Even hours after Music's Biggest Night came to a close, those who won golden gramophones at the 2022 GRAMMYs were still celebrating on social media. Whether they were first-time winners like Olivia Rodrigo or GRAMMY mainstays like Carrie Underwood, this year's winners shared their reactions on Instagram — likely after the wins really set in.

Lady Gaga perhaps summed up the magic of the night best, in a heartfelt Instagram post posing with her latest GRAMMY (her thirteenth!). "I was so proud to be a part of such a beautiful community of musicians where so many people were rewarded for their artistry," she wrote.

Take a look at social media reactions from winners like Jon Batiste, Olivia Rodrigo, SZA, Juanes, St. Vincent and more.

Despite not taking home any trophies this year, Brandi Carlile suggested that she still "won SO big" thanks to her good company, Bonnie Raitt and Joni Mitchell.

Lil Nas X took a similar approach, making a lighthearted joke about going 0 for 5 — and saying what all of his fellow non-winners might also be thinking: "Let's try again next year!"

10 Must-See Moments From The 2022 GRAMMYs: BTS Do James Bond, Olivia Rodrigo Cleans Up, Jon Batiste Channels "Freedom"

As we close out the month, this New Music Friday has loads of fresh beginnings and highly anticipated reunions.

Several big-name collaborations dropped on Sept. 29, from an electric team-up of the Rolling Stones and Lady Gaga to an R&B and rap fusion from Jungkook and Jack Harlow. 

Two nostalgic releases arrived as well, with Lil Wayne's new album Tha Fix Before Tha Vi continuing his "Tha Carter" series, while *NSYNC fans were treated to the boy band's first new song in 20 years with "Better Place."

Dive into these seven new releases that blend the old generation with the new. 

Jungkook ft. Jack Harlow — "3D"

BTS singer Jungkook takes us through a nostalgic journey with "3D," a song reminiscent of an early 2000s boy band hit. The hypnotizing lyrics illustrate his close connection to someone he can't reach, so he'll watch them in 3D.

"So if you're ready (So if you're ready)/ And if you'll let me (And if you'll let me)/ I wanna see it in motion/ In 3D (Uh-uh)," he sings in the chorus. 

Jack Harlow pops in, dropping a few verses boasting about his global attraction with women. "Mr. First Class" claims he can "fly you from Korea to Kentucky," as he closes out the song.

With an addictive chorus and groovy baseline, this track has a different vibe from his "Seven" collaboration with Latto. The song marks Jungkook's seventh solo single and second of 2023.

Rolling Stones & Lady Gaga ft. Stevie Wonder — "Sweet Sounds of Heaven"

The Rolling Stones, Lady Gaga and Stevie Wonder blended their talents, to create a harmonic symphony of a song that lives up to its heavenly title. Seven minutes of gospel- and blues-inspired rhythms, enriched by Gaga and Mick Jagger's distinct riffs, make this collaboration an immersive experience. Stevie Wonder grounds the track with his command of piano and melodic tempo.

The track is the second peek of the Rolling Stones' upcoming album, Hackney Diamonds, their first LP release in 18 years; their first release, "Angry," arrived Sept. 6. With production from GRAMMY-winning Andrew Watt, the soulful essence makes "Sweet Sounds of Heaven" an exciting taste of the long-overdue album.

*NSYNC — "Better Place"

Yes, you read correctly. After two decades and a recent reunion at the 2023 MTV Video Music awards, <em>NSYNC is back with a new single, "Better Place," appearing in the new animated Trolls* movie (due Nov. 17). With a nostalgic dance-pop beat, familiar production and breezy lyrics, this single is a remarkable comeback.

"Just let me take you to a better place/ I'm gonna make you kiss the sky tonight," they sing in the chorus. 

The reunion was first teased Sept. 14, through a video of the group's emotional studio session, as Justin Timberlake shared on Instagram. "When the stars align… got my brothers back together in the studio to work on something fun and the energy was special," he wrote in the post. 

PinkPantheress — "Mosquito"

Dive into this musical daydream as PinkPantheress serenades us on her new single, "Mosquito," a dreamy, lucid song reminiscent of old-school R&B. After recently hopping on the energetic remix of Troye Sivan's "Rush" and teaming up with Destroy Lonely on "Turn Your Phone Off," PinkPantheress is transporting us through a new era, full of charm and surprises.

"Cause I just had a dream I was dead/ And I only cared 'cause I was taken from you/ You're the only thing that I own/ I hear my bell ring, I'd only answer for you," she sings in the chorus. 

Co-crafted by GRAMMY-winning producer Greg Kurstin, this song is a transcending, surreal experience. This single isn't about romance, instead she takes us through her entanglements with treasures and money. That's further portrayed in the lavish video, which features a European shopping spree starring "Bridgerton" stars Charithra Chandran, India Amarteifio and "Grown-ish" star Yara Shahidi.

Ed Sheeran — Autumn Variations

The era of mathematical-themed albums seems to be over, as Ed Sheeran has entered a new chapter with Autumn Variations, his second project this year. Sheeran is singing from his heart, sharing soulful tales from emotional events in his life including the death of his dearest friend Jamal Edwards and his wife's health challenges during pregnancy — an extension of the stories he told with May's Subtract.

Autumn Variations is very raw, stripped down and authentic as he takes us through his personal journey. Amidst this, Sheeran still brings in some buzzing tracks including catchy songs like "American Town," "Paper Bag" and "Amazing."

Lil Wayne — Tha Fix Before Tha Vi

Lil Wayne celebrated his 41st birthday with a special present to his fans: the release of a new album two days later. The alluring 10-track project,"Tha Fix Before Tha Vi" dives into past vibes with songs like "Tity Boi," a reference to 2 Chainz's initial stage name, which may be a reference to the upcoming joint album between the two. Each song has a different feel including "Tuxedo," which features a more punk-rock melody and "Chanel No.5 ft. Foushee," which features a sensational beat.

His first album since 2020, Tha Fix Before Tha Vi features rather unexpected collaborators, including Jon Batiste, Fousheé and euro. With different sounds and features than past projects, we could possibly be entering a new Weezy era. 

Thomas Rhett & Morgan Wallen — "Mamaw's House"

Country superstars Morgan Wallen and Thomas Rhett unite for "Mamaw's House," a country-folk track relishing the memories of their grandparents' home and cozy fireplace tales. 

"It's where I spent my summers and she put me to work/ Shellin' peas and shuckin' corn until my fingers hurt/ No tellin' who I'da been without Mamaw's house," Rhett sings in the second verse. 

Rhett said the duo decided to write about their small-town culture — Rhett is from Valdosta, Georgia, while Wallen hails from Sneedville, Tennessee — and the significant presence of grandparents brought to their upbringings. 

"This song just kind of brings up how our mamaws used to act when we were little kids," Rhett told Audacy.. "It's an ode to all the grandmas out there."

10 Ways Britney Spears' "...Baby One More Time" Changed Pop Music Forever

Mark Ronson's fingerprints are everywhere in pop music. 

Whether he's behind the board as a producer, penning earwormy hooks for some music's biggest names, or employing a crate digger's mindset to create his own records, you'd be hard-pressed to find something on your playlist that Ronson hasn't touched. The seven-time GRAMMY winner might as well be considered the industry’s Kevin Bacon — he's worthy of his own "six degrees" game. 

Today, Ronson is on his way back to New York City from some time spent in the Hudson Valley — a much-need reprieve after a blockbuster summer that saw his Barbie movie soundtrack top charts around the world. 

"I love this film so much and I did something I've never done before by executive producing and overseeing [its music]," he tells GRAMMY.com. 

That Ronson still has things to check off his professional bucket list is something of a surprise. The stepson of Foreigner guitarist Mick Jones, Ronson got his start DJing in New York in the '90s, bridging his twin loves of funk and hip-hop. In the latter part of the decade, Diddy hired Ronson to DJ several parties, thus opening up the then-twentysomething to a world of A-list talent. Ronson's elite status only grew over decades — from DJing Paul McCartney's wedding in 2011 (for which he refused to accept payment), to creating the ubiquitous hit "Uptown Funk," and curating the final night of the iconic 2023 Montreux Jazz Festival.

Ronson has released five of his own albums — beginning with 2003's Here Comes The Fuzz and up to 2019's Late Night Feelings — each of which is a star-studded affair, featuring everyone from Miley Cryus and Camilla Cabello to Bruno Mars and Mary J. Blige (as well as the occasional lawsuit over interpolation and sampling). Over the years, he's developed a cadre of session musicians and production collaborators, creating an incredibly pop savvy sound often built on horn-driven funk and soul.

At the bedrock of Ronson's production — and among his best-known works — is Amy Winehouse's GRAMMY-winning album Back To Black. Since that 2006 release, Ronson has collaborated with an ever-increasing number of major acts, composing, arranging, producing, writing or playing on (and sometimes all of the above) works by Lady Gaga, Duran Duran, Dua Lipa, Adele, Queens of the Stone Age, and even Sir Paul himself. 

Ronson will add another first to his list: author. A hybrid memoir and cultural history, the still-in-progress 93 'Til Infinity will cover the New York downtown club scene of Ronson's salad days. 

"It's really fun to revisit that era, and it was a very specific time in DJing where DJs weren't really famous," he recalls. "There was no stage; sometimes the turntables were shoved in the corner at the end of the bar and you would have to crane your neck to even see the crowd. I sound like Grandpa Simpson, but I loved it." 

Ronson is en route to a DJ gig as we speak, though the new dad says he'll be "kicking back into high gear on the book" soon. "[Writing it] requires really falling off for seven hours in the basement, like Stephen King says in his book. But I like that," he says.

Ahead of a celebration of Barbie The Album at the GRAMMY Museum on Sept. 27, Mark Ronson shared the stories behind some of his favorite productions – including the song that makes people "stupidly happy." 

"Ooh Wee," Here Comes The Fuzz feat. Ghostface Killah, Nate Dogg, Trife and Saigon (2003)

I went to see Boogie Nights in the theater and I remember this scene where Mark Wahlberg's a busboy on roller skates and in the background there was this song playing that had just this string thing that just hit me so hard. I bought the Boogie Nights soundtrack and it wasn't on there — obviously this is 20 years before Shazam — then I figured out it was the song called "Sunny" by Boney M. 

When I was making my first record, I was sort of locked up by myself in the studio on 54th Street just experimenting, making tracks all the time. That string line, I could never figure out what to do with the sample. I tried 80 different tempos and drum beats over it, and it wasn't until I just put that drum break behind it, the drums from the song, and it just all sort of gelled together. 

Because that was an era in hip-hop where people weren't really using drum loops or drum breaks anymore. It was about chopping and having hard kicks and snares,  like DJ Premiere and Timbaland. The DJ in me was like, f— it, let me just try putting a drum break under it. It all gelled and felt good.

I was a huge Wu-Tang fan, and at that point Ghostface was my favorite out of the group and I loved his solo records. I've never been more nervous in some weird way to talk to somebody — nervous and giddy, and what if I just sound so dorky? 

I remember he was like, "Yeah, I get it. I think it's dope. It's like some Saturday Night Fever with Tony Manero s—." I guess because of the strings and it was so disco, and Ghost always had this pension for those disco kind of uptempo beats. 

The album had to be handed in and I didn't have a hook that I liked on this song yet. Sylvia Rhone was the head of Elektra and she said, "I could try and get Nate Dogg on it." Of course that was the dream. I sent him the track, and it was probably two days before I had to master the album, on a Sunday. He sent me the files back, and all the waveforms were blank.

I had to call Nate Dogg at like 10 a.m. at home on a Sunday. While he's on the phone, he goes back in the studio and turns all his equipment on, trying to do the session. 

The fanboy thing is still very real because I still work with people all the time that I'm a fan of. At that age, being in the studio with M.O.P., Mos Def, Q-Tip, Jack White, Freeway, Nate. I was just trying to keep it together some of the time.

"Rehab" - Amy Winehouse, Back to Black (2006) 

"Rehab" just came about in general because Amy was telling me an anecdote. She was really together when we worked — she might not have been sober, but she got her whole life together. She was telling me about this time in her life that was difficult and she was in a really bad place. She said, "And my dad and manager came over and they tried to make me go to rehab and I was like, 'No, no, no.'"

I remember that it instantly sounded like a chorus to me, so we went back to my studio and we made the demo. That was when the Strokes and the Libertines were really big. I remember [the drums] sounded much more like an indie beat, even though it came from soul and Motown and the original rock 'n' roll. She would tease me; she's like, "You trying to make me sound like the bloody Libertines."

When [studio group] the Dap-Kings played it, they just brought it to life. I didn't really know anything about analog recording at that point. I only knew how to make s— sound analog by sampling records, so to hear them all play in the original Daptone studio, all the drums bleeding into the piano…. I felt like I was floating because I couldn't believe that anybody could still make that drum sound in 2006.

Amy couldn't be there for the recording, so I was taking a CD-J into the studio with me and I had her demo vocals on a cappella. I was playing it live with the band so that they could keep pace with the arrangement. I loved it so much.  

"Valerie," feat. Amy Winehouse,Version (2007)

Amy had never met the Dap-Kings, even though they had been the band for all the songs that I had done on Back to Black. There was this really lovely day in Brooklyn where I took her to the studio to meet all the guys. The album was already out; there was a very good feeling about it [and] they obviously made something really special together. Amy loved the way the record sounded so much, she was so grateful. They loved her.

While we're all having this love-in in Bushwick, I was finishing my album Version and I said, "Maybe we could just cut a song for my record?" The whole theme of the record had sort of been taking more guitar indie bands like the Smiths, the Jam, the Kaiser Chiefs, and turning those into R&B or soul arrangements. I asked Amy if she knew any songs like that. She's like, "Yeah, they play this one song down at my local. It's called 'Valerie,'" and she played us all the Zutons' version. I didn't really hear it at first.

The first version we did was this very Curtis Mayfield kind of sweet soul. Part of me was just like, This is really good, but I feel like there's a hit version as well. I don't have that kind of crass thing where everything needs to be a hit, but…

Everybody was already packing up their instruments and I didn't know the guys that well yet, so it was kind of a pain in the ass to be like, "Hey, I know everybody just wants to go onto the f—ing bar and get a beer right now, but can we just do one more version where we speed it up a little?"  Everybody flips open their guitar cases and we do like two more takes, and that's the version on my album.

"Alligator" - Paul McCartney, NEW (2013)

We've done other things together, but I've only really [worked on] three songs on his album, NEW. "New" I just loved as soon as he sent me the demo, because as a McCartney fan, it gives you the same feeling as "We Can Work It Out"; it just has that amazing uplifting feel. That's just his genius. I love "Alligator" maybe a little more because it's more weird.

He definitely gives you a day to f— up and be an idiot because you're just so nervous to be in the studio with McCartney. By the second day it's like, okay, get your s— together.

I remember running around just like, What sound can I find for Paul McCartney that every other amazing producer who ever recorded him [hasn't found already]? He was like, "Anybody can record a pristine acoustic guitar. Give me something with some characteristic that's iconic. That feels like someone just put the needle down on track one on an album." 

That's something I always try to remember: don't just make it sound like a guitar, make it sound like a record.

"Uptown Funk" feat. Bruno Mars, Uptown Special (2015)

My enjoyment of the song is now gauged by the people that I'm playing it for. I was playing at this party at Public Records [in Brooklyn] on Sunday. I knew that I wasn't going to play that song on that night; it wasn't right for that crowd or something. And then an hour into my set, the vibe is really good, and I was just like, f— it and I dropped it, and people went crazy.  

I'm a little extra critical sometimes on the more commercial songs, thinking nobody wants to hear this or this doesn't really have a place in this space. I think it's just a song that makes people stupidly happy, and that's cool. 

The lyrics [to "Uptown Funk"] came really quick. We had the jam: Bruno was on drums, I was playing bass, Jeff Bhasker was on keys, and then Phil Lawrence was there and we jammed for five hours. We just chopped up our favorite parts of the instrumental jam, and then just started writing lyrics almost like a cipher. Bruno had been playing the Trinidad James song ["All Gold Everything"] in his live sets and playing it over a sort of uptempo, funky James Brown, "Get Up Off That Thing" groove.

We were just throwing about lyrics, throwing a little bit of the cadence of the Trinidad James song. Then when Jeff Bhasker said, "This s—, that ice cold/That Michelle Pfeiffer, that white gold." It was like a great rap line. Then everything started to elevate a little bit from there on up.

That first day, we had the whole first verse and it felt great. Every time we went back in the studio, a lot of the times it would feel labored and not as good as that first verse. So it really took a long time to get in. Sometimes we'd go in the studio for three days and then at the end of the whole session we realized, we actually only liked these four bars. 

So we kept building on it, and luckily Bruno didn't really let it die. Bruno was touring Unorthodox Jukebox; I was just flying around the country with a five string bass just to get the song done.

"Uptown Funk" still ended at Daptone…to do the horns last with Dave [Guy] and Neil [Sugarman], me. It's almost like you've always got to go through Daptone to finish something. 

Bruno came up with that horn line. He was like, "I know you're going to kill me because you're trying to get away from being the horn guy, but I have this horn line and I think it's kind of killer." He demoed it from whatever backstage room on tour and I was like, Okay, here we go.

"Shallow" - Bradley Cooper and Lady Gaga, A Star Is Born Soundtrack (2018)

It's very rare that I write on a song that I don't have to produce as well. We wrote that song in the middle of sessions for [2016's] Joanne, and then Gaga produced the whole Star is Born soundtrack herself. I remember we all had some tingly feelings when we were writing it.

It wasn't meant to be a duet ever. Then Bradley wrote it into the film; it becomes the beginning of their love story. Bradley showed [me a rough cut] at his house, I remember just being like, he's taking this special song [and] made it put its hooks into you. This film, and the story, and the way this song is unfolding is so special.

Then also shout to Lukas Nelson, because that guitar that he came up with that opens the song was not in our demo, and that is such an iconic, memorable part of the song.

The film and the script was really powerful, and I think that me, [co-writers] Andrew [Wyatt], Anthony [Rossomando], Gaga were all in this sort of heartbreak place. We're all just going through our own dramas in the song. The juju was really good and a little spooky in the studio that night.

"Electricity" - Dua Lipa & Silk City feat. Diplo, Mark Ronson, Electricity (2018)

That song just always makes me happy. I don't have a lot of other songs [that sound] like that. I'm always psyched to play that in a set or to go see Diplo play it live.

When I came up DJing in the mid-'90s in New York, if you're a hip-hop DJ you had to be versed in dancehall, old R&B dance classics, and a little bit of house. So I knew 12 house records, but I love those records.

It came out of a fun jam, just me and Diplo — who I'd known probably at that point for 10, 15 years, but we never got in the studio together. He's just firing up drum s— and I'm just playing on this old tack piano that was in the studio I just moved into. But it also sounded quite housey. 

We came up with those chords and [singer/songwriter] Diana Gordon came over. I never met her before and she just started freestyling some melodies, and it was just so soulful instantly.

We'd moved the key a little bit lower for Dua — she has this amazing husky voice — but we still left Diana's demo vocal in. She's singing these mumble, non-word melodies that sound like a sample.

We had that old studio where we did Version and all the Amy demos. It has an old-school elevator that was sort of manual and it would always break down. There were people that were just too afraid, like Cathy Dennis — the  brilliant songwriter who wrote "Toxic" and "Can't Get You Out of My Head" — she would just always be like, "I'm taking the stairs." We were on the fifth floor and it was a steep, steep walk up. [Editor's note: The music video for "Electricity" features Ronson and Diplo stuck in an elevator. He notes that he's gotten stuck several times in real life.] 

"Nothing Breaks Like a Heart" feat. Miley Cyrus, Late Night Feelings (2019)

I was in L.A. working in Sound Factory [Studios], and I had seen Miley a couple years back sing "50 Ways to Leave Your Lover" on the "SNL" 40th anniversary; I had never heard her perform with that stripped-down arrangement. I was just so in love with her voice and the tone. I remember hounding my manager, because usually somebody who knows somebody, but Miley Cyrus was completely unreachable and just in another stratosphere.

I was in the studio with [Dap-King] Tommy Brenneck; he's just such a wonderful player, such a soulful touch. We got this thing going, and then Ilsey [Juber] was saying, like, "What about all these things that break, but nothing breaks like a heart?" 

[I thought], You know what? I've been trying to hit this girl up for years and nothing ever happened, but let me just try it one more time. I sent it off to Miley, and I guess she was just in a really motivated part of life. She's like, "This is cool. Where are you guys? I'll be there Monday." She came down Monday to the studio, and then her and Illsey wrote the whole rest of the song. 

"Break Up Twice" - Lizzo, Special  (2022)

[I produced a few other songs on Special], but they didn't make the cut. There's one that I really love called "Are You Mad" that might hopefully see the light of day once.

We spent a lot of time together and I love working with her because she has a really eccentric/ avant garde music taste. Like, the Mars Volta is her favorite-ever band; she's a conservatoire flute player; then she has a strong Prince heritage because she spent time in Minneapolis and she's been to Paisley Park. 

The thing that I really love about her is, even at the status that she was at when we were working, there was never anything too silly or too left field to try. It's really freeing when you're with a big artist who isn't afraid to just f— around and jam and make some s— that you know might not be the thing. 

"Break Up Twice" was actually an instrumental that we had done at Diamond Mine with [Daptone family] Tommy [Brenneck], Leon [Michels], Victor [Axelrod] and Nick [Movshon]. I just played that, and it instantly spoke to her and she just started freestyling, adding the harmonies and the sax and the vocal arrangements. I just didn't quite know how versatile and talented that she was when we first went in the studio. I just remember constantly being impressed and amazed.

Barbie: The Album (2023)

I'm really proud of the Dom Fike song ["Hey Blondie"], the Sam Smith song ["Man I Am"], [Dua Lipa's] "Dance and Night," of course. Even the Billie [Eilish] song that we did the string arrangement for. I played the tiniest bit of synths on the Nicki [Minaj]i/Ice [Spice] song. 

I love this film so much and I did something I've never done before by executive producing and overseeing it. There's so many songs that I had nothing to do with creatively; sometimes I was just doing admin, hounding Tame Impala to send in a demo.

I'm really proud of "I'm Just Ken." Of course Ryan Gosling is a superstar in a different kind of way, but the fact that he's not some superstar pop artist, and the fact that that song has managed to do what it's done….Obviously it's so much to do with the film and his performance, but I'm really proud of that song. I was so inspired by the script. I just instantly had the idea for that line.

There was never anything in the script that said Ryan was going to sing a song. It was just something where Greta [Gerwig] and him really loved the demo, and she loved it enough to write it into the film, which was just so exciting. It was happening in a way that felt wonderful and organic, and to then get Josh Freese and Slash, and Wolf Van Halen to play on it and even bring it to even this next level of sonic fullness. 

On TikTok and Instagram, I've seen people singing it; [even] in Spanish, really intense, really earnest covers. We were never trying to write a parody song or anything that wasn't earnest, because there's nothing parody about the film. I guess the chords have a bit of heartbreak in them, a little melancholy, and Ryan's performance is really lovely.

Barbie score (2023)

We worked equally hard or harder [on the score]. It doesn't have quite the same shine because obviously it's not Billie Eilish, Lizzo, and Dua Lipa, but it's something Andrew [Wyatt] and I did. A piece called "You Failed Me" — that's during both Barbie and Ken's meltdown in the middle of the film — I'm quite proud of that. I really love the "Meeting Ruth" orchestral interpolation of the Billie tune as well.

I've contributed music to other films and little cues and things like that, but this is the first time that Andrew and I really did a whole movie from start to finish while also doing the soundtrack.

It's incredibly humbling, too, because when you make a song for someone's album, you're working. It's certainly the most important thing that's happening. In a film, it could be the second most important thing. You could sometimes say it's the third most important thing after dialogue and the sound effects. All that's programmed into your mind about hooks and things like that it's like, No, actually sometimes get the f— out of the way and just provide a lovely emotional texture for things to sit under things.

The thing that I guess is universal is you're reacting to an emotion. Especially if it's a film that you really feel emotionally partial to, you're watching this wonderful performance on screen and how could you not be inspired by that? We're so spoiled to have this as our first film where we're reacting to the emotional heart of this film, which is so rich.

Behind Shania Twain’s Hits: How A Hospital Stay, A Balmy Porch And A Hair Nightmare Inspired Her Biggest Songs & Videos

It’s yet another big day for music enthusiasts, as listeners were gifted with unexpected collaborations and fresh new melodies from artists of every genre on Sept. 15. 

With an Instagram caption-worthy single from Drake and SZA , a playful, self-confident anthem from Tate McRae, and a chill, euphoric vibe from Noah Kahan & Lizzy McAlphine, there’s plenty of different sounds to dive into. 

As you’re putting together your autumn 2023 playlist, add these six new tracks to the mix.

Drake feat. SZA - "Slime You Out"

Just hours after GRAMMY winners Drake and SZA announced they’d be teaming up for a new track, the pair unleashed "Slime You Out" promptly at noon ET on Sept. 15. 

As the song’s title insinuates, the duo seem to express their thoughts on someone "sliming" them out — which, in this case, refers to someone playing with their feelings. "Tryna build trust, showin’ me your DMS, how they tryna bag you / Ironic how the news I got about you ended up bein’ bad news."

Drake’s clever wordplay paired with SZA’s mellow, hypnotic voice make the single a memorable one. But perhaps it’s even more memorable because it’s been a team-up long in the making: according to Drake’s eyebrow-raising line in his 21 Savage collab "Mr. Right Now," the two used to date "back in '08."

SZA feat. Justin Bieber - "Snooze (Acoustic Remix)"

As SZA fans awaited her song with Drake, she gave them another high-profile collab in the form of a "Snooze" remix with Justin Bieber. An alluring, stripped-down version of the original SOS track, the "Snooze" remix sees SZA and Bieber passionately harmonize; added guitar chords add a dreamy touch to the song.

The remix also marks a full-circle moment for the pair, as Bieber starred in the original "Snooze" music video, which was released on Aug. 25.  

Offset - "Fan"

Kicking off what seems to be his Michael Jackson era, Offset has released this newest single, "Fan." This song features an infectious, hype beat with lyrics presenting a nonchalant ‘IDGAF’ attitude: "You supposed to hold me down, but it didn't happen (You supposed to hold me down)/ Now I'm over it." 

"Fan" is a taste of Offset’s forthcoming second album, Set It Off, which he will release on October 13. The LP follows his debut solo album, 2019’s Father of 4, which landed him a Best Rap Performance GRAMMY nomination for the single "Clout" featuring his wife, Cardi B. 

In the "Fan" music video, Michael Jackson is heavily referenced, with moments including Offset transforming into werewolf and zombie, and dance moves like the reverse moonwalk. 

Tate McRae - "Greedy"

self-confidence single "greedy." This song is a testament to McRae’s inner thoughts, as the lyrics let listeners know she’s not tolerating insecurities — and definitely not enabling any "greedy" men. 

"I would want myself/ Baby, please believe me/ I'll put you through hell/ Just to know me, yeah, yeah," she sings on the chorus.

"Greedy" is McRae’s first release in 2023, and first solo single since her 2022 debut album, i used to think I could fly. She also teamed up with DJ/producer Tiësto for the late 2022 hit "10:35."  

Noah Kahan feat. Lizzy McAlpine - "Call Your Mom"

Folk-pop favorite Noah Kahan teamed up with rising pop singer Lizzy McAlpine to create a new version of "Call Your Mom," an emotional track from his hit 2022 album Stick Season.

Kahan recently brought McAlpine out as a surprise guest during his sold-out show at L.A.'s Greek Theatre on Aug.11, where the two singer/songwriters performed the song for the first time together. 

Written about giving unconditional support to a loved one struggling with mental health issues and depression, the moving song reaches new heights with two voices on it. Kahan’s and McAlpine’s voices perfectly blend together and capture the lyrics’ powerful  emotions.  

Maren Morris - The Bridge

Maren Morris dropped not one, but two new songs, "The Tree" and "Get The Hell Out of Here," which both seem to focus on a new chapter in Morris’s life. "The Tree" feels like a farewell, as she proudly sings,"I'm done fillin' a cup with a hole in the bottom/ I'm takin' an axe to the tree/ The rot at the roots is the root of the problem/ But you wanna blame it on me."

"Get The Hell Out of Here" has a more mellow country melody that also talks about growth and navigating different areas of her life. Both songs share a different story, yet share the same theme of a transitional period in her life — and tease what’s to come on her next album, which will follow 2022’s Humble Quest. 

As Morris said in a statement, "These two songs are incredibly key to my next step because they express a very righteously angry and liberating phase of my life these last couple of years, but also how my navigation is finally pointing toward the future." 

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The pressures on Olivia Rodrigo going into her sophomore album were unlike anything she'd experienced before. After all, it's not every day that a 17-year-old high school senior stuck at home during the pandemic delivers a debut album that promptly takes over the entire world.

And yet, that's precisely what happened when the High School Musical: The Musical: The Series star unleashed SOUR in the spring of 2021, just months after her debut single, "drivers license," rocketed to No. 1 on the Billboard charts and broke countless records around the world. The album earned Rodrigo her first trio of GRAMMYs at the 2022 ceremony, including the coveted trophy for Best New Artist.

Two years later, she makes an equally punchy statement with the title of her sophomore album: GUTS. The 12-track collection delivers on all fronts by leveling up on the maturity, songcraft and vulnerability Rodrigo showcased so expertly on SOUR. GUTS sharpens the alt-inspired rock of its teenaged predecessor into a barbed and poignant exploration of what it means to be a young woman in the 21st century — albeit one who also happens to be one of the most famous singer/songwriters of her time. 

Below, GRAMMY.com assesses how Olivia Rodrigo challenged herself and pushed her music to new heights on GUTS — and the lessons she learned along the way.

The Importance Of Looking Pretty When She Cries

Rodrigo started off SOUR by delving into the paralyzing anxiety and insecurities of being a modern teenager on "brutal"; she further tapped into those feelings with a blistering condemnation of social media's toxicity on album cut "jealousy, jealousy." GUTS delivers the same kind of unabashed honesty, but with a more mature perspective, starting with the raging feminist opener "all american b—h."

On the erratic track, Rodrigo perfectly extrapolates the anger and absurdity that comes with being a woman with sarcasm, sentimentality and a poison-laced dose of doe-eyed sweetness. The song goes even further by laying bare the parasocial pressures of female pop stardom as she sings, "I am built like a mother and a total machine/ I feel for your every little issue, I know just what you mean/ And I make light of the darkness, I've got sun in my motherf—in' pocket, best believe/ Yeah, you know me."

With the elevated platform and giant megaphone afforded by her newfound superstardom, Rodrigo has no qualms about giving acerbic voice to the historically impossible expectations placed on women. The daring statement culminates in an army of Olivias breaking out in a cacophony of high-pitched screams, a cathartic release before she reverts back to sweetly promising, "All the time/ I'm grateful all the time/ I'm sexy and I'm kind/ I'm pretty when I cry." 

The song is a reminder that Rodrigo knows her place and how to declare it — whether she's pouring her heart out or ripping someone (or society at large) apart. 

What The Perfectly Unexpected Second Single Sounds Like

After the meteoric explosion of "drivers license" in 2021, Rodrigo followed the global smash with "deja vu," a biting fantasia pulling from psychedelia and pop-rock that remained rooted in the same sonic universe as its emotional, piano-driven predecessor.

Cut to earlier this summer and the now-20-year-old kicked off her GUTS era with "vampire," another scorching piano ballad aimed at a parasitic ex-love she relishes in labeling a "bloodsucker, famef—er" among other delicious digs. But when it came time to select a second single, Rodrigo made a surprising pivot with "bad idea, right?," a hilarious and willfully delusional justification for hooking up with an ex that sounds unlike anything she's written before.

With its coy, stream-of-consciousness verses ("And I told my friends I was asleep/ But I never said where or in whose sheets"), angsty, top-of-the-lungs chorus and the gleefully perpetual question at its core, the superstar delivers both a chaotic older sister to SOUR standout "good 4 u" and a flawless left turn of a single as she talks herself into making a very good bad decision. The '90s-inspired banger might just be one of the best ideas she's ever had…right?

How To Stop Handing Out Royalties

One of the most notable controversies surrounding SOUR was who did — or didn't — receive credit in the liner notes when the album was released. Rodrigo got permission to sample Taylor Swift's "New Year's Day" on album cut "1 step forward, 3 steps back" after writing the song over the Reputation closer's melody. However, that wasn't the only song the then-18-year-old wrote that owed a debt to some of her musical idols.

After it was released as the record's second single, "deja vu" got an ex post facto update by giving songwriting credit (and royalties) to Swift, Jack Antonoff and St. Vincent for its striking similarities to "Cruel Summer." Similarly, "good 4 u" took direct inspiration from Paramore's "Misery Business," and Hayley Williams and Josh Farro were eventually added to the list of writers on the pop-punk anthem. 

This time around, though, there's not a single sample, interpolation or royalty handout anywhere. In fact, every song on GUTS lists only Rodrigo and her trusted producer Dan Nigro as its writers — with the exception of Julia Michaels helping out on "logical" and Amy Allen co-writing "pretty isn't pretty."

"I was so green as to how the music industry worked, the litigious side," the superstar told The Guardian recently about writing SOUR, adding, "I feel like now I know so much more about the industry and I just feel…better equipped in that regard. It wasn't something I thought about too much [while writing GUTS]."

That Heartbreak Continues To Be Best Served With A Side of Alt-Rock

Much of GUTS' latter half delves into the trials and tribulations of Rodrigo's romantic life, whether she's being gaslit on "logical" or shaking her head at "some weird second-string loser who's not worth mentioning" over the irrepressible surf-rock riff of "love is embarrassing." It's a natural evolution of some of her most heartstring-tugging tracks on SOUR like "enough for you" and "happier."

One of the album's strongest statements, though, is "get him back!," a crunchy tale of revenge (or possibly renewed love?) with a chanting chorus that will inevitably be screamed back at Rodrigo on her next tour. If you happen to be conflicted about your feelings for an ex, just try shouting, "I want sweet revenge and/ I want him again/ I want/ To get him back!" at the top of your lungs as you listen along.

That Teenage Dreams Come With Grown-up Insecurities

In a release-week interview with Apple Music's Zane Lowe, Rodrigo spilled that the first song she and Dan Nigro wrote for GUTS was pensive closer "teenage dream." 

Though they share a title, the quiet piano ballad couldn't be more different from Katy Perry's famous 2010 single of the same name. Instead of the label applying to a crush like Perry did in hers, "teenage dream" finds Rodrigo's questioning her own status as a teen wunderkind — one which, in quite the Swiftian move, she sardonically questioned on SOUR's "brutal" ("I'm so sick of 17/ Where's my f—ing teenage dream?"). 

"Got your whole life ahead of you/ You're only 19/ But I fear that they already got all the best parts of me/ And I'm sorry that I couldn't always be your teenage dream," she intones quietly before the song builds to a haunting refrain of "They all say that it gets better/ It gets better/ What if I don't?" 

However, after listening to everything GUTS has to offer, it's safe to say that, as she comes into her twenties, Rodrigo has no reason to doubt herself. She'll undoubtedly remain one of music's most promising stars and a singular voice of her generation as long as she continues trusting — and spilling — her guts.

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