Friday’s afternoon downpour wasn’t enough to sizzle the energy (or heat) on the first day of Rolling Loud Miami.

For its last stop of the year, Rolling Loud returned to the Hard Rock Stadium in Miami Gardens for its 8th annual flagship Miami edition. With over 100 artists billed to perform throughout the three-day festival, thousands of fans braved the scorching temperatures to experience some of hip-hop’s biggest acts, including Playboi Carti, Ice Spice, City Girls, Latto, Lil Uzi Vert, Offset, and ASAP Rocky.  This year was also the first time Rolling Loud recruited Latin artists to perform. Reggaetonero Anuel AA and dembow artist El Alfa graced the main stage on Friday and Saturday, respectively, to perform their biggest songs in front of a massive throng of fans.

Known for raucous mosh pits and viral-worthy moments, Rolling Loud wouldn’t be complete without mayhem and spectacle. Aside from delayed set times on the main Gopuff Stage and Travis Scott starting his performance almost an hour late, notable performances included Offset bringing out Cardi B to perform her verse on "Motorsport," Travis Scott announcing the release date for his new album, Utopia and accompanying movie Circus Maximus, and ASAP Rocky seemingly dissing Scott while performing a new song from his upcoming album, Don’t Be Dumb.   

Drama and chaos aside, artists blazed the stages all weekend with energetic, unforgettable performances. Here are our seven standout sets from Rolling Loud Miami. 

Fousheé Captivated Fans With Electric Rage

Clad in a white fur coat and white hair, Fousheé electrified the Culture Kings Stage with heavy metal screams and dizzying twirls. The New Jersey singer/songwriter and guitarist went viral back in 2020 when the vocals for her song "Deep End" were used by rapper Sleepy Hallow on one of his viral songs. Since then, she’s carved out a space for her alternative-pop and rock sound.  

As the sun faded into the sky, Fousheé lit up the crowd performing songs from her softCore album like "simmer down" and "scream my name." Flanked by two guitarists, her captivatingly bold vocals incited energy among the throng of fans lined around her stage. 

She helmed her performance with the grit and charisma of those who came before her like Tina Turner.  Fousheé declared: "Black women started this rock s— and we’re taking it back." 

Sexyy Red Stirred Controversy And Dominated The Stage  

The St. Louis rapper made her Rolling Loud debut on Friday, donning her signature red hair and a glittery red outfit. Sexyy Red left fans stunned as she strutted on to the Sprite Stage, leading two ski-masked men on leashes. Just months prior, she was involved in controversy for appearing to be walked like a dog by NLE Choppa in his "Slut Me Out (Remix) video.  

Sexxy Red set the first day ablaze, performing her most viral hit songs, "Female Gucci Mane," "Pound Town," and "SkeeYee" from her recent album, Hood Hottest Princess. She also brought out rapper Sukihana to perform their raunchy twerk anthem, "Born By the River."  

For her first Rolling Loud set, Sexxy Red’s penchant for bold and brazen lyricism and stunts proved she’s unapologetic and here to stay.   

Rae Sremmurd’s Turned The Sprite Stage Into A Party

Fresh off the release of their new album, Sremm 4 Life, Rae Sremmurd was one of the best performances of Friday night.   The dynamic duo turned the Sprite Stage into a party as they performed back-to-back bangers like "No Flex Zone," "Come Get Her," "Swang," "This Could Be Us" and "Powerglide." The hitmakers reminded fans of their staying power with their mainstage-worthy energy. 

Donning a Dior bodysuit, Swae Lee jumped into a sea of fans on his surfboard while Slim Jxmmi, dressed in all white, jumped on to the barricade at the front of the stage to greet the audience. They kept the crowd ignited as they went back and forth between their most iconic hits and new songs. They slowed things down just for a bit on "Sativa," a mesmerizing, trippy hit with Jhené Aiko.  

The pair held it down on the other side of the festival just as headliner Playboi Carti was gearing up to start his set. But fans didn't seem rushed to head to the main stage. Rae Sremmurd kept a sweltering crowd snaking along the edges of their stage, ready to party throughout the night. 

Travis Scott Surprised Fans With Dates For New Album, Movie 

Travis Scott’s delayed headliner set on Saturday night didn’t deter fans from inciting full-on chaos. His set started with a movie trailer teasing the release of his long-awaited album Utopia and its accompanying movie Circus Maximus. 

The enigmatic rapper appeared on stage surrounded by smoking volcanic terrain and fire shooting from the stage. Unbearable temperatures didn’t rival the heat Scott brought as he performed hits from his acclaimed 2018 ASTROWORLD album, "HIGHEST IN THE ROOM," "BUTTERFLY EFFECT," and "STARGAZING." 

Throughout the rest of his set, Scott emanated an otherworldy presence rapping "Praise God," (a Baby Keem assisted single from Ye’s Donda) and one of his most popular songs, "goosebumps." As fireworks shot into the air around him, Scott ended his set telling fans what they just witnessed was his last ASTROWORLD set and revealing the July 28 release date for his new album and accompanying movie. 

The hour-long performance officially wrapped Scott's ASTROWORLD-themed era, which was both the catalyst for launching Travis Scott into hip-hop superstardom and subject of controversy when a fatal crowd crush at his 2021 annual ASTROWORLD festival resulted in 10 fatalities.  

He invited fans to the Utopia Livestream show at the Pyramids of Giza in Egypt, saying "meet me at the pyramids if you can," before disappearing into the night as quickly as he emerged.  

Luh Tyler Brought Clever Bars And Charisma To The Culture King Stage 

Luh Tyler went viral last year for his steady flow on "Law & Order" — a remix of the theme song from the crime drama of the same name — and in April his debut album, My Vision, peaked at No.2 on the Billboard Top Heatseekers chart. The 17-year-old Tallahassee, Floria native performed on the Culture King stage alongside unexpected guest performers DDG, Danny Tower, DD Osama, and even his own grandmother. 

He rapped some of his most memorable lyrics from the Tiktok viral song "Florida Water" with Danny Towers, DJ Scheme, and Ski Mask the Slump God and closed out his set to "Law & Order."  Recently named one of XXL’s 2023 Freshman, Luh Tyler’s confidence and charm on stage made this newcomer’s set one of the most exciting to witness.  

Coi Leray Danced The Night Away 

With a few years and a new album, Coi, under her belt, Coi Leray has proved to fans and naysayers that she’s more than a one-hit wonder. She confidently helmed her stage with short black hair and scantily clad in a glittery leather two piece. Flanked by dancers dressed in all black, she performed popular Tiktok viral hits, "TWINNEM," "Players," and "No More Parties."  

Coi Leray danced the night away to a set mixed with new songs from Coi, bringing the energy to new heights  with her nostalgic "Pump Up the Jam'' sampled song "Make My Day" and the hype track "Run It Up." She promoted self-love with her Metro Boomin-produced single "Self Love" from the Spider Man: Across the Spiderverse soundtrack before ending the set the girl empowerment anthem "Players." 

Coi Leray’s fun performance was not just a standout but also encompassed the rise of women in rap. Other notable women rappers throughout the weekend were Latto, GloRilla, City Girls and Lola Brooke.  

Danny Towers Embodied Rolling Loud’s Miami Roots  

Danny Towers has been a Florida staple since his rise in South Florida’s SoundCloud era alongside the late XXXTentacion and Juice WRLD, Ski Mask the Slump God, and DJ Scheme. His set embodied Rolling Loud’s roots with songs like "Chunky Monkey," and the viral Ski Mask the Slump God, DJ Scheme, and Lil Yachty hit "How You Feel? (Freestyle)."  

He ended his set on the Culture Kings stage with "Florida Water," a DJ Scheme-produced TikTok viral Florida anthem with Luh Tyler and Ski Mask the Slump God. The closing song was fitting for the last day of Rolling Loud. While fans from all over the country moshed and yelled the lyrics to the song, Danny Towers reminded everyone the city and the culture that was the catalyst for the biggest hip-hop festival in the world.   

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It's been a turbulent five-year journey for Travis Scott bridging the worlds of ASTROWORLD to UTOPIA.

Since the 2018 GRAMMY-nominated album solidified Scott as part of rap's A-list, he's endured the highest of highs and the lowest of lows. Amid working on the album (which he began teasing in 2020), his 2021 iteration of Astroworld Festival resulted in a crowd crush that killed 10. 

Three months later, he welcomed his second child with Kylie Jenner. Earlier this year, the pair reportedly split; just weeks before UTOPIA's arrival, Scott was cleared of any criminal liability for the Astroworld Festival incident, but civil lawsuits remain to be sorted.  

Expectations were already sky-high for Scott to maintain luminary status with his ASTROWORLD follow-up. But after he experienced tragedy and heartbreak alongside triumphs and joy, Scott had all eyes on him as UTOPIA arrived on July 28. Yet, the pressure didn't seem to faze the Houston-born rapper — UTOPIA creates another euphoric world for his loyal fans.

In honor of La Flame's star-studded fourth studio LP — which is loaded with 18 features across 19 tracks — here are five early takeaways surrounding UTOPIA. 

CIRCUS MAXIMUS Is UTOPIA's Visual Companion

Fans didn't know what to expect with Scott's CIRCUS MAXIMUS, which hit select theaters mere hours prior to UTOPIA. The 76-minute film — which takes its name from a UTOPIA track — serves as more of a series of music videos centered around a conversation between the rapper and producer Rick Rubin.

"You've come a long way — is the house half empty or completely empty? How are the kids? I heard there was a tragedy," Rubin asks Scott at one point, but he takes the conversation in a different direction.

The Harmony Korine-directed movie features about half of the songs from UTOPIA and includes appearances from Sheck Wes, Yung Lean and James Blake. Scott goes from DJing a colorful dance party for "MODERN JAM" to smashing chairs and nearly burning down an ancient Italian racing stadium while "FE!N" rings off.

CIRCUS MAXIMUS also allows Scott to share his rather unexpected interpretation of what UTOPIA means inside his world. "UTOPIA is not all pretty," he says in the film. "It's how you balance the idea of confrontation."

Yeezus Rises Again

Scott and Kanye West have had a longstanding musical partnership, as Scott played an integral role behind-the-scenes of West's rebellious 2013 album, Yeezus. A decade later, West's fingerprints are all over UTOPIA — even without a vocal guest appearance.

West earned production credits on "MODERN JAM," "THANK GOD," "TELEKINESIS" and "GOD'S COUNTRY." The latter two were originally on the track list for 2021's Donda before Ye passed them off to Scott to bring across the finish line. 

Elsewhere, "CIRCUS MAXIMUS" is essentially a "Black Skinhead" part two; it interpolates the rugged Yeezus standout, and it was co-produced by Noah Goldstein, Ye's audio engineer for most of his career. 

Trav's most blunt pledge to Kanye came on "Skitzo," which calls back to West's alleged presidential bid for 2024. "I'm loyal, b—, I got Ye over Biden," Scott candidly raps.

Drake And Travis Scott Take Aim At Their Opps Once Again

Drake and Travis Scott have proven to be a winning combination in the past with diamond-certified smashes like "SICKO MODE," and they aimed to recreate that magic with "MELTDOWN."

Right out of the gate, Drake makes a fiery statement with bars seemingly addressing Pusha T — but he's really sniping his close friend Pharrell, mirroring his shots at Kanye West in his "SICKO MODE" verse.

"I melt down the chains that I bought from yo' boss," Drake raps in reference to a Skateboard P pendant he recently purchased at an auction from Pharrell. The 6 God goes on to diss Pharrell's new position as a creative director at Louis Vuitton and claims nobody's messing with the designer brand since the 2021 death of former head Virgil Abloh.

"Give a f— about all of that heritage s—/ Since V not around, the members done hung up the Louis/ They not even wearing that s—," he continues.

Scott joined Drake in the sinister "tensions rising" theme, subliminally dissing Wonka star Timothée Chalamet, who has reportedly been dating his ex Kylie Jenner. "Chocolate AP and chocolate the Vs (Vs), got the Willy Wonka factory/Burn a athlete like it's calories, find another flame hot as me, b—," Scott spits.

While "Meltdown" may not reach the same commercial heights as "SICKO MODE," it has certainly caused a stir on social media. "Drake went crazy… I love when dude starts gettin' chippy!" Hot 97's Ebro Darden wrote on Twitter. As another fan claimed, "Rap been boring. I gotta thank Drake honestly for wanting to get back in the ring."

Scott Finally Got His Dream Collab

Perhaps one of UTOPIA's buzziest cameos comes from Beyoncé, who appears on "DELRESTO (ECHOES)." It marks a full-circle moment for Scott, too, as he has long tried to manifest a collab with his fellow Houston native, publicly declaring his hopes for a Bey team-up to Complex in 2016. (Prior to UTOPIA's release, eagle-eyed fans noticed that the newspaper cover art for "DELRESTO (ECHOES)" had been incorporated as part of Bey's Renaissance Tour decor.)

As Bey continues to ride out her RENAISSANCE groove, Scott fits in well with his hypnotic flow. And in a rather surprising twist, Bon Iver's Justin Vernon rounds out the track by pouring in his ethereal vocals behind the triumphant Hit-Boy production.

While Bey does much of the heavy lifting on "DELRESTO (ECHOES)," Scott's verse still stands out as he declares he won't give up on a new love interest. "The starry nights, they start to fade (Come on)/ At times, for miles I see your face, yeah," Scott testifies, borrowing from Kanye's "Coldest Winter" flow.

"MODERN JAM" Is The Hit Fans Will Eventually Catch On To

Scott's Ragers normally rush to collide for a sweaty moshpit when his music comes on. But with the genre-bending UTOPIA track "MODERN JAM," La Flame's moving the crowd from the mosh pit to the dance floor.

According to Kanye West fan page Donda's Place, "MODERN JAM" is a 10-year-old alternate version of the raw beat that became Yeezus' "I Am A God." Travis expertly meshes the abrasiveness of Ye's hard-hitting 808s with a groovy baseline. And with production help from Daft Punk's Guy-Manuel de Homem-Christo, the Teezo Touchdown-assisted track is a good bet to slow-burn its way to major chart success — even if it has a different feel than what Scott's fans are used to.

Since the beginning of Scott's career, he has been a trendsetter pushing the boundaries of what's considered mainstream hip-hop. He knows how to introduce foreign sonics in such a digestible way that it allows him to take creative risks and still thrive as a commercial titan — and UTOPIA is proof that he hasn't lost his Midas touch.

12 Post Malone Songs That Showcase His History-Making Vision, From "White Iverson" To "Mourning"

Few genres have evolved as remarkably as hip-hop over the past five decades, and the eerily recent, yet, distant 2010s saw the genre at its most progressive. Legendary acts and fresh-faced stars pushed rap’s cultural and musical bounds, opening a pathway for a new class of artists to emerge, and for overlooked regions to gain their deserved recognition. 

With the expansion of hip-hop’s mediasphere, artists that would’ve been confined by their locale crossed the invisible barriers of rap music to establish themselves as mainstream success. Canada-born stars PartyNextDoor, The Weeknd and Drake took over rap the same way the Brits took over rock music in the 1960s, and it was made possible by the boundless nature (and unprecedented sonic access) of today’s rap fan. 

The emergence of SoundCloud elevated lesser-known talents including Playboi Carti, Lil Uzi Vert, 21 Savage, the late Juice Wrld to superstardom at a rapid pace. The era also marked a sonic turn in the industry, which saw artists merge their styles with those of other regions. That’s why artists like Asap Rocky adopted elements of Houston’s chopped-and-screwed sound in his early discography, despite his Harlem origins. 

Legacy acts like Jay-Z, Kanye West, Eminem, and Nicki Minaj continued their reign as rap heavyweights, with record sales and award wins showcasing their influence. The period also saw the emergence of hip-hop’s three horsemen – Drake, J. Cole and Kendrick Lamar – who carved their legacies with chart-topping hits and groundbreaking albums throughout the 2010s. Their contributions, as well as those from Future, Big Sean, Travis Scott, and Chance the Rapper, set the stage for the decade. 

Read on for 10 of the most consequential releases of the 2010s.

Ye - My Beautiful Dark Twisted Fantasy (2010)

Just a year removed from interrupting Taylor Swift on stage during the 2009 MTV Video Music Awards, Kanye West, now known as Ye, produced arguably the best rap album of the decade, My Beautiful Dark Twisted Fantasy. 

It was a career turn that’s more familiar to rap fans in recent years, but the Chicago rapper snapped back with a glossy, epic-level album that was a culmination of his best work to that point — or maybe ever. From "Dark Fantasy" to "So Appalled" and "Gorgeous," West was at the peak of his lyrical powers, with the rapper-producer exchanging sharp-tongued lyrics with wordsmiths like Pusha T, CyHi The Prynce and Raekwon.  

The album also set the stage for one of the best collaborations of the year, with West, Rihanna and Kid Cudi merging their creative powers to create the wondrously rhythmic, GRAMMY-winning hit, "All of The Lights. And Nicki Minaj fans still reference the star’s verse on "Monster," which saw the Jamaica Queens native rise above rap titans Jay-Z and Rick Ross on the smash-mouth track. 

Wiz Khalifa -"Black and Yellow" (2010)

After making his name in the mixtape circuit with classic projects Kush & Orange Juice and Flight School, Wiz Khalifa’s  mainstream breakthrough came in the form of 2010’s "Black and Yellow." The hit song bolstered the Pittsburgh rapper’s profile in time for his debut studio album, Rolling Papers, and put his hometown and Taylor Gang crew on the hip-hop map.

With the Pittsburgh Steelers making it to the Super Bowl in 2011, the Stargate-produced hit became the team’s unofficial anthem and spawned other remixes in the same vein. "Black & Yellow (G-Mix)" featuring Snoop Dogg, Juicy J, and T-Pain, Brooklyn rapper Fabolous honored the New York Yankees with "White and Navy" and Lil Wayne paid homage to the Green Bay Packers with  "Green and Yellow."

The success of "Black and Yellow" opened the doors for Khalifa and his stable of Taylor Gang talent to flourish, namely artists like Ty Dolla $ign, Chevy Woods, and Three 6 Mafia legend Juicy J. The song also placed a brighter spotlight on Rostrum Records and recent signee Mac Miller, who was months removed from releasing his acclaimed K.I.D.S. mixtape and would later become a star before his unexpected death in 2018. 

Chief Keef - "I Don’t Like" (2012)

The city of Chicago was set ablaze with the release of Chief Keef’s "I Don’t Like." The Young Chop-produced track popularized the city’s drill sound, which established a new influx of talent bred from the Windy City and a subgenre later adapted by UK and New York rappers like Fivio Foreign and the late Pop Smoke. 

The impact of the street hit led to its inclusion on the G.O.O.D. Music compilation project, Cruel Summer, featuring artists Pusha T, Kanye West, Big Sean, and Jadakiss. "I Don’t Like" was later placed on Keef’s debut release, Finally Rich, helping further catapult the Chicago artist to mainstream notoriety. The song is still credited as the launching pad for the drill movement, with Keef viewed as the forefather of the subgenre as a whole. 

Kendrick Lamar - Good Kid, M.A.A.D City (2012)

For many hip-hop fans, Kendrick Lamar’s Good Kid, M.A.A.D City reestablished the West Coast’s grip on the rap game, which for years, was singularly held by The Game. 

After the release of Lamar’s independent album Section.80, his second turn took more of a mainstream approach while chronicling his teenage years in the gang and crime-ridden streets of Compton. He enlisted artists like Drake for the flowy, Janet Jackson-sampling hit, "Poetic Justice," and drew in legends like Dr. Dre for "Compton" and Jay-Z for "Bitch, Don’t Kill My Vibe - Remix." 

The multi-platinum project was produced by Dj Dahi, Sounwave, Hit-Boy, Scoop DeVille, Just Blaze, and others, who delivered atmospheric and tight-bass beats for Lamar’s narrative-driven concept album to flourish. Good Kid, M.A.A.D City earned Lamar four GRAMMY nominations at the 2014 GRAMMY Awards, including Album Of The Year. And while he didn’t take a gramophone home during that night, his major label made him the face of West Coast rap for years to come. 

Future and Drake - What a Time to be Alive (2015)

After cranking out moderate hits like "Tony Montana" and "Never Satisfied," Drake and Future linked up for an Avengers-level collaboration, which culminated into 2015’s What a Time to be Alive. 

The project came together after Drake met with Future in Atlanta for six days. Their first recording was "Digital Dash," and from there, the two artists merged their respective sounds together for a hyper-trap mixtape filled with hits like "Jumpman" and "Big Rings." On the production side, What a Time to be Alive was largely handled by executive producer Metro Boomin, who produced or co-produced eight of the project’s 11 songs, alongside fellow beatmakers Noah "40" Shebib, Allen Ritter, Southside, Boi-1da, and others. 

The 2015 release also foreshadowed Future and Drake’s later collaborations. Future enlisted artists like fellow Atlanta rapper Young Thug for Super Slimey and Lil Uzi Vert for Pluto x Baby Pluto, and Drake linked up with 21 Savage for 2022’s Her Loss.  

Rae Sremmurd - "Black Beatles" (2016)

After scoring hits like "No Flex Zone" and "No Type,"  brothers Swae Lee and Slim Jxmmi literally had the world in suspension with the 2016 hit "Black Beatles" featuring Gucci Mane.  The "SremmLife 2" single sparked the viral mannequin challenge, which saw social media users stand frozen in time as a camera filmed their surroundings with their song playing in the background.  

Internet trends aside, the song was a massive hit that landed the group and Gucci Mane their first No. 1 song on the Billboard Hot 100. The Mike Will-produced track also pushed additional sales of the duo’s second album, which went from selling 30,000 equivalent units in the first week to eclipsing one million sales by November 2017. 

Jay-Z - 4:44 (2017)

With a resume as stacked as Jay-Z’s, his claim as the greatest MC of all time was viable long before the release of 4:44. But the late-career release did more than just add to his illustrious discography; it was one of the most complete and transparent bodies of work Hova has ever produced. 

On tracks like "Kill Jay-Z," the Brooklyn rapper stripped his ego-fueled moniker to give listeners a snapshot of his upbringing and past failures as Shawn Carter the man. He takes a step back to reflect on his mother’s sexuality on "Smile," and the challenges he faced in his marriage to Beyoncé on the title track. 

While many viewed 4:44 as a response to Bey's Lemonade album, the project also touched on the importance of shared success on "Legacy" and the push for generational wealth on "The Story of O.J." 4:44 garnered three nominations at the 60th GRAMMY Awards, including Song Of The Year and Album Of The Year. 

Migos - "Bad and Boujee" (2016)

During the 2017 Golden Globe Awards, rapper and Emmy-winning actor Donald Glover had a confession: Migos’ "Bad and Boujee" was the "best song ever." By then, the 2016 single was already a popular viral hit, with memes surrounding the lyrics "rain drop, drop top" bubbling up online. But Glover’s shoutout helped the G Koop and Metro Boomin-produced hit to reach the top spot on the Billboard Hot 100, a first for the Georgia-born rap group and featured artist Lil Uzi Vert.

"Bad and Boujee" established the Migos as the hottest rap group of the era, and spearheaded each member’s solo projects and business ventures. The multi-platinum single was even nominated for Best Rap Performance at the 2018 GRAMMY Award. 

Drake - "God’s Plan" (2018)

With countless across the 2010s, it’s hard to choose which Drake record made the biggest splash during the era, but 2018’s "God’s Plan" has a case when it comes to global reach. Produced by Cardo, Young Exclusive, Boi-1da, and long-time collaborator Noah "40" Shebib, the GRAMMY-winning single topped the charts in 14 countries while posting record-setting streaming numbers.

Though the pop-trap hit was met with mixed reviews upon its release, "God’s Plan" shattered Apple Music and Spotify first-day streaming numbers with 14 million and 4.3 million, the most of any song that year on both platforms. By the first week, the song climbed to 82.4 million total streams. 

"God’s Plan" was the lead single for Drake’s EP Scary Hours and fifth studio album Scorpion, and notched the Toronto artist Best Rap Song at the 2019 GRAMMYs. The song’s music video, which showed the rapper giving out a million dollars to people in Florida, also made waves online, amassing countless social media memes and over 1.5 billion views on YouTube as of July 2023.

Cardi B - Invasion of Privacy (2018)

The story of Cardi B, who rose from reality TV star to GRAMMY-winning artist, proved there could be more than one Queen ruling over the rap game. And her groundbreaking debut, Invasion of Privacy, inspired a new legion of women artists with dreams of occupying their own respective thrones. 

With street anthems like "Bodak Yellow," "Bartier Cardi," and the reggaeton-inspired "I Like It" featuring J Balvin and Bad Bunny, Cardi showcased her knack for catchy hooks, sharp lyrics, and the colorful personality found beneath the brash, aggressive flow. Producers DJ Mustard, Allen Ritter, Benny Blanco, Boi-1da, and others elevated the project to album of the year consideration. 

Along with winning Rap Album Of The Year at the 2019 GRAMMYs, Invasion of Privacy took the No. 1 spot on the Billboard 200 upon its release, making Cardi only the fifth female rapper to reach the top of the charts at the time. Even in the years after its release, the album continues to make history for the "WAP" artist, who became the first woman to have all of her album’s songs reach platinum status when Invasion of Privacy reached the milestone in 2022, according to Billboard. 

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Like so many New Music Fridays before it, July 21 brought a cornucopia of fresh and unique sounds from all over the map.

Want to hear Travis Scott, Bad Bunny and the Weeknd get mellow and psychedelic? Raring to hear the latest dispatch from a One Direction member? Want a taste of A$AP Rocky's long-awaited next album? Is a Britney-shaped chunk missing from your musical life? Want to hear the future of K-pop? 

To these and other questions, this slew of tunes will provide answers. In the below roundup, hurtle into the weekend with wildly divergent sounds from some of music's top acts — many with sizable GRAMMY legacies.

Travis Scott, Bad Bunny, The Weeknd — "K-POP"

A week before nine-time GRAMMY nominee Travis Scott's Utopia livestream event at the Pyramids of Giza in Egypt on July 28 — which will debut his new studio album of the same name — he dropped his sixth collaboration with four-time GRAMMY winner the Weeknd.

"K-POP," the album's lead single, is rounded out by three-time GRAMMY winner Bad Bunny, in his first collab with Scott. This triple-threat track has a stony, smoldering feel, with luxurious production from Boi-1da, among others — and it's elevated by its panoramic, transportive video.

ZAYN — "Love Like This"

The former One Direction member continues his solo legacy with "Love Like This," his first new single since 2021.

Therein, ZAYN extols the virtues of throwing caution to the wind when it comes to infatuation: "Everything is on the line, but I would rather be dead/If it's gonna mean a life that's lived without you, baby," he sings. "I think I gotta take that risk/ 'cause I cannot go back."

In the video, ZAYN putters around on a motorcycle on a gorgeous day. Previously signed to RCA, the singer recently moved to Mercury Records; could "Love Like This" be the ramp-up to a new album? If so, "Love Like This" offers a tantalizing taste of what's to come.

will.i.am, Britney Spears — "MIND YOUR BUSINESS"

After the termination of her conservatorship, GRAMMY winner Britney Spears dipped a toe back into her music career in 2022 with "Hold Me Closer," a duet with Elton John that includes elements of "Tiny Dancer," "The One" and "Don't Go Breaking My Heart."

Now, she's back in earnest with "MIND YOUR BUSINESS," a sassy, pulsing, electronic duet with seven-time GRAMMY winner will.i.am of Black Eyed Peas fame. The track marks the pair's fourth team-up, and first since 2014's "It Should Be Easy" from Spears' Brtiney Jean.

NewJeans — "ETA"

GRAMMY.com called NewJeans one of 10 K-Pop rookie girl groups to watch in 2023, and keeping ears on them has paid off. On July 21, they released their new EP, Get Up, to critical acclaim: NME declared that "​​no one can hold a candle to K-pop's rising wonder girls."

Concurrently with the release of Get Up, they released a joyous, iPhone-shot music video to its effervescent single, "ETA," in which a group of girls find a friend's boyfriend making moves on another lady.

Chris Stapleton — "White Horse"

Chris Stapleton's last album, 2020's Starting Over, helped the country crooner make a clean sweep at the 2022 GRAMMYs. At that ceremony, he won golden gramophones for Best Country Solo Performance ("You Should Probably Leave"), Best Country Song ("Cold") and Best Country Album ("Starting Over").

On Nov. 10, the eight-time GRAMMY winner will release his next LP, Higher. As he revealed the news on July 21, Stapleton also unveiled a majestic rocker of a single, "White Horse." "If you want a cowboy on a white horse/ Ridin' off into the sunset," he sings thunderously, "If that's the kinda love you wanna wait for/ Hold on tight, girl, I ain't there yet."

A$AP Rocky — "RIOT (Rowdy Pipe'n)"

For his latest track, A$AP Rocky dropped a stylish, charming short film for Beats depicting a harried diaper run (a fitting narrative for the new dad, soon to be dad of two, with partner Rihanna). That only contains a minute of the song, though; it's worth luxuriating in the whole thing.

To an uneasy, lumbering beat, Rocky extols a lifestyle to die for ("My wife is erotic/ I'm smokin' exotic/My whip is exotic") as well as his unparalleled connections ("I just call designers up, I free ninety-nine it").

Backed by 13-time GRAMMY winner Pharrell, "RIOT (Rowdy Pipe'n)" is said to be the first single from A$AP Rocky's long-awaited fourth album, Don't Be Dumb; if the quality of the track is any indication, it'll be worth the long haul.

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Hip-hop has long been a male-dominated space, despite the success and indisputable influence of female generational talents. From the jump, women have overcome gatekeepers and expectations, beginning with MC Sha-Rock, then via Salt-N-Pepa, Lauryn Hill, Missy Elliot, and more recently with Gangsta Boo, Nicki Minaj, City Girls and Noname have overcome gatekeepers and expectations. Contemporary acts such as GloRilla are continuing their efforts and reaching a demographic that had never been excessively marketed to in hip-hop: women who want to hear rap music from women.

Rap is slowly becoming a more inclusive space — with an audience that’s finally willing to carve out a space for diversity and sex-positivity for all genders — and open to a myriad of subgenres, with female rappers leading the pack. In 2021 did Cardi B became the first female rapper to acquire a diamond-certified single. Any club in America that doesn’t play Meg Thee Stallion should be considered a rarity. Ice Spice is the first female drill rapper to break into mainstream culture. 

The stage has been set for a new generation of artists, largely thanks to the genderless, wide reach of social media platforms. Today, misconceptions which hide the grit of Gangsta Boo, the explicit sensuality of  Lil’ Kim, and the lyrical and political expertise of Noname are beginning to dissolve. The glass ceiling has broken, giving into an exponential increase in the number of female artists: ramblers, trash talkers, storytellers and sexually-charged drill rappers. 

Women are pioneering the future of hip-hop, and their styles have never been more pronounced. GRAMMY.com offers a list of 14 rising female artists that you should keep an eye on in 2023 and beyond. 

Sexyy Red 

Odds are, you’ve heard "Pound Town." If you haven’t, lie low for the next few minutes as the St. Louis rapper spares no detail from her sexual exploits.

Much like Lil’ Kim, Sexyy Red is not only sex-positive, but infamous: "My coochie pink, my booty hole brown, I just left Pound Town," she declares. Sexyy Red also encourages empowerment, uplifting women’s self-worth. On "Hellcat SRTs," she proclaims to her fellow compatriots: "Bad bitches, we like fast cars. We like n—s that sell drugs with fast cars." 

In all seriousness, Sexyy Red is audacious, confident, and the next hottest rapper to come out of St. Louis. Keep your eyes peeled and listen to Hood Hottest Princess from earlier this year whenever you need to hype yourself up.

Babyxsosa 

Ex-SURF GANG member Babyxsosa was one of the first viral rappers to breakout on TikTok during the pandemic, but her story goes much further than the bright tones and oddly-sporadic drums of "Everywhereigo." Her dainty, autotuned voice and lush soundscapes make her the Internet’s iteration of a soul singer. She’s warm and intimate, using simple lyrics in order to croon through feelings of desire and despair. 

At heart, however, Babyxsosa is underground hip-hop’s Billie Eillish crossed with PinkPantheress. Beats mutate to the sound of her voice. Where her singles of the past four years have ranged from cacophonous, leady synthesizers to elevator music dapped with 808s, her recent EP, Bling Bling, is demonstrative of eery, melodic versatility, laying muted-verses to club beats, using range of different experimental digicore instrumentals to challenge herself as both a vocalist and songwriter.

Hook

Hook can’t be likened to any one sound in hip-hop. Some of her beats beep like 8-bit minigames, others are made of single oscillating synthesizer chords; generally, her production has a heartbeat that fades in and out and loops, giving each song its own life, and agitation thereafter. 

The Riverside, California-raised rapper seethes in her verses, rambling out of frustration and joy and disappointment and confusion and anger and disgust and sadness and every emotion in-between. Still, Hook and her avant-garde approach to rap is erratic and hilarious and lyrically distinct in every way.

Armani Caesar 

Armani Caesar is the first and only female rapper on Griselda Records, which has featured Boldy James, Mach-Hommy, Westside Gunn, Conway the Machine, Benny the Butcher and more. Like the latter three, Armani Caesar hails from Buffalo, N.Y. delivering gritty, tooth-and-nail stories of the streets, but with a bit more rhythm than a dusty ’45 record. 

She incorporates pop rhythms and seeks more towards the disco-era and modern technology for a cadence that’s just a hair shy more uptempo than soul. Armani Caeser’s rhythm is infectious, but her lyrics are venomous. Look at the cover art to her single, "Diana," cover art, she’s Lil’ Kim had she hustled in Buffalo.

Little Simz

Though Little Simz is not necessarily a rising artist, her success has been exponential since the release of 2021’s Sometimes I Might Be Introvert. The UK grime-turned-amorphous rapper of equal parts technically flawless and lyrically awe-inspiring. Over garden party-esque orchestral swells she can deliver a poem penned to her own empowerment, but she can also rap a 16-bar verse with a live band almost breathlessly. 

She’s punchy and energetic, sentimental and adamantly altruistic. A fire burns in Little Simz, and the spark is fanned with each beat of the drum.

Amaarae 

Where hip-hop has begun to transition towards two extremes — heavy metal on one side and drumless beats on the other — Amaarae presents a hidden alternative. The Ghanaian vocalist ushers in a new conception of hip-hop, bringing an Afro pop influence that's reminiscent of Doja Cat’s debut album, Hot Pink.

Amaarae produces her own work, blending traditional Ghanaian instrumentation and polyrhythms with a digitally-created drum circle. As the music claps into double time, Amaarae’s voice speeds up and down, wavering between rapping and singing. She does it all, and after the viral success of "SAD GIRLZ LUV MONEY" and its remix with Kali Uchis, Amaarae dropped a new EP in July, Fountain Baby, scoring the scorching heat of the summer. 

Tkay Maidza  

Creating an electronic collage of house, club, drum n bass, afro beats, and live drum breaks, Tkay Maidza exceeds the term "multi hyphenate." Whether she’s collaborating with JPEGMAFIA or Flume, Tkay creates dystopian worlds in her soundscapes, cut with screeching basslines and glitching snares. Her music is neo-R&B as she deems fit, soulfully calling on Kari Faux for over articulation on "Don’t Call Again;" it’s rage rap on the industrial track, "Grasshopper;" it’s even a derivative of EDM in her latest single, coyly titled, "Silent Assassin."

Flo Milli 

Flo Milli is the young, happy-go-lucky artist within this new crop of talent. Her voice is an alto and her lyrics are just conceited enough to radiate excellence while delivering some of hip-hop’s most clever remixes for Gen Z listeners. 

Whether she’s rapping to Ethereal’s beat on Playboi Carti’s "Beef" or to Too $hort’s "Blow the Whistle," Flo's enfranchising rhymes drive confidence and sexual prowess into her listeners. On "Roaring 20s," she playfully takes on the role of Daisy from The Great Gatsby, fascinated by ragtime-inspired production and men who would give up anything to spend a few minutes with her. That’s the magic of Flo Milli: she’s animated, fluidly jumping to whatever style and aesthetic she deems worthy of her exhibition.

CLIP 

In her many lives, CLIP has graduated from NYU, had a flourishing career in journalism, and ended up in Los Angeles amongst the next generation of Soundcloud artists. Her music is a melting pot of these cultures and influences. On her recent PERCEPTION EP, she includes drum n bass-inspired beats on songs like "Happy;" her breakout single, "SAD B!TCH," border on cloud rap with their ethereal mixing; her recent single, "sunset blvd" incorporates the croons of emo rap. CLIP has already become a rising star without releasing a single full-length project. 

Her voice is soft and melodic like Babyxsosa and her production matches the mild psychedelia of Hook’s use of filter. CLIP incorporates the downtempo eeriness of Houston chopped-and -screw tapes, drowning out her own braggadocio through internet-coded soundscapes.

TiaCorine

Hailing from Winston-Salem, North Carolina, TiaCorine has the swagger of a Gangsta Boo, coloring her lyrics with braggadocio and slick, staccato phrasing. Her instrumentation is wavy and pompous, featuring warped 808s and the glossy sparkle of xylophones and high-pitched synths.

TiaCorine stands out for the way she meshes her Southern cadence with disjointed, bubblegum beats,  drum machine hi-hats and Jersey club-style kicks. She’s erratic yet sweet; she’s cutesy like pluggNB yet arrogant like JT and Yung Miami.

Vayda 

Compared to Hook or CLIP or Babyxsosa, Vayda would be their prodigal child of the forthcoming generation of digital media consumers, aiming for an even more stimulating derivative of industrial hip-hop: hyperrap. Vayda creates starkly genreless hip-hop, jumping from Jersey club to sample-based beats to trap hi-hats for short, digestible tracks typically landing at under 90 seconds. Her music is uptempo and comes in waves of focused attention, etched with sporadic bass drum kicks similar to Evilgiane’s in SURF GANG and Cash Cobain’s hyper focused, sample drill 808 patterns.

Vayda isn’t concerned with regionalism and having a sound attributable to any one place. Her beats sparkle and shimmer, they dash like bodies towards the DJ at a club, and Vayda is at the forefront, leading the new school.

Doechii

Akin to the Southern, tongue-twisting legend Young Thug, Doechii’s vocal inflections twist and contort, wringing out sonically and lyrically emotive verses. For the Tampa-born artist's stuffy intonation squirms in your ear on tracks such as "Stressed," and genuinely evoke the emotion. 

Alongside labelmates Isaiah Rashad and SZA at TDE, Doechii stretches her syllables for zig-zagging hooks against everything from double-time drums on "Crazy" to dancehall on "Persuasive."

Bktherula

Bktherula is hip-hop’s response to grunge and punk rock. Her aesthetic varies from neon colored braids to skull tees, each in a slightly different shade of black. The Atlanta rapper references punk's yearning screams and whispers in her own groaned melodies on songs such as "Tweakin’ Together" and "FOREVER, PT. 2 (JEZEBEL)."

On tracks such as "TAN," however, that Bktherula’s music matches the aggression of punk, using warbling synthesizers and arcade-sounding, drive-heavy snare. Bktherula flexes, showcasing not only technique but preemptively taunting anyone with the audacity to diss her.

Ice Spice 

Last but certainly not least is America’s most talked about drill rapper since Pop Smoke (RIP). Arriving from the Bronx, Ice Spice became popular after coining the term "munch," referring to selfless, sexually-pleasing men. Her sex appeal, her gospel of female empowerment and her creative free-spirit enabled by SpongeBob SquarePants samples and Zedd flips, puts Ice Spice as the queen of virality in 2023.  

How is she wielding her superstardom? With now-refined drill beats, melodic collaborations with UK-sensation PinkPantheress, and working with some of the most influential women in hip-hop from New York — including her idol-turned-peer, Nicki Minaj.

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