“This album is actually an album of questioning. There\'s a lot of introspection, and within that, I\'m answering questions that I\'ve never had the space or capacity to ask,” Brittany Howard tells Apple Music about *What Now*, the Alabama Shakes singer-guitarist’s second solo album. “I was always so busy, I was always running around, I was on tour, I was preparing this, preparing that. This time I told myself when I would go in there and make songs in my little demo room, ‘No one\'s ever going to hear this,’ and it was very freeing.” Of course, people would end up hearing those songs, but that mindset helped Howard write from a brave new perspective. She dives into her personal history and guiding philosophy in a vulnerable way, like she did on 2019’s *Jaime*, but this time, the instrumental choices are bolder and more unexpected than ever before. “Power to Undo” is a folk-rock tune that showcases the album’s central theme. “You have the power to undo everything that I want/But I won\'t let you,” she sings. Once that’s revealed, the song descends into an acid-funk freakout, built around scratchy guitars and ramshackle drums. “‘Power to Undo’ is actually about freedoms,” she says. “A lot of people can experience this feeling of ‘I know I shouldn\'t do that. I know I need to keep moving in this direction.’ It\'s just about this thing chasing you down, and you\'re like, ‘No, you\'re not going to get me, I\'m not going to change directions.’” Elsewhere, on “Prove It to You,” Howard cues up gauzy synths and a dance-floor drum groove that’s made for an after-hours. It’s the furthest from the rootsy rock Howard rose to fame with, but the creative risks of *What Now* suggest an artist more interested in following a muse than replicating past successes. “I am always expanding and evolving and trying new things,” Howard says. “That\'s the most fun about being a creative person—trying things that challenge you and you don\'t know anything about.”
“Sampling is a part of me, because I grew up on these songs,” Cash Cobain tells Apple Music. “I just take everything, throw it in a bowl and mix it up, and make my own Slizzy sauce.” Raised in the Bronx and Jamaica, Queens, two of the most hallowed locales in hip-hop history, he came up as a leader in the city’s vibrant sample-drill and sexy-drill waves before breaking big nationally as a sought-after producer for Drake, Trippie Redd, and Lil Yachty, to name but a few. Even while he scored hits and built his movement with locals such as B-Lovee and Chow Lee, he didn’t get as much credit for his rapping until his single “Fisherrr” with Bay Swag and its corresponding Ice Spice remix made him inescapably ubiquitous. “Two years ago, I thought I made it,” he says, adding, “but now I’m like, ‘You going somewhere.’” After linking on both sides of the booth as a featured artist opposite the likes of Don Toliver and A Boogie wit da Hoodie, his proper album debut *PLAY CASH COBAIN* puts him fully front and center. The raw sexual energy of “act like” and “rump punch” exemplify the sumptuous sound he pioneered and its correspondingly raunchy lyrical direction. Elsewhere, though, he demonstrates a softer, more romantic side on “message to u” and “wassup wya,” actively conjuring his dream girl fantasies into sincere realities. (“The album is sexual healing,” he quips.) Whether he’s creatively interpolating R&B classics on “all i wanna hear” and “cantsleep/drunkinluv” or flirting with other sources like on the Afrobeats-inflected “luv it,” his cutting-edge approach makes nearly every track feel momentous and of the moment. As if his own verses and hooks weren’t enough, the diverse guest list on *PLAY CASH COBAIN* nods to Cobain’s elevated status in the rap game. Quavo and the aforementioned Toliver help set the tone on opener “slizzyhunchodon,” their respective waves uniting for one irrestible vibe. For the show-stopping “problem,” he gathers a breathtaking and unexpected array of compounding features by everyone from Big Sean and Fabolous to Flo Milli and YN Jay. “It\'s like everyone is doing their own freestyle to it,” he says of the multigenerational posse cut built around Brooklyn singer Laila!’s single “Not My Problem.” For the most part, Cobain does what he does best without high-profile help, reflecting his humble rise from a South Jamaica basement. “I’m just trying to bring positivity and fun,” he says. “I want my people or my peers around me to do the same. I want everybody to win.”
Having previously partnered with some of hip-hop’s most iconic producers, not the least of whom being J Dilla, Common built a career on securing superb beats to suit his agile rhymes. While many rappers of his generation hopped from trend to trend, repeat and reliable collaboration proved core to his discography, with several of the same studio figures from his early albums now fixtures in his circle decades later. It’s the native Chicagoan’s characteristic consistency, perhaps, that makes *The Auditorium, Vol. 1* such a momentous album event. A hip-hop artist indisputably worthy of the word “legend,” Pete Rock comes to this joint effort with the rare distinction of both defining and embodying Golden Era greatness. Though relatively selective about who he deems dope enough to form a duo with since the C.L. Smooth days, the Bronx-born producer generated goodwill and critical respect for his 2010s efforts opposite his city’s Skyzoo and Smoke DZA. As such, he makes a formidable complement for Common, evident from the jump on the exquisite intro “Dreamin’.” His timeless instrumentals conjure certain nostalgic tendencies from the MC, his verses on “We’re on Our Way” and “This Man” laden with old-school references and lyrical memorabilia. From the jazzy swing of “Everything’s So Grand” to the enlightened gospel groove of “A GOD (There Is),” the pair deliver on the promise of their premise, delivering theatrical thrills befitting their skills. And not that an album of this caliber requires special rapper guests, but Posdnuos of De La Soul is a naturally welcome addition to “When the Sun Shines Again.” Furthermore, Rock lays down some refreshing bars of his own on “All Kind of Ideas,” thus providing Common with a worthy foil on the mic as well as off and increasing anticipation for a presumed second volume.
On Doechii’s 2024 release, the Tampa-born rapper showcases the blend of clever rhymes with deep, philosophical musings that have punctuated early releases like 2020’s *Oh the Places You\'ll Go* mixtape and 2022’s *she / her / black bitch* EP. Lead cut “STANKA POOH” finds the Top Dawg Entertainment artist wrestling with her artistic mortality and role as a Black woman in music. She raps: “Let’s start the story backwards/I’m dead, she’s dead, just another Black Lives Mattered/And if I die today I die a bastard/TikTok rapper, part-time YouTube actor.” Obviously, Doechii aims to be bigger than viral clips and TV shows so small they can fit on your computer screen. On *Alligator Bites Never Heal*, Doechii asserts herself as one of rap’s most impressive bar-for-bar MCs. “DENIAL IS A RIVER” is a classic narrative cut in the style of Slick Rick’s “Children’s Story,” while “NISSAN ALTIMA” is an electro-rap thriller designed to keep the dance floor hot and heart rates up. She sums it up simply enough when she raps: “All beef gets smoked/I’m a real fly bitch, you in coach.”
Fousheé has never been known to box herself into one genre of music. Since she burst onto the music scene in 2020 with her viral breakout hit “Deep End,” the singer-songwriter has cemented herself as an artist to watch as she seamlessly bounces from alt-R&B to folk to punk and rap within her projects and features. Where Fousheé’s second full-length *softCORE* mashes up pop-punk grit with airy R&B, the Up Next alum’s latest effort *Pointy Heights* broadens her palette and paints an entirely new sound. Dedicated to her grandfather, who founded and owned a stretch of land in Jamaica, *Pointy Heights* is an autobiographical love letter to her roots. Fousheé invites listeners into a world shaped by her home, where old-school reggae, dance-friendly rhythms, and melodies run free. It is rich with sounds of crackling basslines and sharp and lively drum sounds that are anchored by Fousheé’s honest and vulnerable songwriting, which tackles issues of acceptance (“still around”), love (“closer”), and heartache (“flowers,” “loversland”) and pays homage to the people around her (“feel like home”). She looks for peace and tranquility on the groove-driven track “war,” while on the Steve Lacy-co-produced track “100 bux,” Fousheé details her recovery from a lousy hangover over an interpolation of Musical Youth’s 1982 reggae classic “Pass the Dutchie.”
Over the course of his decade-plus in the spotlight, Future has allowed his many alter egos a turn at center stage. There’s Future Hendrix, the soulful hippie for whom 2017’s *HNDRXX* is named, and *The WIZRD*, a nickname given by his uncle and the namesake of 2019’s *Future Hndrxx Presents: The WIZRD*. Super Future represents him at his catchiest, where Fire Marshal Future shows the rapper at his most lit (as in, the fire marshals are going to have to shut the club down). But it’s been a while since we’ve seen Pluto, the character associated with his earliest projects, including 2012’s *Pluto*, the debut studio album that revealed him as a secret romantic and unexpected hitmaker. That eerie, pink-lit house on the cover of *MIXTAPE PLUTO*, Future’s first solo release of 2024, is none other than the Dungeon, the Georgia studio from which some of history’s most vital and inventive rap music emerged, from Goodie Mob to Outkast to Future himself. The basement studio was owned by Rico Wade, Organized Noize producer and Future’s older cousin. When Wade died at 52, Future posted a poignant message to Instagram: “This life wouldn’t b possible if it wasn’t for my cousin. Love u forever.” Across the album’s 17 featureless tracks, Future pays tribute not only to his uncle and mentor, but also to the era from which he emerged. “SKI,” “MJ,” and “READY TO COOK UP” deliver elevated updates on his narcotized rasp circa 2011’s *Dirty Sprite*, 2012’s *Astronaut Status*, and 2013’s underrated *F.B.G.: the Movie*. (“READY TO COOK UP,” in particular, feels like a high-end sequel to *Dirty Sprite*’s haunting title track: He might pull up in a helicopter, but he still knows how to use a Pyrex.) But it’s his soulful side that shines on tracks like “SURFING A TSUNAMI,” a shimmering hallucination of mermaids and giant waves, or on “OCEAN” when he croons, “So many tears, I could fill up an ocean.” And on the heartbreaking “LOST MY DOG,” he mourns a friend who died from a fentanyl overdose: “His mama tried to raise an angel, turned out gangster like his daddy/We share the same pain, so I knew he wasn’t happy.” It’s further evidence for Future as one of our greatest living bluesmen.
Card-carrying members of the #FutureHive remember where they were on the two consecutive weekends of February 2017 when rap’s reigning king of gorgeously toxic masculinity dropped a pair of albums that nailed the yin and yang of the whole Future thing. The first one, simply titled *FUTURE*, exemplified his singular breed of haunted club crushers, like “Mask Off,” a Metro Boomin joint that became his highest-charting single at the time. Hot on its heels was *HNDRXX*, named for his softer, trippier side, a buoyant return to the romance of his *Pluto*-era hits. Both albums debuted at No. 1 and felt like a return to form for a rapper who’s had more thrilling returns to form than just about any other rap star of the past 15 years. A similar feeling floats on the breeze with the release of *WE STILL DON’T TRUST YOU*, Future’s second collaborative album with Metro Boomin in less than a month. From the spacey and vaguely French disco pulse of the Weeknd-featuring title track, you get the sense that *WE STILL DON’T TRUST YOU* is the *HNDRXX* to *WE DON’T TRUST YOU*’s *FUTURE*—a balmy sunrise after a dark night of the soul. That feeling is confirmed by the shimmering bacchanalia of “Drink N Dance” and the Brownstone-sampling “Luv Bad Bitches,” an instant addition to the canon of Future’s best love songs (“I like good girls, but I love, love, love bad bitches!”). Metro’s productions have rarely sounded prettier, and Future Hendrix fires on all cylinders, reminding you that for all his red-eyed “fuck love” bangers, at his core he’s a romantic. Kendrick Lamar’s surprise verse on *WE DON’T TRUST YOU* reopened the “Big Three” debate floor; with *WE STILL DON’T TRUST YOU*, it’s time to start seriously considering the idea of the “Big Four.”
The scrappy Memphis rapper has been on a two-year victory lap since her 2022 breakthrough hit “F.N.F. (Let’s Go)” established her as one of rap’s most promising new voices. Since then, GloRilla’s dropped an EP (2022’s *Anyways, Life’s Great...*) and her first studio mixtape (2024’s *Ehhthang Ehhthang*), scored a Grammy nomination, and sold out arenas alongside Megan Thee Stallion for the Hot Girl Summer Tour. The glow-up is real on *GLORIOUS*, her official debut album, but let it be known that the reigning queen of crunk is still hanging out the window with her ratchet-ass friends when the opportunity arises. “It’s 7 pm Friday/It’s 95 degrees/I ain’t got no n\*\*\*a and no n\*\*\*a ain’t got me,” she declares in the opening bars of “TGIF,” a worthy “F.N.F.” follow-up made for blasting at max volume. There’s plenty of the rowdy girl-power anthems fans have come to expect from Big Glo, among them the bad-bitch motivational “PROCEDURE” with Latto and “WHATCHU KNO ABOUT ME,” a Sexyy Red collab that riffs on the Trill Entertainment classic “Wipe Me Down.” Less expected is “RAIN DOWN ON ME,” a gospel number with a blessing from Kirk Franklin, though it’s really only fitting for a rapper born Gloria Hallelujah Woods.
If there were any remaining doubts as to hip-hop’s MVP, consider the decision stamped: Kendrick Lamar officially won 2024. There were whispers that Compton’s finest was working on an album in the wake of his feud with Drake, a once-in-a-generation beef that kept jaws dropped for months. (Perhaps you’ve heard of a little song called “Not Like Us,” an immediate entry into the canon of all-time great diss tracks.) After a sold-out celebration at the Kia Forum, an armful of Grammy nods and streaming records, and the headlining slot at next year’s Super Bowl, Lamar ties up his biggest year yet with a bow with his sixth album, *GNX*, the most legitimately surprising surprise drop since *BEYONCÉ* in 2013. Named for his beloved classic Buick, *GNX* finds Kendrick wielding a hatchet he’s by no means ready to bury, still channeling this summer’s cranked-to-11 energy. On “wacced out murals,” he’s riding around listening to Anita Baker, plotting on several downfalls: “It used to be fuck that n\*\*\*a, but now it’s plural/Fuck everybody, that’s on my body.” (Yes, there’s a nod to his Super Bowl drama with Lil Wayne.) If you’ve been holding your breath for Jack Antonoff to link with Mustard, wait no more—the seemingly odd couple share production credits on multiple tracks, the explosive “tv off” among them. Still, K.Dot keeps you guessing: It’s not quite 12 tracks of straight venom over world-conquering West Coast beats. SZA helps cool things down on the Luther Vandross-sampling “luther,” while Lamar snatches back a borrowed title on “heart pt. 6” to remember the early days of TDE: “Grinding with my brothers, it was us against them, no one above us/Bless our hearts.” He cycles through past lives over a flip of 2Pac’s “Made N\*\*\*\*z” on “reincarnated” before getting real with his father about war, peace, addiction, and ego death, and on “man at the garden,” he outlines his qualifications for the position of GOAT. Here’s another bullet point to add to that CV: On *GNX*, Lamar still surprises while giving the people exactly what they want.
Laila! begins her debut album *Gap Year!* with a snippet from a live show. It’s an acoustic-guitar jam called “Talent Show,” and it’s ostensibly a performance from a high school talent event. She showcases her dexterous voice on the unvarnished cut, and it establishes some of the themes she explores on the record. Laila!, whose father is celebrated rapper Yasiin Bey (aka Mos Def), presents her unfiltered self on the collection, using this “gap year” between childhood and her foray into professional music as an official introduction. On “R U Down?” she cues up a disco-inspired groove and asks a potential partner to come at her from a place of mutual respect. “I’m not that mean,” she sings, before adding, “I just mean what I say/You know that.” She lets her vulnerability lead the charge when she concludes, “I’m just a girl, and I don’t know what I’m feeling.” Laila! saves the pre-release smash “Not My Problem” for the end, and after she spends the album ruminating on her place in the world as an adult, the song’s message hits all the harder: “Bitches talkin’ shit, it’s not my problem.”
West London multi-hyphenate LAVA LA RUE has always been a master of imagination, known for their genre-bending sonics and kaleidoscopic aesthetics. So when their makeup artist Maya Man started drawing a large star on LAVA’s face before shoots and shows, in an effort to channel “a lesbian Ziggy Stardust,” it didn’t take long for it to take on a life of its own. “I felt like I was becoming this sort of character, and I wanted to build a whole world around \[them\],” says LAVA, real name Ava Laurel. “How would I embody that character that I become when I’m putting on a big show? What is their storyline? Who are they in love with? How did they get here?” That was the genesis of their debut album, *STARFACE*, a celestial, sapphic sci-fi adventure, told through the lens of intergalactic outsider STARFACE, an alien tasked with investigating the self-destructive nature of humanity. With their own tangled queer love affair on tracks like “INTERPLANETARY HOPPIN’” and “LOVEBITES,” and the biting social commentary of “CHANGE” and “Humanity,” this project is rich with themes of romance, injustice, empathy, loss, and ultimately self-discovery. And, in true LAVA LA RUE fashion, it feels equal parts nostalgic and future-facing: a fully realized intergalactic vision, inflected with funk and soul, bolstered by hefty rock riffs and breakbeats and embellished with strings, flutes, and horn sections, plus plenty of featured artists (and even a spoken-word moment from Courtney Love). “I think when I was a teenager exploring, I had a lack of resources and my sound was very much limited to what I had, which in a way was a really good thing and it shaped me as an artist,” says LAVA. “But \[on *STARFACE*\] I had no limits.” Read on as they talk us through their ambitious debut, track by track. **“A Star Journey Begins…”** “Once it became clear how the project was going to start, I wanted people to listen to it and imagine opening credits. It’s almost like a *Star Wars* reference and I kind of want people to imagine the yellow text on screen that comes up at the beginning and says, ‘Directed by LAVA LA RUE,’ ‘STARFACE.’ The opening credits to the movie that you’re about to sonically embark on.” **“Better” (feat. Cuco)** “‘Better’ is joyful and it’s supposed to be an uplifting song at its core, but I wrote it probably at one of the most traumatic periods of my life: I had had a stalker who figured out where I lived from watching my Instagram videos. When I got into that studio, I was talking to myself as if I was a friend that was going through a depression. It made so much sense for Cuco to be on it. I had met him back in 2018 when we were on the same flight to Berlin. The people that we were back then versus the people that we are now are so different. It was funny reading back on our texts—we were kids, basically. He has gone through his own process of becoming sober and a more healthy person. So the song has this overall tone of telling your younger self or a friend, ‘We’re going to move up from here. If you look into the horizon, we’re a better person there.’” **“Manifestation Manifesto”** “This was made before I had started the album. Back then, I was on this mission, ready to take on the world and very much like, ‘You’re either with me or not with me, let’s start a revolution’ vibes. I’m still very much there, but as I’ve grown up I also have this sort of tenderness of ‘The people who I think are the enemy, are they really the enemy? Are these the bad guys or are they actually also caught in the same rat race that we are and have just been fed information to try and make us dislike each other?’ It’s at that stage of STARFACE’s journey where they’ve been given the mission, assigned to go to Earth—they need to figure out what’s going on and \[whether\] people are either with them or they’re not.” **“Push N Shuv”** “The oldest song on the record. We didn’t change any of the main vocal takes, so you’re hearing 21-year-old me. Stylistically, I was pulling a lot of references from Talking Heads, Tom Tom Club, that ’80s New Wave movement. The thing I loved about the sonics of that era is that you’d have a funk bassist, a sort of reggae drummer, and then a punk guitarist. I felt that fusion was really representative of me and how I wanted to play. So the bassist on there grew up in the gospel church, he tours with me and he’s got funk rhythms down to a tee. Then, the drummer was Yuri from \[London indie-rock trio\] Honeyglaze, who is also a producer in his own right for a lot of bands in that George Tavern, \[The\] Windmill, Brixton scene \[in London\]. And then Karma Kid produced it. It was the anchor point for the whole project, basically.” **“STARFACE’s Descent” (feat. tendai)** “This is the crash landing—my goal was for people to feel like they knew what was happening by just hearing sounds. I really wanted to push myself here. Having tendai hop on was the perfect missing ingredient. Conceptually on the song, he’s actually my AI control room person within the ship, basically telling me that the ship isn’t going to last the crash landing but I will be able to, and he says that very poetically within his lyrics.” **“Aerial Head”** “STARFACE’s first day on Planet Earth. It’s a documentation, STARFACE reporting back to the ship from the opening line, saying, ‘Right, it’s Tuesday, 3:45. I’m presenting as a human and I’m feeling great about it.’ This was produced by Isom Innis, who’s in the band Foster the People, and that particular song was originally a Foster the People demo. I changed the storyline and rewrote the lyrics to fit with STARFACE coming into London for the first time.” **“Poison Cookie” (feat. AUDREY NUNA)** “This is about the cookies on our phones. At first, a lot of people try and resist like, ‘No, I’m going to protect my privacy, I’m going to protect my data.’ And then at a point, it’s like, ‘Do you know what, they’re tracking my every move, I’ve \[already\] given the algorithm everything.’ Especially if you’re an artist or a presenter, you’ve put your face out there, you’re Googleable. You’ve got a Wikipedia, you’ve got articles about everything, there’s literally nothing else left to hide. And it’s about accepting that you’re very much plugged into the matrix, unless you commit to the bit of being off the grid from the get-go…That’s why the hook is ‘Poison in the cookie, but I’m going to eat that chip anyway.’” **“Friendship’s Death (1987)”** “The sample is from a film of the same title starring Tilda Swinton, who plays an alien that comes to Earth and wants, again, to stop humans being so self-destructive. She’s meant to land where a UN conference was being held in America but instead ends up landing in Palestine by accident. It came up completely by random, decades and decades late, and when I watched it, I couldn’t believe how much it was relevant to the project I was making and also what was happening in the world. In the end, Tilda Swinton’s character decides not to go to America to continue the conversations, instead she becomes a freedom fighter.” **“FLUORESCENT / Beyond Space” (feat. NiNE8 & Feux)** “This is one of the final battle scenes. STARFACE is gathering their comrades in the form of NiNE8 \[the alt-pop collective LAVA LA RUE founded and is part of\]. They’re like, ‘I’ve figured out who the enemy is, let’s come together and align, let’s make this happen.’ It was probably one of the most challenging songs to make on the record—I wanted to assemble so many members. Altogether, it’s got six features: me, Biig Piig, Mac Wetha, Lorenzorsv, Nige, and Feux. I was bouncing back and forth with each person—it was kind of a metaphor for what was happening in the storyline because it was a bit of a battle of pulling all these people together to have this big final product. It felt like making an epic musical, almost.” **“INTERPLANETARY HOPPIN’” (feat. So!YoON!)** “It’s a bit of a slow jam. After the big battle, it’s the moment you get to kiss the girl. It was sick having So!YoON! on this song. It made a lot of sense, and I just really admire her. She’s an amazing guitarist, an amazing songwriter, an amazing singer. She’s very similar to me in that her heart is both in her band, \[Seoul indie-rock duo\] SE SO NEON, where they’re really more rocky and heavy, and then with her solo stuff, she’s got this more soulful voice. She doesn’t compromise having to be in one world or the other.” **“LOVEBITES”** “I made this with my boy \[LA-based songwriter, producer, and multi-instrumentalist\] apob in his studio in West Hollywood and it was one of those songs that are made very instantaneously. I think I even shocked myself, like, ‘My girlfriend has a boyfriend, he hasn’t met me yet.’ You know when you say something and think, ‘Am I really about to air this out on a song? OK, cool.’ \[From there\] the song kind of wrote itself.” **“CHANGE”** “‘CHANGE,’ at its core, is about not losing that spark that you have inside you when you’re younger and you’re like, ‘The world is fucked. Why are people like this? I want everything to change.’ The opening lines were read by Courtney Love. I’d met her backstage at an event, and she’s someone that has shown that exact resilience. I asked her to read an excerpt or say a few words. She found this monologue that Al Pacino had said in *Glengarry Glen Ross* and repurposed it for the narrative.” **“Humanity”** “For me, ‘CHANGE’ and ‘Humanity’ are the two processes of how something gets done. There’s the initial anger and determination and will. But then it’s like, you can shout at someone and tell them they’re doing something wrong, but nothing actually progresses until you have an active solution or a sense of humanity, a sense of empathy. That overall theme that’s in the album, this is where it’s worded the most on the nose. I think the most radical thing any human can do is be deluded enough to believe that it *is* going to get better, it *is* going to change, it will have to, and then it will.” **“Second Hand Sadness” (feat. yunè pinku)** “It’s a comedown song for sure. What comes with those feelings of radical love and the delusions of ‘everything is going to be great’ is that you also have moments where it becomes real and it hits you how much work needs to be done. Whether that’s in a relationship or what you are trying to achieve in life. And that second-hand sadness is when someone you really care about, or the circles that you are in, are going through it and you find yourself also being glum and you don’t know what it is. When you have that empathy and tenderness, you have it for the highs and the lows as well.” **“Shell of You”** “I was building up this storyline of when STARFACE and their romantic interest, Alia, are bouncing around, almost on a pub crawl across London. I think it’s a moment where in their relationship they’re like, ‘Is this going to work out? Is there even any point in me being part of this?’ I wanted to set myself a challenge for this song where I create a song like an old-school ’70s songwriter would—getting the perfect chords on a grand piano and guitar and essentially writing the whole song on \[them\] before we even touch the studio. And then build it up and make it bigger and bigger and bigger.” **“Sandown Beach”** “A beautiful scene before a long goodbye. This takes place on a perfect day, between STARFACE and the love interest, but tomorrow’s the day STARFACE has to go back home. For anyone that’s ever deeply fallen in love with someone, but for whatever reason your time is limited, you really do enjoy every moment and love and kiss on such a deeper level than when you know you can see them tomorrow and the day after. It was written and inspired by a perfect day that was literally the best day of my life.” **“Celestial Destiny” (feat. bb sway)** “The big finale. I wanted to leave it on a cliffhanger and almost let the listener decide what happens. It’s at a pivotal point right at the end where STARFACE reaches this big ultimatum: ‘Am I going to go back home, report all of my findings, report all of this experience I’ve had on Planet Earth and then go back to the mothership only to be reassigned a new mission to never return again? Or am I going to stay here with this person who I’ve just had the best day of my life with? I’m clearly head over heels in love with them, but it means that I’m going to have to watch the world potentially crash and burn and destruct and never go back home.’ It builds up and then it’s like, ‘To be continued…’”
Leon Thomas wears seemingly every hat there is: He sings, he writes songs, he acts, and he produces. Despite being spread thin in a million different directions, he manages to excel in all these fields. After years of dedicating his talent to acting and writing songs for other artists, he emerged in 2023 with his solo debut, *Electric Dusk*, via Ty Dolla $ign’s EZMNY imprint. A year later, he released its follow-up, *MUTT*, a convincing sign that Thomas is all in on this latest endeavor. *MUTT* finds Thomas showcasing his vocal prowess and lyrical talent alike, telling stories of love lost and betrayal, staggering his way through empty relationships as he looks for his soulmate. On “SAFE PLACE,” he sings over screeching guitars and the persistent beat of a ride cymbal bell, admitting, “I see the glass half empty.” On “FAR FETCHED,” which features his label boss, Thomas takes issue with a love interest who is more interested in handouts than a deep relationship. “Paid for my mistakes in Benzes and diamonds,” he fumes, before adding, “250 fronted like you was my artist.” Leon Thomas has conquered everything he’s set his mind to, and yet, on *MUTT*, love eludes him.
Sporting one of the most outsized personalities in all of hip-hop history, LL COOL J made rap braggadocio into an art form. During his mid-’80s emergence, the Queens-bred MC used his inherently aggressive delivery to prove himself bigger and deffer than the competition. In the ’90s, he channeled that tenacity even more effectively on the seminal *Mama Said Knock You Out* and its gritty successor *14 Shots to the Dome* while increasingly amplifying his libidinous loverman side to great commercial effect. It worked so well that, by the time he popularized the term “GOAT” on his sexually charged 2000 album of the same name, few could argue he wasn’t a contender for that prestigious title. Yet those who arrived during James Todd Smith’s R&B crossover era, or the many more who’ve come to know him primarily as an actor on television and in film, may not know what a tremendous rapper he was—and remains. His first studio album in some 11 years, *THE FORCE* shows his microphone prowess has in no way waned over the past decade. There’s a core combativeness to his contemporary approach, unquestionably bolstered by the distressing and galvanizing events of recent years. Out the gate, on the Snoop Dogg-assisted “Spirit of Cyrus,” he conjures a vivid Black vigilante fantasy where racists receive their comeuppances in brutal fashion. With a similarly vibrant Busta Rhymes in his corner, he outlines a revolutionary mindset on the thunderous “Huey in the Chair.” As should be expected with an artist with his tenure, he also reveals a sentimentally nostalgic streak in a number of instances here, calling back to his come-up on “Basquiat Energy” and realizing that the you-can’t-go-home-again axiom rings truer than expected on “30 Decembers.” “Black Code Suite” synthesizes his tendencies quite beautifully, its Afrocentric bent mixing memory with militancy. Part of what makes *THE FORCE* such a tremendous record comes from producer Q-Tip. Rather than chase trends, the Natives Tongues veteran gives LL a series of instrumentals (and, on more than one occasion, hooks) that veer far from legacy-act stagnation and instead towards a mature yet rugged vibe. This translates to the laidback synth slap of the Saweetie duet “Proclivities” as much as the far squirmier funk of his Eminem collab “Murdergram Deux.” From the reconfigured throwbacks of “Passion” and “Post Modern” to the timeless grooves of “Runnit Back” and “Saturday Night Special,” their robust artist pairing ensures that *THE FORCE* is an album to reckon with.
Across his varied, genre-pushing discography, Chicago spitter Lupe Fiasco has kept one thing consistent: He remains one of the best bar-for-bar rappers in the game. His ninth album is a milestone in many ways, although it continues his trend as one of hip-hop’s strongest lyricists: The entire project was produced by Soundtrakk, making it their second full-album collaboration, following 2022\'s *DRILL MUSIC IN ZION*, and it’s the first album that Lupe and Soundtrakk worked on with their longtime manager Charley \"Chill\" Patton since 2007\'s *The Cool*. Considering it’s a family reunion of sorts, Lupe and his go-to producer wanted to make the album as personal as possible, weaving narratives with anecdotes unique to the Windy City wonder. On the throwback “Mumble Rap,” Fiasco tells the story of a woman entranced by a mysterious sound before realizing its danger, which Lupe highlights by mumbling his way through the chorus. It’s conceptually daring commentary on the industry Lupe has made his name in, while still reflecting his singular POV. In that way, too, *Samurai* is more of the thrilling same from rap’s poet laureate.
On Mustafa’s 2024 debut album, the Sudanese Canadian songwriter moves from topic to topic with the deft narrative craft of a seasoned wordsmith. “Dunya,” which translates from Arabic to “the world in all its flaws,” perfectly encapsulates Mustafa’s approach to songwriting: It\'s raw and unfiltered but totally in awe of the planet on which we find ourselves. On opener “Name of God,” Mustafa surrounds himself with little outside of an acoustic guitar melody, letting his powerful voice carry the song’s emotional heft. He blends the personal and universal on the song, asking, “Whose Lord are you naming/When you start to break things?” Elsewhere, on the percussive “Old Life,” he looks back with mixed feelings on a relationship long in the rearview. He croons, “I\'m not yours/But there\'s a part of your life that is mine.” All we are, Mustafa asserts, is the experiences we have.
“It’s quite a strange album,” Nia Archives tells Apple Music about her debut, *Silence Is Loud*. The award-winning artist, producer, and DJ—credited with spearheading a mainstream revival of jungle music—is the first to acknowledge that the sonic landscape of the album is an eclectic departure from her early sound. While elements of the production will be familiar to fans of Archives—including jungle pioneer Goldie and global superstar Beyoncé—*Silence Is Loud* rings with Britpop, Motown, and alternative rock influences, resulting in a wholly original listening experience that exposes the unconventional edge to her artistry. Co-produced with rising talent Ethan P. Flynn, whose credits include FKA twigs and slowthai, the record is beholden to the late-’90s/early-2000s era of organic, experimental pop dominated by William Orbit—albeit charged with the frenetic energy of drum patterns still firmly rooted in jungle. While tracks like “Cards on the Table,” “Crowded Roomz,” and “F.A.M.I.L.Y” see Archives explore recurring themes of loneliness, self-acceptance, parental estrangement, and love—both unconditional and unrequited—with her characteristic lyrical candor, *Silence Is Loud* leaves fewer places for the intensity of her words to hide behind. This reality is most clearly evidenced on the reprise of the title track, which strips away her typical percussive camouflage. “Jungle is so chaotic and intense that nobody really pays attention to the lyrics that much,” says Archives. “The drums take up a lot of space in the music—they’re like the heart, and when you take that away, it’s like the brain. Which is a bit much sometimes.” For all the risk Archives has taken in releasing a body of work that resists the urge to chase trends in favor of presenting a true reflection of her own journey, *Silence Is Loud* succeeds in alchemizing its disparate parts into audio gold. “I played in a pub in London the other day and the people were singing along so loudly it made me think this isn’t just a viral-TikTok-moment album. It’s an album that people have to listen to, and then listen to again to take it in…\[because\] it’s something weird and new,” she says. “But I think I’ve got good taste in music, so that gives me a little bit of confidence in myself.” Read on to find out more about each track in Archives’ own words. **“Silence Is Loud”** “I wrote this song about my little brother, who is my little baby. He’s getting older and our relationship has changed so much. He’s changed so much, I’ve changed so much. I wanted to write about how I love him no matter what, and that is what unconditional love is to me. There’s no ifs or buts, it’s just pure love. I wrote it in bed and then I took it to Ethan. It’s the first song we made together. One of my favorite albums is *Aha Shake Heartbreak* by Kings of Leon, I’m so inspired by the lo-fi \[sound\] in their music. I really wanted a Kings of Leon-meets-Radiohead moment because *In Rainbows* is also one of my favorite albums.” **“Cards on the Table”** “I wanted to make a really hardcore Britpop jungle tune. It’s quite stripped-back breaks. I was hugely inspired by Blur, Pulp, Oasis, all that kind of vibe. I love Damon Albarn. If there’s anyone I would love to listen to the album, it would probably be him. Again, I wrote this in bed—I had a bit of a situationship with an Irish boy I met after a show in Dublin last year, so it’s a real story and my first time writing a song like this. I don’t really write love songs, but I was trying to have a bit of a Natasha Bedingfield moment. I’ve really tried to think of all the best songwriters to come out of the UK and focused on studying a lot of people. This was the first time I wrote a song and I felt like it was a ‘proper’ song.” **“Unfinished Business”** “This is the only song I’m worried about having to sing live because I’d just come back from a festival and I’d lost my voice, which is why it sounds so hoarse and rock ’n’ roll—I don’t know if I can re-sing it like that. I wrote it about realizing that everybody else has their own life before they’ve met you. Before you even say hello, they’ve already had so many experiences that have shaped them as a person. That’s actually quite positive. The production is quite four-four because I’ve been making loads of four-four music recently. And I also really wanted to make a Foo Fighters-inspired jungle tune because I loved the Foo Fighters when I was 14.” **“Crowded Roomz”** “We made this in the studio and it was a bit overwhelming. I was talking about loneliness—chronic loneliness. I feel like a lot of people my age experience loneliness. For me, with what I do—where it’s really high or low—it’s so heightened and you experience that a little bit more. And it was like, ‘Oh my god, this is actually a bit much, I can’t listen,’ because we listen to the same song on loop for four hours and it’s an intense one to listen to over and over again. The next day, we were like, ‘Oh, this is actually really good.’ I’ve been playing this one out and everyone screams the words, so I’m hoping that will be the vibe across the album. More of my sets have turned from hardcore jungle to a pop concert, which is cool.” **“Forbidden Feelingz”** “I feel like there’ll be a lot of people discovering me \[through this new sound\] and I really want them to hear where I’ve come from and how I got to this point. This is a nice moment for a switch-up, to be like, ‘I do this as well and, if you want, you can go back and discover all that stuff.’ I can never recreate this song, it’s one of my favorite songs I’ve ever made, so I didn’t want it to not be a part of an album that will hopefully shape the next few years of my life.” **“Blind Devotion”** “This is the longest project I’ve made in my life. I’m usually a 20-minute person, max. Towards the end I was like, ‘Oh my god, for an album to be an album it has to be 35 minutes, I need three \[more\] minutes to complete this thing, let’s make one more song.’ It’s one of the only new songs with the ‘old me’ sound, where it’s really clubby. We were going for that Massive Attack kind of vibe. We made this one at my studio and mine’s not got a lot of equipment. I try not to spend money on too much stuff. I’ve got 10 plug-ins, which is really weird as a producer, but I’d rather be the master of what I’ve got than have everything and not know how to use any of it. As a creative, you want a challenge and to feel like, ‘I’ve only got this, how do I make it sound interesting?’” **“Tell Me What It’s Like?”** “I said to Ethan that I wanted to make a song a bit like The Cranberries. The middle section, which is so happy, comes from another beat—the only song that didn’t make it on to the album. The rest of the song is quite dark and it was Ethan’s idea to put the two together. It’s about unrequited love, but not necessarily in a relationship sense, more related to my own life, but I guess people will take it however they want to take it. When I wrote it, I was inspired by Natalie Imbruglia’s kind of vibe. I sampled this voice note that Goldie sent me, because he sends me voice notes every week. He’s been a great listening ear and a real supporter. He’s someone I’m so inspired by and look up to—not just as a musician but as a person. He was quite gassed about it when I sent it to him.” **“Nightmares”** “I had my heart broken in Tokyo, which is hilarious and random. It’s like something out of a film. I came back from Asia and I was really sad, and the only way I can process my emotions is by making music. I wrote this song at home and then Ethan’s label let us use their spare studio, and he brought his guitar. I’d been listening to loads of Fleetwood Mac to get over my upset and I wanted to make something with that vibe. I thought ‘Nightmares don’t just happen when you’re sleeping’ was quite a funny play on words because what was happening felt like a real-life nightmare, which is so dramatic. This is the only song I kind of regret. I’ve never been really mean on a song in my life and the person I wrote about hasn’t heard it. I hope they don’t hate me because we’re kind of friends again now. But it’s a good song, so what can you do?” **“F.A.M.I.L.Y”** “I wrote this about my personal experience and my relationship with my family. This song is the end of that era, for me. I’m 25 this year, I feel like there’s only so many times you can be so caught up in things that cause you stress or upset you, so I really just wanted to say my piece and that’s it. There’s a little bit of acceptance within the song, understanding this is just the way things are and that’s OK, I guess. It was quite therapeutic. We recorded it in Ethan’s flat with me screaming and Ethan’s friend Felix \[Stephens\] playing the viola. My main inspiration was Estelle, ‘1980.’ There’s just a feeling I get when I listen to that song…I don’t know how to explain it. Even the video, where she’s sat on the stairs. It’s just a whole vibe I really wanted to capture with this song. It’s quite theatrical and I feel like the production reflects the drama.” **“Out of Options”** “I’d just been to the Motown Museum in Detroit for the first time and it was amazing. I love Motown. All the productions they made, just with what they had in those times, is actually crazy. It was such a booming Black industry that I’ve always been so inspired by. And I love The Ronettes, one of my favorite girl groups of all time. So I was really intensely listening to that kind of music and wanted to explore that sound. It was the only song I wrote on the spot and didn’t really have much that I wanted to say, but it was really fun recording how they would have recorded—standing in different spots in the room to create that big sound.” **“Silence Is Loud (Reprise)”** “Ethan suggested we do a reprise and I was kind of like, ‘Oh, I don’t know about that. Feels a little bit weird.’ But I trusted his gut. This was the only song we didn’t make in the UK. I was in L.A. on tour, and I hate making music in L.A., but we were at Sound Factory and we had all kinds of equipment and he was really having fun with the sound design. Throughout this album, I wanted to have loads of voice notes and anecdotes from people who mean something to me. So the voice talking at the start is my brother. In the middle, it’s loads of different voice notes from my friends, my friends’ parents who have become a really big part of my life, and my manager Tom, who’s my best friend. At the end is a sample of a video of all my friends from my birthday dinner. It’s quite emotional actually.” **“Killjoy !”** “I had a really nasty interaction with somebody who was quite close to me and this was me expressing that. It was the first time I was trying to think about how to make the words interesting and I love the way I wrote it. I made it at home and took it to Ethan, and what he brought to it was so cool—Massive Attack vibes with a bit of old-school IDM and jungle.” **“So Tell Me…”** “Another moment from a previous project. If I didn’t make \[2023 EP\] *Sunrise Bang Ur Head Against Tha Wall*, this song would have been on the album anyway—it felt like a good end.”
Though NxWorries—the duo of Anderson .Paak and Knxwledge—took eight years between their first and second albums, the sound remains perfectly the same. On *Why Lawd?*, the producer from New Jersey uses his backpacking past to conjure up dusty grooves that serve as the perfect counterpoint to .Paak’s silky-smooth voice. On “Distractions,” Knx cues up Spanish-inspired guitar and echoing drum clicks to give .Paak the perfect stage from which he can sing of long nights and beautiful days: “I don’t need no more distractions, but I’m gassed to see what might happen.” It’s an album of impeccable textures and an ode to the “you only live once” mindset. “SheUsed” is a throwback gospel track with soaring vocal harmonies that finds .Paak unearthing his scratchy falsetto. “Said I’ll be back but won’t be mad if this time is the last,” he raps after multiple innuendo-laced bars. It’s all good, though. *Why Lawd?* is what happens when two of the game’s best link up in the pursuit of pure hedonistic joy.
Though SahBabii has been a staple of the rap scene for over a decade, his 2024 album *Saaheem* is only his second full-length LP. SahBabii sounds so confident, though, that it’s clear he spent his off-seasons practicing. The Chicago-born rapper moved to Atlanta as a young teen, and the blend of trap and drill that he brings to his albums is an effortless combination of the two subgenres. On *Saaheem*, which is also his birth name, SahBabii doesn’t force-feed these different aspects of his musical style. Rather, they subtly shape his sonic worldview, creating an album that’s fascinating in its understated variety. Take “Viking,” a booming, rumbling track that features the canonlike bass of Windy City street rap with the triplet hi-hat rhythms and syrupy flow of ATL mainstays like Young Thug and Migos. On “Kodak,” he plays with the plugg style prevalent on the East Coast, crooning over pillowy synths so warm they practically wrap him in a hug. No matter what city he touches down in, SahBabii sounds at home.
A Top Dawg Entertainment fixture since the early 2010s, ScHoolboy Q played no small role in elevating the label to hip-hop’s upper echelon. With his Black Hippy cohorts Kendrick Lamar, Ab-Soul, and Jay Rock, the tremendously talented Los Angeles native made a compelling case for continuing the West Coast’s rap legacy well beyond the G-funk era or the days of Death Row dominance. Even still, his relative absence from the game after *CrasH Talk* dropped in 2019 has been hard to ignore, particularly as the most prominent member of his group departed TDE while SZA became the roster’s most undeniable hitmaker. Indeed, it’s been nearly five years since he gave us more than a loosie, which makes the arrival of his sixth full-length *BLUE LIPS* all the more auspicious. His concerns as a lyricist draw upon the micro as well as the macro level, as a parent decrying mass school shootings on “Cooties” or as a rap star operating on his own terms on “Nunu.” Elevating the drama, the *Saw* soundtrack cue nods of “THank god 4 me” accent his emboldened bars targeting snitches, haters, and fakes. Q’s guest selection reflects a more curatorial ear at work than the gratifying star-power flexes found on *CrasH Talk*. Rico Nasty righteously snarls through her portion of the menacing “Pop,” while Freddie Gibbs glides across the slow funk groove of “oHio” with scene-stealing punchlines. A producer behind TDE records by Isaiah Rashad and REASON, Devin Malik steps out from behind the boards to touch the mic on a handful of cuts, namely “Love Birds” and the booming paean “Back n Love.”
*Quantum Baby*, the seventh album from Tinashe and the second part of a trilogy following 2023’s *BB/ANG3L*, arrives with more eyes on the R&B star than ever before thanks to the viral success of “Nasty,” an intimate, intoxicating R&B-dance hybrid that quickly became one of 2024’s defining songs. “I crafted \[it\] to try to get that exact same energy when I was just driving in my car,” she tells Apple Music’s Zane Lowe. “The performance of it really affects just how people are interpreting the song and how people are receiving it.” Though there may not prove to be another song that finds as many ears as the single, *Quantum Baby* is still the portrait of an artist at the peak of their powers. There are plenty of other sterling moments to latch on to: “Thirsty” is light as air, with Tinashe’s falsetto floating above pillowy synths and percussion that bubbles like a cauldron. “When I Get You Alone” is a sexy R&B jam laced with deep desires and plenty of quotable lines. When Tinashe sings, “Flying, top gun/Feels like heaven/Wilding, we’re young/Fuck it, have fun,” she’s also recapping the philosophy of the *Quantum Baby* era. It’s why, in part, Tinashe never let the success of “Nasty” change her approach. “I\'m just trying to live in the moment as much as possible and not focus on that, because these moments don\'t happen every day,” she says. “And I hope that my continued hard work \[can help me\] maximize on it as much as we possibly can. We stay the course.”
“I\'ve always wanted to be a pop star, but beyond that, I wanted to be an African pop star,” Tyla tells Apple Music. “The roots of my sound are in amapiano music, in South African and African music.” Though the megaviral 2023 single “Water” may have put the South African singer-songwriter on the proverbial map—first as a social media sensation, then as the highest-charting African female soloist ever on Billboard’s Hot 100, earning her the inaugural Grammy Award for Best African Music Performance—she’s been carefully plotting her path to the top for years. “Since I started experimenting with amapiano, I just feel like it\'s really helped me get to this point where I created something that is fresh and new, but still familiar and comes from home,” she says. “It\'s a sound of Africa, and it\'s something that I couldn\'t be more proud about.” She weaves through a blend of pop, R&B, amapiano, and Afrobeats (“pop-piano sounds cute,” she admits) across *TYLA*, a coming-of-age chronicle through love, heartbreak, and self-discovery. “I’m speaking about the things that I\'ve gone through while creating the album—basically three years in the making,” she explains. “I was becoming a woman. So it was a lot of growing that happened, and me realizing my worth, and realizing how I want to be treated—and how basically, I\'m that girl, and people need to know I\'m that girl.” While the project was brought to life with the help of global producers including Sammy Soso, Mocha, Believve, Rayo, and Sir Nolan, Tyla made sure they all had a taste of her homeland. “\[It was important\] to bring some to South Africa,” she explains, “so when we get in the studio, they have context. Some people that try amapiano sound so watered down, it\'s cringey. So even though I am mixing it with pop and R&B, I didn\'t want it to sound watered down. Music is our everything in Africa. The way we speak, the way we dance, literally, our dance moves—they come so naturally. It\'s just in us. It’s our essence.” Below, Tyla talks us through her debut album. **“Intro” (Tyla & Kelvin Momo)** “I wanted to start off my album with something that was truly South African, something that showed people the root of where I started, before ‘Water,’ before all of these mixtures. I secretly recorded a voice note when I was in a session with Kelvin Momo. I loved hearing the people in the session, speaking, hearing the language, the accents. It was so raw and real. Kelvin Momo is my favorite amapiano producer—his music and his sound is my heart.” **“Safer”** “The message of the song is something that I feel like a lot of people could relate to. And the energy of the song I feel like is a strong intro to open an album.” **“Water”** “‘Water’ surpassed all expectations. I could\'ve never expected all of these accolades—a Grammy, the Billboard Hot 100, people all over the world dancing and pouring water down their back. From the time I finished recording the song, it was all that I was listening to. It was also like a step away from what I was used to, because I \[had been\] *very* PG. And with this one, I was more grown up and I was experimenting more. And even though I don\'t enjoy vulgar music, I feel like we were able to make the song speak about what it speaks about, but in a way that\'s friendly.” **“Truth or Dare”** “This was the song where I was playing more house-y with it. It’s me calling out people, being like, ‘Hey, *now* you care.’ I\'m not that type of person, but these are feelings that I felt around the time where I\'m like, ‘Where did this person come from? Out of nowhere, you want to now talk to me?’ and I literally hate it. I\'m sure a lot of people have felt that.” **“No.1” (feat. Tems)** “Tems and I had been wanting to make a song for long now. We ended up making it work, and Tems\' voice alone is so amazing, so unique. The song is for everyone, but when I had it in mind, it was really for the girls—me and Tems, girl power, African girls—and we were just really pushing that message of ‘I\'m leaving. I don\'t need anybody. If this is not serving me anymore, I’m gone, and I\'m going to be okay.’ Always put yourself before anything.” **“Breathe Me”** “It\'s a song that\'s so emotional and so real. It\'s just about love, of how strong love is, and how you don\'t even need anything else. I don\'t need anything else. You don\'t need anything else—just me, and you; just breathe me and we\'ll be fine.” **“Butterflies”** “With ‘Butterflies,’ I was in a session with \[producer and songwriter Ari PenSmith\] and he was playing me some stuff that he\'s worked on, and I was like, \'Cool, cool, cool.\' And then he played this, and I fell in love with it. It sat so perfectly with my voice. I connected with the song instantly, and it was too specific to what I was going through to not do anything with it.” **“On and On”** “This was \[an initial\] version of my sound, before ‘Water’ and everything. I made this with Corey Marlon Lindsay-Keay in South Africa. We were supposed to go out, and we didn\'t end up going out, so I was dressed up in a whole outfit in the studio session, and he was producing. I love the song so much because it\'s so nostalgic but new. I love that it feels like old-school R&B. I love that it has hints of Aaliyah\'s influence, but it\'s new, and fresh, and African—all things that are Tyla. The messaging is not so serious—it’s literally about not wanting a party to end.” **“Jump” (Tyla, Gunna & Skillibeng)** “‘Jump’ is a very different vibe. I really just wanted to tell people who I am, and I had to show my confidence through the song. And the opening line, with Skilli being like, \'Original girl, you want a replica? No.\' There\'s no replica. That intro was already perfect, and it segues to that line of me saying, \'They\'ve never had a pretty girl from Joburg/They see me now and that\'s what they prefer.\' That line is just—it’s too iconic for me, and I\'m just so excited to hear all the girls sing it, all the Joburg girls sing it, all the girls from home. And having Gunna on it, I really feel like it took me into that world further, making it even more raw and cool.” **“ART”** “When I\'m with someone that treats me so good, treats me well, treats me like art, treats me like a princess, I will be there for them. I will be their art piece. We also played with that wording where it can be ‘art piece,’ but also your peace and your comfort. As a woman, that\'s how I want to be treated, and that\'s how I would treat you if you treat me that way. It’s about being treasured.” **“On My Body” (Tyla & Becky G)** “This was such a fun one because it’s in my world, but also I played a bit with the Latin vibes. The feature came so organically—I was in studio, and she was in a session next door. She loved it, and she recorded a verse, and I absolutely died. I died. I just love her touch, and how it just broadened the audience, because now it\'s just bringing everybody into this experience. It\'s a melting pot with all these genres, and I love that I was able to expand it even further.” **“Priorities”** “This song was probably the most difficult to share, because it\'s really letting people into my heart and mind, and how I feel I\'ve been with myself. I feel like people would resonate with it, and it speaks about what a lot of people feel and may not express. \[The idea of having spread yourself too thin\] is something that\'s so raw and real, that not even just women, men, everybody feels.” **“To Last”** “I love this song with all my heart. I was in the Vaal with LuuDadeejay, and I literally finished this song in five minutes. It was based off an experience that my friend was going through at the time. About a year prior, I wrote the lines ‘You never gave us a chance, it\'s like you never wanted to last.’ And that note just came to mind, and the song just flowed out of me. I ended up going through something that made me feel that way. It was like I told the future, which is not good—but I fell in love with the song again. It’s so South African: It’s amapiano, it\'s house-y, it\'s our sound.” **“Water (Remix)” (Tyla & Travis Scott)** “Travis reached out—he loved ‘Water,’ and around the time, I was like, \'I don\'t want a remix, I\'m cool.\' But Travis Scott was so unexpected that I wanted to do it so bad, and he absolutely killed it. He added some South African shout-outs in his verse, and I just knew that people from home were going to love it—he acknowledged us, and he mentioned \[the South African telephone country code\] +27 and all those things. And I also love that he brought a different energy to the song. Everyone knows ‘Water’ to be that summer banger, and now Travis made it still the summer banger, but also more gritty. Putting him on an African-sounding song was just the perfect collab.”