Today, Firefly Music Festival announced their 2020 lineup, featuring five-time 2020 GRAMMY winner Billie Eilish, past GRAMMY winners Rage Against the Machine and GRAMMY nominees Khalid, Blink-182 and Maggie Rogers as headliners.

The four-day East Coast camping music festival will also feature performances from 2020 GRAMMY winners Cage The Elephant, along with past GRAMMY winners Diplo, Big Boi, Van Halen's David Lee Roth, as well as Tove Lo, Run The Jewels, and Omar Apollo. The 9th annual event will take place in its tree-filled home of Dover, Del. on June 18–21.

Watch: Maggie Rogers Red Carpet Interview | 2020 GRAMMYs

K.Flay, Cold War Kids, RL Grime, CHVRCHES, Kali Uchis, Clozee, CRAY, The Band Camino, Loud Luxury, Illenium, Haiku Hands and Rainbow Kitten Surprise are among the other acts slated to bring the groove across the massive fest's six stages.

More: Billie Eilish Wins Best New Artist | 2020 GRAMMYs

In October 2019, Firefly's organizers announced the 2020 event would return to a four-day format, after reducing it to three days in 2019. As reported by Billboard, the AEG-owned event put $1 million into its infrastructure ahead of the 2019 festival, which was headlined by Panic! At The Disco, Travis Scott and Post Malone. 

Related: Breaking Down The Coachella 2020 Lineup: Rage Against The Machine, Frank Ocean, Calvin Harris & More Announced

Firefly recommends festival attendees register now on their website to receive an early access code to purchase tickets. The presale begins this Fri., Jan. 31 at 10 a.m. ET, with the general sale beginning Mon., Feb. 3. More info on registration, tickets and lineup can be found at fireflyfestival.com.

Billie Eilish & FINNEAS Win Song Of The Year For "bad guy" | 2020 GRAMMYs

July has graced us with a diverse array of new music from all genres, lighting up dance floors and speakers everywhere.

The last weekend of the month brings exciting new collaborations, including another iconic track from Calvin Harris and Ellie Goulding, as well as a fierce team-up from Paris Hilton and Meghan Trainor. Halsey and Muni Long offered a taste of their forthcoming projects, while Jordan Davis and Miranda Lambert each delivered fun new country tunes. 

In addition to fresh collabs and singles, there's a treasure trove of new albums to uncover. Highlights include Ice Spice's Y2K!, Rakim's G.O.D., Sam Tompkins' hi, my name is insecure, Wild Rivers' Never Better, Tigirlily Gold's Blonde, and kenzie's biting my tongue.

As you check out all the new music that dropped today, be sure you don't miss these 10 tracks and albums.

Although fans anticipated Machine Gun Kelly's next release to mark his return to hip-hop, no one seems to be complaining about "KellyRoll." Embracing the trend of venturing into the country genre, mgk teams up with fellow GRAMMY-nominated artist Jelly Roll on their newest track, "Lonely Road."

The genre-blending track interpolates John Denver's classic "Take Me Home, Country Roads." However, unlike Denver's sentimental ode to the simplicity of rural life, mgk and Jelly Roll reinterpret the track through the lens of romantic relationships that have come to a, well, lonely end.

As mgk revealed in an Instagram post, "Lonely Road" was a labor of love for both him and Jelly Roll. "We worked on 'Lonely Road' for 2 years, 8 different studios, 4 different countries, changed the key 4 times," he wrote. "We finally got it right."

In another interpolation special, Halsey samples not one but two classics in their latest single, "Lucky." The song's production features elements of Monica's 1999 hit "Angel of Mine," while the chorus flips Britney Spears' fan-favorite "Lucky" into a first-person narrative.

While Halsey has always been a transparent star, their next project is seemingly going to be even more honest than their previous releases. After first revealing their journey with lupus with the super-personal "The End" in June, "Lucky" further details their struggles: "And I told everybody I was fine for a whole damn year/ And that's the biggest lie of my career."

Though they haven't revealed a release date for their next project, Halsey referred to her next era as a "monumental moment in my life" in an Instagram post about the "Lucky" music video — hinting that it may just be their most powerful project yet.

Read More: Everything We Know About Halsey's New Album

Ahead of Paris Hilton's forthcoming album, Infinite Icon — her first in nearly 20 years — the multihyphenate unveiled another female-powered collaboration, this time with Meghan Trainor. Co-produced by Sia, "Chasin'" is a lively pop anthem about discovering self-worth in romantic relationships and finding the strength to walk away from toxicity.

"She is the sister I always needed and when she calls me sis, I die of happiness inside," Trainor told Rolling Stone about her relationship with Hilton. Coincidentally, Trainor first wrote the track with her brother, Ryan, but the pop star was waiting for the right collaborator to hop on the track — and Hilton was just that.

"We made something truly iconic together," Trainor added. "It was a bucket list dream come true for me."

A highly awaited return to music after eight years, Australian electro-pop duo Empire Of The Sun are back with their fourth studio album, Ask That God.

"This body of work represents the greatest shift in consciousness our world has ever seen and that's reflected in the music," says member Lord Littlemore in a press statement.

Like their previous work that transports listeners to a different universe, this album continues that tradition with trancey tracks like lead single "Changes" and the thumping title track. Ask That God offers a chance to reflect on the blend of reality and imagination, while also evoking the radiant energy of their past songs.

Dance music's collaborative powerhouse, Calvin Harris and Ellie Goulding, are back with another summer hit. Their latest track, "Free," marks the fourth collaboration between the duo — and like their past trilogy of hits, the two have another banger on their hands.

The track debuted earlier this month at Harris' show in Ibiza, where Goulding made a surprise appearance to perform "Free" live. With Harris delivering an infectious uptempo house beat and Goulding's silky vocals elevating the track, "Free" proves that the pair still have plenty of musical chemistry left.

Post Malone's transition into country music has been anything but slow; in fact, the artist went full-throttle into the genre. The  New York-born, Texas-raised star embraced his new country era with collaborations alongside some of the genre's biggest superstars, like Morgan Wallen and Blake Shelton. Continuing this momentum as he gets closer to releasing F-1 Trillion, Post Malone teams up with Luke Combs for the new track "Guy For That."

The catchy collaboration tells the story of a relationship that has faded, where the protagonist knows someone who can fix almost anything, except for a broken heart. It's an upbeat breakup song that, like Post's previous F-1 Trillion releases, can get any party going — especially one in Nashville, as Malone and Combs did in the track's music video.

Just one month after Surfaces released their latest album, good morning, the duo's Forrest Frank unveiled his own project, CHILD OF GOD — his debut full-length Christian album. Among several features on the LP, one of the standouts is with GRAMMY-winning artist Tori Kelly on the track "Miracle Worker."

Over a plucky electric guitar and lo-fi beats, Frank and Kelly trade verses before joining for the second chorus. Their impassioned vocals elevate the song's hopeful prayer, "Miracle Worker make me new."

Their collaboration arrives just before both artists hit the road for their respective tours. Frank kicks his U.S. trek off in Charlotte, North Carolina on July 31, and Kelly starts her world tour in Taipei, Taiwan on Aug. 17.

Since their debut in 2022 with "Tippy Toes," Japanese girl group XG has been making waves and showing no signs of slowing down. With their first mini album released in 2023 and now their latest single, "SOMETHING AIN'T RIGHT," the group continues to rise with their distinctive visuals and infectious hits.

The track features a nostalgic rhythm reminiscent of early 90s R&B, showcasing the unique personalities of each member. As an uptempo dance track, it's designed to resonate with listeners from all across the globe.

"SOMETHING AIN'T RIGHT" also serves as the lead single for XG's upcoming second mini album, set to release later this year.

For nearly 15 years, Mustard has been a go-to producer for some of rap's biggest names, from Gucci Mane to Travis Scott. On the heels of earning his first Billboard Hot 100 chart-topper as a producer with Kendrick Lamar's "Not Like Us," he's back with his own collaboration-filled project.

Faith of a Mustard Seed features a robust 14-song track list with contributions from Vince Staples, Lil Yachty, Charlie Wilson, and more. The LP marks Mustard's fourth studio album, and first since 2019's Perfect Ten.

In an interview with Billboard, Mustard shared that the album's title is an ode to late rapper Nipsey Hussle, who suggested the title during one of their final conversations before his untimely death in 2019. And once "Not Like Us" hit No. 1, Mustard knew it was time to release the long-in-the-making album.

"Honestly, I feel like a zaddy," Omar Apollo says with a roguish grin, "because I'm 6'5" so, like, you can run up in my arms and stay there, you know what I mean?"

As a bonafide R&B sensation and one of the internet’s favorite boyfriends, Apollo is likely used to the labels, attention and online swooning that come with modern fame. But in this instance, there’s a valid reason for asking about his particular brand of "zaddyhood": he’s been turned into a Bratz doll.

In the middle of June, the popular toy company blasted  a video to its nearly 5 million social media followers showing off the singer as a real-life Bratz Boy — the plastic version draped in a long fur coat (shirtless, naturally), with a blinged-out cross necklace and matching silver earrings as he belts out his 2023 single "3 Boys" from a smoke-covered stage.

The video, which was captioned "Zaddy coded," promptly went viral, helped along by an amused Apollo reposting the clip to his own Instagram Story. "It was so funny," he adds. "And it's so accurate; that's literally how my shows go. It made me look so glamorous, I loved it."

The unexpected viral moment came with rather auspicious timing, considering Apollo is prepping for the release of his hotly anticipated sophomore album. God Said No arrives June 28 via Warner Records.

In fact, the star is so busy with the roll-out that, on the afternoon of our interview, he’s FaceTiming from the back of a car. The day prior, he’d filmed the music video for "Done With You," the album’s next single. Now he’s headed to the airport to jet off to Paris, where he’ll be photographed front row at the LOEWE SS25 men’s runway show in between Sabrina Carpenter and Mustafa — the latter of whom is one of the few collaborators featured on God Said No. 

Apollo’s trusted co-writer and producer, Teo Halm, is also joining the conversation from his home studio in L.A. In between amassing credits for Beyoncé (The Lion King: The Gift), Rosalía and J Balvin (the Latin GRAMMY-winning "Con Altura"), SZA ("Notice Me" and "Open Arms" featuring Travis Scott) and others, the 25-year-old virtuoso behind the boards had teamed up with Apollo on multiple occasions. Notably, the two collabed on "Evergreen (You Didn’t Deserve Me At All)," which helped Apollo score his nomination for Best New Artist at the 2023 GRAMMYs. 

In the wake of that triumph, Apollo doubled down on their creative chemistry by asking Halm to executive produce God Said No. (The producer is also quick to second his pal’s magnetic mystique: "Don't get it twisted, he's zaddy, for sure.") 

Apollo bares his soul like never before across the album’s 14 tracks,  as he processes the bitter end of a two-year relationship with an unnamed paramour. The resulting portrait of heartbreak is a new level of emotional exposure for a singer already known for his unguarded vulnerability and naked candor. (He commissioned artist Doron Langberg to paint a revealing portrait of him for the cover of his 2023 EP Live For Me, and unapologetically included a painting of his erect penis as the back cover of the vinyl release.) 

On lead single "Spite," he’s pulled between longing and resentment in the wake of the break-up over a bouncing guitar riff. Second single "Dispose of Me" finds Apollo heartsick and feeling abandoned as he laments, "It don’t matter if it’s 25 years, 25 months/ It don’t matter if it’s 25 days, it was real love/ We got too much history/ So don’t just dispose of me." 

Elsewhere, the singer offers the stunning admission that "I would’ve married you" on album cut "Life’s Unfair." Then, on the very next song — the bumping, braggadocious "Against Me" — Apollo grapples with the reality that he’s been permanently altered by the love affair while on the prowl for a rebound. "I cannot act like I’m average/ You know that I am the baddest bitch," he proclaims on the opening verse, only to later admit, "I’ve changed so much, but have you heard?/ I can’t move how I used to."

Given the personal subject matter filling God Said No — not to mention the amount of acclaim he earned with Ivory — it would be understandable if Apollo felt a degree of pressure or anxiety when it came to crafting his sophomore studio set. But according to the singer, that was entirely not the case.

"I feel like I wouldn’t be able to make art if I felt pressure," he says. "Why would I be nervous about going back and making more music? If anything, I'm more excited and my mind is opened up in a whole other way and I've learned so much."

In order to throw his entire focus into the album’s creation, Apollo invited Halm to join him in London. The duo set up shop in the famous Abbey Road Studios, where the singer often spent 12- to 13-hour days attempting to exorcize his heartbreak fueled by a steady stream of Aperol spritzes and cigarettes.

The change of scenery infused the music with new sonic possibilities, like the kinetic synths and pulsating bass line that set flight to "Less of You." Apollo and Halm agree that the single was directly inspired by London’s unique energy.

"It's so funny because we were out there in London, but we weren't poppin' out at all," the Halm says. "Our London scene was really just, like, studio, food. Omar was a frickin' beast. He was hitting the gym every day…. But it was more like feeding off the culture on a day-to-day basis. Like, literally just on the walk to the studio or something as simple as getting a little coffee. I don't think that song would've happened in L.A."

Poetry played a surprisingly vital role in the album’s creation as well, with Apollo littering the studio with collections by "all of the greats," including the likes of Ocean Vuong, Victoria Chang, Philip Larkin, Alan Ginsberg, Mary Oliver and more.

"Could you imagine making films, but never watching a film?" the singer posits, turning his appreciation for the written art form into a metaphor about cinema. "Imagine if I never saw [films by] the greats, the beauty of words and language, and how it's manipulated and how it flows. So I was so inspired." 

Perhaps a natural result of consuming so much poetic prose, Apollo was also led to experiment with his own writing style. While on a day trip with his parents to the Palace of Versailles, he wrote a poem that ultimately became the soaring album highlight "Plane Trees," which sends the singer’s voice to new, shiver-inducing heights. 

"I'd been telling Teo that I wanted to challenge myself vocally and do a power ballad," he says. "But it wasn't coming and we had attempted those songs before. And I was exhausted with writing about love; I was so sick of it. I was like, Argh, I don't want to write anymore songs with this person in my mind." 

Instead, the GRAMMY nominee sat on the palace grounds with his parents, listening to his mom tell stories about her childhood spent in Mexico. He challenged himself to write about the majestic plane tree they were sitting under in order to capture the special moment. 

Back at the studio, Apollo’s dad asked Halm to simply "make a beat" and, soon enough, the singer was setting his poem to music. (Later, Mustafa’s hushed coda perfected the song’s denouement as the final piece of the puzzle.) And if Apollo’s dad is at least partially responsible for how "Plane Trees" turned out, his mom can take some credit for a different song on the album — that’s her voice, recorded beneath the same plane tree, on the outro of delicate closer "Glow." 

Both the artist and the producer ward off any lingering expectations that a happy ending will arrive by the time "Glow" fades to black, however. "The music that we make walks a tightrope of balancing beauty and tragedy," Halm says. "It's always got this optimism in it, but it's never just, like, one-stop shop happy. It's always got this inevitable pain that just life has. 

"You know, even if maybe there wasn't peace in the end for Omar, or if that wasn't his full journey with getting through that pain, I think a lot of people are dealing with broken hearts who it really is going to help," the producer continues. "I can only just hope that the music imparts leaving people with hope."

 Apollo agrees that God Said No contains a "hopeful thread," even if his perspective on the project remains achingly visceral. Did making the album help heal his broken heart? "No," he says with a sad smile on his face. "But it is proof of pain. And it’s a beautiful thing that is immortalized now, forever. 

"One day, I can look back at it and be like, Wow, what a beautiful thing I experienced. But yeah, no, it didn't help me," he says with a laugh. 

HEAT, the new collaborative EP from GRAMMY-nominated singer/songwriter Tove Lo and dance pop producer SG Lewis is 15-and-a-half minutes of pure dance floor ecstasy. 

Across the EP's four tracks, which dropped June 14 on Tove Lo’s Pretty Swede Records, Lewis brings in classic, euphoric '90s rave sounds and infectious rhythms. Tove Lo adds her signature sexy lyrics and vocals, with an extra dose of confidence and sass.

"We both really wanted this EP to be a thank you to the queer fans that we share and for the videos and the creative to be an opportunity to amplify those queer voices and to celebrate that community," Lewis says. "I feel very lucky to get to soundtrack moments in these spaces and to also get to learn so much from this community."

The duo gave their fans a first taste of their collaborative magic in 2022 with "Call On Me," a pulsing, urgent hook up tune so good they both included it on their last albums, Tove Lo's Dirt Femme and Lewis' AudioLust & HigherLove. They also teamed up on "Pineapple Slice," a sweet and naughty cut from Tove Lo's Dirt Femme.

Since then, their fans — particularly their loyal queer fans — have been begging for more bops from the pair. Tove Lo, who is bisexual and often brings queer themes into her lyrics and music videos, has been crowned a gay pop icon, and Lewis' joyful, upbeat dance tunes have brought him many fans from the LGBTQIA+ community. They made the HEAT especially for their supportive queer fans, dropping it during Pride month with steamy gay clubs in mind.

Amid teasing their fans with snippets of "HEAT" and memes on social media, Nelly Furtado also dropped a sultry new single in May, "Love Bites," featuring none other than Lewis and Lo.

The fun and ease Tove Lo and Lewis feel working together oozes from each of their collaborations. Since they first got together in the studio, the "Busy Girl" artists have become fast friends. Their love for sweaty dance floors, '90s electronic music, and danceable pop bops creates a rich, shimmery sonic landscape for their music.

GRAMMY.com caught up with the two artists on Zoom from their Los Angeles' homes, for a lively, laughter-filled chat about crafting gay club friendly dance pop bangers, their magic in the studio together, and what having the support of the queer community means to them.

What do you hope fans get when they finally hear Heat and where are you imagining it being played?

Tove Lo: I hope that all our fans get completely floored and that they play it at the pre-party, in the club, and at the after-party — in all the spaces where they want to be free and sweaty and have fun.

SG Lewis: From what I've heard so far from people who've listened to it, people can feel the fun that me and Tove were having in the studio making it. I hope that it serves as a soundtrack for hedonism, celebration, freedom, and some really sweaty moments.

I was wondering about the specific sonic references and inspirations that you brought to the EP. I definitely heard some squelchy acid house on "Heat" and on "Desire" I got some Cascada and early trance, '90s Ibiza vibes.

SG Lewis: I have been reading this book by Sheryl Garratt called "Adventures in Wonderland," which tells the story of the birth of acid house and how it was brought back to the U.K. from Ibiza and exploded into this huge moment in the '90s and grows into trance.  As a result, I was just digging through a lot of the records from then.

Also, Tove and I were DJing a lot at parties and with our friends and stuff. A lot of those records that I was playing, Tove was as well; we were arriving at the same point through different avenues. There was a shared interest in those sounds and that nostalgia, so we really wanted to channel a lot of those two genres in this project. It happened very naturally through the music that we were playing and DJing together. We hardly even ever had a conscious conversation about how it would sound.

Tove Lo: When it comes to writing the melody and lyrics, from my end, there's never a conscious, "Oh, I want to make a vocal like this." I just kind of [go with] what is speaking to me in this track and whatever comes up. I don't know where it's coming from, but it's probably coming from us DJing at 4 a.m. and it reminds me of that moment, it's unlocking this thing. [Chuckles.]

Lyrically, I wanted it to feel confident and sexy. I step over the line a few times in certain songs, which is the way I love to write. You really encourage that free space. I don't think you've ever said, "Ah, it's too far. You even said [imitates British accent], "Can it be hornier?" [Everyone laughs.]

I feel like we are very aligned with what we wanted it to be. I don't want to say there's not a deeper message, it's more just us loving music, loving to make music together, and our joint fans kind of telling us that we need to make more music together. So, we are responding to this request. [Both giggle.]

How would you describe the magic of when you two get in the studio together? Because obviously, there's something there that's special.

Tove Lo: It's weird, but it's kind of like when you meet someone that you just really click with. As people, we get along really well and like to hang out, and we have a similar sense of humor, so it is a fun time. But just because you're good friends, you don't necessarily make good stuff together. It's hard to explain it, but it's a feeling of being totally at ease with someone, but still wanting to do your absolute best. That's how I feel when I work with Sam. I want to really impress him, but I feel very comfortable doing the journey together.

SG Lewis: It's a really rare sensation in the studio. This is a terrible analogy, but it's like playing a game of tennis with someone and every time they return the ball, they send it dead down the center in the right position. Every time I make anything that I'm excited about, whether it's a chord sequence or a drum pattern or something, I know that when I pass that to Tove, she's going to deliver something incredible back that I haven't even been able to imagine yet. That's where the energy comes from for me, it's this kind of back-and-forth of excitement in the process. And it's just honestly so much fun making music together. I can't say that I've had such a natural studio chemistry with many people before.

What do you admire most about the other's artistry, music and approach to music-making?

Tove Lo: With Sam, I'm always very impressed with how — I think I've said this to you probably 100 times — you can make it feel like there's the energy of something new, but it still has nostalgia in it. I don't know if it's the samples you're using or you're just inspired by certain tracks, but it gives me a feeling of, "Oh, I remember this, but I haven't heard it before," which is what everyone is trying to do, but it's really hard to. And you just live and breathe music. It goes into performing and DJing too, where you'll DJ for seven hours. You just love music and you know the history. It really gives me a lot of inspiration.

SG Lewis: I'm very flattered. Tove is an expert song crafter and creator of pop music, but to me, she has something that no other writer of pop music has. She is able to speak about things with a freedom of expression in her songs. She'll say things that other artists wouldn't dare to say, out of the rules of society. I think it's why she is such a queer icon and her music is so embraced in the queer community, because she harnesses this freedom of expression in her writing that is so raw. It gives her pop music an edge that no other artist on the planet has for me.

Tove Lo: Sam, that's so nice. Can I get this recording [to listen to] when I'm having a bad day?

Can you speak to your love of crafting gay club friendly dance pop bangers, and how you harnessed that specific energy — like you said, the sweaty, free, hedonistic club space — on HEAT?

Tove Lo: Sam and I share a lot of fans in the queer community, and they basically demanded that we make more music together. So we're like, "Well, this is going to be for you then." So this is a celebration of our queer fans, and also a thank you for the support that we've both had from the community. And I'm obviously part of the community myself, being a queer woman, but Sam, you're like a guest in the community. 

Also, you have to remember, the queer community will choose you. It's not something you can barge your way into. If your music resonates, you're in and the support is always there. My most loyal fans are part of that community. And there's a similar love for that kind of music that you can let go and be yourself; it's a safe space to just really live out your true self in whatever way that may be.

SG Lewis: As Tove mentioned, I've been so fortunate to be a guest in these spaces and to receive so much love from the queer community. I'm a nerd about music, and I study the history and who's making what, and I love that about the queer fans that I have; they're reading the notes on who produced what records and who wrote this and the collaborations. There's a level of obsession with pop music that we both share.

What does having the support of the queer community mean to you as artists?

Tove Lo: For me, it feels like there's a mutual love and respect. When I do my own tours, a huge part of my crowd is queer and I feel like I can fully be myself and really feel free and comfortable in my own skin and body and to express myself the way I want. I feel like they always have my back and I always have their backs. Also, all the cool s*** starts in the queer community. They're paving the way for a lot of artists and creators. They're the ones discovering everything first.

SG Lewis: Speaking to queer friends of mine and artists that I work with, anyone in that space has had to fight to express who they are, and there's an element of bravery in even being who they are and the expression of themselves. As a result, the thing that I feel so lucky to get to witness is that freedom of expression in the queer community that is so, so powerful. That's why these spaces and these parties have such an incredible, amazing energy; everyone in that space has acquired this ability to express themselves in a way that you don't see elsewhere. To have the support of that community on a musical level is a massive privilege — to have music that is celebrated in those spaces where that extreme expression and joy and euphoria is happening is really a dream.

I want to know the story of how you two met, because in one of the press releases, I think it said it was on the dance floor.

Tove Lo: Yeah, it was, but Sam was at my house before we met. I think I was out of town, but my boyfriend and my roommates had a party or something. And Sam's like, "Where am I? Why is there a bunch of Tove Lo art on the walls?"

SG Lewis: I was at a Phoebe Bridgers concert and I was standing next to this tall, lovely Kiwi man named Charlie. We were just shooting the s*** and I was like, "This guy's the best dude ever." I ended up at their place for an after-party. I was like, "Why is there so much Tove Lo memorabilia on the wall?" He was like, "I think you're working with my wife next week."

Tove Lo: That says a lot about me, having a bunch of my own sh-t on the walls. [Laughs.]

During the pandemic, I put up every concert photo I have of all the crowds, because I didn't think anything was going to come back. So, my walls are full of shots of me from behind me with a huge crowd. Maybe this is a little narcissistic. I might need to take it down.

SG Lewis: But it's also lots of photos of your friends. It's a celebration of your life, not a shrine to yourself.

Tove Lo: I can't remember the full order, if we then just met in the studio, but we have spent a lot of time on the dance floor together.

SG Lewis: We've had some crazy times, and I have a feeling this EP is going to lead to plenty more.

Talk to me about your CLUB HEAT [parties], because I know you've had one or two and there's more coming.

Tove Lo: We did one in London when we also did the video shoot, which was a crazy day, so much fun.

SG Lewis: Our second one is on Thursday night in L.A.

Tove Lo: The first one was so fun. It was just exactly what I hoped for: completely packed, sweaty, us [DJing] back-to-back, and me not being able to help myself and getting on the mic and singing way too often, because I love the stage. It feels exactly how the EP feels — sweaty, fun, club. I'm trying to think of the perfect word, but it's just all those words. 

SG Lewis: The format of the CLUB HEAT parties is a back-to-back DJ set with a performance element from Tove. I think it gives this really amazing, unique, chaotic party energy. Those moments where she performs really elevates the energy in the room. It's honestly utter chaos in the best way possible. There was literally sweat coming off the ceiling in the London one.

Are you planning on doing more?

Tove Lo: They're gonna be [announced] last minute. There's not going to be planning far out, but we're going to be doing more. 

SG Lewis: I think there's a kind of pop-up element to them. As the nature of the party being chaotic, I think the planning of them is also quite chaotic. I think that it'd be criminal not to do this in New York, which feels like the epicenter of chaotic, sweaty parties.

What was it like working with [producer and DJ] Totally Enormous Extinct Dinosaurs [TEED] on the EP, who did some of the co-production? How did he help bring it all together or bring out different things in the music?

SG Lewis: Orlando [Higginbottom, aka TEED] is not only one of my closest friends, he's very much a mentor of mine. He's taught me so much about production. He is one of my favorite artists and producers, and as much as he gets very sheepish when I tell him that, we're constantly playing each other's music.

While the EP came together from Tove and I in the room together, he was the outside voice who was able to take those songs from 90 to 100 percent, whether it's a synth line on "Heat" or "Busy Girl" was both of us producing together. That was a beat that we started outside of the room that I then played to Tove, and she absolutely killed it on.

I have to ask about the new song with Nelly Furtado, "Love Bites." How did that come together? What was it like working with her and having the three of you in the studio together?

SG Lewis: I was put in contact with Nelly because there was word that she was working on new music. Before I know it, I'm texting with Nelly Furtado, and I was like, "What's going on? This is insane." It was immediately apparent that she was extremely friendly and cool.

Tove Lo: She's way too chill. I'm like, you can be so much more of a diva.

SG Lewis: She was like, "Oh, send me some beats." As a producer, you hear this all the time. You send 10 beats and you never hear anything ever again. I sent this pack of beats. I go to bed and I wake up the next day, and she's written a full song on one of the beats and sends me the vocals.

Fast-forward six months, we'd worked on a couple of things, but none of them had really hit the bullseye yet. I reworked one of the things we were working on, reproduced the beat, and ended up with this idea I was really excited about, but it didn't have a chorus. I was going to ask Nelly if I could send it to Tove. Before I had the opportunity to discuss this with Nelly, I sent the idea without the chorus. And Nelly was like, oh, "Could you send this to Tove Lo to potentially write a chorus on it?"

Tove Lo: I dropped my phone, it's still cracked from it. I was like, "Are you kidding?" And [I thought the] beat was so sick. And her voice and the "ey ey," it's just like Nelly! Sam and I went in the studio and wrote the chorus together and sent it to her. And she's like, "I love this. Can we please get in the studio and finish it together?" We had a late session at 7 p.m. I think she's a night owl. I [was excited to] find someone who wants to work night hours with me. The three of us worked all night; recorded it, tweaked it, finished stuff. She's so lovely. She's got such a distinct voice. I was a little bit star-struck when she got on the mic.

SG Lewis: Her voice is so distinctive and iconic. She has the superstar tone where you know it's her immediately. It's really surreal as a producer to get to work with vocals like that from two iconic pop stars on one song.

How long was the period of time from when she asked you to send beats to y'all getting in the studio together?

SG Lewis: It was about six to nine months total. Everyone's sort of all over the world, so it was really cool for it to all come together in this moment, in the studio, in-person, together.

I love that Nelly's embracing a different sound and really daring to try different stuff, because it'd be so easy for her to try and replicate her past successes. But she's just too badass for that.

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Those pre-summer Fridays just keep rolling on. With each release day, the music community fills our hard drives, playlists and record shelves with more aural goodness.

Granted, to wrangle it all in one place is impossible — but GRAMMY.com can provide a healthy cross-section of what's out there. From here, venture forth into new releases by Luke Combs (Fathers & Sons), Normani (Dopamine), Moneybagg Yo (Speak Now), Jelly Roll ("I Am Not Okay"), and more.

For now, here are nine new songs or albums to explore.

After previously released single "Please Don't Fall in Love With Me," Khalid is back with another luminous ode to romantic disconnection, where he calls for healing amid broken ties.

"Thousand miles apart and you're still in my heart/ Can we take it back?" Khalid pleads in the hook. "I'm waiting at the start/ Fly me to the moon and now I'm seeing stars when we touch."

Khalid hasn't released a full-length album since 2019's Free Spirit. But he's been teasing a new project for a minute: two weeks ago, he shared an Instagram carousel with the caption "5 years later. Here we go again." And the yearning "Adore U" certainly sets the tone for what's to come in Khalid's world.

TWICE's NAYEON is shifting gears towards her highly anticipated solo comeback with the release of NA, a project that spans pop, dance, and more. The follow-up to her debut solo album, 2022's IM NAYEON, NA provides a glimpse into the TWICE member's transition from being daunted by a solo career to finding comfort in the act.

One highlight is the shimmering "Butterflies," which NAYEON described to Rolling Stone as "one of my favorite songs" yet "one of the harder ones to record, actually." Another is the brassy "Magic," which she calls "a very self-confident song." All in all, NA winningly cements NAYEON's identity — irrespective of her main gig.

In light of its 25-year anniversary, Mariah Carey revisits her iconic 1999 album, Rainbow, which featured collaborations with fellow household names like Jay-Z, USHER, and Missy Elliott. The new anniversary edition boasts a plethora of remastered and remixed tracks — a treasure trove for Carey acolytes.

One new track is "Rainbow's End," produced by David Morales; Carey described it as "a hopeful ending to an emotional roller-coaster ride." Elsewhere, there's "There For Me," a love letter to her fans that didn't make the album; a new remix of "How Much" by Jermaine Dupri, and some intriguing live recordings and a cappella tracks.

Since at least their debut album, 2018's I Want to Die in New Orleans, rap duo $UICIDEBOY$ have expertly cataloged the bugs beneath the rock of the human experience: addiction, depression, the whole nine yards. New World Depression is a further distillation of their beautifully filthy aesthetic and worldview.

In highlights like "Misery in Waking Hours" and "Transgressions," MCs $crim and Ruby da Cherry's chroniclings of misery are barer than ever: "Hurts too much to give a f— / Demoralized, always lying, telling people I'll be fine," they rap. Who hasn't felt like this, at one point or another?

At 82, Velvet Underground violist, multi-instrumentalist and co-founder John Cale is still a tinkerer, a ponderer, an artist in flux rather than stasis. In 2023, when GRAMMY.com asked when he felt he came into his own as an improviser, he immediately replied "Last year."

That interview was centered around that year's solo album, Mercy, another gem in a solo discography full of them. Now, he's already back with a follow-up, POPtical Illusion.

While POPtical Illusion maintains its predecessors' foreboding, topical nature — and then some — tracks like "Laughing in My Sleep" and "Funkball the Brewster" couch these morose topics in a more playful, irreverent aural palette.

The Twisters soundtrack continues to be a whirlwind of great tunes. The latest dispatch is Tanner Adell's "Too Easy," a country-pop dance floor banger — its video even featuring a performance by dance troupe the PBR Nashville Buckle Bunnies.

"Too Easy" is the fourth song to be released from the Twisters soundtrack, following Tucker Wetmore's "Already Had It," Megan Moroney's "Never Left Me," Bailey Zimmerman's "Hell or High Water," and Luke Combs' "Ain't No Love in Oklahoma." The full album — which features a hoard of country stars, including Lainey Wilson, Thomas Rhett, Tyler Childers and more — will be available on July 19 when the movie hits theaters.

We've clearly caught Ghanian Afropop star Stonebwoy in a jubilant mood. In a teaser for his new song, "Your Body," the singer born Livingstone Satekia undulates on a saturated, red-and-blue backdrop, foreshadowing the sticky summer days we'll spend jamming the tune.

And the full song certainly doesn't disappoint. Interweaving strains of pop, R&B and reggae, with Stonebwoy deftly switching between singing and rapping, "Your Body" will get your body moving.

Rapper Toosii last teased his upcoming eighth mixtape, JADED, with "Suffice," its lead single released back in November. In the interim, he's been "locked in perfecting a new look a new sound new everything!" as he shared in an Instagram reel. "I just hope you're ready," he added with star and smile emojis.

Said teaser pointed toward a melancholic, weighty ballad, which ended up being the next release from JADED, "Where You Been." Riding a multidimensional, brain-flipping beat, the song is an immersive, thoughtful banger not to be missed.

The latest Star Wars show on Disney+, "The Acolyte," is getting rave reviews — and three-time GRAMMY winner Victoria Monét is now part of its musical universe. She's contributed an original song, "Power of Two," to the end credits of the Lucasfilm series.

Over an ethereal, melancholic beat, the lyrics detail emotions ripe for either terra firma or a galaxy far, far away: "You thought your soul was a necklace/ That you could wear and take off/ That you could rip and break off/ That you could trade in the dark/ But you're mine."

Bring these killer tunes straight into your weekend — and keep checking GRAMMY.com for more brand-new New Music Friday lists!

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