In the music video for "MONTERO (Call Me By Your Name)," Lil Nas X opens the gates of his visual empire. "In life, we hide the parts of ourselves we don’t want the world to see," he says in the introduction. "But here, we don’t. Welcome to Montero." What follows is a brazen voyage into the depths of hell.

Co-directed by Lil Nas X and Tanu Muino, the video is a theatrical extravaganza that stars the rapper in nearly every role: a devious snake, a banished Adam, a crowd of stone spectators. Lil Nas X pole dances his way to the throne and secures his spot, displacing the devil with a spicy lap dance and a swift decapitation.

It was unabashedly sexual and provocative, a pertinent introduction to MONTERO, his eponymous debut album (the musician was born Montero Lamar Hill). The video spectacle sparked conversation far beyond its comment section and was boosted, in part, by backlash from people weighing in on his queer identity. More importantly, MONTERO received an outpouring of encouragement from the communities who encounter the same adversity.

Lil Nas X stretched the bounds of both his identity and his artistry at every turn, expertly spinning the backlash to "MONTERO (Call Me By Your Name)" into a multi-layered promotional spectacle. "MONTERO" has been nominated for both Record and Song of the Year, and the LP is up for Album of the Year.

That’s the thing about Lil Nas X: The over-the-top music videos and quick-witted Twitter clapbacks are all gasoline poured onto the already blazing fire of his mere existence. To have an artist not only exist, but excel, at the intersection of Blackness and queerness, as both a rapper and a pop star, is nothing short of revolutionary. When the CGI stripper pole burst through the clouds in "MONTERO (Call Me By Your Name)," it shattered the glass ceiling on its way down — and he was just getting started.

After unveiling an unauthorized limited edition pair of Nike Air Max 97s —  made with a drop of real human blood — he flipped the Nike lawsuit that followed into an elaborate courtroom skit announcing "Industry Baby," his collaboration with Jack Harlow that’s nominated for Best Melodic Rap Performance.

More frenzy followed the "Industry Baby" music video, particularly in response to a scene where Lil Nas X dances naked in a bright pink prison shower with half a dozen male dancers. Recreating the scene on the MTV Video Music Awards stage, Nas reinforced his commitment to performance as an art and bold representation.

Speaking with GRAMMY.com, Lil Nas X’s visual collaborators — choreographer Sean Bankhead, "Industry Baby" music video director Christian Breslauer, Roc Nation Creative Director of Live Performances Jed Skrzypczak and skit director Adrian Per — about the visually distinct MONTERO, creating career-defining performances on stage and online, and celebrating Lil Nas X as an unflinching Black, gay pop-rap star.

This interview has been lightly edited for clarity.

Lil Nas X Writes His Own Music Video Treatments

Sean Bankhead (Choreographer): I am very inspired by how creative he is. Because I don't think people really understand that Nas writes his own treatments for every single music video. So these aren't directors coming to him with ideas. I've seen him sit in the corner of rehearsal. And I'm like, What are you doing? He's like, "I'm just getting ideas for a music video." And then it turns out to be "Industry Baby." And it's so refreshing to see an artist who actually has creative vision and actually cares about all those details — from the rollout to all the skits that he does, to now mix it with dance and choreography and a big stage performance.

Christian Breslauer ("Industry Baby" Director): Nas’ original idea was generally close to the music video you saw, except if you watch the whole music video as it exists now, where our video ends is where the middle of the section right before Jack Harlow's verse [would have been]. His verse was basically originally set up in Nas’ treatment as like: they burst out of jail and then they rob a bank. And then Nas is surfing on top of a bus. It was very grand. So [Lil Nas X’s video commissioner] asked me, "Do you have a way to take the general idea of what he's trying to do and make it doable?"

The Iconic "Industry Baby" Shower Scene Almost Didn’t Happen

Christian Breslauer: Nas originally had a lunch room performance scene, but I was like, I don't really feel it’s grand enough, like it sells enough. I pitched him the idea [of tackling] the prison shower scene.

He initially was like, "I don't know if I want to do it." And then after sitting with it, he all of a sudden switched up in the middle of our meeting, and he was just like, "You know, actually yeah, let's do it." He had already been practicing the choreo with Sean. And he had a whole thing for that moment.

Sean Bankhead: Me and [Breslauer], were like, it would be dope if they would be dancing in the shower. And they were like, "Well, if you're dancing in the shower, you got to be butt naked." But it’s those moments that Nas is like, "Yeah, f*** it, let's do it."

He’s The Mastermind Behind The Elaborate Rollout Skits, Including Giving Birth To Montero

Adrian Per (MONTERO Skit Director): Here’s the thing about Nas. Not to discredit myself or anybody else on the team, we all give our own flavor to things, but ultimately, almost 99 percent of everything was his inception. He is such a visionary, such a creative, that it almost feels like we're all just an extension of him and his ideas.

Christian Breslauer: He's a marketing genius when it comes to that. All that stuff is him, the whole shoe scandal and leading it into the court date into "Industry Baby," that's all his marketing. The kid gets it, he’s smart as s***. And that’s where I think for this generation, he's going to be a superstar because of that. He just gets it.

He was like a professional troll [on Twitter before "Old Town Road"], he knows how to stir the pot. I’m just a creative mind and can come up with ideas that give the moment. And then him just knowing how to take that little piece of content that I create, and blow it up and stretch it 8,000 ways…. I don't think there's anybody who does that.

Adrian Per: He basically came to me with this concept, [saying]: "I want to give birth to my album. We’ve got to make it funny. It's got to be in a hospital or something." We did that entire skit with no script. Everything was on the fly. But Nas is so good at what he does — acting, being a troll, all of that — it was easy. We did everything I believe in six hours when something like that would probably be a 12 hour day.

Everything has been done before to a certain capacity, but this idea of his producers [Take A Daytrip] rolling him into a delivery room, then we pull the vinyl record out and it’s shining rainbow colors to represent his sexuality [hadn’t been done before]. Having a good song is barely half the battle, getting people to listen to it, getting people’s attention, the life after the song drops — everything he comes up with supports all of those different facets.

Lil Nas X’s Cementing His Pop Star Status As An Explosive Performer

Sean Bankhead: Performance is a huge part of being a pop star: how you perform, your dancers, what your dancers look like, how your stage moves, how you walk, how you talk. You can have hit music, but we want the VMA performances. We want the BET-winning, the VMA-winning music video. We want the ones that are nominated for GRAMMYs. We want to keep being invited back to the GRAMMY stage because the last time we came…we shut it down.

Jed Skrzypczak (Roc Nation Creative Director): Now, a lot of people just scale down. They just do small performances versus [asking]: What would Britney do in the 2000s? Or all of those crazy Missy Elliott performances? That’s always the energy and craziness we try to bring on a stage. We always compare [Lil Nas X] to who the best live female performers are, because they [set] this standard of live performance. And that's what we try to achieve with that as well.

Sean Bankhead: There are no Black male rappers who are doing that at all. And so take the gay part out of it and he's still breaking another mold, where he has dope visuals, dope choreography, dope dancers, and really takes risks. He rehearses really hard and is learning how to be a better artist in that regard, with the rapping and dancing at the same time.

His “SNL” Debut Was A Bold Statement In More Ways Than One

Jed Skrzypczak: "Call Me By Your Name" was such a big song everywhere and there was already a visual aspect of it that people were already connected to from the music video. But ["Saturday Night Live"] was our moment to introduce him to a bigger audience.

Sean Bankhead: I think it was the first time that he really trusted a choreographer who was young, Black and gay as well – who understood the pop space and who also has pushed a lot of envelopes, if you will, when it comes to the risky stage performances or the provocative music videos.

I was like, "So do you really want to be that be that n****? Do you want to represent and be provocative? And do things that you haven’t done?" He was like, "Absolutely." I said, do you want to swing on a pole? He said, absolutely. I said, Do you want to kiss a boy? He's like, "Absolutely."

Jed Skrzypczak: We had a whole conversation about celebrating queerness, and giving a platform to and also celebrating people of color and Blackness. He just wants to give a platform to the dancers and performers, who usually are overlooked or not included and don't have as many opportunities.

Sean Bankhead: I feel very special, because I've been able to bring a lot of young, gay, cool, Black and people of color dancers around him so that he has some culture, he has a hand in the pot. This industry can be very whitewashed, and he's in the pop space; he's not really dealing with the ratchet stuff that a lot of the Black artists have to deal with. He has — excuse my French — a white following, a white team, he gets that treatment. So it's important that him being an openly gay Black male, he still has that surrounding him, which comes with his dancers.

The BET Awards Kiss Was A Close-Kept Secret

Jed Skrzypczak: With the BET Awards performance, we were like: we have to show people that Nas is becoming a king of pop music. That’s how we connected it to the "Remember The Time" Michael Jackson references. We wanted to pay homage to the music video and connect it to the already existing aesthetic that we’re tying into the performances of the song. 

The funny thing about the kiss is that almost nobody knew about it. There was only a really small group of people, even on Nas’ team — even BET didn't know about it. So that was even more pressure on everyone, because we really didn’t know how people were gonna react. And it turned out to be such an amazing and big and important moment. After that performance, so many people reached out to the whole team, to Nas, even to me, saying how important it was for them to see representation like this on TV because when they grew up, they never had a moment like this.

Sean Bankhead: I love to shake the table because that's what I grew up on in pop culture. I grew up watching Madonna and Britney doing their thing. And I’m so bored with performances and pop culture; with shock value for a cause and not just, let’s just do it just because. We knew people were going to talk about it as soon as they started humping and jiving on each other. But two performances prior to that, I believe, was Roddy Ricch — the girls were rubbing up and down each other and no one said anything about it.

Jed Skrzypczak: At the beginning, when Nas performs, you can see how he acts — he's slightly nervous about it, because it's so much pressure on him. He’s so young and already so experienced, but there's still so much pressure on this stage [in front of] all those people who sometimes have completely different views than him.

Sean Bankhead: We want to keep challenging those those norms and keep pushing the boundaries, but still making sure that it’s not stupid. It’s actually: If we're going to do this, let's make sure it's the best performance. Let's make sure that there are iconic dance moments and there are iconic sound bites or other things that can go with a Britney-esque, "I'm a Slave 4 U" type performance.

Lil Nas X Was Ready To Go Even Bigger For The 2021 MTV VMAs

Jed Skrzypczak: Until that moment, the BET Awards and the VMAs, I think he felt like he had to keep proving to people who he is. With this performance, we had this idea to recreate the iconic music video because it was already so big. 

Nas really wanted to have the marching band, you know, open big. It’s slightly a homage to Spongebob because he’s obsessed with SpongeBob. We managed to get the band. And then the whole thing goes: How we can translate to the music video and make it cool, from the video music aspect to aspects of the stage. 

Sean Bankhead: When we shot the music video, everyone was busting their ass. No matter what the floor, dancing barefoot with water [while] doing choreography is tricky. And Nas was so nervous. He was like, "I do not want to fall. I don't know if I'm gonna fall on a live VMA performance." We had to keep, throughout rehearsals, testing different floors, testing with water. 

There were a lot of limitations with the stage, the screen going up and revealing the stage behind — that was a special build that we had to get from MTV. Then, we found out that once we got in the wet shower, we couldn't come back to the mainstage. So we had to finish the performance in the shower. I got in trouble because we weren't supposed to have the orgy at the end. And it was a decision that I told the dancers to do 20 minutes before they went live.

The MONTERO Era Shows That Lil Nas X Is Just Getting Started

Christian Breslauer: If you look at the '80s, or even '90s or '70s, some of the most talented musicians were gay and they weren't able to be these icons until after the fact. All these guys who kind of stayed closeted, or they ended up coming out after the fact, but they were shunned for it to a degree. But Nas has kind of created this new narrative. I've seen him grow just as an artist and now he's moved and this last album was definitely his true coming out [saying]: "This is who I want to be as an artist."

Adrian Per: There isn't a single person for artists who's doing it at that level, with that many eyes looking at them. Whether it makes people hate him or disagree with him, or they like it, he knows how to create a tension around something that he's about to drop. It's so calculated in his brain so far ahead of time, before anything drops. I just don't know anybody else who's doing that to that level. 

Sean Bankhead: I'm gonna stay hard on him. I see the potential, I see the future, but I also see what he represents. And if I was growing up, and I had a representational figure like him on TV being great — and not just because he's gay, but actually puts in work and does phenomenal music videos, and makes incredible music. He's still young, and he still has a long way to go. So I want to make sure that I stay on him to keep growing and to stay focused, and to push harder, and keep being free. Because people are watching. People are rooting for him. No matter what the headlines may say. 

Inside The Visual World Of Billie Eilish's 'Happier Than Ever,' A Testament To Her "Brilliant" Creative Vision

We’ve been feeling the heat for a minute now, but summer is finally, officially, upon us.

What do you have on deck to soundtrack it? Perhaps you’re checking out Camila Cabello’s fourth offering, C,XOXO. Or Jxdn’s expectations-bucking new album, When the Music Stops. And there are so many other worthy candidates for your playlist — from Lupe Fiasco’s Samurai to Omar Apollo’s God Said No.

No matter where your stylistic compass points, this Friday release day has got something for you. As you gather your sunscreen and shades, let’s breeze through a cross-section of what’s out there.

K-pop loves its solo releases, showcasing how the various members of a group can shine individually while combining with ecstatic chemistry. Enter LISA, one-fourth of Korean titans BLACKPINK, who's already turned heads with her 2021 debut album, Lalisa.

"Rockstar" is another swing outside her main gig, featuring serrated chiptune production and LISA's commanding rap flow. The gritty, urban, futuristic video is a visual treat, and the chorus's boast of "Lisa, can you teach me Japanese?" is a multilingual flex — as well as a maddeningly unshakeable earworm.

The "Peter Pan" heavyweight and four-time GRAMMY nominee Kelsea Ballerini has called 2024 "a new chapter of music." Her collaboration with folk/pop singer/songwriter Noah Kahan, "Cowboys Cry Too,"  is the tip of the spear.

More than a month after the pair performed together at the 2024 Academy of Country Music Awards, their first recorded team-up is an aching, yearning ballad about breaking down a gruff exterior and revealing true emotions.

"Cowboys cry too/ They may not let 'em fall down in their hometown thinkin' they still got s*** to prove," Ballerini sings in the chorus. "That well runs deep/ But when he's showin' his skin, lettin' mе in, that's when he's toughest to mе."

"So excited to release the best song of all time this friday!," Lil Nas X proclaimed on Instagram. (And on a Beverly Hills Cop soundtrack, no less!)

"Here We Go!" comes at an inflection point for the "J Christ" singer: "sorry I've been so scared with my art lately," he added in the same post. "I'm coming around to myself again. I will make you guys very proud."

This pro forma banger certainly inspires pride: tenacious lines like "I'm livin' and livin' I wanna die/ They tryna get even/ I'm beatin' the odds" will get under your skin. As for Beverly Hill Cop: Axel F, the Eddie Murphy joint will whiz to your screen July 3 via Netflix.

Lucky Daye picked up a win for Best Progressive Album at the 2022 GRAMMYs, for Table for Two. After a slew of nominations for work with Beyoncé and Mary J. Blige, he's investigating the Algorithm.

The single "HERicane" was just a teaser, with songs like "Blame," featuring Teddy Swims; "Paralyzed," featuring RAYE;" and "Diamonds in Teal" expanding on and honing his soul-funk-R&B vision.

"Don't know pickin' sides/ 'Cause I'm rollin' in desire," he dreamily sings in the gently roiling "Diamonds in Teal." "I don't know which lie's true/ Or maybe I do, or maybe I'm you." It's a suitable mission statement wrapped in a stealthily seductive package.

A jazzy, soulful, psychedelic band of Aussies, Hiatus Kaiyote has been wowing audiences for more than a decade. Whether through sampling or features, they've crossed paths with Drake, Anderson .Paak, and Beyoncé and Jay-Z.

Love Heart Cheat Code builds brilliantly on their last three albums: their 2012 debut Tawk Tomahawk, 2015's Choose Your Weapon, and 2021's Mood Valiant. Tracks like "Telescope," "Everything's Beautiful," and "Make Friends" are burbling brooks of atmosphere, groove and vibe.

Any fans of deep, pungent funk grooves should investigate Boulevards immediately. The project of mastermind Jamil Rashad, their new album Carolina Funk: Barn Burner on Tobacco Road tips its hat to yesterday's funk with a contemporary twist, bringing a refreshing spin on the well-trod template of syncopated basslines and stabbing horns.

Across highlights like "Do It Like a Maniac Part 1&2" and "Run & Move," Boulevards shows — once again — that few can nail this gritty sound quite like Rashad and crew.

British drill-inflected MC Headie One first made a splash overseas with his 2023 debut album, Strength to Strength. Less than a year later, he's returning with The Last One.

Back in 2022, he hinted at the existence of his sophomore album in his non-album track "50s" — "The fans calling for 'Martin's Sofa'/ It might be the first single from my second," he rapped. 

Helmed by that single, The Last One features Potter Payper, Stormzy, Fridayy, Skrillex, and more. The album is a leap forward in terms of production, scale and exploration.

Any theater kid worth their salt knows at least a few bars from the musical "Oklahoma!"; country sensation Kaitlyn Butts has just unfolded it into an entire album.

"It's a love story but there's also a murder and a little bit of an acid-trippy feel to it at times; it's set in the same place where I come from," she said in a statement, noting she saw "Oklahoma!" with her parents every summer during childhood. "Once I got the idea for this album," she continued, "I couldn't believe I hadn't thought of it before, and it turned into something that completely encompasses who I am and what I love." 

A laugh riot as well as a colorful, openhearted statement, Roadrunner! does the old Rodgers and Hammerstein chestnut good.

Read more: 5 Female Artists Creating The Future Of Country Music: Jaime Wyatt, Miko Marks & More

Futurist Afropopper Amaarae made a gigantic splash with her second album, 2023's Fountain Baby — even Pitchfork gave it their coveted Best New Music designation.

That lush, enveloping album just got an expansion pack: roses are red, tears are blue — A Fountain Baby Extended Play is a continuation of its predecessor with six new songs. The oceanic "wanted," featuring Naomi Sharon, is a highlight, as is a remix of "Disguise" with 6LACK.

"Ooh, I'll be wanted/ I've been wanted," a pitch-shifted Sharon sings near the end, as if turning over the phrase. "Wanted" is one way to describe Amaraae's position in the music landscape.

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

The 50th anniversary of hip-hop may have come and gone, but hip-hop is forever. Today, legendary hip-hop pioneers MC Lyte and Queen Latifah continue to bear the flame of the genre as an elevating force with "King King," a conscious, uplifting offering.

"This is dedicated to all the kings and all the soon to be kings/ We're counting on you/ We love  you/ This is for you, you and you and you," MC Lyte begins, while Latifah holds it down on the chorus with "This your crown hold it/ Even if it all falls down show it/ You know the world is watching now I know you get tired from keepin' it all together/ We need you."

During Women's History Month in March, MC Lyte released "Woman," the first single from her upcoming album, featuring hip-hop icons Salt (of Salt 'N Pepa), Big Daddy Kane, and R&B singer Raheem DeVaughn. MC Lyte's first new album in nearly a decade drops this summer; keep your eyes and ears peeled.

Learn more: 9 Teen Girls Who Built Hip-Hop: Roxanne Shante, J.J. Fadd, Angie Martinez & More

As the summer quickly approaches, artists from every genre continue to unveil new music for warmer weather. Friday May 10 is particularly packed with anticipated and surprise releases from both emerging talents and established names.

The new albums alone prove just that: pop songsmith Alec Benjamin's 12 Notes, folk-rock band Judah & the Lion's The Process, regional Mexican stars Grupo Frontera's Jugando a Que No Pasa Nada, and GRAMMY-winning R&B singer Andra Day's Cassandra, to name a few.

Meanwhile, a big, cool glass of major rap releases is here to help wash down the piping hot Kendrick and Drake beef served up over the last week. Full album releases debuted from Gunna, Chief Keef, and Ghostface Killah — the latter featuring guest spots from Nas, Kanye West, Raekwon, Method Man and more. Hottie Megan Thee Stallion's powerful new single, "BOA", sets the stage for her Hot Girl Summer tour which officially starts on May 14. New songs from Ice Spice, Kodak Black, NLE Choppa, Coi Leray, G-Eazy, Yung Gravy, Ski Mask the Slump God set the playlist for a weekend full of slappers.

There's tons of collaborations, too, including the much-teased pairing of Post Malone and Morgan Wallen with "I Had Some Help," a track that showcases Malone's furtherance into country in a catchy, reflective anthem. But country music lovers also have more to enjoy this weekend: Orville Peck's duets project, Stampede Vol.1, features the likes of Willie Nelson and Elton John," while Scotty McCreery's Rise & Fall and Avery Anna's single "Blonde" fill the fuel tank for a rodeo-ready summer. 

BTS's RM delivers another solo track "Come Back to Me" and Stray Kids dropped a new collaboration with Charlie Puth, coming fresh off the K-pop group's appearance at the Met Gala earlier this week. And the electronic and rock scenes are not left behind, with A.G. Cook exploring a new twist on Britpop and Sebastian Bach's release of Child Within The Man.

Dive into today's releases from Megan Thee Stallion, The Chainsmokers, RM, Stray Kids with Charlie Puth, Camila Cabello with Lil Nas X, Post Malone and Morgan Wallen below. 

Megan Thee Stallion, "BOA"

Megan Thee Stallion's new single "BOA" continues to play up the themes of empowerment and self-realization that define her current musical phase and comes just days ahead of her Hot Girl Summer Tour starting on May 14. The song's cover art features Megan with a striking snake, a recurring symbol of rebirth that has been significant in her recent work, appearing in tracks like the Billboard Hot 100 hit "Hiss" and the 2023 song "Cobra." 

"BOA" is a continuation of Megan's snake-themed narrative, but serves as a saccharine homage to her favorite late-'90s and early 2000s anime and video game classics. The music video features references to Scott Pilgrim, One Piece, Dance Dance Revolution, and iconic 3D fighting games like Mortal Kombat, complete with visuals and Gantz-inspired outfits.

Speaking to Women's Health about her upcoming summer album, Megan discussed the personal growth and renewal she has experienced, inspiring this new era of music. "I was inspired to create this album about rebirth because I feel I am becoming a new person physically and mentally," she shared.

Camila Cabello & Lil Nas X, "HE KNOWS"

Camila Cabello teams up with Lil Nas X for the tantalizing new song "He Knows," delivering a radio-friendly track that's as catchy as it is lustful. The new music mirrors the infectious energy of their recent appearance at FKA Twigs' Met Gala afterparty, where they both were seen dancing the night away behind the DJ booth. 

"He Knows" serves as a precursor to Cabello's highly anticipated fourth solo album, C,XOXO, — set to drop on June 28 — and teases a glimpse of Cabello's evolving artistic direction. The single follows on the heels of her recent hit "I LUV IT" featuring Playboi Carti, part of the  reimagining of her sound and artistic brand.

RM, "Come Back To Me"

BTS member RM has released a new single, "Come Back To Me," accompanied by a music video. The relaxed track gives fans a taste of his upcoming second solo album, Right Place, Wrong Person, set to release on May 24. 

In the song, RM explores themes of right and wrong, capturing the complex emotions of wanting to explore new avenues while wishing to stay comfortable in the present. "Come Back To Me" features contributions from OHHYUK of the South Korean band HYUKOH, and Kuo of the Taiwanese band Sunset Rollercoaster. Additional credits include JNKYRD and San Yawn from Balming Tiger. RM first performed "Come Back To Me" during a surprise appearance at BTS bandmate Suga's concert in Seoul last summer, noting it as a favorite from his forthcoming album. 

The music video for "Come Back To Me" was written, directed, and produced by Lee Sung Jin, known for his work on the Netflix show "Beef." The video features actress Kim Minha from the Apple TV+ series "Pachinko" and faces themes of identity and self-reflection, showing RM confronting different versions of himself. Its cast includes notable Korean and American actors such as Joseph Lee, Lee Sukhyeong, and Kim A Hyun.

Post Malone & Morgan Wallen, "I Had Some Help"

Post Malone and Morgan Wallen blend their distinct musical styles in the much-anticipated release of their collaborative single "I Had Some Help." Merging Malone's versatile pop sensibilities while leaning into his country roots with Wallen's, well, help, the duet is a unique crossover that has had fans clamoring to hear more since the two first teased the song earlier this year. 

Finally premiering during Wallen's headlining performance at Stagecoach Festival on April 28, the uptempo song explores themes of mutual support and shared experiences, encapsulated by the lyric, "It ain't like I can make this kind of mess all by myself."

The collaboration has sparked significant buzz and showcases the duo's chemistry and shared knack for storytelling. This single highlights their individual talents as well as their ability to bridge genre divides, already promising to be a hit on the charts and a favorite among fans.

The Chainsmokers, No Hard Feelings

Maestros of mainstream emotion, The Chainsmokers continue to master the art of turning personal reflections into global anthems with their latest EP, No Hard Feelings. The six-song project see Alex Pall and Drew Taggart exploring the emotional highs and lows of modern relationships, weaving their signature dance beats with pop sensibilities as they have since 2015's "Roses." 

The duo's latest release serves as a soundtrack to both sun-kissed days and introspective nights. The collection includes the single "Friday," a collaboration with Haitian-American singer Fridayy, described by the duo as a direct descendant of "Roses." Other tracks, such as "Addicted," also underscore the Chainsmokers' knack for capturing the zeitgeist of contemporary love and loss.

Kings of Leon, Can We Please Have Fun

Kings of Leon return with their signature blend of rock and introspection on their ninth studio album, Can We Please Have Fun. The LP finds the band infusing their established sound with fresh, unbridled energy, reminiscent of their early days yet matured by years of experience. The album features standout tracks like "Mustang" and "Nothing To Do," which mix playful lyrics with serious musical chops, showcasing Kings of Leon's unique ability to combine rock's raw power with catchy, thoughtful songwriting.

The band is set to bring Can We Please Have Fun to life on their 2024 world tour, starting in Leeds, United Kingdom on June 20 and wrapping in Bridgeport, Connecticut, on Oct. 5. Fans can expect a high-energy series of performances that blend new tracks with beloved classics, all delivered with the Kings of Leon's legendary fervor.

Stray Kids & Charlie Puth, "Lose My Breath"

Stray Kids have teamed up with Charlie Puth for their latest release, "Lose My Breath," a track that blends K-pop dynamism with Western pop flair, written by Stray Kids' own producer team 3racha (Bang Chan, Changbin, and Han) along with Puth. The TK song details a whirlwind of emotions, describing symptoms of breathlessness and heart-palpitating moments encapsulated in the lyrics: "I lose my breath when you're walking in/ 'Cause when our eyes lock, it's like my heart stops." 

"Lose My Breath" is described as a "warm-up" for Stray Kids' forthcoming album, set for release this summer. The track further highlights the global appeal of Stray Kids ahead of their highly anticipated headlining set at Lollapalooza in August. It also continues Puth's engagement with K-pop, following his previous work with other K-pop acts including his collab with BTS' Jungkook, "Left and Right," and "Like That," a song he co-wrote for K-pop girl group BABYMONSTER. 

15 Must-Hear Albums In May 2024: Dua Lipa, Billie Eilish, Sia, Zayn & More

January always marks fresh starts and clean slates as the world collectively turns the page from one year to the next. The world of music is no exception: the second week of 2024 is filled with artists embarking on new eras and album cycles.

On the full-length front, 21 Savage unveiled his third solo LP, american dream, with guest assists from the likes of Summer Walker ("Prove It"), Doja Cat ("N.H.I.E."), Young Thug and Metro Boomin ("Pop Ur S–t") and more while Kali Uchis celebrates her just-announced first pregnancy with longtime boyfriend Don Toliver by delivering her second Spanish-language studio set Orchídeas.

Meanwhile, Reneé Rapp brings the new Mean Girls musical movie to life as Gen Z's Regina George, with a soundtrack that also features Megan Thee Stallion, Auli'i Cravalho, Angourie Rice and more, and K-pop act ITZY makes a statement on their sophomore Korean-language album, Born To Be, which gives all five members a chance to shine with individual solo tracks on top of swaggering bangers like "Untouchable" and the title track.  

In addition to star-studded album drops, Jan. 12 sees several big single releases too. Press play on hotly anticipated musical resets from Ariana Grande and Lil Nas X, lead singles from Jennifer Lopez and Sheryl Crow, and a monumental collaboration between D'Angelo and Jay-Z for the new movie The Book of Clarence below.

Ariana Grande — "yes, and?"

Ariana Grande is officially back and ready to own everything. For "yes, and?" — her first new musical offering since 2020's Positions — the superstar is doling out heavy-hitting words to live by, disguised as a glossy pop confection that takes an irresistible cue from Madonna's "Vogue."

Both an exercise in self-affirmation and a runway-ready Pride anthem, "yes, and?" finds Grande unapologetically sharing her truth in a way she hasn't since 2018's "thank u, next." Her voice dripping with honey, the soon-to-be Wicked star slyly addresses the recent tabloid fodder surrounding her personal life. 

"Now I'm so done with caring/ What you think, no, I won't hide/ Underneath your own projections/ Or change my most authentic life," she vows in between spine-tingling harmonies and plenty of vocal fireworks. Ari only gets more blunt from there, clapping back with her whole chest about the obsession with her body, relationship status, sex life and more. In her words, "Yes…and?" 

Jennifer Lopez — "Can't Get Enough"

Jennifer Lopez's ninth studio album, This Is Me… Now, has been a long time coming. But if lead single "Can't Get Enough" is any indication, the sequel to 2002's This Is Me… Then will be well worth the wait when it arrives Feb. 16. The track, which samples the late Alton Ellis' 1967 release "Still in Love," is a fizzy, funky delight that pops like a blast of champagne straight out the bottle.

On the song's chorus, the multi-hyphenate superstar giddily professes just how much she loves being in love (and back in love with now-husband Ben Affleck). And while the accompanying music video pokes fun at her trio of past marriages, fans can rest assured she's singing the lovestruck lyrics to the same Dunkin'-lovin' guy she was serenading 21 years ago on This Is Me… Then.

Jeymes Samuel x D'Angelo x Jay-Z — "I Want You Forever"

A new D'Angelo single would be a major event. So would a new Jay-Z single. After all, it's quickly coming up on 10 years since the neo-soul star released his last album, 2014's Black Messiah and the rap mogul's last solo single was the title track off 2017's 4:44.

However, director Jeymes Samuel managed to coax both men back into the studio to join forces for the soundtrack of his new biblical film The Book of Clarence starring Lakeith Stanfield. On "I Want You Forever," D'Angelo holds court with a hypnotic, repetitive hook before ceding the mic to Hov for the song's lone, pleading verse. 

Lil Nas X — "J CHRIST"

Nearly three years after giving the devil a lap dance in the hellish music video for his No. 1 hit "Montero (Call Me By Your Name)," Lil Nas X is flipping the script and ascending to heaven on his new single "J CHRIST." Well, not for too long — turns out a giant stripper pole connects the celestial realm with the fires of purgatory, and Lil Nas X is equally at home in each.

The track's high-concept, cinematic music video has it all: angelic doppelgängers of everyone from Taylor Swift, Mariah Carey and Oprah to Michael Jackson and Barack Obama; Lil Nas cooking up a cauldron filled with human limbs; and yes, even the rapper pinned to a cross in a visual sure to enrage the critics who were already up in arms before the track was even released. But by song's end, as Lil Nas X takes on the role of Noah emerging from a worldwide flood, the GRAMMY winner makes clear the hip-hop banger isn't just religious cosplay — it's a new beginning.

Sheryl Crow — "Evolution"

Sheryl Crow is uncharacteristically on edge on "Evolution," the lead single and title track of her forthcoming 11th studio album. The queen of bright singer/songwriter jams like "All I Wanna Do" and "Soak Up the Sun" (and newly inducted Rock and Roll Hall of Famer) takes aim at the encroaching threat of artificial intelligence to the music industry and creativity at large on the spacey track. 

To top it all off, she even recruited Tom Morello of Rage Against the Machine to concoct a supercharged guitar solo that ratchets the uneasiness up to 11 as Crow warns, "Where are we headed in this paradise?/ We are passengers and there's no one at the wheel."

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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