Editor's Note: The 2022 GRAMMYs Awards show, officially known as the 64th GRAMMY Awards, has been rescheduled to Sunday, April 3, at the MGM Grand Garden Arena in Las Vegas. The below article was updated on Tuesday, Jan. 18, to reflect the new show date and location.

What were the songs that defined your 2021, a year where the world tentatively felt its way back to normalcy? Were they Olivia Rodrigo's bedroom-floor ruminations? Billie Eilish's hushed revelations? Lil Nas X's colorful odes to LGBTQ+ romance? Silk Sonic's gilded funk-soul throwbacks?

Well, all those artists are up for Song Of The Year at the 2022 GRAMMYs Awards show — as are Ed Sheeran ("Bad Habits"), Alicia Keys feat. Brandi Carlile ("A Beautiful Noise"), Olivia Rodrigo ("drivers license"), H.E.R. ("Fight for You"), Billie Eilish ("Happier Than Ever"), Doja Cat feat. SZA ("Kiss Me More"), Silk Sonic ("Leave The Door Open"), Lil Nas X ("MONTERO [Call Me By Your Name]"), Justin Bieber feat. Daniel Caesar and Giveon ("Peaches") and Brandi Carlile ("Right On Time").

While the 2022 GRAMMYs Awards show will offer all the esteemed categories viewers have come to expect, there's truly no category like Song Of The Year. It's a testament to artists who have mastered how to pack personality, punch and poetry into just a few minutes.

These are artists who best leveraged their outlets to shepherd us through uncertain times, find joy in the small things and weave the sounds, rhythms and melodies that drive our days and nights. Ahead of the ceremony on April 3, 2022, here are the nominees for Song Of The Year.

Nominations for the 2022 GRAMMYs Awards show are officially here! See the full list of nominations.\

"Bad Habits" — Ed Sheeran

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//orJSJGHjBLI' frameborder='0' allowfullscreen></iframe></div>

Don't let the title of "Bad Habits" — or Sheeran's Dracula-fanged visage in its video — tell you otherwise. The four-time GRAMMY winner's slinky lead single from his new album, =, is a guilt-free pleasure.

And the tune's sheer pop patina belies a surprising fact: Sheeran didn't initially hear "Bad Habits" as the single.

"My single was scheduled to come out in June, and I was like, 'I don't know if the world needs a depressing sad, slow acoustic song when it's all opening up,'" he told James Corden on The Late Late Show in 2021. "So, I was in the studio and we created this song and it's just fun, I think."

That's an understatement when it comes to its firepower — "Bad Habits" is a sly, hooky delight.

Read More: Fall 2021 Album Guide: From Taylor Swift to ENHYPEN to NBA Youngboy, 10 Upcoming Releases To Listen To As The Seasons Change

"A Beautiful Noise" — Alicia Keys feat. Brandi Carlile

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//_yU1x-p_OdY' frameborder='0' allowfullscreen></iframe></div>

There's no lever of democracy like the power to vote — so why do roughly half of those eligible in America choose not to do so?

The answer is complicated and manifold, but that didn't stop Keys and Carlile — plus a consortium of other powerful female songwriters, from Brandy Clark to Lori McKenna to Linda Perry — from doing something about it ahead of the 2020 presidential election. Together, they concocted the impactful "A Beautiful Noise," a gentle-yet-firm song of urging to get regular folks to use their oft-neglected democratic powers.

Sure, one person's vote might be a drop in the ocean, Keys acknowledges in the song. But together, the electorate is like an unstoppable deluge.

"When you're all alone, it's a quiet breeze," she sings. "But when you band together, it's a choir of thunder and rain."

Take A Look Back: For The Record: Inside Alicia Keys' Masterpiece Songs in A Minor At 20

"drivers license" — Olivia Rodrigo

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//ZmDBbnmKpqQ' frameborder='0' allowfullscreen></iframe></div>

The lovelorn ballad that leveled the internet proved to only be the beginning for Rodrigo. Her 2021 album Sour uses it as a diving-board into a multitude of styles.

Still, it arguably remains her signature song. Why? Because it's possible no other songwriter has captured this very specific locus on the map of heartache.

"drivers license" is about spending your entire relationship ideating the point where you can drive to your beau's pad — only for him to move on right at the moment of truth.

The gut punch? "Guess you didn't mean what you wrote in that song about me," Rodrigo sings in the chorus. "'Cause you said forever, now I drive alone past your street."

"Fight For You" — H.E.R.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//Nu8TS2Vr6lo' frameborder='0' allowfullscreen></iframe></div>

If the global racial reckoning in 2020 was like the cauterization of a wound, H.E.R.'s "Fight for You" is like those first spasms of pain — good, necessary, authentic pain.

From Gabi Wilson's first, wordless aria to the spectral chorale that carries it to the end, the song feels like a Pandora's box of psychological nightmares, finally exorcised into the ether.

"Their guns don't play fair/All we got is a prayer," she sings over a rhythm-and-blues backing that wouldn't sound out of place on a Marvin Gaye or Donny Hathaway record. "It was all in their plans/Wash the blood from your hands."

Musically, it shows Silk Sonic weren't the only vanguards for horn-fueled soul in 2021: H.E.R.'s contribution to Judas and the Black Messiah feels like a throwback in the most vivid, meaningful way.

Take A Look Back: H.E.R. Wins Song Of The Year For "I Can't Breathe" | 2021 GRAMMY Awards Show

"Happier Than Ever" — Billie Eilish

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//5GJWxDKyk3A' frameborder='0' allowfullscreen></iframe></div>

Let's set lyrics aside for a second and talk about pure sound: is there another pop phenom doing more with less than Eilish?

The title track to 2021's Happier Than Ever is little more than guitar, voice and some subtle, spacey ambience from her brother and co-conspirator FINNEAS.

As for the words themselves, they're economical and beautiful: "When I'm away from you/ I'm happier than ever," she croons in the chorus. "Wish I could explain it better/ I wish it wasn't true."

But then, the production tilts from dreamland into realism, and the words shift with the vibe: the object of her heartache is careening drunk while behind the wheel. Eilish, too, swerves from philosophical to flat-out vindictive. And as the song explodes into punishingly noisy and bitcrushed dimensions worthy of a Microphones track, it all crescendos with five words: "Just f***ing leave me alone!"

Read More: Billie Eilish's Road To Happier Than Ever: How The Superstar Continues To Break Pop's Status Quo

"Kiss Me More" — Doja Cat feat. SZA

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//0EVVKs6DQLo' frameborder='0' allowfullscreen></iframe></div>

Put yourself in this character's shoes. A fetching spaceman — played by Grey's Anatomy actor Alex Landi — winds up in a far-flung galaxy populated by (you guessed it) Doja Cat and SZA.

Just as things get steamy, it's revealed that he's unconscious in a tube of liquid, his consciousness plugged into a video-game netherworld. In other words, he's a plaything.

Such is the girl-power message of the duo's "Kiss Me More," where sex and love and flirtation are on their own terms. But the sentiment wouldn't mean much without a high-thread-count pop song to match, and every second of the hooky track delivers.

"I feel like me and SZA are similar in the way that we both grew up with spiritual backgrounds, but she was perfect for this song," Doja — who grew up in Alice Coltrane's ashram — told Capital XTRA Breakfast at the time. "She was in my heart when I wrote this."

Read More: From Meme Queen To Popstar: Revisiting Doja Cat's Inevitable Breakout

"Leave the Door Open" — Silk Sonic

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//adLGHcj_fmA' frameborder='0' allowfullscreen></iframe></div>

Take it from a writer who combs through hundreds of hyperbolic pitches about the Next Big Thing per day — it's nice to finally get some truth in advertising.

"We're making music to make women feel good and make people dance, and that's it," Anderson .Paak, who is one half of the R&B/soul duo Silk Sonic with Bruno Mars, recently told Rolling Stone. "It's not gonna make people sad."

This frank evaluation of what Silk Sonic does may not seem particularly deep at first blush, but this simplicity is a feature, not a bug.

On a musical level, Mars and .Paak are making far more than feel-good party music. Even YouTube music dissector Rick Beato was blown away by the sophisticated, jazzy chords they brought back to the airwaves decades after AOR classics like Steely Dan's Aja.

Silk Sonic finally dropped their debut full-length, An Evening With Silk Sonic, after months of living with the funky, soulful, glittery highlight "Leave the Door Open."

Even with all these other tunes to enjoy, it remains the gravitational center of the release — and a reminder that Beato-friendly music is hurtling back into the zeitgeist.

Read More: The 64th GRAMMY Awards: Everything You Need To Know About The 2022 GRAMMYs Awards Show & Nominations

"MONTERO (Call Me By Your Name)" — Lil Nas X

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//6swmTBVI83k' frameborder='0' allowfullscreen></iframe></div>

On 2019’s smash "Old Town Road," we met Lil Nas X: a TikTok star with a boy-next-door grin even as he participated in a subversive, age-old cultural fusion of Black and white culture.

But in 2021, with the hat and spurs and Billy Ray Cyrus in the rearview, we met Montero.

That's the real name of the born Montero Lamar Hill, and the name of his long-awaited debut album. And on the titular single "MONTERO (Call Me By Your Name)," his Blackness and gayness — and musical intrepidity — are on fearless display.

"I feel like we've come to a time in music where everything is nice and nothing is really cutting-edge or starting conversations any more," Lil Nas X recently told Time about its delightfully racy video. "I want to be part of a conversation that actually applies to my situation and so many people that I know."

"MONTERO (Call Me By Your Name)" hasn't just started a conversation — it set the course for the rest of this American original's career.

Take A Look Back: Lil Nas X, BTS & Billy Ray Cyrus Enter The "Old Town Road" Multiverse At The 2020 GRAMMYs

"Peaches" — Justin Bieber feat. Daniel Caesar & Giveon

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//tQ0yjYUFKAE' frameborder='0' allowfullscreen></iframe></div>

Fifty-five years after the Beach Boys wished that females the nation round could be "California Girls," Bieber sang in no uncertain terms about what the various regions of the USA could do for him.

"I got my peaches out in Georgia/ I get my weed from California," he sings in "Peaches," his single from 2021's Justice. "I took my chick up to the North/ I get my light right from the source."

It's pretty obvious that Biebs is paying tribute to his wife, Hailey — and his collaborators also shout out long-lasting, long-suffering relationships.

While Daniel Caesar proclaims "There's no time, I wanna make more time / And give you my whole life," Giveon croons, "Your kisses taste the sweetest with mine/ And I'll be right here with you 'til the end of time."

For anyone ready and willing to settle down with one's main squeeze, that's a sentiment one can vibe with.

Take A Look Back: The GRAMMY Oral History: Justin Bieber's Purpose

"Right On Time" — Brandi Carlile

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//tOpWqWK0q4U' frameborder='0' allowfullscreen></iframe></div>

As a member of the Highwomen amid a contemporary wave of confessional, thoughtful Americana singer/songwriters (see also: Margo Price, Jason Isbell, Julien Baker, et al) Carlile knows her way around a lyric that acts as a knife-twist.

"Right on Time," the crestfallen lead-off track from her 2021 album In These Silent Days, is full of them. "I never held my breath for quite this long," she sings near the end. "And I don't take it back / I did what I had to do."

To hear Carlile tell it, she wrote "Right on Time" to attempt to best her last signature song, "The  Joke" (which also received a SOTY nod in 2018). "It was a once-in-a-lifetime song," she told Spin in 2021. "I wanted to hit that mark of drama again." And when this tune came spilling from her pen?

"[I] felt like the pressure was off in terms of getting my heart to come out of my mouth," she recalled. And she need not worry whether she measured up to her last zenith: "Right on Time" is a classy, timeless triumph.

2022 GRAMMYs Awards Show: Complete Nominations List

Billie Eilish has never been one to shy away from her feelings. In fact, she doubles down on them.

Since her debut EP, 2017's Don't Smile At Me, the pop star has held listeners' hands as she guides them through the darkest pages of her diary. The EP found a teenage Eilish navigating heartbreak while her blockbuster debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? — which swept the General Field Categories (Album Of The Year, Record Of The Year, Song Of The Year and Best New Artist) at the 2020 GRAMMYs — was a chilling and raw look into her depression-fueled nightmares. And 2021's Happier Than Ever had her confronting misogyny and the weight of fame.

She could have easily succumbed to the pop star pressures for her third studio album, HIT ME HARD AND SOFT, out today (May 17). Instead, she reverts to her sonic safe space: creating intimate melodies with her brother and day-one collaborator, FINNEAS. Only this time, the lyrics are more mature and the production is more ambitious.

"This whole process has felt like I'm coming back to the girl that I was. I've been grieving her," Eilish told Rolling Stone about how HIT ME HARD AND SOFT revisited elements of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? "I've been looking for her in everything, and it's almost like she got drowned by the world and the media. I don't remember when she went away."

Here are five takeaways from Billie Eilish's new album, HIT ME HARD AND SOFT, where Old Billie is resuscitated and comforted by New Billie. 

Heartbreaking Ballads Are Her Sweet Spot

Tenderness remains at Eilish's core, and it's beautifully highlighted on HIT ME HARD AND SOFT. Despite her love for eccentric electro-pop beats, ballads have always been the singer's strong suit. After she first displayed that in her debut single, 2015's "ocean eyes," Eilish won two GRAMMYs and an Oscar for her delicate Barbie soundtrack standout, "What Was I Made For?" — and the magic of her melancholic balladry returned on the new album.

HIT ME's album opener, "SKINNY," mimics the self-reflection of Happier Than Ever's "Getting Older" opener, where she painfully sings about Hollywood's body image standards. "People say I look happy just because I got skinny/ But the old me is still me and maybe the real me/ And I think she's pretty," she muses. 

"WILDFLOWER" cuts in the album's center like a knife to the chest. Eilish's comparisons to a lover's ex-girlfriend are devastating over a bare piano melody — the simplest production on the LP: "You say no one knows you so well/ But every time you touch me, I just wonder how she felt."

HIT ME Isn't Afraid To Get A Little Weird

What makes Eilish so intriguing is her effortless balance between misery and mischief. On lead single "LUNCH," the singer/songwriter taps into the playful attitude of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? smash "bad guy."

Over an upbeat and kooky production, she lets her carnal fantasies about devouring a woman run wild. The fantasies continue on "THE DINER," with Eilish stepping into the stalker mindset that may be inspired by her own life (she was granted a five-year restraining order against an alleged stalker last year). "I came in through the kitchen lookin' for something to eat/ I left a calling card so they would know that it was me," she winks on the chorus.

She Lays The "Whisper Singing" Criticism To Rest

Eilish's subdued voice has been chided as much as it's been lauded. She first gave naysayers the middle finger on Happier Than Ever's title track, nearly screaming in the song's latter half. On her latest album, she showcases her range even further, from bold belts to delicate falsettos.

The gauzy synths and vocal yearning of "BIRDS OF A FEATHER" is the perfect summer anthem, soundtracking the feeling of kissing your lover as the salty Los Angeles breeze runs through your hair. On the second half of "THE GREATEST," she unleashes a wail-filled fury. 

"HIT ME HARD AND SOFT was really the first time that I was aware of the things that I could do, the ways I could play with my voice, and actually did that," she recently told NPR Music. "That's one thing I feel very proud of with this album — my bravery, vocally."

Her Vulnerability Hasn't Waned

Eilish is quite the paradox, as her superpower is her emotional fragility. Her music has doubled as confessionals since the beginning of her career, and that relatable vulnerability threads HIT ME together. Despite its lighthearted nature, "LUNCH" marks the first time the singer has discussed her sexuality in a song.

"That song was actually part of what helped me become who I am, to be real," Eilish told  Rolling Stone of "LUNCH." "I wrote some of it before even doing anything with a girl, and then wrote the rest after. I've been in love with girls for my whole life, but I just didn't understand — until, last year, I realized I wanted my face in a vagina. I was never planning on talking about my sexuality ever, in a million years. It's really frustrating to me that it came up."

Then there's "SKINNY," which is a raw insight into how much social media's discussions of her body and fame affected her. "When I step off the stage, I'm a bird in a cage/ I'm a dog in a dog pound," she sings. "BLUE," the album's closer, finds Eilish accepting her state of post-breakup sorrow: "I'd like to mean it when I say I'm over you, but that's still not true."

FINNEAS Has Unlocked A New Production Level

FINNEAS — Eilish's brother, producer and confidant — has grown as much as his younger sister since they first began creating music together. He continues to challenge himself both lyrically and sonically to excitedly push Eilish to her creative limits. He explores a myriad of sounds on the album, with many playing like a two-for-one genre special. Named after Studio Ghibli's Spirited Away heroine, the glittery melody and thumping bassline on "CHIHIRO" transport you into an anime video game. 

The first half of "L'AMOUR DE MA VIE" is deceptively simple with its plucking acoustic guitar strings, but soon finds itself under the glare of a disco ball with Eilish's vocals funneled through a vocoder. "BITTERSUITE" is arguably the best reflection of Finneas' experimentation: it starts out with Daft Punk-esque synths before dragging itself across a grim, bass-heavy floor. Then, it crawls into cheeky elevator music territory before ending with an alien-like taunt.

HIT ME HARD AND SOFT is begging to be played live, as seen with fans' raucous reactions after the singer's listening parties at Brooklyn's Barclays Center and Los Angeles' Kia Forum. Fortunately for fans in North America, Australia and Europe, it won't be long before she brings the album to life — HIT ME HARD AND SOFT: THE TOUR  kicks off on Sept. 29 in Québec, Canada.

As music fans know, Friday is the official weekday of new releases — but this week began with a bang.

On Monday, May 13, Donald Glover, aka Childish Gambino, released Atavista, a "finished" version of his 2020 album, 3.15.20. Back then, he released a nascent version of said album on his website, before pulling it down and uploading it to streaming services the following week, with guest appearances by Ariana Grande, 21 Savage and more.

Happily, the finished product retains those inspired guest appearances, over polished and honed versions of the original tunes. With the release of Atavista, Glover released a music video for "Little Foot Big Foot," featuring Young Nudy. He also promised special vinyl with visuals for each song, as well as an all-new Childish Gambino album due this summer.

And before Friday even hit, two country superstars also delivered exciting new tracks. Also on May 13, Lainey Wilson unleashed "Hang Tight Honey," the first single from her forthcoming third album, Whirlwind, out August 23. Three days later, Luke Combs released "Ain't No Love In Oklahoma," the lead track from TWISTERS: THE ALBUM. (Arriving July 19, the soundtrack will feature a number of other country greats, from Miranda Lambert to Shania Twain to Jelly Roll.) 

Today, there are plenty of other musical delicacies to savor. One of the most prominent is Billie Eilish's hotly anticipated third album, HIT ME HARD AND SOFT. Also, Puerto Rican rap star Álvaro Díaz's SAYONARA; American singer/songwriter Sasha Alex Sloan's Me Again; and 1D star Zayn's ROOM UNDER THE STAIRS have been unveiled. Even renowned actress Kate Hudson has also joined the musical ranks, releasing her debut album, Glorious.

Veterans, too, are stepping out with fresh offerings. Psych-tinged retro rockers Cage the Elephant are back with their first album in five years, Neon Pill. Slash released Orgy of the Damned, an album of mostly blues covers featuring guests from Gary Clark Jr. to Iggy Pop to Demi Lovato. On the opposite side of the coin, boy band pioneers New Kids on the Block return with Still Kids, their first album in 11 years, featuring guests DJ Jazzy Jeff and Taylor Dayne.

Still, that doesn't even begin to cover the trove of new songs delivered on May 17. Omar Apollo, Peggy Gou and HARDY released tracks from upcoming albums, and Russ (feat. 6LACK), Charlotte Cardin and T-Pain released inspired singles. What other treasures have this Friday wrought? Check the below list for albums and tunes to add to your weekend playlist!

The Avett Brothers — The Avett Brothers

With their previous album, back in 2019, Americana favorites the Avett Brothers declared they were Closer Than Together. Now, they're back with a self-titled album, and a return to their original label, Ramseur Records.

But that's just one way they're circling back to their roots; the Rick Rubin-produced The Avett Brothers returns to burning-rubber vocals; sturdy, folkloric melodies; and lovelorn lyrics. If those are your bag, don't miss tracks like "Love of a Girl," "Orion's Belt" and "Same Broken Bones."

Bebe Rexha, "Chase It (Mmm Da Da Da)"

Bebe Rexha's last album was 2023's Bebe, but this phenom of a pop singer/songwriter is already back with new music. Get warmed up for the impending summer sun with "Chase It (Mmm Da Da Da)," complete with a rip-roaring video.

The four-time GRAMMY nominee debuted her latest banger in the desert sands of Coachella 2024; if you're ready for the swooping, thumping official version, chase it down today. 

Meaningfully, "Chase It (Mmm Da Da Da)" marks Rexha's first solo dance track after numerous collaborations with electronic acts; she even earned back-to-back GRAMMY nods in 2023 and 2024 for jams concocted with David Guetta, and her only other release of 2024 so far was a collab with Brazilian DJ Alok.

Galantis, Rx

We haven't gotten a new album from the beloved Swedish EDM duo Galantis in a hot minute; that just changed. Though they has released two albums since 2015's Pharmacy — 2017's The Aviary and 2020's Church — Galantis' latest album is a direct successor to their game-changing debut. Behold, the aptly titled Rx.

Running the gamut from ethereal textures to electrifying, pulsing rhythms, Rx directly reckons with Galantis's now-sole member Christian Karlsson's ADHD, and how medication was a game-changer in his life and work.

"Pharmacy was when I knew I was neurodivergent and I knew the studio was like a pharmacy for me," Karlsson stated in a press release. "I was the patient. Rx is when I found medication. For me, it was key, but of course, everyone walks their own path."

Saweetie — "NANi"

Before Saweetie officially released "NANi," she had been teasing the track all week long. On May 11, at the 2024 Gold Gala, an annual gathering of top Asian Pacific and multicultural leaders, the rapper (who has Filipino and Chinese roots) told Billboard, "NANi' is that girl. 'NANi' is main character energy." And on Instagram, as part of the cover art reveal for the single, she declared, "We gon' fkkk up the Summer."

She certainly will. The poolside-partying, Smirnoff-plugging video lives up to a YouTube commenter's adroit description: "It's giving Barbie and Bratz royalty!" Will it be part of Pretty Bitch Music, the album she's been teasing (and honing) for years? Time will tell.

Warren Zeiders — "Betrayal"

Warren Zeiders staked his claim with his 2021 debut single, "Ride the Lightning"; now, he's got a stormcloud overhead. The uber-moody "Betrayal" makes no bones about its subject: "This isn't how I pictured you and I/ Smile in my face while you twist the knife/ Shame on me if you fool me twice/ You fooled me twice."

As unremittingly bleak as the lyrics are, though, the budding country star's melody lets the light in. What an alchemy: the more Zeiders bemoans being chapfallen and frustrated, the lap steel-laced music evermore swoops and sparkles.

María Becerra — "IMAN (Two of Us)"

Once a YouTuber, and now an urbano sensation, bubbly Argentine singer María Becerra is back with a four-on-the-floor stomper. The somewhat Dua Lipa-tinted "IMAN (Two of Us)" is a delight, as is its candy-coated video, where Becerra cavorts and romances through a surreal art exhibit.

Her new album, MB3*, is expected sometime in 2024; it should also include tunes like "Slow it Down," "Do You (feat. 24kGoldn)" and "Agora." Let the earworm "IMAN" slake your thirst in the meantime.

Zayn — ROOM UNDER THE STAIRS

Boy band acolytes will always long for the return of One Direction, who have been on hiatus since 2016. But in the meantime, their solo work just keeps getting sweeter. Following a three-year intermission, Zayn released ROOM UNDER THE STAIRS; for him, this music cuts to the quick of who he is.

"I think the intention behind this album fully is ​​for the listener to get more insight on me personally as a human being," Zayn explained in an Instagram post. "My ambitions, my fears, and for them to have a connection with that and that's why it's so raw. It's just me."

Taking six years to get right, and marking a return to Mercury Records, ROOM UNDER THE STAIRS is an unmistakable sonic and thematic evolution for the One Direction star. As with the other selections on this list, it's right on time for spring — let the songs of the season help you flourish, too.

New Music Friday: Listen To Songs From Megan Thee Stallion, Camila Cabello & Lil Nas X, BTS' RM & 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

With spring just around the corner, it’s time to welcome AAPI Month in full blossom. From rising musical artists to inspiring community leaders, it’s essential to recognize AAPI members of the artistic world and their achievements.

While AAPI Month is a U.S. holiday, the Recording Academy takes a global approach in celebrating artists and creators from across the Asian and Asian American diaspora. This aligns with the Recording Academy's growing mission to expand its reach on a global scale and celebrate international creators outside of the U.S.  

Musicians of Asian American, Native Hawaiian and Pacific Islander heritage have not only helped establish the music industry, but have transformed it. From Diljit Dosanjh being the first artist to play a Coachella set entirely in Punjabi to Laufey winning a GRAMMY for her jazz-inspired pop, AAPI artists continue to influence music by both honoring tradition and reshaping modern standards.

It’s thrilling to see AAPI musicians continue to take centerstage — from Atarashi Gakko! to Tiger JK’s memorable sets at Coachella, to surprise appearances from Olivia Rodrigo, Dominic Fike, and Towa Bird. As festival season gets underway, examples of the AAPI starpower from every corner of the world abound.

As one of many ways to celebrate AAPI Month, listen to the GRAMMY.com playlist below — as a reminder to give AAPI musicians not just their May flowers, but their flowers all year-round!