After the cookouts and kickbacks of Memorial Day weekend, getting through the workweek is never easy. But you made it through — and now it's time for another weekend of however you decompress. As always, killer jams and musical food for thought have arrived down the pipeline.

As you freshen up your late-spring playlist, don't miss these offerings by artists across generations, moods, genres, and vibes — from K-pop to classic country and beyond.

It looks like Dua Lipa isn't the only artist to name-drop Erik Weisz this year. In a recent Instagram video with magician David Blaine, Eminem hinted at a major career move, quipping, "For my last trick, I'm going to make my career disappear," as Blaine casually noshed on a broken wineglass.

With Em's next album titled The Death of Slim Shady, fans were left in a frenzy — was he putting the mic down for good? If "Houdini" is in fact part of Eminem's final act, it seems he'll be paying homage to his career along the way: the song includes snippets of Em classics "Without Me," "The Real Slim Shady," "Just Lose It" and "My Name Is."

The superhero comic-themed video also calls back to some of the rapper's iconic moments, including the "Without Me" visual and his 2000 MTV Video Music Awards performance. It also features cameos from the likes of Dr. Dre, Snoop Dogg, 50 Cent, and Pete Davidson — making for a star-studded thrill ride of a beginning to what may be his end. 

Read More: Is Eminem's “Stan” Based On A True Story? 10 Facts You Didn't Know About The GRAMMY-Winning Rapper

"What the Chaos Angel is to me," Maya Hawke explained in a recent Instagram video, "is an angel that was raised in heaven to believe they're the angel of love, then sent down to do loving duties."

Chaos Angel, the third album by Maya Hawke, out via Mom+Pop Records, is an alt-rock treasure with a psychologically penetrating bent. Smoldering tracks like "Dark" and "Missing Out" plumb themes of betrayal and bedlam masterfully.

Before May 31, Jessie Reyez's 2024 releases have come in the form of airy contributions for Bob Marley: One Love and Rebel Moon. And for the first release of her own, she's bringing the heat.

Teaming up with fellow rapper Big Sean for "Shut Up," Reyez delivers some fiery lines on the thumping track: "They b—es plastic, that b— is a catfish, oh-so dramatic/ And I'm sittin' pretty with my little-ass t—es winnin' pageants." Big Sean throws down, too: "B—, better read the room like you telepromptin'/ And watch how you speak to a n—a 'cause I'm not them."

Indie dance-pop favorites Foster The People — yes, of the once-inescapable "Pumped Up Kicks" fame — are back with their first new music since 2017's Sacred Hearts Club. The teaser for their future-forward, disco-powered new song, "Lost in Space," brings a psychedelic riot of colors to your eyeballs.

The song is equally as trippy. Over a swirling, disco-tinged techno beat, the group bring their signature echoing vocals to the funky track, which feels like the soundtrack to an '80s adventure flick. 

"Lost in Space" is the first taste of Foster The People's forthcoming fourth studio album, Paradise State of Mind, which will arrive Aug. 16. If the lead single is any indication — along with frontman Mark Foster's tease that the album started "as a case study of the late Seventies crossover between disco, funk, gospel, jazz, and all those sounds" — fans are in for quite the psychedelic ride.

Arooj Aftab landed on the scene with the exquisitely blue Vulture Prince, which bridged modern jazz and folk idioms with what she calls "heritage material" from Pakistan and South Asia. The album's pandemic-era success threatened to box her in, though; Aftab is a funny, well-rounded cat who's crazy about pop music, too. Crucially, the guest-stuffed Night Reign shows many more sides of this GRAMMY-winning artist — her sound is still instantly recognizable, but has a more iridescent tint — a well-roundedness. By the strength of songs like "Raat Ki Rani" and "Whiskey," and the patina of guests like Moor Mother and Vijay Iyer, this Reign is for the long haul.

Learn More: Arooj Aftab, Vijay Iyer & Shahzad Ismaily On New Album Love In Exile, Improvisation Versus Co-Construction And The Primacy Of The Pulse

By some counts, Willie Nelson has released more than 150 albums — try and let that soak in. The Red Headed Stranger tends to crank out a Buddy Cannon-produced album or two per year in his autumn years, each with a slight conceptual tilt: bluegrass, family matters, tributes to Harlan Howard or the Great American Songbook. Earthy, muted The Border is another helping of the good stuff — this time homing in on songwriters like Rodney Crowell ("The Border"), Shawn Camp ("Made in Texas") and Mike Reid ("Nobody Knows Me Like You.") Elsewhere, Nelson-Cannon originals like "What If I'm Out of My Mind" and "How Much Does It Cost" fold it all into the 12-time GRAMMY winner's manifold musical universe.

Explore More: Listen To GRAMMY.com's Outlaw Country Playlist: 32 Songs From Honky Tonk Heroes Willie Nelson, Waylon Jennings, Merle Haggard & More

South Korean boy band ATEEZ last released new material with late 2023's The World EP.Fin: Will. Now, they're bringing the K-pop fire once again with their 10th mini-album, GOLDEN HOUR  Part.1.

Released in a rainbow of physical editions, the release was teased by a short clip for "WORK," where ATEEZ pans for gold like old prospectors in an off-kilter desert scene, then proceeds to throw the mother of all parties. As for the rest of GOLDEN HOUR, they bring flavors of reggaeton ("Blind), wavy R&B ("Empty Box") and reggae ("Shaboom") — further displaying their versatility as a group, and setting an exciting stage for Part.2.

Learn More: Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned

Beninese-Nigerian singer and GRAMMY nominee for Best African Music Performance Ayra Starr pays homage to the big two-one with her second album, The Year I Turned 21, which she's been teasing all month. We've seen the crimson, windswept cover art; we've soaked up the 14 track titles, which reveal collaborations with the likes of ASAKE, Anitta, Coco Jones, and Giveon. Now, after small tastes in singles "Commas,""Rhythm & Blues" and "Santa" (with Rvssian and Rauw Alejandro), we can behold what the "Rush" star has called "excellent, sonically amazing" and "unique, because I've been evolving sonically."

Watch: Ayra Starr’s Most Essential “Item” On The Road Is Her Brother | Herbal Tea & White Sofas

The "American Idol" and Queen + Adam Lambert star is turning heads — for very good reason. He's going to release AFTERS, a new EP of house music and an unflinching exploration of queerness and sex-positivity. "I throw many house parties and my aim was to create a soundtrack inspired by wild nights, giving a voice to our communities' hedonistic desires and exploits," Lambert explained in a press release.

The first two singles, "LUBE" and "WET DREAM," achieve exactly that. From the pulsing beat of "LUBE" (along with the "Move your body like I do" demand of the chorus) to the racing melody of "WET DREAM," it's clear AFTERS will bring listeners straight to a sweaty dance floor — right where Lambert wants them.

Wallows Talk New Album Model, "Entering Uncharted Territory" With World Tour & That Unexpected Sabrina Carpenter Cover

On July 20,  K-pop boy group ATEEZ stepped foot onto one of their largest stages yet for their first U.S. stadium show. The scene at Los Angeles’ open-air BMO Stadium was a far cry from the group's L.A. performance in 2019 — their first tour stop ever — at the petite Globe Theater, a former movie palace with a tenth of BMO’s capacity.

Even then, as a five-month-old rookie group, fans (called ATINYs) saw a remarkable promise in Hongjoong, Seonghwa, Yunho, Yeosang, San, Mingi, Wooyoung, and Jongho. In the years since, ATEEZ has developed a growing presence in the States, even being the subject of a first-of-its-kind GRAMMY Museum pop-up. If the BMO Stadium performance was any indication, ATEEZ have officially hit their stride.

Read more: Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned

The nearly sold-out July 20 show felt like a level up, and not just because of the size of the venue. "As we performed, I really felt like ATEEZ has grown so much," singer Yunho said near the end of the night. He’s not wrong: they’re undoubtedly more confident than ever. Perhaps that’s because the octet made history earlier this year as the first K-pop boy group to perform at Coachella. Regardless, ATEEZ's growth in both production and showmanship was palpable. 

If you missed ATEEZ’s two nights in L.A., don’t worry: K-pop’s resident pirate kings (more on that title later) have more up their billowy sleeves. In the spirit of their never-ending grind, the Towards the Light: Will to Power tour has nine more North American stops, including New York’s Citi Field. Read on to find out why you won’t want to miss these fast-rising K-pop idols.

The Members Are As Good Apart As Together

ATEEZ’s motto is "eight makes one team" for good reason. Individually, their talents and tastes are prismatic, yet complement each other perfectly — a fact that comes into startling clarity midway through the show, when the group breaks off into units and solos.

Equal parts erotic and controlled, trap banger "IT’S You" gives Yeosang, San, and Wooyoung room to deploy their enigmatic charms as a trio; ATEEZ’s purveyor of belted high notes, Jongho, dips into his deeper register on solo ballad "Everything"; diametric duo Hongjoong and Seonghwa spit fire about the rapport that arises from their differences on red-hot cypher "MATZ": "M-A-T-Z like allergy, we don’t really fit together / Yeah, yeah, but on stage, reacting to that synergy."

Then there’s the wistful "Youth" from dance class pals Yunho and Mingi. The two go way back — something they reminded audiences of by acting out a fictionalized version of a real phone call they shared the day before auditioning for KQ Entertainment. "Imagine us taking the stage together someday," Yunho said. "Sounds amazing, right?"  

Read more: ATEEZ Are Here To Win The Hearts Of K-Pop Fans

ATEEZ Know How To Turn Up The Drama

ATEEZ's lore runs deep. In their conceptual universe, what began as a swashbuckling tale of pirates in search of treasure evolved into an anarchic manifesto about toppling the world order. Recently, in a Wild West turn, they’ve been masquerading as cowboys dedicated to the daily hustle.

Every ATEEZ performance has a story; on this tour, the theme is light. But, as always in ATEEZ’s oeuvre, that light can’t exist without a darkness seeking to quash it. The way they convey this narrative — acting, stage decoration, extras — is a masterclass in drama, fit for the theater as much as a stadium. 

Watch: Global Spin: Watch Ateez Represent South Korea With Kinetic Performance Of "The Real"

They’re In Their Element Onstage

The success of ATEEZ’s storytelling is bolstered by the group’s unearthly stage presence. In that regard, Seonghwa led the pack, moving like a man possessed. Whether crawling on his knees, rolling his eyes back, or slinging a sword to symphonic backing, the lithe dancer never let the air-tight facade slip — except, of course, when it came time to offer a couple of warm words to fans.

Like Seonghwa, the rest are also shockingly versatile. San effortlessly switches between agile body rolls and thigh caresses in the dangerously sensual "Cyberpunk," then vigorously glides his arms through air at the climax of "Say My Name," a gesture that has only grown in power and potency over time.

ATINYs Do Their Best To Match ATEEZ’s Energy

"There [are] more than 20,000 singers in here," Hongjoong said as the lead-in to the soaring "Dance Like Butterfly Wings." "Can you show me your singing?" 

Sing they did: All night, the crowd brought an energy as fierce and passionate as ATEEZ, especially when barking at charismatic rapper Mingi, much to his apparent enjoyment.

But the single noisiest moment came during "Guerilla." At a certain point, Yunho shouted a  ferocious "Make some noise!" as a cue and ATINYs know it’s time to warm up their vocal chords; while Jongho belts some of his highest notes yet, fans roared "Break the wall!" at the top of their lungs, loud enough to rise above the stadium enclosure.

Fan chants and cheers are a mainstay of K-pop shows in South Korea, but due to differences in concert etiquette and language barriers, most don’t make their way overseas. ATEEZ and their fans broke that wall, and built a bridge in its place.

It’s A Full Circle Moment In Their Career

That ATEEZ chose to drop anchor in Los Angeles for their first U.S. stadium show feels especially momentous. The band has history in Southern California, having trained at L.A.-based dance studios Movement Lifestyle and Millenium Dance Center prior to their debut. ("Our second hometown!" San said during the show.)

"Even though it was six years ago, it feels like just yesterday," Hongjoong said in his encore speech. "It’s absolutely an honor to be right here, now, in such a big venue." 

That’s a short time to come as far as they have, without slowing pace. "But, you know, it doesn’t stop," Hongjoong continued. "We will keep going to the next step and the next step, with you. Let’s keep making moments to shine even brighter, together." And if these three hours are any indication, ATEEZ has a light that won’t soon be dimmed.

Fifteen years into his career, Adam Lambert is primed for the after-party. In fact, the pop star has made an entire EP for the occasion — fittingly titled Afters.

The six-track project, which drops July 19 via More Is More Records, finds the big-voiced singer trading the expansive covers of his last LP, 2023's High Drama, for a no-holds-barred romp that takes listeners from the club to the after-party to the bedroom and beyond.

"It's my love letter to our nightlife culture," Lambert tells GRAMMY.com on a phone call from New York City. And though he admits to recording the bulk of Afters in L.A., the project is imbued with the club kid spirit of New York's queer community — from the primal sexuality dripping off dual lead singles "LUBE" and "WET DREAM" to the strutting, ballroom-ready kiss-off (and nearly NSFW title) of follow-up track "CVNTY."

Ahead of the EP's release, the queer GRAMMY nominee (and frequent Queen collaborator) celebrated his new musical chapter with a special party at The Standard High Line's nightclub Le Bain. Organized by legendary NYC nightlife impresario Susanne Bartsch as part of her famous On Top! event series, the soiree felt like a full-circle moment for Lambert as he watched drag artists like God Complex and ShowPonii slay the house down boots to his new music. 

"I've always really been drawn to that kind of world," Lambert says of the thriving LGBTQIA+ party scene. "I think even way back before '[American] Idol,' I remember being in L.A., when I was in my early twenties and trying to find the parties. They were pretty underground at the time, where people would dress up and wear crazy makeup. And of course, I was there in my platform boots, stompin' in. So I've always sort of sought out that community. I love it."

Below, Lambert takes GRAMMY.com through the colorful and unapologetically queer inspirations that led to Afters, from the '90s house sounds of Crystal Waters to finding freedom in radical creative expression — and, of course, plenty of sex.  

Feeling Free — And Sexy

I've always loved electronic dance music, I've always loved house. And it's interesting because, for a long time, it was considered sort of "niche" for a gay person to make dance music. And now it just feels like it makes sense. [Laughs.] It's so obvious, you know?

I was working so hard for so long and on tour for so long, and I did a lot of tours with Queen and on my own stuff. I was so focused on my career for so many years, and then as the pandemic kind of faded and we were getting into that next chapter, I made some time for a social life. Which was much needed. That's what kind of inspired me to want to make this music. 

I just wanted to make something that felt like my actual social life — that felt like my life. I'm in a relationship, we've made lots of friends in L.A., we have lots of after-parties. We socialize, we go out, we go to clubs, we go to bars. I wanted to make music for that.

My private life is...exciting is how I would probably put it, and passionate. So it's definitely fueled from that. The music is written in first person, but it's also sort of meant to inspire the listener to want to feel that type of freedom as well. You listen to something about sex and hopefully it makes you go, "Yeah! I feel sexy!"

Overcoming Post-'American Idol' PTSD

When I first came out the gate after Idol, I did a big old performance [at the 2009 American Music Awards]. I got in trouble for kissing the guy and having sexy dance moves and stuff, and that gave me a little dash of almost a PTSD of, like, "Oh, OK, there's a line that I can't cross. And if I do, I could risk losing everything." And that fear drove me down a certain path where I felt like I had to hold back a certain amount. 

That was very much a reflection of where we were at as a society at the time, and what the mainstream was able to digest. The music industry was a different game back then. There were a lot more gatekeepers, a lot more obstacles that I encountered. Now, the industry has shifted so much, just in terms of how people get music, how you can reach your listener, how you can make music, what kind of label situation you have set up. There's a lot less filtering going on. That's what also inspired me to want to make something that was more liberated. 

My perspective has shifted a lot. That fear early on came from a place of, "I don't want to lose this opportunity." There was a little dash of imposter syndrome in there. You know, coming off of "Idol," feeling like, "Oh my god, how did I get here?" It happened so fast. And I think just having stayed in the game over the last 14 years has given me a sense of confidence. It's given me a sense of belonging.

I've found more of who exactly I am over that time. Working with Queen has been a real boost in confidence as well, and has allowed me to sort of feel like I've earned something.

Setting The Mood

I love music that puts you in a mood, in a headspace. And that's what I wanted Afters to be. That's why I called it Afters. It was, yes, you could totally listen to these at a club, but it's also, like, lyrically, when you go to a club and then you go to an afterparty, the rules are out the window. You can do whatever you want, you know? And people feel that freedom. 

There's something to be said about growing up a bit and maturing as a performer. You feel less of a need to prove something [vocally]. I think I'm finding less of an impulse to be, like, "Look what I can do!" and more, "Look what I can make you feel." The "less is more" thing does start to become more obvious.

As I've gotten a little older, too, my voice has shifted a bit. And I have, like, lower parts of my voice that I haven't really dug into before that I definitely did on this project. Which is kind of a fun experiment. I just wanted to do something that was more vibey. 

'90s House & '20s Hyperpop

I like going into a project with, like, a reference and a direction. It gives you sort of a roadmap…I have a whole playlist of newer stuff that I kept adding. A lot of it's somewhat obscure, but then there's artists out there that I think are really cool, like Slayyyter [or] COBRAH. A lot of the DJs that I really like — Chris Lake is amazing. Even stuff like Disclosure… I really love them. I just wanted to make music that made me move.  

I found myself gravitating towards a similar sound over and over again — sort of a dirty house, kind of sexy tech-house sound. Certain textures and sonics that I started noticing as a pattern of the stuff that I liked. 

I love a good, soulful house vocal, always…Like Crystal Waters or any of those. I love that, like, '90s house vibe. And obviously "DEEP HOUSE" [on Afters] has a little bit of that. So does "WET DREAM," where you get into that soulful pocket. It's so fun to sing from that place.

Queer Voices In The Studio 

It was really important for me to make sure there were queer people in the room when I was writing these songs. Back when I was first starting, the major label writing setups that I was put into, there weren't many queer people. And that's changed so much — there's more and more queer people in the music space. Definitely top-line songwriters, and then even more and more, I'm finding producers that identify as queer, and that's really exciting. 'Cause it makes everybody less afraid and just willing to sort of go for it.

"WET DREAM," I did with Sarah Hudson and JHART and Ferras, who I've known for ages. Vincint and Parson James worked with me on "LUBE." Just people that I really admire. Vincint did some background vocals on "LUBE," actually, which is cute. Vincint and I did a collab on his project recently as well, so that was cool that we got to each kind of add to each other's project.

A lot of the songwriters are friends of mine who I've known for a long time. I was like, "Do you want to do a song?" Which makes the writing process so much fun.

Queer Rebellion & Sexual Healing

I think, right now, people want to find freedom. I think people want to find an escape. There is a lot of sociopolitical energy right now that's kind of dark and negative, that's coming at us from the right wing, super-conservative side of the world. Some of that can make us feel dark as well, and kind of discouraged. 

But I also think there's a lot of us, including myself, that feel like that lights a bit of a rebellious flame in us, and makes us want to shine brighter and be bolder and be wilder and crazier than we are. And [I] see that out and about: people are more and more expressive, emotionally, with their identity [and] how they want to explore [it].

There are members of our community that want to explore their gender identity; there are members of our community that want to explore their feminine side or their masculine side. There's, I think, more acceptance in that exploration and that expression right now than there's ever been. It's f—ing great. It's always been there in the [LGBTQIA+] community, but you're just seeing it on display a little bit more. People are more comfortable going there and exploring it, and I love that. 

There's less and less shame around sex than there's ever been. We're more mainstream than we've ever been — there's more with social media and [pauses] other types of media on the internet. And that's really exciting. 'Cause sex is f—ing great. And healing, and wonderful, and exciting. It's our human right to explore our sexuality, and I see more people feeling freer in that. 

Finishing With A Climax

One of the Afters songs, "FACE," was actually created a while ago. I wrote that with Pete Nappi, like…four-ish years ago? During the pandemic, I think. But it sounded very different. And once I started getting more house tunes together, I kinda was like, "OK, can we take this idea and evolve it into a higher BPM and a dancier kind of direction?" 

We sped it up, we added a bigger beat to it, more of a four-on-the-floor feel to make it feel "club." But it's definitely the last track on the EP for a reason. 'Cause it slows down compared to the other songs a bit. If the rest of the EP is foreplay, it's sort of like the home run. [Laughs.] It's like once you get that person that you've been into all night into the bed, what happens?

As summer rolls on, more tracks from artists across all genres continue to drop, and we couldn't be more excited. With album releases from John Summit, HARDY, OneRepublic, and Cat Burns to fresh singles from collaborations including Alesso and Nate Smith, July 12 brings a handful of new music to enjoy.

As you stroll through the weekend, make sure to check out these nine musical projects:

Serving as the lead single from 143, her first studio album since 2020, Katy Perry releases "Woman's World," a new pop track celebrating girl power and womanhood. Perry wrote the track alongside songwriter Chloe Angelides and producers Dr. Luke, Vaughn Oliver, Rocco Did It Again!, and Aaron Joseph.

Initially teasing the track through social media, the song drew attention from pop fans globally. The lead single from 143 marks both a comeback and a new era for the American Idol judge. "I set out to create a bold, exuberant, celebratory dance-pop album with the symbolic 143 numerical expression of love as a throughline message," Perry explains in a press statement.

Guess who's back? Eminem returns with his twelfth studio album, The Death of Slim Shady (Coup De Grâce). The album appears to be his last project before retiring his notorious alter ego, Slim Shady.

A standout track on the album is "Guilty Conscience 2," a sequel to the 1999 collaboration with Dr. Dre. Leading up to the album release, Eminem dropped two singles, "Houdini" and "Tobey," featuring Big Sean and BabyTron. The album is both a blast from the past and a revived representation of the renowned Detroit-raised rapper.

Premiering the song at her Machaca Fest set, Nelly Furtado returns to music with "Corazón," the lead single off her new album 7. The track is an upbeat dance song with lyrics in both Spanish and English, along with drums and flutes that bring it to life. The track was two years in the making, according to Furtado on Instagram.

"The essence of the song is that we're just out here living and trying to do our best," Furtado told Vogue. "Even when we make mistakes, it's coming from the heart. When it comes from the heart, it's never a mistake."

7 is set to captivate both loyal fans and new listeners. Centered around the vibrant theme of community, Furtado felt an irresistible pull toward creating new music, inspired by the diverse communities around her. The spirited energy of the DJ community that breathes new life into her pop classics to this day and the passionate online community yearning for her return, spurred by her collaborations with Dom Dolla and Tove Lo and SG Lewis, have both played a crucial role in Furtado's renewed artistic journey.

Amidst the viral resurgence of her 2019 track "Bags" on TikTok, indie sensation Clairo unveils her eagerly anticipated third studio album, Charm. Co-produced with GRAMMY-nominated Leon Michels of El Michels Affair, this enchanting project underscores a striking blend of musical artistry and innovation.

"I want afterglowing, and when I call a car / Send me eyes with the knowing that I could pull it off," she sings in "Sexy To Someone," the lead single from the album. Putting introspective lyricism at the forefront of all her projects without sacrificing quality instrumentals, this album is no exception.

In this genre-crossing collaboration, electronic artist Alesso joins forces with country singer Nate Smith on their new single, "I Like It." Though an unexpected blend of styles, the song blends elements from both artists' sounds, seamlessly combining country and dance as they proudly declare, they "like it like that."

With Alesso's electrifying instrumentals perfectly complementing Smith's spirited country vocals, the track captures the essence of summer in a song and is set to make waves throughout the season.

Featured as the official theme song for the upcoming movie "Kingdom IV: Return of the Great General", Japanese rock band One Ok Rock releases "Delusion:All." The upbeat, cinematic track is the band's latest contribution to the "Kingdom" movie soundtrack series, following their 2019 song "Wasted Nights." 

"It's been a while since we wrote 'Wasted Nights' for the first series of 'Kingdom,' and we are very honored to be a part of the movie again," said vocalist Taka in a press statement. "We tried to reflect "the various conflicts going on in the world today and the modern society" in the song, while making it blend into the worldview of 'Kingdom.'"

A love letter to her community and a deep dive into the intricacies of adulthood, Cat Burns presents her debut album, Early Twenties. Accompanying the album is a captivating short film directed by Libby Burke Wilde. The film tells the individual narratives of each character, touching on themes of mental health, relationships, and personal identity, mirroring the album's essence. 

With this well-rounded creative project, Burns showcases her full artistic prowess, making these releases a testament to her pioneering creative vision.

Making a triumphant return to music after 12 years, Uncle Kracker breaks down the boundaries between genres once again with his latest album, Coffee & Beer. The 13-track album intertwines country, pop, and rock, offering a musical journey that ranges from high-spirited anthems to laid-back, mellow tracks. 

"I wanted to give my fans a soundtrack to summer and what's better than the balance of first coffee…then beer? Coffee & Beer is going to be a fun one. Cheers," Uncle Kracker said in a press statement.

Drawing inspiration from the golden era of '70s Congolese rumba, Ghanaian highlife, and Nigerian afrobeat, the Meridian Brothers unveil Mi Latinoamérica Sufre. This concept album integrates the electric guitar into tropical Latin music in an innovative fashion. The album showcases a dynamic tapestry of sounds, blending cumbia, champeta, soukous, Brazilian tropicalia, and psychedelic rock, making it an exciting sonic journey.

For countless Americans, "American Idol" is intertwined with core memories as a show that had families eagerly glued to their TVs twice a week. It brought generations together, creating moments of both suspense and excitement that are still remembered today, as the show continues to run in its 22nd season.

Created by visionary entrepreneur Simon Fuller, "American Idol" premiered on June 11, 2002, as a fresh spin-off of the British program "Pop Idol." It revolutionized how Americans engaged with reality TV through its interactive, viewer-driven voting system, which encouraged audience participation in the success of their favorite contestants. The show also offered viewers a glimpse into contestants' candid backstories and personal journeys, anchoring emotional investment and skyrocketing the show's popularity.

The show's debut season featured a dynamic trio of judges: singer Paula Abdul, TV personality Simon Cowell, and producer Randy Jackson. Their contrasting personalities brewed a chemistry as captivating as the hopeful performances. Abdul’s warmth, Cowell's blunt wit, and Jackson’s humor added extra layers of entertainment, making the twice a week broadcasts a must-watch.

The first season of "American Idol" also unforgettably introduced the country to Kelly Clarkson. Since her debut — with a heart-tugging backstory about being the average girl-next-door with big dreams — Clarkson has gone on to tour the world, host her own TV talk show, and secured her spot as one of music’s most beloved talents. 

"I had dreams since I was a little girl that I wanted to be on the GRAMMYs, or some award show and sing on there," Clarkson mentioned in her pre-audition interview. Flash forward 22 years, the pop singer has accumulated 17 GRAMMY nominations and three wins, propelled by a powerful vocal gift.

Other artists who launched their careers from the show's platform include Jordin Sparks, Carrie Underwood, Adam Lambert, and Jennifer Hudson, who each serve as testament to the show’s impact in music.

"American Idol" has not only opened our eyes to some of our favorite musicians, but it also has given us some of our favorite pop culture moments.

A video that frequently resurfaces on social media captures a memorable moment between Katy Perry and contestant Noah Davis, where they bond over the slang term 'wig'. 

"No, it’s not your language. It’s just for us," Perry joked to her fellow judges, Lionel Richie and Luke Bryan, when they questioned the term’s meaning.

After two decades on air, "American Idol" has etched a lasting legacy in pop culture. It has paved the way for other reality TV music shows and created lasting memories for music fans along the way.

“The show transcends age, gender, ethnicity, everything,” Underwood told Billboard in 2005. 

How Many "American Idol" Winners Have Won GRAMMYs? A Rundown Of Wins And Nominations For Kelly Clarkson, Carrie Underwood & More