With the 2024 GRAMMYs just around the corner, the Recording Academy’s #GRAMMYsNextGen program (once known as #GRAMMYsNextUp) has unveiled its latest class of ambassadors and advisors.

These #GRAMMYsNextGen movers and shakers work in solidarity with the Recording Academy, to inspire a new generation of musicians and music people.

The #GRAMMYsNextGen 2024 Class consists of 22 individuals working to forge the future of the music industry. Across a class of 10 Executive Ambassadors, three Executive Advisors, eight Producer Ambassadors, and one Producer Advisor, you’ll find some of the best and brightest.

As part of the program, all involved will attend a power brunch during 2024 GRAMMY Week to celebrate, establish rapport with their peers in the field, and learn more about Recording Academy membership from Kelley Purcell, Vice President of Membership & Industry Relations. 

2024 #GRAMMYsNextGen Executive Ambassadors:

Abe Batshon

Abe Batshon, the visionary Founder and CEO of Beatstars, has been a transformative executive in the music tech industry. Under his leadership, Beatstars has evolved into a premier platform that forges connections among global music creators. This innovative network has not only incubated GRAMMY-winning talent and numerous Billboard Hot 100 hits, but has also revolutionized content monetization, distributing more than $250 million to its vibrant creative community. Batshon's pioneering vision demonstrates his unwavering commitment to nurturing and empowering artists. His insights resonate through his influential podcast, "Pay The Creators," where he shares his wisdom and experiences as he continues to inspire and empower the future of music creation.

Rob Abelow

Rob Abelow, founder of Where Music's Going, has become the voice of music's future. His forward-thinking newsletter and growth agency bring together new tools, technology & insights to build more sustainable audiences. Leveraging his rich history as an artist manager, label owner, and music tech innovator, Rob specializes in deepening artist-fan relationships. His expertise has catalyzed self-reliant artists to Top 40 albums and billions of streams. Now, Abelow now helps visionary artist teams and music tech companies change the way the game is played.

Eddie Fourcell

Beginning his career as an intern at Island Def Jam, Eddie "A&R Eddie" Fourcell is an A&R Executive at Prescription Songs and also served as head A&R for Mary J. Blige’s MJB INC. In 2022, Eddie signed Philly-bred singer/songwriter/producer Fridayy to Prescription Songs and helped land DJ Khaled’s "God Did," which would introduce the highly sought-after vocalist to the world as the only new artist alongside hip-hop royalty Jay-Z, Lil Wayne, Rick Ross and John Legend. In 2023, Eddie contributed to a number of GRAMMY nominations including Song Of The Year for "God Did" and Mary J. Blige’s "Good Morning Gorgeous," which would go on to be a career first nomination in the Album Of The Year category for the nine-time GRAMMY-winning legend.

Rachelle Jean-Louis

Rachelle Jean-Louis is a multi-talented executive: manager, A&R, creative and music supervisor for film & TV. As manager to prolific singer/songwriter Victoria Monét, she has steadily guided Monét's solo career to an impressive seven GRAMMY nominations this year, including those for Best New Artist and Record Of The Year, while also serving as co-executive producer of Monét's critically-acclaimed debut album JAGUAR II. She also represents viral powerhouse vocalist Saint Harison of Apple Music's 2023 Up Next Class and Amazon Music's 2024 Artists to Watch. 

Heran Mamo

Heran Mamo is an Ethiopian American music journalist currently working as an R&B/hip-rop reporter at Billboard. She specializes in pop, hip-hop, R&B and Afrobeats music coverage and believes in amplifying the voices of underserved communities within the industry. Heran has written cover stories about The Weeknd, Burna Boy, SZA, Ice Spice and Metro Boomin; moderated panels at AFRICON in LA, SXSW in Austin, Texas and Reeperbahn Festival in Hamburg, Germany; and made TV appearances on "Good Morning America," "CBS News" and "Entertainment Tonight."

Federico Morris

As Director of A&R at Range Media Partners, Federico Morris works across Range Media Partners' record label, publishing and music management divisions. His recent signings include fast-rising artists Dylan Gossett (co-management) and Presley Regier (label). Since making his musical debut in June of 2023, Dylan Gossett has released an RIAA Gold-Certified single, opened a stadium show for Morgan Wallen, and played in arenas supporting artists like Noah Kahan. Presley Regier, a rising producer and musician, is direct support for Tate McRae's 2024 summer arena tour. Prior to Range, Morris managed GRAMMY-winning, multi-platinum hitmakers Starboy and Outtatown. He also served as Publishing A&R at Electric Feel Entertainment, where he signed multi-platinum producer Callan Wong and worked closely with hitmakers Carter Lang, Nick Mira, Starboy, Westen Weiss, Teo Halm and more, placing his writers on songs by artists ranging from BTS to Future to Omar Apollo.

Amal Noor

Amal Noor is a multifaceted hyper-creative strategist with a dual executive and entrepreneurial background. She specializes in artist development, integrated marketing, creative partnerships, brand strategy, and world-building. Hailing from both the Netherlands and England, and as a second-generation immigrant from Somalia, she moved to the U.S. solo to pursue the American Dream. Six and a half years later, as the proud owner of about:blank Management, home to Teezo Touchdown and Aliyah’s Interlude, Amal has cemented her place as one of the most promising music industry executives of the next generation.

Craig L. Posey

Craig L. Posey is an accomplished artist manager and seasoned music and entertainment executive, boasting a distinguished career spanning more than 10 years. Renowned for expertise in management, creative marketing, and live events within the dynamic realm of the music and entertainment industry. He has a proven track record of collaboration with esteemed clients such as YouTube Shorts, Complex, Pandora, Footlocker, Microsoft, and Gibson, among others. Posey is presently excelling as the community manager for the innovative music tech platform Vydia, while concurrently steering the career of two-time GRAMMY-nominated R&B artist Kenyon Dixon.

Ben Schecter

Ben Schecter, originally from Oakland, California, rose from an UCLA intern to Manager at The Revels Group and Co-Founder at Coup D’Etat Recordings in three years. He has curated successful partnerships and events with The Recording Academy, Amazon Music, Nike, The Black Music Action Coalition and more, as well as while his client roster has grown, boasting more than one billion cumulative streams to date. In 2023, Ben co-founded the distribution and label division of Coup D’Etat Recordings. Ben has been instrumental in working alongside Revel’s founder, Jamil Davis, to build their BLACK: Future. Now program.\

V-Live

Vladimir Samedi — a.k.a. V-Live — is a superstar entertainment and tech executive paving the way for the future of music, film/TV and tech. His ability and talents have led him to diamond records, executive production for viral campaigns, TV shows and managing culture’s top talent. Merging music and technology, he is also a founding partner of Integral Studio, a digital marketing agency that enables artists to engage, analyze and monetize audiences intelligently. Since then, has also become a partner for SymphonyOS a SaaS platform that helps creators streamline their digital marketing strategies more effectively and has directly been responsible for sourcing and securing outside capital for their current fundraising efforts.

2024 #GRAMMYsNextGen Executive Advisors

David Ali

David Ali is the Founder and CEO of Above Ground Entertainment, a full-service management and entertainment company based in Los Angeles, which boasts Kehlani, Larry June, Tee Grizzley, and Destin Conrad. Above Ground was established in 2008 as an event promotion and management company before growing into a talent management company in 2010.

Ashley Calhoun

Ashley Calhoun is the President + Head of Creative of PULSE Music Group, which comprises PULSE Music Publishing, PULSE Records and PULSE Management. Calhoun has been with the company since 2015, where she has built a publishing roster that includes Brent Faiyaz, Kehlani, FNZ, Starrah, OG Parker, Flo Milli, and Cordae, to name a few. Her management roster includes producers Tyler Johnson (co-management with Nathaniel Cochrane), G. Ry, and Rahki.

Alaysia Sierra

Alaysia Sierra, a 30-year-old L.A. native, stands as a prominent figure in the music industry. With a deep-seated passion for R&B, they serve as the Head of R&B at Spotify, following their previous role as the Global Head of R&B at Apple Music. Starting with humble beginnings in college radio, Alaysia eventually went on to leading global R&B efforts and propelling the talents of artists like Summer Walker, GIVEON, Victoria Monét, Tems, and many more, during their time with Apple Music. Since joining Spotify in July 2022, Alaysia’s tenure has been marked by their commitment, advocacy for marginalized voices, and enthusiasm for the R&B genre.

2024 #GRAMMYsNextGen Producer Ambassadors:

Cash Cobain

Cash Cobain is a two-fold rapper and producer who is the originator of the style "sample drill," a sound that has completely transformed the identity of drill in NYC by introducing 90's R&B, 2000's pop, and even gospel to the genre. Previously, Cash set this musical trend in Brooklyn alongside his production work with Shawny Binladen, including their notable, genre-bending collaborations like "Yellow Tears", "Faith" & "Georgia". Cash's reach goes beyond NYC, with his style of reinventing samples crossing the pond to the UK on the production for Central Cee's track "Duppy Drill" (50m+ streams). Although Cash is renowned for his production, he is simultaneously an innovative and cutting-edge rapper, as exhibited through his 2022 collaborative project with Chow Lee, 2 Slizzy 2 Sexy, their energetic On The Radar freestyle, and the viral track "SLIZZY LIKE", a clever combo of Jersey Club over a chop of Stevie Wonder, creating a standalone sound like no other.

Nik Dean

Nik Dean is a multi-platinum producer from Vienna, Austria known for his captivating drums and melodies. Over the past few years, Nik has worked with the likes of Travis Scott ("SKITZO"), Tory Lanez ("The Color Violet," "Stupid Again"), Gunna ("25K Jacket"), Anuel AA ("Conversacion Con Dios"), EST Gee & Jack Harlow ("Backstage Passes") and many more.

Hit Girl

Hit Girl, a Philippine native, moved to Canada when she was 6 years old. She is the first female producer signed to Internet Money Records and has worked with artists such as Yeat, Lil Uzi Vert, and Kyle Rich. Her favorite genres to make are underground hip hop & electronic music.

Nascent

Christopher Ruelas, better known as "Nascent," is a Mexican-American producer and artist. Born and raised in Chicago, Nascent has worked with the likes of SZA, Brent Faiyaz, The Weeknd, Lil Baby, Kanye West, Chance The Rapper, G-Herbo, Saba, Jordan Ward, and more. Nascent is a GRAMMY-winning producer for Best Melodic Rap performance for "Hurricane" by Kanye West & The Weeknd featuring Lil Baby. Nascent is currently nominated for two GRAMMY Awards at the 66th GRAMMY Awards for his work on SZA's album SOS.

Trinity

TRINITY is an L.A.-based producer/songwriter who draws from life experience to create inspired anthems and timeless records. With over 100 million streams across a variety of musical genres, TRINITY has cemented her place as a diverse creator. She follows a long line of independent women in music who have paved their own lane. TRINITY attributes much of her success to healthy relationships. She respects music as a beautiful exchange of creative gifts and looks forward to sharing something new every day.

Wallis Lane

Wallis Lane is a multi-platinum, 10-time GRAMMY-nominated producer duo consisting of brothers Paimon “Farsi” Jahanbin and Nima “Nizzy” Jahanbin, who have become the go-to beat making machine for rap royalty. Credits with Travis Scott, Kanye West, Post Malone, Jack Harlow, NBA Youngboy, Migos, and Drake jump off the page but the duo have become a formidable voice in 2020’s rap because their swampy beats exude enough character to complement the larger-than-life superstars they work with.

Tommy Parker

Tommy Parker is an artist, producer and songwriter, hailing from San Bernardino and Pittsburgh. Known for his signature vocals and unique piano, Tommy has been playing piano and singing since he was 10. Over his career, he has produced for Drake ("Drew a Picasso,") J. Cole ("Interlude"), Janet Jackson ("Made for Now" and "Unbreakable"), Ariana Grande ("Love Language," "Leave Me Lonely" and "Worst Behavior"), Lil Uzi Vert ("Days Come and Go"), Young Thug ("Stressed"), Chris Brown ("Sleep at Night" and "On Some New Shit)" and many others. Set to make his artist debut in 2024 with his The Parkers project, Tommy has also recently entered the film and TV space, composing on the score for Netflix’s critically acclaimed film They Cloned Tyrone and contributing to "Anthem" off of the Creed 3 soundtrack. 

Loshendrix

Loshendrix is a Los Angeles-based producer who has worked with artists such as NLE Choppa, Kehlani, Childish Gambino, Camila Cabello, and Brent Faiyaz. His songwriting, engineering, and multi-instrumental skills impact hip-hop, R&B, and pop with a distinct and driving dynamic of his own, which he coined "New Age Vintage." He co-produced and co-wrote “Good Days” by SZA, which went No. 1 on Spotify and Apple Music.

2024 #GRAMMYsNextGen Producer Ambassadors: Producer Advisors

Deputy

GRAMMY-nominated music producer and songwriter Deputy stands at the forefront of the music industry, recognized for his transformative contributions to chart-topping hits, including Rihanna's certified platinum hit single, "B^^^^ Better Have My Money,” which she performed as the opening song for her 2023 Super Bowl halftime performance. Deputy’s production on Victoria Monét’s hit song, "On My Mama," earned him GRAMMY nominations for Record Of The Year and Best R&B Song, contributing to the project’s Best R&B Album nomination. The song reached No. 1 on the Billboard R&B charts, landed as one of the Top 10 songs of 2023 according to Rolling Stone, and amassed more than 20 million views on YouTube — all feats underscoring Deputy's talent and influence on the industry and culture at large. 

2024 GRAMMY Nominations: See The Full Nominees List

Held during 2024 GRAMMY Week, the third annual #GRAMMYsNextGen Party, presented by Mastercard and Dyson, was as much an extensive art exhibition as it was an exploration of sight and sound. The initiative celebrates the leading creators and professionals shaping the future of music.

Partygoers could be seen from three blocks away as they converged onto GRAMMY House in DTLA. Held on Fri, Feb. 2, two nights ahead of the 66th GRAMMY Awards, excitement for the ceremony was felt in every corner of Rolling Greens' massive campus of warehouse and outdoor garden spaces. 

A far cry from DTLA’s warehouses, the Arts District venue featured eye-catching and tasteful details, including bell-shaped straw shades hanging over lightbulbs and an urban greenhouse. The setting was perfect for GRAMMY House exhibitions, including a cylindrical centerpiece displaying a timeline of landmark moments from the Latin GRAMMYs.

Guest activations included Mastercard’s ultra-chic secret garden bar space, a Dyson showroom with hair styling salon, as well as a Sonos sound interview and photo room.

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Attendees showcased their skills in front of the camera at several#GRAMMYsNextGen photo areas. From TikTok’s most-followed creator, Khaby Lame, to singer/songwriter Lucky Daye and Mali-Koa and Leo Stannard of dance duo AR/CO to miniature charmer Kayden Alexander Koshelev, influencer Clawdeena (who was dressed like a futuristic devil), to actor Michael Epps and "American Idol" finalist Haven Madison, #GRAMMYsNextGen has an intimate relationship with the lens. 

Music permeated the various spaces of Rolling Greens, adjusting to the moods of the activations and settings of the campus. Inside Mastercard’s delightful Secret Garden — perhaps the most sophisticated and comfortable spot in the party — DJs spun groovy dance tunes. Adding to the charm of the space, everything inside the Secret Garden was sustainably sourced, going to be repurposed or made from recycled materials. A short video on a loop showed Mastercard’s eco-forward initiatives, and the approachable staff on-site were there to answer any questions on the program that guests had.    

But #GRAMMYsNextGen was all about the photos. If you didn’t know how to pose before attending #GRAMMYsNextGen, you would have picked up a lot of pointers by the end of the night. From floral backdrops to street art, a neon boombox to a giant gold GRAMMY, a disco ball sculpture to a "plant-based" GRAMMY, each installation meant another snap of the phone camera.

Over the course of three hours, Yasmin and Cyanide Beats provided the music in one of the larger rooms. They ranged from high-energy thumpers to throwback favorites from the ‘90s, among them the perennial "Milkshake" from Kelis and Missy Elliott’s "Work It." 

In the evening, Nigerian rapper Blaqbonez took to the stage for a live performance. Oozing with confidence and clad in leather, Blaqbonez’ irresistible magnetism pulled the audience in, encouraging them to chant along with "Like Ice Spice." He responded to their amped-up reactions with the winning sense of humor for which he is known. 

First-time GRAMMY nominee Romy, who is up for Best Dance/Electronic Recording for "Strong," a collaboration with multiple GRAMMY nominee Fred Again… took control of the decks playing her signature brand of emotive bangers. Smiling nonstop and singing along to her selections, she had the whole dancefloor moving!

2024 GRAMMYs: See The Full Winners & Nominees List

Billie Eilish has never been one to shy away from her feelings. In fact, she doubles down on them.

Since her debut EP, 2017's Don't Smile At Me, the pop star has held listeners' hands as she guides them through the darkest pages of her diary. The EP found a teenage Eilish navigating heartbreak while her blockbuster debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? — which swept the General Field Categories (Album Of The Year, Record Of The Year, Song Of The Year and Best New Artist) at the 2020 GRAMMYs — was a chilling and raw look into her depression-fueled nightmares. And 2021's Happier Than Ever had her confronting misogyny and the weight of fame.

She could have easily succumbed to the pop star pressures for her third studio album, HIT ME HARD AND SOFT, out today (May 17). Instead, she reverts to her sonic safe space: creating intimate melodies with her brother and day-one collaborator, FINNEAS. Only this time, the lyrics are more mature and the production is more ambitious.

"This whole process has felt like I'm coming back to the girl that I was. I've been grieving her," Eilish told Rolling Stone about how HIT ME HARD AND SOFT revisited elements of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? "I've been looking for her in everything, and it's almost like she got drowned by the world and the media. I don't remember when she went away."

Here are five takeaways from Billie Eilish's new album, HIT ME HARD AND SOFT, where Old Billie is resuscitated and comforted by New Billie. 

Heartbreaking Ballads Are Her Sweet Spot

Tenderness remains at Eilish's core, and it's beautifully highlighted on HIT ME HARD AND SOFT. Despite her love for eccentric electro-pop beats, ballads have always been the singer's strong suit. After she first displayed that in her debut single, 2015's "ocean eyes," Eilish won two GRAMMYs and an Oscar for her delicate Barbie soundtrack standout, "What Was I Made For?" — and the magic of her melancholic balladry returned on the new album.

HIT ME's album opener, "SKINNY," mimics the self-reflection of Happier Than Ever's "Getting Older" opener, where she painfully sings about Hollywood's body image standards. "People say I look happy just because I got skinny/ But the old me is still me and maybe the real me/ And I think she's pretty," she muses. 

"WILDFLOWER" cuts in the album's center like a knife to the chest. Eilish's comparisons to a lover's ex-girlfriend are devastating over a bare piano melody — the simplest production on the LP: "You say no one knows you so well/ But every time you touch me, I just wonder how she felt."

HIT ME Isn't Afraid To Get A Little Weird

What makes Eilish so intriguing is her effortless balance between misery and mischief. On lead single "LUNCH," the singer/songwriter taps into the playful attitude of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? smash "bad guy."

Over an upbeat and kooky production, she lets her carnal fantasies about devouring a woman run wild. The fantasies continue on "THE DINER," with Eilish stepping into the stalker mindset that may be inspired by her own life (she was granted a five-year restraining order against an alleged stalker last year). "I came in through the kitchen lookin' for something to eat/ I left a calling card so they would know that it was me," she winks on the chorus.

She Lays The "Whisper Singing" Criticism To Rest

Eilish's subdued voice has been chided as much as it's been lauded. She first gave naysayers the middle finger on Happier Than Ever's title track, nearly screaming in the song's latter half. On her latest album, she showcases her range even further, from bold belts to delicate falsettos.

The gauzy synths and vocal yearning of "BIRDS OF A FEATHER" is the perfect summer anthem, soundtracking the feeling of kissing your lover as the salty Los Angeles breeze runs through your hair. On the second half of "THE GREATEST," she unleashes a wail-filled fury. 

"HIT ME HARD AND SOFT was really the first time that I was aware of the things that I could do, the ways I could play with my voice, and actually did that," she recently told NPR Music. "That's one thing I feel very proud of with this album — my bravery, vocally."

Her Vulnerability Hasn't Waned

Eilish is quite the paradox, as her superpower is her emotional fragility. Her music has doubled as confessionals since the beginning of her career, and that relatable vulnerability threads HIT ME together. Despite its lighthearted nature, "LUNCH" marks the first time the singer has discussed her sexuality in a song.

"That song was actually part of what helped me become who I am, to be real," Eilish told  Rolling Stone of "LUNCH." "I wrote some of it before even doing anything with a girl, and then wrote the rest after. I've been in love with girls for my whole life, but I just didn't understand — until, last year, I realized I wanted my face in a vagina. I was never planning on talking about my sexuality ever, in a million years. It's really frustrating to me that it came up."

Then there's "SKINNY," which is a raw insight into how much social media's discussions of her body and fame affected her. "When I step off the stage, I'm a bird in a cage/ I'm a dog in a dog pound," she sings. "BLUE," the album's closer, finds Eilish accepting her state of post-breakup sorrow: "I'd like to mean it when I say I'm over you, but that's still not true."

FINNEAS Has Unlocked A New Production Level

FINNEAS — Eilish's brother, producer and confidant — has grown as much as his younger sister since they first began creating music together. He continues to challenge himself both lyrically and sonically to excitedly push Eilish to her creative limits. He explores a myriad of sounds on the album, with many playing like a two-for-one genre special. Named after Studio Ghibli's Spirited Away heroine, the glittery melody and thumping bassline on "CHIHIRO" transport you into an anime video game. 

The first half of "L'AMOUR DE MA VIE" is deceptively simple with its plucking acoustic guitar strings, but soon finds itself under the glare of a disco ball with Eilish's vocals funneled through a vocoder. "BITTERSUITE" is arguably the best reflection of Finneas' experimentation: it starts out with Daft Punk-esque synths before dragging itself across a grim, bass-heavy floor. Then, it crawls into cheeky elevator music territory before ending with an alien-like taunt.

HIT ME HARD AND SOFT is begging to be played live, as seen with fans' raucous reactions after the singer's listening parties at Brooklyn's Barclays Center and Los Angeles' Kia Forum. Fortunately for fans in North America, Australia and Europe, it won't be long before she brings the album to life — HIT ME HARD AND SOFT: THE TOUR  kicks off on Sept. 29 in Québec, Canada.

In the pantheon of rock guitar gods, Slash ranks high on the list of legends. Many fans have passionately discussed his work — but if you ask him how he views his evolution over the last four decades, he doesn't offer a detailed analysis.

"As a person, I live very much in the moment, not too far in the past and not very far in the future either," Slash asserts. "So it's hard for me to really look at everything I'm doing in the bigger scheme of things."

While his latest endeavor — his new studio album, Orgy Of The Damned — may seem different to many who know him as the shredding guitarist in Guns N' Roses, Slash's Snakepit, Velvet Revolver, and his four albums with Myles Kennedy and the Conspirators, it's a prime example of his living-in-the-moment ethos. And, perhaps most importantly to Slash, it goes back to what has always been at the heart of his playing: the blues.

Orgy Of The Damned strips back much of the heavier side of his playing for a 12-track homage to the songs and artists that have long inspired him. And he recruited several of his rock cohorts — the likes of AC/DC's Brian Johnson, Aerosmith's Steven Tyler, Gary Clark Jr., Iggy Pop, Beth Hart, and Dorothy, among others — to jam on vintage blues tunes with him, from "Hoochie Coochie Man" to "Born Under A Bad Sign."

But don't be skeptical of his current venture — there's plenty of fire in these interpretations; they just have a different energy than his harder rocking material. The album also includes one new Slash original, the majestic instrumental "Metal Chestnut," a nice showcase for his tastefully melodic and expressive playing.

The initial seed for the project was planted with the guitarist's late '90s group Slash's Blues Ball, which jammed on genre classics. Those live, spontaneous collaborations appealed to him, so when he had a small open window to get something done recently, he jumped at the chance to finally make a full-on blues album.

Released May 17, Orgy Of The Damned serves as an authentic bridge from his musical roots to his many hard rock endeavors. It also sees a full-circle moment: two Blues Ball bandmates, bassist Johnny Griparic and keyboardist Teddy Andreadis, helped lay down the basic tracks. Further seizing on his blues exploration, Slash will be headlining his own touring blues festival called S.E.R.P.E.N.T. in July and August, with support acts including the Warren Haynes Band, Keb' Mo', ZZ Ward, and Eric Gales.

Part of what has kept Slash's career so intriguing is the diversity he embraces. While many heavy rockers stay in their lane, Slash has always traveled down other roads. And though most of his Orgy Of The Damned guests are more in his world, he's collaborated with the likes of Michael Jackson, Carole King and Ray Charles — further proof that he's one of rock's genre-bending greats.

Below, Slash discusses some of the most memorable collabs from Orgy Of The Damned, as well as from his wide-spanning career.

I was just listening to "Living For The City," which is my favorite track on the album.

Wow, that's awesome. That was the track that I knew was going to be the most left of center for the average person, but that was my favorite song when [Stevie Wonder's 1973 album] Innervisions came out when I was, like, 9 years old. I loved that song. This record's origins go back to a blues band that I put together back in the '90s.

Slash's Blues Ball.

Right. We used to play "Superstition," that Stevie Wonder song. I did not want to record that [for Orgy Of The Damned], but I still wanted to do a Stevie Wonder song. So it gave me the opportunity to do "Living For The City," which is probably the most complicated of all the songs to learn. I thought we did a pretty good job, and Tash [Neal] sang it great. I'm glad you dig it because you're probably the first person that's actually singled that song out.

With the Blues Ball, you performed Hoyt Axton's "The Pusher" and Robert Johnson's "Crossroads," and they surface here. Isn't it amazing it took this long to record a collection like this?

[Blues Ball] was a fun thrown-together thing that we did when I [was in, I] guess you call it, a transitional period. I'd left Guns N' Roses [in 1996], and it was right before I put together a second incarnation of Snakepit.

I'd been doing a lot of jamming with a lot of blues guys. I'd known Teddy [Andreadis] for a while and been jamming with him at The Baked Potato for years prior to this. So during this period, I got together with Ted and Johnny [Griparic], and we started with this Blues Ball thing. We started touring around the country with it, and then even made it to Europe. It was just fun.

Then Snakepit happened, and then Velvet Revolver. These were more or less serious bands that I was involved in. Blues Ball was really just for the fun of it, so it didn't really take precedence. But all these years later, I was on tour with Guns N' Roses, and we had a three-week break or whatever it was. I thought, I want to make that f—ing record now.

It had been stewing in the back of my mind subconsciously. So I called Teddy and Johnny, and I said, Hey, let's go in the studio and just put together a set and go and record it. We got an old set list from 1998, picked some songs from an app, picked some other songs that I've always wanted to do that I haven't gotten a chance to do.

Then I had the idea of getting Tash Neal involved, because this guy is just an amazing singer/guitar player that I had worked with in a blues thing a couple years prior to that. So we had the nucleus of this band.

Then I thought, Let's bring in a bunch of guest singers to do this. I don't want to try to do a traditional blues record, because I think that's going to just sound corny. So I definitely wanted this to be more eclectic than that, and more of, like, Slash's take on these certain songs, as opposed to it being, like, "blues." It was very off-the-cuff and very loose.

It's refreshing to hear Brian Johnson singing in his lower register on "Killing Floor" like he did in the '70s with Geordie, before he got into AC/DC. Were you expecting him to sound like that?

You know, I didn't know what he was gonna sing it like. He was so enthusiastic about doing a Howlin' Wolf cover.

I think he was one of the first calls that I made, and it was really encouraging the way that he reacted to the idea of the song. So I went to a studio in Florida. We'd already recorded all the music, and he just fell into it in that register.

I think he was more or less trying to keep it in the same feel and in the same sort of tone as the original, which was great. I always say this — because it happened for like two seconds, he sang a bit in the upper register — but it definitely sounded like AC/DC doing a cover of Howlin' Wolf. We're not AC/DC, but he felt more comfortable doing it in the register that Howlin' Wolf did. I just thought it sounded really great.

You chose to have Demi Lovato sing "Papa Was A Rolling Stone." Why did you pick her?

We used to do "Papa Was A Rolling Stone" back in Snakepit, actually, and Johnny played bass. We had this guy named Rod Jackson, who was the singer, and he was incredible. He did a great f—ing interpretation of the Temptations singing it.

When it came to doing it for this record, I wanted to have something different, and the idea of having a young girl's voice telling the story of talking to her mom to find out about her infamous late father, just made sense to me. And Demi was the first person that I thought of. She's got such a great, soulful voice, but it's also got a certain kind of youth to it.

When I told her about it, she reacted like Brian did: "Wow, I would love to do that." There's some deeper meaning about the song to her and her personal life or her experience. We went to the studio, and she just belted it out. It was a lot of fun to do it with her, with that kind of zeal.

You collaborate with Chris Stapleton on Fleetwood Mac's "Oh Well" by Peter Green. I'm assuming the original version of that song inspired "Double Talkin' Jive" by GN'R?

It did not, but now that you mention it, because of the classical interlude thing at the end... Is that what you're talking about? I never thought about it.

I mean the overall vibe of the song.

"Oh Well" was a song that I didn't hear until I was about 12 years old. It was on KMET, a local radio station in LA. I didn't even know there was a Fleetwood Mac before Stevie Nicks and Lindsey Buckingham. I always loved that song, and I think it probably had a big influence on me without me even really realizing it. So no, it didn't have a direct influence on "Double Talkin' Jive," but I get it now that you bring it up.

Was there something new that you learned in making this album? Were your collaborators surprised by their own performances?

I think Gary Clark is just this really f—ing wonderful guitar player. When I got "Crossroads," the idea originally was "Crossroads Blues," which is the original Robert Johnson version. And I called Gary and said, "Would you want to play with me on this thing?"

He and I only just met, so I didn't know what his response was going to be. But apparently, he was a big Guns N' Roses fan — I get the idea, anyway. We changed it to the Cream version just because I needed to have something that was a little bit more upbeat. So when we got together and played, we solo-ed it off each other.

When I listen back to it, his playing is just so f—ing smooth, natural, and tasty. There was a lot of that going on throughout the making of the whole record — acclimating to the song and to the feel of it, just in the moment.

I think that's all an accumulation of stuff that I've learned over the years. The record probably would be way different if I did it 20 years ago, so I don't know what that evolution is. But it does exist. The growth thing — God help us if you don't have it.

You've collaborated with a lot of people over the years — Michael Jackson, Carole King, Lemmy, B.B. King, Fergie. Were there any particular moments that were daunting or really challenging? And was there any collaboration that produced something you didn't expect?

All those are a great example of the growth thing, because that's how you really grow as a musician. Learning how to adapt to playing with other people, and playing with people who are better than you — that really helps you blossom as a player.

Playing with Carole King [in 1993] was a really educational experience because she taught me a lot about something that I thought that I did naturally, but she helped me to fine tune it, which was soloing within the context of the song. [It was] really just a couple of words that she said to me during this take that stuck with me. I can't remember exactly what they were, but it was something having to do with making room for the vocal. It was really in passing, but it was important knowledge.

The session that really was the hardest one that I ever did was [when] I was working with Ray Charles before he passed away. I played on his "God Bless America [Again]" record [on 2002's Ray Charles Sings for America], just doing my thing. It was no big deal. But he asked me to play some standards for the biopic on him [2004's Ray], and he thought that I could just sit in with his band playing all these Ray Charles standards.

That was something that they gave me the chord charts for, and it was over my head. It was all these chord changes. I wasn't familiar with the music, and most of it was either a jazz or bebop kind of a thing, and it wasn't my natural feel.

I remember taking the chord charts home, those kinds you get in a f—ing songbook. They're all kinds of versions of chords that wouldn't be the version that you would play.

That was one of those really tough sessions that I really learned when I got in over my head with something. But a lot of the other ones I fall into more naturally because I have a feel for it.

That's how those marriages happen in the first place — you have this common interest of a song, so you just feel comfortable doing it because it's in your wheelhouse, even though it's a different kind of music than what everybody's familiar with you doing. You find that you can play and be yourself in a lot of different styles. Some are a little bit challenging, but it's fun.

Are there any people you'd like to collaborate with? Or any styles of music you'd like to explore?

When you say styles, I don't really have a wish list for that. Things just happen. I was just working with this composer, Bear McCreary. We did a song on this epic record that's basically a soundtrack for this whole graphic novel thing, and the compositions are very intense. He's very particular about feel, and about the way each one of these parts has to be played, and so on. That was a little bit challenging. We're going to go do it live at some point coming up.

There's people that I would love to play with, but it's really not like that. It's just whatever opportunities present themselves. It's not like there's a lot of forethought as to who you get to play with, or seeking people out. Except for when you're doing a record where you have people come in and sing on your record, and you have to call them up and beg and plead — "Will you come and do this?"

But I always say Stevie Wonder. I think everybody would like to play with Stevie Wonder at some point.

Incubus On Revisiting Morning View & Finding Rejuvenation By Looking To The Past

As music fans know, Friday is the official weekday of new releases — but this week began with a bang.

On Monday, May 13, Donald Glover, aka Childish Gambino, released Atavista, a "finished" version of his 2020 album, 3.15.20. Back then, he released a nascent version of said album on his website, before pulling it down and uploading it to streaming services the following week, with guest appearances by Ariana Grande, 21 Savage and more.

Happily, the finished product retains those inspired guest appearances, over polished and honed versions of the original tunes. With the release of Atavista, Glover released a music video for "Little Foot Big Foot," featuring Young Nudy. He also promised special vinyl with visuals for each song, as well as an all-new Childish Gambino album due this summer.

And before Friday even hit, two country superstars also delivered exciting new tracks. Also on May 13, Lainey Wilson unleashed "Hang Tight Honey," the first single from her forthcoming third album, Whirlwind, out August 23. Three days later, Luke Combs released "Ain't No Love In Oklahoma," the lead track from TWISTERS: THE ALBUM. (Arriving July 19, the soundtrack will feature a number of other country greats, from Miranda Lambert to Shania Twain to Jelly Roll.) 

Today, there are plenty of other musical delicacies to savor. One of the most prominent is Billie Eilish's hotly anticipated third album, HIT ME HARD AND SOFT. Also, Puerto Rican rap star Álvaro Díaz's SAYONARA; American singer/songwriter Sasha Alex Sloan's Me Again; and 1D star Zayn's ROOM UNDER THE STAIRS have been unveiled. Even renowned actress Kate Hudson has also joined the musical ranks, releasing her debut album, Glorious.

Veterans, too, are stepping out with fresh offerings. Psych-tinged retro rockers Cage the Elephant are back with their first album in five years, Neon Pill. Slash released Orgy of the Damned, an album of mostly blues covers featuring guests from Gary Clark Jr. to Iggy Pop to Demi Lovato. On the opposite side of the coin, boy band pioneers New Kids on the Block return with Still Kids, their first album in 11 years, featuring guests DJ Jazzy Jeff and Taylor Dayne.

Still, that doesn't even begin to cover the trove of new songs delivered on May 17. Omar Apollo, Peggy Gou and HARDY released tracks from upcoming albums, and Russ (feat. 6LACK), Charlotte Cardin and T-Pain released inspired singles. What other treasures have this Friday wrought? Check the below list for albums and tunes to add to your weekend playlist!

The Avett Brothers — The Avett Brothers

With their previous album, back in 2019, Americana favorites the Avett Brothers declared they were Closer Than Together. Now, they're back with a self-titled album, and a return to their original label, Ramseur Records.

But that's just one way they're circling back to their roots; the Rick Rubin-produced The Avett Brothers returns to burning-rubber vocals; sturdy, folkloric melodies; and lovelorn lyrics. If those are your bag, don't miss tracks like "Love of a Girl," "Orion's Belt" and "Same Broken Bones."

Bebe Rexha, "Chase It (Mmm Da Da Da)"

Bebe Rexha's last album was 2023's Bebe, but this phenom of a pop singer/songwriter is already back with new music. Get warmed up for the impending summer sun with "Chase It (Mmm Da Da Da)," complete with a rip-roaring video.

The four-time GRAMMY nominee debuted her latest banger in the desert sands of Coachella 2024; if you're ready for the swooping, thumping official version, chase it down today. 

Meaningfully, "Chase It (Mmm Da Da Da)" marks Rexha's first solo dance track after numerous collaborations with electronic acts; she even earned back-to-back GRAMMY nods in 2023 and 2024 for jams concocted with David Guetta, and her only other release of 2024 so far was a collab with Brazilian DJ Alok.

Galantis, Rx

We haven't gotten a new album from the beloved Swedish EDM duo Galantis in a hot minute; that just changed. Though they has released two albums since 2015's Pharmacy — 2017's The Aviary and 2020's Church — Galantis' latest album is a direct successor to their game-changing debut. Behold, the aptly titled Rx.

Running the gamut from ethereal textures to electrifying, pulsing rhythms, Rx directly reckons with Galantis's now-sole member Christian Karlsson's ADHD, and how medication was a game-changer in his life and work.

"Pharmacy was when I knew I was neurodivergent and I knew the studio was like a pharmacy for me," Karlsson stated in a press release. "I was the patient. Rx is when I found medication. For me, it was key, but of course, everyone walks their own path."

Saweetie — "NANi"

Before Saweetie officially released "NANi," she had been teasing the track all week long. On May 11, at the 2024 Gold Gala, an annual gathering of top Asian Pacific and multicultural leaders, the rapper (who has Filipino and Chinese roots) told Billboard, "NANi' is that girl. 'NANi' is main character energy." And on Instagram, as part of the cover art reveal for the single, she declared, "We gon' fkkk up the Summer."

She certainly will. The poolside-partying, Smirnoff-plugging video lives up to a YouTube commenter's adroit description: "It's giving Barbie and Bratz royalty!" Will it be part of Pretty Bitch Music, the album she's been teasing (and honing) for years? Time will tell.

Warren Zeiders — "Betrayal"

Warren Zeiders staked his claim with his 2021 debut single, "Ride the Lightning"; now, he's got a stormcloud overhead. The uber-moody "Betrayal" makes no bones about its subject: "This isn't how I pictured you and I/ Smile in my face while you twist the knife/ Shame on me if you fool me twice/ You fooled me twice."

As unremittingly bleak as the lyrics are, though, the budding country star's melody lets the light in. What an alchemy: the more Zeiders bemoans being chapfallen and frustrated, the lap steel-laced music evermore swoops and sparkles.

María Becerra — "IMAN (Two of Us)"

Once a YouTuber, and now an urbano sensation, bubbly Argentine singer María Becerra is back with a four-on-the-floor stomper. The somewhat Dua Lipa-tinted "IMAN (Two of Us)" is a delight, as is its candy-coated video, where Becerra cavorts and romances through a surreal art exhibit.

Her new album, MB3*, is expected sometime in 2024; it should also include tunes like "Slow it Down," "Do You (feat. 24kGoldn)" and "Agora." Let the earworm "IMAN" slake your thirst in the meantime.

Zayn — ROOM UNDER THE STAIRS

Boy band acolytes will always long for the return of One Direction, who have been on hiatus since 2016. But in the meantime, their solo work just keeps getting sweeter. Following a three-year intermission, Zayn released ROOM UNDER THE STAIRS; for him, this music cuts to the quick of who he is.

"I think the intention behind this album fully is ​​for the listener to get more insight on me personally as a human being," Zayn explained in an Instagram post. "My ambitions, my fears, and for them to have a connection with that and that's why it's so raw. It's just me."

Taking six years to get right, and marking a return to Mercury Records, ROOM UNDER THE STAIRS is an unmistakable sonic and thematic evolution for the One Direction star. As with the other selections on this list, it's right on time for spring — let the songs of the season help you flourish, too.

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