The first half of 2023 is already behind us, but July gives us much to look forward to. The warm sun, tours and festivals abound, and a heap of exciting releases — from Colter Wall's country music to NCT DREAM's K-pop — will surely make this season even more special.

We start it off with Taylor Swift and her third re-recorded album, Speak Now (Taylor's Version) on July 7, the same day Pitbull returns with his twelfth studio album, Trackhouse. Post Malone will deliver his fourth LP, AUSTIN, and Blur returns with their first album in eight years. And for the classic music lovers, folk legend Joni Mitchell will release At Newport — a recording of her first live performance since 2015 — and rock maven Stevie Nicks will drop her Complete Studio Albums & Rarities box set.

To welcome the latter half of a year filled with great music so far, GRAMMY.com offers a guide to the 15 must-hear albums dropping July 2023.

Taylor Swift, Speak Now (Taylor's Version)

Release date: July 7

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Taylor Swift fans are used to gathering clues and solving puzzles about the singer's intricate, ever-expanding discography. Therefore, in her hometown of Nashville concert last May, when she announced that Speak Now (Taylor's Version) would come out on July 7, it was not much of a surprise to the audience, but rather a gratifying confirmation that they had followed the right steps.

"It's my love language with you. I plot. I scheme. I plan. And then I get to tell you about it," Swift told them after breaking the news. "I think, rather than me speaking about it ... I'd rather just show you," she added, before performing an acoustic version of Speak Now's single, "Sparks Fly." 

Shortly after, she took it to Instagram to share that "the songs that came from this time in my life were marked by their brutal honesty, unfiltered diaristic confessions and wild wistfulness. I love this album because it tells a tale of growing up, flailing, flying and crashing … and living to speak about it."

Speak Now (Taylor's Version) is Swift's third re-recorded album, following 2021's Red (Taylor's Version). It will feature 22 tracks, including six unreleased "From the Vault" songs and features with Paramore's Hayley Williams and Fall Out Boy. "Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she shared on Twitter. Swift is currently touring the U.S. with her acclaimed The Eras Tour, which will hit Latin America, Asia, Australia, UK, and Europe through August 2024.

ANOHNI and the Johnsons, My Back Was a Bridge For You To Cross

Release date: July 7

"I want the record to be useful," said ANOHNI about her upcoming sixth studio album, My Back Was A Bridge For You To Cross. The English singer says she learned with her previous LP, 2016's HOPELESSNESS, that she "can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making," therefore aiming to make use of her talents to further help and inspire people.

Through 10 tracks that blend American soul, British folk, and experimental music, ANOHNI weaves her storytelling on inequality, alienation, privilege, and several other themes. According to a statement, the creative process was "painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it."

My Back Was A Bridge For You To Cross "demonstrates music's unique capacity to bring harmony to competing, sometimes contradictory, elements" — qualities that can be observed in the album's contemplative pre-releases "It Must Change" and "Sliver Of Ice."

Pitbull, Trackhouse

Release date: July 7

GRAMMY-winning singer/rapper Pitbull has recently broadened his reach into an unexpected field: stock cars. Together with Trackhouse Entertainment Group founder Justin Marks, he formed Trackhouse Racing in 2021, an organization and team that participates in the NASCAR Cup Series.

Now, to unite both passions, the Miami-born singer is releasing Trackhouse, his twelfth studio album and first release since 2019's Libertad 548. "In no way, shape, or form is this some kind of publicity stunt," said Mr. Worldwide of the upcoming album during a teleconference in April. "This is real. This is all about our stories coming together, and that's why the fans love it. […] This right here is about making history, it's generational, it's about creating a legacy."

Preceded by singles "Me Pone Mal" with Omar Courtz and "Jumpin" with Lil Jon, it seems that Trackhouse, despite its innovative inception, will continue to further Pitbull's famed Latin pop brand. This fall, he will also join Enrique Iglesias and Ricky Martin on The Trilogy Tour across the U.S. and Canada.

Dominic Fike,  Sunburn

Release date: July 7

Multitalented singer, songwriter and actor Dominic Fike also joins the roll of summer comebacks. His second studio album, Sunburn, comes out July 7, and follows 2020's acclaimed What Could Possibly Go Wrong.

In recent years, the Florida star found great exposure after landing a role in the HBO hit series "Euphoria" as well as the upcoming A24 drama Earth Mama, which is slated to release on the same day as Sunburn. The past three years were also marked by collaborations with a handful of artists, from Justin Bieber ("Die For You") to Paul McCartney ("The Kiss of Venus") to his Euphoria co-star Zendaya on "Elliot's Song" from the show's soundtrack.

Sunburn marks Fike's joyful return to music, aiming to portray "the aching and vulnerable revelations of a young artist still growing and putting their best foot forward," according to a press release. Through 15 tracks, including singles "Dancing in the Courthouse," "Ant Pile," and "Mama's Boy," Fike will explore themes of "heartbreak and regret, addiction, sex, and jealousy." 

One week after Sunburn's arrival, Fike will embark on a tour across North America and Canada, starting July 13 in Indianapolis.

Lauren Spencer Smith, Mirror

Release date: July 14

Lauren Spencer Smith said on TikTok that she's been working on her debut album, Mirror, for years. "It has been with me through so much in my life, the highs and the lows, and it means more to me than I can put into words. It tells a story of reflection, healing and growth," she added.

The 19-year-old, British-born Canadian singer is unafraid to dive deep into heartbreak and sorrow — as she displayed on her breakthrough hit "Fingers Crossed" —  but offers a way out by focusing on her growth. "I went through a hard breakup, and the album tells the story of that all, the journey of that and now being in a more happy relationship. The title comes from the one thing in my life that's seen me in every emotion through that journey — my bedroom and bathroom mirror."

Like a true Gen Zer, Smith has been teasing the 15-track collection and its upcoming world tour all over social media. On July 14, the day of the album release, she kicks off the North American leg of the tour in Chicago, before heading to the UK, Europe, Australia, and New Zealand.

Colter Wall, Little Songs

Release date: July 14

"You might not see a soul for days on them high and lonesome plains/ You got to fill the big empty with little songs," sings Colter Wall on the titular track off his fourth studio album, Little Songs. The Canadian country star says in a press release that he wrote these songs over the last three years, and that "I penned most of them from home and I think the songs reflect that."

Born and raised in the prairies of Battle Creek, Saskatchewan, Wall found inspiration in the stillness of his surroundings. With this album, he bridges "the contemporary world to the values, hardships, and celebrations of rural life" while also opening "emotional turns as mature and heartening as the resonant baritone voice writing them," according to a press release.

Little Songs is composed of 10 tracks — eight originals and two covers (Hoyt Axton's "Evangelina," and Ian Tyson's "The Coyote & The Cowboy.") He'll celebrate the album's release with a performance at Montana's Under The Big Sky festival on the weekend of the LP's arrival.

Mahalia, IRL

Release date: July 14

British singer Mahalia celebrated her 25th birthday on May 1 by announcing IRL, her sophomore album. Out July 14, the R&B star claims the album to be "a real reflection of the journeys I've had, what actually happened, and a celebration of everyone who got me there."

The 13-track collection will feature names like Stormzy and JoJo, the latter of whom appears on the single "Cheat." Before the release, Mahalia also shared "Terms and Conditions," a self-possessed track that pairs her silky voice with delightful early-aughts R&B.

"I'm so proud of this album, and so proud of how much I challenged myself to just let those stories out," she said in a statement. "We're all fixated on how we can make ourselves better but I want people to also reminisce on lovely or painful situations they've lived through and how they've helped shape the people they are now."

IRL is Mahalia's follows 2019's highly-acclaimed Love and Compromise. In support of the release, she has announced UK and Europe tour dates from October through November.

NCT DREAM, ISTJ

Release date: July 17

The Myers-Briggs Personality Test (also known as MBTI) is a current craze in South Korea, therefore, it was only a matter of time until a K-pop group applied its insights on their music. Although none of NCT DREAM's seven members has the ISTJ personality type, that's what they decided to call their upcoming third studio album, out on July 17.

The 10-track collection comes in two physical versions: Introvert and Extrovert, the first letters and main differentiators in any MBTI personality. Spearheaded by the soaring "Broken Melodies," where they display an impressive set of vocals, their comeback announcement on Twitter promises "The impact NCT DREAM will bring to the music industry."

Since September, the NCT sub-group embarked on The Dream Show 2: In A Dream World Tour, which crossed Asia, Europe, North America. The group will wrap up July with four concerts in Latin America.

Blur, The Ballad of Darren

Release date: July 21

"The older and madder we get, it becomes more essential that what we play is loaded with the right emotion and intention," said Blur's guitarist Graham Coxon in a statement about The Ballad of Darren, the band's ninth studio album set to arrive on July 21.

Maybe that explains why The Ballad is their first release in eight years, and represents "an aftershock record, reflection and comment on where we find ourselves now," according to frontman Damon Albarn. During a press conference in May, bassist Alex James reinforced the positive moment that they find themselves in, stating that "there were moments of utter joy" while recording together.

Produced by James Ford, the album contains 10 tracks, including the wistful indie rock of lead single "The Narcissist." On July 8 and 9, Blur is set to play two reunion gigs at London's Wembley Stadium, followed by a slew of festivals across Europe, Japan and South America.

Barbie: The Album

Release date: July 21

The most-awaited summer flick of 2023 also comes with a staggering soundtrack. Scored by producers Mark Ronson and Andrew Wyatt, Barbie: The Album features songs by hot stars like Dua Lipa, Lizzo, and Ice Spice, as well as some surprising additions, such as psychedelic star Tame Impala and K-pop rookie sensation Fifty Fifty.

As undecipherable and alluring as the actual movie plot, the album tracklist only increases expectations for Greta Gerwig's upcoming oeuvre. Is it all a satire? Is it a serious take on "life in plastic" and consumerism? Is it about nothing at all? You can try to find some clues through pre-release singles "Dance the Night" by Dua Lipa, "Watati" by Karol G, and "Angel" by PinkPantheress.

Greta Van Fleet, Starcatcher

Release date: July 21

Fans who attended the three final shows of Greta Van Fleet's Dreams in Gold Tour this March already got a sneak peek of the band's upcoming third studio album, Starcatcher. Among their most popular hits, the quartet played five new songs — or half of Starcatcher — including singles "Meeting the Master," "Sacred the Thread," and "Farewell for Now."

In a statement about the album, drummer Danny Wagner said that they "wanted to tell these stories to build a universe," and that they wanted to "introduce characters and motifs and these ideas that would come about here and there throughout our careers." Bassist Sam Kiszka adds: "When I imagine the world of Starcatcher, I think of the cosmos. It makes me ask a lot of questions, like 'Where did we come from?' or 'What are we doing here?' But it's also questions like, 'What is this consciousness that we have, and where did it come from?'"

Just a few days after release, Greta Van Fleet will embark on a world tour. Starting in Nashville, Tennessee on July 24, they will cross the U.S. and then head over to Europe and the UK in November.

Post Malone, AUSTIN

Release date: July 28

In a shirtless, casual Instagram Reel last May, hitmaker Post Malone announced his upcoming fourth studio album, AUSTIN, to be released on July 28. Titled after his birth name, the singer shared that "It's been some of the funnest music, some of the most challenging and rewarding music for me, at least" — a very different vibe from the more mellow, lofi sounds of 2022's Twelve Carat Toothache — and that the experience of playing the guitar on every song was "really fun."

Featuring 17 tracks (19 on the deluxe version), AUSTIN is preceded by the dreamy "Chemical" and the angsty "Mourning," and sees Malone pushing his boundaries in order to innovate on his well-established sound. The album will also be supported by a North American 24-date trek, the If Y'all Weren't Here, I'd Be Crying Tour, starting July 8 in Noblesville, Indiana and wrapping up on August 19 in San Bernardino, California.

Stevie Nicks: Complete Studio Albums & Rarities box set

Release date: July 28

To measure Stevie Nicks' contribution to music is an insurmountable task. The Fleetwood Mac singer and songwriter has composed dozens of the most influential, well-known rock classics of the past century ("Dreams," anyone?), also blooming on her own as a soloist since 1981, when she debuted with Bella Donna.

In the four decades since, seven more solo albums followed, along with a trove of rarities that rightfully deserve a moment in the spotlight. Enter: her upcoming vinyl box set, Stevie Nicks: Complete Studio Albums & Rarities. The 16xLP collection compiles all of her work so far, plus a new record with the aforementioned rarities, and is limited to 3,000 copies. It's also the first time that Trouble in Shangri-La, In Your Dreams, and Street Angel are released on vinyl. For those who can't secure the limited set, a version of Complete Studio Albums & Rarities with 10xCDs will be available digitally.

Joni Mitchell, At Newport

Release date: July 28

Last year's Newport Folk Festival in Rhode Island was one to remember. During one evening of the fest, a surprise guest graced the "Brandi Carlile and Friends" stage: it was none less than legendary folk star, Joni Mitchell. And what's more? It was her first live appearance since 2015, when she suffered a debilitating aneurysm.

During that time, the 79-year-old singer quietly held "Joni Jams" at her home in Los Angeles — inviting musicians that ranged from Elton John to Harry Styles to participate — with organizational support offered by Carlile. With Mitchell's special appearance at Newport, the coveted experience of a Joni Jam was available for thousands of fans.

This month, the release of At Newport eternalizes the headlining-making moment, bringing her talents to an even bigger audience. Among the classics in the tracklist are "Carey," "A Case of You," and "The Circle Game," proving that Mitchell is still as magical as when she stepped on the Newport Folk Festival stage for the first time, in 1969.

Jennifer Lopez, This Is Me… Now

Release date: TBD

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In 2002, J.Lo was everywhere. Her relationship with actor Ben Affleck ensued heavy attention from the media, and her This Is Me… Then album — which featured hits like "Jenny from the Block" — was a commercial success, with over 300,000 first-week sales in the U.S.

How funny is it that, 20 years later, the singer and actress finds herself in a similar situation. After rekindling with Affleck in 2021, she announced the sequel to her 2002 release, This Is Me… Now, and stated in an interview with Vogue that the album represents a "culmination" of who she is.

A press release also describes This Is Me… Now as an "emotional, spiritual and psychological journey" across all that Lopez has been through in the past decades. Fans can also expect more details on the new-and-improved Bennifer, as many of the titles among its 13 tracks suggest, especially "Dear Ben Pt. II."

Although an official release date has not yet been revealed, on June 29, Lopez posted a cryptic image on social media with the caption "album delivery day" — suggesting that the highly anticipated This Is Me update may not be far away.

Everything We Know About Olivia Rodrigo's New Album 'Guts': Release Date, New Songs & More

As the summer quickly approaches, artists from every genre continue to unveil new music for warmer weather. Friday May 10 is particularly packed with anticipated and surprise releases from both emerging talents and established names.

The new albums alone prove just that: pop songsmith Alec Benjamin's 12 Notes, folk-rock band Judah & the Lion's The Process, regional Mexican stars Grupo Frontera's Jugando a Que No Pasa Nada, and GRAMMY-winning R&B singer Andra Day's Cassandra, to name a few.

Meanwhile, a big, cool glass of major rap releases is here to help wash down the piping hot Kendrick and Drake beef served up over the last week. Full album releases debuted from Gunna, Chief Keef, and Ghostface Killah — the latter featuring guest spots from Nas, Kanye West, Raekwon, Method Man and more. Hottie Megan Thee Stallion's powerful new single, "BOA", sets the stage for her Hot Girl Summer tour which officially starts on May 14. New songs from Ice Spice, Kodak Black, NLE Choppa, Coi Leray, G-Eazy, Yung Gravy, Ski Mask the Slump God set the playlist for a weekend full of slappers.

There's tons of collaborations, too, including the much-teased pairing of Post Malone and Morgan Wallen with "I Had Some Help," a track that showcases Malone's furtherance into country in a catchy, reflective anthem. But country music lovers also have more to enjoy this weekend: Orville Peck's duets project, Stampede Vol.1, features the likes of Willie Nelson and Elton John," while Scotty McCreery's Rise & Fall and Avery Anna's single "Blonde" fill the fuel tank for a rodeo-ready summer. 

BTS's RM delivers another solo track "Come Back to Me" and Stray Kids dropped a new collaboration with Charlie Puth, coming fresh off the K-pop group's appearance at the Met Gala earlier this week. And the electronic and rock scenes are not left behind, with A.G. Cook exploring a new twist on Britpop and Sebastian Bach's release of Child Within The Man.

Dive into today's releases from Megan Thee Stallion, The Chainsmokers, RM, Stray Kids with Charlie Puth, Camila Cabello with Lil Nas X, Post Malone and Morgan Wallen below. 

Megan Thee Stallion, "BOA"

Megan Thee Stallion's new single "BOA" continues to play up the themes of empowerment and self-realization that define her current musical phase and comes just days ahead of her Hot Girl Summer Tour starting on May 14. The song's cover art features Megan with a striking snake, a recurring symbol of rebirth that has been significant in her recent work, appearing in tracks like the Billboard Hot 100 hit "Hiss" and the 2023 song "Cobra." 

"BOA" is a continuation of Megan's snake-themed narrative, but serves as a saccharine homage to her favorite late-'90s and early 2000s anime and video game classics. The music video features references to Scott Pilgrim, One Piece, Dance Dance Revolution, and iconic 3D fighting games like Mortal Kombat, complete with visuals and Gantz-inspired outfits.

Speaking to Women's Health about her upcoming summer album, Megan discussed the personal growth and renewal she has experienced, inspiring this new era of music. "I was inspired to create this album about rebirth because I feel I am becoming a new person physically and mentally," she shared.

Camila Cabello & Lil Nas X, "HE KNOWS"

Camila Cabello teams up with Lil Nas X for the tantalizing new song "He Knows," delivering a radio-friendly track that's as catchy as it is lustful. The new music mirrors the infectious energy of their recent appearance at FKA Twigs' Met Gala afterparty, where they both were seen dancing the night away behind the DJ booth. 

"He Knows" serves as a precursor to Cabello's highly anticipated fourth solo album, C,XOXO, — set to drop on June 28 — and teases a glimpse of Cabello's evolving artistic direction. The single follows on the heels of her recent hit "I LUV IT" featuring Playboi Carti, part of the  reimagining of her sound and artistic brand.

RM, "Come Back To Me"

BTS member RM has released a new single, "Come Back To Me," accompanied by a music video. The relaxed track gives fans a taste of his upcoming second solo album, Right Place, Wrong Person, set to release on May 24. 

In the song, RM explores themes of right and wrong, capturing the complex emotions of wanting to explore new avenues while wishing to stay comfortable in the present. "Come Back To Me" features contributions from OHHYUK of the South Korean band HYUKOH, and Kuo of the Taiwanese band Sunset Rollercoaster. Additional credits include JNKYRD and San Yawn from Balming Tiger. RM first performed "Come Back To Me" during a surprise appearance at BTS bandmate Suga's concert in Seoul last summer, noting it as a favorite from his forthcoming album. 

The music video for "Come Back To Me" was written, directed, and produced by Lee Sung Jin, known for his work on the Netflix show "Beef." The video features actress Kim Minha from the Apple TV+ series "Pachinko" and faces themes of identity and self-reflection, showing RM confronting different versions of himself. Its cast includes notable Korean and American actors such as Joseph Lee, Lee Sukhyeong, and Kim A Hyun.

Post Malone & Morgan Wallen, "I Had Some Help"

Post Malone and Morgan Wallen blend their distinct musical styles in the much-anticipated release of their collaborative single "I Had Some Help." Merging Malone's versatile pop sensibilities while leaning into his country roots with Wallen's, well, help, the duet is a unique crossover that has had fans clamoring to hear more since the two first teased the song earlier this year. 

Finally premiering during Wallen's headlining performance at Stagecoach Festival on April 28, the uptempo song explores themes of mutual support and shared experiences, encapsulated by the lyric, "It ain't like I can make this kind of mess all by myself."

The collaboration has sparked significant buzz and showcases the duo's chemistry and shared knack for storytelling. This single highlights their individual talents as well as their ability to bridge genre divides, already promising to be a hit on the charts and a favorite among fans.

The Chainsmokers, No Hard Feelings

Maestros of mainstream emotion, The Chainsmokers continue to master the art of turning personal reflections into global anthems with their latest EP, No Hard Feelings. The six-song project see Alex Pall and Drew Taggart exploring the emotional highs and lows of modern relationships, weaving their signature dance beats with pop sensibilities as they have since 2015's "Roses." 

The duo's latest release serves as a soundtrack to both sun-kissed days and introspective nights. The collection includes the single "Friday," a collaboration with Haitian-American singer Fridayy, described by the duo as a direct descendant of "Roses." Other tracks, such as "Addicted," also underscore the Chainsmokers' knack for capturing the zeitgeist of contemporary love and loss.

Kings of Leon, Can We Please Have Fun

Kings of Leon return with their signature blend of rock and introspection on their ninth studio album, Can We Please Have Fun. The LP finds the band infusing their established sound with fresh, unbridled energy, reminiscent of their early days yet matured by years of experience. The album features standout tracks like "Mustang" and "Nothing To Do," which mix playful lyrics with serious musical chops, showcasing Kings of Leon's unique ability to combine rock's raw power with catchy, thoughtful songwriting.

The band is set to bring Can We Please Have Fun to life on their 2024 world tour, starting in Leeds, United Kingdom on June 20 and wrapping in Bridgeport, Connecticut, on Oct. 5. Fans can expect a high-energy series of performances that blend new tracks with beloved classics, all delivered with the Kings of Leon's legendary fervor.

Stray Kids & Charlie Puth, "Lose My Breath"

Stray Kids have teamed up with Charlie Puth for their latest release, "Lose My Breath," a track that blends K-pop dynamism with Western pop flair, written by Stray Kids' own producer team 3racha (Bang Chan, Changbin, and Han) along with Puth. The TK song details a whirlwind of emotions, describing symptoms of breathlessness and heart-palpitating moments encapsulated in the lyrics: "I lose my breath when you're walking in/ 'Cause when our eyes lock, it's like my heart stops." 

"Lose My Breath" is described as a "warm-up" for Stray Kids' forthcoming album, set for release this summer. The track further highlights the global appeal of Stray Kids ahead of their highly anticipated headlining set at Lollapalooza in August. It also continues Puth's engagement with K-pop, following his previous work with other K-pop acts including his collab with BTS' Jungkook, "Left and Right," and "Like That," a song he co-wrote for K-pop girl group BABYMONSTER. 

15 Must-Hear Albums In May 2024: Dua Lipa, Billie Eilish, Sia, Zayn & More

The Britpop movement first gathered pace in 1993 — its pure optimism, laddish mentality, and colorful Union Jack aesthetic an attractive proposition for those who couldn't relate to the alienation and angst that defined grunge. Drawing from the classic guitar music of the 1960s, it was also steeped in nostalgia, and, perhaps more notably, a fervent belief that anything the Americans could do, the Brits could do better.

Unsurprisingly, the deeply patriotic scene didn't travel too well: only a handful of acts, most notably Oasis and Blur, made any notable impact across the Atlantic during its four-year golden period. On home turf, however, Britpop defined the zeitgeist, turning the London town of Camden into the nation's cultural hub, sweeping up everyone from future Prime Minister Tony Blair to sheep-preserving artist Damien Hirst, and sparking a chart battle so intense it made the BBC's Six O'Clock News.

And it continues to resonate. Oasis' Liam Gallagher and Stone Roses' John Squire recently topped the UK album chart with their collaborative self-titled LP. The middle episodes of Netflix's must-watch romantic drama One Day is heavily soundtracked by the scene's finest. And Dua Lipa recently cited its two biggest bands — as well as Britpop-adjacent acts Radiohead, Massive Attack, and Primal Scream — as a key influence on her new album Radical Optimism.

With the catalyst for Britpop's domination, Blur's Parklife, recently celebrating its 30th anniversary, what better time to look back at its finest contributions. Ignoring any acts that sat on the outskirts (like Manic Street Preachers or Saint Etienne), or who broke through post-1997 (see Catatonia, Embrace), and sticking to just one track per artist, here's a look at 10 songs that embodied the term Cool Britannia.

Oasis — "Live Forever"

How do you choose from the era's two biggest blockbusters, 1994's record-breaking Definitely Maybe and 1995's (What's The Story) Morning Glory? "Wonderwall" is by far Oasis most recognizable hit, "Cigarettes and Alcohol" summed up the Mancunians' hard-partying ethos in five glorious rock and roll minutes, and "Don't Look Back in Anger" remains the scene's greatest Beatles pastiche. And then there's game-changing single "Supersonic," orchestral sing-along "Whatever," and the truly epic "Champagne Supernova."

But it's the aptly titled "Live Forever," the third single from the Gallagher brothers' near-flawless debut, which has weathered the best. Showcasing the elongated delivery that would become his forte, Liam delivers both an all-time great vocal and a positive meditation that essentially serves as a Britpop manifesto. And unlike on the more bloated Oasis albums to come, Noel's wall of guitar sounds here is anthemic, evocative and downright thrilling.

Blur — "Girls and Boys"

The audience at this year's Coachella might not be particularly familiar with Blur's "Girls and Boys," much to frontman Damon Albarn's annoyance (it did only peak at No.59 on the Hot 100 30 years previously, to be fair). But anyone old enough to remember the spring of 1994 across the pond will know every word.

Ironically, one of the defining Britpop anthems has Mediterranean roots. It was inspired by the Brits-abroad debauchery that the scene's ultimate power couple, Albarn and Elastica frontwoman Justine Frischmann, witnessed during a vacation in Spain. And with its self-described "disco drums, nasty guitars, and Duran Duran bass," Parklife's gender-fluid, multilingual ("You get nasty blisters/ Du bist sehr schön"), and insanely infectious lead single was tailor-made to soundtrack such dance floor hedonism.

Pulp — "Common People"

Pulp had been plugging away on the fringes of the UK's indie scene since the late 1970s, but had to wait until the Britpop explosion to progress beyond cult concern. After making their long-awaited breakthrough with 1994's His N Hers, the Sheffield outfit then joined the big league with Mercury Prize-winning 1995 follow-up Different Class and an instant classic lead single that established eccentric frontman Jarvis Cocker as the scene's ultimate satirist.

As referenced by Rosamund Pike's prime suspect in Saltburn, "Common People" was inspired by a real-life barroom encounter with a privileged art student with ambitions of roughing it with the lower class simply for fun. Cocker initially indulges the unnamed woman in the hope of some bedroom action. But he eventually admonishes her lust for social voyeurism over an exhilarating flurry of guitars, violins and erm stylophones. A true one-off.

Supergrass — "Alright"

Although the impressive sideburns suggested otherwise, Supergrass — aka frontman Gaz Coombes, bassist Mick Quinn, and drummer Danny Goffey — were only on the cusp of adulthood when they released their debut album, 1995's I Should Coco. And saving the best until the last, its fifth single brilliantly encapsulated their youthful exuberance.

Just ask Steven Spielberg. After seeing the video for "Alright," where the trio get up to various japes while traveling across North Wales on a king size bed, the director propositioned the band with a The Monkees-esque TV show, an offer politely declined. The song itself, which did enjoy a taste of Hollywood as part of the Clueless soundtrack, is similarly mischievous, combining jaunty piano riffs and summery surf guitars with joyous tales of teenage kicks ("Got some cash, bought some wheels/ Took it out 'cross the fields/ Lost control, hit a wall/ But we're alright").

Suede — "Trash"

The lure of the Britpop world was so impossible to resist that even Suede, a band renowned for their sexual ambiguity, animalistic art rock, and odes to the seedier side of life, eventually jumped on board. Indeed, while their self-titled debut and equally nihilistic follow-up Dog Man Star had seemed designed for wallowing in student bedsits, third album Coming Up was a far more celebratory affair primed for the indie disco.

The unlikely blockbuster, recorded in the wake of guitarist Bernard Butler's departure in 1994, spawned five consecutive UK Top 10 hits, the most immediate of which was lead single "Trash." An outsider anthem written about the band itself ("Oh maybe, maybe it's the clothes we wear/ The tasteless bracelets and the dye in our hair/ Maybe it's our kookiness"), the David Bowie-esque glam rocker instantly made you want to become an honorary member of Brett Anderson's gang.

The Bluetones — "Slight Return"

As with Suede and Pulp, London-four piece The Bluetones didn't automatically fit into the Britpop landscape. Mark Morriss was at the more unassuming end of the frontman spectrum, his tender, softly-sung voice a far cry from the more boorish delivery of Gallagher, Albarn, et al. And their sound owed just as much to the jangly guitar pop of Teenage Fanclub and melodic songcraft of Squeeze as the Fab Four.

But their debut album, 1996's Expecting to Fly — which knocked (What's The Story) Morning Glory? off the UK top spot — proved that the Cool Britannia era wasn't entirely averse to something a little more sensitive. Flagship single "Slight Return" (very nearly a British chart-topper, too), was undeniably its piece-de-resistance, its intimate verses and propulsive, life-affirming chorus neatly encapsulating their everyman charm.

Babybird — "You're Gorgeous"

Perhaps Britpop's most misunderstood classic, Babybird's "You're Gorgeous" isn't a declaration of undying love tailor made for a first dance. As countless newlyweds may be horrified to learn, it's the tale of a creepy photographer sweet-talking his models into suggestive poses ("You took an instamatic camera/ And pulled my sleeves around my heart") with the false promise of worldwide fame.

Also featured in Saltburn (on this occasion, musically), the feminist statement briefly turned Stephen Jones' one-man-band into a major chart force — "Don't Look Back in Anger" was the only Britpop song to sell more in 1996. Although it proved to be something of a one-hit wonder, its subversive themes and bittersweet melodies — reminiscent of Echo and Bunnymen at their commercial peak — have aged far more gracefully than most of Britpop's more straightforward serenades.

Elastica — "Connection"

There was a brief moment in 1995 when Justine Frischmann looked as though she would equal, or even eclipse, the success of her then-boyfriend Damon Albarn. Elastica's self-titled debut album reached No. 1 in the UK, becoming the second fastest-selling ever in the process. And it reached a creditable No.66 on the Billboard 200, a chart which had completely eluded Blur.

Even so, thanks to a combination of crippling drug addiction, constant lineup changes, and lost momentum, Elastica's reign proved to be short-lived. Still, they'll always have one of the scene's greatest singles runs, encompassing "Stutter," "Line-Up," "No More Heroes," and their biggest US hit, "Connection." The latter also boasts the scene's greatest intro, a ferocious ball of energy which includes squalling synths, guttural grunts, and a primitive guitar riff brazenly borrowed from Wire's "Three Girl Rhumba." Britpop never sounded more explosive.

Ocean Colour Scene — "The Day We Caught the Train"

Occupying the same unapologetically retro space as Cast, The Boo Radleys, and the Godfather of Britpop Paul Weller, Ocean Colour Scene were never one of the scene's most fashionable bands. But breakthrough album Moseley Shoals' mix of '60s rock, mod, and Northern Soul spawned two undeniable classics.

Firstly, there was "The Riverboat Song," a triumphant pastiche of Led Zeppelin's "Four Sticks" that became the walk-on music for Chris Evans' zeitgeist-defining TV show TFI Friday. And then the Birmingham four-piece delivered the even more majestic "The Day We Caught the Train," a nostalgic ode to escapism ("You and I should ride the coast/ And wind up in our favorite coats just miles away") complete with a carefree sun-soaked video that foreshadowed the good vibes of Summer '96. Who cares about being cool anyway?

The Verve — "Bitter Sweet Symphony"

The general consensus is that Britpop died the day Oasis released their self-indulgent third album Be Here Now in August 1997. Released just two months beforehand, The Verve's crowning glory, therefore, was something of a last hurrah, a lush orchestral affair that briefly transformed a bunch of unsung psychedelic rockers into Britain's biggest band.

"Bitter Sweet Symphony" was famously built on a sample of Andrew Loog Oldham's version of The Rolling Stones' "The Last Time"; the band were forced to relinquish all royalties as a result. But there's more to the urban hymn than those sweeping strings — its emphatic beats, for one thing, Richard Ashcroft's vocal swagger for another. Let's not forget the iconic Hoxton Street video where Ashcroft displayed a staggering unawareness of personal space. The second highest-charting Britpop track Stateside (No. 12 on the Hot 100) and only the second to receive a GRAMMY nod, too, "Bittersweet Symphony" was  a majestic Britpop send-off.

Dua Lipa's Road To 'Radical Optimism': How Finding The Joy In Every Moment Helped Her Become Pop's Dance Floor Queen

This year's Met Gala invited guests to step into the enchanting "Garden of Time" at the Metropolitan Museum of Art in New York City, where fashion meets fantasy. Celebrating the Met's exhibit "Sleeping Beauties: Reawakening Fashion," the first Monday in May saw stars transform the red carpet into a vibrant display of sartorial storytelling. The theme showcased a collection too delicate to wear but alive with the stories of fashion's past.

From co-chairs Zendaya and Bad Bunny to Tyla and Jennifer Lopez, see how music icons and film stars embodied this year's theme with spectacular flair. The gala not only highlighted the sensory and emotional richness of fashion but also set the stage for a night of memorable styles — groundbreaking florals, tiered tulle and all. 

Explore the full spectrum of this year's enchanting looks from fashion's grandest night in the showcase below.

Bad Bunny

Jeff Kravitz/FilmMagic/Getty Images

Jennifer Lopez

Photo: Kevin Mazur/MG24/Getty Images for The Met Museum/Vogue

Zendaya

Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

Tyla

Angela Weiss/AFP via Getty Images

Donald Glover

Angela Weiss/AFP via Getty Images

Stray Kids

Photo: Angela Weiss/AFP via Getty Images

Jon Batiste

Angela Weiss/AFP via Getty Images

Queen Latifah

John Shearer/WireImage/Getty Images

Kylie Minogue

Photo: Jamie McCarthy/Getty Images

Christian Cowan and Sam Smith

Photo: Jamie McCarthy/Getty Images

Jack Harlow

Marleen Moise/Getty Images

Teyana Taylor

Jamie McCarthy/Getty Images

Ariana Grande

Kevin Mazur/MG24/Getty Images for The Met Museum/Vogue

Rosalía

Jamie McCarthy/Getty Images

Laufey

Jamie McCarthy/Getty Images

Shakira

John Shearer/WireImage

Doja Cat

Angela Weiss/AFP via Getty Images

FKA Twigs, Stella McCartney, Ed Sheeran & Cara Delevingne

John Shearer/WireImage

Lana Del Ray

Kevin Mazur/MG24/Getty Images for The Met Museum/Vogue

Karol G

Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

Lil Nas X

John Shearer/WireImage

Charli XCX

Angela Weiss/AFP via Getty Images

Cardi B

Gotham/Getty Images

Dua Lipa

Gotham/Getty Images

Lizzo

Dia Dipasupil/Getty Images

Eryka Badu

Gotham/Getty Images

Dua Lipa Is Confidently In Love On 'Radical Optimism': 4 Takeaways From The New Album

**"I’ve got an obsessive mind," admits producer Danny L Harle. "I often can't sleep at night because I've got melodies circling in my head. I get haunted by melodies, and I think that's why some people trust me, because they know that I will not let it go unless I think it's absolutely perfect."

That dedication to crafting powerful pop melodies has resulted in a treasure trove of earworms on Dua Lipa’s new album Radical Optimism. Harle was recruited by Lipa as one of the album’s co-producers, alongside Tame Impala’s Kevin Parker and songwriters Tobias Jesso Jr and Caroline Ailin.

It's no surprise that Harle was recruited to craft a record that seeks to find light and happiness where darkness prevails. Since his 2015 debut EP Broken Flowers, Harle has created dance-pop that examined the relationship between melancholia and euphoria, as well as the grandeur and escapism of a rave. 

After releasing a string of singles via PC Music, Harle dropped his first album, Harlecore, in 2021 with Mad Decent. The ecstatic spirit of Harlecore, which is centered around a virtual rave headed by four imaginary DJs, echoes in Harle’s latest collaboration as co-writer and producer of the UK’s Eurovision song, "Dizzy" by Olly Alexander. 

"There is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting," Harle says. "I just really like good pop music, and that, for me, always seems to start from my research with people."

It was Harle’s naturally synergistic approach to collaboration that led to his work with Lipa. He has also worked with yeule on their album Glitch Princess, and the likes of Charli XCX. But it was his production and writing on  singer Caroline Polachek's  debut solo album that caught Dua Lipa's ear. "She appreciated the spirit of collaboration with that album and wanted me to make her album."

Read below to get a taste of how Danny Harle made Radical Optimism and other earwormy, dancefloor hits.  

This interview has been edited for clarity.

Hey Danny! What’s that cool instrument behind you?

It’s an electric double bass, which is my main instrument: bass guitar and double bass. I use that on some of the Caroline Polachek stuff. There's certain artists who come into the room and see that and they're like, "We have to use that." And some people try to pretend it doesn't exist.

It’s fascinating; I used to play that instrument when I was younger, and then gave it up. There was a 10 year gap, and then I found a place much later in my life where it could fit in. I stopped playing bass guitar at one point as well. 

Then I found myself in a session with NAO, and she was like, "Can you play bass guitar?" There was one literally on display outside, the Squire bass, so I picked it up and we made a track together. She was in a session with Nile Rodgers the next day playing it to him, and he loved it, and then it was on the Chic album [It’s About Time]! At that point I lost any preconceptions I had about needing good gear to make a great sounding music.

Did you do a lot of the bass work on Dua’s album?

I did a fair amount of it, but a lot of it is a collaboration with me and Kevin Parker. All that time he's spent touring and playing the bass live is time that I've spent in front of a computer. So it's hard to compare bass skills, as much as it's my instrument. 

Alongside being a great live player, Kevin has a particular skill for making an instrument sound great when it is recorded, which is a completely different thing. There were some times where I was like, "I prefer the way that it sounds when you do it." And then sometimes he would ask me to do it as well. It was a really nice, trusting partnership. 

The process of the album was very trusting; a sense of being able to say when you think something could be better, but also understanding that trusting someone else is good at what they're doing. It was a very rare environment, but the atmosphere of respect and trust was quite an incredible thing to experience. If you hear what anybody says involved in that process, they'll say those are some of the best sessions they’ve ever had in that respect. 

We were talking about this key Motown idea, which is that happy songs go best over a sad melody. It doesn’t have to be the melody, it can be the music sounding sad; "Tears Of A Clown" by Smokey Robinson is a good example. There's something very resonant in that combination. 

"Houdini," "Training Season" and "Illusion" are all in minor keys, aren’t they? It makes for such melodically rich stuff that’s different from your average four chord pop progression.

Yup. It’s not as simple as happy song, happy chords. It adds richness to the emotional landscape of the song, and that was a key element in that. 

It was a room full of people who are excited by hearing new melodies and approaches and structures. That’s why you don’t really hear the same melodic patterns that music’s fallen into these days on the album. I find that particularly inspiring. 

You’ve written with stars like Charli XCX and Rina Sawayama before, but this is your first extended project with a pop star. You first made pop music to engage people as a virtually unknown musician, but now that attention is guaranteed. Did that change the way you think about pop?

Not at all. My approach to this stuff, especially these days, is that I can just do my thing. I'm very honored to work with the people I've been working with. Very early on in my career when I was trying to make pop music in that way, it would always go horribly wrong. Whereas now I just try to make good music. 

Some people can just make a pop song and I can't do that. I'm like, "Let's make a good song." I personally believe that there is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting. I just really like good pop music, and that, for me, always seems to start from my research with people just trying to make the best music. 

How did you make this record more personal to Dua in terms of influences and not just lyrically?

It all stems from her at the center of it; so much stuff happens to her. It’s insane, the amount she’d have to say before every session — [like] "These tracks are actually making points." 

Then it would be a case of finding an instrumental with a certain emotion, and out of natural conversation, there’d be a sense of connection [from] a phrase someone would hit on. [But] it would always stem from her as the center of the whole thing. It was just a very organic way of writing and we were very privileged with the rich life Dua leads to draw from. 

This record was a tight songwriting team — where did you fit into it?

I was contributing to all of the tracks in all factors: lyric ideas most rarely, but also melodic ideas, songwriting ideas, mainly from a production standpoint.  

I would be in the corner on my computer, and I would constantly be in conversation with everybody. We might have Kevin on a guitar, and then I’d be making some electronic arpeggios to go with that. I’d be constantly AirDropping stuff to Cam Gower, the greatest vocal engineer in the world, and he would be stacking what we had in ProTools. Sometimes I would take Cam’s session and put it into my computer — like with ‘Illusion’, because there’s stuff that goes on that affects the whole track in a way that I needed to do to get that dancey feel. 

It's quite a global, almost old-fashioned producer role I was taking. I think that was a valuable thing for Dua in certain cases, because I would know about every song on the album. If we were writing with new writers, I'd be like, ‘we already said this idea in that song.’ I would have an eye on the whole thing and be a soundboard for the overall project. 

Let’s start with the opening track, "End Of An Era" is unexpectedly calming and gentle. What prompted you guys to make this the opener?

I just love the idea of starting an album with the track called "End Of An Era"; it is quite an alarming thing to see. I love the tone of the track, the joy of it, but also the fairy-godmother-style commentary going over it as well. 

It's about that heart-eyes emoji feeling of knowing you're irrationally in love in the moment where you rethink everything about your life. I just thought the emotion fit really well. The album has a story to it, and it's a great opener for that story.  

The track "These Walls" expands Dua’s voice in a way I haven’t heard her sing before. Could you walk me through the production of that song?

With that song, I didn't want to get in the way of the purity of the message. It’s very important to understand when a track does not need to be a production showcase, you are in service of the storytelling. 

It was all about making space for the great emotion of the song and having occasional moments of departure, and always being relevant to what is being said. When she says "Did you really mean it when you said forever?", the track disappears into a strange fantasy synth moment. That idea is [that] your mind might get taken away by the thought of forever, just for a moment, as a sort of impossible idea. That's what the music's doing — it takes you out and it lands you straight back into the track.

There’s also a moment of self-deprecating humor: "If these walls could talk / they’d say you’re f—ed.". Was that humor fostered by the close relationship all the songwriters had?

Absolutely. That kind of thing is often the most memorable bit of a song, if placed correctly in the most tasteful area. There’s a track on the yeule album Glitch Princess, where it’s these big Charles Ives chords I wrote. It sounds like it’s gonna be a nice piano ballad, but the first line is "feels like s—." [Laughs.] It takes you by surprise, but it fits with the mood of the track. 

With Dua, it’s tastefully placing it where it fits in the story, and that point in the chorus, it felt perfect. It also reminds me of this idea in the [software] engineering world: the rubber duck principle. They have a rubber duck there because engineers will want to ask a question, but often when you’re asking the question, you’ll realize the answer to it. The rubber duck is there so you can ask the question and it’ll tell you the answer because you already knew it. ‘These Walls’ reminds me of that; if these walls are saying I’m f—ed, you know you’re f—ed. 

The climax of the album is "Falling Forever." It’s super ballsy, and the drums are mixed so loudly. Tell me about how this track came to be.

It’s a beautiful one, that one. A great thinker said it sounds like a thousand galloping horses. That one came about in the sessions with [producer and songwriter] Ian Kirkpatrick. He came in with the chords you hear at the beginning, and I really enjoyed the idea of having a galloping rhythm. You don’t hear the gallop very often, I can’t think of one other song that’s done that in recent history. 

I also thought up the "how long" thing — I thought it would be fun to make the word ‘long’ really long. Those were my key contributions to the song. Ian Kirkpatrick, his drums are so fantastic. You’ve gotta let him get on with it. 

The vocals are also so close — there’s subtler production going on earlier in the album, but this song punches you right in the face.

It’s so great. It’s very much an approach that I have with singers where I want them to do a thing that makes their voice sound f—ing amazing. The first time I thought I achieved that with Caroline was with "Parachute," using everything her voice can do: the runs, the high register, the emotional low register. This is a showcase. "Falling Forever" does that with Dua. "These Walls" is an interesting comparison as well, it shows a real range of emotion that Dua is capable of in a way I find really exciting. 

It’s indescribable to hear her sing in the room. I had the privilege of having her recording demo vocals on an SM-7 [microphone] like this sitting in front of her. It is unbelievable to hear that: just a human making that sound in front of you, it’s like nothing else. It’s like witnessing a wonder of the world. Also to use the specific, occasionally metallic sound she can make with her voice, to use it when necessary as part of an expression of something, the way she phrases things is incredible as well. 

Does the message of Radical Optimism — of finding grace in the chaos — match the euphoria you want to explore in music?

There is a sense of melancholic euphoria as well, the Elizabethan side of things. I would say there's a Venn diagram of euphoria that fits with Dua. 

On the track "Happy For You," there are certain ravey things going on where Dua was like, "What’s that sound?" It’s these chords Kevin wrote, and I start stuttering them. 

Also the flute mellotron in the song "Maria," she was immediately like, "Yep: I love it." I was so happy because it’s so my thing, that cyclical melody. Also, the bit in "Illusions" before the chorus where it goes to a major chord before the chorus, I love the sound of the unexpected major chord. Having repeated moments like that, I think, was the reason why I was asked to stay on the project; we clearly had chemistry, but it was interesting how macro it was. 

That unexpected major chord moment also appears in your Eurovision song with Olly Alexander, doesn’t it?

I've written some more tracks with him that do that. I've really been enjoying that with Olly because his voice is so agile and can really make sense of more complicated chord sequences. 

Another thing I've been enjoying with him is when there's sparseness and letting the vocal melody spell out the harmony and maybe occasionally go minor and major over one bass note, which is something I really, really enjoy. 

I've always been a big fan of Olly Alexander, I’ve wanted to work with him my whole career. I believe I tweeted at him in 2009 saying hi. But I think people who like my stuff could hear that he has the kind of voice that I really like: a very virtuosic, melodic voice. [We] just had immediate chemistry, musically. We've written a fair amount of music and he’s a very exciting artist to be involved with. 

The UK has a pretty shaky track record with Eurovision. Did you feel any of that pressure?

No, there wasn't that thing in my head. I just love Olly’s voice. And collaborating with him is just fantastic. I've had ideas for Olly for years now, and it was a dream to be able to actually enact some of them.

What’s next in store for you?

My own album. I've got another one that I'm finishing up at the minute that I'm very excited about. It was delayed by two and a half years because I got all of my dream projects offered to me at the same time and I wanted to make sure that I did them all properly. But now I can get back to doing my own stuff. 

It feels so good to be back at the grindstone, sitting in my studio writing beautiful things, making beautiful objects to present to the world. It’s the dream, really.

Behind Mark Ronson's Hits: How 'Boogie Nights,' Five-Hour Jams & Advice From Paul McCartney Inspired His Biggest Singles & Collabs