The Roots Picnic is back for its 12th year and this time will feature a special headline performance from GRAMMY-winning band The Roots in celebration of the 20th anniversary of their Things Fall Apart  album. H.E.R., 21 Savage and Lil Baby are among other artists on the music festival's bill happening June 1 in Philadelphia.

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Raphael Saadiq,Tank & The Bangas and CityGirls will also have sets at the 2019 edition that will happen at The Mann At Fairmount Park. In a statement,  the Roots manager Shawn Gee and President of Live Nation Urban said the park had always been a part of the "vision" for the fest.

"We finally have a Roots Picnic in the Park,” he said. “The vision 12 years ago was always to provide an all day musical and cultural experience in Fairmount Park. Black Thought, Questlove and I grew up spending our Sunday afternoons at the Belmont Plateau in Fairmount Park watching Philly DJs spin, and enjoying the vibe and the culture. It’s a great feeling to be able to come full circle and bring the Picnic to Fairmount Park, I think it’s a big WIN for the city."

RELATED: On 'Things Fall Apart,' The Roots Deepened Hip-Hop

In honor of their fourth album celebration, Questlove announced that the group would perform the whole album with special guests. "Finally: in honor of the 20th Anniversary Of our 4th album #ThingsFallApart we @TheRoots will perform the entire jawn w special guests live at our new location: The Mann At Fairmount Park Saturday June 1st 2019!" he posted on Instagram. 

Podcasting will also have a presence at the event; there will be live recordings of The Joe Budden Podcast, The Read Podcast and the Questlove Supreme Podcast.

Presale is open now and tickets for the general publuic go on sale March 15 12:00 p.m. EDT. For more information on tickets, visit the Ticketmaster website.

John Legend Pays Tribute To Aretha Franklin With A Stunning Cover Of "Bridge Over Troubled Water"

Metro Boomin has spent more than a decade redefining rap music. The gloomy, 808-induced trap beats that flood radio airwaves and blare from nightclub speakers are a symbol of his influence. But now, the Atlanta-based superproducer is on one of his biggest musical runs to date.  

In April, Metro released the second of two joint albums with Future, hinted at a third release this year, sold out a concert at the Kundalini Grand Pyramids in Egypt, and clinched the No. 1 spot on Billboard’s Hot 100 with "Like That" featuring Kendrick Lamar. He also delivered a first-of-its-kind instrumental diss aimed at Drake called "BBL Drizzy," accusing the Toronto rapper of going under the knife.  

The diss was in response to Drake’s "Push Ups" and subsequent disses toward Kendrick Lamar. "Metro shut your hoe ass up and make some drums" he rapped. The verbal blow inspired Metro to release the hilarious instrumental, which he encouraged fans to rap on for a chance to win a free beat.  

Months before the feud, Metro celebrated two nominations for Best Rap Album and Producer of the Year, Non-Classical at the 66th GRAMMY Awards. While he didn’t take home a coveted golden gramophone, the momentum has elevated his career to new heights.  

Before the St. Louis-bred producer kicks off the We Trust You tour with Future on July 30, revisit 10 of Metro Boomin's biggest releases.  

"Karate Chop" (2013) 

A 19-year-old Metro crafted his first charting single right before making a life-changing move to Atlanta. With piercing synths and bubbly arpeggios, the song was the lead single for Future’s highly anticipated sophomore album, Honest. 

But Metro, a freshman at Morehouse College at the time, wasn’t sold on its success. "I never really like it," Metro told XXL. "Then every time people would come into the studio, he would always play the record and I was like, ‘Why are you so stuck on this s—? We have way harder records.’"  

But after cranking out a new mix on the original track, "Karate Chop" went on to become his first placement on a major label album. The remix with Lil Wayne further elevated the record and, by virtue, Metro’s profile as a musical craftsman.  

"Jumpman" (2015) 

 Metro mastered the late-summer anthem in 2015 with "Jumpman." The song was the most notable hit from Drake and Future’s collaborative mixtape, What a Time to Be Alive, and went on to shut down bustling nightclubs and obscure strip joints. And while the record didn’t perform as well as other songs on this list, it secured Future his first Top 20 hit.  

The song — which features Metro’s signature bass and a screeching raven sound effect — also saw a streaming boost after an Apple Music commercial featuring Taylor Swift rapping to the song. According to Adweek, the campaign helped generate a 431 percent increase in global sales 

 What makes "Jumpman" even more special is that a collab between Future, Metro, and Drake may never happen again. Reportedly, the duo is at odds with Drake because the OVO artist decided to link with 21 Savage on Her Loss instead of doing a follow-up project with Future.  

"Father Stretch My Hands Pt. 1" (2016) 

"Father Stretch My Hands Pt. 1" is the song that set Kanye West’s album, Life of Pablo, ablaze. Opening with a clip of gospel musician and singer T.L. Barrett’s Father I Stretch My Hands,” Metro’s signature producer tag kicks the record into full gear. The pulsating synthesizers and bouncy percussion match West’s raunchy and sexually explicit lyrics.  

Metro’s production received significant praise, with several publications pointing to his contributions on end-of-year listings. And in the eight years since its release, "Father Stretch My Hands Pt. 1" has been certified six times platinum by the Recording Industry Association of America, making it one of Ye’s most-sold records of all time. 

"Congratulations" (2016) 

After the success of "White Iverson," a young Post Malone was on the hunt for the hottest producers in the rap game. He managed to land Metro, who worked with fellow producers Frank Dukes and the prolific Louis Bell on the triumphant trap record "Congratulations."  

On a 2022 episode of the podcast "Full Send," Metro revealed that the celebratory song was made after watching the world’s greatest athletes eclipse historic feats of their own. "I remember the Olympics was on TV, and just how the music was sounding, it sounded like some champion s—," he said.  

"Congratulations" marked Post Malone’s second Top 20 hit following his debut, "White Iverson." The song was certified diamond after totaling more than 11 million combined sales. Today, it remains one of Metro’s biggest achievements.

"Bad and Boujee" (2017) 

Fueled by virality and a shoutout from Donald Glover at the 2017 Golden Globes, the Migos and Lil Uzi Vert’s "Bad and Boujee" landed Metro Boomin his first No. 1 Billboard hit as a producer.  

The song has every element Metro fans have grown to love: moody keys, hard-hitting bass, and plenty of room for the artists’ adlibs to pierce through the track.  

Two months before its eventual ascension, the song had a steep hill to climb atop the Billboard charts. But Metro’s production and the chemistry between Quavo, Offset, and Uzi helped the record shoot up to its rightful place. It continues to garner praise In the years since its 2016 release, too. It was ranked No. 451 on Rolling Stone’s "500 Greatest Songs of All Time" list 

"Mask Off" (2017) 

When "Mask Off" dropped in 2017, it scorched the Billboard charts. Hip-hop was flirting with flutes (as heard on songs like Drake’s "Portland" and Kodak Black’s "Tunnel Vision" — another Metro-produced beat) — but "Mask Off" stands out as the biggest song of the short-lived era.  

Metro infused jazz-like undertones to perfectly meld the flute lick into the dark and mystic beat. The record led to the remix with Kendrick Lamar, with his verse breathing new life into the already-seismic hit. It’s now certified nine times platinum.  

Years after the song’s release, Future said "Mask Off" initially put radio programmers in disarray. In his East Atlanta rapper’s Apple Music documentary The WIZRD, he revealed that the song dropped before Carlton WIlliams’ "Prison Song" sample was officially cleared. "Out of all the songs, ‘Mask Off’ wasn’t even legit," he said. "The s— was on the radio, they’re thinking it’s not a sample, but it got so big they were like, ‘It’s a sample.’" 

"Heartless" (2019) 

The Weeknd's "Heartless" is a pop and electro-clash classic that fires on all cylinders. The visuals are atmospheric, the lyrics are ultra-stimulating, and the production — partly handled by Metro — makes for a lasting club banger.  

The leading single for The Weeknd’s fourth studio album, After Hours, topped the Billboard charts. It marked the Toronto-born crooner’s fourth No. 1 hit and unveiled the depths of Metro’s musical arsenal.  

Metro produced four tracks on After Hours: "Faith," "Escape from L.A.," "Until I Bleed Out" and "Heartless." On the latter and in his other collaborations with The Weeknd, James Blake, and Solange, Metro’s creative sorcery was tested. He proved, once again, that he could generate a hit outside the confines of trap music.  

"Creepin’" (2022)

After a solid outing on his first album Not All Heroes Wear Capes, Metro returned with another series of hard-hitting records. His second solo venture, Heroes & Villains, featured John Legend, Don Tolliver, Travis Scott, and other premiere artists. But the biggest song to come out of the star-studded lineup was "Creepin’" featuring 21 Savage and The Weeknd.  

The only single to Metro’s second solo album struck sonic gold. The Weeknd’s flowy vocals overlay the silky and harmonic record, which transitions to a more trap-induced beat once 21 Savage’s verse kicks in. The remake of Mario Winans’ "I Don’t Wanna Know" was a notable departure from Metro’s past singles, which heavily lean on his trap roots. But it still managed to connect with his audience – and even beyond it. "Creepin" peaked at No. 3 on Billboard, which was Metro’s highest-charting solo record up until that point.

Spider-Man: Across The Spider-Verse (2023) 

Following the success of "Creepin’" and his other smash singles, Metro extended his creative powers to the film world. He was given the green light to executive produce the soundtrack for Sony’s Spider-Man: Across the Spider-Verse. 

Metro Boomin told Indie Wire that he crafted songs from rough animations and selected scenes "just to get in the world and the story of Miles [Morales] and what he’s going through," He even exchanged phone calls and texts with the film’s composer Daniel Pemberton to ensure the soundtrack and score were on the same accord.  

From the classical serenade "Am I Dreaming" to the Latin swing of "Silk & Cologne" and the Timbaland-stomping "Nas Morales," the result was an equally transformative musical experience. Each record ranged in musicality and tone while beautifully complementing the vibrant animated superhero flick.

"Like That" (2024) 

"Like That" is easily one of the best beats in Metro’s catalog, and may end up being one of the most memorable. Samples from Rodney O & Joe Cooley’s "Everlasting Bass" and Eazy-E’s 1989 classic "Eazy-Duz-It" shaped the bouncy trap beat, sinister synths, and spine-chilling baseline. But Kendrick Lamar’s verse turned it into a heat-seeking missile.  

With the song’s thunderous bass and rapid hi-hats in the background, Kendrick dissed J. Cole and Drake for their recent claims of rap supremacy, particularly on 2023’s "First Person Shooter." The lyrical nuke sparked the Civil War-style rap feud, which led to a seven-song exchange between Kendrick and Drake.  

The initial musical blow made the genre stand still. It also led to the massive success of the record, which notched Future and Metro another No. 1 hit song. It also helped the pair’s album, We Don’t Trust You, claim the top spot on the Billboard 200 albums chart.  

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer 

In the days leading up to Usher’s Super Bowl performance, the singer waxed poetically about the significance of this moment not only in popular culture but for Black music.

Speaking with Kelly Carter on "Good Morning America," Usher reflected on the history of Black entertainers who performed for the masses under restrictive laws. Although a majority of those laws have been overturned, it would be remiss to not think about the recent series of court cases that have targeted Black musicians, such as Atlanta-based rapper Young Thug, whose music is currently being used against him in court. 

For singers like Usher who have been privy to the ways in which Black music — and those who create it — have been mistreated, his halftime performance was as much as a statement as it was a tribute to those who came before him. "I'm coming through the front door with this one," Usher told Carter.

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It is only fitting that the performance opened with lines from "My Way" — the title of his Las Vegas residency, which has featured a who’s who of prominent figures in pop culture — before launching into "Caught Up." Usher then descended from his anointed throne in a crisp, all white Dolce & Gabbana ensemble, he began a Michael Jackson-inspired dance routine with an array of backup dancers; the standout being renowned celebrity choreographer Sean Bankhead.

Usher made it clear early on, however, that his performance was no mere spectacle. He paused to deliver a testimony, one that bears repeating despite his new album and $100 million-earning Vegas residency: "They said I wouldn't make it, they said I wouldn't be here today, but I am." 

Once the air cleared and Usher thanked his momma for her steadfast advocacy and faith in him, he led Allegiant Stadium in a sing along of "Superstar." The track from 2004’s Confessions recently inspired a viral challenge on TikTok. 

A consummate performer and supporter of his peers, Usher wasn't content to simply highlight his own success. The singer transformed Allegiant Stadium to "The Yard" — the singular place at Historically Black Colleges and Universities, where students gather to talk, discuss, and have fun — and filled it with music. 

Usher’s Yard included a performance of "Love In This Club" with the assistance of two members of Kappa Alpha Psi Fraternity Inc., the second oldest Black fraternity in the U.S. The trio was supported by the Jackson State University marching band, known as the "Sonic Boom of The South," to finish the song. 

Even his brief moment of affection with singer Alicia Keys, who joined the singer for "My Boo," can be described as a "homecoming hug." Homecoming is another HBCU tradition, where alumni convene at their respective campuses and greet their former flame with a hug.

When Jermaine Dupri entered the stage to announce the 20th anniversary of Confessions, the transportation was complete. The audience was no longer in Vegas, but in Atlanta, the Black Mecca of the world. And Usher is Atlanta’s nucleus.

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It is here that the spirits of Michael Jackson, Marvin Gaye, and Prince accompanied Usher as he bewitched millions with a singular microphone and momentum stage presence. A haze of purple clouds and smoke led the way for singer H.E.R., the night’s self appointed "Bad Girl" and her crew of roller skating baddies.

While Usher may have began the halftime show with the enthusiasm of a young boy who just got his chance to perform a solo in the church choir, by its end he was fully inhabiting his chart-topping sex icon persona.Will.i.am’s voice rippled through the stadium as Usher, donning a blue and black Off-White outfit reminiscent of football shoulder pads, glided onto the stage with an aura that is equal parts charismatic and sinful sweet. 

Skating, a main tenant of Atlanta’s culture, is embedded in Usher’s ethos and a part of his larger business. The singer loves skating and owns several skating rinks.

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Usher finished the extravagant performance with "Yeah!" — a song beloved in Atlanta and far, far beyond. That the song is turning 20 this year and still resonates with a global audience (not to mention a football-loving one) is further evidence that Usher truly is the "King of R&B."

"Your moment is your moment. And this is a moment I’ve prepared for during the last 30 years," Usher told Billboard ahead of the Super Bowl. 

He certainly owned his moment. Usher's Super Bowl halftime show was no singular performance or an audition, but a coronation. He was receiving the torch carried by all the Black entertainers who preceded him, and reminding the world that the South still has something to say. 

Surrounded by Ludacris and Lil Jon,  strippers, and his own marching band, Usher closed the night out with the A-Town Stomp and one important phase: "I took the world to the A!" 

Usher's Biggest Hits, From Baby-Making Slow Jams To Dance Floor Classics

He’s (still) got it bad! Usher lit up Super Bowl LVIII with an electrifying halftime show filled with a career-spanning setlist, drool-worthy dance moves and a parade of surprise guests including Alicia Keys, Ludacris, Lil Jon, H.E.R., will.i.am and more.

Days before taking the stage at Allegiant Stadium, the eight-time GRAMMY-winning R&B superstar opened up to Apple Music about the creative approach he took to planning his halftime show. “What I did is, I was very mindful of my past, celebrating my present, which is here in Las Vegas, and thinking about where we’re headed in the future, and that was really the idea,” he said. “What songs do I feel people know me for? What songs have been a celebration of all of the journey of what life and love and emotion has been offered in my music?

Usher’s halftime show comes on the heels of a monumental year and a half for the star, following his sold-out 100-show Las Vegas residency, My Way, at the Park MGM’s Dolby Live Theater. The R&B heartthrob also released Coming Home — his ninth studio album (and first in nearly a decade) on Friday — just two days before his epic performance.

Below, GRAMMY.com broke down all the best moments from Usher’s momentous halftime show.

That Grand, Las Vegas-Style Entrance 

From the drop, Usher let us know his Super Bowl set would be a celebration of all things Sin City as the camera wove through acrobats, showgirls, contortionists and dancers to reveal the R&B icon in all his glory — dressed in a dazzling white cape and seated on a mirrored thrown. 

From there, he launched into a high-energy rendition of “Caught Up,” one of the five consecutive top 10 singles from his landmark 2004 album Confessions. Not even an acrobat being launched through the air could distract from Usher’s swagger as he sauntered across the field.

A Sweet Shout-Out to His Mom

Transitioning between 2003’s “U Don’t Have to Call'' and a snippet of Confessions deep cut “Superstar,” Usher took a moment to recognize the magnitude of the occasion with a shout-out to his mother, Jonetta Patton. “But if you do call, know that God answers prayers. They said I wouldn’t make it. They said I wouldn’t be here today, but I am. Hey, mama, we made it. Now this — this is for you. My number one,” he said before crooning, “Spotlight, big stage / Sixty-thousand fans screamin’ in a rage.”

A Nostalgic Duet with His “Boo”

Usher’s halftime performance really hit its stride once he broke into his 2008 No. 1 hit “Love in This Club” with a full marching band. But the end of the song delivered the first big surprise of the night as the singer gestured across the field to introduce none other than Alicia Keys.

Seated at a futuristic red piano with a majestic cape of the same shade billowing behind her, the 16-time GRAMMY-winning singer-songwriter performed a snippet of her own 2004 single “If I Ain’t Got You” before being joined by Usher on their No. 1 hit “My Boo.” 

The pair’s decades of friendship were palpable as they belted out, “I don’t know about y’all but I know about us, and uh / It’s the only way we know how to rock / It started when we were younger, you were mine / My boo” and the number ended with both stars grinning ear to ear as Usher wrapped his arms around Keys. 

“Burn”-ing Up to Confessions

With producer Jermaine Dupri playing hype man, Usher celebrated the 20th anniversary of Confessions by running through a medley of songs from the 14x-platinum album, including “Confessions Part II” and a soaring take on “Burn,” which was undeniably one of the standout vocal moments of Usher’s entire set.

The star also put his sex appeal on full display, tearing away his glittery silver top to reveal a simple white tank as he performed “U Got It Bad” — only to remove that as well, finishing the song shirtless and glistening with sweat before ceding the spotlight to H.E.R. on an electric guitar.

“O.M.G.,” That Roller Skate Choreography!

Joined by will.i.am, Usher returned to stage dressed in a sparkling black-and-blue ensemble and roller skates — incorporating a popular moment from his recent residency as he ran through his 2010 chart-topper “O.M.G.” by nailing the choreography on wheels. For added measure, he finished off the section by skating deftly through will.i.am’s legs and striking a pose. 

Peace Up, A-Town Down

Of course, the grand finale of Usher’s halftime set couldn’t be anything but “Yeah!,” his smash worldwide hit that became the longest-running No. 1 of 2004 and an inescapable soundtrack to the early 2000s. Enlisting help from collaborators Lil Jon and Ludacris, Usher turned Allegiant Stadium into an all-out dance party and brought his halftime show to a triumphant climax with the song’s infectious, shout-it-out chorus.

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Editor’s note: This article has been updated on Monday, Jan. 22 to include mention of Victoria Monét and reflect D’Mile’s 2024 GRAMMY nomination.

"He is a genius. I don’t feel like most people realize how much of a genius he actually is" producer D’Mile asserts when thinking back on his popular project with Bruno Mars.

But prior to the formation of Silk Sonic, longtime friend and bandmate Anderson .Paak implored Mars and D’Mile to come together for a session. "Once we realized we were doing a group project, I think it was easy for all of us to know what kind of vibe it was going to be," D'Mile says. 

"Leave The Door Open,'' the GRAMMY-winning product of the trio’s collaboration, became a hit for its groovy R&B bridges and velvety vocal harmonies — and D’Mile’s career skyrocketed. Now, he is a creative backbone behind many top artists, infusing discographies with blues, jazz and neo-R&B, while engineering for Beyoncé, Jay Z, Lupe Fiasco, H.E.R. and others. Now, D’Mile is nominated for Producer Of The Year, Non-Classical, at the 2024 GRAMMYs, alongside Jack Antonoff, Hit-Boy and more.

 At the66th GRAMMY Awards, D’Mile is nominated forProducer Of The Year, Non-Classical for his work on JAGUAR II. TheVictoria Monét record is nominated for Best R&B Album and Best Engineered Album. Non-Classical.

Long before earning a clutch of awards, D’Mile was disciplined in a musical household. Dernst Emile II, a.k.a. D'Mile was born to two esteemed Haitian musicians —  vocalist Yanick Étienne and Dernst Emile, an established music arranger and instrumentalist —  with a wide global lineage and appreciation of the music of the African diaspora. Coming up in Brooklyn,  D'Mile learned the piano from his father, and would hear his mother sing jazz and Haitian konpa around the house.

"They would always work together," the music producer bashfully remembers over Zoom, chuckling. "My dad [still] gives private lessons to this day. I was just always around instruments my whole life — the jam and recording sessions. I feel like I am just a younger version of him." 

A young D'Mile inherited the musical aptitude of his parents, nurturing his musical roots while keeping his ear close to the ground as his career blossomed. "One of my first [producer] placements ever was actually Mary J. Blige in 2005," D’Mile reflects bashfully. That single was the title track on Blige’s 2005 album, The Breakthrough, which won the GRAMMY Award for Best R&B Record.  

Nearly two decades into producing music, D’Mile applies artists' personal experiences to the music they create together, tailoring their sounds as a reflection of who they are, at the moment he meets them. "I just do what I know when I feel right in my heart," D’Mile says, shrugging his shoulders. "[But] when I do a collab with an artist, I try to speak to who they are through the music."

That insight, and ability to cohere an artist's essence with contemporary culture, has led to many hit-making moments. After having compulsive thoughts of quitting music over the past decade, D’Mile ignited an artistic flare at the beginning of the pandemic and a plethora of gold-plated accolades was on the horizon. 

From 2020 to 2022, D’Mile experienced highs that accelerated career’s trajectory. At the 2020 GRAMMY Awards, D’Mile received seven nominations for his work on Lucky Daye’s debut album, Painted and H.E.R’s second album, I Used To Know Her. Following the police murder of George Floyd, D'Mile channeled racial tensions into H.E.R.'s "I Can’t Breathe"; the song won the coveted GRAMMY Award for Song Of The Year in 2021. That same year, D'Mile won an Academy Award for Best Original Song ("Fight For You") in the motion picture, Judas and the Black Messiah.

D'Mile's star only continued to rise in 2022. At the 64th GRAMMY Awards, the producer took home three golden gramophones for his work on Silk Sonic's "Leave the Door Open" — including Song and Record Of The Year. A testament to his production expertise and wide-ranging ear, D'Mile was also nominated for his efforts on Christian/Contemporary song "Hold Us Together (Hope Mix)."

"I am not saying my first accomplishments haven’t hit me yet, but it is just unbelievable sometimes to think of all of the good things that have been happening in my career recently," D'Mile reflects.

At the 66th GRAMMY Awards, D’Mile is nominated for his work on JAGUAR II; the Victoria Monét record is nominated for Best R&B Album and Best Engineered Album. Non-Classical.

The Los Angeles-based musician is nourishing the nucleic basis of R&B, creating an environment for upcoming and celebrated artists to rejoice and evolve. The producer shared memories from some of his favorite collaborations with GRAMMY.com.

Joyce Wrice - Overgrown

Executive produced by D’Mile, Joyce Wrice's 2021 debut album is an exquisite gift to R&B buffs. The bluesy 14-track Overgrown is a delineation of nostalgic 90’s R&B and hip-hop, with pitched vocal highs and emotional lows.

"The first time Joyce and I met in the studio, I was picking up on who she is as a woman and her vision for Overgrown," says D’Mile. "I got close with her and I would gather information off of what she would play me. I feel like when I make music, that's me kind of examining who you are."

Throughout Overgrown, the San Diego native sings about the pains of healing from heartbreak and unrequited love. The album is also a celebration of womanhood, where a confidently independent Wrice embraces the mental strength she discovered while finding herself. 

Buddy - "Happy Hour"

Compton-raised rapper Buddy released his sophomore album, Superghetto, in 2022 and D’Mile produced one of the most popular tracks from the project. "Happy Hour" is an ode to letting loose and treating life as joyously chaotic as ordering a drink at a crowded bar on a weekend night.

"Buddy and I created this song a couple of years ago," D’Mile recalls, thinking deeply about the track's origins. 

The single can be seen as a sequel to T-Pain’s 2007 anthem, "Bartender" — and fittingly so. Adds D'Mile, "T-Pain hopped on the track maybe a few months before it was released. I can’t take credit for getting that feature on the song, but it did make all the sense in the world."

H.E.R’s "Fight For You," "I Can’t Breathe" & I Used To Know Her

In 2021, D’Mile got together with longtime collaborators H.E.R and singerTiara Thomas to create socially-charged songs that highlighted the atrocities of police violence against Black Americans.

"The creation of these songs started with a conversation," D’Mile says, smiling as he reflects on the trio's tight bond. "H.E.R and Tiara were talking about what was going on in the world. H.E.R. is an artist that really cares about people and cares about what's right."

D'Mile recalls that H.E.R. picked up a guitar and played "I Can’t Breathe." "I remember tearing up when I first heard the song and I just knew exactly what I needed to do to help."

The producer also assisted on the tearful tune "Could've Been," which was also born from this session and later appeared on H.E.R’s second LP.

Victoria Monét - Jaguar

D’Mile had his hands in all processes behind the production of Victoria Monét’s debut album, Jaguar. The supersonic 2020 project is a funky unification of fun R&B with sultry pop melodies.

While Monét has penned lyrics for Ariana Grande, Nas, Chris Brown and others, Jaguar was the Georgia native's first full-length foray as a solo artist. The performer, dancer and recent mom is also using D’Mile’s musical compositions on her next album.

D'Mile says he's excited for Monét’s next musical chapter, which incorporates her experiences with motherhood and more sass.

"We dug a little deeper. She is an artist that I feel really comfortable with," the producer says of Monét's forthcoming record. "There might be a couple of songs that you wouldn’t expect from her, and then there are songs that are just incredible records."

And all in all? “That’s my fam. That’s like my sister, you know. Me and Vicky have known each other for years,” he said in another interview. “I’ve always been a fan. I’ve seen her grow and we’ve worked on and off pretty much since the beginning.”

Silk Sonic - An Evening With Silk Sonic

The breakout group of 2021 were undoubtedly the nostalgically catchy vocal duo Silk Sonic — a project of Bruno Mars and Anderson .Paak. D’Mile executive produced the entire An Evening With Silk Sonic album, which swept the 64th GRAMMY Awards.

D’Mile related immensely to Bruno Mars, who is also a producer, and found commonality in .Paak's interest in older R&B originals from the likes of Michael Jackson, Donny Hathaway and Stevie Wonder. The stars finally aligned in 2020 when Anderson reached out to D'Mile about a collaboration.

"It took us two years to create the vision and we all just kind of love that era of music [that Silk Sonic is emulating]. That's what we grew up on," D’Mile reminisces. "'Smoking Out the Window' was a song that Bruno and Anderson sat on for five years until the right moment came. It feels like a blur because we were just having so much fun together."

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