To truly understand Amy Winehouse, you have to be in tune with the unfiltered version of yourself. Through her whiskey-soaked vocals and lyrics that sang more like ripped diary pages, the singer pulled at heartstrings worldwide.

A Southgate, North London native, Winehouse first emerged onto the music scene with 2003’s Frank. Partly inspired by Frank Sinatra (one of her many influences), the debut album was an engaging collection of breezy, jazz-soul ditties that commented on everything from local gold diggers (the cheeky "F*** Me Pumps") to annoying boyfriends ("Stronger Than Me"). 

But the artist’s global breakout moment is attributed to 2006’s follow-up and final album, Back to Black. While Frank teased Winehouse’s innate talent, this sophomore record showcased a budding legend before the world’s very eyes. The album is unabashed in its rawness, with Winehouse triggering listeners with once-deeply hidden memories of the emotional rollercoaster that relationships bring: the distracting love bombing, the painful heartbreak and trying to pull yourself out of the pits. Back to Black’s foundation is honesty, reflecting the artist’s own personal life at the time — from her tumultuous relationship with then ex-beau and future husband Blake Fielder-Civil to her battle with addiction and the mobs of British paparazzi tracking her every move.

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Back to Black was a refreshing fusion of ‘60s girl group doo-wop, contemporary R&B, pop, reggae, and soul. The magic that Winehouse created with collaborators Mark Ronson, producer    Salaam Remi and Sharon Jones' band The Dap-Kings led to massive success. Back to Black took home five out of six GRAMMY Awards (including Record of the Year for "Rehab" and Best New Artist). Following her untimely death, Winehouse won best Pop/Duo Performance in 2011 for her "Body and Soul" collaboration with Tony Bennett, as well as Best Rap/Sung Collaboration for Nas’ "Cherry Wine" in 2012.

Along with her gripping music, Winehouse made a stamp on pop culture through her nostalgic fashion style. A mix of ‘60s Motown, rockabilly and British ‘80s punk, she became known for her signature to-the-sky beehive hairdo, overly extended winged eyeliner, cherry-red lips, Monroe piercing and love for short cocktail dresses. In 2020, her style was commemorated in the GRAMMY Museum’s "Beyond Black – The Style Of Amy Winehouse" exhibit with assistance by her stylist Naomi Parry and longtime friend Catriona Gourlay. Winehouse’s legacy remains strong to this day: she paved the way for artists like Adele, Duffy, Estelle to cross over stateside, and also inspired a new generation of singers who admired her musical bluntness.

On the 10th anniversary of her passing today (July 23), GRAMMY.com honors Amy Winehouse with an industry round-table tribute featuring the artists, creatives and journalists she's inspired through her music and style.

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

She Tapped Into Everyone’s Emotions

Alessia Cara (GRAMMY-winning Canadian singer/songwriter): I remember seeing the "Rehab" video for the first time and being glued to the television. She had big curly hair like mine, sitting on a stoop and singing with the most beautiful voice I'd ever heard. From then, I watched every video I could find on YouTube and learned every song. She made me want to learn the guitar, made me fall in love with jazz, and made me understand the undeniable power in simplicity and honesty. I saw so much of myself in her, in ways that I just couldn’t find in a lot of people on the radio at the time. To this day, if I write a lyric that feels a little too close for comfort, I think of her and how she would have said it anyway and it puts me right back on track. The real magic lies just past discomfort. It’s embedded in the truth. There is no one who did it more impactfully than her, but I always keep that sentiment in my pocket when speaking of my own feelings in my music; It’s shown me the reason for music in the first place. It’s an escape, a shoulder, a mirror. She never took it lightly and because of that  —  neither do I. 

Charlotte Day Wilson (Toronto singer/songwriter): Amy's music was soulful, unafraid and deeply personal. As a teen who was obsessed with Motown, I was instantly hooked when I heard Back to Black for the first time. Her swagger as a vocalist, her crass yet timeless lyrics, the production, everything just hit perfectly and I know those elements/ influences live in me in many ways as an artist. 

Suchandrika Chakrabarti (London-based journalist, comedian and performer of "I Miss Amy Winehouse" show): When I look back at my memories of the 2000s, so many of them are soundtracked by Amy’s music. I was born in the same year as Amy Winehouse – 1983 – and she’s six months younger than me. She was born in a suburb of north London, and I was born in a suburb of east London. We could’ve gone to the same school. She moved to Camden and made it her home in the 2000s; I worked and partied in Camden during the same period. 

Amy always felt three steps away, perhaps pulling pints in The Hawley Arms or listening to the after-hours rockabilly music in the backroom of Marathon Bar (a kebab shop that used to host late-night parties), or having a smoke as she invited a gang of people back to her Camden flat for an after-party. Yet, she was a record-breaking global mega-star that I somehow didn’t run into around Camden!

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The Amy I read about and saw in interviews was incredibly likable and unafraid of the media machine. Her kind of London accent wasn’t (and still isn’t) often heard on TV, and she would not play by the rules of a nice, media-trained pop starlet, choosing instead to criticize other acts, talk about her relationships and bare her soul, or storm off, depending on her mood. She could give as good as she got, particularly towards older male journalists who wanted to view her with an objectifying eye. 

Most of all, she was funny. Earlier on in her career, she could undercut the dramatically heartbroken image of herself that her songs suggested by just turning up to interviews and being her own sarcastic, quick-witted self. Amy entertained the public off-stage as well as on, and I always wanted to know what she would do next. I was always rooting for her. 

Lolo Zouaï (R&B/pop singer/songwriter): My favorite part about her music is her songwriting; her voice sounds so timeless but her lyrics have an edge to them. She doesn't filter what she wants to say which is such a beautiful contrast that I try to emulate in my lyrics.

Daya (GRAMMY-winning pop singer-songwriter): Amy’s ability to pick you up wherever you are and place you right in the middle of whatever she was going through was transcendent. To see the world through her lens has impacted me greatly as a person, songwriter and artist. What I love most about her as a person was her stubbornness and reluctance to compromise  —  she knew exactly what she wanted and didn’t care to cater to industry expectations or appeal to any specific audience. I constantly find myself trying to channel that energy when I’m met with resistance to my work. She’s easily one of the greatest artists that’s ever lived, and I feel lucky to have been alive at the same time as her.

Mike Spinella (Senior Director, Original Content at Pandora): I had the privilege to work with Amy in 2007 when she came to the United States to promote Back to Black. I had been booking talent and developing new content at AOL Music and became aware of the U.K. buzz surrounding her talent and instantly iconic voice. The record felt timeless immediately, it was brilliant — perfect, really. I had the opportunity to book Amy in our studio, where she gave a remarkable stripped-down performance, it was the first time I had seen her perform in person. Her extraordinary talent was undeniable at that moment. This was a very impactful moment in my career, being able to share her performance with the world. I am extremely proud to have played a role in reaching a large audience in the U.S. at that stage of her career with this timeless content.

Her Music Was Both Charming & Timeless

Alessia Cara (singer): Amy had this unmatched ability to tap into specific details of her life in a way that made you think of your own. She was brutally honest, sometimes to the point that made you uncomfortable. But it’s only that type of honesty that can hit a certain nerve in people —  one that feels like she’s holding a mirror right up to your face. The older I get, the more her lyrics shape-shift their meaning to me. She detailed the human experience (specifically sadness) in ways that if you didn’t relate to in the past, you eventually will. You can go back to those songs and think, "Wow I get it now." Her music is timeless because the shared experience of love and loss is timeless. 

Suchandrika Chakrabarti (journalist, comedian and performer): Her music is about the biggest things in life: love, sex, trust, pain, emotion. Amy’s songs manage to make each of us the "Main Character" in the imaginary film of our life, her dramatic soundtrack scoring our highs and lows, our sadnesses and our triumphs. That’s why she seemed like the perfect fit for a Bond theme; it’s a shame that it didn’t work out. 

I’ve been researching a lot of media from the time to write my show, and Mark Ronson’s quote about Amy writing the single "Back to Black" in two or three hours really stuck with me. Her lyrics could have been diary entries, polished into poetry and set to melodies that can make you jump onto the dancefloor or fall onto your bed in despair. Her pain was raw, and part of her processing it was to make it into music. That part made sense, but it was sharing it with the public that I think took its toll on her. 

The contrast between her stage presence and her "real" presence in interviews and on the streets of Camden was utterly fascinating. She didn’t need to try to capture our attention with a fancy home, designer clothes or perfectly prepared soundbites for headlines. The talent reeled us in, and we just wanted to know everything about the person who could make this music at such a young age. She burst into fame apparently complete, any apprenticeship in music already done and dusted. 

Daya (singer): Her honesty, pain and the blatant rawness with which she talked about the struggles of love, sex, drugs, addiction, and temptation cuts through. It’s timeless because it touches on universal human emotion and experiences that will exist and be shared as long as humans are alive on earth. She was completely unfiltered, politically incorrect and unconcerned with what others think, and I think that is and will always continue to be a refreshing take, especially now at a time when art/music can feel increasingly watered down or made "safe" to cater to whatever will work in a mainstream or commercial way.

Mike Spinella (Senior Director, Original Content at Pandora): What struck me right away was Amy's unique style. Her sound was modern and classic all at the same time. Having witnessed Amy perform several times, including in an intimate studio session, it was easy to see how her sheer talent and captivating presence would inspire musicians for generations to come. Beyond the music, what also struck me was her sincerity, love and appreciation for the artists who influenced her as well as her peers. Amy embodied the creativity of a true artist and it showed in her work. Her career will continue to inspire those who have not yet discovered her brilliance.

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Her Sense of Fashion Style Was Unapologetic

Nicholas Vega (GRAMMY Musem’s Curator and Director of Exhibitions, who helmed the "Beyond Black – The Style Of Amy Winehouse" exhibit last January): Amy’s style has proven to be timeless and has influenced a number of artists (and continues to do so). This is undeniable. There are certain elements of her style that other artists have adopted —  whether it is the beehive hairdo, eye make-up, tattoos, or fitted dresses. But the most influential attribute of her style has to be her sense of individualism. Her stylist and friends were influential in helping her develop her look, but ultimately Amy took bits and pieces of trends and styles that she admired to create her own look. This is so essential because she could have very well let her team tell her what and what not to wear. Her interest in fashion extended well beyond her own personal wardrobe, as this is clearly visible in her direct involvement in 2010’s Fred Perry campaign and the different looks she developed with her stylist Naomi Parry. When talking about Amy’s style or "look," this is what stands out the most to me.

Daya (singer): Her style and image were provocative in a way that really drew you in immediately. It was very "cool girl who doesn’t give a f***" while still alluding to glamour and opulence that kept it interesting and mysterious and elevated. She was beautifully extravagant without trying too hard, and she showed her body in a way that felt empowering and emboldening to me. Her general attitude toward style has influenced me heavily: she single handedly got me into eyeliner when I was a teen and it’s still my favorite item of makeup.

Opening night of the Beyond Black - The Style Of Amy Winehouse Exhibit at the GRAMMY Museum in Los Angeles | Photo: Amanda Edwards/Getty Images

She Created Soulful Hits

Charlotte Day Wilson (singer): [Back to Black single] "Love Is A Losing Game" was an instant classic and remains one. It's a song I turn to when I need someone to echo my pessimism towards love & its potential for longevity. 

Nicholas Vega (GRAMMY Musem’s Curator and Director of Exhibitions): My all-time personal favorite Amy Winehouse song is "In My Bed" off the Frank album.  Sampling Nas’ [2002 hit] "Made You Look" was genius! Sampling is such a huge part of hip-hop and the beat from "Made You Look" was actually lifted from the Incredible Bongo Band’s “Apache” from 1973. There are few instances where hip-hop beats are used by artists from other genres of music  — it’s usually the other way around. With a hip-hop beat serving as the record’s backbone, combined with her soulful voice and emotionally raw lyrics, Amy’s creativity is certainly on full display. 

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Suchandrika Chakrabarti (journalist, comedian and performer): "Tears Dry On Their Own" is my favorite song and video. From the sample of Marvin Gaye and Tammi Terrell's soaring "Ain't No Mountain High Enough" from 1967 to the lyrics speaking of growing up, changing her ways and being her own best friend, this should be Amy’s anthem rather than "Rehab." The sample draws a direct comparison between the two songs: "Ain't No Mountain High Enough" is about two people whose love cannot be dimmed by distance, whereas "Tears" is about one codependent person finding the strength to walk away, no matter the imagined obstacles, or the urge to try just one more time. 

The other songs on Back to Black are about the pain and of surrendering to one’s own destructive patterns in love, but "Tears" is a manifesto for change. There’s much more hope in the lyrics, even though it can sound more downbeat in the melody than "Rehab" or "You Know I’m No Good." That’s the sly secret at the heart of Amy’s songs: the lyrics and the melody work beautifully together, but they each provoke two different emotions in us. 

The video has always struck me as being inspired by two memorable Richard Ashcroft videos from the Britpop era. The obvious one is his strut down East London’s Hoxton Street as the frontman of The Verve in 1997’s "Bitter Sweet Symphony." Amy, being a woman and (despite the beehive, only 5’3") emulates on Hollywood Blvd.

The quieter scenes with Amy in a hotel room call to mind Richard Ashcroft’s "A Song For The Lovers" in 2000. While he moves around his large hotel room with a sense of joy, Amy longingly sits alone in her small room. I think that we would have got more songs like "Tears Dry On Their Own" as Amy got into her 30s. There’s self-acceptance and maturity that makes it stand out from the other tracks on Back to Black. Plus, it’s just a great song to belt out at karaoke.

Lolo Zouaï (singer): I love so much of her music but the song "Wake Up Alone" is my favorite. I love to listen to her music in the morning because of the way it makes you feel so present.

Daya (singer): You Know I’m No Good" holds a special place in my heart because it was my favorite song to sing when I was 10 and still is one of them now. I used to cover it on the ukulele all of the time, and I was always drawn to the seduction and provocation of it without even knowing it at the time. It’s interesting to fully comprehend the layers of the lyrics as an adult now. It also really made me want to work with a big band at some point in my career.

Mike Spinella (Senior Director, Original Content at Pandora): It is hard to have a favorite song when Amy made so many perfect ones. But I will choose the song I probably have listened to most: "Tears Dry on Their Own." It encapsulates everything I love about Amy's music: an ear-worm tune that showcases Amy's one-a-kind vocals, blending struggles, heartbreak and truth into a candy-coated melody, all while paying homage with an interpolation of Marvin Gaye and Tammi Terrell's classic "Ain't No Mountain High Enough."

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She Was A Budding Icon Gone Too Soon

Alessia Cara (singer): I remember exactly where I was and what I was doing. It was my second year of high school, so I was sitting on my bed writing an essay on my laptop. My mom came in, sat on my bed with me, and told me. I remember feeling my heart sink. One of my first thoughts after the initial questions of how, why, and where, was selfishly: "Oh my God. I will never meet her." Looking back, it’s kind of an ambitious thing to say. The thought that me, a high school student from Brampton, would have definitely met her had it not been for her passing was so far-fetched, yet it was crushing. As long as she was alive, there would still be the one percent chance that I’d run into her and get to tell her what she meant to me. But this solidified that I would never have that chance. 

That moment sparked so many devastating truths. She was never going to write a song again. We will never hear her sing again. How was someone so poignantly human, with an endless stream of emotions, never going to feel a single emotion again? It felt like she was robbed of the chances she was supposed to have. I felt her pain through her words and the thought that her life ended within that pain felt so wrong. Death never feels right, but this felt especially wrong. 

Thinking back now, her passing ultimately taught us all the true purpose of songwriting and how music lives on despite any circumstances. Her words continue to touch whoever hears [them]  — even 10 years later  —  and will continue to for generations. She’s still very much alive within that. I didn’t get to know her, but her art makes us all feel like we do. Her spirit is transcendent and her heart is still on earth, every time we dance around our kitchens to "Tears Dry On Their Own" or ugly cry to "Love is a Losing Game." Through her beautiful work and the awe she continues to leave us in, Amy will always be here.

Suchandrika Chakrabarti (journalist, comedian and performer): It was a Saturday lunchtime when the news broke. I was at home in Finsbury Park, which is about a 10-minute drive from Camden. I couldn’t tell you which medium brought me the news first  —  radio, TV, or online  —  but the moment I knew, I was on all three at once, trying to find out more. 

I was utterly shocked. Amy had been photographed walking around London just two days earlier, looking much healthier and stronger than she had in a long time. I genuinely thought that she would be able to turn things around. She was only 27, six months younger than me. Of course, there would be more songs, there would be more sightings of her around Camden, she would shepherd her goddaughter Dionne Bromfield into a promising music career of her own... 

I was working in broadcast news at the time and two days after her death, I was sent down to the scene outside her flat to collect interviews. It was an extraordinary scene. The buildings on Amy’s streets are gorgeous mid-19th-century townhouses arranged around a large rectangle of grass, and every inch of it was covered in mourners. 

These were teenagers, not 20-somethings like Amy or myself. They had created their own festival outside Amy’s home: drinking, smoking, and smearing their black eyeliner with their tears. It seemed like a strange tribute to a singer who had probably died due to drugs or alcohol  —  at this point we didn’t know for sure  —  and I still wonder now what those fans got from being there. I suppose they felt that they were being witnesses to the private, lonely death of such a public, much-photographed star. 

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Her Artistry Impacted A New Generation

Charlotte Day Wilson (singer): Just that the world of music was a better place with her in it. There will always be an empty space where she should've remained.

Nicholas Vega (GRAMMY Musem’s Curator and Director of Exhibitions): As I closely worked with her family and friends to develop the "Beyond Black – The Style of Amy Winehouse" exhibition, it became immediately clear that there are so many rich layers to her story. Having been able to hear first-hand accounts from those who knew her best and to be able to examine and analyze different objects from her personal collection, I learned that she was truly dedicated to her craft. Her passion for music and [music-making] was such a huge part of her DNA. Although she was blessed with a beautiful and soulful voice, she did not take that for granted. This really stands out as something special, as many people do not know this side of her story.  

Suchandrika Chakrabarti (journalist, comedian and performer): While Amy’s music is timeless, she lived in a very specific age. One in which her obvious difficulties were met with mocking headlines, cruel jokes on TV and a lack of support. We watched a career and life unfold, blossom and then end in real-time. So much more has to be done to care for people in her position. It would be nice to think that future generations of fans will find the values of the 2000s archaic, and that Amy’s sad trajectory in full view of the world won’t be repeated. 

Lolo Zouaï (singer): She was always authentically herself and just wanted to make music because that was her way of coping with her life, which was not easy. She never wanted to be famous, she was just born an artist and felt everything so deeply. 

Daya (singer): I would hope that her addiction and death don’t cast a shadow on everything that she was and everything she contributed to the world. I hope her legacy continues to live on as one of the most important and brilliant songwriters and pop culture influences who’s ever lived. She was undergoing heavy personal battles and the people around her  —  combined with the industry/media  —  continued to manipulate and exploit her for their own monetary or social gain. It was completely unfair and tragic what happened to her, which shouldn’t at all take away from the beautiful artist and person she was.

Big Voices, Ballads and Blockbuster Hits: How 1996 Became The Year Of The Pop Diva

July has graced us with a diverse array of new music from all genres, lighting up dance floors and speakers everywhere.

The last weekend of the month brings exciting new collaborations, including another iconic track from Calvin Harris and Ellie Goulding, as well as a fierce team-up from Paris Hilton and Meghan Trainor. Halsey and Muni Long offered a taste of their forthcoming projects, while Jordan Davis and Miranda Lambert each delivered fun new country tunes. 

In addition to fresh collabs and singles, there's a treasure trove of new albums to uncover. Highlights include Ice Spice's Y2K!, Rakim's G.O.D., Sam Tompkins' hi, my name is insecure, Wild Rivers' Never Better, Tigirlily Gold's Blonde, and kenzie's biting my tongue.

As you check out all the new music that dropped today, be sure you don't miss these 10 tracks and albums.

Although fans anticipated Machine Gun Kelly's next release to mark his return to hip-hop, no one seems to be complaining about "KellyRoll." Embracing the trend of venturing into the country genre, mgk teams up with fellow GRAMMY-nominated artist Jelly Roll on their newest track, "Lonely Road."

The genre-blending track interpolates John Denver's classic "Take Me Home, Country Roads." However, unlike Denver's sentimental ode to the simplicity of rural life, mgk and Jelly Roll reinterpret the track through the lens of romantic relationships that have come to a, well, lonely end.

As mgk revealed in an Instagram post, "Lonely Road" was a labor of love for both him and Jelly Roll. "We worked on 'Lonely Road' for 2 years, 8 different studios, 4 different countries, changed the key 4 times," he wrote. "We finally got it right."

In another interpolation special, Halsey samples not one but two classics in their latest single, "Lucky." The song's production features elements of Monica's 1999 hit "Angel of Mine," while the chorus flips Britney Spears' fan-favorite "Lucky" into a first-person narrative.

While Halsey has always been a transparent star, their next project is seemingly going to be even more honest than their previous releases. After first revealing their journey with lupus with the super-personal "The End" in June, "Lucky" further details their struggles: "And I told everybody I was fine for a whole damn year/ And that's the biggest lie of my career."

Though they haven't revealed a release date for their next project, Halsey referred to her next era as a "monumental moment in my life" in an Instagram post about the "Lucky" music video — hinting that it may just be their most powerful project yet.

Read More: Everything We Know About Halsey's New Album

Ahead of Paris Hilton's forthcoming album, Infinite Icon — her first in nearly 20 years — the multihyphenate unveiled another female-powered collaboration, this time with Meghan Trainor. Co-produced by Sia, "Chasin'" is a lively pop anthem about discovering self-worth in romantic relationships and finding the strength to walk away from toxicity.

"She is the sister I always needed and when she calls me sis, I die of happiness inside," Trainor told Rolling Stone about her relationship with Hilton. Coincidentally, Trainor first wrote the track with her brother, Ryan, but the pop star was waiting for the right collaborator to hop on the track — and Hilton was just that.

"We made something truly iconic together," Trainor added. "It was a bucket list dream come true for me."

A highly awaited return to music after eight years, Australian electro-pop duo Empire Of The Sun are back with their fourth studio album, Ask That God.

"This body of work represents the greatest shift in consciousness our world has ever seen and that's reflected in the music," says member Lord Littlemore in a press statement.

Like their previous work that transports listeners to a different universe, this album continues that tradition with trancey tracks like lead single "Changes" and the thumping title track. Ask That God offers a chance to reflect on the blend of reality and imagination, while also evoking the radiant energy of their past songs.

Dance music's collaborative powerhouse, Calvin Harris and Ellie Goulding, are back with another summer hit. Their latest track, "Free," marks the fourth collaboration between the duo — and like their past trilogy of hits, the two have another banger on their hands.

The track debuted earlier this month at Harris' show in Ibiza, where Goulding made a surprise appearance to perform "Free" live. With Harris delivering an infectious uptempo house beat and Goulding's silky vocals elevating the track, "Free" proves that the pair still have plenty of musical chemistry left.

Post Malone's transition into country music has been anything but slow; in fact, the artist went full-throttle into the genre. The  New York-born, Texas-raised star embraced his new country era with collaborations alongside some of the genre's biggest superstars, like Morgan Wallen and Blake Shelton. Continuing this momentum as he gets closer to releasing F-1 Trillion, Post Malone teams up with Luke Combs for the new track "Guy For That."

The catchy collaboration tells the story of a relationship that has faded, where the protagonist knows someone who can fix almost anything, except for a broken heart. It's an upbeat breakup song that, like Post's previous F-1 Trillion releases, can get any party going — especially one in Nashville, as Malone and Combs did in the track's music video.

Just one month after Surfaces released their latest album, good morning, the duo's Forrest Frank unveiled his own project, CHILD OF GOD — his debut full-length Christian album. Among several features on the LP, one of the standouts is with GRAMMY-winning artist Tori Kelly on the track "Miracle Worker."

Over a plucky electric guitar and lo-fi beats, Frank and Kelly trade verses before joining for the second chorus. Their impassioned vocals elevate the song's hopeful prayer, "Miracle Worker make me new."

Their collaboration arrives just before both artists hit the road for their respective tours. Frank kicks his U.S. trek off in Charlotte, North Carolina on July 31, and Kelly starts her world tour in Taipei, Taiwan on Aug. 17.

Since their debut in 2022 with "Tippy Toes," Japanese girl group XG has been making waves and showing no signs of slowing down. With their first mini album released in 2023 and now their latest single, "SOMETHING AIN'T RIGHT," the group continues to rise with their distinctive visuals and infectious hits.

The track features a nostalgic rhythm reminiscent of early 90s R&B, showcasing the unique personalities of each member. As an uptempo dance track, it's designed to resonate with listeners from all across the globe.

"SOMETHING AIN'T RIGHT" also serves as the lead single for XG's upcoming second mini album, set to release later this year.

For nearly 15 years, Mustard has been a go-to producer for some of rap's biggest names, from Gucci Mane to Travis Scott. On the heels of earning his first Billboard Hot 100 chart-topper as a producer with Kendrick Lamar's "Not Like Us," he's back with his own collaboration-filled project.

Faith of a Mustard Seed features a robust 14-song track list with contributions from Vince Staples, Lil Yachty, Charlie Wilson, and more. The LP marks Mustard's fourth studio album, and first since 2019's Perfect Ten.

In an interview with Billboard, Mustard shared that the album's title is an ode to late rapper Nipsey Hussle, who suggested the title during one of their final conversations before his untimely death in 2019. And once "Not Like Us" hit No. 1, Mustard knew it was time to release the long-in-the-making album.

This summer continues to dazzle us with an electrifying array of music, with new releases arriving from Jimin (MUSE), Ivan Cornejo (MIRADA), Koe Wetzel (9 Lives), Denzel Curry (King Of The Mischievous South Vol. 2), and Adam Lambert (Afters), and many more this week. From eagerly awaited comebacks to iconic collaborations, July 19 has an abundance of new music to offer across all genres.

As you continue shaping up your summer playlists, be sure to check out the following 11 new songs and projects.

Following the release of "The City Cinderella Documentary," which chronicles JT's inspiring journey from overcoming challenging circumstances to embarking on a solo career, the rapper unveils her highly-anticipated 16-track mixtape, City Cinderella. The project is a showcase of talent and growth, featuring powerhouse collaborations with DJ Khaled and Jeezy, the latter of whom features on a remix of her hit "OKAY."

City Cinderella is JT's first project since parting ways with her former City Girls cohort, Yung Miami. Speaking to Paper Magazine about her new venture, JT explained that the inspiration for the project was simple: "I just wanted to authentically be myself and make music."

Puerto Rican star Rauw Alejandro has been a song machine since his Sony Latin/Demars Entertainment debut with 2019's Trap Cake, Vol. 1. He'll be releasing his fifth album in five years later this year — and judging by his latest release, it may be his sexiest yet.

"DEJAME ENTRAR" sees Alejandro getting close to a woman who once was just a crush, but has now turned into his latest love affair. The singer debuted the sultry, pulsing track with a smooth performance on "Today" on July 12; one week later, the song's official release also included the official video, which co-stars actor Adrian Brody. 

Though Alejandro hasn't revealed a release date for his next project, he teased on "Today" that it will hopefully be done "soon." "These songs [are] too good to be inside the studio," he said.

Just two months after re-releasing his 2020 project, 3.15.20, under the new title Atavista, Donald Glover is back with another Childish Gambino album, Bando Stone & the New World. The LP features stylistic musical choices that parallel Gambino's past albums, including 2011's Camp, 2013's Because the Internet, and 2016's "Awaken, My Love!," as well as features from Amaarae and Jorja Smith, Flo Milli, Fousheé, and Yeat.

As Glover revealed in April, Bando Stone & the New World will be his last album under the Childish Gambino moniker. But he's going out with a bang: along with a massive world tour, Bando Stone & the New World is accompanied by a sci-fi film titled Bando.

According to a recent interview the New York Times, it seems Glover feels a sense of completion with the project, too. "Success to me is, honestly, being able to put out a wide-scale album that I would listen to," he said. "For this album, I really wanted to be able to play big rooms and have big, anthemic songs that fill those rooms, so that people feel a sense of togetherness."

Nearly 30 years after the 1996 release of Twister, the blockbuster finally gets a sequel with the highly anticipated Twisters — and an equally exciting accompanying soundtrack. The sprawling Twisters: The Album features some of the biggest names in country music today, with tracks from Luke Combs, Lainey Wilson, Jelly Roll, and many more.

Combs was the first to tease a taste of the soundtrack with his gritty, uptempo tune "Ain't No Love In Oklahoma," which was released alongside a music video that featured clips from the movie. Scenes from the film can also be seen in the clip for Jelly Roll's "Dead End Road," which arrived the day before the album's release. 

But there's so much more to discover across the soundtracks 29 songs, from Megan Moroney's "Never Left Me" to Charley Crocket's "(Ghost) Riders In The Sky." And though the track list is stacked with country stars, there's a few gems to enjoy by hitmakers from other genres, too, including Benson Boone ("Death Wish Love") and Leon Bridges ("Chrome Cowgirl").

It's been two years since we last heard from Alessia Cara, but she's ready to begin her next chapter. The GRAMMY winner unveils "Dead Man," the lead single from her forthcoming fourth album — and if the kiss-off track is any indication, Cara's in her fearless era.

Backed by crisp drums and harmonious saxophones, "Dead Man" is an edgy ode to someone she's cutting off because he's no longer serving her. "If you really care, then why am I feeling you just slipping through my hands?," she questions in the chorus. "If you're really there, then why can I walk right through ya?/ Talkin' to a dead man."

In the folk-pop collaboration that dreams are made of, James Bay teams up with longtime friend Noah Kahan and genre giants The Lumineers for "Up All Night." The track boasts a vibrant instrumental layered beneath the harmonious blend of each artists' vocals — a perfect soundtrack for warm, starry summer nights.

The week "Up All Night" arrives also marks a full-circle tour moment for Kahan and Bay. Five years after Kahan first opened for Bay on the "Let It Go" singer's Electric Light Tour in 2019, Bay is now opening for Kahan — at New York City's Madison Square Garden and Boston's Fenway Park, no less — on the We'll All Be Here Forever Tour.

After four years and two projects with Atlantic Records, Sueco unveils his first independently released studio album, Attempted Lover. Across 12 tracks, the L.A. native delves into the complexities of love and relationships, while navigating the tangled emotions that accompany these themes.

Sueco set the stage back in March with the project's lead single, "Drama Queen" — a raw, high-energy track that drew in both new and loyal listeners. He soon followed up with "Mulholland Drive," a stripped-down acoustic gem, showcasing the impressive range of musical styles that Attempted Lover has to offer. 

In celebration of the release, Sueco will embark on the Attempted Lover Tour in Sept. 13, kicking things off in Ft. Lauderdale, Florida, and hitting 32 cities in North America until Nov. 2.

During a short break from their Payback Tour, KALEO is back with new music — and making a statement and an impact with their latest release.

The rock band deliver the emotionally charged "USA Today," a reflection on gun violence in America. Though frontman JJ Julius Son first wrote the track in 2019 with Shawn Everett and Eddie Spear, he felt compelled to release the track after an innocent bystander was killed during the attempted assassination of Donald Trump on July 13.

"So here we are/ Fighting for america/ Fighting for a new day/ Trying hard to change/ USA today," Son sings over gritty guitar riffs and dark synths. KALEO invites listeners to join the movement, pledging to donate a portion of the proceeds from the song to the gun violence advocacy group Everytown.

"USA Today" is the second track KALEO released from their forthcoming fourth album, which is due later this year; it follows the acoustic lead single, "Lonely Cowboy."

After being named an Artist to Watch by Amazon Music, Pandora, Spotify, and CMT in 2023, country newcomer Avery Anna further displays her promise and prowess with her debut album, Breakup Over Breakfast. The Arizona native co-wrote all 17 tracks on the project, including standout track "girl next door," a powerful ballad that puts Anna's golden vocals on display.

"These songs mean the world to me. It's a little bit of rock, country, acoustic, pop, and everything personal," the singer/songwriter wrote in an Instagram post. "I really wanted to give you guys an album that you can confide in. I carefully chose the songs and track listing, and creating it was an adrenaline rush / a relief all at the same time."

With his 2022 debut album, Rx, Role Model dove deeply into themes of love. Two years later, the rising bedroom pop star offers a different take on that same topic, grieving the very relationship that inspired Rx with Kansas Anymore.

Along with offering a different take on love and relationships, Role Model's latest effort is also inspired by his longing for his native state of Maine. Drawing inspiration from artists like Zach Bryan, the War on Drugs and Caamp, Kansas Anymore chronicles Role Model journeys back home, attempting to fill the void created by leaving his East Coast roots for California. The project represents a mature step forward, navigating the rollercoaster of heartbreak and homesickness — and moving listeners in the process.

Since releasing his first solo album, Fastlife, in 2011, Joe Jonas has been plenty busy, from landing a megahit with his pop-rock group DNCE to bringing back the Jonas Brothers with his siblings Nick and Kevin. Thirteen years later, the singer makes a solo comeback with "Work It Out," the bouncy lead single from his sophomore solo album, Music for People Who Believe in Love, due Oct. 18.

"This album is a celebration of gratitude, hope, and love. These songs reflect on my life from a bird's-eye-view acknowledging the many blessings around me," Jonas shared on Instagram, referencing both his own experiences as an individual and as a recent father of two. "I hope it brings you as much joy as it brought me creating it."

Some artists are lucky enough to have a moment: a song of the summer, a radio hit, or a point at which their song dominates the pop conversation. Before even launching her own singing career, Amy Allen has done just that — multiple times.

In 2022, the Maine native contributed to hit songs from Harry Styles, Lizzo, Charli XCX, and King Princess; at the 2023 GRAMMYs, she was one of the inaugural nominees for Songwriter Of The Year, Non-Classical, and celebrated an Album Of The Year win alongside Styles thanks to her work on Harry's House. And as of press time, two songs she co-wrote with Sabrina Carpenter are in the top 10 of the Billboard Hot 100 chart: "Espresso" and "Please Please Please," the latter of which hit No. 1.

When you have a resume and catalog as impressive as Allen's, it's hard not to get stuck in a run of highlights — but Allen's writing style is so full of remarkable emotional depth and inevitable hooks that her life and career deserves further exploration. After binging on classic rock and performing in rock and bluegrass bands in her youth, Allen began writing songs for others in the mid 2010s and has only continued to expand her impact on audiences and collaborators alike.

"Amy is a once-in-a-lifetime writer and friend — it all comes to her very naturally and effortlessly," Carpenter recently told Variety. "She's super versatile: She can wear any hat and yet it still feels authentic. I've learned a lot from her and admire what an incredible collaborator she is."

Along the way, Allen has continued honing her skills as an artist in her own right, releasing a handful of EPs and singles since 2015, initially under the name Amy and the Engine. But on Sept. 6, she's ready to fully introduce herself with her debut album — fittingly titled Amy Allen.

Just after Allen celebrated her latest No. 1 and released her newest single, "even forever," GRAMMY.com rounded up the key details you need to know about the singer/songwriter's diverse musical background, from her advocacy for female creators to seeing Harry Styles sing a song she co-wrote to a massive audience.

Her Origin Story Features A Lot Of Car Talk

Allen's early musical growth relied on four-wheeled vehicles to drive the plot forward — in many different forms. Growing up in rural Maine meant long car rides to for school and family outings, which in turn meant a lot of time with the radio.

"My dad is the biggest classic rock fan, so since I was little, I spent hours every day listening to music in the car with him and my sisters," she told Variety earlier this year.

When it came time for one of her sisters to start a band, the elder Allen named it No U-Turn, setting the theme. When the band needed a new bassist, Amy took up the low end at just 8 years old, learning classic songs from the likes of Tom Petty and Rolling Stones. The band started collecting opening spots at a bar in Portland, Maine, and lasted until Allen was in high school and her sisters had left for college. In addition, she started playing in a bluegrass band called Jerks of Grass alongside her high school guitar teacher.

Eventually, Allen thought about moving on and changing course. "I went to nursing school at Boston College for two years, and within a month of getting there I was like, 'I made a big mistake,'" she continued. After moving over to the prestigious Berklee School of Music, Allen started a new project, yet again turning to vehicular terminology: Amy and the Engine, who would go on to open for the likes of Vance Joy and Kacey Musgraves. The project's timeless indie pop charm shone brightly on singles like "Last Forever" and the 2017 EP Get Me Outta Here!, fusing references ranging from the Cranberries to the Cure.

She's A Major Champion For Women In Music

Back in 2021, Allen pondered whether it was time to carve up one of America's most prominent monuments. "Can you imagine tits on Mount Rushmore/ And Ruth Bader Ginsburg from dynamite sticks?" she sang on "A Woman's World," a highlight from her 2021 solo EP AWW!. The song backs off from that explicit ask, but the low-slung waltz of ghostly piano and gentle acoustic guitar still subversively slices at traditional gender roles and power dynamics. 

And while the track may focus its first verse on the Notorious RBG, Allen designed it as a more approachable anthem. "I felt very proud of that song. And it's something that I love to play live, because I think that it's nice as a woman to give that moment to other women in the audience where I see them," she told The Line of Best Fit upon the EP's release.

Her solo work sits in a long line of female pop and rock stars looking to lift others up — with Allen's list of influences including everyone from the Carpenters and Pat Benatar to No Doubt, Hole, and Siouxsie and the Banshees. But she's also aware of the shortcomings in the industry when it comes to behind-the-scenes matters, with female songwriters representing a disproportionately small percentage of the industry and often at lower revenue than their male counterparts. 

"It's important to have more women writing and performing so that younger girls can be hearing that and really connecting with that and resonating with that, and then being inspired to do that themselves," she continued. "I'm really excited to hear what the next generation of singer songwriters creates, and I want to do my part in making sure that they're able to."

She Went Full Circle With Selena Gomez

Allen's emotionally salient and indelibly quirky songwriting with the Engine caught the attention of more than just adoring fans. While on a tour stop in New York, she connected with Scott Harris, a songwriter who has worked with the likes of Shawn Mendes, Camila Cabello, Niall Horan, and Meghan Trainor; when Allen eventually moved to New York, she would take on some of Harris' writing sessions when he was in Los Angeles. One of those sessions spawned the first song she'd place with another artist: Selena Gomez's "Back To You," which ended up on the soundtrack for the second season of Netflix's teen drama "13 Reasons Why" in 2018. 

"I grew up listening to Selena Gomez, and I know that she's going to be a pop icon forever," Allen told People in 2020. "She's awesome. I was so psyched…It definitely propelled my career in the pop writing field further."

Two years later, she would re-team with Gomez for "My Mind & Me," a single released alongside a documentary film of the same title following the impact of the star's diagnoses with lupus and bipolar disorder on her career. The single similarly offers an openhearted, empathetic look at big mental health struggles, this time in the form of a sweeping, cathartic power ballad driven by stumbling syllables and stair-step piano. 

The track was shortlisted for Best Original Song at the 2023 Academy Awards, charted in more than a dozen countries, and, perhaps most importantly, seemed to have made quite the connection with Gomez. "Honestly, it was therapeutic for me," the pop star and actress told Variety in 2022. "I felt super connected to what I was singing and what I was saying."

She Loves Seeing Her Collaborators Live

Songwriters often wind up hidden behind the scenes, unable to really gather the impact that their artistic expression is making on others. But thankfully, Allen has been able to catch a peek in on the arena-sized reactions for some of her biggest collaborators. 

One of Allen's most-played co-writes is "Adore You," a highlight from Harry Styles' 2019 album, Fine Line, which has nearly 1.7 billion streams on Spotify alone as of press time. The buoyant, slippery burst of Fleetwood Mac-indebted funk pop embodies the start of an infatuation, and fans similarly felt under the song's spell. And Allen finally got to see that feeling come to life at Styles' album release show at the Kia Forum in Los Angeles in 2019. 

"Watching Harry, I was really nervous because the album had only been out for a couple days and I wasn't sure if anybody would know that song," Allen told Variety in 2020. She also noted that the song was a hard turn from more heartbroken tracks she'd written for the likes of Halsey. "'Adore You' was my first feel-good song, so I'm psyched about that," she added.

Though not in person, Allen got a similar bolt of joy when she was able to watch Lizzo perform Styles' track for BBC Radio 1 in 2020. "I idolize Lizzo," Allen continued. "It really just goes to show that the right song can be performed by many different people." 

Little did Allen know that she'd get to celebrate a GRAMMY nomination and win alongside Lizzo and Styles, respectively, just three years later. She co-wrote "If You Love Me" from the flute-jamming pop star's 2022 record Special, which was nominated for Album Of The Year at the 2023 GRAMMYs, where Styles' Harry's House (which featured Allen's co-write "Matilda") won the coveted honor.

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She Shapeshifts Her Songwriting For Each Artist

When a songwriter has to split their tracks up between multiple different artists, it might be difficult to ensure that each track sounds appropriately fitted to each performer. For Allen, it all comes down to knowing when to follow the rules and when to break them. 

"Sometimes we'll be writing and someone will say, 'It should go straight to the chorus here,' and in my brain I'm like, 'But we need a pre-chorus!' — you know, following the ABCs of songwriting," she told Variety. "But I've really been trying over the last couple of years to deconstruct some of those — that you don't need to pull out all the tricks all the time. It can actually make the song more interesting."

In fact, it might come down to what she prioritizes when sitting down to write, rather than which rules to follow. While walking the red carpet for the 2021 Ivor Novello Awards for songwriting and composition, Allen explained her perspective on songwriting formulas to PRS For Music: "When I'm writing for myself, I usually start with the verse and move my way through, and lots of other times when I'm writing with another artist I make sure the chorus is bulletproof."

The GRAMMYs Are Helping Change Her Family's Perspective On Her Career

Allen earned her first GRAMMY nomination in 2022 for her work on Justin Bieber's Justice, but her most meaningful nomination came a year later for Songwriter Of The Year, Non-Classical at the 65th Annual Awards ceremony (alongside Nija Charles, The-Dream, Laura Veltz, and Tobias Jesso, Jr.). While Allen had a hard time contextualizing the recognition, it helped her loved ones better understand the impact of her career.

"I'm just so grateful…Even my closest family and friends, they're like, 'I've listened to this artist for so long, or I listened to this song on the radio, and I had no idea there was a team that helped make this happen,'" she told VERSED: The ASCAP Podcast in 2022. "People like me growing up in small towns, we don't know that being a songwriter for a career is an option… I watched the GRAMMYs when I was growing up, and if I had known that people were making great careers, I would've gotten on the track a lot earlier."

Though the inaugural award ultimately went to Jesso, Jr., Allen seems to agree that he's deserving of the honor — he's one of her collaborators on her upcoming album.

Maine Will Always Be Home — and An Inspiration

For those who haven't been to Maine, a quick look at Allen's social media will reveal just how stunning the American Northeast can be. Among TikToks promoting her music, Allen almost inevitably drops in a clip displaying the expansive natural beauty of her home state — whether she's on a rope swing over a dazzlingly blue pool of water, or dropping a front spin while skating on the ice, or watching the massive waves from her family home.

"POV: ur back home in maine and wondering why u ever left," she plastered over one particularly stunning TikTok montage of a dazzling day swimming amongst waterfalls. The only thing as beautiful as the scenery is the music behind it is an unreleased track about missing home — proof that Maine will always be part of her, and that she clearly made the correct choice in following her songwriting dreams.

Fifteen years into his career, Adam Lambert is primed for the after-party. In fact, the pop star has made an entire EP for the occasion — fittingly titled Afters.

The six-track project, which drops July 19 via More Is More Records, finds the big-voiced singer trading the expansive covers of his last LP, 2023's High Drama, for a no-holds-barred romp that takes listeners from the club to the after-party to the bedroom and beyond.

"It's my love letter to our nightlife culture," Lambert tells GRAMMY.com on a phone call from New York City. And though he admits to recording the bulk of Afters in L.A., the project is imbued with the club kid spirit of New York's queer community — from the primal sexuality dripping off dual lead singles "LUBE" and "WET DREAM" to the strutting, ballroom-ready kiss-off (and nearly NSFW title) of follow-up track "CVNTY."

Ahead of the EP's release, the queer GRAMMY nominee (and frequent Queen collaborator) celebrated his new musical chapter with a special party at The Standard High Line's nightclub Le Bain. Organized by legendary NYC nightlife impresario Susanne Bartsch as part of her famous On Top! event series, the soiree felt like a full-circle moment for Lambert as he watched drag artists like God Complex and ShowPonii slay the house down boots to his new music. 

"I've always really been drawn to that kind of world," Lambert says of the thriving LGBTQIA+ party scene. "I think even way back before '[American] Idol,' I remember being in L.A., when I was in my early twenties and trying to find the parties. They were pretty underground at the time, where people would dress up and wear crazy makeup. And of course, I was there in my platform boots, stompin' in. So I've always sort of sought out that community. I love it."

Below, Lambert takes GRAMMY.com through the colorful and unapologetically queer inspirations that led to Afters, from the '90s house sounds of Crystal Waters to finding freedom in radical creative expression — and, of course, plenty of sex.  

Feeling Free — And Sexy

I've always loved electronic dance music, I've always loved house. And it's interesting because, for a long time, it was considered sort of "niche" for a gay person to make dance music. And now it just feels like it makes sense. [Laughs.] It's so obvious, you know?

I was working so hard for so long and on tour for so long, and I did a lot of tours with Queen and on my own stuff. I was so focused on my career for so many years, and then as the pandemic kind of faded and we were getting into that next chapter, I made some time for a social life. Which was much needed. That's what kind of inspired me to want to make this music. 

I just wanted to make something that felt like my actual social life — that felt like my life. I'm in a relationship, we've made lots of friends in L.A., we have lots of after-parties. We socialize, we go out, we go to clubs, we go to bars. I wanted to make music for that.

My private life is...exciting is how I would probably put it, and passionate. So it's definitely fueled from that. The music is written in first person, but it's also sort of meant to inspire the listener to want to feel that type of freedom as well. You listen to something about sex and hopefully it makes you go, "Yeah! I feel sexy!"

Overcoming Post-'American Idol' PTSD

When I first came out the gate after Idol, I did a big old performance [at the 2009 American Music Awards]. I got in trouble for kissing the guy and having sexy dance moves and stuff, and that gave me a little dash of almost a PTSD of, like, "Oh, OK, there's a line that I can't cross. And if I do, I could risk losing everything." And that fear drove me down a certain path where I felt like I had to hold back a certain amount. 

That was very much a reflection of where we were at as a society at the time, and what the mainstream was able to digest. The music industry was a different game back then. There were a lot more gatekeepers, a lot more obstacles that I encountered. Now, the industry has shifted so much, just in terms of how people get music, how you can reach your listener, how you can make music, what kind of label situation you have set up. There's a lot less filtering going on. That's what also inspired me to want to make something that was more liberated. 

My perspective has shifted a lot. That fear early on came from a place of, "I don't want to lose this opportunity." There was a little dash of imposter syndrome in there. You know, coming off of "Idol," feeling like, "Oh my god, how did I get here?" It happened so fast. And I think just having stayed in the game over the last 14 years has given me a sense of confidence. It's given me a sense of belonging.

I've found more of who exactly I am over that time. Working with Queen has been a real boost in confidence as well, and has allowed me to sort of feel like I've earned something.

Setting The Mood

I love music that puts you in a mood, in a headspace. And that's what I wanted Afters to be. That's why I called it Afters. It was, yes, you could totally listen to these at a club, but it's also, like, lyrically, when you go to a club and then you go to an afterparty, the rules are out the window. You can do whatever you want, you know? And people feel that freedom. 

There's something to be said about growing up a bit and maturing as a performer. You feel less of a need to prove something [vocally]. I think I'm finding less of an impulse to be, like, "Look what I can do!" and more, "Look what I can make you feel." The "less is more" thing does start to become more obvious.

As I've gotten a little older, too, my voice has shifted a bit. And I have, like, lower parts of my voice that I haven't really dug into before that I definitely did on this project. Which is kind of a fun experiment. I just wanted to do something that was more vibey. 

'90s House & '20s Hyperpop

I like going into a project with, like, a reference and a direction. It gives you sort of a roadmap…I have a whole playlist of newer stuff that I kept adding. A lot of it's somewhat obscure, but then there's artists out there that I think are really cool, like Slayyyter [or] COBRAH. A lot of the DJs that I really like — Chris Lake is amazing. Even stuff like Disclosure… I really love them. I just wanted to make music that made me move.  

I found myself gravitating towards a similar sound over and over again — sort of a dirty house, kind of sexy tech-house sound. Certain textures and sonics that I started noticing as a pattern of the stuff that I liked. 

I love a good, soulful house vocal, always…Like Crystal Waters or any of those. I love that, like, '90s house vibe. And obviously "DEEP HOUSE" [on Afters] has a little bit of that. So does "WET DREAM," where you get into that soulful pocket. It's so fun to sing from that place.

Queer Voices In The Studio 

It was really important for me to make sure there were queer people in the room when I was writing these songs. Back when I was first starting, the major label writing setups that I was put into, there weren't many queer people. And that's changed so much — there's more and more queer people in the music space. Definitely top-line songwriters, and then even more and more, I'm finding producers that identify as queer, and that's really exciting. 'Cause it makes everybody less afraid and just willing to sort of go for it.

"WET DREAM," I did with Sarah Hudson and JHART and Ferras, who I've known for ages. Vincint and Parson James worked with me on "LUBE." Just people that I really admire. Vincint did some background vocals on "LUBE," actually, which is cute. Vincint and I did a collab on his project recently as well, so that was cool that we got to each kind of add to each other's project.

A lot of the songwriters are friends of mine who I've known for a long time. I was like, "Do you want to do a song?" Which makes the writing process so much fun.

Queer Rebellion & Sexual Healing

I think, right now, people want to find freedom. I think people want to find an escape. There is a lot of sociopolitical energy right now that's kind of dark and negative, that's coming at us from the right wing, super-conservative side of the world. Some of that can make us feel dark as well, and kind of discouraged. 

But I also think there's a lot of us, including myself, that feel like that lights a bit of a rebellious flame in us, and makes us want to shine brighter and be bolder and be wilder and crazier than we are. And [I] see that out and about: people are more and more expressive, emotionally, with their identity [and] how they want to explore [it].

There are members of our community that want to explore their gender identity; there are members of our community that want to explore their feminine side or their masculine side. There's, I think, more acceptance in that exploration and that expression right now than there's ever been. It's f—ing great. It's always been there in the [LGBTQIA+] community, but you're just seeing it on display a little bit more. People are more comfortable going there and exploring it, and I love that. 

There's less and less shame around sex than there's ever been. We're more mainstream than we've ever been — there's more with social media and [pauses] other types of media on the internet. And that's really exciting. 'Cause sex is f—ing great. And healing, and wonderful, and exciting. It's our human right to explore our sexuality, and I see more people feeling freer in that. 

Finishing With A Climax

One of the Afters songs, "FACE," was actually created a while ago. I wrote that with Pete Nappi, like…four-ish years ago? During the pandemic, I think. But it sounded very different. And once I started getting more house tunes together, I kinda was like, "OK, can we take this idea and evolve it into a higher BPM and a dancier kind of direction?" 

We sped it up, we added a bigger beat to it, more of a four-on-the-floor feel to make it feel "club." But it's definitely the last track on the EP for a reason. 'Cause it slows down compared to the other songs a bit. If the rest of the EP is foreplay, it's sort of like the home run. [Laughs.] It's like once you get that person that you've been into all night into the bed, what happens?