single from Gates’ forthcoming The Ceremony LP.
Jhené Aiko, “Sun/Son”
[embedded content]
It’s been a little over three years since Jhené Aiko last gifted us a studio album, but she’s still remained musically active. Her latest release, “Sun/Son” serves as a loving tribute to her son for his first birthday. Lyrically, Aiko plays on the homophonous quality of the words in the song’s title, painting with broad strokes that contour the “solar power” her son’s love “charges her up” with. Vocally, she opts for a lush flurry of subdued harmonies that reside almost exclusively in her falsetto. It’s a relatively coy vocal performance, but one whose delicateness is the key ingredient to crafting a song with such a self-assured sense of intimacy.
Samaria, “Beating Myself Up”
[embedded content]
This glitchy slice of electronic R&B is the perfect backdrop to a session of serious self-loathing. “Want to think I’m one of a kind/ But it gets way too, too loud/ Used to get professional help/ Too scared of what they found,” Samaria says in a cadence somewhere between rapping, singing and stream-of-consciousness rambling. The flashes of drum’n’bass production drive home the song’s most sinister undertones, but it’s Samaria’s tone — hurt masked by a veneer or apathy — that embodies the destruction of innocence that anchors the track’s sentiments.
Jeymes Samuel, Doja Cat, Kodak Black & Adekunle Gold, “JEEZU”
[embedded content]
Jay-Z caused quite the stir on Spaces last week when he sang Doja Cat’s praises, but he wasn’t just running his mouth. After scoring a runaway hit with “Vegas” from the Elvis soundtrack in 2022, the “Agora Hills” rapper has lent her talents to another blockbuster movie OST. Alongside Adekunle Gold, Kodak Black and film director Jeyemes Samuel, Doja delivers a standout verse for the Book of Clarence soundtrack posse cut. “Y’all got an agenda, but we’ll see how that gon’ turn out/ Many false prophets leavin’ brothers with a firm doubt/ Father, please forgive me, for today, they finna learn now/ Put me in the dirt, and you gon’ see, I make it worthwhile,” she spits over Samuel’s laid-back jazz-inflected production. Adekunle’s impassioned hook is the song’s glue, while Kodak delivers one of his best verses in recent years on the Diaspora-traversing song.
21 Savage, “Redrum”
[embedded content]
A new 21 Savage album normally means the return of the rapper in both savage mode and R&B mode. While both personas made for enjoyable tracks on his newly released American Dream LP, “Redrum” is the unequivocal standout from his “savage mode” tracks. Featuring production from London on da Track, “Redrum” — “murder” spelled backwards, of course — finds the Grammy-winner rattling off his gun collection and delivering a slew of menacing metaphors and one-liners. The key part of the track, however, is the outro, which samples Jack Nicholson’s recitation of the “Three Little Pigs” nursery rhyme from The Shining (1980). Talk about thematic consistency!
And, we’re back! As the industry recalibrates itself from the holiday rush, the hip-hop and R&B worlds are slowly getting back to their weekly tidal waves of new music. The options are a bit sparse this week, as January is typically a slow month for new releases, but there are still some standouts. Even as Nicki Minaj’s Pink Friday 2, Jack Harlow’s “Lovin on Me” and Drake’s For All the Dogs continue to rule the charts, there are few new remixes and singles that could very well grow into the first smash hits of 2024.
Explore
See latest videos, charts and news
See latest videos, charts and news
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Fivio Foreign’s fiery new drill anthem to Megan Thee Stallion’s swing at hip-hop musical theatre. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Erick the Architect & George Clinton, “Ezekiel’s Wheel”
[embedded content]
Erick the Architect of Flatbush Zombie has a solo album on the way, and if “Ezekiel’s Wheel” is anything to go by, we’re in for a stunner of an album. Alongside the legendary George Clinton, Erick blends notes of ’90s East Coast hip-hop, reggae, funk and soul for a song that recounts his experiences growing up in Brooklyn, New York and growing into the rapper he is today. Lyrically, the track is anchored by an allusion to the Biblical story of Ezekiel’s wheel; “Everyone’s keepin’ secrets for oilin’ / Have Ezekiel’s wheels gone squeaky?” Clinton asks in trademark scraggly voice. There’s a gentleness in Clinton’s delivery that nicely offsets the chugging nature of Matt Zara’s production, a wonderful study in sonic contrast.
ScarLip feat. NLE Choppa, “Blick (Remix)”
[embedded content]
For the remix to her latest hit, rising Bronx rapper ScarLip tapped “Slut Me Out” hitmaker NLE Choppa. “Blick” has already been gaining traction on TikTok thanks to a viral dance, and this new remix is sure to give the track an extra boost. Most of the original “Blick” track remains unchanged, ScarLip’s gruff tone anchors high-energy verses and a danceable hook alike, so NLE Choppa smartly adapts his style to her formula. “Shake a n—a down like booty and cheeks/ I’ma Summer Walk s–t down, shout out Lil MeechCall it abuse how we beatin’ the streets/ Jumped off the porch, you was beatin’ your meat,” he raps in his signature blend of sexed-up humor.
Westside Gunn, Conway the Machine & The Alchemist, “F–k & Get High”
[embedded content]
Over a luxurious, drum-heavy instrumental courtesy of The Alchemist, Westside Gunn & Conway the Machine trade verses that prioritize a certain kind of lustful braggadocio. In between their relatively heady proclamations of wealth and success, they use the hook (a notably sparse “All I wanna do is f–k and get high/ That’s all I wanna do”) for some breathing room. It’s a lightweight track, but the depth of Alchemist’s production provides a sturdy foundation for their ruminations on some of the finer things in life.
Sdot Go, SweepersENT, Jay Hound, Sha Gz & Jay5ive, “I Like to Party”
[embedded content]
This song has been going viral on TikTok for months as a snippet, and now it’s finally here in all of its glory. Sdot’s opening lines — “I like to party, but I need b–tches/ Clap-clap to the beat/ Up, I’m tryna see if she wit’ it” — are something of a manifesto. His gruff semi-growl immediately signals the track as a drill anthem (as does the pounding production, courtesy of Ajellz, Nxxre, Bullo Producer and YoJelly) — but, more importantly, his tone is the track’s entire center of gravity. There are a slew of artists on “I Like to Party,” but no one’s voice is as commanding or as charismatic as Sdot’s. And that’s why he can score hits whether he’s behind bars or not.
Ama Louise, “Send Your Loving”
[embedded content]
Rising R&B Singer Ama Louise delivers a slinking, sultry ode to the security of true love with “Send Your Loving.” A quiet storm of twinkling synths and keys soundtrack her pleas for a lover to send their “loving” so she can create some sense of safety for herself. “So send your loving to me tonight/ ‘Cause only you can save me from my mind,” she croons in her honeyed timbre. From the production to Ama’s vocal performance, “Send Your Loving” is an incredibly intimate affair; it’s warm and inviting, but the ache and longing that course through her background vocals are what truly pull the song together.
UMI & V of BTS, “Wherever U R”
[embedded content]
As the BTS boys continue to fulfill their respective military duties and await their long-anticipated comeback, fans have found solace in each group member’s solo endeavors. Last year, Layover, V’s debut solo studio album, reached No. 2 on the Billboard 200 thanks to its tight blend of pop and R&B. Now, the BTS star is kicking off 2024 by throwing an assist to UMI on the tender, guitar-backed “Wherever U R.” “Even on the days, I ain’t right by your side/ I’m keeping my promise that/ I will be wherever you are,” he sings. The duet is incredibly lush in the way UMI’s and V’s voices marry across the tasteful instrumental arrangement. Likely V’s last musical release until he completes his military service, “Wherever U R” is a heartfelt “see you later” to his fans that doubles as a heart-melting anthem of commitment for lovers.
