In a time where pop balances between intimate vulnerability and brazen confidence, queer pop stars like Chappell Roan, Billie Eilish, Reneé Rapp, FLETCHER, and girl in red are spearheading a movement of their own: the lesbian pop renaissance.

The unofficially coined cultural craze has seen a number of queer women sing openly and explicitly about their same-sex relationships. And they're not holding back: "She was a Playboy, Brigitte Bardot/ She showed me things I didn't know," swoons Roan in "Red Wine Supernova," while Eilish gushes "she dances on my tongue" in "Lunch," and FLETCHER confesses in "girls, girls, girls" that she "kissed a girl and…really, really liked it."

This era of openly sapphic joy follows a history of hardships, with decades of queer artists defying prejudice and homophobia to sing openly about their desires and emotions. It's not been an easy journey — and struggles are still painfully evident. When grilled about her sexuality last year, Eilish declared on Instagram, "I like boys and girls leave me alone about it"; it echoed Dusty Springfield's 1970s interview when she revealed, "I'm perfectly capable of being swayed by a girl as by a boy... and I don't see why I shouldn't."

Some have defined sapphic pop as a subgenre of indie or bedroom pop, and others have celebrated the more anthemic, upbeat "sapphic bops." But in reality, no one style of music encapsulates lesbian/sapphic songs; these artists are united by loving and desiring other women — some openly, while others were restrained due to societal pressures.

The current wave of unapologetic queer stars marks a pivotal moment in music history, where sapphic pop is no longer cornered in lesbian circles and gay clubs, but dominating mainstream airwaves, and influencing global pop trends while being rightfully celebrated by the masses. So as the current queer female stars continue to thrive, it's important to pay homage to all of the artists that paved the way.

Read on for a history of defiantly queer women and nonbinary people in music — a celebration of who they are, how they have loved and their remarkable musical imprint.

Costa Rican artist Chavela Vargas began singing in Mexican cantinas as a teenager in the 1950s, becoming a key figure of Mexico City's bohemian artistic boom. With slick, short hair and a powerful presence, Vargas sang regional Mexican music with hoarse fragility in her songs, including "Las simples cosas" and the haunting "La Llorona" (which means "The Weeping Woman"); her sobbing voice echoing the song's grieving protagonist.

With love songs addressed to women and an androgynous sense of style, Vargas never hid her sexuality, but first openly spoke about her lesbianism when she was 81. Before her death in 2012 at the age of 93, she lived a fascinating and exuberant life, was a friend and lover of Frida Kahlo and is rumored to have had flings with the likes of Ava Gardner. With her heart-wrenching vocal command, she is considered one of the most important artists in Latin American folk, and remains a towering figure in Latin American queer history.

Decades before female musicians began openly embracing their sexuality, Dusty Springfield cooly shrugged at rumors about her own — her aforementioned 1970 "coming out" interview solidifies her status as one of the first openly queer female pop stars.

Rising to fame in the 1960s with her blonde beehive and dark eye makeup, Springfield frequented London gay clubs at the height of the Swinging Sixties (which, ironically, didn’t have anything to do with queerness). With hits including "You Don't Have To Say You Love Me" and "Son of a Preacher Man," her powerful voice channeled emotion with unnerving vulnerability. Though her music was never quite as frank as she was in the public eye, a few of Springfield's later releases touched on queer themes (1979's "Closet Man" and her 1989 collab with Pet Shop Boys, "In Private").

The second-wave feminist movement in the U.S. pushed gender issues to the core of the country's socio-politico agenda, including fights for abortion rights (Roe v. Wade in 1973) and the ferocious push to pass the Equal Rights Amendment. Women artists were showing they were more than pop glam, picking up guitars and refusing to dress up for the cameras, favoring casual attire; sapphic pop was entering an era of authenticity and emotional honesty. Along the way, a group of feminist lesbians set up Olivia Records.

In 1975, Olivia's co-founder Cris Williamson released her politically charged folk album, The Changer and The Changed, one of the highest-selling independent records of the time; two years later, Linda Tillery's funk-soul track "Womanly Way" explored the sensual side of sapphic love: "I think I'd like to get to know you in a special kind of womanly way" she croons. Pioneering trans sound engineer Sandy Stone was an integral part of the Olivia team until she was forced to leave after receiving harrowing threats from separatist groups, sadly marking the steady decline of the groundbreaking label. 

In the UK, Joan Armatradingattracted buzz after performing gigs around her native Birmingham, earning fans for her slick guitar, melodic piano and powerful vocals. Though her lyrics were gender-neutral, Armatrading's music was largely embraced by the lesbian community — including the 1978 song "Taking My Baby Up Town," which celebrates queer love despite the prejudice and homophobia of the time ("You kissed me/ And then all the people started to stare/ We started a commotion/ Someone making comments, morals/ The state of affairs and I said, "What we got is the best"). In 2008, she performed on Cyndi Lauper's True Colors Tour, which raised funds for LGBTQIA+ charities; she has spoken openly about her sexuality in the past decade, and has been in a civil partnership with Maggie Butler since 2011.

The '80s brought a spirit of punk into the mainstream, and queer circles were attracted to the music's rebellion and rage. British-Canadian singer Carole Pope was part of the rock band Rough Trade, characteristically clad in leather and singing raunchy songs dedicated to the joys of BDSM and girl-on-girl eroticism. Rough Trade's lustful 1980 song "High School Confidential" shocked listeners at the time: "It makes me cream my jeans when she comes my way," swoons Pope. In 1981, she had a brief (but intense) relationship with Dusty Springfield.

A new folk movement was quietly brewing in the hushed tones and poignant strums of Tracy Chapman. Though she has never spoken publicly about her sexuality, her GRAMMY-winning hit "Fast Car" has been embraced as a lesbian anthem for its ideals of escapism and unhinged freedom. (Chapman's sexuality was later confirmed by her former lover, author Alice Walker, who spoke about their mid-90s relationship in 2006, though there's no disclosed relation to "Fast Car.")

Folk-rock duo Indigo Girls, who are both openly lesbian, formed in 1985 and immediately cultivated a cult queer following that led to a major label deal in 1988. Their 1989 self-titled album — which spawned the celebrated queer anthem "Closer to Fine" — went double platinum in the U.S. and won a GRAMMY for Best Contemporary Folk Recording in 1990. Just this year, the duo released a documentary, It's Only Life After All, which charts their journey, revealing the homophobic snubs they've stoically endured throughout their career.

Meanwhile, South AfricanBrenda Fassie began making music with her band the Big Dudes in the early 1980s, combining pop with hip-hop and kwaito. While Fassie did not explicitly sing about being queer, she often referred to herself as a lesbian and never hid her relationships with women. A staunch anti-apartheid campaigner, Fassie made pop with powerful social commentary; she was even hailed as the "Madonna of the Townships" for her brazen lyrics. Thought to be Africa's first openly queer pop star, Fassie remains a beacon of acceptance and tolerance in a region where homophobia is still rife — even two decades after her passing.

Building on the folk origins of Chapman and Indigo Girls, k.d. lang initially broke through with several country hits in the late '80s, but ruffled feathers with country radio when she came out as a lesbian in 1992. Nonetheless, she never backed down from who she was, and it launched her to sapphic pop stardom. Lang's alluring stage presence and a sensual masc charm helped her score a global hit with 1992's "Constant Craving," which has been cited as an ode to lesbian love. The song won a GRAMMY for Best Female Pop Vocal Performance in 1993 — the same year she posed for a steamy Vanity Fair photoshoot with Cindy Crawford, which goes down in the lesbian history books.

In the late '90s, teenage twins Tegan and Sara picked up guitars and began performing confessional acoustic songs with big pop hooks and grunge elements (1999 track "Proud" features empowering lines such as "Freedom and blood/ I make my mark and fight for tomorrow… I'm proud to be me"). Their unapologetically queer music videos were intentional in their push for inclusion, complete with same-sex make-out scenes featuring LGBTQIA+ actors. The sisters, both openly lesbian, had a cameo in the cult lesbian series "The L Word," and their nonprofit Tegan and Sara Foundation promotes for LGBTQIA+ equality by raising funds for health care programs, summer camp and more.

The 2000s marked a shift away from the acoustic confessionals of the decades prior, with a move into club beats and big pop hooks. Queer band the Gossip, starring charismatic, rebellious frontwoman Beth Ditto, broke all expectations of what pop could be and look like, with punk chords, disco beats and a belting voice. Their 2005 smash hit album, Standing in the Way of Control, confronted the marginalization and fear experienced by the queer community. The album's titular song was written in resistance to George Bush's attempt to outlaw same-sex marriage; "Standing in the way of control/ You live your life/ Survive the only way that you know," screamed Ditto.

Before developing a synth-pop sound on later albums, Chile's Javiera Mena carved emotional, melodic songs on her keyboard with her 2006 debut, Esquemas Juveniles; the album featured heartfelt love songs like "Camera Lenta," which eschewed pronouns to sing about "the different paths to your eyes" in Spanish. Though she became more explicit with her sexuality in the 2010s — particularly on the lesbo-erotic hit "Espada" — Mena has been recognized as one of the pioneers in Latin America's LGBTQIA+ movement, alongside Ricky Martin, Kany Garcia and Pabllo Vittar.

London teenager Elly Jackson, better known as La Roux, immediately broke onto the pop scene with her smash "Bulletproof," and attracted a queer following for her androgynous looks — a refreshing anecdote to the chart dominance of hyper femme pop-stars of the time. While Jackson initially eschewed any labels, not wanting to be confined to queer audiences and baffled by the public speculation on her sexuality, she later embraced her place as an LGBTQIA+ icon (her 2014 track "Cruel Sexuality" appears to address her own journey: "Cruel sexuality / Am I a fool to let you trouble me?").

The 2010s marked a significant push for marriage equality, with same-sex marriage rights being awarded in countries like the U.S., UK, Argentina, Germany, and Australia, among others. This movement for equality was paralleled by a growing visibility of LGBTQ+ representation in pop culture — and sapphic pop was beginning to resonate more than ever before.

L.A.-bred trio MUNA released their indie pop debut, About You, in 2017, loaded with heartfelt songs that helped the trio quickly cultivate a die-hard following of queer fans. Listeners identified with the band's rebellion about heteronormative tropes and coming-of-age queer songs like "It's Gonna Be Okay, Baby" ("Your gonna move to New York, and experiment with communism/ Go down on a girl/ After reading her some Frantz Fanon").

Another bisexual indie darling (and MUNA's eventual "Silk Chiffon" collaborator), Phoebe Bridgers, also released her debut in 2017. Titled Stranger in the Alps, the album navigated toxic relationships, as well as Bridgers' experiences with women, with queer fans gravitating toward her unprecedented bisexual representation.

A year later, Bridgers teamed up with fellow LGBTQIA+ stars Julien Baker and Lucy Dacus to form the supergroup boygenius. The trio has flipped the "boy band" trope on its head, showing that masculine heartthrobs can emerge from feminine fluidity. With lyrics that delve into queer love and heartbreak — and live shows featuring plenty of onstage making out — the band has had a seismic impact on the sapphic pop landscape (and won three GRAMMYs in the process).

In the mid-aughts, U.S. pop star Hayley Kiyoko was experimenting with her artistry following the split of being in girl group The Stunners. Reintroducing herself as a solo star in 2013, Kiyoko had the freedom to explore lyrical themes that were more true to her own experience — like her 2015 breakthrough hit, "Girls Like Girls." The song, and accompanying music video, cemented her place in the queer pop canon; which Kiyoko has followed up with several songs about queer love and relationships, including "What I Need" featuring Kehlani (who came out as lesbian in 2021 and has since explored her own sapphic narratives, like 2020's "Tangerine.")

After hinting at their sexuality with the breakup song "Talia" in 2017, King Princess, who is genderqueer, went all-in on their queerness with the laid-back indie love song "Pussy is God" in 2018. Since then, they've built a cult following with songs marked by blatant honesty in a shifting age of gender identity and sexual expression — like 2022's "Sex Shop," which contemplates the use of strap-ons and binders.

Meanwhile, pansexual and nonbinary artist Janelle Monaédonned vagina-shaped pants for their symbolic video "Pynk," their 2018 sapphic sex anthem from Dirty Computer — a queer afro-futurist album that rebelled against the conservative policies of the then-incumbent Trump administration ("If you try to grab my pussy cat/ This pussy cat grab you back" they spit on "I Got The Juice"). The album's accompanying science-fiction film featured Monaé playing an android on the run with a lover, played by Tessa Thompson. Monaé's went even more explicitly queer in follow-up album The Age of Pleasure, a hedonistic kaleidoscope of funk, pop and reggae ("I like lipstick on my neck, leave a ticky hickey in a place I won't forget," they flirt on "Lipstick Lover").

Though we're only four years into the 2020s, the decade has been marked by an explosion of sapphic pop. New Jersey pop star FLETCHER helped kick off the movement in 2020 with her EP The S(ex) Tapes, which navigated the end of a lesbian relationship through dark pop hooks loaded with sensual energy. Two years later, she doubled down on the lesbian narrative with her debut album, Girl Of My Dreams, which spawned one of the most viral queer songs of the decade this far, "Becky's So Hot." (In between, she delivered another lesbian bop alongside Kiyoko with 2021's "Cherry.")

Norwegian indie star girl in red, who is openly queer, cultivated a huge online following after the release of standalone early singles (in the track "i wanna be your girlfriend," she sings, "Oh Hannah… I don't wanna be your friend/ I wanna kiss your lips"), before releasing her highly anticipated debut if i could make it go quiet in 2021, featuring songs like "Did You Come?" ("Did you do the things you know I like? Roll your tongue, make her cum 20 times?"). Her connection to lesbians and bisexual women was so strong that the term "do you listen to girl in red?" evolved into a code to identify fellow queers on Sapphic TikTok.

In the Latin urban scene, openly gay Puerto Rican star Young Mikko is shaking up reggaeton with her assured flow and cheeky, suggestive singles including "Peach" — an ode to her lover's rounded butt. Brazilian star Ludmilla makes listeners blush with her sensual track "Sintomas de Prazer," talking about getting turned on while giving her lover pleasure.

After Billie Eilish established herself as one of the biggest pop stars of her generation, she faced intense pressure to come out as queer in November 2023. Six months later, her sexuality became a central theme in her third album, HIT ME HARD AND SOFT — particularly the album's first single, "LUNCH," a fearless ride on pleasuring women. She seems to be enjoying her newfound freedom, too: in her recent remix of Charli XCX's "Guess," she deviously sings, "I wanna … kiss it bite it, can I fit it?/ Charli likes boys, but she knows I'd hit it."

Eilish was one of many Coachella 2024 performers who brought sapphic pop to the desert. Reneé Rapp's set was introduced by the cast of "The L Word," Ludmilla's shared a tender onstage kiss with her wife during love song "Maldivas", and of course, Chappell Roan — decked in her Eat Me tee — had thousands to sing along with her unabashedly kinky hits.

Roan herself is redefining pop, with outfits inspired by drag aesthetic and lyrics that are unapologetically sapphic ("Knee deep in the passenger's seat and you're eating me out/ Are we casual now?" she sings in country pop ballad "Casual"). In August, Roan broke records for attracting Lollapalooza's largest-ever crowd, and her rapidly rising fame helped her 2023 album, The Rise and Fall of a Midwest Princess, reach No. 2 on the all-genre Billboard 200 (and a UK No. 1) nearly a year after its release.

Lesbian and queer artists have been making music for decades — and with artists more openly celebrating their sexuality than ever before, it's an undeniably exciting and historic time for the LGBTQIA+ music community. A new era of sapphic pop is upon us, and it's hot, explicit and gleefully unrestrained. You could even call it a femininomenon.

It's no secret that Filipinos can unapologetically belt out a song from Celine Dion, Whitney Houston or any pop diva on the mic. But beyond the viral videos of them singing their hearts out in malls or in their homes, the Filipino music scene is vibrantly filled with heart and emotions; and often taken over by powerful soloists like the Philippine pop princess Sarah Geronimo, balladeers like Martin Nievera or Morisette Amon, and acoustic/rock bands like Ben&Ben or Up Dharma Down that often sing about love, heartbreak and life.

Within the last decade, we've seen an evolution in the Philippine music scene: while solo stars continue to shine, pop groups have begun to take over the spotlight. The concept of pop groups have existed before in Philippine entertainment, however, were usually formed through variety shows or composed of actors and actresses — not necessarily pop idols that you can compare in other Asian music markets like Japan and South Korea.

It really wasn't until 2018, during the peak of third-generation K-pop, where we saw the beginning of first generation Pinoy pop idol groups. Inspired and influenced by the K-pop idol training system, some P-pop entertainment companies have begun implementing similar systems, or inviting Korean mentors who are active in the industry for any vocal and dance training needed.

Two of the most notable first-gen P-Pop groups are SB19 and BINI, who are at the forefront of bringing P-pop to a global audience. Five-piece boy band SB19 became the first Southeast Asian group to be nominated for a Billboard Music Award in 2021, and their 2023 single "GENTO" was approved for GRAMMY consideration last year. Meanwhile, eight-piece girl group BINI have earned the title as the Nation's Girl Group after a string of successful viral hits including "Salamin, Salamin" and "Pantropiko"; just this year, they made history as the first P-pop act to perform at KCON in Los Angeles.

Of course, the P-pop universe wouldn't be complete without solo acts. P-pop fans love to celebrate the timeless discography of Sarah Geronimo or gush over Asia's pop heartthrob Darren Espanto, and there's always new individual talent proving that the scene is still thriving.

As major P-pop stars continue to make waves, there's tons of blossoming acts who are helping to raise the Filipino flag in the global music scene. In light of the bright future ahead, here are a mix of P-Pop groups and soloists you should check out.

If the actual country of the Philippines were a pop group, it would be ALAMAT. The six member group — composed of Taneo, Mo, Jao, Tomas, R-ji, and Alas — under Viva Records values Filipino culture in their concepts.

Each member hails from different regions of the Philippines and also speak different dialects from their respective regions. Using dialects and culture to their advantage, ALAMAT often incorporates traditional folk dances, instruments, and lyrics in their native languages; and blends them into the modern sounds of hip-hop, R&B and dance.

Formed in 2018 and officially making their debut under Star Music in 2021 with "The Light," the quintet composed of Gelo, Akira, JL, Mikki, and Nate are known as the "Aces of P-Pop." The name BGYO even celebrates their heritage, as it's an acronym for "Becoming the change, Going further, You and I, Originally Filipino."

Often fusing pop sounds with R&B, the boy group isn't afraid to get quirky with their concepts — whether they're singing a ballad in suits or wearing vibrant oversized ones. As a result, their music is helping BGYO score big wins: Their single "The Baddest" made them the first Filipino act to top Billboard's Next Big Sound chart in 2021, followed by P-Pop Group of the Year at the TikTok Awards Philippines in 2022.

KAIA

Debuting under SB19's former label, ShowBT Philippines, KAIA is composed of members Angela, Charlotte, Sophia, Alexa, and Charice. The quintet officially made their debut in 2022 with their lead single "BLAH BLAH" — a powerful EDM-pop track that can be considered for your gaming playlist.

The name KAIA is a double entendre: a Cebuano word "kinaiya" meaning one's self and personality; and the Tagalog word "kaya" which roughly translates "to be able to" or "can do." In other words, a P-pop girl group that can give you the extra boost when you need that sonic encouragement on the daily.

One of the Philippine heartthrobs, Inigo Pascual is a suave and smooth pop soloist who aims to make you swoon with his R&B-pop serenades. His pop-doowop hit "Dahil Sa'Yo" off his solo debut of the same name became the first song to top the Billboard Philippines Top 20 chart in 2016.

Right from his debut, the actor and singer/songwriter continued to soar in his career when he released his international single "Options" in 2019. Just last month, the chart-topping singer unveiled his latest project, Basta't Alam Kong Tayo 1, a three-track single-album under Republic Records Philippines.

If you already listen to K-pop, then you are familiar with the girl crush concept where the sounds are bass-heavy and the looks are all about dark outfits with smokey makeup. If that's up your alley, then check out G22.

Under Cornerstone Entertainment, the former quartet-turned-trio composed of members AJ, Alfea, and Jaz are known to be the "Female Alphas of Philippine Pop." The trio officially made their debut in April 2022 with their first single "BANG!" which was then followed by their second single "Babalik!" in May. But don't be fooled by their powerful demeanors — the trio also has a light and soft side to themselves in their B-sides and singles too.

VXON

If G22 is dubbed as the "Female Alphas of Philippine Pop," then VXON are said to be the "Monsters of P-pop" — so don't be fooled by the pretty boy looks VXON may carry. They are a P-pop group that can balance bubblegum pop with beast-like concepts, as if you're watching the transformation of boys to men. But at their core, they're making music to capture your heart (see for yourself with their viral R&B hit "Sandal").

Making their official debut in January 2022, the group consists of five members: C13, Franz, Patrick, Vince and Sam. After a big first year — they won Favorite Rookie P-Pop Group at Nylon Manila's Big, Bold, and Brave Awards in 2022 — VXON have continued winning hearts, most recently delivering a series of swoon-worthy live sessions on their YouTube channel.

A multi-talented soloist, Maymay embodies Filipino entertainment, a fun and vibrant breath of fresh air within the Philippine music scene. She takes pride in her Visayan roots and stays grounded from her humble beginnings, even naming and singing her songs in Visaya, Tagalog and English.

First known as the season 7 winner of "Pinoy Big Brother" in 2016, Maymay has made a name for herself as a musical artist in the last couple of years. Signed under the same label as BINI and BGYO, Maymay is grandiose in her music, presenting a plethora of genres in her discography, from disco to dance pop to a little salsa with visuals that encapsulate inspiration from Filipino culture. "Her journey is only going further as she teased her first and upcoming international single "Paradise" at the 'ASAP Natin 'To in California' concert earlier this month."

Formerly known as SBTCBoys, the six-member boy group composed of Theo, Gab, Justin, Yen, Haro, and JL made their debut in 2023 with their first EP +.Y.M. (stylized and read as Time). Steering away from the traditional lead single promotions, PLUUS broke boundaries by promoting three tracks at once with "Amigo," "My Time" and "Cross My Heart" last year.

The trio of tracks also displayed PLUUS' wide array of talents: "Amigo" is a hip-hop-heavy dance pop track celebrating camaraderie; whereas "My Time" follows the personal stories of being an idol; and "Cross My Heart" is a love song about letting go. They've continued showing their versatility in 2024, with the airy single "Universe" and the thumping track "Summotion."

1st.One was already putting themselves on the map, and embodying their name, before they even made their official debut in July 2020; the month before, they became the first Filipino act to perform at the Seoul Music Awards. The six members — Ace, Max, Alpha, J, Joker, Jayson — debuted under the Philippine subsidiary of FirstOne Entertainment in South Korea with their single electronic pop single  "You Are The One (Ttak Maja Nuh)."

If you're into the nostalgic sounds of second-gen K-pop, 1st.One may be your seamless transition into P-pop. But just like any other group, they've explored different sounds and concepts; earlier this year, the group switched it up and dropped their R&B slow jam single "Dito" that was choreographed by member Max.

DIONE

1st.One's sister group, DIONE (or stylized as D1ONE), also debuted in 2020, carrying that girl crush aesthetic with them. Some members of the group were first introduced as LUNA, a project trainee group under FirstOne Entertainment set to debut. Eventually, the quartet composed of Joyden, DK, Clara, and Ella released their digital single "BLING BLING" in April 2022.

Upon their official debut, the quartet's image delivered expensive pop, soundtracking their luxurious, high-fashion looks with EDM-driven pop — somewhat reminiscent of the sounds of second-gen K-pop groups like 2NE1 and After School. Their music is fun, energetic and quite tantalizing.

Fairly new to the game, YARA is oozing with charisma, from their rap flows to their dance moves. Signed under Sony Music Philippines, YARA consists of four members — Gelou, Rocher, Christa, and Kim — who blend rap, hip-hop and pop all together.

Debuting in March 2023, the P-pop girl group released their first single "Adda" (short for "Apat Dapat Dapat Apat"). Earlier this year, the group revived the old school bubblegum pop song "Bakit Papa?" by variety show girl group Sexbomb Girls, and gave it an R&B twist. Their recent track "Katawan Flow" sees the group making the dancehall genre their own — hinting that their musical direction will always be unpredictable.

Maki isn't your typical idol pop singer, but that's exactly what makes him a promising soloist. He seamlessly blends alternative rock and pop together, triggering a listener to get in their feels along the way.

When he's not dancing to BINI's "Cherry On Top," you can often find Maki strumming a guitar, questioning various love-related situations. And it seems his approach is working: his latest release, "Dilaw," topped the Billboard Philippines' Hot 100 and Billboard Top Philippines Songs for multiple weeks in July.

Officially making their debut under Tyronne Escalante Artist Management and Merlion Events Production in 2022, CALISTA is working toward being the next P-pop greats. Carrying more of a girl crush vibe, CALISTA's sounds blend dreamy pop with 808 beats and R&B.

Originally debuting as a six-member ensemble with the trap-inspired pop single "Race Car," the group has spent the majority of 2024 as a quartet comprised of Anne, Dain, Elle, and Denise. Their latest single "Let Me Know" has made its way around TikTok, helping them get one step closer to achieving superstar status.

ECLYPSE

Originally known as YAMA, ECLYPSE is fairly new, but definitely promising, to the P-Pop game. Comprised of six former participants of reality-survival show "Top Class" (Lex, Gilly, Dean, Clyde, Gab, Joshuel) and one who was announced as a member on the live-streaming app KUMU (Rave), the group have been forming since 2022 and made their official debut this year under GKD Labels.

Whether they're taking on a light or dark concept, their sounds revolve around the EDM genre — a seamless fit for their tones and voices. If you're a fan of synths, harmonies and falsetto, this may be the group for you.

At multiple points during our conversation discussing her latest album Buzz, NIKI falls back on one phrase. "I should speak for myself." While she cuts herself off often, physically but gently coaxing herself back on track, NIKI's latest release is defiantly personal.

"I think it's going to mark a new era for me musically. Personally, it is my favorite thing I've ever done." she says of the album. 

The past few years of NIKI's life have been spent in constant flux. The artist started her career as a performing artist on YouTube, did a headlining tour in support of her second album Nicole, and eventually became the first Indonesian artist to perform at Coachella (alongside fellow 88Rising labelmate Rich Brian). For the former self-proclaimed perfectionist, the exhaustion and rudderlessness of touring threw open the doors to some much needed introspection. When NIKI found herself alone, she realized had no idea who she was or what she was doing. So, she did the only thing she could do: write songs. 

"I write songs as a way to process my life as it's happening. Everyone has different ways of coping, and that just happens to be mine," the 25-year-old singer confesses. Buzz was written between tour dates, with no "concrete vision" in mind; in fact, it was probably the first time that NIKI had truly processed everything that had happened in her career. "Writing 'Buzz' was a very reflection-oriented time. I was making sense of my present and how my past has sort laid down the stepping stones, and everything in between." 

Confronted with a constant feeling of being uprooted and the vast unknown, NIKI realized that keeping a tight grip on how she approached, understood, and perceived her emotions was counterproductive. "Writing 'Buzz' was my way to deal with a lot of this existentialism that I was coming into for the first time in my early 20s," she continues. "I feel like everyone is starting to ask the big, deep, difficult questions when they start to live on their own and have to trudge through life as their own person." 

With an intimate, oft-minimalistic sound and almost stream of consciousness lyrics Buzz is an album for letting go of control and the learned behaviors of perfectionism in the favor of self-awareness, where NIKI processes "a spectrum of world weariness, of excitement, of joy and pain and all the moments in between."

"Buzz" is where she finds herself anew. She takes her time mulling over the hard questions on "Nothing Can", allows herself to grieve the loss of a great love on "Paths", breaks the cycle of generational trauma on "Strong Girl" and "Heirloom Pain", and learns that there is "freedom in accepting that everything is just incomplete and messy all the time." 

This interview has been edited and condensed.

When I was reading about the album, it appeared that you faced an identity crisis while making it. Do you feel satisfied with it or are you anxious about how people will receive it?

I think it's both. Anytime I'm on the cusp of releasing something, I'm always a little bit nervous as to how people are going to receive it. At the same time, I feel like I made this record with full conviction in myself and in my artistry. 

I think this is really the first time that I'm able to say that. I steered the making of this record myself. 

A lot of the songs on 'Buzz' felt like waves, with a very natural flow and progression to the songs on the album. It felt like you were giving into a feeling or embracing something. Did you allow yourself to feel [this flow] or did you have a concrete vision?

Buzz was the first album that I made that I didn't actually have a concrete vision in mind. It was just an organic synthesis of what's been happening over the past two years. 

Two years ago I started headline touring, and that inspired a lot of the album. Just this feeling of constantly being on the go, being uprooted time and time again, so the theme of acceptance is a huge one on this album. The acceptance of life being a constant state of uncertainty. We, as people, are constantly developing and irresolute. So this album was kind of made to process those feelings.

It’s an album of nuance, of nestling into this area of gray that we so often wrestle with in life. I definitely tend to see things as black and white. I was raised to think that way, with my Indonesian upbringing. My mom was very religious, so I think this album is about unlearning a lot of that stuff, taking what serves you from childhood and letting go of what doesn't, and embracing that things will feel messy very often.

Yet you  ended the album itself on a very hopeful note. Was that intentional?

Absolutely. Sometimes I joke that the universe has its foot on my neck right now. But I think, in general, I'm quite an optimistic person, or at least I try to be. I gravitate towards art or music that tends to skew that way, because I think we all need a little bit of hope in this very difficult, scary world. 

The record ends with "Nothing Can." I love that song, because it's a blend of optimism, but also it's just telling it as it is. Like, nothing and no one will be able to save you and I think that was an important thing that I had to teach myself.

Growing up, you watch a lot of movies and so much of media is like,  somebody's going to come swooping in knight in shining armor-style and maybe rescue you. Or a job will save you from your pain or the perfect fill-in-the-blank is gonna be the answer. That's impossible. You are responsible for your own happiness. What "Nothing Can" is about is that despite the mess and the suffering and the pain there are still moments in between that make everything worthwhile.

Did you go through a similar process of realization when it comes to making music? A moment where you thought, 'Maybe I'm expecting my career to make me happy but it should be the other way around?'

How do I eloquently say this? It's like... before Buzz, and even before Nicole, the way I perceived making music was like aceing assignments. I think I had always been a little bit of an overachiever. Buzz was my first real, true exercise in just writing and making art just to make art for myself versus to fulfill expectations. I found a lot of artistic healing through making this album because it was the first time I really kind of put my head down and was like: I'm going to make an album for myself in a way that I want and that feels authentic.

I realized quickly that every time I hit a milestone, I would aspire for the next milestone. And then there's always sky above sky — that is what my mom always told me. There is always something more to aspire to. So you really have to find peace and joy within yourself in order to show up the way you want to in your life. I wrote Buzz, just to help myself let go of the perfectionist streak.

So, if you were to describe the relationship between 'Nicole' and 'Buzz' knowing what you do now, what would you call it?

I have fondly nicknamed Buzz Nicole's older, wiser sister. Nicole walked so that Buzz could run. Nicole was a very diaristic window into my past and Buzz is very much rooted in my present.  Nicole is about the subject matter that's important to you when you're 17, like your first ever breakup with your first love that feels so cataclysmic and earth-shattering. That's no longer relevant to me the same way that things are happening in my 20s now. 

Nicole was also sonically a lot more pop. On Buzz, I was inspired by a lot of artists. Obviously Joni Mitchell, and a current artist that I really love that I feel like echoes Joni Mitchell is Madison Cunningham. I am so inspired by her musicianship and guitar playing specifically. It made me think: I would want to have an album that I'd be so stoked to play every single night for however long on tour and I never get sick of these songs. Buzz is more musical, and there is a looseness to it that I feel Nicole lacked.

I also remember you saying in an interview that back when you wrote 'Nicole,' you went very heavy on imagery and metaphors. In contrast, 'Buzz' is still poetic, but very rooted in practicality. Do you think that's a natural consequence of growing up, and dealing with the realization that once life has hit us in the face, we don't prefer not to look at things with rosy lenses?

[Laughs.] I think it is a natural consequence of growing up. I think Nicole was so unapologetically schmaltzy. The way I wrote, I definitely cringe now because, you know, it's that 17-year-old drama. Everything feels so blown up out of proportion when you're 17, right? It was so emotional. The way I write [now] is totally different because there's a big dose of practicality and pragmatism  in the way I perceive things. I think it's a lot more emotionally healthier to balance emotion and reason, than having emotions just completely drown reason.

Buzz, specifically, is very much a reflection of the kind of writing that I gravitate to now, which is a lot less like "My world is going to end because you're leaving." Because you know when you're 25, you don't really necessarily feel that anymore. I feel that's really obvious in songs like "Take Care" and "Paths" where it is an older kind of love. A significant relationship of mine ended, and I still very much have only respect and love for this person and also wanting the best for them. I feel like, on Nicole, it was all so punitive. It was like, "You must be punished for how you hurt me!"

Was there anything that helped you learn to deal with things in this way? I did read that the album also contains some lessons that you learned in therapy.

Therapy has had a direct link to this record. Therapy has been transformative in the way I think and therefore the way I think shapes the way I write, and the way I write shapes the album that I make. 

For example, I call "Heirloom Pain" and "Nothing Can" my "radical acceptance" songs. That was a term that I learnt through therapy. Radical acceptance does not mean demeaning your grief or repressing your pain. Radical acceptance is saying, This really sucks, but I'm going to respond to this in a different way. Without therapy, I probably would still be writing very punitive schmaltzy Nicole songs.

I think everything can be processed, though! I feel like Buzz has a balance. I feel like I'm still pretty petty on "Colossal Loss" and "Focus" is just shade central. 

"Focus" really made me think you must be in your 'I'm not your therapist" era.

Exactly, I'm in my "no clowns" era. [Laughs.]

Radical acceptance makes a lot of sense. "Heirloom Pain" has this keen realization that our parents did their best, and they're only human, so you can't really blame them.

I think it humanizes everybody in [your family tree] that came before you, and at the very end, I flip it around onto [the listener] and [the song says] "You're gonna fall in love and f— up too."

We are born and everyone does the same thing over and over. We never learn! But at the same time, it doesn't shy away from the genuine pain and trauma. I literally called out my dad's temper and my mom's mistakes. Sometimes I'm like, 'Why did you guys not think about this before you had kids?' [Laughs.]

As you grow up…your parents kind of fall off the pedestal, you start to get on their level. You see them as humans. 

This is such a primitive album for you in some ways. What was the recording process for this like?

When I am in work mode, I don't always feel it. If I'm singing a painful song, usually that hits me a little bit later. When I recorded "Paths," that was basically a one-take thing that I did in my own studio at home. I remember just singing through the whole song for the first time, and at one point in the middle, I choked. I started to tear up because I felt so emotionally moved.

With this album specifically, I've learned my methods. I never do more than three takes, especially for vocals. If I do more than three takes, it starts to... you know the feeling of when you look at a word too long and the word doesn't look like a word anymore? When I sing the same thing too many times, I start to not feel it anymore. ["Paths"] felt like exposure therapy. I wrote the thing that I was really scared to write and then I was singing it.

It's interesting you say that you don't like singing your songs on repeat. What is your relationship with touring like then? Does it get exhausting performing the same song or set over and over?

Touring is definitely a different beast. I feel like it's more important to get the right take when you're recording an album, because an album is forever. A show is different every single night. To be completely honest, sometimes as a performer, if you do it so many times like it's muscle memory. You can slip into autopilot over time. The constantly changing variable on tour is the crowd. So whatever is happening in the crowd is usually enough to inject a newness to the show. 

I also wrote Buzz for this reason. I wanted an album that felt looser and felt more relaxed even in its DNA so that when I go on tour, I can play it as loosely as possible to create space for variety. 

It also feels like you've learned to be more accepting. Your recordings used to be a fairly solitary affair but now you've actively started involving more people in it.

I definitely ventured out into involving more collaborators and it's not just me and my laptop and headphones anymore, but I definitely still am very selective with who I let into my musical universe, because I have a specific vision of how I want things to sound, and what kind of environments I work best in. 

The way I like to work is that I start a skeletal framework for [a song], I produce it a little bit, record some parts. Then I call a producer that I respect, who I've seen work on my other favorite artists and then I give them that framework and then we finish it together. I worked with Ethan Gruska, who worked with Phoebe Bridgers, and Tyler Chester – who helped me produce "Strong Girl" – worked on all of Madison Cunningham's stuff. It's really fun to keep the circle small. 

A lot of songs on 'Buzz', like "Blue Moon," "Paths" and "Magnets" talk  about putting faith in a higher power.

I grew up very religious. My mom was a singer at church, so God was always an integral concept growing up. I wouldn't call myself a Christian now, but I definitely still believe in something greater than all of us. Julia Cameron, who wrote The Artist's Way, said: "God can be God to you, or it can stand for Good Orderly Direction." I think it is a beautiful way of thinking about it. 

I definitely am also an astrology girlie. I do believe that we were all made with intention. I do think there's a great creator out there and I believe that there is something out there — the universe, God, whatever you want to call it — that's guiding us or has our best interest. 

Do you like revisiting your past stuff? I ask this because it feels like with every new album, you have proverbially wiped the slate clean.

I will literally listen to my work or my music a million times before it's out. And then once it's out, I rarely ever revisit it.I almost see it as yours; it's the world’s now. It's ours. It's not something that I have been intentional about. Even when I had a YouTube channel when I was 15, I did this. I would watch my video and edit it five million times. And then as soon as I uploaded it, I never watched it again. 

I guess I do this to process my life as it's happening. Once it's shared, it's difficult for me to view it as just my own anymore. That's why every time I move on to a new project it feels like a completely different thing, because I never look at my past work. I never draw from that as an inspiration. I look forward instead. 

This year’s Lollapalooza in Chicago may have been a particularly humid one, but that didn’t deter perspiring attendees from making the most of the four-day event. Held Aug. 1-4, the international festival’s flagship midwest iteration showcased a variety of talent — both revered and rising.

Among Lolla 2024's highlights, Chappell Roan drew an expectedly enormous crowd to Grant Park on Thursday, while GRAMMY winner Tyla captivated audiences with a lighthearted and entertaining anglicism. Friday offered a diversity of artists, from K-pop boy group Stray Kids, to electronic vet Zedd and GRAMMY-winning Icelandic jazz singer Laufey, who performed with the Chicago Philharmonic. J-pop stars YOASOBI and the Killers closed the festival on Saturday, and Blink-182 brought their ‘90s humor and hits to the main stage on Sunday.

Lollapalooza founder Perry Farrell was onhand in a rare sighting to partake in the weekend’s festivities, which in addition to various stages featured Toyota Music Den’s retro summer camp vibes, Coke Studio’s roller rink, House of Dunkin’s newly renovated setup and Kidzapalooza for the festival’s youngest attendees.

Though thunderstorms threatened throughout the weekend, it only materialized as light rain and was a welcome reprieve from the balmy temperatures. As Lollapalooza attendees recuperate from one of the summer's biggest parties, relive seven of the most exhilarating sets from Lollapalooza 2024.

Kesha has never been someone to shy away from controversy, and the GRAMMY-nominated singer made some interesting choices during her Lolla set on Thursday. The singer delivered some of her biggest hits — from "Cannibal" and "Die Young," to "Take It Off," and "Your Love Is My Drug" — in front of her most loyal fans at Lolla. While performing "Backstabber" from 2010's Animal, Kesha and her scantily-clad male dancers doused themselves in fake blood while the star herself brandished a knife as a prop. Kesha later revealed on X that the knife shockingly turned out to be real.

In addition to her theatrical dramatics, Kesha also played a clip of Vice President Kamala Harris saying "You think you just fell out of a coconut tree?" as she began "Blow" (Kesha brought out a marching band for the song as well).  "Women do run this country," Kesha told the crowd, proudly standing in her power.

When she wasn’t waving pride flags and encouraging onlookers to "support local drag, Kesha paused to thank her fans for "standing by me through the hardest time of my entire life."

Read more: Kesha Reveals The 10 Most Important Songs Of Her Career, From "Tik Tok" To "Eat The Acid"

Megan Thee Stallion Got The Hotties In Formation

Three-time GRAMMY winner Megan Thee Stallion was tapped by the festival as one of the headliner’s after Tyler, The Creator pulled out of his slot earlier this year. The rapper, however, proved she was no "second best."

Fresh off of her performance at Vice President Kamala Harris’ Atlanta campaign rally, Megan Thee Stallion feverishly got her fans in formation with a spectacular performance. Donning a sexy, sequined pink ensemble, the Houston rapper plowed through a bevy of hits including: "Freak Nasty," "Cobra," "Big Ole Freak," "Mamushi" and "WAP."

She also addressed haters who were upset about her supporting Harris last month. "They was fake mad that I was popping it for Kamala. I don’t think they heard what she said," Meg explained. "Kamala said she wants a ceasefire. Kamala said she supports women’s rights. Kamala said y’all tired of high gas prices. Kamala said ‘I’m for the people.’" She shouted out "Hotties for Harris" before being surprised by Chicago Sky star Angel Reese onstage who took a selfie with the "Savage" artist.

Read more: 6 Takeaways From Megan Thee Stallion's 'Megan': Snakes, Shots & Self-Assurance

Deftones — the GRAMMY-winning rock facet from Sacramento, California — have For spent three decades perfecting their gnarly guitar riffs, airy vocals and thunderous percussion. Their most recent project, 2020's Ohms, served as a sauntering exploration of frontman Chino Moreno’s inner workings. This energy was on full display at Lollapalooza 2024.

The band’s electrifying energy was gleefully absorbed by the crowd, who moshed through heavier tracks such as "Lotion" and "My Own Summer (Shove It)." The audience was slightly more still but visibly bubbling over for slower, more sensual tunes like "Digital Bath" and "Change (In The House of Flies)."

Moreno — who said onstage he chipped his tooth during "Needles and Pins," from the band's self-titled 2003 LP — proved his performer prowess again and again. Even beyond the T-Mobile, Lolla attendees could feel the infectiousness of Deftones’ stellar set.

Learn more: 5 Essential Nu-Metal Albums: How Slipknot, Korn, Deftones & Others Showcased Adolescent Rage With A Dramatic Flair

Despite being 45 minutes late to their headlining set on Saturday, Future and Metro Boomin delivered a vigorous performance that celebrated their collaborative albums We Don’t Trust You (released in March) and We Still Don’t Trust You (which dropped a month later).

The pair ferociously fed off of each other’s energy, while simultaneously injecting that same enthusiasm into the crowd. From "Luv Bad Bitches" to "Type S—," "F— Up Some Commas" to "Low Life," there were no shortage of hits to feed the insatiable musical appetite of the packed crowd at the Bud Light stage.

Fans eagerly threw up two fingers in honor of Future's Dirty Sprite 2, per instructions from the duo, and Future x Metro Boomin Young Thug when "Relationship" played. "Like That" lost its potency when it was started for a second time as an attempt to reinvigorate the audience — but remained a thrilling track from beginning to end. The chemistry between Future x Metro Boomin was off the charts and seamlessly translated onstage.

Read more: Metro Boomin's Essential Songs: 10 Must-Know Tracks, From "Creepin" To "Like That"

SiR Savors "Summer" With Sensual R&B Set

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The Inglewood, California-based R&B singer used his time at Lollapalooza to reconnect with a city he hasn't performed in for nearly five years. On Sunday, the R&B crooner glided through his discography, performing "Karma" (from his March 2024 album Heavy) to "John Redcorn" — a track from his 2020 release Chasing Summer.

SiR, who was dripping in sweat from the intense Chicago heat, slowed things down a bit to celebrate his collaborators. First, he gleefully welcomed singer Zacari for "Mood" followed by his brother Davion Farris for "The Recipe." SiR’s bravado shined brightly on "Hair Down" where he felt his most confident, his most rambunctious, his most seen. He appeased fans’ requests for "D’Evils" and got emotional when reflecting on his struggles.

SiR has been candid about his journey to sobriety — a major theme on Heavy — and thanked his fans for their support throughout his set. When SiR performed "Life Is Good," he reminded attendees that nothing is sweeter than a well-earned victory lap.

Read more: On 'Heavy,' SiR Wants People To See The Weight Of His Humanity

Carmen DeLeon Basked In Being A Total Ray Of Sunshine

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The 23-year-old Venezuelan singer smiled from ear to ear as she enthusiastically gave her all during a short but powerful performance on Sunday at the BMI stage. She kicked off things with two of her most notable tracks: 2022’s "Mala Memoria" and "Mariposas" (which was released the year prior).  DeLeon was effervescent during "Wonderful," with its catchy chorus being as bright and brilliant as she was.

DeLeon became visibly emotional while paying  homage to Lady Gaga and her BMI stage legacy by covering "Always Remember Us This Way" from the A Star is Born soundtrack. She attached her native flag to the mic stand and emphasized the importance of speaking up against injustice, which hit especially close to home for her given the unrest following recent elections in Venezuela.

DeLeon quickly switched gears and tackled the complex nature of love with "El Vecino." Though the singer is longing to be noticed on the track, its live rendition feels more empowering than dejected. One of the show’s most heartwarming moments came when the singer brought her clearly proud dad onstage.

Moments after viral TikTok sensation Benson Boone took the stage at Lolla, he shared that this was the first U.S. music festival he has ever performed at. The former "American Idol" contestant used his performance on the IHG Resorts & Resorts stage to sing — and backflip — his way into the hearts of fans.

Boone's performance ranged in both sound and emotion. The singer basked in the sweetness of "Coffee Cake" from his 2023 album PULSE, then dug deeper with a formidable performance of "What Was." Before going into "My Greatest Fear," the singer shared that he is terrified of being alone and was devastated by the passing of his grandmother.

He used "Friend" as a springboard to talk about the importance of camaraderie and, before launching into "Beautiful Things," shared amazement at how one song dramatically changed his life.

Read more: Benson Boone Declares "Beautiful Things" Is No Fluke: "I've Tapped Into How I'll Write For The Rest Of My Life"

Another month has passed us by, and August brings us closer to the end of the season. However, several new tracks and albums have dropped to lift our spirits. With brand new projects like Khalid's Sincere, Maren Morris' Intermission, and 49 Winchester's Leavin' This Holler, the beginning of August promises bright things ahead.

A slew of singles dropped, too, from exciting collaborations like Charli XCX's "Guess" remix with Billie Eilish and Jessie Murph's new track with Teddy Swims to new offerings from Big Sean, Jhené Aiko, Jelly Roll, Suki Waterhouse, and more. Whether you're looking for full projects or a few new playlist additions, you will not be disappointed.

As you prepare to close out summer, be sure to check out these 10 new songs and albums.

Just 24 hours after Charli XCX set the internet ablaze with a tease of her next collaboration, she not only unveiled the special guest, but she also dropped the track as a New Music Friday-eve gift: a remix of "Guess" with her fellow pop queen, Billie Eilish.

The pulsating song keeps the same club-ready aesthetic of the original from Charli XCX's brat, but taps into the sexual fluidity of Eilish's HIT ME HARD AND SOFT with the "LUNCH" singer adding a new verse (fans particularly went into a frenzy over Eilish's line "Charli likes boys but she knows I'd hit it"). The track offers a raunchy brand of girl power, further emphasized by the underwear-strewn video, as the unworn undergarments will be donated to survivors of domestic violence through I Support the Girls.

Seven-time GRAMMY-winner Kacey Musgraves is expanding the well she first introduced in March. With the release of Deeper Well, Musgraves showcased a softer side of herself that she discovered during periods of self-introspection following significant changes in her life.

Now, with Deeper into the Well, she takes us further along on her journey. Musgraves gave a taste of the additional seven songs with the release of her single "Irish Goodbye," which narrates the tale of someone struggling to find forgiveness for someone who abruptly left. The extended edition also includes two new features, "Perfection" with Tiny Habits and "Superbloom" with Leon Bridges.

The release comes one month before Musgraves is set to kick off her Deeper Well World Tour in Pennsylvania; she'll hit cities on both coasts, and conclude in Nashville in December.

Read More: For The Record: Why Kacey Musgraves' Timeless Album Golden Hour Still Shines 5 Years Later

Maintaining her message of confidence and self-worth, Saweetie releases "My Best," an unapologetic anthem that emphasizes knowing your worth and surrounding yourself with people who prioritize your best interests.

The music video visually represents Saweetie's personal growth, both as an individual and as an artist. Shot at hometown landmarks like her high school and childhood neighborhood, she invites fans on a nostalgic journey of introspection — while also reminding them to stay true to themselves.

Learn More: Meet The First-Time GRAMMY Nominee: Saweetie On Her Long-Awaited Album Pretty B^^^^ Music & Why Women Rappers "No Longer Need A Co-Sign"

Four years after her smash "Dance Monkey" took over the world, Tones and I releases her second studio album, Beautifully Ordinary. The follow-up to 2021's Welcome to the Madhouse, the 16-song project reflects the artist's growth, exploring themes of nostalgia, love, and self-acceptance. Each song invites listeners to embark on an emotional, personal journey with Tones and I, offering a source of catharsis for those who relate to her experiences.

Tones and I first gave listeners a taste of the project in June with lead single "Dance With Me," a track that delves into themes of heartbreak and desperation. Despite its underlying message of loneliness, the track retains Tones and I's signature upbeat rhythms and vibrant instrumentals — and the rest of Beautifully Ordinary follows suit, offering intimate and heartfelt narratives through her radiant musicality.

Celebrating the six-times-platinum debut album that catapulted them to stardom, Sam Smith is releasing the 10th anniversary edition of In The Lonely Hour. This special edition features a reimagined version of their classic "Stay With Me," and a brand new track, "Little Sailor."

The original project launched Smith's career into the stratosphere, receiving critical acclaim and earning them four golden gramophones at the 2015 GRAMMYs, including Best New Artist.

"I feel so incredibly lucky to be celebrating this milestone with you," Smith wrote on Instagram. "My team and I have created this beautiful anniversary edition for us all, and for the last 10 years."

Learn More: 9 Times Queer Artists Made History At The GRAMMYs: From Elton John's Collab With BSB To Kim & Sam's "Unholy" Union

Fresh off going three-for-three at the 2024 GRAMMYs, Killer Mike delivers another potent project, Michael & The Mighty Midnight Revival, Songs For Sinners & Saints. A follow-up to his autobiographical album 'MICHAEL', the 10-song collection dives deeper into his personal narrative, offering an epilogue filled with introspection and celebration — including the poignant track "HUMBLE ME," which reflects on his arrest after winning his GRAMMYs in February.

Killer Mike provided fans with a gift, releasing the album as a free download for the first 48 hours. In support of the release, Killer Mike electrified audiences with six performances over three nights at the legendary Blue Note jazz club in NYC, including a live-streamed show that attracted nearly 100,000 viewers. This project is a testament to Killer Mike's ongoing dialogue with his audience, addressing both tribulations and triumphs. As the tour continues with a stop at Lollapalooza just one day after the album's release, fans can engage further with tracks like "NOBODY KNOWS" and "HIGHER LEVEL," which offer a glimpse into the rapper’s evolving journey and continued impact on hip-hop.

Still riding high from her vocals featured on Beyoncé's COWBOY CARTER, country star Tiera Kennedy releases her latest single, "Cry," which samples Justin Timberlake's 2002 Timbaland-produced hit "Cry Me A River." It's another taste of Kennedy's forthcoming debut album, which she dubs "R&B/country."

"I've been really inspired by the music I grew up listening to," Kennedy shared in an Instagram video. "Timbaland had a hand in a lot of those songs."

Known for her distinctive approach to blending genres, Kennedy invites listeners to immerse themselves in her world of creative storytelling with her latest track. "Cry" explores the narrative of someone who has made their bed and has to lie in it, while Kennedy has already moved on.

Explore More: A Brief History Of Black Country Music: 11 Important Tracks From DeFord Bailey, Kane Brown & More

Returning with his third studio album, electronic artist Gryffin embarks on a new era and unveils a fresh side of his artistry with PULSE. The 14-track album features collaborations with a range of artists, including Rita Ora, Disco Lines, MAX, and more.

"PULSE is a return to why I fell in love with dance music in the first place, and this is the most creatively inspired I've felt in years," said Gryffin on Instagram. "I can't wait for you all to hear the new sound and feel the passion I've put into these tracks."

After more than a year of not releasing music, John K is back with a new single, "Lost." It's a song that vulnerably reveals feelings of completeness after finding the right person — a fitting narrative for the happily married singer, who is expecting his second child with his wife, Lenée.  . Becoming a father is one of the several major life changes John K has experienced in the past few years, all of which have shaped his upcoming music and brought his musical artistry to the next stage.

"I was writing with the aim of challenging myself to do something I hadn't done before," John K said in a press statement. "I shattered the box of what I thought I had to be, and it allowed me to get to deeper levels of honesty and really gain even more confidence. I took risks, and I honestly expressed myself.

After releasing two albums within four months in 2022, Jack White has essentially gone silent since — until now. Just two days after announcing his sixth studio album, No Name, the rock icon unveils his latest masterpiece.

The 13-track album stays true to White's DIY philosophy, with the recording, production, and mixing all handled by the artist himself at his own Third Man Studio. Even before the album dropped on Aug. 2, reviews were already glowing, with Variety calling it the album "fans have been lusting for" due to its parallels to the rip-roaring rock of his former band the White Stripes — but "without seeming retro or leaning too heavily on nostalgia."

Explore More: Songbook: A Guide To Jack White's Musical Outlets, From The White Stripes To The Dead Weather & Beyond

Ahead of his forthcoming album, Album of the Year #1 Funkateer, Bootsy Collins has released "Pure Perfection," a smooth, sultry track featuring German rapper FANTAAZMA and rapper Giz. The track also features one of the funk icon's legendary alter-egos, "Bedroom Bootsy," who brings a sultry tone to the tune.

Due Oct. 25 (the day before Collins' 73rd birthday), Album of the Year #1 Funkateer includes an 18-song track list with contributions from Snoop Dogg, Wiz Khalifa and more. And if the smooth, thumping vibe of "Pure Perfection" is any indication, the funk vet is ready to take fans on a trippy musical journey — one that only Bootsy Collins can moderate.