International pop stars BTS are used to shattering world records. They've done it time and time again.

In 2018, the septet became the first Korean group to receive gold status from the Recording Industry Association Of America (RIAA), for the Steve Aoki remix of their 2017 track, "Mic Drop," featuring rapper Desiigner. The song, now certified platinum, became the act's first hit in the U.S., setting off an ongoing streak of Stateside hits and world records for the South Korean boyband. That same year, they became the first Korean act to top the Billboard 200 chart with Love Yourself: Tear. 

BTS are now back to dominate the charts once again with Map Of The Soul: 7. Released just yesterday (Feb. 21), the new album is already the best-selling album of the year worldwide. Another day, another world record in the life of BTS.

Map Of The Soul: 7, BTS' fourth studio full-length to date, is the next installment in the band's ongoing Map Of The Soul series. It picks up from the 2019 chart-topping Map Of The Soul: Persona EP. In addition to featuring songs from the latter, Map Of The Soul: 7 expands on some of the themes and topics from the overall series, including the concepts of persona, shadow and ego. 

"[Map Of The Soul: 7 is a] continuation from the album before, called Persona," BTS member RM tells the Recording Academy. "And this time, we put the other two themes, shadow and ego, and we put it together into [this] album, called 7. The difference is [the] persona, which is like the social mask before the good things that we have, [like] the spotlight. This time [on 7] we talked about the real shades and shadows that we had inside, and also the big manifesto that we admitted: all the shadows as our destinies and we're gonna carry on." 

Sonically, Map Of The Soul: 7 touches on many genres and sounds. Album opener "Intro: Persona" sees RM rapping over a guitar-laced, bossy hip-hop beat, while "Interlude: Shadow," a solo track from BTS member Suga, is an atmospheric pop ballad that converts into an industrial rap monster. 

For the group, Map Of The Soul: 7 breaks free from genre confines once and for all.

"I think it's less and less meaningful to divide music into genres now," Suga says. 

"The genre is BTS. That's the genre we want to make and the music that we want. New genre," the group's Jungkook, V and J-Hope add. 

On the day of the album's release, the Recording Academy caught up with BTS—all seven members!—at the Park Hyatt New York in Midtown Manhattan to discuss the creative process behind and deeper meanings within Map Of The Soul: 7, the group's all-star collaborator wishlist and the growing creative footprint of their South Korean homeland.

This interview was edited for clarity and brevity. An interpreter translated all answers from BTS, except for RM.

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Can you talk about the creative process behind Map Of The Soul: 7? How does it differ from the rest of your albums?

Suga: It took us a little longer, and this is our first full album in quite a while. But making an album isn't just making the music. We have the songs, there's the choreography and a lot of other elements that come with it, so it took some time. But once we got started, it really started rolling along and it was really fun. 

The album features individual tracks that highlight traits from each of the seven BTS members. How does the album reflect each individual member? And how does it reflect BTS as a whole? 

Jungkook: I think individually, it really contained what we wanted to put into the music and the ideas that we have, and this is what we put in.

RM: As a group, it's like a big statement or like a manifesto that we finally admitted our shadows and egos at the same time as part of our destiny. So it's like, you're going to carry on and you can bring the pain and we'll carry on.

Map Of The Soul: 7 reflects on the seven years since BTS debuted in 2013. What has been the biggest life and career lessons you've learned so far?

Jin: Thanks to these guys, I think I learned more about music. I didn't really know a lot about music when I started out, but now I've learned how to write music or make melodies. That's what I really got out of the past seven years, thanks to these guys. 

Jungkook: I think I really learned how precious music is, how important it is to me. Recording the music for this album, working on the music—through this whole process, [it was] really fun and meaningful because, again, I kind of learned and figured out how precious music is and how important it is to me.

The new album features collaborations with Halsey and Sia. Who are some other artists you want to collaborate with?

All (shouting out loud): Ariana [Grande], Travis [Scott], Taylor [Swift], Beyoncé, Billie Eilish, Post Malone, "Big" Nas, Lil Nas X!

RM: Call our label, please.

Your music as BTS has touched on many genres, from rap to pop. Are there any other genres or sounds you're interested in exploring in the future?

Suga: I think it's less and less meaningful to divide music into genres now. 

Jungkook, V, J-Hope: The genre is BTS. That's the genre we want to make and the music that we want. New genre.

Map Of The Soul: 7 is a continuation of Map Of The Soul: Persona. How are the two projects related? And how are they different?

RM: Like you said, [Map Of The Soul: 7 is a] continuation from the album before, called Persona. And this time, we put the other two themes, shadow and ego, and we put it together into [this] album, called 7. The difference is [the] persona, which is like the social mask before the good things that we have, [like] the spotlight. This time [on 7] we talked about the real shades and shadows that we had inside, and also the big manifesto that we admitted: all the shadows as our destinies and we're gonna carry on. We put all the three things [together] and made a series.

Watch: Lil Nas X, BTS & Billy Ray Cyrus Enter The "Old Town Road" Multiverse At The 2020 GRAMMYs

The K-pop genre has exploded across the world over the past few years. Where does K-pop go from here? What would you like to see happen for your community?

Suga: As you said, the stature of K-pop has really grown all over the world. But rather than be recognized as the rise of a genre or the rise of K-pop as a genre, I would like more talented Korean artists to be better known around the world, because I think there are a lot of talented Korean artists, and it's really amazing to have this small country and so many talented people coming out of it. That's what I'd like to see.

Speaking of talented Korean artists, how did you feel when Parasite won so many awards at the Oscars this year?

RM: We felt like we won the GRAMMYs. Parasite is a great movie; I also watched it in the cinema. And like Suga said, we just know that there are a lot of talented people in Korea, also including outside K-pop or K-movie or anywhere else. Parasite's honor is our honor, too. We're happy.

Why is K-pop's popularity exploding in the United States?

In her latest track "Off Switch," Australian dance-pop artist VASSY captures the exhilarating intensity of a budding romance. She loves the rush but, at the same time, wishes she could fight the feeling, even if only for a few seconds.

"There's something electric between you and I/ The way we connected I can't describe/ We're right on the edge of blurring the lines/ Don't know why I'm scared of this rush inside," she sings in the intro. "I wish my heart, it had an off switch/ 'Cause, boy, I don't know how to stop this."

In this episode of Global Spin, watch VASSY deliver an acoustic performance of her track, playing guitar and using a pair of castanets for added rhythm.

VASSY released "Off Switch" on Jan. 5 with an electrifying music video swirling with vibrant neon lights. 

Recently she wrapped a string of appearances supporting Aqua's United States leg of their world tour and earlier this month, performed a headlining show in San Diego. On May 18, she will take the stage at the BASSINTHEGRASS music festival in Darwin, Australia.

Press play on the video above to watch VASSY's lively performance of "Off Switch," and remember to check back to GRAMMY.com for more new episodes of Global Spin.

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On her debut solo EP, (G)I-DLE's YUQI has one wish: for all the "freaks" around the world to confidently sing along with her.

YUQ1 boasted a whopping 500,000 pre-order sales prior to its April 23 release, demonstrating the Chinese singer/songwriter's tremendous popularity. YUQI's creative flair permeates everything from the music itself to its accompanying visuals, as does her desire to stand alone. "I’m a certified freak," she sings, celebrating the liberation she feels when embracing her uniqueness.

YUQI is the third member of (G)I-DLE to make her solo debut, and the quintet's second member to release a solo EP. While YUQI has released her own music before — including the digital album A Page and singles "Bad Liar" and "Fire!" with Alan Walker and JVKE — YUQ1 marks her first lengthier release. 

YUQI added an additional level of authenticity to her EP by contributing compositions and lyrics to most of the tracks, meticulously working on crafting her unique artist identity as she dabbles in different genres. From the red rabbit mascot on the concept photos to the lyric in "FREAK" that mentions her Zodiac sign Libra, YUQ1 is a reflection of the singer's free-spirited yet delicate artistic qualities. 

This isn’t the first time YUQI has preached about being proud of yourself and your life. Her trendy 2021 house-inspired single "Bonnie & Clyde" (from A Page) similarly depicts a high level of confidence, as well as a fearlessness when it comes to facing whatever life throws at you. And YUQI has truly lived this bravery as an artist who moved from her home country to Korea, learned a new language, and experienced the strenuous K-Pop training system.

While YUQI has grown exponentially over the past six years as a member of (G)I-DLE and as a solo act, she still feels the need to be perfect. And while (G)I-DLE is the only K-Pop girl group to achieve a "perfect all-kill" on major domestic charts with four consecutive releases, YUQI believes she hasn't succeeded yet.  

As her understanding of creating her crafts deepens, YUQI’s self-awareness also grows. "The depth of my understanding of the songs I create has significantly changed and improved," YUQI tells GRAMMY.com. "I, personally [and] as an artist, have matured a lot!"

Perhaps she picked up some of these facets from her father. "Honestly, even without joking, my father taught me everything when I was 3 years old," she says with a laugh.

While in Seoul, YUQI sat down with GRAMMY.com to share why she thinks everyone is a "freak," and how this era marks the beginning for her as a solo artist.

The interview has been edited for clarity.

This is just your first mini-album, but do you already have a vision for your solo career?

I tried to capture the YUQI that’s real and confident in this album. No matter what other people say about me, I’m not the weird one. But, in fact, I think everyone is a "freak," too. 

This album expresses my confidence and emotional life through music. I wanted to convey that you just have to live confidently too, just as I do. When preparing for my solo album, I also tried different hairstyles that I’ve never tried as a (G)I-DLE member!

You've previously shared that moving to Korea alone to pursue this career was difficult, and your parents were strongly against it at first. Do you think those uncertainties and challenges played a huge role in making who you are?

Definitely! That situation did play a huge role in my career. I just kept on believing in myself and moving forward for my dream and what I wanted to achieve. And through the journey, I discovered that believing in yourself is the best way and that mindset helped me a lot.

I was insecure about my voice when I first came to Korea. But then, everyone told me how precious my voice was. Just like my unique voice, I believe there were many aspects of myself that I wasn't initially aware of, which contributed to my growth as an artist. 

I’m always open and working hard to listen to many people’s opinions so I’ll be able to have a broad perspective. It helps me and makes me develop myself in many ways!

Your music often tackles common worries about growing up, and some of the songs on YUQ1 are inspired by your personal experience such as "My Way" and "Everytime." How do you feel about sharing this side of yourself with the public?

When I talk about my worries and tell a story about them, I feel that everyone actually shares similar experiences regardless of the circumstances they’ve been through or will go through.

In a previous interview with GRAMMY.com, you said that your biggest takeaway since debuting in (G)I-DLE is to always be proud of yourself. Do you feel that way now, or is there a gap that you think you need to fill in order to achieve that pride?

Honestly, my thoughts have not changed over the years. I still feel proud of myself, always! Something that would not change, is that I would still [like to] challenge myself and try to do anything I want to go after. 

Also, I always think that I’m not perfect and always try to make up for what is lacking.

You believe you haven’t succeeded yet. However, you’ve already come so far in people’s eyes. At what point in time do you believe you can proudly say "I made it"?

When people only see me in the media, they would think that I have succeeded a lot. But for me, personally, I don't think so… I still have many things to do in order to succeed in my career. And I always try to keep moving forward with my goals.

My biggest dream, both now and in the past, has always been to live a happy life. It changes from time to time often, but I guess living a happy life is my ultimate goal.

You never forget to mention how you want to always keep improving in interviews. How would you describe YUQI who works really hard to showcase her growth right now?

While preparing for this album, I have experienced so many things that I haven't experienced fully before. For instance, there are so many genres I explored while preparing for this album. Also, it was the first time where I designed my own album, came up with the concept, and had a full album with all the songs that I composed! 

This album definitely allowed me to grow as an artist. Even though there were a lot of difficulties, I believe that those are part of the journey and made YUQI even more mature, have more responsibilities, and be aware of them.

Could you share some insights and walk us through your involvement in the songwriting process?

I have participated in composing and lyrics for (G)I-DLE’s songs in our previous albums. However, this was my first time composing an album on my own. 

It makes me think I can actually do more diverse things, and I believe I was able to do what I wanted to do for myself in this album. It was a great opportunity to include many songs in my own way and style and was able to show new aspects that I have never shown before with my group.

You worked with MINNIE, pH-1, and Lexie Liu on the album’s "Everytime," "Drink It Up," and "On Clap," respectively. What made you choose to feature them on those particular songs, and what was the experience like?

I think and feel that [MINNIE’s] unique voice always suits every song! I’ve always wanted to work with her and I’m glad that she was able to be part of my album. 

And pH-1 was an artist that I’ve always wanted to work with. There was a rap part in "Drink It Up" and I was trying to look for a rapper that would perfectly fit into that part, and pH-1 came into my mind. I had so much fun working with him and he perfectly matched the style that I thought of. Even though it was our first time working together, he was very friendly! 

Lexie and I have been close friends for a long time. We always promised to work together, and I thought this time was the perfect opportunity to do so. I’m thankful that we worked on a song together.

The main character on the track list photo is a red rabbit. It’s also in the music video and some of your concept photos. Could you tell us the backstory of who that is and what that represents?

I was born in the year of a Rabbit and my favorite color is red! So, I decided to have a red rabbit as my main character. And that represents YUQI itself. When you look at the track list, you can see that the rabbit’s facial expressions and comments change depending on the song. In that sense, I think it is a character that shows YUQI’s day in various aspects!

When most people think of a red rabbit, I think that what comes to their mind is that it could be mysterious and scary. And so, I wanted to add some fun elements to the music video and give that feel of a horror movie. 

What’s one line from a song on YUQ1 that hit you the most? And what's something you want the listeners to resonate with the songs?

[A line] from my title track "FREAK"! I think it’s going to be the chorus part, "I’m a certified FREAK." I often talk about my strength as an artist and I saw a lot of comments asking, "Why is she like that?" and "Why is she talking about her own strength?" 

These comments actually gave me a lot of inspiration while writing this song. People who judge me… that way, they are also "FREAK" like everyone else. This is the reason I chose this part. The song contains a message that since you only live once, live yourself whatever you want to do without worrying about what others think.

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"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers. 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus, Selena Gomez and Demi Lovato. Nick, Kevin and Joe. 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience.

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But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie. In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears.

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

"When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls, and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic, Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles. (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly, in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus.

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie, Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me, Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

Ah, springtime. For the average person, that means sunshine, flora in bloom, perhaps a figurative fresh start in the new year. But for music festival fans, it signals another season starter: Coachella.

An estimated 125,000 people will flock to the Empire Polo Fields in Indio, California for the first weekend (April 12-14) of the 23rd Coachella Valley Music and Arts Festival. While the first weekend is already sold out, tickets are still available for the second weekend (April 19-21).

Coachella's headliners have been busy: Both Lana Del Rey (headlining Friday) and Doja Cat (slated to close out Sunday) just wrapped extensive tours at the end of 2023 and, while Saturday closer Tyler, the Creator's only other 2024 festival date is at Lollapalooza, he did stage a large-scale appearance in 2023 at the Camp Flog Gnaw Carnival in Los Angeles. Still, it stands to reason that there are scores of fans who missed out on those tour stops, and Coachella would be an ideal chance to catch them in a particularly special setting. 

There's also the potential to see a slew of surprise guests (a long-standing Chella tradition) and much-hyped reunions. Coachella 2024 attendees will likely flock to see a reunited No Doubt and Sublime, the latter with a Nowell back at the helm (Bradley’s son, Jakob).

Then there’s the economic logic behind opting to see those bigger acts at a festival: for a price not much more than what you’d pay for an arena ticket, you get the bonus of catching dozens of other incredible artists while you’re at it. The diversity and quality of music throughout even the lower tiers of the Coachella lineup is staggering, so overall the price for a pass is quite the steal. Read on for the inside scoop on 10 of this year’s most exciting undercard performances.

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Cimafunk

Cuban artist Cimafunk has been relatively quiet since releasing a third studio album, El Alimento, in 2021. But the success of that record — which garnered his first GRAMMY nomination for Best Latin Rock or Alternative album at the 2023 GRAMMY Awards — appears to have propelled him to new career heights. He will be the first Cuban-born artist to perform at the festival, kicking off a string of worldwide shows that begin with his appearance at Coachella on April 12 and 19. 

Read more: At Getting Funky In Havana, Young Musicians Feel The Power Of Cross-Cultural Connection

Cimafunk’s sole release since his last album was the December 2023 single “Te tango en salsa,” which expands upon his self-designated brand of Afro Cuban Funk with accents of disco and grooves filled with New Orleans-style horns. Though the track hasn’t been publicly connected to any upcoming EP or album, one might presume that his impending run of concerts is a precursor to a complete body of new music. Perhaps Coachella will function as a testing ground, and considering the inclusion on El Ailmento of prominent artists George Clinton, CeeLo Green and Lupe Fiasco, who knows what other surprises might be in store at the desert festival known for delighting audiences with plenty of guest features.

L’Imperatrice

Through the years following their inception in 2012, French pop band L’Imperatrice have played primarily in Europe and surrounding regions, so it’s no small feat that they’re poised to make their second appearance at Coachella in two years. They first played the fest in 2022, a makeup show for Coachella's 2020 COVID-19 cancellation. 

Their slots on April 12 and 19, stops on their just-launched Double Trouble Tour, follow the 2018 release of debut full-length Matahari and performances at prominent festivals like Austin City Limits and Outside Lands. Self-produced sophomore album Pulsar arrives on June 7, and its infectiously groovy and sensual debut single “Me Da Iqual” promises a Coachella set sure to incite emotional release among the masses — ideally during one of the fest’s famed golden hours to match the music’s euphoric vibes. 

Skepta

Regarded as one of the most influential rappers in the UK grime scene, Skepta is set to commence his latest return to stateside stages with appearances at Coachella on both Fridays, which marks his second time at the festival after lauded dual appearances in 2017. 

Following a semi-secret DJ set at Austin’s South by Southwest festival in March, these shows will preview a run of summer dates in the UK and Europe and the release of upcoming sixth solo album Knife and Fork. 

With that record’s release date still in question but imminent, it’s a good bet that he’ll introduce new material to build upon the January drop of lead single "Gas Me Up (Diligent)," which adopts a flow and melodic structure more akin to popular American rap. To that end, Skepta’s previous collaborations with U.S. rappers like Drake, Ye and members of ASAP Mob could lead to a loaded lineup of guests during his Coachella set. It has the potential to be a huge moment, though his reputation for high-energy and rowdy gigs are reasons enough to prioritize his performance. 

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Mandy, Indiana

English-French noise rock upstarts Mandy, Indiana make music that isn’t necessarily easy to digest. Minimalist and chaotic compositions, primarily from their widely celebrated 2023 debut album I’ve Seen a Way, resonate as tunes tailor-made for technically minded music nerds. Still, danceable moments emerge among the sonic helter-skelter, which combines experimental elements of industrial, classic house music and samples aplenty (think Death Grips with more palatable melodies and exclusively French lyrics). 

So far, the dynamic four-piece hasn’t played much on this side of the pond — their debut shows at Coachella arrive on the heels of a handful of U.S. appearances in 2023 that included the SXSW Music Festival. Which means Mandy, Indiana’s sets on April 13 and 20 will mark relatively rare (and therefore must-see) chances to embrace their overtly wonderful weirdness in the desert among the more prominent pop-leaning artists on the roster.

The Last Dinner Party

If you’re not yet keen on British indie rock band the Last Dinner Party, it’s time to get with the program. With only one album under their belt, Prelude to Ecstasy (released Feb. 2) — which echoes various influences ranging from Siouxsie and the Banshees to Kate Bush and ABBA —the quintet has already earned multiple awards and accolades, including topping the UK Album Chart. To boot, they opened for the Rolling Stones in London’s Hyde Park two years prior to putting out their record.

The band’s performances are reportedly jaw-dropping, further evidenced by the complete sell-out of their current U.S. tour. That jaunt wraps with their April 20 appearance at Coachella (they also play during the first weekend on April 13), so, unless you want to pay ridiculous resale prices for one of their club shows, this is a prime chance to see them live with the added benefit of catching many more amazing acts while you’re there.

Young Fathers

Young Fathers are often categorized under the umbrella of hip-hop, but it would be wrong to pigeonhole them that way. True, one can pinpoint elements of a spitting, old-school style — especially on debut album Dead (winner of the prestigious Mercury Prize in 2014.. However, their sound spans the landscape of many genres, often weaving in threads of electronic, industrial, and trip-hop. It should be telling that they’ve collaborated multiple times with Massive Attack.

The music clearly resonates with a substantial audience. They’ve reached prime positions on the UK Album charts, their fourth and latest album Heavy Heavy (released Feb. 3, 2023) won them their third Scottish Album of the Year Award, and this year marks their second invitation to Coachella (catch them on Sundays: April 13 and 20). With a full year gone since putting out new songs, there’s no telling if they’ll serve up anything fresh. Regardless, fans of heavy-hitting experimental music, assuredly energizing at any time of day or night, should prioritize seeing their set.

Oneohtrix Point Never

It’s a wonder that Oneohtrix Point Never has never played Coachellal until now given his string of consistent releases since emerging in the early 2000s (with never more than three years between albums) and Coachella’s penchant for historically championing experimental electronic artists. Following the Feb. 29 release of his latest EP “Oneohtrix Point Never - Ambients,” he debuts in the desert on April 13, with his second weekend encore on April 20. 

The Massachusetts-bred beatmaker’s music swings from sparse to compositionally complex. It's not geared toward a typical EDM dance party, but always cinematic and hypnotizing, creating a space where listeners can truly lose themselves in the sonics. Given his style, it’s safe to assume he’ll occupy an evening time slot, so if you’re the type who prefers something a little more raw to the mainstream big-timers topping the bill, Oneohtrix Point Never might be just the ticket.

Mdou Moctar

If there’s one artist on this year’s Coachella lineup that will truly thrive in a desert setting, it’s Mdou Moctar. The Niger-based musician plays rock music steeped in the style of Tuareg, guitar-based blues-rock fusion that originates in the Sahara region. However, Moctar’s music decidedly transcends the traditional sound, often reverberating as sublimely psychedelic.

His performances in Indio on April 14 and 21 precede the release of his sixth album Funeral For Justice (arriving May 3). Based on the two singles made available from that record so far (title track “Funeral for Justice” and “Imouhar”), the people of Coachella are in for a true desert trip.

Atarashii Gakko!

When Japanese “girl group” Atarashii Gakko! make their Coachella debut on April 14 and 21, anticipate the unexpected. The four singers’ have a stated goal of “redefining what it means to be a girl group.” They’re technically categorized as J-Pop, but among the many catchy choruses, their music also incorporates shades of speed metal, trap beats and alt-rap à la Rage Against the Machine, all of which you can hear on their latest album ICHIJIKIKOKU.

What you can certainly expect is an outrageously high-energy show chock-full of nonstop, self-designed choreography performed in colorful sailor-fuku uniforms (essentially sailor suits worn by Japanese students in the ‘70s and ‘80s … think Sailor Moon but intentionally less provocative). If you need an adrenaline boost on the final day of the fest, look no further than Atarashii Gakko!.

Olivia Dean

Dear America, it’s time to give a proper welcome to an artist destined for stardom:  Olivia Dean. With only a handful of U.S. shows in the bank, the 25-year-old British neo-soul singer’s debut at Coachella on April 14 — arguably her biggest U.S. gig yet — will serve as the most well-deserved of receptions. 

Sure, her nominations for the 2023 Mercury Prize (for debut album Messy) and 2024 Brit Awards (Best Pop Act, British Artist of the Year and Best New Artist) should merit attention enough for those who don’t know her. But even a few moments of listening to key album tracks “Dive” and “The Hardest Part” (don’t sleep on the alternate version featuring Leon Bridges) are the real deal-sealers. The richness of Dean’s recorded vocals are absolutely arresting, evocative of and equal to top-tier divas who preceded her. It’s thrilling just thinking about the impact she’ll make at Coachella — do yourself a favor if you have the chance and go witness it firsthand. 

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