There is no current artist quite like Grimes. From making a science fiction-inspired album (2010's Geidi Primes) in her Montreal bedroom to becoming an alt-pop favorite with 2012's Visions (also made in said sleeping quarters) to becoming celeb gossip fodder because of her famous CEO boyfriend, she has always remained 100 percent herself. On each of her five albums, she's stayed true to her D.I.Y. and experimental ethos—writing, singing, producing and engineering all the music herself and pushing creative boundaries every time, bringing us further into her enticing, otherworldly dimension. She also created each trippy album cover and directed every wild music video, collaborating with her brother Mac Boucher on the more recent visuals.

Back on Feb. 21, before COVID-19 shut the world down, before the killing of George Floyd by police sparked Black Lives Matter protests across the globe, Grimes (a.k.a. Claire Boucher, a.k.a. just "c") released the follow-up to 2015's Art Angels, the fittingly futurist, dystopian Miss Anthropocene. Recently, we caught up with the "IDORU" singer to talk about the album, the chaos of 2020 and motherhood. She also gets real about her best friend and frequent collaborator HANA, Cardi B and Megan Thee Stallion's "WAP" and her interest in more humane technology.

So how have you been doing during quarantine, especially as a new parent?

It started really shitty because one of my best friends actually passed away on the first day of quarantine. And then I had to go right into having a baby. She passed away in a pregnancy-related issue so it was four months of not good, the least productive I've ever been. It was basically terrible until about a month ago. But yeah, I feel like a lot of people are on this path. I mean, granted, the whole is a shitshow and terrible and I'm really worried about everybody. And that's the other thing: I feel like it's getting worse and worse on the outside, so I don't know. Wait, maybe I'm getting too dark. Positive. Anyway.

No, you're fine. You can be real.

I have PTSD from being terrible in interviews. So please excuse me for constantly second-guessing myself. But yeah, I'm not really sure what to do, especially with being Canadian, because I feel I should have a vote in your election and I can't even say much about it. I didn't realize I'm not even allowed to donate to candidates and stuff. So it's a whole thing where I feel weirdly helpless about it. I feel American in my vibe and energy, and all my friends and family are American. But yeah, it's a weird situation. There is actually a lot of stuff to do, it's just not directly political stuff.

It's an interesting point you made, that things seem like they keep getting worse. I think it gets to place where we have to focus in on ourselves because at the end of the day, some shit's always going to be crazy. When we're able to be like, "Well, what can I do to take care of myself?" or, "What can I do to deal with what's feeling crazy for me?" it makes it seem more manageable. I'm sure that having another human to take care of adds a different layer to that.

Another human kind of helps. Although I disagree that it's unfixable or whatever. But when I look at it, another human is nice because it's very hard to go on social media when there's a baby. It's just hard. When are you going to do it? And then when you're not dealing with the baby, you're like, "Okay, I've got to do something actually useful." The baby caused me to not be on social media and I am very grateful for that.

Regarding society though, which I feel like the craziness of the moment is that the internet is forcing us to become a single unit. I was reading this thing about how the internet forcing us to become a single unit is basically forcing everyone to acknowledge everyone else's suffering at the same time. And even though it sucks so much, I feel like this is the only way to actually fix human suffering. And I also feel like we're at this weird junction in society where we're getting to a place where we can technologically have the ability to destroy civilization and destroy humanity—crazy. But we also have the ability to, theoretically, fix humanity. Not 100 percent solve suffering, and I don't know if we even want that. But I do think it's probably possible to an extent to end violence and extreme inequality.

And so, I feel like it just f***ing hurts, because we're in this moment where it's no longer possible to ignore those things. If you want to engage with society, you have to engage with suffering. And so, obviously, I feel like in the short term, this is super shitty. And especially anyone who has mental illness or depression or is predisposed to that at all, is having an extra hard time. This is existentially painful.

But at the same time, [maybe we need that] in order to get into, I don't want to say a utopian, but a future where we can just achieve and not be fixing. Right now, because of our own f***-ups, we're still just having to Band-Aid instead of solving physics and colonizing space and solving medical stuff. Instead, we're just still fixing the broken things.

Anyway, I feel like the thing that sucks is that we're becoming a single psychological entity. But that is possibly the thing that can save us, because if we're one thing, people are selfish and people want to fix themselves. And I am seeing people want to fix the world more than I've ever seen. It's what everyone's talking about and what everyone's focused on. So maybe that's a good thing? Sorry that was so long.

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I feel that. The fact that people have to pay attention is big. Also, people need to feel like there's something that they can do. Obviously, not everyone that lives here can vote, but it is something that people are mobilizing around. I haven't seen people this excited for an election other than for Obama in 2008. So that's definitely something.

The other thing I keep seeing helplessness. But it's like, man, we're talking through the internet through space and time. And if we wanted to, we could video chat. We can kind of accomplish whatever we want. It seems normal, because we're stuck in this world. But that's all really new shit. And that's like magic. I feel like we can frigging solve things.

The themes and aesthetic of Miss Anthropocene feel so reflective of the chaos of 2020, it's wild that you released it in February. Do you feel like the album and its themes offer any messages of how we can prevent the demise of humanity?

I was trying to be provocative at the time I made the album. Because I made it a lot more in 2018, 2019. When I started making it, I was still like, "Why don't we care about the environment?" And in time since I made it and released it, the world totally changed. And even though I'm really proud of it and I think it's great, I feel like it is not the time to be provocative and trollish. That ended kind of almost before the album came out. It feels insensitive now.

I still actually like it. When I think about the anthropomorphic goddess of climate change and the anthropomorphic goddess of addiction, those things are compelling to me. I even kind of get anxiety talking about it. To myself, I feel like I made something effective, but I get why people found it to be kind of cruel now. But that's art. It goes back and forth.

Sauron sucks and gives me anxiety too, but I don't think Lord of the Rings was problematic, but some people might say it is. I don't know. I'm talking in circles again. Maybe that's the point. [Laughs.] They should not let me do interviews. I'm really bad at interviews.

Sometimes I feel like the most awkward interviewer. I'll ask a question and I'll giggle.

The giggling is good. When people are monotone and so bored with you, you're just like, "Oh, god. I'm sorry I'm keeping you from going home."

Also if it's more of a normal interviewer thing, you're kind of repeating the same thing. You feel like kind of like a phony. I'm always like, "Uh-oh. This question again." And then I'm like, "Oh, no. If any fans see this, they're going to know I answered this the exact same way. I'm such a fraud." You want to give a genuine answer, but it becomes disingenuous just by being forced to answer the same question again and again. It's a trap no matter what.

"Violence" is your only song you didn't produce yourself.  What was it like working with i_o on it, and what did it feel like to let go of that specific element of creative control?

I mean, frankly, people need to realize sometimes collaborating is really hard. But when it's easy, it is incredible. There are no drugs that are like sitting in a room with someone when you're on the same page creatively. And it's your art. I've always been like, "Oh, the art high, the art high." When you make something good and the night after, you close the computer and you're like, "I made a good thing," it's literally the best feeling in the world. And when you're working with someone else, it feels like it's double.

I'm very conflicted right now, because for political reasons and reasons of self-worth, I want to make stuff on my own. But I'm really vibing creating with other people now. With i_o, he sent me stuff and I just wrote a vocal over it. By the way, "Violence" only took about an hour to make. I was like, "Oh my god. Why am I spending tons of hours making songs when it should really just take an hour?"

"Violence" sort of broke the barrier, because I had done so little collaboration before that. Well, "We Appreciate Power" was actually very fun. It was with my best friend [HANA], so it was much easier. It was almost like having a sleepover and writing it. It was not like a work situation.

That's super cool. I'm always really interested in collaboration and the process of it because, like you said, sometimes it's easier than others.

I feel like I'm starting again, because I've always made music by myself and I feel like 19 again. It feels like the first time I first started making music all over again. The human brain is a very amazing thing. And when you can find a brain that works with yours, it's better than any tool. It's also very hard to find. Maybe that's some argument for humans getting along.

When "We Appreciate Power" came out [in November 2018], I had it on repeat an embarrassing amount. When I learned what it was about, I'm like, "Oh, wow. This AI propaganda totally would work."

Here's the funny thing. It is now this so less-controversial "WAP," which I find so funny. When we made "We Appreciate Power," I was like "WAP" is such a random title. No one will ever make a song title like this. And this will definitely own this title forever. And then Cardi B and Megan Thee Stallion came out with their "WAP" And I'm like, "Damn, they actually defeated us with making the more controversial song with this absurd title." Our "WAP" has been owned.

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What did you think about the backlash that Cardi and Megan got for literally singing about their p*ssies, when other people sing about p*ssies all the time?

I actually didn't notice the backlash for about a week because, as I said, I haven't been online. So, I didn't watch the music video and I didn't even know the title. I thought it was "Wet and Gushy," or whatever. I had no idea what was going on. And then, my manager said something later and I was like, "What? Cardi B's in trouble for the song?" And [when I learned about it], I was like, "Oh, wow. This is kind of crazy." I'm still surprised it was so controversial, but then that just proves that I'm in sort of in a bubble, I guess.

I've been thinking about this in general, going through being pregnant, no one understands what's going on at all. And you're super unprepared for it. Sex ed is not comprehensive enough at all. And our society does really need to work on—I feel like everyone's way overusing the word "normalized"—normalizing [laughs] women's bodies because it's a huge problem.

"I'm a producer. My war zone is mostly a men's war zone. I get in the ring with the boys. And that seems easy compared to having a baby. I was shocked by how hard it was. I thought I was so tough."

It's so true. I feel like that is such like a valid parallel to the fact that women singing about their body parts is still found offensive. And I haven't had a child or been pregnant, but I've heard conversations around women feeling like they can't talk about the difficulties of being a mother or being pregnant. It's supposed to be like, "Pregnancy is beautiful!" I'm sure it's both, but I wish there more spaces for these conversations.

Yeah. I'll say this. I'm a producer. My war zone is mostly a men's war zone. I get in the ring with the boys. And that seems easy compared to having a baby. I was shocked by how hard it was. I thought I was so tough. It's almost the indignity of it and all the things that go along with it and just being so volatile. There were numerous meetings where I would puke. I was puking all the time. It was really humiliating.

And people are like, "Oh, yeah, morning sickness, well it's like 12 weeks, three months." If you were vomiting constantly for three months in any other kind of illness, it would be really serious. But it's not even considered. It's like, "Oh, yeah. Whatever. It's only a couple of months of puking many times a day." It's like, whoa. That's not even the hard part. That's the beginning. And then you kind of feel like a teenager. Teenagers are grumpy and crazy because of their hormones. Pregnant women are literally going through the same thing but they're supposed to act normal and stuff.

And then f***ing having the actual baby—if I didn't have nannies, babies are literally 24 hours. Being a stay-at-home mom with no help, or especially a single mom, is significantly harder. It's extreme sleep deprivation. As a society, it's possibly the hardest job, and it's not even a paid job. We devalue it and we expect it to be free labor. And the fact that we expect to be free labor gets women into situations where they have no financial freedom and if it's abusive or something they're just stuck.

I mean, other countries at least offer several months of paid maternity leave, and in Sweden [and many other countries] both parents get leave. The U.S. is the only—I hate this word—"developed" country that doesn't have mandatory maternity leave. It totally is devaluing, like you said, the actual labor and time that goes into it.

Yeah. I mean, I guess that's a very capitalistic viewpoint. So people could take issue with that. But I just feel like it's very weird that the hardest job I'm doing is free labor. Before I had my baby, I was always like, "Oh, I don't want to be a stay-at-home mom." And I was sort of rolling my eyes. And I had this bad vibe for stay-at-home moms. I was definitely internalizing misogyny. And now I'm like, "Man, I was such a f*** up. I can't believe no one ever corrected me on that f***ing shitty line of thinking." Being a stay-at-home mom is quite hard, I would say. Maybe it gets easier when they get older.

Long story short, "WAP" is productive towards society. Let's get more used to addressing anatomy.

How would you describe your creative relationship and friendship with HANA?

Oh, she'll be so mad you called her "Hannah." [Laughs.] It's the bane of her existence. I just feel so bad that she's trapped in this nightmare where everyone calls her Hannah and her real name is HANA. I thought an A that's ah is an imperial A, and I was telling people that for years. It turns out that was from a dream and that's not a real terminology. But it sounds real. So, it's HANA with an imperial A. And I'm coining that term, because it sounds right.

Anyway, she's great. I feel like HANA taught me about feminine energy or something. I did not have a lot of girlfriends previous to her. And going on tour with someone is kind of like being married to them. We toured for like three years or something.

HANA's underrated. Check out her latest release, HANADRIEL. It's great, and she produced on Twitch, which I thought was a really cool idea. She livestreamed her album creation on Twitch, which I would not be able to do that. And I think people were able to comment as well and stuff.

What's it like working with your brother Mac? Because you've worked together on pretty much all of your music videos, correct?

To an extent, more or less. The early stuff I did more on my own. I feel like I started working with him because he's probably the best working partner I've ever had. The one thing I think we would say is, don't judge the Miss Anthropocene music videos, because I was pregnant during them. The reason they're less crazy is because I couldn't be throwing my body around for 16 hours straight when I was super pregnant. So we feel slightly self-conscious. Please do not judge either of us.

I'm not talking shit, but it's just they're obviously single scene. They're just very, very simple comparatively to what we normally do. And that's just because what we normally do is not good for your body. Also, it's been Mac and I this whole time and it's just not big budget. So usually, we literally take the whole workload on ourselves. We color. We edit. We do post-production. Literally, when it's animation or something, it's like me and Mac literally doing it ourselves. I mean, we're excited to get to the next phase too though, because ideally, we can access bigger budgets in the future. And Mac's also been learning how to do CGI literally on his own. He probably never talks about this though. He's kind of like a private dude and doesn't want to be too discussed.

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I really like the "Violence" music video. It feels sort of like the opening credits from a movie where you're getting the vibe of it and wondering who the characters are. It definitely drew me in.

I feel like even though that video is simple, it's like one of the best performances I've ever done in a weird way. I mean, the thing with "Violence" is we were like, "F*** hiring random people. We're just going to hire our friends." The stylists and dancers were friends. My brother's girlfriend is one of the dancers. HANA's there [as the "nude corpse"]. Another friend of mine was helping with the styling and ideas. I'd rather sacrifice some physical proficiencies for an incredibly good vibe on set, because performance-wise it's like you're in front of a bunch of random people you don't know who are bored, versus being with all your friends, cheering and doing stuff. It makes a huge difference. Our roommate did the hair. And we wore masks, which seemed weird that was before the pandemic.

But I thought really, what would modern gods look like? All religion is referencing pre-technological existence. And if you just go by logic, if intelligent design is real, which is not out of the question, if we're either in a simulation or if there are gods in any capacity, they have technology. You know what I mean? There's a law [from scientist/science fiction author Arthur C. Clarke] that says, "any sufficiently advanced technology is indistinguishable from magic." And my inverse law is any sufficiently advanced magic is indistinguishable from technology. Let's say, we're in a Matrix situation, it's possible that everything condescends this extremely advanced technology. I mean, it kind of is biological technology if you just go on baseline level that life spontaneously occurred and the Big Bang happened.

But man, I just love the idea of there being teenage gods with cell phones who are bitchy. And this gods isplastic and she just looks amazing and she's got this crazy style and she's got this CGI all around her. Just why isn't there more kind of pursuance of this sort of idea?

Can you talk a little bit about your well, now, virtual art exhibit that you were planning with Michele Maccarone?

Most of the art exhibit has to be real. The thing that's online is just kind of my random art. I don't want to downplay it, it's stuff we've been making. But we have the whole installation and everything that took a really long time. We created these AI meditations where we send a bunch of meditative texts to this generative AI. If you feed an AI stuff, it starts making things, so it was making these meditations for us. Then we started making crazy meditations. We started feeding it dialogues from video games, for video game addiction meditations. And we fed it Kim Kardashian's Instagram feed, and it was making this weird kind of corporate poetry that was amazing. That kind of has to be experienced in real life. So the art installation is kind of in limbo until COVID is over, I suppose. But it's these AI meditations. I'm really interested in spiritual technology.

Okay, yeah, one thing I really want to talk about, coming back to the state of society and civilization and mental health right now. I'm really getting into pursuing humane technology. Why is technology so inhumane? Technology has not factored in human conditions, like human emotions, like the way our biology works, our cortisol, adrenaline and all this stuff. It's almost like a drug. It's sort of abusing our system to just make us addicted.

You should look up the Center for Humane Technology [who recently released the film Social Dilemma on Netflix]. There's all these charities and philosophies and stuff that are starting to pop up around making technology safer for the human brain, and trying to find ways to make it better for us, or whatever. The AI meditations sort of led me into that realm of philosophy. The meditations are kind of scary. They're not meditative, which is part of what's so interesting about them. We need to stop and consider how it's writing all this content that is beautiful and amazing but also scary and aggressive. Even though it's been fed all this information about meditation, it's unable to internalize what meditation is.

As a culture, we need to start getting more used to and more aware of technology safety. And by safety, I don't just mean, are you going to overdose and die? But are you giving yourself a serious mental condition? Are you getting infused with Nazi ideas? Are you growing to hate your neighbor? How do we stop those tendencies? I mean, fight-or-flight response is a powerful response. And most technology right now is giving us heroin and pulling us into darkness.

"I feel like we're at a crossroads right now where at least it might be possible to eliminate physical violence from our species. That's what enlightenment kind of entails."

What does a Grimes utopia look like?

Do know the writer Iain Banks? He's this obscure writer, for some reason. His books are kind of hard to read I guess, maybe they're just too dense. He wrote these books called the "Culture" series. And there's this book specifically, Surface Detail. I would argue that it's not a utopia, but it's edging towards a utopia. AI is this God, and saying conscious beings are existing with technology in a way that seems like there's mega structures in space for when there are no planets. It's like consciousness has been preserved and it is not in a dark and evil way.

When you look in the universe, there might not be any other consciousness, we might be the only thinking creatures. And right now, consciousness is under threat, obviously. Civilization is under threat. I mean, the ideal goal, I think about 10,000 years from now, [is that] consciousness is preserved and existence for those beings is happy. And it's not painless, because that seems like it could lead us through just nothingness. But overall, there's not massive suffering happening.

I feel like that involves a massive sort of philosophical and cultural overhaul. I'm not sure what that looks like. But obviously, reducing unnecessary violence. Physical violence should be unnecessary. I feel like we're at a crossroads right now where at least it might be possible to eliminate physical violence from our species. That's what enlightenment kind of entails. We get to a position where every child is educated in such a way where if they have violent tendencies, there's the ability to overcome those things and there's support systems get to a place where we can reduce that as much as possible.

And that's kind of the discussion of this moment in some ways right now. I feel like physical violence also includes not having enough food or not having adequate shelter and stuff. If we can get to a place where maybe there's still competition in a mental way—I haven't thought this through enough. But I feel like—I hope—utopia is achievable. I think a non-violent society is possibly achievable.

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Beware of venom: Megan Thee Stallion is not biting her tongue on her new album, simply titled Megan.

The GRAMMY winner's first full-length release in two years is also the first to drop under her own control. Fans have been ready for this release even before the first single, "Cobra," came out in November. The second single, "Hiss," followed in January and brought the star her first No. 1 hit on the Billboard’s Hot 100 and Global 200 charts. These songs, as well as the third single, "BOA," foreshadowed a certain slithery theme that helped shape the album.

Megan was released on June 28 and features guest stars such as GloRilla, Victoria Monét, Big K.R.I.T. and Kyle Richh as well as her longtime ace producers like Juicy J (who made "Hot Girl Summer" among other calling cards) and LilJuMadeDaBeat, who produced Stallion anthems like "Big Ole Freak," "Body" and "Thot S—."

Here’s what we learned from listening and vibing to the latest work by three-time GRAMMY winner Megan Thee Stallion.

A Theme Snakes Through Megan

As could have easily been predicted from the first three singles "Cobra," "Hiss" and "BOA," and now the album track "Rattle," there is a hint of a snake theme that wends its way through the album from beginning ("Hiss") to end ("Cobra").

In several songs, she denounces all the snake behavior that she has encountered from former lovers, friends, and haters who support those who have caused actual harm to her. In the music video for "Cobra," Megan literally sheds her old skin to reveal a shining new layer.

Megan Is Calling The Shots This Time 

"I feel like Biggie, 'Who Shot Ya?’/But everybody know who shot me, bitch/ So now, let’s stop speaking on the topic," she rapped in "Who Me (feat. Pooh Shiesty)" off her 2022 album Traumazine. MTS was referencing the July 2020 incident in which rapper Tory Lanez shot her in the foot, and was subsequently charged with assault with a semiautomatic firearm and carrying a loaded, unregistered firearm in a vehicle. 

Turns out, she wasn’t done referencing the topic. Now, she’s one taking the shots. MTS takes aim at less-talented women rappers on "Figueroa" (named for a Los Angeles street known for prostitution), and at Lanez on "Rattle," when she suggests that his male supporters should schedule a conjugal visit with him in prison. (Lanez is currently serving a 10-year sentence while simultaneously going through a divorce with wife Raina Chassagne.)

Inspiration Comes From Everywhere

The star and her collaborators incorporate unexpected musical influences on Megan via creative sampling. Megan Thee Stallion speeds up and flips Teena Marie's 1984 ballad "Out on a Limb" for "B.A.S." — a song she co-produced with her longtime ally LilJuMadeDaBeat. "BOA" is cleverly crafted from sounds in the first solo hit by Gwen Stefani, 2004’s "What You Waiting For?" 

UGK are reunited from across the heavenly divide on the Juicy J-produced "Paper Together," with Bun B contributing new work and the late Pimp C joining in lyrical spirit. This is especially significant when considering that Juicy J produced "Intl’ Players Anthem (I Choose You)," UGK’s 2007 hit with Outkast. Juicy J also made the beats for Megan’s famous song "Hot Girl Summer." 

That’s just the tip of the iceberg when it comes to samples waiting to be discovered on Megan. There are many more riffs and other musical notions that the sample bank in our brains have yet to detect.

Self-Love Is Queen 

Whether she’s affirming, "I’m worthy, not worthless" on "Worthy," or literally touching herself in the auto-erotic "Down Stairs DJ" (which joins masturbation masterpieces like Divinyls’ "I Touch Myself" and Tweet’s "Oops"), Megan is grounded in songs that promote self-love as the best kind of love. 

She does admit that this is sometimes a challenge to embody, as when she talks about lingering depression on "Moody Girl." But the album generally moves towards the light.

She Loves Japan 

One of the big surprises on Megan is that she raps in two languages. She rhymes beautifully in Japanese on "Mamushi" with Yuki Chiba, a seasoned rapper from Japan who is influenced by the Southern swag. (Just take a look at the Memphis moves and Houston rhyme schemes of his viral song "Team Tomodachi.") 

On "Otaku Hot Girl," she raps about the manga series "Naruto" and drops other anime references to show her love of Japanese pop culture. 

Learn more: 10 Neo J-Pop Artists Breaking The Mold In 2024: Fujii Kaze, Kenshi Yonezu & Others 

Megan's Game Is Tight 

Megan is the first album to be released on Megan Thee Stallion’s own label. It follows her split from 1501 Certified Entertainment, a record label with which she was engaged in a protracted and ugly legal battle for earnings. 

She now has the muscle of the major label Warner Brothers as a partner for her independent venture, Hot Girl Productions. She also recorded an Amazon Original song called "It’s Prime Day" for a commercial, as well as an exclusive Amazon edition of Megan. 

It’s safe to say that this album represents a new level of business freedom and acumen for Megan Thee Stallion.

Peso Pluma marked his musical destiny with a Tupac tribute tattoo in the center of his clavicle: "All Eyez On Me." 

The Mexican artist, born Hassan Emilio Kabande Laija, doesn't remember exactly what year he inked his chest. He knows it was well before his debut in music. Those four words reflected Peso's irrefutable confidence that the world's eyes would eventually be on him. 

The world's eyes are indeed on Peso Pluma. In less than two years, the singer achieved global fame by singing corridos tumbados, traversing a path never before trodden by a música Mexicana artist. 

At 25, Peso Pluma is at the forefront of a new generation of música Mexicana artists that have successfully modernized traditional Mexican rhythms, such as corridos, by infusing them with elements from urban music and a hip-hop aesthetic. The weight of representing an entire genre and a country could be great for some. But pressure doesn't affect Peso Pluma; on the contrary, it motivates him to keep working to exalt his roots. 

"We've come a long way, but we still have a long way to go. And that doesn't mean we have to slow down; it doesn't mean everything is over. This is the beginning of everything," Peso Pluma said in a TikTok video before a performance at the Toyota Arena in Ontario, Canada, a little over a year ago. 

Out June 20, Peso's extensive new album ÉXODO seeks to cement his global star status further. Over 24 tracks, the singer continues to explore corridos tumbados and digs into his urban side via much-awaited collaborations with reggaeton and hip-hop icons. Among those big names is Peso's teenage idol, the American rapper and producer Quavo, as well as further afield collaborations with Cardi B.  

"ÉXODO is a project I've been working on for over a year before we even won the GRAMMY. GÉNESIS was an incredibly special project, and I knew we couldn't make the same diamond twice," the singer tells GRAMMY.com in a written interview. 

Peso Pluma's path to the global stage has been lightning-fast. While he started releasing songs in 2020, Peso will remember March 2023 as the month that propelled him into global mega-stardom. His collaboration with Eslabón Armado on "Ella Baila Sola" led him to become a household name outside his native Mexico.  

The hit resonated with an audience eager for new sounds, accompanying social media videos and surpassing a billion streams on Spotify. "Ella Baila Sola" became the first Mexican music track to top the platform's global chart. On Billboard, it conquered No. 1 on the magazine's Global 200 chart for six weeks and reached the coveted No. 4 spot on the Hot 100 chart. The mega-hit took Peso Pluma and Eslabon Armado to make their Latin GRAMMY stage debut in November with an electrifying performance.  

Another collaboration, "La Bebe (Remix)" with Mexican reggaeton artist Yng Lvcas, released a day after "Ella Baila Sola," also contributed to Peso Pluma's virality in a completely different genre, but one in which he feels comfortable: urban music. 

Learn more: Peso Pluma's 10 Biggest Collabs: From "Bzrp Sessions" To "Ella Baila Sola" &"Igual Que Un Ángel" 

As Peso Pluma gained traction with a global audience, his February 2022 single with Raúl Vega, put him, for better or worse, on the map in Mexico. The warlike content of "El Belicón" lyrics and video clip attracted attention for the way it allegedly promoted narcoculture. 

Despite growing criticism, Peso Pluma remained tight-lipped regarding references to high-profile members of the Mexican drug trade, as well as drug use and trafficking. In a rare admission to GQ magazine, the singer explained this is a "delicate subject to talk about, but you have to touch on it with transparency — because it's the reality of things." 

"In hip-hop, in rap, just like in corridos, and other urban music like reggaeton, it talks about reality. We're not promoting delinquency at all. We're only talking about things that happen in real life," the singer explained.

With the success of "El Belicón" and "Ella Baila Sola" under his belt, Peso Pluma released GÉNESIS in June 2023. Despite being his third album, Peso considers it his true debut in music. 

"I didn't want to delete my previous albums [Efectos Secundario and Ah Y Que?] because they represent my beginnings," Peso told Billboard in a cover story published a few weeks after the release of GÉNESIS. In the same conversation, the singer said he saw himself winning his first GRAMMY and breaking more records. 

Read more: 5 Takeaways From Peso Pluma's New Album 'GÉNESIS' 

In February 2024, Peso Pluma did just that. He took home the golden gramophone for Best Música Mexicana Album (Including Tejano) — his first GRAMMY Award. This victory didn't weigh on him as he approached his next production. "It pushed me to want to create something different that the fans haven't heard from me before," Peso Pluma tells GRAMMY.com. 

While GÉNESIS and ÉXODO may differ in substance, they share similarities beyond music. That both records pull from the Bible for their names is not a random occurrence; the opening book of the Hebrew and Christian Bible delves into the genesis of creation, while the Book of Exodus explores the themes of liberation, redemption, and Moses' role in leading the Israelites through the uncharted waters of the Red Sea. 

"ÉXODO is the continuation of GÉNESIS, which was the beginning," Peso Pluma explains to GRAMMY.com. "ÉXODO means new beginnings, a new era for me. We are preparing for the next chapter, and that's what we are doing for Mexican music, paving the way, laying the groundwork for what's next because it doesn't stop here."  

His "sophomore" album is divided into two discs: the first is corridos, and the second is urban. It also continues the line of collaborations, with twenty tracks where Peso Pluma shares the limelight. 

"Some of my fans were craving música Mexicana, and some were craving urbano, and I wanted to give them everything while still staying true to myself and choosing songs and lyrics that spoke to me," he continues.  

ÉXODO's disc one starts with "LA DURANGO," the album's fourth single, featuring Eslabon Armando and Junior H. In the record, he also invites collaborators such as Natanael Cano and Gabito Ballesteros for "VINO TINTO" and Mexican rising star Ivan Cornejo on the melancholic "RELOJ," among others. 

For Side B, Peso enlisted heavyweights from the urban genre in the Anglo and Latin markets: Anitta in the steamy "BELLAKEO," Rich The Kid in the bilingual "GIMME A SECOND," and Quavo in the existential trap "PA NO PENSAR." Cardi B, Arcángel, Ryan Castro, Kenia OS, and DJ Snake complete ÉXODO's genre crossover. 

In ÉXODO, luxury, drugs, alcohol, and women continue to take center stage in the lyrics, accompanied by fast-paced guitar-driven melodies and reverb-dense vocals. However, the production sheds light on the vulnerable side of Peso and explores the unexpected consequences of becoming globally famous. 

"Fans really get to see the other side of the coin; there are two sides to me. It's darker, rawer," Peso says about the record. 

In the songs "HOLLYWOOD" and "LA PATRULLA," for example, Peso details how this musical path keeps him up at night, as well as his aspirations, and how he remains the same despite his success. 

Perhaps one of the deepest and rawest songs on the album is "14:14," a track inspired by the Bible verse 14:14 from the Book of Exodus, which, the singer explains, was fundamental amidst the turbulence he faced on the way to global stardom. 

"[The] verse 14:14 says 'The LORD will fight for you; you need only to be still.' This verse couldn't be truer," Peso Pluma says. "Over time, I learned to really trust in this and believe that some things are not up to me and I should trust the process."  

In the song — one of the few on the album without a collaboration — Peso references the challenges of his profession and how his faith has kept him afloat amid the vicissitudes. "Things from the job that no one understands/I hide the rosary under my shirt so I don't poison myself, so I don't feel guilty/because whatever happens, the Boss will forgive me," he sings.

In "BRUCE WAYNE," Peso Pluma croons about the passionate feelings his career arouses: "First they love you, and then they hate you/wishing the worst, envy and death," the song says. 

The singer resorts to comparing himself to a superhero figure again. In an unusual twist, Peso crosses comic universes, moving from his now traditional reference to Spider-Man to one from the DC Comics world: Bruce Wayne, Batman's secret identity. A wealthy man, part of Gotham's high society, Bruce Wayne is known for transforming his darkness into power while remaining reserved and isolated.  

"Everyone has two sides of them, even me," Peso tells GRAMMY.com. "Peso Pluma on stage is a high-energy person, someone who is powerful and dominates a show and isn't afraid of anything. And then there is Hassan, who's chill and more relaxed and who deals with all the realities of life." 

During the year and a half it took him to complete ÉXODO, Peso Pluma had to deal with the diverse nuances of a global star's life, including a widely publicized breakup from Argentine rapper/singer Nicki Nicole, the cancellation of one of his shows in October 2023 after a Mexico drug cartel issued a death threat against him, and a media frenzy over his alleged admission to a rehabilitation clinic, the latest a rumor he laid to rest during a March interview with Rolling Stone for his Future of Music cover story. 

"The reality is, all these days, I've been in the studio working on ÉXODO," the artist explained to Rolling Stone. 

Most of 2023 was a successful balancing act for Peso Pluma, who combined touring, an album release, rare media engagements, two Coachella appearances, all the while developing another record. According to the singer, ÉXODO was created in Los Angeles, Miami, New York, and Mexico. "We go to the studio everywhere!" Peso says. "It doesn't really matter where we are; I love to get into the studio and work when we have free time." 

Like GÉNESIS, ÉXODO will be released via Peso Pluma's Double P Records, of which he is the CEO and A&R. Much of the talent the Mexican singer has signed to his label took part in the album's production, and songwriting process. 

"For the Mexican music side, I had the whole [touring] band with me; I like to have them involved in the process so that we can all give our input on how it sounds, discuss what we think needs to be changed, create new ideas," he explains. 

Peso Pluma knows that echoing the success of 2023 is no easy task. He was the most streamed artist in the U.S. on YouTube, surpassing Taylor Swift and Bad Bunny, and was the second most-listened to Latin artist in the country, amassing an impressive 1.9 billion streams, according to Luminate. 

Música Mexicana emerged as one of the most successful genres in 2023, witnessing a remarkable 60 percent surge in streaming numbers, adds Luminate's annual report, crediting Peso Pluma along Eslabon Armado, Junior H, and Fuerza Regida as part of this success. 

Collaborations on and off the mic have undoubtedly played a significant role in the rise of Música Mexicana on the global stage. Peso knows that the key to continuing onward is teaming up with renowned artists inside and outside his genre. 

"All of us coming together is what pushed música Mexicana to go global," the singer affirms. "We showed the world what Mexico has to offer, and now no one can deny the power and talent we have in our country."  

Shakira's Road To 'Las Mujeres Ya No Lloran': How Overcoming A Breakup Opened A New Chapter In Her Artistry 

The 2024 iteration of Tennessee's Bonnaroo Music & Arts Festival was an absolute scorcher — even without the 95-degree highs.

The weekend brought some of the hottest names in music for a stacked lineup of buzzy newcomers and hitmaking veterans. From the Red Hot Chili Peppers' spectacular return to touring with John Frusciante, to Dashboard Confessional's star-studded Emo Superjam, to Billy Strings joining Post Malone for "rockstar," to Chappel Roan singing to a wig, there was no shortage of unforgettable moments at The Farm. 

While this year was the literally hottest that Bonnaroovians had seen in a few years, sweating through shirts (or lack thereof) proved completely worth it as some of the biggest iconoclasts came together and brought their all. It was electrifying, whimsical and at times emotional — and the bright, sunny skies served as the perfect backdrop for it all. 

If anything, the blistering — and briefly thundery — weather was a testament to the enduring nature of music fans; folks from all over the globe will never miss a chance to watch their favorite artists. Relive the magic with nine of the most exciting sets from Bonnaroo 2024.

The Foxies Took Technical Mishaps In Stride

The Foxies | Yvonne Gougelet for Bonnaroo 2024

Nashville's premier glitterpunk exports the Foxies delivered a fun, crowd-pleasing set Thursday night on the Who stage, even despite a flurry of audio issues and technical hiccups. The Roo crowd was forgiving, though, and the band rewarded us with some of the best songs from their catalog — plus a cover of Sheryl Crow's "If It Makes You Happy."

"Summer Never Dies," "Timothee Chalamet," and "Little Monsters" all landed perfectly, but the group's personality shone brightest during their newest release, "Natural Disaster." It couldn't have been a more apt song for Bonnaroo's carefree setting — an ode to feeling free and accepting the wildest parts of yourself. 

"A huge theme while we were writing ['Natural Disaster'], for me, was when I was 20 living in Brooklyn, how I was, all the cringey stuff that I did as a young adult," The Foxies frontwoman Julia Bullock told GRAMMY.com backstage. "I wish I wouldn't have shied away from it, or been embarrassed by it — I wish I'd leaned into the cringiness. This is an anthem for that: if I could do it all over again I would just embrace the fact that we are all just weird." Indeed we are, Julia.

The Japanese House Brought Love And Light

The Japanese House | Yvonne Gougelet for Bonnaroo 2024

Since its 2015 inception, The Japanese House has always been in the zeitgeist. Where Amber Bain's heavily layered, mournful music was inescapable during the pale-grunge Tumblr era, it now occupies a much lighter space. Coming off of a banner year and a critically acclaimed album, In the End it Always Does, Bain has been embracing her pop side like never before.

Her set was a cornucopia of new and old sounds, the most exciting part of which was her new song, "Smiley Face." Written a year ago when Bain met her current fiancée on a dating app, "Smiley Face" is bright, soft, and sploshy, fraught with the energy of someone falling deliriously in love. "[When we first met] she lived in Detroit and I lived in London, and I would stay awake until she fell asleep," Bain tells GRAMMY.com of the song. "We were in different time zones. I was running on nothing — I felt a bit high." 

Like the rest of her discography, the song held the audience in the palm of its hand, this time enveloping us in a warm, flickering glow. "I could be losing my mind but something's happening," Bain sang, naturally, with a smile on her face. 

TV Girl Delivered A Masterclass In Melodrama

"I have a bit of stage fright," revealed TV Girl singer Brad Petering before the group's second to last song. Even if he felt it, stage fright wasn't apparent during the indie pop band's hour-long performance. Their set felt like a dream; onlookers got lost in the moment, spinning, swaying and dancing in the refreshingly cool breeze. 

It fell serendipitously near the 10th anniversary of their debut, French Exit, an album that launched them into the limelight as stalwarts of indie pop. Songs like "Louise" and "Lovers Rock" felt almost nostalgic 10 years on, and newer cuts like "99.5" and "The Nighttime" blended right in. Backed by a full band — including backup singers Kiera and Mnya, whose powerhouse vocals could've made for their own show — TV Girl turned already dynamic songs like "Birds Don't Sing" and "Not Allowed" into even fuller, radiant versions of themselves. 

Ethel Cain Took Us To Church

Ethel Cain | Ashley Osborn for Bonnaroo 2024

Despite its small size, there was no more perfect space for an Ethel Cain set than the reserved, remote That Tent in the quiet corner of Bonnaroo. Her performance saw the quaint venue packed to the brim, 1000-odd people staring back at Cain in dumbstruck awe, as her band played through songs inspired by Christian music and Gregorian chant.

Beginning with unreleased song "Dust Bowl" and the haunting "A House in Nebraska," Cain's performance was an intense, resounding 40 minutes that traversed between peace and emotional turmoil, much like all of the songs from her breakthrough album, Preacher's Daughter. The euphoric response from her overflowing audience left little doubt that her songwriting can break down walls; she's a timeless act, and her Bonnaroo set proved it.

​​Neil Frances Set Themselves Apart

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There are a number of artists with variations of the name Neil Frances — or at least that's what it looked like from this year's Bonnaroo bill. One difference in letters, and you may have found yourself at the Other Stage at 6:15pm on Saturday, seeing Neil Frances instead of Neal Francis. But, whether you've been a fan of Neil Frances for years, or you wound up there by mistake, the indie-dance duo would not have let you leave disappointed. 

Backed by a live full band, their set felt like a psychedelic ode to the club, to dancing, and to feeling free. And their live production is every bit an artistic endeavor as is being in the studio. 

"We've always preferred to play with a live band; there are so many things that we do live that are completely different from the record," the duo's Marc Gilfry told GRAMMY.com. "It's fun, it's dramatic, and we have really great musicians."

Read More: NEIL FRANCES Just Want To Have Fun & Get 'Fuzzy'

Melanie Martinez Gave Us A Peek Inside Her Mind

Melanie Martinez | Dusana Risovic for Bonnaroo 2024

Adorned with bows, horns, over-the-top dresses, and a multi-eyed, alien-like prosthetic mask, Melanie Martinez was dressed exactly how you'd think she would. With a stage setup of greenery, giant mushrooms, nymphs, and various mythical elements that seemed to revel in its own kitchiness, the details of Martinez's intricately-woven performance art unfolded around the audience, song by song, immersing everyone in a world of weird, elaborate fun.

Her dancers wove through a delicately choreographed, three-act narrative, taking the crowd through her three albums in chronological order, telling the story of the Cry Baby character, who first appears in her debut album, Cry Baby. The character transforms from baby to child to young adult, and finally, to a fully grown, pink-skinned being in the third act. Martinez's set was artistry in every sense of the word, taking fans through the ups and downs of youth and coming-of-age through rich metaphor and lyrical imagery — and prompting delighted sing-alongs as a result.

Interpol Were A Quiet Gem

Interpol | Ismael Quintanilla III for Bonnaroo 2024

More than 25 years into their career, there's still something very disarming about Interpol. Maybe it's their effortless, NYC cool, or that they still know how to build the type of tension that gives you chills. Or maybe it's that they're men of very few onstage words — and when they do speak, you feel as though you've been given a gift.

Three things can be true, and they were for Interpol's Bonnaroo set Friday Night. Not ones to waste time talking, the three-piece rock band played an unbelievably tight 75-minute set, mostly sticking to a reliable selection of early hits, largely from their 2004 album, Antics. The crowd didn't seem put-off by the lack of chatter, as everybody had some singing along to do — because it was impossible not to.

Milky Chance Never Stopped Dancing

Milky Chance | Douglas Mason for Bonnaroo 2024

Milky Chance wants you to dance. The German duo-turned-quad may have steadily transformed since their early folk days, but they've never abandoned their ability to make every beat danceable and each chorus undeniable. And on stage, they were having a ball.

With a set that included both 2012 hit "Stolen Dance" and their latest, "Naked and Alive,'' their evolution from folk renegades to breezier, disco-pop pundits is on full display — and we're glad they brought us all along for the ride. 

Speaking to GRAMMY.com backstage, bassist Philipp Dausch discussed their journey: "It was quite a process to become the band we wanted to be. Our music has always been in-between electronic and folky, so we put a lot of work into becoming that band on stage as well. We love rhythms and beats. We like when music moves you."

Megan Thee Stallion Declared This A "Self-Love Summer"

Megan Thee Stallion | Pooneh Ghana for Bonnaroo 2024

No one is doing it like Meg. A highlight of day four — and perhaps the entire weekend — was Megan Thee Stallion's riotous, yet charming Sunday night set. Clad in a yellow-ombre bodysuit and welcomed by a crowd chanting her name, the Houston hottie commanded the What stage in a manner that suggested it won't be too long until she's in the headlining slot.

"Real hot girl s—," she screamed at the crowd, who didn't hesitate to scream back. It was clear she was on a high; not only was it her first Bonnaroo set, but it also followed back-to-back sold-out shows in her hometown of Houston, making it an absolutely monumental weekend for the rapper. 

Her and her dancers shook, twerked, and rolled through each hit without ever losing breath control — even during what she deemed the "personal section" of her set. And that portion was aptly-named; beneath the ass-shaking and thumping beats, "Cobra" brought about an air of sadness during an otherwise infectiously playful and positive performance. 

The lyrics chronicle her mental health struggles over the years amidst personal traumas and virulent online abuse. "Man, I miss my parents," she sang of her late parents, on what happened to be Father's Day. But shortly after the poignant moment, Megan quickly returned to her signature body-moving, sex-positve calling cards, "WAP," "Savage," and "Body," during which she declared this summer a "Self-Love Summer." That's some Real Hot Girl S— we can get behind.

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Seven years into her career, Megan Thee Stallion is no stranger to a sold-out crowd. The rapper has been dubbed "Sold-out Stalli" since selling out nearly 20 shows on her Hot Girl Summer Tour — and though her stops at Houston's Toyota Center weren't the first sellouts on the trek, they were considerably the most meaningful ones.

"I'm so happy to be home," Megan, a lifelong Houstonian, told the crowd on June 14, night one of the back-to-back shows. After honing her rap skills and launching her career in H-Town, the star expressed her gratitude for the support her Houston fans have shown her from the start. 

"Hotties, y'all know what we've been through, y'all been rocking with me since day motherf—in' one," she gushed on night one. "I love y'all, I appreciate y'all, I respect y'all and I'm very grateful for y'all because, without the Hotties, there would be no motherf—in' Hot Girl Coach."

The two-night stint highlighted Megan's vulnerability, drive and exceptional showmanship. But above all else, her hometown shows reminded fans that she's just a strong-kneed, animé-loving girl from Houston. 

Below, check out five of the most memorable moments from Megan Thee Stallion's Houston homecoming.

She Organized A Hottie Egg Hunt

Before stepping on stage on June 14, Megan sent Houston fans on a Hottie Egg Hunt for a chance to win merchandise and tickets to the show that night. The three-part interactive adventure featured clues, documented on Instagram and X, that helped fans locate the golden eggs. 

The first clue reads, "A wild stallion can't be tamed…meet me at the place where I'm gonna rock the stage!" The second, "Where I run through the mall with your daddy." The last, "People are smart, my Hotties are smarter, find this egg where I got one degree hotter."

Eager fans scoured the whole city and eventually found the eggs at Megan’s favorite spots in Houston: Toyota Center, The Galleria and Texas Southern University. So far, Houston has been the only city Megan has done this for, making for another special moment between her and Houston hotties.

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She Continued To Prove She's A Girls Girl

An unfortunate rap show trend has seen several female opening acts receive hate ahead of male headliners. Luckily this hasn't been the case for Memphis rapper GloRilla, who has noticeably been enjoying her experience as an opener on the Hot Girl Summer Tour. 

On night two in Houston, GloRilla presented Megan with a blown-up art piece commemorating her upcoming album, Megan, on stage. In return, Megan complimented the 24-year-old rapper, saying, "Glo is one of the realest women I've ever met." 

That evening, Megan showed her love for another rising star — and fellow Houston female rapper — Monaleo. The Mo City rapper sent the crowd into a frenzy as she sang her 2023 hit song "Beating Down Yo Block," which samples the classic "Knocking Pictures Off Da Wall" by Houston's Yungstar.

She Paid Homage To Houston Legends

Monaleo was far from the only Houston native to take the stage with Megan during her hometown visit. On night one, Megan surprised fans with a legendary performance from a few Houston all-stars. The room filled with excited screams as H-Town''s Bun B popped out to perform UGK's "Int'l. Players Anthem (I Choose You)." As if it couldn't get more iconic, Megan joined the legend on stage to rap Pimp C's verse of the song. 

The night also featured a legendary performance of "Southside" by Lil Keke, which Megan teased prior in the show with her "Southside Royalty Freestyle." Fans also got to enjoy Slim Thug's verse from "Still Tippin," a song he shares with Mike Jones and Paul Wall. (Wall also performed the song on Megan's tour the previous night at Austin's Moody Center.)

On night two, Megan brought out another Houston great, Z-Ro to rap a classic, "Mo City Don." Though a Hot Girl at heart, Megan couldn't help but celebrate the legendary men who paved the way and left a historic mark in Houston's dynamic hip-hop scene. 

She Showed — And Received — Hometown Love

As Megan arrived at the Toyota Center on June 14, she received a surprise welcome by students from her alma mater, the Pearland High School Band and Prancers — a heartwarming kickoff to a night of mutual love between Megan and Houston that put her in high-spirits before the show. 

Both nights were filled with an immense amount of energy and support, from Megan signing autographs throughout the show to making sure she got the perfect selfie with her beloved supporters. Even during more tender moments — like “Cobra," a song about suicide and her depression — felt particularly moving because of the interaction between Megan and her hometown fans.

She Put The "Hot" In Hottie

Taking notes from another H-Town hero and fellow Houstonian, Megan put on an impressive show reminiscent of Beyoncé, from jaw-dropping choreography to stunning wind-blown poses. Megan also tapped into her past life as a Prairie View A&M Panther Doll with majorette-inspired dancing during her song "Cognac Queen." 

Of course, she wouldn't be Thee Stallion if she didn't show off her twerking skills and famously powerful knees during her two-hour show run. Fans even got to participate in the twerk-fest during intermission, as a "Hottie Cam" panned through the audience, showing love to the girls and boys.

If her hometown shows were any indication, Megan Thee Stallion's future is not just bright — it's smoking hot as well. 

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