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Coco Jones could be enjoying a very special Friday once 2024 Grammy nominations are announced, but she and her fans can kick off their celebrations a little bit earlier: Billboard can exclusively reveal that Coco Jones will be MTV‘s Global PUSH Artist for November.
The announcement comes less than a week after Jones marked the one-year anniversary of What I Didn’t Tell You, her debut EP with Def Jam. That project and its accompanying North American headlining tour helped the powerhouse vocalist transition from Disney star to award-winning R&B dynamo. In the past year, Jones has picked up best new artist honors from both the BET Awards and the NAACP Image Awards, as well as a whopping six nominations at the upcoming Soul Train Music Awards (Nov. 26), including album, song and video of the year.
What I Didn’t Tell You houses Jones’ very first Billboard Hot 100 hit, “ICU.” The DJ Camper-helmed ballad spent 20 weeks on the ranking, peaking at No. 62. The track, which also received a remix from fellow Disney alum Justin Timberlake, topped both Mainstream R&B/Hip-Hop Airplay and R&B Digital Song Sales.
“‘ICU’ really fell into my lap, I feel, because I was so surprised… what I ended up doing that day in the studio… I heard this track by Camper, and I could not skip it,” Jones says in a press release announcing the PUSH news. “Then I had to get really vulnerable and tell this story that I feel like people can relate to: when you love someone and they didn’t do anything wrong to you but you guys are just wrong for each other.”
“ICU” marked a new frontier for Jones’ career, becoming her first RIAA Platinum single and introducing her to scores of new listeners. The song’s success also gave way to the deluxe edition of What I Didn’t Tell You, which arrived earlier this year (Jan. 20) and featured three new songs in addition to the previously released “Simple” (with Babyface).
“I think my favorite line is the first line ‘something about your hands on my body’ because I just feel like it snaps people’s attention… I feel like it gives me a southern twang,” Jones says. “It reminds me where I’m from and it surprised people that I could go that low. It is just a really good line to me. It’s really solid.”
As MTV’s featured Global PUSH Artist for the month of November, Jones will partner with the entertainment iconoclast all month to discuss her roots, the stories and memories behind her music and the artists and eras that inspire her. For Jones, The Cheetah Girls were a formative part of her childhood, specifically the song “Cinderella,” which she hails as a “girl power anthem.” “I was the biggest Cheetah Girls fan,” she gushes. “That was my first concert ever actually and I thought they asked me to come up on stage, but my mom said no.”
Jones is also set to debut two exclusive performance videos for “ICU” and “Double Back,” the latter of which she credits to the “Brandys, Aaliyahs and Destiny’s Childs” of the ’90s and describes as “one of the best songs to get [her] makeup done to or to do [her] makeup to.”
The MTV PUSH initiative aims to connect fans across the globe with a new music artist every month through live performances, exclusive broadcast premieres of music videos, interviews and video content. Previous MTV PUSH artists include Lizzo, Doja Cat, Billie Eilish, SZA, Chloe X Halle, H.E.R., Jack Harlow, Jorja Smith, BROCKHAMPTON and more.
Watch an exclusive clip of Coco Jones performing and talking about “ICU” above.
Travis Scott, Drake, Lizzo… and Jean Dawson. The list of artists that R&B superstar SZA has collaborated with in 2023 is stacked with some of the music industry’s biggest names, but a Gen Z genre-non-conforming auteur from San Diego gifted the “Kill Bill” singer her most poignant duet of the year just in time for fall (Sept. 22).
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“NO SZNS,” a breezy reflection on the all-consuming stupor of California heat, combines both artists’ penchant for introspective songwriting, unflinching examinations of the most incomprehensible of human emotions, and instrumental arrangements that pull from indie rock as readily as they pull from hip-hop and soul. Its music video, a cinematic take on childhood laced with arguments and discord, finds Dawson stepping behind the camera, bringing SZA into his intimate and idiosyncratic visual world.
The new track follows a slew of projects (“side quests,” as Dawson describes them) that are filling the void between 2022’s Chaos Now* — a grungy, ambitious set that featured collaborations with Earl Sweatshirt and production contributions from Isaiah Rashad — and the Mexican-American artist’s forthcoming LP. While he is still unsure of the timeline for his next studio effort, Dawson is certain the album will be “beautiful,” mostly because he has completely rejected the compartmentalization circus that has consumed much of the music business.
“I want to build music without having to focus on everything that I am,” he says. “I want to fractalize myself.”
In paying special care to each facet of his being that makes him an artist who has enraptured a sprawling ever-growing audience across races, ages, and genres, Dawson continues to follow Prince’s uncompromising, do-it-himself blueprint. Whether it’s incorporating his native Spanish tongue into his music at his own pace or touring alongside acts as disparate as Interpol and Lil Yachty, Jean Dawson is currently undergoing yet another metamorphosis – and he’s particularly excited about what lies ahead and how he can continue to subvert everyone’s expectations. “I want you to guess,” he teases.
In an intimate conversation with Billboard, Jean Dawson opens up about his upcoming European headlining tour, his thoughts on the utility of record labels, trying to figure out “what James Blake would sound like if he was Mexican” with his upcoming project, nostalgia and iPad kids.
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Walk me through how “No SZNS” (with SZA) came to be.
In the DMs. That’s how we started talking. She liked the music a whole lot. I think it was maybe a day after she had DMed me — she was working on her album [SOS] at the time — we hung out for several hours and just talked. It was sick. I didn’t realize how alike we were in a lot of different ways, and we worked on some other stuff.
[“No SZNS”] I had been working on prior, just like arrangements and stuff like that. There’s a lot of instrumentation on it, so I think I hit a wall at some point with the song — and then I met SZA. I was like, “Oh, maybe she can finish my sentence.” I showed it to her, and she was like, “Yeah, I’m super down. This is awesome!” So, she wrote her verse, recorded it, and workshopped it for a little bit. It’s not the most intense story of all time, but it’s definitely like, “You had to be there.”
What was your favorite moment shooting the “NO SZNS” music video?
My favorite moment in that video had to be when the two parents were arguing. In the video, SZA’s played by a little girl named Bliss, and I’m played by a little boy named Brave — that’s their actual government names. They’re sitting and coloring and their parents are behind them arguing. Like many people’s childhoods, my childhood was a lot like that. [I went to] the two actors that we had hired and talked to them about their intentionality, how they’re arguing, and what they should argue about. It was really real. They’re arguing about the father needing to be there, and the mom’s, like, “I just need you here.” And the dad’s like, “I’m working, I’m here. I’m here right now, but I need to work to provide.”
I almost cried. I was like Oh, s—t. It got too real for me. Bliss and Brave’s mom and dad are our family friends, so they’re sitting by, and I’m just watching [the kids] be like, Damn, our parents are not like that. That made me really happy. That was one of my favorite moments of shooting it and as being a director on that.
SZA is far from your first high-profile collaborator. How important is it for you to truly understand and know your collaborators on a personal level?
I never collaborate with somebody I don’t know. I have a rule of thumb in music. There’s a lot of people that come from a lot of different traumas and environmental factors that cause them to be a certain kind of way. Sometimes, you get people that have been treated like s—t their entire life, and now they’re in a position of power, so they get their lick back on people who don’t necessarily need it. Sometimes, I’ll look at artists and be like, “Damn, I really don’t like you. I like the music, but I really don’t like you.”
So, spending time with SZA only verified that I was a fan of her as a human being. And the same thing goes for anybody that I work with. I have the capacity to live on my own terms, so I just don’t spend time in places I don’t want to be in. If I already like spending time with you, then making music will probably be automatic. It’s like breathing, you don’t even have to think about it.
But there’s a lot of times where it’s not bad where I’m just like, “You’re cool to me, I never have to see you again.” SZA was not one of those people.
Her career arc has been incredible to watch. Do you want something like that for your career? Or are there bits of it that you’d like to make fit your vision for yourself?
It’s funny because a lot of people that have worked around us say our arcs are similar. I don’t necessarily look at people’s success rate in terms of how popular they are, I look at how great they are because that will stand the test of time. Mad people get popular for a little bit of time, they’re here and then they’re gone. I’ve made it very, very clear to myself that having a job in music is the only thing I want to live for — so I’ve been doing it for 13 years, and now I’m getting considered to be a “new artist,” which is totally fine with me. That just means that my legs are very long.
I got asked yesterday, “How do you feel about possibly becoming very, very famous?” And I don’t feel anything about it — as much as it sounds like a cool answer. Me being dismissive isn’t something for aesthetic. As long as I can make music for the rest of my life, I’m not really worried about much. I think that [SZA’s] getting the praises she deserves — and she’s been deserving of for a long time — and I’m just happy to stand with somebody that believes in me so much. She’s definitely stuck her neck out very, very long for me. If I have the success of SZA, awesome. If I have the success of somebody you never know, awesome too. It’s one and the same for me.
On your Wikipedia page, they describe you as an “experimental pop” artist. What do you make of that phrase?
You know what? I don’t mind. Experimental pop. I feel like that may be the closest thing to what I do. Me and DQ – my big sister, publicist — we’ve talked about this for a long time. We talked about how people perceived me and she understands, and I understand, that I don’t like being perceived. I don’t like my music being perceived in any kind of way, but you can perceive me. I feel like “experimental pop” is fine. I like hooks, and that’s pop. I like songs that people want to sing.
The experimental part… I also don’t want to be bound by any one construct. Early on I decided I’m going to find all the rules and then pick ones not to follow. And that’s kind of how I ended up making music in the first place. That’s why people were like, “But it’s rock, but it’s not rock, but it’s this and it’s that.” One of my favorite artists, Prince –I’ll never compare myself to that man, but what Prince was able to do was make music that was Prince: It wasn’t necessarily rock or pop or R&B. It was Prince.
When people started trying to define me for the sake of utility, like, “Oh, where do we place this?” — place it everywhere. It’ll work.
On the spectrum of visibility, there’s a middle ground where people see one side of you, but not all of you. The concept of the multiplicity of the self… how does that inform the way you incorporate different languages in your music?
As a Black and Mexican person, I’ve learned my entire life how to code-switch, because some language is going to make some people uncomfortable. So, I’m like, “OK, I can’t go up to this white dude and be like, what’s up, my n—a,” it’s not going to work. The reason why I’ll go from Spanish to English to quote-unquote Ebonics to whatever, it’s because the voice is an instrument. It just depends on what I need. I’m not going to use an electric guitar for a part that needs an acoustic guitar, and I’ll rather use a, you know, a f—ing baritone guitar. When I use my different languages, it makes it easier for me to understand myself because I’m not just one thing.
I’m trying to spend my time being more similar to everything than dissimilar. I think a lot of times creatives get in this place where they’re like, “I’m so different,” and I’m tired of being different. Not in the way that I want to assimilate to any idea — I’m tired of being different because it’s not a choice. A lot of people spend their lives separating themselves, and I want to spend more of my life doing what I do in my music. Spanish and English go together because it’s one and the same. Some things I can say better in Spanish than I can in English and some things I can say better in English than I can in Spanish.
My dad was a thug, so a lot of my tongue comes from my father, and then my mother learned English through Black folk. Her English is also proper because Mexican people have the propensity to have to learn English a certain kind of way because they think that they have to. And here, especially when you’re first generation or second generation, you adhere to a status quo of language, or else you’re considered to be “country” or something. And my mom could give two f—ks, but she also was, like, “Y’all going to read these books before you go to bed. A lot of them.”
Y’all wasn’t no iPad kids!
Bro, I’m telling you! You seen iPad Dog?
What?!
There’s an iPad dog. It’s fire. I played the game, and he jumps on the screen, and he taps the screen and s—t.
This is not OK.
I try and spend less amount of time on technology as I possibly can and everybody said, “You need to do this. You need to do that.” I’m like, “You know what? I’m going to take a walk.” I feel like we’re just getting to that age, where we’re turning into old people – because remember how much we were outside?
It’s impossible to talk about contemporary tech without also speaking about algorithms. Has the rise of algorithms in the music industry impacted your ability to create freely, either explicitly or subliminally? How does it impact the way you promote releasing and promoting your music?
In the ‘90s, people hated MTV, because if you didn’t get on TV, you weren’t going to go up. Same thing goes with even before that. In the ‘70s, ’80s, if the disc jockey didn’t f—k with you, you wasn’t going nowhere. You’re gonna end up another vinyl that’s in the thrift store that people don’t listen to.
We’re in a time now where data collection is so important for people to optimize. It’s all about optimization. That optimization has become so clear that you don’t even have to pick your own music anymore. I think there’s a lost love there. It can lead to you not having the sense of discovery.
When I was coming up, I would have to go on YouTube wormholes to try and find new stuff. I’m like, “Oh, there’s this artist, and then there’s this artist. Holy s—t! What is this? This is crazy!” I think now it’s optimized to a point where so many of those steps are gone, which bottlenecks the industry. There’s, I don’t know, 100,000 songs uploaded to Spotify and Apple Music daily. There’s only going to be a few that get past the threshold of playlisting to where more people will listen to them.
Since we have so many people making music, we have lottery winners, which I’m never going to be mad at. We have people that win the TikTok lottery, or it’s like you had a single part of a song that people love, and it’s giving you a career hopefully. A lot of times, it’s probably a scary position, because you haven’t built an infrastructure to support that growth — so you’re going to topple over and people are not going to know who you are in the next following year. I don’t think there’s a good or bad way to do it. I don’t know if it’s necessarily going to decide s—t for us. It’ll just make it easier for us not to have to ever make a decision.
I’m pro-innovation, but I’m also pro-tradition. If you want to go look for music and find a diamond in the rough, do that. I was 17 when I first got found on SoundCloud. I think what’s conducive to me making music is Rick Rubin telling me, “Take your time,” and Jay-Z telling me in my face, “You’re great.” I’ll take that over the algorithm telling me that my s—t is popping.
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I think your attitude towards the power of algorithms plays out in how you structure your releases – you’re not one to tack standalone singles onto a project to play the streaming game, for example. So, walk me through two of your projects from this year: Xcape and Destruction for Dummies.
It’s supposed to be a trilogy, there’s two out now. I’m trying to think when the next one will come out. The last installment is supposed to be called Arcoíris — “Rainbow” in Spanish – but I’ve just been doing a bunch of other stuff.
On ‘Xcape, Pt. 1’ Jean Dawson as “Phoenix,” [Phoenix] is the more aggressive, I have something to say, loudmouth kid. On the next installment, ‘Destruction for Dummies, Pt. 2’ Jean Dawson as “Nightmare,” I had just got out of a relationship, and I was feeling it for real. It was the perfect excuse to find this Eeyore-type personality. Boohoo is the next person for Arcoíris, and he’s the pity party guy, where it’s like: Feel bad for me, and not in the way where I’m going to tell you why to feel bad for me.
I think my headspace when I was making those… I wanted side quests. I wanted to make a chapbook or an anthology series that wasn’t canon. In anime, there’s things that are non-canon events, and that’s kind of what these side quests have been. It’s not like a body of work where my idea from A-Z is complete. It allows you to work out your own ideas without being constrained to the sound of an album, but also not an EP.
So, in that case, what have you settled on as far as the next album is concerned?
I’m trying to think when it will come because I have two plans. Either I’m going to go away for three years and just disappear, or I’m going to put an album out next year, I don’t know. I believe we’ll have a lot of Spanish. I’m also trying to do music in Spanish that hasn’t been done before because some stuff in Spanish — like trap music — has been done. The stuff that’s supe- popular with regional music right now, it’s being done. It’s being done very well. I’m trying to find the space in my brain to figure out what James Blake sound like if he was Mexican. I’m not saying that I’m gonna do that, but I’m just saying that’s my line of thinking.
There’s going to be more Spanish involved, just cause my grandma was like, “Why don’t you make more music In Spanish?” And I was like, “F–k. She called me out.” Honestly, the only reason I hadn’t is because some of the things I have to say, I can’t say in Spanish. Which is kind of a lame reason, and now when she put me on the spot, I’m like, “Damn, I really don’t have that reason, because it’s my first language.” I need to actually do it because I want to do it now. Before, I felt like it was maybe forced or something, and I didn’t want to use it as kudos or a pony trick. It’s like, “No, dude, it’s my language.”
[People] hear me speak Spanish, or when they hear a song in Spanish, they’re like, “No, you don’t understand what that makes me feel.” So, for that full-length project, I’ve been working with some legendary a– people that I’m super excited about. I can’t name them yet, but just as a callback, they’ll know later. I think the next album is going to be beautiful, from what I know right now.
You have a couple of shows towards the end of the month. What can fans expect from those performances?
Yeah, I have a show with Interpol – the legendary band – and we play the Greek in L.A. I have some headline shows as well. I’m excited. The West Coast is my region. Then, I’m supporting Yachty in Europe, which is going to be awesome — I’m a massive Yachty fan. The West Coast gets a lot of me because I live there, so the West Coast and Denver are the two places I’ve performed the most for some reason. I mean, Denver … I love those mountain kids, they’re sick.
I’m approaching the music that I already made differently. The way that it’s structured, the way that it’s played, I have the band learning the songs again — but in a different format, just because I don’t want the perception to be like “Jean Dawson is rock and roll” or Jean Dawson is this or that. No, I want you to guess. And I don’t want it to be spoon-fed to you. I’m just going to make them a little more interesting and just like… What the f—k is going on? I learned that from watching Björk live a few times, where I’m like, “What the f—k is she doing? This is crazy!”
Then when we head over to Europe – it’s my first time — so we’re going to do all of it, starting in Oslo and ending in Vienna. Growing up Mexican, travel is not something that is normalized, because our parents can’t do it — a lot of [our] parents are undocumented. I’m going to make a lot of music out there too. I’m stoked. And I know my European audience and my U.K. audience is stoked because they were like, “Jean’s never gonna come here,” and now they’re going to travel with us! There’s caravans of people that are going to Stockholm, Cologne, Paris, they’re going to see it all.
How does it feel knowing that you’ve built all of this from the ground up?
Grateful above anything else. I got jaded to it a little bit at first, because I was never popular in school, and I was never deemed as cool. So, when it first starts to happen, I kind of have an [aversion] to it because it doesn’t feel real… until I toured the first time. I saw the Black, the brown, the white kids — it felt like I came home from war every time they saw me. They’re like, “Oh my God!” and I’m like, “Oh, s—t!” I got to see their faces and… if it’s not for [them], I really can’t do this.
Anything that they want from me, I’ll stop in the middle of my food and take photos. They find me at the airport now, and it’s f—ing crazy. Y’all just need to relax, but anything you want, you got it. I’ll sit and talk for two hours with some kid that’s telling me about how they want to start making music, and I’m just like, “Do it!” I don’t like giving advice because I don’t know s—t, but here’s what I could tell you I did wrong, and maybe you can circumvent those wrongs. I feel very blessed above anything else and privileged to be able to have my job just be expressing myself and people relate to it. It’s f—ing crazy.
You mentioned that you weren’t considered cool growing up, and now you’re kinda the epitome of cool for a lot of people. Who are your style icons? Who are your film icons?
I was never cool in high school, because the high school I went to wasn’t hip on Tumblr and I was a Tumblr kid, so the s–t that I knew, they had no idea. I was wearing like post-[A$AP] Rocky style — who is definitely an inspiration of mine, amongst a lot of different things, but style specifically.
Post-Rocky Tumblr was crazy as hell, and I was just showing up to school in San Diego, where nobody gave a f—k about what you’re wearing, in some crazy s—t that I got on eBay. That made me a weirdo. Even when I was getting fits off that — if I was in New York, they’re like, “Oh, s—t, he got that s—t on” — where I was from, it was like, “That’s weird. He reads anime. He always has a girlfriend. He don’t talk to nobody.” I smoked cigarettes in the parking lot like, I had no f—ing cool points.
I go to college and it’s still kind of the same thing. It’s like, frats and stuff like that, which is all fine. But I’m not gonna wear no Sperrys. The Internet gave a place for whatever I am to be deemed as cool. Rocky, he’s the best-dressed person, period, I think ever. I don’t have Rocky’s body, nor Rocky’s paycheck, so I’m not necessarily doing what Rocky does, but he definitely is the most well-dressed person taste level-wise. Also, Kurt Cobain — ‘90s grunge is something that lets me be super lazy and people think that it’s tight.
Then in the film world, music for me is a visual language. If you listen to my songs, most of them are metaphorical. Most of the time I’m talking about something that I can see, but I’ve never seen. I’ve been really, really inspired by movies my entire life. I spent a lot of time by myself, meaning that I spent a lot of time in front of the TV because when you don’t have nobody around, the TV’s gonna keep you company. I guess that was my version of my iPad.
Let’s talk about hype. How does the concept of hype register in your mind? Whether it’s industry hype or hype from fans, how do you keep yourself from getting lost in all the different voices trying to define you?
Hype is important when people are excited about you. When people are excited about you, you should feel excited. I don’t think there’s anything wrong with feeling connected to a moment that feels more potent than most. I also idolized people like Earl Sweatshirt, who, in my opinion – he’s someone who since has become a friend and collaborator — Earl was always able to circumvent the current of something. In one of his albums, he said, “trend-dodging,” and that stuck with me. It’s like, “Why do that when I can do the thing that I actually like?” But I also don’t think there’s anything wrong with trends. I feel like some people just need a sense of identity and they need a little help to get there.
I think the idea of hype or your audience being excited about things is cool. Industry hype — it’s hard to get. It’s easy to get disillusioned by industry hype because everybody at one point is going to have their moment where everybody looks at them, and I feel like if you don’t get caught there, you won’t get Medusa’d. And being Medusa’d, it’s like you’re gonna get turned into stone because you’re watching too hard how people are watching you. I think if you acknowledge it and move on, then you’ll never get stuck trying to chase that high. That’s how you end up the oldest n—-a trying to be cool with young kids. You want that same feeling you felt when you were 21 and brand new. It serves its purpose, but as long as you don’t get caught in it, you’ll be fine.
You’ve accomplished an incredible amount while being independent, where do you stand on the utility of record labels?
People have always asked me, “Why don’t you like labels?” It’s not that I don’t like labels, I just have never been signed because the business that I’ve been offered, I’ve never been aligned with. The things that they offer I don’t necessarily need, and the things that I need, they didn’t necessarily offer. So, I’m not pro-label and I’m not anti-label. I’m anti-bad business. I’ve structured my career in a way where the utility of a label wasn’t paramount. It’s totally fine if you want to go buy your house in cash, but I don’t think you should be mad at the bank for giving you a loan. I’m not saying labels are just banks, but one of the biggest things that they’re able to do is give you utility that you might not be able to get or have.
Since I didn’t need that — not because I came up rich, but because I figured out a business strategy early to circumvent the fact that I don’t need to take out the highest-interest loan — I can get it to a place to where I go to a label and we can see eye to eye on what utilities I need and what numbers they want to see back as a return on investment. I wanted to become an artist with a high ROI, and in order to do that, it’s going to take time.
I haven’t necessarily needed a label on my come-up because I’ve had such a strong foundational team from management. We’ve built a little army. We’re small, but we’re scrappy and we get s—t done, and I don’t think it’s because we’re particularly talented. I think it’s because we care a lot. Now, at this point in my career, I’m most likely going to sign this year to somewhere because I think the growing of our infrastructure is super important — just for the growth of our artist project. My entire team is Jean Dawson. It’s not just me. I’m the face and I’m the word, but we need to grow and in order to do that, there’s going to be some things that we need facilitated that are outside of our abilities.
In the beginning, I didn’t want to do that because I wanted to not only own my albums — I own all my albums — I didn’t want the constraints of “this needs to be successful or else somebody loses their job.” And that’s because I care about other human beings outside of myself. I think that doing it indie is noble and I think it serves its purpose, but at a certain point, you’re gonna hit a glass ceiling. And, also, starting off with the label, you’re gonna hit a glass ceiling. I think you need to get your career to a place where it’s stable enough to where you don’t need a label. Then go to a label. Or get your career to a place where, with or without a label, you’re going to be fine, because then you can add fuel to the fire by having stronger arms. You need to know how to allocate your money.
I got offers from my first album to my last album. Offers have always been on the table, but I’m like, “I’m not gonna waste your time and y’all money because I’m not gonna waste my time, and I’m not gonna waste my sanity trying to chase some money that I know I couldn’t get back.” I guess the best advice I can give to anybody that’s thinking about signing or not signing is to really know what you need. If you need money, go do shows, and if you’re not in a position where your shows pay you, then work more and get to a place where doing shows pays you. And then when you get to a place where you need money to expand, then you can go to a label and know why you need it. For anybody that wants to stay indie, do a lot of shows, sell merch, get really comfortable with direct-to-consumer, and having your audience be proud to pay for what you do.
Between a rare in-depth Jay-Z interview, a new Brent Faiyaz LP, and an announcement confirming new music from Megan Thee Stallion, the major players across R&B and hip-hop kept the scene busy the past week — but some left-of-center artists also had their own worthy contributions to the conversation. New Music Friday (Oct. 27) treated DSPs to a new tidal wave of bangers across hip-hop R&B to populate playlists ahead of Q4’s major holiday parties and celebrations.
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 Masego’s blistering duet to Azealia Banks’ long-teased drill anthem. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: serpentwithfeet, Ty Dolla $ign & Yanga Yaya, “Damn Gloves”
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For the lead single for his forthcoming Grip LP, experimental R&B auteur serpentwithfeet dips his toe into house music influences with “Dam Gloves.” Assisted by frequent collaborator Ty Dolla $ign and South African artist Yanga YaYa, serpentwithfeet utilizes production reminiscent of Travis Scott and Beyoncé’s “Delresto (Echoes)” for a dark, sensual paean to slow-grinding and wining. “I don’t need no weed, I don’t need no liquor/ I just wanna keep grind-grindin’ on my n—a / Whatever’s on his leg, good God, it’s gettin’ thicker,” he teases.
Shordie Shordie feat. Baby B, “First Kiss”
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Taken from the back half of his melodic Murda Beatz-helmed Memory Lane 2 project, “First Kiss” finds Baltimore rapper Shordie Shordie linking up with rising R&B singer Baby B for a tender guitar-inflected ode to the dream of your first kiss also being your last. It’s a surprisingly warm and heartfelt duet that incorporated elements of A Boogie Wit da Hoodie and Juice WRLD’s sing-songy flow with Shordie’s intimate grasp of emotive hooks. “Do you remember your first kiss?/ Not the fake one, but the one with some purpose,” he questions.
Destin Conrad & Masego, “Super Paradise”
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Last week (Oct. 27), R&B crooner Destin Conrad dropped off Submissive, his third full-length project. The sensual set finds its closer in the Masego-assisted “Super Paradise,” a breezy, string-laden number that makes subtle nods to dembow as the pair trade verses about submitting to their lover out of desire, not desperation. It’s a very carnal affair.
Skylar Blatt feat. Lola Brooke, “F–k Fame, Pt. 2”
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In the lead-up to her forthcoming Dennis Daughter project, Brooklyn rapper Lola Brooke has put out her fair share of pop-leaning radio-ready singles to keep her name on the mind of both consumers and radio programmers post-“Don’t Play With It.” On this new collaboration with Cincinnati rapper Skylar Blatt, Lola doubles down on the menacing snarl that garnered her name recognition. The two female rappers trade punchline-packed bars about the frivolity of fame — a smart choice of topic given hip-hop’s currently tenuous relationship with the apex of the mainstream music scene. Lola effortlessly embodies the gruffness of Skylar’s chorus, resulting in the (unfortunately) rare collaboration in which both artists are genuinely informing the other’s approach to the song.
Masego feat. Wale & ENNY, “You Never Visit Me (Remix)”
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The original solo version of “You Never Visit Me” has been out for nearly a year, but that didn’t stop Masego from calling in some reinforcements for the song’s new remix. Featuring Wale and English rapper ENNY, the song’s remix opens up the breadth of perspectives regarding abandoned relationships. Wale joins Masego in wallowing over a lover walking out on him, but ENNY flips the song’s hazy, jazz-informed arrangement to soundtrack the snarky apathy she feels towards her former partner. “But, now I got you on a need to know bases/ If I keep it real/ I seen the truth and now I can’t face it,” she coos.
42 Dugg, “Go Again”
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For his first single post-prison release, Atlanta rapper 42 Dugg opts for a biting stream-of-consciousness flow that combines his natural knack for catchy hooks with a single gargantuan verse that finds him doubling down on his braggadocio in all areas of his life. “Catch you slippin’, I’m slidin’, tell me I’m good at rappin’/ Y’all good at hidin’, n—a, come out and get active/ My chopper shoot backwards (B–ch), my b–ches gets pampered / You probably didn’t have her, doggie, she callin’ me daddy,” he spits.
Azealia Banks, “Dilemma”
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In typical Azealia fashion, the controversial New York rapper has finally unveiled an official version of “Dilemma” after first teasing the song over four years ago. On the new track, the “212” rapper retreats from her trademark house and ballroom influences, and, instead, opts to dip her toe into another segment of New York’s music scene: drill. While a large number of drill rappers tend to favor animatedly gruff growls, Banks plays with the dynamics of her timbre to retain a sense of individuality. This is most clear in the song’s final chorus — which arrives after one breathless and impressive rap verse — where she whispers the lyrics with a priceless sense of brooding humor.
After performing “America the Beautiful” at the Super Bowl in 2021, Grammy-winning R&B star H.E.R. is set to add another massive sporting event to her résumé. Via a press release on Wednesday (Oct. 25), Major League Baseball announced that the “Focus” singer will sing the national anthem ahead of Game 1 of the 2023 World […]
With new albums from City Girls and Sampha and a pair of big announcements from Megan Thee Stallion and Ty Dolla $ign & Kanye West, it’s been a characteristically busy week for hip-hop and R&B. New Music Friday (Oct. 20) unleashed a fresh batch of new R&B and hip-hop tracks to sort through as we count down to the announcement of the 2024 Grammy nominations on Nov. 10.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Yuna’s bilingual rumination on a relationship’s demise to Rick Ross & Meek Mill’s latest taste of their forthcoming collaborative project. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Wu-Tang Clan feat. Method Man, Ghostface Killah, Nicole Bus & Mathematics, “Claudine”
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The 30th anniversary of Wu-Tang Clan’s landmark debut album, Enter the Wu-Tang (36 Chambers), is less than a month away, and the hip-hop legends are ringing in the celebration with a gorgeous new track. Featuring a pair of emotive, nuanced verses from Meth and Ghostface, “Claudine” recalls the chugging, introspective relationship-minded songs that peppered the tracklists of Wu-Tang’s classic records. A weighty hook from Billboard chart-topping R&B singer Nicole Bus brings things full circle; her soulful, raspy vocal evokes the Southern R&B records RZA used to sample to create some of the most intricate Wu-Tang beats.
Yuna, “Bad Intentions”
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With this smooth combination of dembow, soul, and bossa nova influences, Malaysian R&B crooner Yuna delivers a bilingual ode to the all-consuming vengeance, hurt, confusion, and attachment that linger at the end of a relationship. The sparse production effortlessly embodies the emptiness that permeates the lyrics — from the devastatingly lush post-chorus to the hook, where she sings, “I know you love her/ Your new lover/ Will be the end of me/ It’s a cruel world.”
Q, “Hello”
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Earlier this year, Q dropped off one of R&B’s best 2023 offerings with his stunning Soul, Present project. For his first single release since that set, Q has released “Hello” — a delightfully funky track about choosing to be your best and most authentic itself no matter what seemingly insurmountable challenges are thrown at you. “Feels like a million years since I got out of bed/ My brain’s fried from the lies I’ve been tellin’ myself,” he sings over an instrumental arrangement that further explores his penchant for Prince’s amalgamation of soul, rock, and funk.
Arin Ray, “Moonlight”
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It’s been a banner year for raucous, sexually explicit music, but Arin Ray opts for a softer, more sensual angle for this cut from his new Phases III EP. With light vocal layering and an alluring tone, he’s able to bypass the innate raunch in lyrics like, “Put that a– on me, it’s ’bout to go/ I wanna see a f–kin’ show/ Baby been a freak/ See she came here in with no panties on.” It’s nice to hear Arin holding it down for R&B’s bachelors in a sea of toxic lovers and sad boys.
Rick Ross & Meek Mill, “Lyrical Eazy”
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With a new joint project on the way, it’s only right that these two rap titans put their best foot forward. Enter: “Lyrical Eazy.” The follow-up to last month’s “Shaq & Kobe,” “Lyrical Eazy” finds Ross and Meek trading verses that flaunt their wealth and success while also reiterating why they believe they are at the very top of the hip-hop ecosystem. “N—a diss, I ain’t respondin’, I’m like, “Y’all ain’t even poppin’/ ‘Cause we’ve been mobbin’, flyin’ private, different hours/ And I ain’t lyin’, I got this money shit to a science/ Got your baby momma in the Bahamas actin’ different and she wildin’,” Meek raps over a beat that reimagines the same sample (Stanley Clarke’s “Got to Find My Own Place”) from Jay-Z’s “Breathe Easy (Lyrical Exercise).”
Lola Brooke & French Montana, “Pit Stop”
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As she readies the release of her forthcoming Dennis Daughter project, Brooklyn rapper Lola Brooke has unveiled her new French Montana collab “Pit Stop.” Featuring her trademark playful intonation — which pulls from both Lil’ Kim and Foxy Brown on this track, with a healthy dose of Lola’s own humor — “Pit Stop” is flirty back-and-forth between the two New Yorkers, one that plays on the city’s unique courting dynamics. “Ask me where my man at, n—a, I don’t know/ Say you wanna risk it all, I hope/ Could never play with ‘nani, mm, no-no-no/ Said he like me more than his b–ch, ooh, oh, no,” Lola spits.
Terrace Martin & Alex Isley, “2 Step in the Living Room”
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Every week R&B’s brightest stars continue to prove that the genre is unquestionably alive and well. In this mid-set cut from the pair’s new joint I Left My Heart in Ladera project, this duo perfectly captures the lightweight, love-drunk mood of grooving in the living room to the soulful soundtrack of your life alongside the people you love the most. With a dash of vocoder towards the outro, the song pulls from Parliament’s most subtle funk-indebted tracks to create something a bit more subdued and hazy, all anchored by Alex Isley’s warm tone.
Since scoring a pair of left-field slow jam hits in duets with H.E.R. (“Best Part”) and Kali Uchis (“Get You”) six years ago, Daniel Caesar has sidestepped the quest for the male R&B throne and has instead opted to focus on further developing his dedicated community of fans — one that has grown to the size of a sold-out Madison Square Garden on Tuesday night (Oct. 17).
The Grammy winner has come a long way since those controversial comments on race relations and the subsequent backlash, but a sobering, apologetic self-reflection and a string of major career moves kept the Caesar train chugging. In the time since “Best Part” emerged as Freudian’s breakout hit, Caesar found Billboard Hot 100 success as a songwriter for fellow Canadians Justin Bieber (“Peaches,” No. 1 — also with Caesar as a featured artist) and Shawn Mendes (“Monster,” No. 8), launched another acclaimed Grammy-nominated studio effort in Case Study 01, and released collaborations with Common, Brandy, FKA twigs and Omar Apollo.
On Tuesday night, the acclaimed singer-songwriter took over one of the world’s most iconic venues to perform the biggest show of his career thus far. His Superpowers World Tour — a global trek in support of his major label debut album, Never Enough, a stunningly introspective slice of R&B that peaked at No. 8 on the Billboard 200 — is a terrific showcase of musical dexterity.
On the latest stop of his Superpowers Tour, Caesar tore through his lush discography, showcasing impressive vocal endurance and an intriguing yet entrancing approach to staging. Before he hit the stage, however, Grammy-nominated pop&B lothario Omar Apollo sparkled with an energetic set that dripped with sensuality and playfulness. Evoking Michael Jackson one second and Mick Jagger the next, Apollo swaggered through renditions of hits like “Evergreen,” “Tamagotchi” and “3 Boys.” Between a heartfelt tribute to Mexico (“En El Olvido”) and a hilarious streak of frankness — after he flubbed a riff, he quipped, “Oop, my fault!” before seamlessly executing an even harder falsetto riff — Apollo seemed incredibly comfortable in front of the packed arena.
Caesar began his set enclosed in translucent drapery, with a guest appearance from Mustafa the Poet — the pair performed their “Toronto 2014” collaboration — adding to the enigmatic tone of the night. Once he hit “Cyanide,” the drapes fell, revealing a close-up of a humbled Caesar, ready and excited to delight the crowd with a slew of songs off Never Enough, as well as some fan-favorites (“Entropy”) and a cover of Radiohead’s “Creep.” Not one for much banter, Caesar instead channeled his appreciation into a series of moving vocal performances that cast his greatest love songs in the context of the love story between him and his fans.
Here are the five best moments of Daniel Caesar’s Superpowers World Tour at Madison Square Garden:
Caesar in the Shadows
Between a rumors of joint album from Kanye West & Ty Dolla $ign, several revelations from Jada Pinkett Smith’s memoir, and a surprise freestyle from Drake’s son, Adonis, the hip-hop world has been in a tizzy for the past week. In the midst of all of these cultural conversational touchstones, a bevy of hot new music also made its way to streaming platforms on Friday (Oct. 13).
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Naomi Sharon’s smooth ode to unconditional love to Young Thug’s heartfelt response to Mariah the Scientist. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Ken Carson feat. Destroy Lonely, “Paranoid”
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The umpteenth reunion of Playboi Cart’s two biggest signees was bound to produce a banger — and Ken Carson & Destroy Lonely do not disappoint. In a nod to the everlasting cultural impact of Barbie, Ken raps, “I f–k Barbie b–ches, yeah, yeah, all my hoes plastic/ All my hoes know how to act, all my hoes classy,” over a skittering trap beat crafted by F1LTHY, Lukrative & Lucian. Both rappers employ madcap flows that cover hip-hop’s most stories tropes (wealth, women, guns, etc.) with an air of wariness that plays into the concept of paranoia that guides the track.
Westside Gunn & Stove God Cooks, “House of Glory”
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And Then You Pray For Me may stand as Westside Gunn’s final studio effort, but the Griselda God left us with an incredibly consistent project. One of the record’s standouts is a RZA-produced collaboration with Stove God Cooks titled “House of Glory,” which finds the pair trading verses laden with biblical imagery over a soulful, almost drumless beat that pulls from a Tchaikovsky sample. “Seen Chanel five hundred dollar plates, she in the county/ She pulled up on Tiffany, shot out the Audi/ Another palm angel gained new wings/ Valentino down to my shoestrings,” he spits.
Jay Worthy, Kamaiyah & Harry Fraud feat. Ty Dolla $ign, “Pull Up”
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On this cut from Jay Worthy, Kamaiyah & Harry Fraud’s terrific The Am3rican Dream collaborative album, the trio calls upon Ty Dolla $ign to help inject some extra West Coast bounce and flair into the track’s soulful production. It’s a tribute to Black wealth as it relates to the concept of the American Dream through the lens of the contemporary entertainment industry. When Ty and Jay trade the “It go money, hoes, fancy s–t/ Let the ho choose up, don’t ask the b–ch” lines in the hook and pre-chorus, there’s a glint of irony in their delivery that takes the whole thing up several notches.
Naomi Sharon, “Regardless”
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As OVO’s First Lady continues to tease her forthcoming debut album, she delves even deeper into her Sade influences on this new acoustic track. “Regardless,” a straightforward track that finds Naomi yearning for truly unconditional love, balances her smooth, seductive timbre with sparkling, subdued keys for a track that understands the beauty of letting the music breathe.
Veeze, “Amusing”
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Over a subtly menacing K Money-helmed beat, Veeze delivers a verse-long stream-of-consciousness tirade in this new track from the deluxe version of his acclaimed Ganger album. He does a lot of typical street posturing on the track — “Doin’ deals neat, this the corner suite trap spot/ I done grew a lot, servin’ n—as I could slime out/ Do the drill on feet, take that boy ID, face shot/ All my n—as stand over shit, we don’t do drive-bys,” he raps — but it’s his laidback cadence that every so often bubbles over into a new level of assertiveness that makes “Amusing” such a dynamic and intriguing listen.
Hunxho feat. Dej Loaf, “Make Time”
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In this delectable slice of trap&B yearning, rising Atlanta rapper Hunxho and Dej Loaf trade verses about straightening up their ways and doing the work to prove to a potential significant other that they are both ready for a proper relationship. Murky trap drums and slurred flows add to the muddy kaleidoscope of emotions that both artists cycle through in the song. “I wish I could love myself/ Like I love you and nobody else,” Dej croons.
Young Thug, “From a Man”
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Over a surprisingly smooth beat courtesy of Turbo and London On Da Track, among other contributors, Thugger delivers a freestyle-evoking track that details his personal and romantic commitments to R&B singer-songwriter Mariah the Scientist, who released her own “From a Woman” track on Friday (Oct. 13) as well. It’s Young Thug’s first new song (as a lead artist) since he dropped off his Business Is Business album earlier this year. The rap great is still behind bars as he awaits the resolution of his RICO case, but “From a Man” proves that he’s still capable of being as prolific as ever.
Drake’s For All the Dogs album — and his subsequent back-and-forth with Joe Budden — took up a lot of airtime this weekend, but the rest of the music world was just as active. As usual, New Music Friday (Oct. 6) unleashed a fresh batch of new R&B and hip-hop tracks to sort through as we count down to the BET Hip-Hop Awards on Tuesday (Oct. 10).
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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: Fivio Foreign, “Why Would I?”
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For his first unaccompanied release in several months, Fivio delivers a biting piece of authentic New York drill. With pop-drill — a subgenre that Fivio helped pioneer — topping Top 40 radio and soundtracking the Barbie movie, the skittering snares and staccato flows of New York drill have reached the apex of pop culture. With “Why Would I,” Fivio goes back to basics, as he flexes his real-life successes and achievements in the face of Internet haters, over a menacing drill beat crafted by LS Da Producer and FritzThaProducer.
Megan Thee Stallion, “Out Alpha the Alpha”
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After making a return to the rap scene alongside Cardi B with “Bongos,” Megan Thee Stallion commemorates her foray into film acting with a new song for D—ks: The Musical, a musical comedy based on Josh Sharp and Aaron Jackson’s off-Broadway musical of the same name. More Hamilton than Traumazine, “Out Alpha the Alpha” finds the Hot Girl Coach delivering familiar rhymes serenading women’s independence and power — but this time she adds an extra dose of comedy in her delivery to play on the arrangement’s jaunty piano and horns.
Connie Diiamond & Jenn Carter, “Ghetto & Ratchet (Remix)”
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As two of the buzziest names coming out of the New York rap scene, it’s no surprise that Connie and Jenn have found their way on a track together. On the remix to Connie’s fast-rising “Ghetto & Ratchet,” Jenn delivers a characteristically rambunctious verse full of bars flexing both his street cred and his status as one of his city’s hottest rappers. His high-octane delivery offers a smart complement to the smoothness of Connie’s tone.
Digga D, “TLC”
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On this tender G-funk-inflected track — which incorporates a well-known guitar lick from Soul Mann & The Brothers’ “Bumpy’s Lament,” by way of Dr. Dre’s “Xxplosive” — British rapper Digga D offers an introspective number in which he waxes poetic about needing something a bit more real and human in the face of his fast-moving career. “I know it’s insane / I’m grateful, but I’m kinda tired of fame / I need some TLC, I’m drained,” he spits.
Majid Jordan, “Hands Tied”
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For the latest taste of their forthcoming Good People album, Majid Jordan delivers a vibe in the spirit of Sade. Steady percussion and twinkling keys soundtrack a love story concerned with two loves, for whom risk is the reward itself. “Suspicious, suspicious, dismissive, dismissive, dismiss us, dismiss us/ Love is the answer, love is the message, you know it,” they croon. On this smooth, quiet storm-evoking track, the duo makes the smart choice to prioritize singing straight, instead of over-embellishing the song with runaway riffs.
Mannywellz, “Serious”
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On “Serious,” ManNywellz continues his soulful blend of Afrobeats and R&B. Here, Manny extends the spirit of “no weapon formed against me shall prosper” for a war-ready anthem of resilience steeped in faith. He waltzes across the peppy, percussive beat with swagger and confidence, sourced from his knowledge of God’s protection over his life. “I identify as God’s n—a / No weapon can dance with us / Can’t compete, I got stamina,” he proclaims.
Even in the midst of the announcement of Beyoncé’s imminent Renaissance World Tour documentary concert film, there was still an onslaught of new music unleashed upon the world over the weekend. From marquee mainstream rappers to British crossovers, there’s a whole lot of material to sort through.
With Fresh Picks, Billboard aims to highlight some of the best and most exciting new sounds across R&B and hip-hop — including Cleo Sol’s gospel-informed affirmations and Paul Wall’s sleek synthesis of Southern and East Coast hip-hop.
Make sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Cleo Sol, “There Will Be No Crying”
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On this gospel-steeped opener to Gold — her second new album in as many weeks — British singer-songwriter Cleo Sol blends gospel, soul, jazz and ambient music for a transformative rumination on the vitality of emotional resilience. Obviously a nod to Revelations 21:1-4, the song’s lyrics are a practice in affirmation, a paean for freedom and release in a world desperately in need of it. “There will be no fighting/ In a river full of dreams/ Make it better, one thing that I need, is to be free/ Life’s a battle that don’t scare me,” she coos in one of the song’s verses. The Inflo-produced track — which completely eschews typical song structures — delicately balances plaintive piano, bass, guitar, and drums for a serene yet intentional reclamation of inner strength.
Paul Wall & Termanology feat. Bun B & Deandre Nico, “No Apologies”
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Southern hip-hop icon Paul Wall is currently readying his forthcoming collaborative album with Billboard-charting rapper and producer Termanology — due Oct. 13 — and this latest taste from the record promises a set that celebrates Southern hip-hop traditions while pushing the scene in a few new directions. “No Apologies,” which features Grammy-nominee Bun B and Texan musician Deandre Nico, finds Paul and Termanology blending elements of drum-heavy East Coast-nodding production with the slower, more languid vibe of Hoston rap production. The result is a lush ode to the power of ambition, set against of backdrop of Static Selektah’s soulful keys and DeAndre Nico’s commanding chorus.
No Guidnce, “Spicy”
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Something of an all-male counterpart to FLO — the British girl group who broke through in 2022 and currently prepping their debut studio album — No Guidnce is seeking to solidify themselves in a similar manner with their new Spicy EP. Three of the tracks on the EP have already been out for months, but their new single — the groovy, bed squeak-touting “Spicy” — is their strongest attempt at a proper radio single. On the new song, the quartet not only showcases their impressive blend, but they also sell a level of camraderie that’s necessary to sell the idea of a boy band. Moreover, the song’s production keeps them in line with most of the contemporary pop&B landscape without threatening to be a sound that casts an insurmountable shadow of their future releases.
Kenyon Dixon feat. RL, “2000s R&B”
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Grammy nominee Kenyon Dixon released his new The R&B You Love album last Friday (Sept. 29), and the record is a nuanced, heartfelt tribute to an era of R&B that prioritized soul music above all else. Tucked away in the back half of the album is a duet with RL of Next titled “2000s R&B,” a prime encapsulation of all the histrionic no-holds-barred journey through the throes of a romance rollercoaster. “Since you left, ain’t been the same/ Got me singin’ 2000s R&B, all in this f–kin’ rain like/ I wish I never met her, no/ D–n, I wish I never met her,” he croons in the chorus.
Sha EK, “Last One Left”
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This standalone EMRLD & Wizical Beats-produced track finds Bronx rapper Sha EK turning down the bombast and opting for a more introspective vibe. Over an instrumental that’s closer to G-Unit’s luxurious street anthems than his usual dynamic take on New York drill, the “New Opps” rapper reflects on his rise to prominence and pledges to put longevity before cheap thrills. “I be going through s—t, but I’m never gonna fold/ N—a, my momma happy cause she see me growin’ ol,” he spits.
Sexyy Red, “No Panties”
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After making the round-up last week, Sexyy Red returns with a fiery new track for the forthcoming second season of Issa Rae’s acclaimed Max series Rap Sh!t. “I ain’t got no panties on, gotta let this coochie breathe/ Bend that shit over, touch them toes, grab your knees,” the “SkeeYee” rapper spits over YA & Snacks-produced banger that leans more Southern rap than her Midwestern comfort zone. From a booming bassline to steady handclaps, Sexyy delivers a bevy of memorable NSFW one-liners throughout this ode to going commando.
Philly Goats, PGS Spence & Armani White, “Buckle Up (Remix)”
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Before its official release to streaming services, Philly Goats’ “Buckle Up” garnered over one million posts on TikTok. Now, the runaway Jersey club snippet hit has grown into a full-fledged smash, complete with a new remix featuring “Billie Eilish” rapper Armani White. Sometimes, songs that gain their popularity through TikTok snippets can become beholden to those thirty seconds — but luckily, this new remix allows “Buckle Up” to feel like a solid standalone song, instead of a track that you’d only encounter while watching TikToks explicitly participating in the accompanying dance trend. “Man, now cuz all on his lawn and I can’t say I’m not in the car / It’s fully, damn / Now I’m in a jawn with a jar and my jawn don’t know I be drawin’ / You feel me? Damn,” Armani raps over the danceable beat.
“Your mission tonight is to not think about the past,” Janelle Monáe proclaimed at their dazzling Age of Pleasure Tour stop at Radio City Music Hall on Tuesday night. “New York, your mission tonight [is] to not think about the future.”
With those two directives, Monáe fostered not just an endlessly captivating atmosphere of entertainment, but also a haven of safety, acceptance, freedom and positivity — if only for two hours and change.
Monáe kicked off their latest nationwide trek in support of her fourth studio album of the same name, a summery reggae-tinged embrace of revolutionary pleasure politics that, to some, read as antithetical to the soulful, cerebral concept albums that shot Monáe to fame. Throughout their nearly two-hour set — which featured strong opening sets from producer and DJ Nana Kwabena and the Internet’s favorite sprinters, rap duo Flyana Boss — Monáe seamlessly tied the vision and mission of The Age of Pleasure to the rest of her discography, as well as the rest of Black music history.
With the show’s first chapter — “Chapter 1: A Thousand Versions of the Self” — Monáe immediately situated the audience in an exploration of the multiplicity of the individual. At once an epic leader presiding over a court of background dancers in a Midsommar-esque costume and a slinky twerk queen in a bootylicious black bodysuit, Monáe revels in all the different versions of herself — and they’re all “fine as f—,” as she chants on “Phenomenal,” a standout Age of Pleasure track that morphed into a moment of communal affirmation during the show. The focus on the self quickly evolved into a focus on community, with the help of songs like “Q.U.E.E.N.” and an onstage audience-centric dance party — featuring Emmy-nominated Pose actress Michaela Jaé Rodriguez! — soundtracked by “Paid in Pleasure.”
The foundation of Monáe’s stage show is her penchant for the theatrical — a stylistic choice that evoked several Black performing legends, thus properly contextualizing the different genre tilts of The Age of Pleasure. Monáe frequently opts for exaggerated accents, animated facial expressions, and a no-holds-barred approach to choreography that recalls the intensity of James Brown. In fact, the show’s choreography is equally important in further contextualizing The Age of Pleasure. In a dance break after their rendition of “Phenomenal,” Monáe breaks out into the Charleston, connecting the brassy embellishments of reggae with Harlem Renaissance-era jazz. There’s also “Pynk” — which featured the return of Monáe’s instantly iconic “p—y pants”– a rock-tinged empowerment anthem that dripped with a carnal ecstasy similar to Rick James. That’s not to mention the elongated dance break preceding the show’s encore — spoiler: it’s a double-header of “Make Me Feel” and “Tightrope” — which sits somewhere between the iconography of Michael Jackson and the statuesque poses of Grace Jones. To that end, the choreography of “Phenomenal” included elements of ballroom hand performance, another nod to the thread of Black queer culture that runs throughout the album and tour.
Monét’s Betty Boopian energy paired well with the show’s mise en scène; towers of tan-colored speakers evoked the getaway beach paradise that Monáe’s rendering of Pleasure™ aims to embody. Radio City Music Hall’s proscenium arch helped drive home the more theatrical parts of the show, with some of Monáe’s mid-song quips and speeches having the endearing air of an off-Broadway musical. When she assumed a more militant disposition for “Django Jane” — one of the highlights of the night — she briefly acknowledged the fact that the darker parts of the world never truly disappear, but choosing to “reach for love” is the true war at hand.
Although Monáe completely enraptures any venue they perform in, certain moments during Tuesday night’s show begged for an arena-sized space. No two songs captured this better than “Electric Lady” and “Yoga” — two songs that predate Age of Pleasure by several years but still lend themselves to powerhouse performances. From her wailing vibrato to her inimitable energy, instrumental prowess, and effortless swagger, Monáe’s rendition of “Electric Lady” was easily the apex of the night. It was “Yoga,” however — with its yoga-inspired choreography and ominous lighting design — that most plainly drew a connection between The Age of Pleasure and earlier periods in Monáe’s catalog.
When a performer is as impressive and multifaceted as Monáe, it’s easy to undersell just how skilled they are at each element of their stage show. In addition to their slick dance skills and commanding presence, Monáe also flaunted their vocal chops with ambitious live arrangements that infused The Age of Pleasure’s Afrobeats and reggae flourishes with a healthy dose of jazz and Black church breakdowns. A slowed-down final “Lipstick Lover” verse and an intimate rendition of “Only Have Eyes 42” provided the night’s strongest vocal moments — reminding the audience that Monáe’s talents are genuinely limitless.
Toward the end of the night, Monáe delivered a pair of moving speeches. In the first speech, they plainly stated their mission for The Age of Pleasure: “The focus was not on division or the hate, ’cause we know. We’re online, we see what divisive tactics look like. But The Age of Pleasure is about us creating a safe oasis, for us by us. This is what it looks like when you feel safe. This is what it feels like when you respond to love.”
In their second, more personal speech, Monáe recounted how their family would support their dreams by bringing them to a performing arts high school in New York City many moons ago. She then broke down into tears mid-sentence, clearly overwhelmed as she registered the complete realization of their life-long dreams in real time. A beautifully touching moment that framed the encore segment perfectly, Monáe’s personal addresses to the crowd helped her pause the theatrics for a moment and develop an even deeper and more nuanced connection with the NYC crowd. For a few hours, Monáe was able to successfully conjure up a moment of escapism that doubled as an exercise in individual and communal healing.
Ending the night with towering performances of “Make Me Feel” and “Tightrope” — with the latter featuring a costume reminiscent of their ArchAndroid days — Monáe further cemented themselves as one of the truly marvelous all-around performers we have.
