Stromae went 12-times platinum in his native Belgium — and four-times diamond in France — with his 2013 album, Racine carrée. In the near decade since, fans hadn’t seen a follow-up because he decided to pursue other creative ventures. But after starting his own clothing line and directing a video for Dua Lipa (among many other things), Stromae released the much-anticipated Multitude in March — and he’s right back to selling out venues around the world.

The singer/songwriter and producer recently wrapped a two-night stint at New York City’s famed Madison Square Garden and three nights at Montreal’s Bell Centre, two arenas he last headlined in 2015. He’ll return to Bell Centre on Dec. 14 to close out his extensive 2022 tour, but already has a packed schedule for 2023, playing arenas across Europe.

Traveling the world has been a hobby of Stromae’s since he was young. Born Paul Van Haver, the Belgian-born musician explored several different places with his family — and while that sense of adventure has always inspired him, it comes to life in the curiosity-driven songwriting and global influence of Multitude.

Across the album’s 12 tracks, Stromae’s passionate French rhymes flit over the top of production that combines everything from Cuban dance music to French Antillean zouk. The result is a record with an intimacy and closeness, further displaying Stromae’s fervent desire to connect at a deep level superseding any barrier.

Multitude also thrives in telling complex stories from multiple angles, highlighting humanity in the most intimate spaces and demanding a response — from the sex-worker story of “Fils de joie” to the essential-workers tribute of “Sante.” Though the album’s open-hearted character tales are told in French, Stromae's impassioned intonation and immaculate production helps transcend Multitude’s philosophical explorations.

As he closes out his 2022 tour, Stromae speaks with GRAMMY.com about his family history of musical discovery, how much of himself is in his songs, incorporating everything from charanga to ney flute on Multitude, and much more.

You have this unique ability to approach countless different musical traditions and styles with what feels like a genuine connection and understanding of where that curiosity can go. Did reaching that balance and sharing that part of your creative self come naturally for you?

First of all, thank you very much for the compliment, because that was exactly the goal with this album. You just try stuff and it's not natural at the beginning, but then it gets more and more instinctive. That’s when it becomes interesting. And I had my brother, who's my video director, and having an outside opinion when you don't have any objectivity when you work on your album is priceless. His advice is really, really important. 

The most difficult part is just to admit that sometimes what you do is not good. I was watching an interview of David Guetta, and he was saying the most difficult part is not to compose good songs, the most difficult part is choosing the good ones. 

You mentioned your brother — I know that your family has been so important to your creative journey. For example, you traveled extensively with your mom when you were a child. In that time, did you already seek out different musical cultures and strands, or was it seeping in subconsciously?

In family parties, we used to listen to a lot of music from Africa, and zouk music, like Kassav' from Guadeloupe. I was lucky, thanks to my mother. We went to Mali, we went to Mexico, we went to South America, to Bolivia, and yeah, it was really interesting to have all those different sonorities. That was really inspiring.

How do you approach musical exploration today, having had that firsthand experience? How do you find the music and the genres that inspire you now?

In addition to my brother composing some tracks on the album, I worked with another producer from London, Moon Willis. I sent a lot of stuff to him and he sent me a lot of new tracks. Something that we had in common was the curiosity of discovering grooves, actually. I have a background as a drummer, so to me, rhythm is really important. 

I remember sending a lot of stuff and receiving a lot of stuff from Moon — a lot of baile funk, music from Brazil. I was like, "Okay, I love this groove. Try something with this groove and mix it with pentatonic melodies to sound a bit more Asian." 

The goal was just to never point to any [one] country. The goal was to just to lose the listener, actually — to make you feel like, "I know this and it comes from there, but at the same time I hear something from somewhere else." 

You not only embrace those styles, but you build the next step by bringing in authentic instruments and experienced musicians. You ensure that the music feels lived in rather than touristy. How did you source all those tools and meet all the collaborators? 

Back when I was composing for other artists, I went in a studio with Julian Perretta, who's an English singer. He introduced me to Moon Willis. I was really impressed by how open Moon is and how much he knew about music throughout the world — and not only the pop world, but also in world music. He's really talented. 

When we were looking for musicians, my brother Luc and my family helped me a lot. For example, I wanted to have a charango player, and I was discussing it with my mother. I said, "Okay, you know very well about Bolivian music, so help me to find a good charango player." 

She told me, "Yeah, Alfredo Coca is one of the best." And he was coming here, I think for the independence day of Bolivia, this kind of big party. We called him and asked him to come and record some charango riffs. The same is true for the Bulgarian choir, the ney flute player Selman Faris, and orchestra arranger Bruno Letort.

At the same time while you are infusing all of these interesting sounds, you definitely kept your intrinsic appeal. Your voice is at the core, and no one's going to listen to it and think it's someone else. Was it a challenge then to ensure that you kept a little bit of yourself there while undertaking all these inspirations and ideas?

Yeah, it's interesting. I am who I am. The worst thing is to just try to imitate. Of course I couldn't be better than a famous band from Bolivia. The only thing I can do is my thing. 

The most difficult part was to find this mix between who I am, the pop music, and the world music. That was the goal — to be in this in between, and never fall too much into pop, or into me, or into world music.

[My last album] Racine Carrée had more of a kick on every bar, and that's the big difference between that album and Multitude. It will be different for the listeners who are used to electronic music, dance music. But I had to be honest with myself and follow my way, what I feel.

I'm not doing music only for the people, I'm doing music for me first. Sometimes it's difficult just to find the in-between for world music, pop music, the public, the crowd, and myself.

You almost have to forget about everything that other people may think about your music. It seems you took that approach lyrically as well. There's a powerful set of characters in your songs, and they’re treated with this refreshing equality. There's a compassion and attention given to sex workers, laborers, people that aren’t often the focus of songs. 

Yeah, it depended on what I was living, actually. For example, "Fils de joie" was inspired by a television show that my wife used to watch about the son of a sex worker. I was so touched by his story, and I thought it would be really interesting to do a song about it. 

Then I took this sample of a teaser for Bridgerton. I was like, "What can I say on this? What about this idea about the sex worker and the son?" I start first with my vocal melodies, usually with the chorus, and then I build all the story around the chorus.

I'm not a French speaker, but I get the joy of having multiple levels of engagement with your music: getting the visceral experience, and then also learning about what is being sung through translation. Does knowing that your music will be shared across the world affect your writing process?

I've thought about singing in English, but I'm not sure I would sound as sincere as I am in French, and as spontaneous as I am in French. It wasn't my ambition to be successful in non-French speaking countries. I was so surprised with my first success, "Alors on danse." It was a French song and went No. 1 in 16 countries. I was like, "Okay, so...Yeah, why not?" And then I started to have this kind of ambition. 

My ambition was to be No. 1 in the French countries, especially in France. That's my mother language. I didn’t even expect to be supported by non-French people. That was a beautiful gift and actually a beautiful barrier that we broke. 

I think there is no barrier, actually. When I had this success with "Alors on danse," I realized that I did exactly the same with English music. I don't even understand a word, but I can jump, I can dance to it, I can just feel, and sometimes translate if I need it. But usually I don't even understand any words. 

I understand people speaking English better than when they sing. But when something touches me, it just touches me, so it doesn't need to be translated. It's the same in French. It's the same in Flemish, in Dutch, in Lingala, in any language.

I also really appreciate you being an artist who has openhearted discussions of mental health in your lyrics, as on “L’enfer.” Is it challenging for you to open those conversations and connections?

To be completely sincere with you, there is a part of me in the songs. I was asking my wife, "Do you think that all those songs are completely me?" And she said, "No, it's not exactly you. It's a bit of you, but there is a lot of wordplays, storytelling." 

I would say it's 20 or 30 percent of me in my songs, but it's not completely me. It's just a story. That's how I see my music. But of course it comes from me at the very beginning, especially when I'm just looking for new hooks, new vocal melodies, new topics. This is my choice to talk about mental health, sex workers, everything I talk about in the album. It's me, and it's my point of view. 

It’s nice then that you can protect a little part of yourself as well in that way. When you performed “L’enfer” on the news program TF1 in France, you launched into the song seemingly in the middle of an interview about mental health, with this incredibly vulnerable stillness. Again, you were able to discuss something very real and raw but with this performative, protective focus.

The idea came from my brother. We were just thinking about how to promote this song. I was impressed because it's the news on Sunday, TF1. That's really important. [Laughs] 

Anne-Claire Coudray, the host, didn't want to stress me out by saying it, but afterward she said, "That was really stressful. I could hide it and I didn't say it to you because I didn't want you to be anxious!"

Living Legends: Electronic Music Pioneer Jean-Michel Jarre's 50-Year Odyssey Of Audio Experimentation

We’re fortunate enough to be living in the middle of a Missy Elliott resurgence — not that she ever went away.

Three decades into her groundbreaking career, Missy is readying her very first headlining tour, which begins July 4 in Vancouver, British Columbia. The Out of This World Tour runs through August and features her longtime collaborators Timbaland, Busta Rhymes, and Ciara.

The fact that it is her first headlining tour may be surprising, given that she’s been on the scene since debuting with the group Sista in the mid-1990s, and has been a chart-topping star since becoming a solo artist in 1997.

The hip-hop icon released her last full-length album, The Cookbook, nearly two decades ago but time hasn’t diminished her influence at all. In fact, we’re all still catching up to the futuristic vision that Missy and Timbaland introduced to the world in the late 1990s in their songs and videos.

Missy began her career as a member of Sista, which was a part of the Swing Mob, a musical collective working under Jodeci’s DeVanté Swing. That crew included a number of future world-changers, including Missy, Timbaland, Ginuwine, Tweet, Stevie J., and two legends who have since passed on, Magoo and Static Major. After Sista was dropped from their label, Missy, by all accounts, would have been perfectly happy to settle into a life as a songwriter and producer. But something bigger was beckoning. 

Persuaded by Elektra’s Sylvia Rhone with the promise of her own label, Missy agreed to turn in one album as a solo artist. That album, 1997’s Supa Dupa Fly, made Missy not just a star but an icon, and changed the course of her life. It began a career that, over a quarter-century later, found her inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame — she was the first female rapper ever to be nominated for the latter.

And that’s just the beginning of the accolades. There are the four GRAMMY wins and head-spinning 22 nominations. She was also honored alongside Dr. Dre, Lil Wayne (who has not been shy about calling Missy his favorite rapper), and the woman who gave Missy her first solo record deal, Sylvia Rhone, at 2023’s Black Music Collective’s Recording Academy Honors event. Missy was also a key participant in the GRAMMYs tribute to a half-century of hip-hop that same year.

Throughout it all, Missy has remained humble. When speaking to GRAMMY.com in 2022, she reflected on how she and longtime collaborator Timbaland had no idea of their impact at the time.

"We really just came out with a sound that we had been doing for some time, but we had no clue that it would be game changing, that we would change the cadence — the sound of what was happening at that time," she said. "No clue!"

"Her whole existence is based on moving us and influencing us," says her longtime manager Mona Scott-Young. "She wants to be able to touch people."

And that she has. To celebrate the Missy-aissance, GRAMMY.com spoke with Missy's colleagues and collaborators for an insider’s view on the course of her career and what makes the four-time GRAMMY winner unique. 

The quotes and comments used in this feature were edited for clarity and brevity.

Missy’s Impact Began With Her First Guest Verse 

The first time many people took note of Missy Elliott was her verse on the 1996 remix of Gina Thompson’s "That Thing You Do."  

Gina Thompson (singer): I was in the process of completing my first album, Nobody Does It Better. Actually, it was complete. So what happened was, my A&R at the time, Bruce Carbone at Mercury Records, wanted to have Puffy do the remix.

Puffy was like, "We have this person that's really talented. Her name's Missy, and she used to be with the group Sista, and she's a phenomenal writer. She's working with a lot of other artists, she’s definitely the next big thing in the R&B/hip-hop world." We were like, cool.

I believe we actually heard it over the speaker phone in Bruce’s office. I know that I said that I loved it, and I felt her style was unique and different. It grew on me in a great way. I just felt like it was a smash. She definitely had added a great touch to it. I was super-excited about it.

Merlin Bobb (former Executive Vice President, Elektra Records): I was blown away by the simple fact that I knew she was a great songwriter. But when I heard her rhyming, I thought it was the most unique style that I had heard in some time.

Digital Black (former member of Playa, part of the Swing Mob): A lot of people only knew her as a writer or an R&B artist, but when she came on that Gina Thompson record with that rap, it changed everything. It allowed her to be even more herself.

Mona Scott-Young (manager): Oh my God, have you heard that song? It’s her ability to use expression and evoke emotion without even using words. She said, "He he he haw," and we all found a new way to bounce. There was something fun and magical and different that spoke to what we would come to know was this incredibly vivid imagination that would take us places sonically and visually that we didn’t even know we needed to be. 

Read more: 50 Artists Who Changed Rap: Jay-Z, The Notorious B.I.G., Dr. Dre, Nicki Minaj, Kendrick Lamar, Eminem & More 

She Changed The Sound Of Hip-Hop With Her Debut LP 

Missy’s first solo album, Supa Dupa Fly, came out the following year. It gave new energy to a hip-hop scene that was still reeling from the deaths of 2Pac and Biggie.

Anne Kristof (former Vice President of PR, Elektra): She 100 percent did not want to be an artist. She's like, "I'm not an artist. I want to be Diane Warren. I'm going to write the songs. I'm going to be behind the scenes."

Merlin Bobb: I started talking to her regarding being an artist. She was totally against it. "No, I want to be a songwriter." And also, just to be honest, [Sista] had been dropped from Elektra prior to my conversations with her, so she wasn't too eager, I think, to jump back aboard.

It took about six or seven months of us discussing ways to do this. I spoke to Sylvia [Rhone, then-head of Elektra], and I said, "She's an incredible songwriter. Let's offer her a production deal or a label deal where she can not only just look at herself as an artist, but at the same time develop and nurture artists under her own banner." Sylvia thought it was a great idea. 

We both talked to Missy about it, and she said, "Okay, I'll do one album." I was ecstatic because she was writing some great songs, but she also gave us her first album, which was, needless to say, a classic.

Kathy Iandoli (author, "God Save the Queens: The Essential History of Women in Hip-Hop and Baby Girl: Better Known as Aaliyah"): In God Save the Queens, I referred to her as the Andy Warhol of hip-hop, in the sense that she took the art and the cultural aspect of it, and she just put this spin and interpretation of the art that no one had ever really done prior.

With Missy’s arrival around ‘97, we were at a point in time where hip-hop was in a complete state of confusion. We did not know where it was going to go. Missy made high art hip-hop that was commercially accessible. And for that, she changed the entire game. 

Gina Thompson: When she had her first project with the whole vision — not only her sound, but her songwriting style, the look — everyone was like, "This girl went out on edge. I'm gonna do a little bit of the same thing and not be so worried if I don't sound so average, what people are going to think. Because she's out on the edge doing it." And I promise you, ever since she came out, that you started hearing a lot more of female rappers tweaking their voices.

Lenny Holmes (guitarist): In hip-hop, everybody would think that it's a whole bunch of computer generated stuff. Missy Elliott does not approach it like that. She loves live instrumentation, but she likes to take bits and pieces of it. She simplifies it, and it is placed uniquely in the track at certain points. That's what makes up the structure of the song.   

Mona Scott-Young: Everything from the way she looked to what she was talking about to the way she delivered that music and what she represented in terms of being nonconforming, not looking like the other female rappers of the day — I think all of those elements were the perfect lightning in a bottle. The way she rode that beat, both lyrically and with her delivery, was very, very different from everything else that we were hearing. 

Read more: Revisiting 'Supa Dupa Fly' At 25: Missy Elliott Is Still Inspired By Her Debut Record 

She Reinvented The Music Video 

You can’t think of Missy Elliott without picturing her iconic music videos, many done in collaboration with director Hype Williams. 

Brian Greenspoon (former International Publicist, Elektra): I mean, she came out of the gate wearing a garbage bag, and made it the coolest thing anyone had ever seen. 

Merlin Bobb: She said, if I put out this album — initially we were talking about a single deal, but we went into an album — there’s two things very important to me: the dance aspect and the visual aspect.

Kathy Iandoli: The thing that I really loved about Missy's music videos, she was a big budget music video person. She got the men's music video budget.

Anne Kristof: When you think about the "Rain" video — I'm just guessing, I don't want to put words in her mouth — but I think when she saw that the vision in her head could become real out in the world, that anything she could think of could happen, that maybe it made it a little more fun for her to be an artist. I hope.

Digital Black: Missy is one of the funniest people you’ll ever meet. People maybe don't know. She loves joking. So that was just her being her. 

Gina Thompson: You started seeing a lot of people doing certain robotic-type images or moves in their videos to almost mimic her "Supa Dupa Fly." She’s the creator of that.

Earl Baskerville (manager/producer): Missy would get with the director, and she would sit there and go over the whole treatment. A lot of the visuals came from her. She was very hands on. Today, you can shoot a video in four or five hours. But Missy’s video shoots was so long, I used to hate it. We would be there fifteen hours for a three minute video!

She Was Avant-Garde But Still Pop 

Missy’s musical and visual style was like nothing anyone had ever seen. Yet she still became a star. How did she manage to be both innovative and accessible? 

Kathy Iandoli: You can't make something that the general public can't access, or speak over their heads.

Digital Black: Even if you said it sounded weird, it still had some soulfulness to it. I think that was what allowed her to touch so many different people. 

Merlin Bobb: When you have an artist that stands out, but it doesn't go over your head musically, artistically, lyrically, then it works. People, when they heard and experienced something new and fresh that was easy to digest, but it was unique, they gravitated to it. 

Brian Greenspoon: How was it sold to a mass audience? I mean, the sound was breakthrough. What Timbaland was doing with drum sounds, and the way they were building these very sparse rhythms and sound beds, they were breaking ground. But the thing that worked is that they had these incredible songs that Missy was writing and that she had these incredible featured artists on. 

Gina Thompson: To try to figure out what her brain is doing, I’ve been gave that up.

Earl Baskerville: Nobody could figure out what we were doing, because they couldn’t understand the sound.

Lenny Holmes: Her rhythmic style of how she would do the vocals was just unheard of. Like, doubling up accents. The things that she started doing — you would hear a deejay do a scratch on a record. You would not hear a singer do it. I was like, What in the world?

Anne Kristof: She was doing these really creative things that no one else was doing visually. And the sound was different than whatever everyone else was doing. So it wasn't a hard sell for the press.

She Was A Master At Working With Other Artists 

Missy was far more than just a solo star. All throughout her career, she continued her first love: writing and producing for other artists — including Ciara, Aaliyah, Destiny’s Child, and Whitney Houston. 

Lenny Holmes: Missy had a great relationship with singers and rappers, because she could do both. A lot of people don’t know, but Missy can sing. So when we worked with groups that had singing parts on them, a lot of times she would go ahead and lay down the guide track for the actual artist to sing.

Kathy Iandoli: Missy just really understood the artists that she worked with. She saw their strengths, and she helped them utilize them to the best of their capabilities. 

Angelique Miles (former music publishing executive): She was able to relate to the artist and express that artist. She was able to customize and express that artist's story. Whatever she wrote for 702 didn’t sound like what she wrote for Whitney Houston. 

Digital Black: She was good at listening to the artist, seeing what they do, and then, how can you enhance what they do well? Those are the best records. She was great at tailor-making records for people, just from her doing her due diligence on learning who the artist is. Not just going in, "I’m Missy, I can write whatever." I'm gonna write something specifically for you that enhances what you’ve already done.

Merlin Bobb: She would have made an incredible A&R person. I would have hired her back then. She was able to come up with lyrics and melodies and songs and chords and production that to me stood out. She worked with both male and female artists. She really knew how to get an artist not only to sing a great song, but to sing very uniquely and in their own way, because she was a great vocal production coach.

Mona Scott-Young: She's always listening beyond what we hear. Even if there's a song an artist has [that she’s not involved with], she'll say, "Yeah, I would have done this thing differently with this artist. Because if you listen to what she did on this one part of the song, you can hear that there's more range there. But for some reason they didn't push her to go there." That to me is just one of the things that makes her such a great producer and star finder, because she always is looking for what more they can do and how they can challenge themselves to be better.

Earl Baskerville: She had signed an artist that I used to manage named Mocha. And she told Mocha to go in there and just rap. I think Mocha might have did 30-something bars, 60 bars. know. Missy listened to all of the stuff she did, took it, and dissected it. She went in there and took eight bars, not from the beginning of the track — I don’t know where she found it, in the middle or something — and put it on the Nicole Wray record "Make It Hot." When Mocha comes in, that’s actually the middle of the verse somewhere! That was crazy to me.  

Her First Love Was Always Songwriting 

Through it all, Missy’s strength remained (and remains) her songwriting. But what makes her songs stand out, and stand the test of time? 

Earl Baskerville: Missy didn’t want to be an artist. She just wanted to be a songwriter. 

Merlin Bobb: Her songwriting was very soulful, but it also had great melodic edge to it. They’re very realistic lyrics to a young scene that was happening in R&B and hip-hop at the time. So it was somewhat of a fusion of R&B and hip-hop lyrically, and she just had a very strong sense of melody and great hook lines.

Mona Scott-Young: She wasn't talking about the same thing that we were hearing from a lot of the other females in the genre at the time — overt sexuality and material possessions and that kind of stuff. She was engaging, having a good time lyrically, and holding her own with her male counterparts. 

She was giving us music that was great, and it didn't matter that it was coming from a female. She was kind of this androgynous being that was delivering great music. You listen to the song, you just want to party.

Read more: Missy Elliott Makes History As First Female Rapper Nominated For Songwriters Hall Of Fame 

She Changed The Artists Who Came After Her 

As with all major innovations, it didn’t take long after Missy broke big for her influence to be felt. 

Kathy Iandoli: The special relationship between Aaliyah, Missy, and Timbaland was the fact that together they all created a new sound that would set the standard of hip-hop and what we now define as alt-R&B. They invented a new subgenre. It was something that Missy was able to continue along and then create a sound on her own terms. 

Gina Thompson: Many people were trying to emulate her whole different style.

Lenny Holmes: [Were people copying her?] Most definitely. But there's only one Missy. And I got to say, there’s only one Timbaland too. You hear that trademark voice or the trademark lick, and you just know that's them. 

Brian Greenspoon: I think she influenced just about everybody that came after her. The sound of hip-hop changed after her and Timbaland dropped that music. The way the people produced their drum sounds and their beats, the use of hi hats, it all changed based on Missy and Timbaland.

Merlin Bobb: Most hip-hop/R&B collaborations at that time were hip-hop records with vocal hooks from R&B artists. She kind of flipped it, where she worked from the R&B side and made the vocals and the production more hip-hop friendly.

Mona Scott-Young: Her whole existence is based on moving us and influencing us. She wants to be able to touch people. So when we see artists who you can hear or see the influence, then you know that she's done her job.

There's so many artists — Flyana Boss, a little bit Cardi, a little bit Nicki. They all, I think, have been influenced by Missy, her look, her sound, in one way, shape or form. And that is the greatest compliment, to inspire a generation and see them take what you've done to another level. But then she's constantly also evolving and keeping everyone on their toes.

Learn more: 8 Ways Aaliyah Empowered A Generation Of Female R&B Stars

Considering Missy And Her Legacy 

Everyone interviewed for this piece had so much love for Missy. Here’s a small sample.

Brian Greenspoon: Missy is one of the most professional, talented, creative artists I've ever had the luck to work with. I'm happy to see that she is being recognized for being the icon that we all saw that she was becoming back then. 

Lenny Holmes: Even today, in whatever we're doing, we use what we've learned from Missy Elliott. It’s mixed in whatever we do. It’s amazing what she has done for herself, but she has definitely helped people along the way, and we will forever be grateful to her.

Digital Black: She's a one-of-one, God-given talent. She earned every award, every accolade, accomplishment. Her work ethic was phenomenal, and nothing was given. Big sis earned everything, and I just want to say I love her, and it's been a pleasure and an honor to be a part of her career.

Kathy Iandoli: There’s so much of the art that we have right now that we have to thank her for.

Mona Scott-Young: This has been an incredible journey. I always talk about being incredibly blessed to have had the opportunity to play a role when you have somebody like her who has touched so many people globally and whose music and entire presence hold this special place in fans’ hearts. 

Every day it's just about, how do we continue to push forth, break boundaries, challenge ourselves to do things bigger and better than we did it the last go round.  

With the arrival of July, half of 2024 is already behind us. It's been a remarkable, prolific year in music, with notables like Beyoncé, Taylor Swift, and even Paul McCartney's band, Wings, making brand new comebacks. The artists releasing albums in the coming months will have to strive to keep up the pace — but judging by July's upcoming blossoms, this won't be an issue.

The month will start strong with Megan Moroney's sophomore LP, Am I Okay?, Sturgill Simpson (now Johnny Blue Skies)'s Passage du Desir, OneRepublic's Artificial Paradise, and John Summit's debut, Comfort in Chaos. Later on, 5SOS's drummer Ashton Irwin will bring forth the second part of his sophomore solo, Blood on the Drums, alt-R&B star BLK ODYSSY will unveil the concept album 1-800-FANTASY, and rock legends Deep Purple will come forward with their twenty-third LP, =1. Alt-pop duo Cults will return with their fifth album, To The Ghosts, and 2023's revelation Ice Spice will also drop her long-awaited debut, Y2K!.

Below, GRAMMY.com crafted an exciting list with 15 unmissable albums coming out July 2024. 

Almost a decade ago, country rockstar HARDY found a napkin with the word "quit" in his tip jar. In 2024, the napkin became history as the Philadelphia singer named his upcoming record after it. "Thank you for inspiring me to be great. I guess sometimes holding a grudge is a good thing," wrote HARDY on social media.

Quiet!! is HARDY's first LP fully embracing rock music, and follows 2023's the mockingbird & THE CROW. Comprising 13 tracks, the album features Red Hot Chili Peppers' drummer Chad Smith, Limp Bizkit's Fred Durst, and rising star Knox. HARDY also shared a slew of singles ahead, including "Six Feet Under (Caleigh's Song)" and "Psycho." 

The genre-bending artist has just headlined CMA Fest in Nashville, Tennessee, and is currently touring the U.S. throughout the summer. 

More than 10 years after winning "The Voice Season 3," Cassadee Pope has journeyed plenty of roads — from pop punk to country, and now back again. Her upcoming studio album, Hereditary, is due July 12 and marks her first release after deciding to leave country music.

Pope said in a statement that Hereditary "offers a soundtrack to navigate the complexities of life with authenticity and courage." Her first full-length work since 2021's Thrive, the album is also "an emotional rollercoaster ride through the ups and downs of life, love, and self-discovery," where each track is imbued with history. The title Hereditary, according to the statement, "captures the essence of our roots, the echoes of our past, and the quest to carve our own path."

In preparation for the release, Pope shared singles "Eye Contact," "Three of Us," and "I Died" with Daisha McBride. The Hey Monday alum will also launch a North American tour with The Foxies and Natalia Taylar, starting July 11 in Anaheim, California. 

Following the breakout success of her 2023 debut record, Lucky, professional emo cowgirl Megan Moroney will be back in just a few weeks with her sophomore effort, Am I Okay? According to a statement, the album provides "an up-close look at the life-changing pain of heartbreak and the glory of moving on." 

Moroney is said to "light up" each of the LP's 14 tracks with her "signature balance of raw emotional honesty and warmhearted sensitivity." "I think after every song, [a] fair question would be, ‘Is she OK?' Whether it's good or bad," Moroney told ABC audio about the title of the project. "At the beginning, you're like, 'Am I OK?' And then, by the end, it's like, ‘Oh, I don't think she is.'" 

The "Tennessee Orange" singer already shared four tracks from the album, including "No Caller ID," "Man on the Moon," "Indifferent," and "28th of June." Currently, Moroney is opening for Kenny Chesney's Sun Goes Down tour. 

Sturgill Simpson (Johnny Blue Skies) — 'Passage du Desir' (July 12)

Sturgill Simpson will mark the beginning of a new era under the moniker Johnny Blue Skies, after fulfilling his promise to release only five studio albums under his own name with 2020's projects Cuttin' Grass Vol. 2. His first oeuvre is the LP Passage Du Desir, set to come out on July 12.

The album includes eight songs, all produced by Johnny Blue Skies and David Ferguson, and was recorded at both Clement House Recording Studio in Nashville and the iconic Abbey Road Studios in London. Passage Du Desir also marks his first project since 2021's The Ballad of Dood and Juanita.

Fans will be able to meet Johnny Blue Skies for the first time on a lengthy tour titled Why Not? this fall. Some of the stops include Nashville, Tennessee, Washington, D.C., Los Angeles, two nights in Toronto, and Boston. 

OneRepublic — 'Artificial Paradise' (July 12) 

OneRepublic's upcoming album, Artificial Paradise, was inspired by the digital paradigm that we live in now. "So many of these songs were written in the last couple years while we navigated a world full of artificial stories and constructs and paradise," shared frontman Ryan Tedder on Instagram. "All around the world and people's digitally broadcasted lives and the lives that we create for ourselves and the stories that we tell ourselves and others." 

According to Tedder, the album comprises 15 tracks written over the last eight years "that didn't quite make sense together." Hence, previously released singles like "I Don't Wanna Wait" with David Guetta, "Nobody" off the anime series Kaiju No. 8, and "West Coast" are already well known by fans.

Artificial Paradise is the GRAMMY-nominated group's first release since 2021's Human, and precedes a three-day weekend of shows in Colorado Springs, CO, and a string of festival appearances including Summer Sonic Tokyo in Japan, Lollapalooza Berlin in Germany, and Rock in Rio in Brazil. "Amidst all of that artificiality, we are trying to find real connection and real love, and a real story," concludes Tedder. 

To put forward his debut album, Comfort in Chaos, dance music phenomenon John Summit had to dive deep into himself. "John Summit is the performing act, but when I write music I get more vulnerable," he shared in a statement. "While writing this album, I had to go from being in the mindset of John Summit to being John Schuster, my real name." 

Comfort in Chaos arrives after a run of hit singles included in the tracklist, namely "Eat the Bass," "Go Back" with Sub Focus and Julia Church, and the Hayla-featuring duets "Where You Are" and "Shiver." Described as his "most introspective" and "emotional" work to date, Summit took the LP's 12 nifty tracks to expand his Chicago house foundations into genres like garage and drum & bass.

After stellar headline shows at Coachella and sold-out performances at Los Angeles' BMO Stadium and New York City's Madison Square Garden, 2024 is already a pivotal year for the Illinois-born sensation, and Comfort in Chaos arrives to consolidate his impact. As for summer and fall, Summit is booked for 26 shows and festival appearances scheduled around the world, with more to be announced. 

If you're in need of some early 2000s nostalgia, Mexican singer Girl Ultra — real name Mariana de Miguel — is coming out with her fourth EP, blush, on July 12. Inspired by R&B, club music, and trip hop sounds of the new millennium, the album comprises seven tracks that follow de Miguel's "need for experimentation" and lush artistry.

"I wanted short energetic tracks, and in lyrical terms, I was trying to find very precise messages about sadness, femininity and lust that inhabit these current times," she explained further in a statement. Singles "blu," "blush," and "rimel" exemplify that atmosphere, tackling beauty rituals with a touch of melancholy and yearning. Overall, blush is described as a plunge "into the complex dynamics of self-image and sexuality with a poignant touch of bitterness." 

After opening for Julieta Venegas in her hometown of Mexico City and performing at Coachella this year, Girl Ultra is set to support Chromeo and The Midnight on a U.S. tour this fall. 

As the popular saying goes, "third time is the charm" — and so singer/songwriter Clairo (a.k.a Claire Cottrill) decided the title of her third studio album. Charm will arrive on July 12, and was produced by Clairo and Leon Michels of El Michels Affair.

With the announcement, Clairo shared the delicate single "Sexy to Someone," as well as a tracklist with 11 songs. Like her previous LP, 2021's Sling, Charm was recorded in New York's Diamond Mine Recording and Allaire Studios, but this time she tracked it live-to-tape.

In September, Clairo will kickstart separate five-day residencies in both Los Angeles and New York. Further concert dates are expected. 

Since 2018, Orquesta Akokán have brought mambo to the spotlight, honoring its roots and infusing it with fresh twists. "Akokán" is a Cuban Yoruba word meaning "from the heart," and such is the thread underlining all of their work. Following their 2018's eponymous debut and 2021's 16 Rayos, the Cuban music enthusiasts are now ready to put forward Caracoles, out July 12.

For their third LP, producer Jacob Plasse and composer Michael Eckroth combined talents with renowned Cuban singer/songwriter Kiko Ruiz. The result is a danceable, uplifting record that fuses classic and modern traditions. According to a press release, "yes, it's mambo, with its prototypical instrumentation and structures, but these songs belong one hundred percent to 2024." As Ruiz said, Caracoles can "...vibrate your soul, which is precisely what the world needs right now."

"I love to make full length albums, but also the idea of the listener digesting it in two parts initially, forming their own interpretation," said Ashton Irwin, drummer of pop-rock band 5 Seconds of Summer (5SOS), in a press release about his sophomore solo album. "It's important to me, as a fan of music, to have a comprehensive body of work to fully dig into the artist's perspective."

Following 2020's Superbloom, Blood On The Drums is divided in two installments: Side 1, dubbed The Thorns, came out on June 12, and Side 2, The Roses, is set for release on July 17. Totaling 16 tracks, the LP blends 80s-inspired melodies with classic rock, experimental pop, and more, as it traverses Irwin's highs and lows. "I was thinking about the people I left behind, the people I miss, the family that I had to leave when I was young," the Australian musician shared. "Thinking about the addictions I've been through. The way I evolved as a young man who never had a father."

The title of the album is intended to be "a metaphor for how much I've given my music," said Irwin. To celebrate the release, he will play a single show at Los Angeles' The Belasco on July 18. 

Highly Suspect — 'As Above, So Below' (July 19)

The Massachusetts rockers of Highly Suspect are gearing up to release their fifth full-length album, As Above, So Below. Following 2022's The Midnight Demon Club, the band opted to tone down the electronic elements and embrace a more psychedelic, stoner rock sound, as can be heard on pre-release track "Summertime Voodoo."

"If my life is a book, then this album is the first chapter that truly addresses the central conflict," frontman Johnny Stevens said in a press statement. "The recognition of an ego, the problems it's caused — and the birth of its death. ‘As Above, So Below.' If I'm being real, I hit rock bottom again. After another close call with death, I feel wide awake. I don't know how the book ends yet, but I'm very engaged in the plot now. I'd rather it not end at all."

To celebrate, Highly Suspect will play the new album in its entirety in an intimate, seven-city U.S. Tour, kicking off on July 24 in Memphis, Tennessee and wrapping up on August 2 in Brooklyn. 

Deep Purple — '=1' (July 19)

Few bands get to release 23 albums, and for that fact alone, Deep Purple deserve praise. It does help that they are rock legends in their own right, therefore, =1 comes as a sweet, inspiring surprise.

Paired with acclaimed producer Bob Ezrin once again, =1 sees the British band evoke their classic sound "without relying on nostalgia," according to a statement. They promise to bring "rip-roaring rock n' roll" in 13 energetic tracks, and a taste of what's to come can be seen in singles "Portable Door" and "Pictures of You." It is also the band's first album with guitarist Simon McBride, who joined the band after member Steve Morse left due to personal circumstances in 2022.

The title =1 symbolizes the idea that, in a complex world, everything eventually equals one. In that communal spirit, Deep Purple is set for an extensive tour, starting with European dates in July, North and South American shows in September, and back with more European dates throughout November. 

"The album is a concept album where we get into the world of Afro-surrealism with a high school kid who's madly in love with a popular girl, but she really has no idea he exists," explained BLK ODYSSY about his upcoming album, 1-800-FANTASY, in an interview with BET. "He understands that she's out of his league but he is dedicated to proving to her that he's worthy of her attention and her love."

1-800-FANTASY follows that story while dipping into themes of mental health and self-control. "He creates these characters in his head to justify his crazy actions that he goes through to get her attention," BLK said, adding that that's where the album's "angsty sound" comes from. So far, a preview of that atmosphere can be seen in singles "XXX" with Wiz Khalifa, and a live performance of "Phase" at A Colors Show.

Born Juwan Elcock in New Jersey, he cites Kendrick Lamar, D'Angelo, and Outkast as influences to his own brand of alt-R&B and hip hop. "Whether it's me as an artist, or me as a producer, it is a very cinematic sound," he shared. "And it's a very theatrical sound, I like to take elements from what the human perceives as real life and put it in my music."

BLK will promote the album in his The Fantasy House tour this summer, starting off in North America and following up with European dates. 

One of last year's biggest revelations, GRAMMY-nominated rapper Ice Spice will finally release her debut LP, Y2K!. Titled as a nod to her birthdate (1st January 2000), the long-awaited effort comes after 2023's acclaimed EP Like..?, and was co-produced by longtime collaborator RIOTUSA.

Ice Spice has been keeping the 10-song tracklist a mystery, though, and so far shared only three singles: "Think U The Shit (Fart)," "Gimmie A Light" (which samples Sean Paul's similarly titled "Gimme the Light"), and "Phat Butt." In an interview with "The Today Show", she also revealed to have locked in a "crazy collaboration," and to have experimented with "a lot of different sounding beats that I haven't really been heard on much."

Starting July, the Bronx native will be busy with a handful of performances at European Festivals, followed up by a 17-date North American tour in August.

CULTS — 'To The Ghosts' (July 26)

Madeline Follin and Brian Oblivion have been making soft alt-pop music as the duo Cults for over a decade now. July brings forth yet another of their magical offerings: fifth studio album To The Ghosts, out via IMPERIAL on July 26.

The first ideas for the album sprung up during the COVID-19 pandemic, "when they wrote music on weekdays from 10am-5pm with no deadlines or distractions," says a press release. To The Ghosts was recorded at Oblivion's apartment, and co-produced by trusted collaborator Shane Stoneback. The New York duo shared singles "Crybaby" and "Left My Keys" in advance. Of the latter, Oblivion stated that "With this being To the Ghosts, ‘Left My Keys' is dedicated to the ghost of your high school memories with an element of fondness."

Cults will kick off a headline North American tour in August, followed by a month-long stint as the opening act for Vampire Weekend's Only God Was Above Us tour.

Beware of venom: Megan Thee Stallion is not biting her tongue on her new album, simply titled Megan.

The GRAMMY winner's first full-length release in two years is also the first to drop under her own control. Fans have been ready for this release even before the first single, "Cobra," came out in November. The second single, "Hiss," followed in January and brought the star her first No. 1 hit on the Billboard’s Hot 100 and Global 200 charts. These songs, as well as the third single, "BOA," foreshadowed a certain slithery theme that helped shape the album.

Megan was released on June 28 and features guest stars such as GloRilla, Victoria Monét, Big K.R.I.T. and Kyle Richh as well as her longtime ace producers like Juicy J (who made "Hot Girl Summer" among other calling cards) and LilJuMadeDaBeat, who produced Stallion anthems like "Big Ole Freak," "Body" and "Thot S—."

Here’s what we learned from listening and vibing to the latest work by three-time GRAMMY winner Megan Thee Stallion.

A Theme Snakes Through Megan

As could have easily been predicted from the first three singles "Cobra," "Hiss" and "BOA," and now the album track "Rattle," there is a hint of a snake theme that wends its way through the album from beginning ("Hiss") to end ("Cobra").

In several songs, she denounces all the snake behavior that she has encountered from former lovers, friends, and haters who support those who have caused actual harm to her. In the music video for "Cobra," Megan literally sheds her old skin to reveal a shining new layer.

Megan Is Calling The Shots This Time 

"I feel like Biggie, 'Who Shot Ya?’/But everybody know who shot me, bitch/ So now, let’s stop speaking on the topic," she rapped in "Who Me (feat. Pooh Shiesty)" off her 2022 album Traumazine. MTS was referencing the July 2020 incident in which rapper Tory Lanez shot her in the foot, and was subsequently charged with assault with a semiautomatic firearm and carrying a loaded, unregistered firearm in a vehicle. 

Turns out, she wasn’t done referencing the topic. Now, she’s one taking the shots. MTS takes aim at less-talented women rappers on "Figueroa" (named for a Los Angeles street known for prostitution), and at Lanez on "Rattle," when she suggests that his male supporters should schedule a conjugal visit with him in prison. (Lanez is currently serving a 10-year sentence while simultaneously going through a divorce with wife Raina Chassagne.)

Inspiration Comes From Everywhere

The star and her collaborators incorporate unexpected musical influences on Megan via creative sampling. Megan Thee Stallion speeds up and flips Teena Marie's 1984 ballad "Out on a Limb" for "B.A.S." — a song she co-produced with her longtime ally LilJuMadeDaBeat. "BOA" is cleverly crafted from sounds in the first solo hit by Gwen Stefani, 2004’s "What You Waiting For?" 

UGK are reunited from across the heavenly divide on the Juicy J-produced "Paper Together," with Bun B contributing new work and the late Pimp C joining in lyrical spirit. This is especially significant when considering that Juicy J produced "Intl’ Players Anthem (I Choose You)," UGK’s 2007 hit with Outkast. Juicy J also made the beats for Megan’s famous song "Hot Girl Summer." 

That’s just the tip of the iceberg when it comes to samples waiting to be discovered on Megan. There are many more riffs and other musical notions that the sample bank in our brains have yet to detect.

Self-Love Is Queen 

Whether she’s affirming, "I’m worthy, not worthless" on "Worthy," or literally touching herself in the auto-erotic "Down Stairs DJ" (which joins masturbation masterpieces like Divinyls’ "I Touch Myself" and Tweet’s "Oops"), Megan is grounded in songs that promote self-love as the best kind of love. 

She does admit that this is sometimes a challenge to embody, as when she talks about lingering depression on "Moody Girl." But the album generally moves towards the light.

She Loves Japan 

One of the big surprises on Megan is that she raps in two languages. She rhymes beautifully in Japanese on "Mamushi" with Yuki Chiba, a seasoned rapper from Japan who is influenced by the Southern swag. (Just take a look at the Memphis moves and Houston rhyme schemes of his viral song "Team Tomodachi.") 

On "Otaku Hot Girl," she raps about the manga series "Naruto" and drops other anime references to show her love of Japanese pop culture. 

Learn more: 10 Neo J-Pop Artists Breaking The Mold In 2024: Fujii Kaze, Kenshi Yonezu & Others 

Megan's Game Is Tight 

Megan is the first album to be released on Megan Thee Stallion’s own label. It follows her split from 1501 Certified Entertainment, a record label with which she was engaged in a protracted and ugly legal battle for earnings. 

She now has the muscle of the major label Warner Brothers as a partner for her independent venture, Hot Girl Productions. She also recorded an Amazon Original song called "It’s Prime Day" for a commercial, as well as an exclusive Amazon edition of Megan. 

It’s safe to say that this album represents a new level of business freedom and acumen for Megan Thee Stallion.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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