Afropunk Brooklyn 2019, coming to Commodore Barry Park on August 24–25, announced its lineup on March 27, including GRAMMY-winning headliners Jill Scott, Leon Bridges, and Gary Clark Jr.

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GRAMMY nominees on the lineup this summer include Lianne La Havas and two 61st GRAMMY Awards nominees, Goldlink and Tierra Whack.

Other artists on the bill who we've covered include Toro y Moi and Kamasi Washington. We've written about Afropunk 2017 and 2018, and the festival's theme this year in Brooklyn will be "We See You."

Tickets are on sale now at the festival's website.

Beyond Wu-Tang Clan: Who Has Hip-Hop's Richest Vocabulary?

Anyone who’s been to the Bonnaroo Music and Arts Festival, which returns June 13-16 for its 21st edition, will know that the Manchester, Tennessee festival can be a marathon.  

High summer temperatures and humidity, often some rain and mud, and more than 100 artists to navigate over four full days — three of which extend with late-night sets that run until nearly 4 a.m. But, veteran Roo attendees also know that it’s well worth enduring. 

Of the myriad fests held each year, few have the sense of community felt at Bonnaroo. Perhaps it’s due to the fact that the majority of the roughly 90,000 attendees are camping, meaning that no matter what happens, they’re all in it together. Or maybe it has to do with the fest’s self-generated “Bonnaroovian code,” which implores festgoers to “radiate positivity” throughout.

During the early aughts, a huge part of the bonding experience arrived during cross-generational legacy artist sets — often classic rock legends or big time jam bands closing out the fest’s final day — including Elton John, Paul McCartney, Tom Petty, Billy Joel, Phish, Widespread Panic and the String Cheese Incident. As primary ticket buyer age demographics shifted, so did the lineups, particularly with regard to headliners, who began leaning more prominently toward pop, hip-hop and EDM. This year’s finale sets feature Pretty Lights (playing two full back-to-back sets on June 13 plus a sunrise set two nights later), Post Malone, Fred again.. and Red Hot Chili Peppers (the one top-line exception as they’re arguably a legacy act at this point). 

Of course, there are plenty of performers amongst the lineup’s incredibly diverse undercard that still embody the classic jam band spirit, and even more newcomers or rising stars that encompass a mind boggling range of musical styles. Read on to get the inside line on 10 must-see artists who fall into the latter category. 

If you’re angling to find a dance party to get your blood pumping on the first day of the fest, look no further than Brooklyn-based Say She She. Fronted by three women — Piya Malik (formerly of Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown — Say She She produce flawless harmonies over what they describe as “discodelic soul.”

At their core, they sound like Nile Rogers and Chic, who they’ve candidly owned as chief influences (to the point where Rogers reached out to personally give them a nod). There’s sometimes bits of ABBA vibes sprinkled in, but all that said, their sound is hardly a rip-off. The music certainly pays tribute to classic disco, but with elements of 90s R&B and neo-soul, it comes across as fresh, unfiltered and — on the strength of three voices harnessing incredible range — capable of moving in countless other sonic directions. They’re two albums in (sophomore full-length Silver was released last year) and already garnering shining reviews; now’s the time to catch an act in a small tent before they assuredly graduate to bigger stages.

Read more: Say She She's Big Year: How The NYC Disco Funk Group Made Sure The World Wouldn't Forget Them 

Indie rock is a fine general description for the music of singer/songwriter Abby Holliday, but it’s difficult to put her style in one box. Sure, a lot of the music on her 2023 sophomore album I’M OK NO I’M NOT sounds quite a bit like boygenius, but it dares to go further. Holliday incorporates unexpected elements like autotune vocals, which often resonate like Bon Iver and at other times more closely resemble the hooks from popular hip-hop songs.

Amid the gentle melodies and distinctly emotional lyrics are bursts of heaviness and exuberant energy, which in all likelihood will translate to a magnetic set to help kick off the Roo roster on June 14. One can only imagine how triumphant it might feel to play an essentially hometown fest of this magnitude (Holliday is based in Nashville, about an hour’s drive west). It’s almost a sure bet it will be a milestone moment worth witnessing.  

The first Bonnaroo in 2002 was headlined by Trey Anastasio, moe. and Widespread Panic (among others), and slowly but surely, Bonnaroo has veered away from those jam band-heavy roots. But there’s always something in the mix harkening back to those origins, and this year it’s unmistakably Joe Russo’s Almost Dead.

The five-piece group was conceived in 2013 by its namesake drummer / singer along with another jam rock veteran, Ween bassist Dave Dreiwitz, and has since established itself as one of the foremost Grateful Dead tribute bands (they play other tunes, but the Dead are the main focus). The last Grateful Dead-oriented performance at Roo was Dead and Company’s back-to-back double sets in 2016, so if you’re looking to experience some long-awaited old school Roo vibes among the fest’s veteran fans, make sure to pop by JRAD’s show on June 14. 

With the March release of latest album JPEG raw, Austin, Texas-bred guitar hero and four-time GRAMMY winner Gary Clark Jr. seems intent on breaking out of the blues mold — a common blanket description for his catalog spanning nearly two decades. On his fourth full-length, he delves deep into hip-hop, classic R&B (notably with a feature from living legend Stevie Wonder on “What About the Children”) and even traditional African music. If you’ve listened closely to Clark’s music all along, you’d know that he’s always incorporated a slew of styles, but his recent recordings represent the most overt effort to exude his sonic diversity.

One thing that hasn’t changed over the years — which will doubtless be on full display during his Bonnaroo appearance — is Clark’s penchant for superb shredding. You already know this if you’ve seen him live, and for all the newcomers, get ready for your jaw to drop for the duration of his hour-long set on June 14.

Read more: Gary Clark, Jr. On 'JPEG RAW': How A Lockdown Jam Session, Bagpipes & Musical Manipulation Led To His Most Eclectic Album Yet

Kentucky-bred outfit Cage the Elephant delivers one of the most riveting rock shows around. With his Iggy Pop-esque antics — never not running and writhing from end to end and often standing atop the audience — frontman Matt Shultz’s stage presence alone is enough to rile up thousands of fest fans at any time of day.

That’s been the standard since they put out their 2008 self-titled debut, and based on the decidedly anthemic indie-rock sonics of just-released sixth full-length Neon Pill (plus the fact that they’ll be only a little more than a month into touring and imbued with a fresh burst of boisterousness), there’s every chance the band’s June 15 main stage set will manifest as an explosive Roo moment not-to-be-missed. 

Hailing from the small, unsuspecting East Texas city of Beaumont, rapper, singer/songwriter and producer Teezo Touchdown (born Aaron Lashane Thomas) only launched his professional career eight years ago. But within the past four years, he’s become a household name among contemporary rappers. His 2023 debut album How Do You Sleep at Night? notably featured 10-time GRAMMY nominee Janelle Monáe; in the years preceding, he’d already collaborated with Travis Scott, Tyler, the Creator, and Lil Yachty. He performed to his largest audience as a guest at this year’s Coachella during Doja Cat’s headlining sets to perform their single “MASC.”

Yet, his impressive set of credentials isn’t the main reason you should include him on your Bonnaroo schedule. He’s an enigmatic performer: sporting his signature wig of nails and flower bouquet-enshrouded microphone, he switches seamlessly from sharp raps to ear worm singing. There’s never a lapse in his on-stage energy, assurance that his early evening set on June 15 will provide a surefire pick-me-up to help push through the remainder of the marathon fest.

Read more: Teezo Touchdown, Tiana Major9 & More Were In Bloom At The 2024 GRAMMYs Emerging Artist Showcase 

Jake Wesley Rogers has come a tremendously long way from his first spotlight at age 15 on "America’s Got Talent" in 2012 (where he was eliminated). He supported Kesha on her Only Love Tour in 2023, and now he’s opening the main stage on the final day of Bonnaroo. 

The Missouri native’s rise to budding star, built upon four EPs and a handful of standalone singles, is well deserved. On stage, Rogers absolutely belts a soulful, goosebumps-inducing tenor, and he performs with all the glamorous energy of a young Elton John (even sporting similarly flamboyant sunglasses and climbing atop his piano while banging on the keys). Muster the energy to get on the field early after three days, or you might regret missing a pivotal moment for an artist who’s likely on his way to fest headliner status.

Read more: Tour Diary: See Jake Wesley Rogers' Favorite Photos & Memories From Touring With Panic! At The Disco 

For the past decade or so, post-punk has seen a significant resurgence, and on the surface it may appear that England’s Idles are one of the bands leading the charge, but they’ve staunchly rejected the descriptor. Vocalist Joe Talbot said it directly in a recent interview with British daily newspaper the Times: “We’re not a punk band.”

There’s ample evidence of that on their fifth album, 2023’s Tangk, which delves into new sonic territory with songs like “Dancer,” where the band mixed in elements of art-pop via collaboration with LCD Soundsystem's James Murphy and Nancy Whang. Backtrack to third album Ultra Mono (released in 2020 at the height of the pandemic) and you’ll hear that they were already veering away from the punk rock mold with distinct elements of hip-hop and other styles on songs like “Grounds.”

All that said, their shows resonate with the in-your-face energy of punk rock, yet they stand out significantly among other bands of the genre by exuding an overwhelmingly positive, unifying spirit. Many fans have described their show as something akin to church, and with the group at the top of their game and at a festival that already historically proliferates such a mindset, their Bonnaroo appearance on June 15 is certain to be one for the books. 

Read more: IDLES Chatter With Joe Talbot: How The British Rockers Get Personal, Political & Festival Filthy 

Chappell Roan is having a major moment. The 26-year-old electro-pop singer/songwriter (real name: Kayleigh Rose Amstutz) immediately became a viral sensation when she dropped her song “Die Young” on YouTube at age 17. Now — after releasing debut album The Rise and Fall of a Midwest Princess (a nod to her Missouri origins) in 2023 and opening for Olivia Rodrigo on her Guts World Tour earlier this year — she’s become one of the most anticipated artists at 2024 festivals nationwide.

Roan, which Amstutz equates to a sex-positive drag persona, performs with supreme professionalism, and her ability to deliver pristine vocals while exhibiting unerring athleticism (high kicks aplenty) proliferates non-stop audience engagement. Her fans are diehards who belt out every word, and with a relatively small platform at Bonnaroo in a tent on June 16, she’s sure to draw one of the most overflowing audiences of the weekend. If you wanna get anywhere close to the stage (and you should), make sure to arrive early.

Read more: Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon" 

It’s almost a disservice that electronic musician/producer Four Tet is slated for a late afternoon/early evening set at Bonnaroo, a couple of hours before sunset. His hypnotic and experimental yet highly danceable compositions lend themselves to a late-night performance packed with spellbinding lights cutting through the darkness to illuminate the pulsating crowd. 

On the other hand, he boasts a legendary reputation for live sets, plus a prolific catalog that spans more than 20 years and 12 studio albums, including this year’s Three. As a whole, it's a discography that can cater to not only electronica fanatics, hip-hop heads (note his many collaborations with Madlib) and experimental enthusiasts. To boot, there’s potential for some special moments during his appearance on June 16. Four Tet has previously played alongside the final night’s headliner Fred again.., so the potential for that guest spot alone might make it even more worth it to prioritize his performance. 

Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More 

Chief Keef fans have been awaiting a sequel to his influential mixtape Almighty So since he released it in 2013. The project came out in the midst of a magnificent and experimental run for Keef, when he was changing his style seemingly at will from Almighty's almost avant-garde soundscapes to woozy, autotuned melodies (Bang Pt. 2) to stoic street tales (Back From the Dead).

Keef, now 28, has been well aware of the anticipation for a follow-up to Almighty So, teasing the project since 2019. Five years later, it's finally here — but it might not quite be what fans were expecting.

In keeping with Keef's mercurial and exploratory artistic nature, Almighty So 2 has very little to do with its predecessor, save that comedian Michael Blackson does skits on both. In fact, Keef tells GRAMMY.com that the title of the project does not mean that he views it as a sequel to Almighty So.

"There's no connection at all," he asserts. Almighty So is his nickname, and one of his many alter egos; it stems from "Sosa," the Scarface-inspired nickname he's been using since the beginning of his career. The title, he says, "is not just a project that I dropped years ago. It's me. I'm still almighty."

Almighty So 2, released May 10, is indeed very different. It boasts a Keef who is nearly free of vocal doublings and ad libs, ready to let his voice clearly be heard on a wide range of subjects, including some introspective and emotional looks at himself, going all the way back to his childhood.

Several days before the project's release, GRAMMY.com caught up with Keef while he was at home in Los Angeles. Below, the Chicago-born rapper breaks down the album's lyrics and music, its most surprising guest appearance, how he views his own legacy, and his return to his hometown for the first time in over a decade.

This conversation has been lightly edited for length and clarity.

You've been talking about this record since 2019, and originally you were saying it's going to have a lot of melody. The album I heard is very different from that. Can you tell me how and why the vision changed?

I just wanted to do something I never did. A couple of songs is stuff that you probably would never hear me do.

What's different about those songs?

Just more rapping about real things instead of flexing or talking about cars and weed. I'm rapping about real stuff in my life — in life, period.

"Believe" is like that. 

Oh yeah, "Believe," I forgot about that. You really know these songs. Okay, that's dope.

I heard that song as being about wanting and trying to change. Can you tell me about writing that and deciding to open up a little bit?

When I was making that beat, it gave me that feeling of, let some stuff out. That's all.

There's a line on there that really grabbed me. You're talking about growing up and you say you had to be an "evil kid." The word "evil" really struck me. What do you mean by
"evil"?

Because I was always smart — brilliant, intelligent. My circumstances had to be different, though. There wasn't a way for me to really show…I had to do the streets thing. I had to be a gangbanger. I had to grow up doing all that stuff instead of my potential that I know that I have, that I'm using doing all this stuff like designing. I can do everything. Really, literally. I probably could fly a plane, too.

Before I get into my ideas about it, what's different about your rapping on this album?

I feel like I'm just old. I'm 28, I'm finna be 29 now, man. I'm not the same young boy that grew up in Chicago on 54th and 61st. I guess you can call it growth.

I still got some stuff on there like the regular Sosa — the turn up, the fight-in-the-club or whatever you want to call it. Jump around, mosh pit music. I still got that. 

I was thinking more about just the sound of your rapping. There was almost no doubling, almost no ad libs. Your voice is very clear. Can you tell me about that creative decision?

I haven't been doubling like that. I don't know why I stopped it. You're right, I wanted to be more clear. 

Once I do a song, if I didn't do the ad libs, it must have not needed ad libs. When I do ad libs, it's like, I gotta do these ad libs. And if a song doesn't have ad libs on it, probably I can't really say the stuff that I want to say on the ad libs, or I didn't know how to put it. So I just said, scratch the ad libs and it's good like that. It's perfect. You don't need it, or the doubles. 

You have two songs on this record, "Runner" and "1,2,3," where you do that Dipset thing of talking back to the vocal sample. Why'd you do that?

I grew up on Juelz [Santana] and Cam'ron and Jim Jones. On 61st, we was a clique called Dipset, which comes from them. That's where I come from, so that's what I know. I guess I'm still living that right there.

Tell me about making beats for this album. There was some sampling in there, which is something you haven't done too much of.

I started sampling in probably 2019, 2020, or something like that. A lot of my producer friends, even my rapper friends, be like, "I love the way you sample. Damn, how do you sample like that?" Even though sometimes, I'll just let a sample play — it won't even be a chopped-up sample. 

If you get a beat from someone else, do you go in and add stuff to it?

Yeah. I can't take a beat and not put my stuff on it. Because it might be a dope beat, but if I feel like it need a couple more snares or a snare roll or some extra high hats or a bridge, I'll add my stuff in.

The album has some introspective lyrics, but it's also very funny.

I want to have some fun with it. A lot of people just drop projects and be regular degular. I wanted to do different. 

Like one song on the album, it takes four minutes to come on. It's just a beat and there's a skit playing of a dude in heaven talking. It's for car rides or trips. I don't know, I just wanted to do something different than what's regularly done all the time.

What's the connection between this album and the first Almighty So? Why call it Almighty So 2?

There's no connection at all. It's just, Almighty So, that's me. It's not just a project that I dropped years ago — it's me. I'm still Almighty So. I might not call myself that all the time, but it's forever me because when I did come out, it's something that I made and I stuck with it. 

It's just a name that everybody know. It's going to go down in the books. Forever, I'm Almighty So. I just had to do a number two, as in growth. It's the growth version of me.

I'm trying to display that I'm not the same 16, 17, 18-year-old that was running around Chicago with a gun on his hip. I'm far away in Los Angeles, California in a big, stupid-ass house with nine bathrooms and eight bedrooms. I got 12 cars outside my house, and they all mine. I don't have to have that gun on my hip. I ain't gotta watch my back all the time. 

I'm not the same. I'm a different guy. I feel like I'm better now than I ever was. I'm a better individual: the way I think, the way I talk. I'm more talkative now. At first, I wasn't even f—ing talking, bro. At first, you couldn't get me to say s— but a couple words.

When was the last time you listened to the first Almighty So?

I don't listen to that thing. Everybody else around me do. From friends to fans, everybody still listen to it, but I don't listen to it, barely ever. Every blue moon, I might end up playing it somehow. Because don't forget, I was listening to that s— nonstop when I made it. And I had to perform a lot of it too. So I know it by heart. I don't need to listen to it.

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You have your first performance in Chicago in many years coming up at the Lyrical Lemonade Summer Smash in June. How are you feeling about it?

It's been a while, man. I ain't gonna lie, it's gonna be like I'm a tourist when I go there. 

It's been a long, long time. It's been like 11, 12 years since I touched the pavement in Chicago, or Illinois, period. I'm ready. I know it's going to be a big thing. A lot of new people probably think I'm a ghost. There probably be teachers like, "Yeah, he went to this school," [and the students will be like,] "No, no, he ain't real." 

So a lot of people are going to be excited, just knowing I'm from there and I ain't been there in so long. People that's not in even Chicago — all them surrounding cities gonna show up [too], because Sosa has not been home. And they know it's gonna be big.

Given what happened back in 2015, when the cops shut down your hologram's concert, are you worried that the authorities will be looking for an excuse to shut it down?

Hopefully they won't shut it down. I ain't been there in 11 years. I ain't done nothing to no-motherf—ing-body, man. I ain't in no cases, no RICOs, no murders, none of that s—. Leave me the f— alone, man. 

I've been chilling, making clothes and making music. Don't shut me down. And even if they did, I don't care. I'm going home. Back to L.A. I go. At least y'all know that I tried.

From the beginning of your career, you've had this association with the word "turbulence." You use Turbo as an alter ego.

[Laughs] How do you know all this? This is some Nardwuar s— right now, man.

When did that start? Do you remember the first time you were like, "Oh, that word, that's me?"

You said, when did it start? It's my alter egos I just make in my damn head. That's all. I'm versatile, so I never make the same sounding s—. Every song you listen to of mine, it's not going to be like, "That sounds like the last one I just played."  

I just got my alter egos, and I just make names. And then Turbulence, Turbo, that just came with one of my alter egos from 2017. Every other year I got a new name and a new ego.

Lately I haven't done it, though. I've been chilling, on some grown man ish. I feel like [making alter egos is] more the young Sosa. Like I said, this was in 2017 when I made that name. I haven't really been doing it lately. No new aliases.

You talked earlier about designing clothes and doing other creative stuff. When you're making art or graphics, or designing clothes, what feels the same as making music to you, and what feels different?

It's the exact same thing. S—, just like I make a beat, making a shirt takes the same creativity. It's just in a different form. Instead of melodies, you're using pictures and s—. You're drawing stuff. Instead of drawing that melody in FL Studio, you're drawing an angel for a shirt.

It's the exact same thing. Even the colors. The colors are like the EQ on the beat or on the song — it brings out the light in the stuff. 

So yeah, it's actually the same thing to me. And I've been doing this same s—. All the clothing, the beats, I've been doing the exact same thing that I'm doing now since 2008. How many years is that? That's a long time.

Like the Glory Boys logo: I made that logo in late 2009. I was what, 13, 14? I was doing this s— since I was 10, 11. It started when my momma bought me a computer. She bought me a computer when I was like 6. And then I was doing unbelievable things, unimaginable things. 

When I was doing that, I knew that this is my calling. Like, you real good with computers, if you're not good with nothing else. Anything with a screen, I could do it my sleep. If I show you the s— I can do, you'd be like, what in the f—? I'm talking coding — I can code some s— up. Your mind would be blown.

One of the things that does connect this album to the first Almighty So is you have Michael Blackson come back. Why?

Because he was on the first one. I'm just like, I got a skit or two for him. I got a couple of different skits from a couple different people. I got Fabo from D4L on there. He's on "Almighty" the song, talking. I got Donterio from my city, a funny dude I mess with. He be like, "On baby, on baby" — he famous for saying that. 

I got Michael Blackson. I wanted to make it fun and funny, so it ain't just like you're riding around listening to regular music. I wanted to make it a type of movie, but just in the music form. 

One of the guest appearances that really got my attention was Tierra Whack. I thought she was great.

Yeah, me and Tierra, we're real friends and we talk. And I love the way she do everything, so I had to put her on my s—, man. Just on some random s— — like, they won't expect no damn Tierra Whack, you know? So I had to do that. And I got my little weird ways, I'll tell you that.

I wouldn't have guessed she would be on this album.

Yeah, I know you wouldn't. Nobody would. Chief Keef and Tierra Whack? How and where and when? I wanted her to do something different than what she do. I was like, "I got this song I want you to do, but it ain't nothing like you always do. It's different." And she's like, "Hell yeah, come on, let's do it." That's my dog, for real for real.

A lot of critics talk about how influential you are. Are you aware of people saying that stuff about you?

Everywhere! If I had 500 M's every time [I heard that], I'd be Jeff Bezos. The f—? I think I'd probably be bigger. I would be more rich!

I be hearing that a lot, though, man. I be tired of hearing that s—. I be like, we know. Me, you, and God know that. It's okay. Let people do what they do, man. I was a big fan of Gucci [Mane] and Lil Wayne. Still am. So if I got people who love me like that, s—, man. 

I used to get mad about it, but I don't give a f—. I'm a big fan of those two boys I just said. Even to this day, we still ride around listening to the old Gucci. If you get in our car and we on tour, all you going to hear is Gucci Mane from 2006, 7, 8, and 9, 2010, 2011. And we still even sometimes take our raps [from that]. The old Lil Wayne, I still even rap like that. If you listen to "Jesus," I got his flow — some Lil Wayne, the old Wayne, inspiration. So I guess I inspire, the way they inspire me.

Are you still determined to change your style frequently? That used to be a thing about you: every year you'd have a whole new approach to music.

You hip, bro. You smart as hell, I ain't gonna lie. That's why I'm talking to you like I am. But anyway, you're right, I don't necessarily. 

How I am, though, I never do the same s—, like I told you. You'll never say, "This sounds exactly the same as the other one." I probably got, like, two songs [that sound alike], and that's just if I'm messing with the same producer. 

So I can't say that every year I take that approach. But I guess every day I take that approach, or any time I pick up the damn microphone. I'm just trying to think, I want to do something different, or at least try.

Do you think of yourself primarily as a rapper? A producer? A person who's good with computers?

What I say is I got angles like Kurt. You know Kurt Angle? Jack of all trades. 

Call me Jack, don't call me Sosa. I guess I got a new alias today — we made one.

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As a month that welcomes rising temperatures and blooming flowers, May will also bring a flurry of new albums. In its first week, Dua Lipa will put forth her third LP and inject the world with a good dose of Radical Optimism. She will be joined by Sia and her tenth album, Reasonable Woman, and by R&B newcomer 4Batz, who will debut with the mixtape U Made Me St4r.

On May 17, it's Billie Eilish's turn to drop the much-awaited Hit Me Hard and Soft, as well as the return of Cage the Elephant with Neon Pill, and former One Direction member Zayn experimenting with new sounds on Room Under the Stairs.

Later on, Twenty One Pilots drop their final concept album, Clancy, and Sam Tompkins and Tems will both make their studio album debuts with hi my name is insecure and Born in the Wild, respectively. The month will close off with Pakistani singer Arooj Aftab's Night Reign, but before that, there's plenty of other releases to explore.

GRAMMY.com compiled a list with 15 must-listen albums dropping in May 2024 so that you can take a stroll at this month's burgeoning, diverse garden.

Dua Lipa - Radical Optimism

Release date: May 3

"A couple years ago, a friend introduced me to the term 'radical optimism'," said Dua Lipa in a press statement about her upcoming third album, out May 3. "It struck me — the idea of going through chaos gracefully and feeling like you can weather any storm."

This perspective on life inspired the British-Albanian singer both personally and musically. Radical Optimism comes brimming with the "pure joy and happiness of having clarity in situations that once seemed impossible to face." With 11 tracks and production by Danny L Harle and Kevin Parker, the record spins psychedelia and Britpop into a "tribute to UK rave culture," as Lipa described it in an interview for Rolling Stone.

Read more: Dua Lipa Danced The Night Away with "Training Season" & "Houdini" | 2024 GRAMMYs Performance

A preview of the sounds she will approach in the successor of 2020's Future Nostalgia can be seen through singles "Houdini," "Training Session," and "Illusion." Starting June, Lipa will perform a string of concerts in Europe and headline Glastonbury Festival in the U.K.

Kamasi Washington - Fearless Movement

Release date: May 3

It's been six years since jazz virtuoso Kamasi Washington released his latest album, 2016's Heaven and Earth. Hence, his return is highly anticipated: Fearless Movement will come out on May 3, and is described in a press release as Washington's first "dance album." 

"It's not literal," he explained. "Dance is movement and expression, and in a way it's the same thing as music — expressing your spirit through your body. That's what this album is pushing."

Fearless Movement was also inspired by the here-and-now, and the changes that Washington went through since the birth of his first child. "Being a father means the horizon of your life all of a sudden shows up," he shared. "My mortality became more apparent to me, but also my immortality — realizing that my daughter is going to live on and see things that I'm never going to see. I had to become comfortable with this, and that affected the music that I was making."

Washington's daughter also earned songwriting credits in "Asha The First," after coming up with a melody while playing on the piano. In addition to her, the LP also features appearances from André 3000 on the flute, Terrace Martin, Thundercat, Patrice Quinn, George Clinton, BJ The Chicago Kid, and more.

Soon after the release, Washington will kick off a North American tour throughout June, and then head over to Europe and the U.K. in October and November.

Charlotte Day Wilson - Cyan Blue

Release date: May 3

Following her acclaimed 2021 debut LP, Alpha, Canadian multihyphenate Charlotte Day Wilson dives into Cyan Blue for her sophomore release. "You passed through me like a light, but part of you would always remain," she shared about the record on Instagram. "Imprinted, stacked, a palimpsest of love and pain that left me with a world of blue. These are the stories and the palette I was given to paint them with."

Read more: Press Play At Home: Watch Charlotte Day Wilson Perform A Lithe Version Of "I Can Only Whisper"

Day Wilson has a gift for turning intimate reflections into timeless artwork, and this album sees her experimenting with a more carefree approach. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity…" she shared in a press release. "But that was a bit stifling, like, ‘Let me just make a great piece of art that will stand the test of time, no pressure.' Now, I think I'm getting out of this frozen state of needing everything to be perfect. I'm more interested in capturing feelings in the moment as they happen and leaving them in that moment."

Cyan Blue will feature 13 tracks, including singles "I Don't Love You" and "Canopy." For those lucky to experience Day Wilson's inimitable voice live, she will be touring North America from May through July.

Mdou Moctar - Funeral for Justice

Release date: May 3

"This album is really different for me," shares Mdou Moctar, the band's namesake, singer, and guitarist, in a press release about their upcoming release, Funeral for Justice. "Now the problems of terrorist violence are more serious in Africa. When the U.S. and Europe came here, they said they're going to help us, but what we see is really different. They never help us to find a solution."

Funeral For Justice doesn't hold back on examining the struggles of Niger and of the Tuareg people (of which Moctar, guitarist Ahmoudou Madassane and drummer Souleymane Ibrahim belong.) Recorded during the two years that the band spent touring after the release of 2021's acclaimed Afrique Victime, it is described as "louder, faster, and more wild," with fiery guitar solos and "passionately political" lyrics that permeate nine meteoric tracks.

"Mdou Moctar has been a strong anti-colonial band ever since I've been a part of it," adds bassist and producer Mikey Coltun. "France came in, f****d up the country, then said ‘you're free.' And they're not." So far, the band shared lead single "Funeral for Justice" and the mesmerizing "Imouhar" — an elegy to their Tamasheq language, which is at risk of dying out. "People here are just using French," said Moctar. "They're starting to forget their own language. We feel like in a hundred years no one will speak good Tamasheq, and that's so scary for us." 

After performing at Coachella in April, the band is set to tour the U.S. in June and Europe and the U.K. in August. The run includes several festival appearances, like Bonnaroo, Green River, and Glastonbury.

4Batz - U Made Me A St4r 

Release date: May 3

Viral R&B and hip hop singer 4Batz initially announced his debut mixtape, U Made Me A St4r, for April, but the release was postponed for a month. "Been making some of the best s**t of my life the last couple weeks," he shared on Instagram. "So ima push the mixtape to 5.3.24 so it can be perfect for yall." 

The contrast between 4Batz's tough appearance and high-pitched love songs propelled him to the stars. He garnered the attention of artists like Kanye West, Robin Thicke, and Drake — who ultimately signed him to his record label OVO in order to release this mixtape. Drake also featured on a remix of 4Batz's 2023 hit, "act ii: date @ 8."

Although there's not much info on the tracklist or any upcoming activities, the Dallas-born singer is excited by the mystery: "I'm really in love with this EP," he told Billboard in a recent interview. This EP's gon' break the f**kin' internet, world, all this s**t."

Sia - Reasonable Woman

Release date: May 3

Since the release of lead single "Gimme Love" in September 2023, fans have been eagerly awaiting for Australian superstar Sia's new album. Titled Reasonable Woman and set to drop on May 3, this is her 10th studio release overall, and her first proper pop solo LP since 2016's This Is Acting.

Anticipation only grew as Sia shared a number of lofty singles in past months, including the Kylie Minogue collaboration "Dance Alone," "Incredible" featuring Labrinth, and the recent "Fame Won't Love You," with Paris Hilton. Through the LP's 15 tracks, the singer collaborated further with Chaka Khan, Tierra Whack, Missy Elliott, Kaliii and Jimmy Jolliff.

Behind the scenes, Reasonable Woman also held a star-studded list of producers, engineers, and writers, such as Greg Kurstin, Jesse Shatkin, Benny Blanco, Bülow, Cashmere Cat, Mark "Spike" Stent, Rosalía and more.

Billie Eilish - Hit Me Hard and Soft

Release date: May 17

In April, when a series of billboards and posters with lyric snippets and Billie Eilish's signature "blosh" logo appeared in major global cities, fans knew that her anticipated third LP would be announced soon. A few days later, the GRAMMY and Oscar-winning artist shared a video teaser for Hit Me Hard and Soft, set to release on May 17.

Eilish took it to Instagram to disclose her excitement, and that she is "not doing singles i wanna give it to you all at once." As usual, the record was written by herself and brother, producer, and musical collaborator Finneas O'Connell. According to a press release, Hit Me Hard and Soft includes ten tracks, and "does exactly as the title suggests; hits you hard and soft both lyrically and sonically, while bending genres and defying trends along the way." The album launch also focuses on sustainability by using "the most sustainable practices available" with a page on her website dedicated to ecological production details. 

In an interview with Apple Music's Zane Lowe, the musician teased title track "Hit Me Hard and Soft" and b-side "Chihiro," which references the main character in Studio Ghibli's 2001 animation, Spirited Away. "I feel like every time you put anything out, it feels like your nudes leaked a little bit, and I think this [album], specifically, is like that," Eilish added. "Something that Finneas and I said to a couple of people when we were starting to play it for people was that we kind of made the album that if somebody had said, you know, ‘I want you to make an album, and no one is gonna hear it'... We pretty much, with exceptions, made that album. We made an album without really any — or much — thought of other people."

Of Montreal - Lady on the Cusp

Release date: May 17

Lady on the Cusp is the 19th album from of Montreal, the band project of multi-instrumentalist and singer Kevin Barnes. Inspired by a relocation from Athens, GA — where Barnes lived for nearly three decades — to Vermont together with his partner, songwriter Christina Schneider (aka Locate S,1), Lady is shaped by his reflections on that experience.

According to a press statement, the album is a "reintroduction" to of Montreal, comprising 10 "funny and sad, sexy and brooding, playful and serious" tracks. This carefree approach can be seen on lead single "Yung Hearts Bleed Free," which was influenced by Leos Carax's 1984 film Boy Meets Girl and by Bootsy's Rubber Band, as well as on the laid back "Rude Girl on Rotation."

Two weeks after dropping the album, of Montreal will embark on a major tour across the U.S., starting in Athens, GA, and wrapping it up on July 2 in Asheville, NC.

Cage the Elephant - Neon Pill

Release date: May 17

After winning Best Rock Album at the 2020 GRAMMYs for Social Cues, Cage the Elephant went through a rough patch. In addition to the COVID-19 pandemic, lead vocalist Matt Shultz weathered a mental health crisis, and the band lost several close family members and friends, including Matt and Brad Shultz's father.

Five years later, the alt-rock sextet is ready to reemerge with their sixth studio album, Neon Pill, out May 17. "To me, Neon Pill is the first record where we were consistently uninfluenced, and I mean that in a positive way," said Matt in a statement. "Everything is undoubtedly expressed through having settled into finding our own voice. We've always drawn inspiration from artists we love, and at times we've even emulated some of them to a certain degree. With this album, having gone through so much, life had almost forced us into becoming more and more comfortable with ourselves… We just found a uniqueness in simply existing."

Produced by John Hill, the record spans 12 tracks that "alchemized a season of tragedy and turbulence" into a whirlwind of riffs and emotions. A preview of Neon Pill can be seen through the title track and singles "Out Loud" and "Good Time." To celebrate their return, the band will tour North America throughout the summer, including performances at Bonnaroo, Hangout Music Festival, and Oceans Calling.

Zayn - Room Under the Stairs

Release date: May 17

For his fourth full-length album, Room Under the Stairs, British singer and One Direction alum Zayn enlisted an unforeseen co-producer: Dave Cobb. Known for his work with Chris Stapleton, Brandi Carlile, Bruce Springsteen, and Lady Gaga, Cobb is responsible for aiding Zayn to step into a new musical direction.

Swiping his signature moody R&B, Zayn dives into country and adult contemporary for the upcoming release, as can be seen in debuted singles "What I Am" and "Alienated." In an interview for the Call Her Daddy podcast last year, the singer shared, "I'm doing a record I don't think people are really gonna expect. It's a different sound for me. And it's got some more narrative going on, like real-life experiences and stuff. My daughter's mentioned in there a couple of times".

"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 a teaser video. The 15-track collection follows up 2021's Nobody Is Listening, and was written over the course of several years at Zayn's home in rural Pennsylvania. "That's why it's raw," he added. "It's just me writing this. I didn't want anybody else to be in between me and the music and the music and the people listening to it."

Twenty One Pilots - Clancy

Release date: May 17

On May 17, 2015, Twenty One Pilots released their breakthrough LP, Blurryface. The record also marked the beginning of an intricate concept album series — which is due to come to a conclusion almost a decade later, on May 17 of this year.

Titled Clancy, the final piece of the puzzle states that "a new chapter begins," while making several references to the GRAMMY-winning duo's past works. On lead single "Overcompensate," for example, they mirror the outro of "Levitate" and rehash lyrics from "Bandito," both tracks off their 2018 LP, Trench. Clancy was produced by frontman Tyler Joseph and Paul Meany, and contains 13 tracks.

Most recently, TOP shared the single "Next Semester," alongside dates for an extensive world tour that will cross North America, Australia, New Zealand, The U.K., and Europe.

Sam Tompkins - hi, my name is insecure

Release date: May 24

"I really like being in the company of my friends," shared rising British singer Sam Tompkins in a press statement. "But if you take me out of my comfort zone, and have me hang out at a party or an event or whatever, I just go inside myself and I find any excuse to get out of it."

That statement helps explain why Tompkins titled his anticipated debut album hi, my name is insecure, set to drop on May 24. Despite a genuine talent to produce stirring songs, the Brighton native still struggles with social anxiety and depression — themes that appear often in his lyrics, and contribute to his global resonance.

Tompkins is "championing authenticity without taking himself too seriously," and that might be why his work is so relevant. A tracklist for the LP has yet to be revealed, but Tompkins's sensitive writing can be seen in a slew of singles, including "phones in heaven," "someone else," and "see me."

Tems - Born in the Wild

Release date: TBA 

Nigerian singer Tems earned the eyes and the ears of international media with her Afrobeats-infused R&B. First raising attention with her feature in Wizkid's 2020 single "Essence," she later built up a devoted fandom through two EPs: 2020's For Broken Ears and 2021's If Orange Was a Place. In 2022, she was credited as a featured artist in Future's "Wait For U," which led her to win a GRAMMY for Best Melodic Rap Performance.

This month, Tems will finally release her long-awaited debut album, Born in the Wild. The official announcement came with a teaser video for the title track, disclosed one day after her Coachella set in April. "It's all over the news, all over the news, I know this/ Under the sun, struggling to find my focus/ When I was young, younger then/ I was always running away," she sings, reflecting on her childhood in Lagos. "I grew up in the wilderness/ Didn't know much about openness." 

Born in the Wild follows Tems' 2023 singles, "Me & U" and "Not an Angel." The singer has yet to reveal further info about the record, as well as a definite release date.

Kameron Marlowe - Keepin' the Lights On

Release date: May 31

Powerhouse country singer Kameron Marlowe is gearing up to release his sophomore effort, Keepin' the Lights On, at the end of May. "The namesake of the album came from a conversation with my dad over the holidays about how he's always thanking the man upstairs for keeping it all together, especially when times get tough," he shared in a statement.

"For me, this record is a reminder of hard work, dedication and keeping the promises that we make," he continued. Featuring 16 tracks, including previously released singles "Quit You," "Strangers" with Ella Langley, and "Tennessee Don't Mind," Marlowe stated that the LP "explores everything from loss to love, depression to joy, and overcoming the voices in your head telling you you're not good enough."

"It's still crazy to me that people are listening to a small town boy from Kannapolis, North Carolina, but here I am releasing my second album. I can't wait for y'all to hear it," he added. Marlowe is currently on his Strangers 2024 North American tour, where he plays some of his new tracks. 

Arooj Aftab - Night Reign

Release date: May 31

Just like the night, Pakistani singer Arooj Aftab's voice is deep and mysterious. Unsurprisingly, the night is also her "biggest source of inspiration," as she shared in a recent press release about her upcoming record, Night Reign, out May 31. 

Following 2021's Vulture Prince (from which single "Mohabbat" won Best Global Music Performance at the 2022 GRAMMYs), the album is a nine-song compilation about how "some nights are for falling in love, some are for solitude and introspection, some are to be annoyed at a forced social gathering — and so go the stories of Night Reign." The list of collaborators include the soulful Cautious Clay, musical ensemble Chocolate Genius, jazz artist James Francies, and more.

Aftab shared the single "Raat Ki Rani" as a preview of the album, and announced a North America, U.K., and Europe tour throughout the rest of the year. She will also support Khruangbin for a run of fall shows in Washington, DC, St. Louis, MO, and New Orleans, LA.

Inside Neil Young & Crazy Horse's 'F##IN' UP': Where All Nine Songs Came From

Houston-based psych rock trio Khruangbin — which means airplane in Thai — are beloved for their globally flavored, luxuriously spacious brand of psych rock. Much of Khruangbin's music is instrumental, laden with funky-yet-chill bass licks, reverb-drenched guitar, calm yet precise drumming and plenty of room to breathe; you could certainly take flight with a spin of any of their four albums.

Guitarist Mark Speer, bassist Laura Lee Ochoa and drummer Donald "DJ" Johnson Jr. found inspiration in cassettes of '60s and '70s era Thai funk bands who fused surf rock with their native folk songs. They'd listen to these tapes while driving out to the countryside barn where they recorded the first album, 2015's The Universe Smiles Upon You. Leisurely unhurriedness, space to roam and underappreciated global sounds with a Texas lilt — this is Khruangbin

As they've grown, Khruangbin has added more global influences to the mix, yet maintained a clearly identifiable sound — one that invites you in and reminds you to breathe deeper. Sophomore release Con Todo El Mundo brought in deeper funk and soul influences from the Mediterranean and Middle East, including the work of Iranian pop superstar Googoosh.

"To [simply] call us Thai funk is a great disservice to the people who made that music in the first place. We’re going to put whatever influence we like into the music. Otherwise, it’s boring," Speer told Bandcamp in 2018. "Funky drums, dub bass, melodic guitar, those are the only rules.”

Songs from Con Todo El Mundo were heard on popular TV shows including "Barry" and "The Blacklist," exposing Khruangbin to a whole new fanbase. Even Jay-Z and Barack Obama joined the fan club. "Texas Sun" with Leon Bridges, their biggest song to date, earned a coveted spot on the former President Barack Obama's 2020 Summer Playlist.

Khruangbin have been touring nearly nonstop since their debut album, and will perform at Coachella on both Sundays. Their live shows are a colorful sonic quilt, and so beloved that the band sold out three nights in a row at the Bowery Ballroom in New York City.

Their upcoming fourth album, A La Sala, due out April 5 on Dead Oceans, is a return to the band's beginnings: spacious, jammy tunes without any outside collaborators. Lead single "Love International" highlights Khruangbin's talent for expertly crafted, soothing instrumentals that invite listeners into a dreamlike space.

Much like the rare global tunes they found inspiration in, Khruangbin is just waiting to be discovered. And once you do, you're hooked and ready to swim in their calming waters. Ahead of A La Sala, take a listen to five essentials from Khruangbin's extensive catalog to get a taste of their unique, inviting sound.

"White Gloves" (2015)

"White Gloves" is one of the trio's first songs with lyrics. The Universe Smiles Upon You track atop which Lee sings of a deceptively simple-yet-sad story of a queen who wore white gloves and died in a fight.

Speer's dreamy, echoing guitar and Johnson's slow-and-steady drumbeat paired with Lee's delicately funky bass, oohs and ethereal vocals make this track feel heavenly and light. Close your eyes and listen to the song's mournful tones, and imagine that perhaps the band is singing in heaven as the queen wanders the clouds with her clean white gloves.

"Maria También" (2017)

The lead single on Con Todo El Mundo, "Maria También" goes full vintage surf rock with a rollicking bassline that vaguely recalls the Surfaris 1963 hit "Wipe Out." They add flourishes of handclaps, bells and sneaky yeahs. It's perhaps one of the band's most driving, urgent tunes — definitely the most so on this album, which was dedicated to Lee's Mexican-American grandfather. 

One of the band's goals on the album was to channel the energy and sound of the outdoor music festivals they'd been playing. "The kick drum is more present in the mix, it drives people to dance,” Johnson told Bandcamp. On "Maria También," the banging kick and jubilant festival energy are fully present.

And in the music video for "Maria También," the trio nods to the Iranian pop influences on the song and album by featuring the many women artists who thrived in Iran prior to the revolution in 1979 but were pushed out by it.

"Time (You and I)" (2020)

This joyful lead single from 2020's Mordechai offers a taste of Khruangbin's more upbeat and vocal side. On it, Lee poetically muses: "That's life / If we had more time / We could live forever," a fitting anthem for the newly locked-down world it came out in. 

Towards the end of the nearly six-minute track, they repeat "That's life" in a variety of languages, a very Khruangbin statement in itself. There's a little bit of jingly cowbell on "Maria También," and here we're gifted with more cowbell flourishes, touches of synth and a healthy dose of funk.

"Doris" with Leon Bridges (2022)

"Doris" is a tender, heartfelt tune dedicated to Leon Bridges' grandmother, from Khruangbin's second collaborative EP, Texas Moon. It's also a great example of the way the band uses space as a powerful tool within their music. 

Here, minimalist instrumentation and a slow, mellow beat allows Bridges' rich voice to shine. In conversation with GRAMMY.com in 2020, Johnson and Bridges compare "Doris" and "Father Father" — another touching and spacious Texas Moon track — to the chopped and screwed sounds of '90s Houston hip-hop.

"It is so slow. And it leaves so much space. The listener is waiting for the next thing to happen within the song," Johnson said of "Doris." "I think that's something that you can really take advantage of, being from Texas and from the South and understanding chopped and screwed culture and that it's okay for things to be slow. It's okay to wait for stuff. I think it goes with the whole Southern way of life, how people slow cook food down here. When my people barbecue, they start the day before. And I take all of that mindset into the music."

"Lobbo" with Vieux Farka Touré (2022)

On 2022 collaborative album Ali, the Texas trio worked with Malian singer, songwriter and guitarist Vieux Farka Touré for a moving tribute to his late father and legendary GRAMMY-winning West African guitarist, Ali Farka Touré, reimagining his music. Khruangbin's playing fits so perfectly with Vieux's haunting voice, languid guitar and the "desert blues" Ali Farka Touré created, it's almost surprising they didn't write these songs together. On the second track, "Lobbo," we get spacious, bluesy guitars and Lee echoing and amplifying Touré's voice for a beautiful, almost mournful tune.

Ali was Khruangbin's most recent studio album, which was followed with a string of live albums, so A La Sala marks a return to where they began, just the three of them jamming together. Yet with them, they bring the influences of their travels and newly discovered records of the world, adding new flavor, wisdom and flourishes to their sound.

Leon Bridges & Khruangbin's DJ Johnson Talk Magic Of New EP 'Texas Moon,' Bringing The Church & Houston Hip-Hop Into Their Music