2020 was another massive year for BTS. The South Korean septet (RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook) were already a worldwide phenomenon before their first GRAMMY nomination: Best Pop Duo/Group Performance at the 2021 GRAMMY Awards show for their chart-topping single, "Dynamite." Still, it was that song's unprecedented success that prompted the wider music world to pay attention. Not only is the nomination a big first for them, but it’s also the first GRAMMY nomination for a K-pop act.

They released their album, BE, in November 2020 in response to the COVID-19 pandemic, and its single, "Life Goes On," became the first non-English song to debut atop the Billboard Hot 100. After the release of BE, BTS became the fastest group to earn three No. 1 songs in three months since the Bee Gees more than 42 years ago. To top it all off, BTS are the quickest group since The Beatles to have five No. 1 albums and the first group to have two chart-topping albums in the country in 2020 (with Map of the Soul: 7).

BTS, who TIME named their 2020 Entertainer of the Year, is a group familiar with firsts. Watching their disruption of the American pop music industry over the years has been a treat. Each year, they've grown more significant before our eyes. In 2017, they became the first Korean pop act to perform at an American awards show at the AMAs. 2018 saw the group win Top Social Artist for the second time (this is now a common occurrence) at the Billboard Music Awards while also giving a speech at the United Nations.

In 2019, they made history as the first Korean group to present at the GRAMMYs, where H.E.R. received the award for Best R&B Album. The following year, at the 2020 GRAMMY Awards show, they became the first Korean act to perform on the GRAMMY stage when they joined Lil Nas X's "Old Town Road" remix multiverse. They'll be returning to the GRAMMY stage this year as performers, this time with the added title of nominees.

Explore: Learn More About The Best Pop Duo/Group Performance Nominees | 2021 GRAMMYs 

Their universal, poignant messages go beyond the arts. They just renewed their LOVE YOURSELF campaign with UNICEF, whom they've partnered with since 2017 when LOVE YOURSELF 承 'Her,' was released. This association makes an upbeat song like "Dynamite," and the whole album BE, authentic to BTS's brand of practicing what they preach. BTS fans, a.k.a. ARMY, have grown tremendously and have been passionately supporting the superstars for years since the band first expressed an interest in a GRAMMY win.

Their nomination for Best Pop/Duo Group Performance is not just historic, but proof that sincerity, hard work and a dedicated fanbase are a recipe for success. The septet has won so many accolades and broken so many barriers it's gotten nearly impossible to count, but what's more impressive is they've remained humble throughout.

As leader RM told us, they're just "seven ordinary boys from Korea," and their efforts to do good and capture the complexities of life have provided comfort and inspiration to many, whether they speak Korean or not. They've broken the internet, been recognized by their peers, shown many sides of themselves to ARMY and continuously released terrific music. BTS's cultural relevance and impact on music will continue, as will their paving of the way for others from underrepresented groups.

Ahead of the 63rd GRAMMY Awards, GRAMMY.com caught up with BTS to discuss the significance of their nomination, representation in diverse spaces and much more.

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How have you guys been anticipating the 2021 GRAMMY Awards show? What's been going through your minds as the date approaches?

V: As the award show is approaching, the excitement and anticipation build up. I still can't believe we're nominated and performing. Getting a win would be even more amazing.

"Dynamite" was a song for the fans to brighten up their lives in a tough time. Yet, it's that spontaneous authenticity that got you your first GRAMMY nomination. How do you feel about that? Does that capture the core of BTS?

Jin: The core of BTS is delivering our stories through music in a genuine way. "Dynamite" is along those lines. It's a song that gives us strength and embodies the message we want to give to our fans. We believe sincerity always comes through.

This nomination is a first not just for BTS but also for a K-pop group. Many artists look up to you guys for your achievements in the Western industry. What does it mean to you to have so many juniors who see you as paving the way for Korean acts abroad? How does it feel to be global representatives of Korea?

Jung Kook: We're overwhelmed to be called representatives of Korea. We're just thankful for the support and attention that we've received, not only from our fans but our peers. We will continue to work harder to showcase even better music and performances. And it's an incredible honor to be the first Korean pop artist to be nominated for a GRAMMY, and we hope that this is just the beginning. A win would be significant not only for us but for many who pursue diversity in music.

<blockquote class="twitter-tweet"><p lang="und" dir="ltr">Ohmmmmmmyyyyyyyyggghghhhhhhhgggggggggdhdhsjsixudbslsogbdsisgshdbxidjdbdidhdifjfiri<a href="https://twitter.com/hashtag/GRAMMYs?src=hash&amp;ref_src=twsrc%5Etfw">#GRAMMYs</a> <a href="https://twitter.com/hashtag/BTS?src=hash&amp;ref_src=twsrc%5Etfw">#BTS</a> <a href="https://t.co/6CWkSPoR6W">pic.twitter.com/6CWkSPoR6W</a></p>&mdash; 방탄소년단 (@BTS_twt) <a href="https://twitter.com/BTS_twt/status/1331298544834076672?ref_src=twsrc%5Etfw">November 24, 2020</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

BE is your most personal project to date, and you all had a hand in creating it for ARMY. Why did you guys decide to channel your frustrations about the pandemic into an album? 

Jimin: We felt the need to tell others that we share the same emotions and show them how we stay consistent in our daily lives that have changed so abruptly—because life goes on. What we could do was make music and perform, so we created the album BE in the hopes that people will relate to and be comforted by our music.

Read More: BTS Talk Inspiration Behind "Dynamite," New 2020 Album, Gratitude For ARMY & More

How have you guys been passing your time over the last couple of months? What are you looking forward to doing when the pandemic ends?

j-hope: We have been working on our music. And I think I can speak for all of us, that the first thing we would like to do once the pandemic is over is to go on tours and perform in front of our fans. I want to look into their eyes and shout, "I love you, ARMY!"

The general public may know you as K-pop idols, but your music has transcended those boundaries, and your fanbase is diverse, even including the president of South Korea. What do you think of the label of K-pop on your music? How would you describe yourselves as artists in your own words?

RM: K-pop is a term used to refer to popular Korean music, but at some point, it became a genre of its own. It's actually quite difficult to define what K-pop is. To be honest, we're just greatly thankful and happy to show our music and performances to our fans and receive so much love.

To describe ourselves, we're just seven ordinary boys from Korea.

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You're often the only East Asian musicians at major awards shows or in mainstream pop culture conversations. How does that make you feel? How would you like your achievements to change the music landscape for others, if at all?

SUGA: We see movements in "diversity" in the global music industry. We hope these changes expedite and keep moving forward. There are so many artists in Korea besides us who put out great music. And I'm sure there are even more on a global scale. Hopefully, we can play a part in helping people be exposed to diverse music, and more musicians become more widely known.

In your personal opinions, what songs or albums from your discography would you give a GRAMMY to? For people who may not have explored your full discography, which of your older works are you most proud of and why?

RM: I would like to recommend our LOVE YOURSELF: 轉 TEAR [album] released in 2018 since it's a great album that came out in very difficult times. The track "Spring Day" is personally the most special to me.

"I hope we can be a breeze that touches people with comfort and empathy." V

What's next for BTS in 2021? Any new music or solo projects in the works?

RM: Like [on] "Dynamite," we hope to deliver once again a message of hope and comfort in a time when the pandemic has not dissolved yet, through, of course, great music and performances.

Jin: We're working hard to release our next music. Look forward to what comes next.

SUGA: We hope the situation gets better for us to tour in 2021. We hope you look forward to it.

j-hope: We want to give comfort and joy by bringing amazing performances with new music. We're working on it really hard now.

Jimin: I can't say for sure we will meet our fans in person given the current situation, but we will do our best to get closer to them, whether it's through an album or other content. 

V: I hope we can be a breeze that touches people with comfort and empathy.

Jung Kook: In 2021, we will [be on] an awesome GRAMMY stage, keep doing what we can do and show you the best of us. We want to show you more of our musical versatility as well.

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Before Backstreet Boys and *NSYNC ruled the pop roost in the '90s, New Kids On The Block were busy building the boy band template that everyone later followed for international chart success and incredibly ardent fan followings. And it's a legacy they're continuing to celebrate nearly four decades later.

On May 17, NKOTB will drop Still Kids, the group's first new album in 11 years and eighth overall. Standouts such as "Magic," "Runaway," and the album's lead single "Kids" are every bit as light, joyful and catchy as early hits like "Step By Step" and "Hangin' Tough." But they sound more mature than they did as teenagers; their harmonies are stronger and sweeter, while the beats and production sounds more sophisticated and contemporary. Fellow '80s/'90s stars DJ Jazzy Jeff and Taylor Dayne also guest star on the album to help them lean into the nostalgia while still staying current. (Jazzy Jeff will also join them on the Magic Summer Tour, which will make stops around North America from June 14 through Aug. 25 and further continue the throwbacks with Paula Abdul as the third tourmate.)

Of course, it's not a total surprise that New Kids would want their new work to celebrate the old. The group — brothers Jordan and Jonathan Knight, Joey McIntyre, Donnie Wahlberg and Danny Wood — has sold over 80 million albums, has a star on the Hollywood Walk of Fame, and even an annual New Kids On The Block Day in Boston (for 35 years running!). Their fans, affectionately known as Blockheads, still come out in large numbers to see them perform; according to NKOTB's new label, BMG, they've sold over four million concert tickets since reuniting in 2007 after a 14-year hiatus.

But for McIntyre, the true career highlights aren't the major accolades — it's the moments that really saw NKOTB's talent, and love for one another, shine. In celebration of the release of Still Kids, McIntyre shared five of his most cherished memories from the group's meteoric pop career.

Hollywood Talent Nights At Lee School Before They Were Famous

Lee School is a public school in Dorchester — actually, very close to Jamaica Plain. We all grew up in different towns in Boston. The rest of the guys were from Dorchester and I was from Jamaica Plain, that was like our clubhouse. 

Through the grace of God, there was a lot going on for the people that wanted it. And these community people that just did it out of the goodness of their hearts and would set up a space for kids to come and number one, stay out of trouble, and number two, give it a shot and have a place to dance and sing and dream. 

We would have these Hollywood Talent Nights that [group creator] Maurice [Starr] would put on, and then there were other talent nights. I don't know how often they were, but even if there were three or four a year, maybe even less, it was something to work towards. And we would rehearse, if we weren't rehearsing at Jordan and John's [Knight's] house, in their basement, we would rehearse at the Lee School. 

In the basement of the Lee School, in the backstage, you would walk down the stairs and we'd perform in these little rooms. It was like dressing rooms. They had mirrors; it wasn't big mirrors, but they had mirrors for the waist up and that was a big deal. So we would perform there, and rehearse there, and it was exciting. We had a place to take chances and be inspired and have a ton of fun as well.

It started with the Lee School and then radio shows [on] WILD, the AM station, the only station that would think about playing us at the time — and it was like, How are we going to surprise them this time? There was a ferocity about it. 

Donnie [Wahlberg] is a born leader. Jordan would tell stories about how Donnie would get on the school bus and he'd run the show. He'd tell jokes, he'd rap, he'd make everyone feel good — it's just in his bones. I think we all had the fire, but there was definitely a ride or die vibe about every show we did. 

He worked at a sneaker store, so we'd save up and pool our money together for new outfits, and one time we came on with basketball warmups, those Patrick Ewing basketball warmups. We came on in sweatsuits. First of all, I was freakin' five feet tall, so I was swimming in everything that we had, but we'd come on and for our number we'd sing whatever, and at the perfect moment we'd rip off the sweatsuits and have red glitter suits on. We'd just try to win the crowd over every time.

I think we still have that spirit. We never want to rest on our laurels, we want to surprise people, otherwise it's just not worth it. We've been lucky enough to do what we love to do.

Performing At The Apollo Theater In 1988

We've been able to celebrate that a lot over the years. It really is, in so many ways, the pinnacle for the history of R&B and black music and soulful music, but also rock and roll. The world knew that if you could make it there and survive the Apollo, then you had what it takes to at least give it a shot in the music business.

And we were in that world. In Boston, we played for all-Black audiences. We loved R&B music. That's what we grew up on, so we weren't really necessarily fish out of water because, although we were very excited, and of course had lots of nerves, we'd been hustling as a bunch of young kids for a few years.

We got a chance to perform at the Apollo by literally pounding the pavement. And it was one of those days where Maurice was taking us around, and we were going to people's offices with a boombox, playing music and singing and dancing. And these people, even if they didn't like us, they were impressed. They couldn't argue with the guts that we had and the passion. 

The guy who ran the Apollo — I'm blanking on his last name, his first name was Al — he would host those nights, and we saw him on the street. Maurice was like, "Hey, Al! We want to come up!" So we came up and performed three songs in his office — it wasn't a very big office, either — and he said, "We'll have you down."

We weren't in the competition, we were a special guest, because I think it was on a Wednesday and they had a live night, and then they had a TV show [Showtime at the Apollo]. So we did the live night first, and then we did the TV show and they just went crazy for us. I was a little too young to be in tears, but the rest of the guys, we went up to the dressing room and everybody was in tears. 

We would hang out at the Apollo. The basement in the Apollo, man, you'd have Heavy D and Chuck D and Kool Moe Dee — you know, all the Ds! I just finished one of RuPaul's books… I met RuPaul in the stairwell of the Apollo Theater. He was going up and I was going down and we looked up at each other: "Hey, how you doin'?"

This was a long time ago but, you know, it was just a special place. Back then you had to connect in person. Now we have social media. It's wonderful, you can connect. You can DM people and suddenly connect with your heroes or collaborators and it's great, but back then, you had to be in the place. And that's what the Apollo represented for us. So we were just like kids in a candy store.

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Getting Their First Tour Bus

There's nothing like jumping on your first tour bus. Our first manager, Mary Alford, had a two-door Mustang, I would have to sit on somebody's lap in the front seat, and then three dudes would be stuck in the back, and she'd be driving. The big splurge was getting a bigger four-door car to drive down to New York for those trips. We'd still be mashed up. 

You know, just to know you are literally going on the road for the first time. I'm 15, the other guys are, like, 18, 19, and there's really nothing cooler. But we were very emotional for a lot of reasons. For having a chance to do our thing and saying goodbye to our family, our hometown, knowing this is part of making it. So it was pretty cool. 

Working With New Edition

Before I was even in the New Kids, the New Edition album with "Cool It Now" was my [favorite] album. The fact that they were from Boston was amazing, a massive bonus, and we were all, just, goo goo ga ga any time we could meet them or think we could meet them. 

So over the years we would touch base, and then we got to sing together on our album The Block in 2008. But then a couple years ago we did a big mashup performance on the AMAs and I cried like a baby, like, three times. I cried on the phone with Donnie just thinking about it as we started rehearsals. Then I cried afterwards. 

A couple days later was Thanksgiving. We went around the table and talked about what we were grateful for, and the tears just came to my eyes. I couldn't think of anything better to be more thankful for than to work with your heroes. They've just been so gracious, so gracious, over the years. And from where they came and how they really set the standard for us. They really did. 

You don't realize it until the more you live and the more you are in this business. To have people walk the walk and talk the talk, and then be kind and supportive at the same time, it's very cool. Just to be friends with those guys is a dream.

Making Still Kids

You want to give the people what they're looking for and also surprise them at the same time, and I think this album has a good combination. I feel great about the fact that I ended up co-writing half of the album. I've just been writing more, so that was important to me. And I've been lucky enough to write for the group over the years, but this felt a little different. I think it takes guts to stretch and grow with the group, within the dynamics of the group. It's not easy but we've always said, "Let's go, let's give it a shot."

So this was a good combo, this album. It's new, we're definitely harking back to the good old days, but it definitely reflects that we're not 18 anymore. But I think they're that spirit. 

As we get older, we're always reaching back. We want to have that fire and that curiosity we had as kids. We don't want to let the cynicism of life pull us down and at the same time, all that fuels the writing and the expression. So it's exciting to feel good about an album that has the right balance. 

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No one is arguing that “Bridgerton” is realistic or even particularly historically accurate — in fact, leaning into anachronisms is the point. Entering its third season, which premieres on May 16, the pulpy Netflix show based on a series of romance novels by Julia Quinn — often classified as “bodice rippers” — mixes modern life ideas with Regency-era social rules.

From Lady Whistledown's tantalizing gossip columns to the complex romances of the Bridgerton siblings, the series grips viewers with its blend of historical drama and contemporary flair. One key note in that chord is classical music. Instead of using current tracks like some historical-contemporary-hybrids (most famously “A Knight’s Tale" in 2001), “Bridgerton” has mastered the art of the classical cover. 

Paired with original compositions by Kris Bowers, an Oscar winner and GRAMMY nominee — including one for Best Score Soundtrack For Visual Media for "Bridgerton" — the tone of the show is that of a heightened, classic world. Bowers, along with music supervisor Justin Kamps collaborates with the Vitamin String Quartet and other artists to create a full circle sonic landscape. They make the classical music in “Bridgerton” pop by re-recording, rearranging, and reimagining contemporary pop songs as classic pieces. 

Over three seasons, as well as with the spin off, “Queen Charlotte,” the team has included a mix of the newest songs as well as nostalgic favorites. This season features GAYLE’s “abcdefu,” which was released in 2022 as well as a cover of Pitbull, Ne-Yo, and Afrojack’s “Give Me Everything,” which was released in 2011, which can appease the full gamut of millennial and Gen Z viewers.  

Regency traditions 

The Regency period in which the show is based, spanned from 1811 to 1820, and was known as an era of elegance and refinement in British history.  In the first chunk of the 1800s, pop music included pieces by Beethoven, Liszt, Haydn, and Mendlesson (famous for the “Wedding March”). Waltzes were all the rage, and this “new” music was considered much more emotional and passionate than previous offerings. The romance of being swept away in a dance increased the thrill, and string quartets were highly popular. 

As seen throughout the series (and much like today), society placed a significant emphasis on social gatherings and music played a central role in these events. Balls, soirées, and intimate musical evenings were common, the perfect backdrop for orchestrating romance. 

In “Bridgerton," the show's modern portrayal of the Regency period occasionally features or references music from the time period, such as Vivaldi’s “The Four Seasons,” which was written a century before the events in the show but was and is still a popular piece of classical music. The show frequently uses arrangements of classical songs in a slightly modern way, but most often, it underscores scenes with either classically arranged covers of pop songs or original music by Bowers. 

Contemporary music covers

Choosing between a cover or original music is a nuanced decision for the music team. The music team considers “whether or not, there's something that can, lyrically, even though we don't hear lyrics, speak to a moment really well,” said Bowers. Absent a cover by an outside band, Bowers arranges pop hits to suit the tone of the scene. He said, “when you're saying something with a song, you're making commentary on what's happening.” 

When they do outsource tracks, more often than not, these covers come from Los Angeles-based Vitamin String Quartet. VSQ is the new Mendlesson in that they have been the predominant wedding-march artist for nearly a decade, known for producing string renditions of highly eclectic mix of artists including Cardi B, Lana Del Rey, Björk, and Sigur Rós. 

They contributed four covers in season one, including Billie Elish's “bad guy” and Ariana Grande's “Thank U, Next,” about which Leo Flynn, VSQ Brand Manager at CMH Label Group said, “Talk about a great track changing the temperature of a room.” In season two, VSQ’s cover of Robyn's “Dancing on My Own” played under a dance scene. 

When we spoke to James Curtiss, Director of A&R at CMH, the song placements for season three were still a mystery. Curtiss shared, “When we finished that Taylor [Swift] record, we sent it right over to the people at ‘Bridgerton.’” 

[Spoiler alert:] Since then, we have learned Swift's “Snow on the Beach” will be featured in season three. This isn't the first time Swift's music has been featured in the show: Duomo’s cover of “Wildest Dreams” played under the honeymoon scenes in season one. 

Composer Bowers added his favorite cover of the season is in episode eight, the finale, but what title that is will be a surprise. The surprise of an “unexpected cover” as Bowers calls it is that when you “hear a song that you know, and have this strong indelible connection with it that is represented in this style that you typically don't feel like is for you. People get excited by having this music that they really love be elevated to this other level.” He said the familiarity makes “you feel connected to this time period, these characters, and these people in a different way.” 

Flynn said, “There’s something about the past that’s inherently romantic,” and the use of VSQ songs “unites something from the past with what’s going on now.” Because classical music “feels very idealized and formal,” he said, “there’s all this history and mystique built into it.” 

Flynn also mentioned that “Bridgerton” fuses past and present on a “major storytelling scale” between the historically-inspired stories themselves, the “visual feast” of the show, and the music. Curtiss added that the “romantic nature of the string quartet” juxtaposed with pop songs helps viewers tie the feeling of going to a bar or club to the experience of hearing “the popular bangers of the day,” as he called Beethoven et al., at a ball in the Regency era. 

Original compositions

When the music needs to set a specific tone without taking the audience out of the action to try and name that tune, “Bridgerton” often uses original compositions by Bowers. Bowers said, “Looking at pop music for those things like rhythm and tempo and all that stuff also helps in moments where we want to have the score feel a little bit more modern and not as traditional.” He continued, “I’ll put something in the violas and the celli that have this kind of guitar and bass feeling to them even though we’re looking at it orchestrationally from a classical perspective.” He explained that “borrowing the rhythms or the way that parts interlock from pop music” makes it feel like a modern classical sound. 

Each character and couple has their own theme. Bowers explained that it was enjoyable to create themes that could fit both heartbreaking and celebratory moments. “The melodies are still the same even if the harmonic tone is changed,” he said.

Instrumental Pop In Visual Media

The “Bridgerton” style of using instrumentalized versions of pop songs is not unique. Famously, “Promising Young Woman” used a haunting version of Britney Spears’ “Toxic,” adapted by Anthony Willis, and “Westworld’s” Ramin Djawadi used adaptations of Radiohead among others. “Wednesday” featured a stirring string version of the Rolling Stones’ “Paint it Black.” The popularity of Vitamin String Quartet and other classical cover bands has not waned and, if anything, is becoming more of a mainstream staple.

As season three approaches, the unveiling of the time-spanning, romantic soundtrack is highly anticipated. Four episodes air May 16 and the second half of the season airs June 13, with original compositions by Kris Bowers and additional music by various artists, including Vitamin String Quartet, who will be taking over Pandora’s Classical Goes Pop in anticipation of their fall, “Bridgerton”-music-filled tour. 

Overall, to find the tone of the whole series, Bowers said, “Season three actually has a lot more lightness to it. (Showrunners) Shonda (Rhimes) and Jess (Brownell) really want to have a lot of fun this season so there's a little bit more of a playful, youthful quality to the music.” Whatever tunes make it into the season, they are sure to be a feast for the ears. 

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As the summer quickly approaches, artists from every genre continue to unveil new music for warmer weather. Friday May 10 is particularly packed with anticipated and surprise releases from both emerging talents and established names.

The new albums alone prove just that: pop songsmith Alec Benjamin's 12 Notes, folk-rock band Judah & the Lion's The Process, regional Mexican stars Grupo Frontera's Jugando a Que No Pasa Nada, and GRAMMY-winning R&B singer Andra Day's Cassandra, to name a few.

Meanwhile, a big, cool glass of major rap releases is here to help wash down the piping hot Kendrick and Drake beef served up over the last week. Full album releases debuted from Gunna, Chief Keef, and Ghostface Killah — the latter featuring guest spots from Nas, Kanye West, Raekwon, Method Man and more. Hottie Megan Thee Stallion's powerful new single, "BOA", sets the stage for her Hot Girl Summer tour which officially starts on May 14. New songs from Ice Spice, Kodak Black, NLE Choppa, Coi Leray, G-Eazy, Yung Gravy, Ski Mask the Slump God set the playlist for a weekend full of slappers.

There's tons of collaborations, too, including the much-teased pairing of Post Malone and Morgan Wallen with "I Had Some Help," a track that showcases Malone's furtherance into country in a catchy, reflective anthem. But country music lovers also have more to enjoy this weekend: Orville Peck's duets project, Stampede Vol.1, features the likes of Willie Nelson and Elton John," while Scotty McCreery's Rise & Fall and Avery Anna's single "Blonde" fill the fuel tank for a rodeo-ready summer. 

BTS's RM delivers another solo track "Come Back to Me" and Stray Kids dropped a new collaboration with Charlie Puth, coming fresh off the K-pop group's appearance at the Met Gala earlier this week. And the electronic and rock scenes are not left behind, with A.G. Cook exploring a new twist on Britpop and Sebastian Bach's release of Child Within The Man.

Dive into today's releases from Megan Thee Stallion, The Chainsmokers, RM, Stray Kids with Charlie Puth, Camila Cabello with Lil Nas X, Post Malone and Morgan Wallen below. 

Megan Thee Stallion, "BOA"

Megan Thee Stallion's new single "BOA" continues to play up the themes of empowerment and self-realization that define her current musical phase and comes just days ahead of her Hot Girl Summer Tour starting on May 14. The song's cover art features Megan with a striking snake, a recurring symbol of rebirth that has been significant in her recent work, appearing in tracks like the Billboard Hot 100 hit "Hiss" and the 2023 song "Cobra." 

"BOA" is a continuation of Megan's snake-themed narrative, but serves as a saccharine homage to her favorite late-'90s and early 2000s anime and video game classics. The music video features references to Scott Pilgrim, One Piece, Dance Dance Revolution, and iconic 3D fighting games like Mortal Kombat, complete with visuals and Gantz-inspired outfits.

Speaking to Women's Health about her upcoming summer album, Megan discussed the personal growth and renewal she has experienced, inspiring this new era of music. "I was inspired to create this album about rebirth because I feel I am becoming a new person physically and mentally," she shared.

Camila Cabello & Lil Nas X, "HE KNOWS"

Camila Cabello teams up with Lil Nas X for the tantalizing new song "He Knows," delivering a radio-friendly track that's as catchy as it is lustful. The new music mirrors the infectious energy of their recent appearance at FKA Twigs' Met Gala afterparty, where they both were seen dancing the night away behind the DJ booth. 

"He Knows" serves as a precursor to Cabello's highly anticipated fourth solo album, C,XOXO, — set to drop on June 28 — and teases a glimpse of Cabello's evolving artistic direction. The single follows on the heels of her recent hit "I LUV IT" featuring Playboi Carti, part of the  reimagining of her sound and artistic brand.

RM, "Come Back To Me"

BTS member RM has released a new single, "Come Back To Me," accompanied by a music video. The relaxed track gives fans a taste of his upcoming second solo album, Right Place, Wrong Person, set to release on May 24. 

In the song, RM explores themes of right and wrong, capturing the complex emotions of wanting to explore new avenues while wishing to stay comfortable in the present. "Come Back To Me" features contributions from OHHYUK of the South Korean band HYUKOH, and Kuo of the Taiwanese band Sunset Rollercoaster. Additional credits include JNKYRD and San Yawn from Balming Tiger. RM first performed "Come Back To Me" during a surprise appearance at BTS bandmate Suga's concert in Seoul last summer, noting it as a favorite from his forthcoming album. 

The music video for "Come Back To Me" was written, directed, and produced by Lee Sung Jin, known for his work on the Netflix show "Beef." The video features actress Kim Minha from the Apple TV+ series "Pachinko" and faces themes of identity and self-reflection, showing RM confronting different versions of himself. Its cast includes notable Korean and American actors such as Joseph Lee, Lee Sukhyeong, and Kim A Hyun.

Post Malone & Morgan Wallen, "I Had Some Help"

Post Malone and Morgan Wallen blend their distinct musical styles in the much-anticipated release of their collaborative single "I Had Some Help." Merging Malone's versatile pop sensibilities while leaning into his country roots with Wallen's, well, help, the duet is a unique crossover that has had fans clamoring to hear more since the two first teased the song earlier this year. 

Finally premiering during Wallen's headlining performance at Stagecoach Festival on April 28, the uptempo song explores themes of mutual support and shared experiences, encapsulated by the lyric, "It ain't like I can make this kind of mess all by myself."

The collaboration has sparked significant buzz and showcases the duo's chemistry and shared knack for storytelling. This single highlights their individual talents as well as their ability to bridge genre divides, already promising to be a hit on the charts and a favorite among fans.

The Chainsmokers, No Hard Feelings

Maestros of mainstream emotion, The Chainsmokers continue to master the art of turning personal reflections into global anthems with their latest EP, No Hard Feelings. The six-song project see Alex Pall and Drew Taggart exploring the emotional highs and lows of modern relationships, weaving their signature dance beats with pop sensibilities as they have since 2015's "Roses." 

The duo's latest release serves as a soundtrack to both sun-kissed days and introspective nights. The collection includes the single "Friday," a collaboration with Haitian-American singer Fridayy, described by the duo as a direct descendant of "Roses." Other tracks, such as "Addicted," also underscore the Chainsmokers' knack for capturing the zeitgeist of contemporary love and loss.

Kings of Leon, Can We Please Have Fun

Kings of Leon return with their signature blend of rock and introspection on their ninth studio album, Can We Please Have Fun. The LP finds the band infusing their established sound with fresh, unbridled energy, reminiscent of their early days yet matured by years of experience. The album features standout tracks like "Mustang" and "Nothing To Do," which mix playful lyrics with serious musical chops, showcasing Kings of Leon's unique ability to combine rock's raw power with catchy, thoughtful songwriting.

The band is set to bring Can We Please Have Fun to life on their 2024 world tour, starting in Leeds, United Kingdom on June 20 and wrapping in Bridgeport, Connecticut, on Oct. 5. Fans can expect a high-energy series of performances that blend new tracks with beloved classics, all delivered with the Kings of Leon's legendary fervor.

Stray Kids & Charlie Puth, "Lose My Breath"

Stray Kids have teamed up with Charlie Puth for their latest release, "Lose My Breath," a track that blends K-pop dynamism with Western pop flair, written by Stray Kids' own producer team 3racha (Bang Chan, Changbin, and Han) along with Puth. The TK song details a whirlwind of emotions, describing symptoms of breathlessness and heart-palpitating moments encapsulated in the lyrics: "I lose my breath when you're walking in/ 'Cause when our eyes lock, it's like my heart stops." 

"Lose My Breath" is described as a "warm-up" for Stray Kids' forthcoming album, set for release this summer. The track further highlights the global appeal of Stray Kids ahead of their highly anticipated headlining set at Lollapalooza in August. It also continues Puth's engagement with K-pop, following his previous work with other K-pop acts including his collab with BTS' Jungkook, "Left and Right," and "Like That," a song he co-wrote for K-pop girl group BABYMONSTER. 

15 Must-Hear Albums In May 2024: Dua Lipa, Billie Eilish, Sia, Zayn & More

As someone who has dedicated her life to being a performer, Dua Lipa's recent admission to Apple Music's Zane Lowe seems almost unfathomable: "I never thought of the idea of being famous."

Stardom may not have been on her mind as a kid, but Lipa is now, indeed, one of the most famous pop stars on the planet as she releases her highly anticipated third album, Radical Optimism. 

In the seven years since her acclaimed 2017 self-titled debut, Lipa has achieved several highs — like three GRAMMY wins, including Best New Artist in 2019 — as well as the subsequent lows that can often come with global stardom. And though the singer also admitted to Lowe that it "took me a while to find my voice," Radical Optimism is her most self-assured album yet — one that hinges on the title being not only the project's name, but also its defining approach to Lipa's present-day vision for her life.

"Radical Optimism and the way that I see it is this idea of rolling with the punches, of not letting anything get you down for too long. Of always seeing the positive side of things. Of being able to grow and move forward and change your perspective regardless of what's happening in your life…I think it's a big part of maturing and growing up."

The entire album was crafted in her native London over the course of a year-and-a-half, with Lipa enlisting a small band of collaborators — including her righthand co-writer Caroline Ailin, Kevin Parker of Tame Impala, Danny L. Harle and Tobias Jesso, Jr. — to create a cohesive, buoyant body of work tinged with disco, funk and bits of psychedelic pop.

Naturally, "radical optimism" is a core thread that runs through all eleven songs as Lipa reflects on falling in and out of love, grapples with her fame and confidently declares that everything that came before Radical Optimism was just a practice run. After all, as she brazenly declares on the LP's second single, "Training season's over." 

As you enter Dua's latest musical world, dive into four major takeaways from Radical Optimism below.

Radical Optimism Isn't Just A New Era — It's A Whole New Perspective

When Lipa accepted her GRAMMY for Best Pop Vocal Album in 2021, she declared she was officially done with the "sad music" that had fueled her breakout debut album. And if 2020's Future Nostalgia was, in context, a kind of clubby, '80s-driven turning point for the artist, she fully embraces the Radical Optimism promised by its follow-up's title. Lipa's newfound attitude is both clear-eyed and relentlessly positive across the album's 11 tracks, whether she's gushing over a new love on giddy opener "End of an Era," being kept up all night by thoughts of a seductive crush on "Whatcha Doing" or cutting her losses and ditching out early on the spellbinding "French Exit."

Even "These Walls," on which she watches a doomed relationship fade to black, is approached with a sense of inevitability laced with clarity and astute kindness. "But if these walls could talk/ They'd say enough, they'd say give up/ If these walls could talk/ They'd say/ You know you're f—ed/ It's not supposed to hurt this much/ Oh, if these walls could talk/ They tell us to break up," Lipa sings over gossamer production and a piano line by Andrew Wyatt.

You Can Still Find Her On The Dance Floor

The rollout for Radical Optimism was front-loaded with the release of three singles ahead of the full album in the form of "Houdini," "Training Season" and "Illusion." Between the three subsequent music videos and a thrilling live performance at the 2024 GRAMMYs in February, Lipa signaled that her third LP would be filled with her signature style of scintillating dance floor bangers.

The rest of the album more than delivers on that promise, with an overall BPM that rarely falls below what's needed for a full-blown aerobic workout — perfect for over-the-top choreography, of course. And in case the Service95 founder's commitment to the dance floor isn't already apparent, just look at the history-making hat trick she recently pulled off on the Billboard's Hot Dance/Electronic Songs chart: as of press time, "Houdini," "Illusion" and "Training Season" occupied the top three spots, marking a first for any female artist in modern music history.

She's Redefining Love On Her Own Terms

If the litany of love songs on Radical Optimism are any indication, it's safe to say Lipa is head over heels these days (with boyfriend Callum Turner, perhaps?). Opening track "End of an Era" may mark the beginning of a new musical journey for the singer, but it's just as much about the thrill of a new relationship. Later on the track list, she uses album cut "Falling Forever" to grow an initial spark of infatuation into a red-hot love affair as she yearns, "How long, how long/ Can it just keep getting better?/ Can we keep falling forever" on the lovestruck chorus.

Lipa also makes it clear on the shapeshifting highlight "Anything For Love" that she's "not interested in a love that gives up so easily." As she refuses to accept the modern paradigm of ghosting, non-committal situationships and running away when things get hard, the song morphs from a tender piano ballad into danceable, mid-tempo groove, giving the listener just enough breathing room to wrestle with the questions of what kind of love they'll accept before dancing it out.

She's Putting Her Emotional Growth On Full Display

It's been almost seven years since Lipa spelled out her "New Rules" for a generation of pop lovers, and some of the most affecting cuts on Radical Optimism prove the British-Albanian star has accrued even more hard-won wisdom since her early days of "If you're under him, you ain't gettin' over him."

Penultimate track "Maria" finds Lipa thanking the ghost of her current lover's ex-girlfriend for making him a better man: "Never thought I could feel this way/ Grateful for all the love you gave/ Here's to the lovers that make you change/ Maria, Maria, Maria." 

Meanwhile, on album closer "Happy for You," the singer turns her attention not to a lover's ex-girlfriend, but to an ex who's moved on from her and found himself happier than ever. It's a complex, but decidedly mature feeling to realize you're genuinely happy for someone you used to love, but Lipa encapsulates the emotion perfectly. 

"Oh, I must've loved you more than I ever knew/ Didn't know I could ever feel/ 'Cause I'm happy for you," she sings on the chorus. "Now I know everything was real/ I'm not mad, I'm not hurt/ You got everything you deserve/ Oh, I must've loved you more than I ever knew/ I'm happy for you."

The grown-up sentiment finishes the album on a bittersweet emotional high — proving that no matter what life throws at her, Lipa will remain radically and unapologetically optimistic to the end. 

GRAMMY Rewind: Dua Lipa Champions Happiness As She Accepts Her GRAMMY For Best Pop Vocal Album In 2021