From the Edmund Pettus Bridge in Selma to the streets of Ferguson, activism certainly has a sound. Whether it’s the slow hum of Pete Seeger's "We Shall Overcome" or the energetic repetition of YG’s "FTP," when the chants of freedom slow, we often hear an emotional outcry about political issues through music. The current state of unrest in the United States surrounding the violent treatment of Black people and people of color at the hands of police has caused a resurgence of music addressing the current state of affairs directly in lyrics and tone.

As we celebrate Juneteenth (not to mention Black Music Month), a date that signifies liberation for African American people as Gordon Granger announced in Galveston, TX that the enslaved people there were free in 1865, we have to recognize the importance of music when it comes to freedom, protest, survival and celebration in Black culture. 

Music has always been deeply rooted in African culture. It only continued after men and women were captured and enslaved in the U.S through the Middle Passage. For slaves, it was a form of communication and later became so much more. That tradition of music has continued over centuries as each new movement—specifically involving the fight for self-love, equality, and fair treatment for Black Americans—creates its own soundtrack.

2020 will see its own host of songs that highlight the times, from Meek Mill’s "The Otherside of America" to H.E.R.'s "I Can’t Breathe," which she recently premiered in her performance for IHeartRadio’s Living Room Concert Series. But before this moment, there were a few of the songs that have been at the center of protest, revolution, and radical political change over the years.

"Say It Loud," James Brown (1968)

Being proud to be Black was almost a foreign concept commercially during this time and James Brown took the lead on empowering Black people all across the world. "Say it loud, I’m Black and I’m proud," became an affirmation recited far and wide specifically in such a turbulent year as 1968. This was at the height of the Civil Rights movement and the same year Dr. Martin Luther King, Jr. was assassinated.

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"Comment #1," Gil Scott-Heron (1970)

A poem featured on his debut album Small Talk at 125th and Lenox, Heron was challenging the white left-wing student movement. In his estimation, there was no common ground based on what Black people had endured for centuries that college-educated students from the suburbs would understand. The song was later sampled by Kanye West in "Lost In The World" featuring Bon Iver.

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"What’s Going On," Marvin Gaye (1971)

Based on the real-life experience of Gaye’s brother who returned from Vietnam with a much different outlook on life, this song asked what was happening in America. This was a turbulent time where Black soldiers were not receiving the same benefits as their white GI counterparts when returning home from the same fight. And much like Scott-Heron, Gaye was exploring the hippie era clash that, to many Black people, didn’t have a real grasp on poverty and systematic racism plaguing the community.

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"F**k Tha Police," N.W.A. (1988)

A song met with much discourse including the arrest of N.W.A. members in Detroit during a 1989 tour stop. The group was apprehended following their show after being told by the DPD not to play the song in their set. Unfortunately, not much has changed and streams have skyrocketed amidst global protests for George Floyd and Breonna Taylor more than 20 years later

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"Fight The Power," Public Enemy (1989)

The song originally appeared in Spike Lee's "Do The Right" thing, which explored racial tension in a Brooklyn neighborhood and would become Public Enemy’s most popular song to date. Later released on their album Fear of a Black Planet, the song was received with high acclaim including a GRAMMY nomination for Best Rap Performance.

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"Changes," 2Pac featuring Talent (1998)

2Pac was seen as both an activist and a young man wise beyond his years, though his career was also marred by controversy and rap beefs. Songs like "Changes" are more representative of the former. Here, Pac was chronicling the fact that things have been the same in Black communities over the years. When listening back, you can hear how poignant his words were over 20 years later.

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"Glory," John Legend and Common (2014)

The Oscar-winning song from the original motion picture soundtrack to "Selma" directed by Ava Duvernay came at the epicenter of the country’s most recent unrest. Two years after the death of Trayvon Martin, the song was the perfect bridge from the Civil Rights movement of the '60s depicted in the film into today's current fight for equality. 

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"Alright," Kendrick Lamar (2015)

To Pimp a Butterfly, Lamar’s sophomore release, was a sharp contrast to the cinematic good kid, m.A.A.d. City but yielded the freedom song of a generation. Crowds at protests and university auditoriums across the country erupted into the song's potent lyrics, "But if God got us then we gon be alright!" The GRAMMY-winning song became the unofficial anthem to the Black Lives Matter movement after the deaths of Michael Brown in Ferguson, Mich., and Sandra Bland in Waller County, TX at the hands of police.  

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"F.U.B.U.," Solange (2016)

A nod to the 90s hip hop apparel company, the acronym stands for For Us, By Us. The song appeared on her third studio album A Seat at the Table, her most critically acclaimed and political album to date. Both the song and album highlight Black entrepreneurship, culture, and trauma.

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"Freedom," Beyoncé ft. Kendrick Lamar (2016)

This hard-hitting track samples "Let Me Try" by Frank Tirado and comes as a reprieve in the album sequencing but packs a powerful message. The ending also features audio from Jay-Z’s grandmother Hattie White. At her 90th birthday party she explains, "I was served lemons, but I made lemonade"—apropos in the discussion of the American Black experience.

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"This is America," Childish Gambino (2018)

Accompanied by a captivating visual directed by Hiro Murai that paired dancing with African influence, and violent yet thought-provoking imagery, Gambino's effort made everyone pay attention. The song garnered the multi-disciplined artist a GRAMMY for "Song Of The Year," and his first No. 1 single while leaving both critics and fans alike in deep conversations about its political symbolism.

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Torae Talks Fighting For Change & Overhauling The Music Industry's Business Model

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."

Over the last 50 years, hip-hop culture has shown it can catalyze trends in fashion and music across numerous styles and genres, from streetwear to classical music. On June 30, Nas took his place at Red Rocks Amphitheater in a full tuxedo, blending the worlds of hip-hop and Black Tie once again, with the help of Derrick Hodge. 

On this warm summer eve in Morrison, Colorado, Nas performed his opus, Illmatic, with Hodge conducting the Colorado Symphony Orchestra. The show marked a belated 30-year celebration of the album, originally released on April 19, 1994. 

As Nas delivered his icy rhymes on classics like "N.Y. State of Mind," "Memory Lane (Sittin' in da Park)," and "Halftime," the orchestra held down the beat with a wave of Hodge's baton. The winds, strings, and percussion seamlessly transitioned from underscoring Nas's lyrics with sweeping harmonic layers to leading melodic orchestral flourishes and interludes. For the album's final track, "Ain't Hard to Tell," the orchestra expanded on Michael Jackson's "Human Nature," expertly sampled originally by producer Large Professor.

Derrick Hodge is a pivotal figure in modern music. His career spans writing and performing the famous bassline on Common's "Be," composing for Spike Lee's HBO documentary "When the Levees Broke: A Requiem in Four Acts," and his own solo career that includes his latest experimental jazz album, COLOR OF NOIZE. Hodge also made history by bringing hip-hop to the Kennedy Center with orchestra accompaniments for Illmatic to celebrate the album's 20th anniversary in 2014.

"That was the first time hip-hop was accepted in those walls," Hodge says sitting backstage at Red Rocks. It was also the first time Hodge composed orchestral accompaniments to a hip-hop album.

Since then, Hodge has composed symphonic works for other rappers including Jeezy and Common, and is set to deliver a symphonic rendition of Anderson .Paak's 2016 album, Malibu, at the Hollywood Bowl in September.

Hodge's passion for orchestral composition began when he was very young. He played upright bass by age seven and continued to practice classical composition in his spare moments while touring as a bassist with Terence Blanchard and Robert Glasper. On planes. In dressing rooms. In the van to and from the gig.

"It started as a dream. I didn't know how it was going to be realized. My only way to pursue that dream was just to do it without an opportunity in sight," Hodge says. "Who would've known that all that time people were watching? Friends were watching and word-of-mouth." 

His dedication and word-of-mouth reputation eventually led Nas to entrust him with the orchestral arrangements for Illmatic. He asked Hodge and another arranger, Tim Davies, to write for the performance at the Kennedy Center.

"[Nas] didn't know much about me at all," Hodge says. "For him to trust how I was going to paint that story for an album that is very important to him and important to the culture, I have not taken that for granted." 

Read more: How 'Illmatic' Defined East Coast Rap: Nas’ Landmark Debut Turns 30

Those parts Hodge wrote for the Kennedy Center are the same parts he conducted at Red Rocks. Over a decade later, he channels the same drive and hunger he had when he was practicing his compositions between gigs. "I hope that I never let go of that. I feel like these opportunities keep coming because I'm approaching each one with that conviction. Like this could be my last." 

Before this latest performance, GRAMMY.com spoke with Hodge about bridging the worlds of classical and hip-hop, influencing the next generation of classical musicians, and how his experience as a bassist helps him lead an orchestra.

Throughout history, orchestral music has been celebrated by the highest echelons of society, whereas hip-hop has often been shunned by that echelon. What is it like for you to bring those two worlds together?

I love it. I've embraced the opportunity since day one. I was a young man showing up with Timberlands on and cornrows in my hair, and I knew the tendency to act and move in a certain perception was there. I knew then I have to represent hope in everything I do. I choose to this day to walk with a certain pair of blinders on because I feel like it's necessary. Because of that I never worry about how the classical world perceives me. 

Oftentimes I'll stand before them and I know there may be questions but the love I show them, what I demand of them, and how I show appreciation when they take the music seriously…almost every situation has led to lifelong friendships. 

I believe that's been part of my purpose. It's not even been to change minds or change perceptions. In serving the moment, even when people have preconceptions, they're in front of me playing music I wrote. How do I serve them best? How do I bring out the best in them just like I'm trying to bring out the best in the storyline of a hip-hop artist that may not relate to their story at all? The answer is just to be selfless. That's eliminated the distraction of trying to convince minds.

With that unifying principle, would you consider conducting the orchestra the same thing as playing bass with Robert Glasper?

The way I try to be selfless and serve the moment, it's no different. Maybe the skillset that's required. For example, conducting or working within a framework of composed music requires a certain way of making sure everybody's on the same page so we can get through these things on time and keep going. But I serve that moment no differently than when myself and Robert Glasper, Chris Dave, Casey Benjamin RIP, are creating a song in the moment.

I actually don't even think about how one thing is affecting the other. I will say the beauty of the bass and the bassists that have influenced me — from Ron Carter to the great Marcus Miller, Victor Wooten — is the way they can stand out while never abandoning the emotion of the moment. Remembering what is perceived as the role of the bass and how it glues things in a unique way. Harmonically and rhythmically. Being aware of the responsibility of being aware of everything.

I think that's one thing that's carried over to orchestrating and thinking about balances and how to convey emotion. I think some things are innate with bassists. We're always navigating through harmony and having a conversation through a lens of placement with drums. Placement with the diction if they're singers or rappers. There are a lot of decisions bass players are making in the moment that we don't even think about. It's just secondhand. But it's how are we serving what's necessary to make the conversation unified. I think that's one thing that's served me well in composition.  

What's one song you're particularly excited to dive into for the Anderson .Paak arrangements?

So I'm intentionally not thinking in that way because we decided to treat it like a movie. Start to finish no matter what. With that in mind, I'm trying to approach it as if the whole thing is an arcing story because I didn't realize the succession of how he placed that record was really important to him. 

**Hip-hop is often a very minimalist genre while an orchestra is frequently the opposite with dozens of instruments. How do you maintain that minimalist feel when writing orchestra parts for hip-hop albums like Illmatic?**

I'm so glad you asked that because that was the biggest overarching thing I had to deal with on the first one. With Nas. Because Illmatic, people love that as it is. Every little thing. It wasn't just the production. Nas's diction in between it, how he wrote it, how he told the story, and the pace he spoke through it. That's what made it. So the biggest thing is how do I honor that but also try to tell the story that honors the narrative of symphonic works? [The orchestra is] fully involved. How do I do things in a way where they are engaged without forcing them? 

Illmatic was a part of my soundtrack. So I started with the song that meant the most to me at that time: "The World is Yours." That was the first piece I finished, and I emailed Pete Rock and asked "How is this feeling to you?" If the spirit of the song is speaking to him then I feel like this is something I can give to the people no matter how I feel about it. And he gave the thumbs up. 

So instead of overly trying to prove a point within the flow of the lyrics, how do we pick those moments when the orchestra is exposed? Let them be fully exposed. Let them tell a story leading into that. Make what they do best marry well into what Nas and the spirit of hip-hop and hip-hop sampling do best. And then let there be a dance in between. 

That first [Illmatic] show was a great experiment for me. I try to carve out moments whenever I can. Let me figure out what's a story that can combine this moment with this moment. That's become the beauty. Especially within the rap genre. To let something new that they're not familiar with lead into this story. 

*Derrick Hodge conducts the Colorado Symphony Orchestra at Red Rocks* | Amanda Tipton

The orchestra is just as excited to play it as Nas is to have them behind him. 

And that reflects my story. I try to dedicate more time to thinking about that, and that normally ends up reciprocated back in the way they're phrasing. In the way they're honoring the bowings. In the way they're honoring the breaths that I wrote in for them. They start to honor that in a way because they know we're coming to try and have a conversation with these orchestras. That's one thing I try to make sure no matter what. It's a conversation and that goes back to the moment as well. 

I've seen other composers put an orchestral touch on hip-hop in recent years. For example, Miguel Atwood-Ferguson wrote orchestral parts to celebrate Biggie's 50th birthday. Would you say integrating an orchestra into hip-hop is becoming more popular? 

It has become popular, especially in terms of catching the eyes of a lot of the different symphonies that might not have opened up their doors to that as frequently in the past. These opportunities — I appreciate the love shown where my name is mentioned in terms of the inception of things. But I approach it with a lot of gratitude because others were doing it and were willing to honor the music the same. There are many that wish they had that opportunity so I try to represent them. 

With these more modern applications of orchestral music, I feel like there will be an explosion of talent within the classical realm in the next few years. Kids will think it's cool to play classical again.

The possibility of that just brings joy to me. Not just because it's a spark, but hopefully the feeling in the music they relate to. Hopefully there is something in it, aside from seeing it done, that feels that it relates to their story. I have confidence if I'm true to myself, hopefully, each time in the music it's going to feel like it's something relevant to the people. The more I can help foster platforms where people are free to be themselves, and where they can honor the music—I hope that mentality becomes infectious.

Three months after OneRepublic began promoting their sixth album, Artificial Paradise, in February 2022, the band unexpectedly had their biggest release in nearly a decade. The pop-rock band's carefree jam, "I Ain't Worried," soundtracked Top Gun: Maverick's most memeable scene and quickly became a global smash — ultimately delaying album plans in favor of promoting their latest hit.

Two years later, "I Ain't Worried" is one of 16 tracks on Artificial Paradise, which arrived July 12. It's a seamless blend of songs that will resonate with longtime and newer fans alike. From the layered production of "Hurt," to the feel-good vibes of "Serotonin," to the evocative lyrics of "Last Holiday," Artificial Paradise shows that OneRepublic's sound is as dialed-in as it is ever-evolving.

The album also marks the end of an era for OneRepublic, as it's the last in their contract with Interscope Records. But for the group's singer, Ryan Tedder, that means the future is even more exciting than it's been in their entire 15-year career.

"I've never been more motivated to write the best material of my life than this very moment," he asserts. "I'm taking it as a challenge. We've had a lot of fun, and a lot of uplifting records for the last seven or eight years, but I also want to tap back into some deeper material with the band."

As he's been prepping Artificial Paradise with his OneRepublic cohorts, Tedder has also been as busy as he's ever been working with other artists. His career as a songwriter/producer took off almost simultaneously with OneRepublic's 2007 breakthrough, "Apologize" (his first major behind-the-board hit was Leona Lewis' "Bleeding Love"); to this day he's one of the go-to guys for pop's biggest names, from BLACKPINK to Tate McRae.

Tedder sat down with GRAMMY.com to share some of his most prominent memories of OneRepublic's biggest songs, as well as some of the hits he's written with Beyoncé, Adele, Taylor Swift and more.

I was producing and writing other songs for different artists on Epic and Atlantic — I was just cutting my teeth as a songwriter in L.A. This is like 2004. I was at my lowest mentally and financially. I was completely broke. Creditors chasing me, literally dodging the taxman and getting my car repoed, everything.

I had that song in my back pocket for four years. A buddy of mine just reminded me last month, a songwriter from Nashville — Ashley Gorley, actually. We had a session last month, me, him and Amy Allen, and he brought it up. He was like, "Is it true, the story about 'Apologize'? You were completely broke living in L.A. and Epic Records offered you like 100 grand or something just for the right to record the song on one of their artists?"

And that is true. It was, like, 20 [grand], then 50, then 100. And I was salivating. I was, like, I need this money so bad. And I give so many songs to other people, but with that song, I drew a line in the sand and said, "No one will sing this song but me. I will die with this song." 

It was my story, and I just didn't want anyone else to sing it. It was really that simple. It was a song about my past relationships, it was deeply personal. And it was also the song that — I spent two years trying to figure out what my sound was gonna be. I was a solo artist… and I wasn't landing on anything compelling. Then I landed on "Apologize" and a couple of other songs, and I was like, These songs make me think of a band, not solo artist material. So it was the song that led me to the sound of OneRepublic, and it also led me to the idea that I should start a band and not be a solo artist.

We do it every night. I'll never not do it. I've never gotten sick of it once. Every night that we do it, whether I'm in Houston or Hong Kong, I look out at the crowd and look at the band, and I'm like, Wow. This is the song that got us here.

We were halfway through promoting Dreaming Out Loud, our first album. I played basketball every day on tour, and I snapped my Achilles. The tour got canceled. The doctor told me not to even write. And I had this one sliver of an afternoon where my wife had to run an errand. And because I'm sadistic and crazy, I texted [songwriter] Evan Bogart, "I got a three-hour window, race over here. Beyoncé called me and asked me to write her a song. I want to do it with you." He had just come off his huge Rihanna No. 1, and we had an Ashley Tisdale single together.

When you write enough songs, not every day do the clouds part and God looks down on you and goes, "Here." But that's what happened on that day. I turn on the keyboard, the first sound that I play is the opening sound of the song. Sounds like angels singing. And we wrote the song pretty quick, as I recall. 

I didn't get a response [from Beyoncé after sending "Halo" over], which I've now learned is very, very typical of her. I did Miley Cyrus and Beyoncé "II MOST WANTED" [from COWBOY CARTER] — I didn't know that was coming out 'til five days before it came out. And when I did "XO" [from 2013's Beyoncé], I found out that "XO" was coming out 12 hours before it came out. That's how she operates.

["Good Life"] was kind of a Hail Mary. We already knew that "All the Right Moves" would be the first single [from Waking Up]. We knew that "Secrets" was the second single. And in the 11th hour, our engineer at the time — who I ended up signing as a songwriter, Noel Zancanella — had this drum loop that he had made, and he played it for Brent [Kutzle] in our band. Brent said, "You gotta hear this drum loop that Noel made. It's incredible."

He played it for me the next morning, and I was like, "Yo throw some chords to this. I'm writing to this today." They threw some chords down, and the first thing out of my mouth was, [sings] "Oh, this has gotta be the good life." 

It's the perfect example of, oftentimes, the chord I've tried to strike with this band with some of our bigger records, [which] is happy sad. Where you feel nostalgic and kind of melancholic, but at the same time, euphoric. That's what those chords and that melody did for me.

I was like, "Hey guys, would it be weird if I made the hook a whistle?" And everyone was like, "No! Do not whistle!" They're like, "Name the last hit song that had a whistle." And the only one I could think of was, like, Scorpion from like, 1988. [Laughs.] So I thought, To hell with it, man, it's been long enough, who cares? Let's try it. And the whistle kind of made the record. It became such a signature thing.

Adele — "Rumour Has It," '21' (2011)

"Rumour Has It" was the first song I did in probably a four year period, with any artist, that wasn't a ballad. All any artist ever wanted me to write with them or for them, was ballads, because of "Halo," and "Apologize" and "Bleeding Love."

I begged [Adele] to do a [song with] tempo, because we did "Turning Tables," another ballad. She was in a feisty mood [that day], so I was like, "Okay, we're doing a tempo today!"

Rick Rubin was originally producing the whole album. I was determined to produce Adele, not just write — because I wanted a shot to show her that I could, and to show myself. I stayed later after she left, and I remember thinking, What can I do in this record in this song that could be so difficult to reproduce that it might land me the gig?

So I intentionally muted the click track, changed the tempo, and [created that] whole piano bridge. I was making it up as I went. When she got in that morning. I said, "I have a crazy idea for a bridge. It's a movie." She listens and she says, "This is really different, I like this! How do we write to this?" 

I mean, it was very difficult. [But] we finished the song. She recorded the entire song that day. She recorded the whole song in one take. I've never seen anyone do that in my life — before or since.

Then I didn't hear from her for six months. Because I handed over the files, and Rick Rubin's doing it, so I don't need to check on it. I randomly check on the status of the song — and at this point, if you're a songwriter or producer, you're assuming that they're not keeping the songs. Her manager emails my manager, "Hey, good news — she's keeping both songs they did, and she wants Ryan to finish 'Rumour Has It' production and mix it." 

When I finally asked her, months later — probably at the GRAMMYs — I said, "Why didn't [Rick] do it?" She said, "Oh he did. It's that damn bridge! Nobody could figure out what the hell you were doing…It was so problematic that we just gave up on it."

I was in a Beyoncé camp in the Hamptons writing for the self-titled album. [There were] a bunch of people in the house — me, Greg Kurstin, Sia — it was a fun group of people. I had four days there, and every morning I'd get up an hour and a half before I had to leave, make a coffee, and start prepping for the day. On the third day, I got up, I'm in the basement of this house at like 7 in the morning, and I'm coming up with ideas. I stumble across that chord progression, the guitar and the melody. It was instant shivers up my spine. 

"Lately I've been losing sleep, dreaming about the things that we could be" is the only line that I had. [My] first thought was, I should play this for Beyoncé, and then I'm listening to it and going, This is not Beyoncé, not even remotely. It'd be a waste. So I tabled it, and I texted the guys in my band, "Hey, I think I have a potentially really big record. I'm going to finish it when I get back to Denver."

I got back the next week, started recording it, did four or five versions of the chorus, bouncing all the versions off my wife, and then eventually landed it. And when I played it for the band, they were like, "This is our favorite song."

It was my second session with Taylor. The first one was [1989's] "I Know Places," and she sent me a voice memo. I was looking for a house in Venice [California], because we were spending so much time in L.A. So that whole memory is attached to me migrating back to Los Angeles. 

But I knew what she was talking about, because I lived in New York, and I remember the feeling — endless possibilities, all the different people and races and sexes and loves. That was her New York chapter. She was so excited to be there. If you never lived there, and especially if you get there and you've got a little money in the pocket, it is so exhilarating.

It was me just kind of witnessing her brilliant, fast-paced, lyrical wizardry. [Co-producer] Max [Martin] and I had a conversation nine months later at the GRAMMYs, when we had literally just won for 1989. He kind of laughed, he pointed to all the other producers on the album, and he's like, "If she had, like, three more hours in the day, she would just figure out what we do and she would do it. And she wouldn't need any of us." 

And I still think that's true. Some people are just forces of nature in and among themselves, and she's one of them. She just blew me away. She's the most talented top liner I've ever been in a room with, bar none. If you're talking lyric and melody, I've never been in a room with anyone faster, more adept, knows more what they want to say, focused, efficient, and just talented.

I had gone through a pretty dry spell mentally, emotionally. I had just burned it at both ends and tapped out, call it end of 2016. So, really, all of 2017 for me was a blur and a wash. I did a bunch of sessions in the first three months of the year, and then I just couldn't get a song out. I kept having, song after song, artists telling me it's the first single, [then] the song was not even on the album. I had never experienced that in my career.

I went six to nine months without finishing a song, which for me is unheard of. Andrew Watt kind of roped me back into working with him. We did "Easier" for 5 Seconds of Summer, and we did some Sam Smith and some Miley Cyrus, and right in that same window, I did this song "Sucker." Two [or] three months later, Wendy Goldstein from Republic [Records] heard the record, I had sent it to her. She'd said, very quietly, "We're relaunching the Jonas Brothers. They want you to be involved in a major way. Do you have anything?" 

She calls me, she goes, "Ryan, do not play this for anybody else. This is their comeback single. It's a No. 1 record. Watch what we're gonna do." And she delivered.

My memory is, being in lockdown in COVID, and just being like, Who knows when this is going to end, working out of my Airstream at my house. I had done a lot of songs for movies over the years, and [for] that particular [song] Randy Spendlove, who runs [music at] Paramount, called me.

I end up Zooming with Tom Cruise [and Top Gun: Maverick director] Jerry Bruckheimer — everybody's in lockdown during post-production. The overarching memory was, Holy cow, I'm doing the scene, I'm doing the song for Top Gun. I can't believe this is happening. But the only way I knew how to approach it, rather than to, like, overreact and s— the bed, was, It's just another day.

I do prescription songs for movies, TV, film all the time. I love a brief. It's so antithetical to most writers. I'm either uncontrollably lazy or the most productive person you've ever met. And the dividing line between the two is, if I'm chasing some directive, some motivation, some endpoint, then I can be wildly productive.

I just thought, I'm going to do the absolute best thing I can do for this scene and serve the film. OneRepublic being the performing artist was not on the menu in my mind. I just told them, "I think you need a cool indie band sounding, like, breakbeat." I used adjectives to describe what I heard when I saw the scene, and Tom got really ramped and excited. 

You could argue [it's the biggest song] since the band started. The thing about it is, it's kind of become one of those every summer [hits]. And when it blew up, that's what Tom said. He said, "Mark my words, dude. You're gonna have a hit with this every summer for, like, the next 20 years or more." 

And that's what happened. The moment Memorial Day happened, "I Ain't Worried" got defrosted and marched itself back into the top 100.

Tate McRae — "Greedy," 'THINK LATER' (2023)

We had "10:35" [with Tiësto] the previous year that had been, like, a No. 1 in the UK and across Europe and Australia. So we were coming off the back of that, and the one thing she was clear about was, "That is not the direction of what I want to do."

If my memory serves me correct, "greedy" was the next to last session we had. Everything we had done up to that point was kind of dark, midtempo, emotional. So "greedy" was the weirdo outlier. I kept pushing her to do a dance record. I was like, "Tate, there's a lot of people that have great voices, and there's a lot of people who can write, but none of those people are professional dancers like you are. Your secret weapon is the thing you're not using. In this game and this career, you've got to use every asset that you have and exploit it."

There was a lot of cajoling. On that day, we did it, and I thought it was badass, and loved it. And she was like, "Ugh, what do we just do? What is this?"

So then it was just, like, months, months and months of me constantly bringing that song back up, and playing it for her, and annoying the s— out of her. And she came around on it. 

She has very specific taste. So much of the music with Tate, it really is her steering. I'll do what I think is like a finished version of a song, and then she will push everyone for weeks, if not months, to extract every ounce of everything out of them, to push the song harder, further, edgier — 19 versions of a song, until finally she goes, "Okay, this is the one." She's a perfectionist.

I love [our latest single] "Hurt," but my favorite song on the album is called "Last Holiday." I probably started the beginning of that lyric, I'm not joking, seven, eight years ago. But I didn't finish it 'til this past year.

The verses are little maxims and words of advice that I've been given throughout the years. It's almost cynical in a way, the song. When I wrote the chorus, I was definitely in kind of a down place. So the opening line is, "So I don't believe in the stars anymore/ They never gave me what I wished for." And it's, obviously, a very not-so-slight reference to "Counting Stars." But it's also hopeful — "We've got some problems, okay, but this isn't our last holiday." 

It's very simple sentiments. Press pause. Take some moments. Find God before it all ends. All these things with this big, soaring chorus. Musically and emotionally and sonically, that song — and "Hurt," for sure — but "Last Holiday" is extremely us-sounding. 

The biggest enemy that we've had over the course of 18 years, I'll be the first to volunteer, is, this ever-evolving, undulating sound. No one's gonna accuse me of making these super complex concept albums, because that's just not how my brain's wired. I grew up listening to the radio. I didn't grow up hanging out in the Bowery in CBGBs listening to Nick Cave. So for us, the downside to that, and for me doing all these songs for all these other people, is the constant push and pull of "What is their sound? What genre is it?" 

I couldn't put a pin in exactly what the sound is, but what I would say is, if you look at the last 18 years, a song like "Last Holiday" really encompasses, sonically, what this band is about. It's very moving, and emotional, and dynamic. It takes me to a place — that's the best way for me to put it. And hopefully the listener finds the same.

GRAMMY winners Kendrick Lamar and Mustard have long repped their California roots. Earlier this summer, their powerhouse anthem "Not Like Us"  brought West Coast rap back to its roots and shone a global spotlight on the scene. 

Lamar and Mustard are at the forefront of a renaissance in West Coast rap. Their shared roots in Southern California cities — Mustard from Los Angeles and Kendrick from Compton — adds authenticity and resonance to their partnership. Their undeniable chemistry was on display in the video for "Not Like Us," which received a million views less than an hour after its release.

Mustard's signature beats and Lamar's profound lyricism has resurfaced the sound and culture that makes West Coast rap so unique and paved the way for a new generation of artists. All signs suggest that another impactful collaboration may appear on Mustard's upcoming album, Faith of A Mustard Seed.

Learn more: A Guide To Southern California Hip-Hop: Definitive Releases, Artists & Subgenres From L.A. & Beyond

Kendrick Lamar headlined the electrifying Pop Out concert on Juneteenth, which also featured sets from Mustard and DJ Hed. The event saw a handful of L.A. rappers, opening for Lamar in a showcase of  the vibrant talent that defines the region's rap scene.

The West Coast is a vast reservoir of talent, stretching from the Bay Area to Seattle. At the heart of this creative expanse is Los Angeles, which brings fresh perspectives, innovative styles, and renewed energy to hip-hop, ensuring the genre thrives. With the stage set for these newcomers to shine, it's the perfect time to take a closer look at some of the rising talents poised to impact the rap scene. While this list only scratches the surface, it offers a glimpse into the diverse and exciting talent from SoCal, the epicenter of the West.

Arising from Los Angeles, Blxst initially played the background as a producer but soon demonstrated his ability to excel across all facets of music creation. Blxst's breakout moment came with his platinum-certified single "Chosen," which solidified his place in the music industry. His collaboration on Kendrick Lamar's "Die Hard" from Mr. Morale And The Big Steppers further showcased his skill for crafting hooks that elevate tracks, resulting in two GRAMMY nominations.

As he prepares to release his debut album, I'll Always Come Find You on July 19, Blxst stands at a pivotal point in his career. With a great resume already to his name, his forthcoming album promises to showcase his undeniable talent and leave a lasting impact on the West Coast music scene.

Bino Rideaux is a South Central native and frequent collaborator with the GRAMMY-winning rapper Nipsey Hussle. He is the only artist to have a joint project with Hussle, No Pressure, released before the prolific rapper's untimely death. Rideaux has hinted at having a treasure of unreleased music with Hussle, saved for the perfect moment and album.

Rideaux  is known for creating tracks that get the city outside and dancing. He has made three beloved projects with Blxst, titled Sixtape, Sixtape 2, and Sixtape 3 resulting in sold-out shows and a special place in West Coast Rap fans' hearts. Endorsed by industry heavyweights like Young Thug, Rideaux continues to carve his path at his own pace. His journey is nothing short of a marathon, echoing the enduring legacy of his mentor.

Read more: Nipsey Hussle's Entrepreneurial Legacy: How The Rapper Supported His Community & Inspired Rap's Next Generation

Kalan.FrFr, whose name stands for "For Real For Real," is an artist whose music is as genuine as his name suggests. Growing up in Compton and Carson, Kalan.FrFr has always stayed true to his roots, and exudes the unyielding confidence essential to making it in the City of Angels.

His breakthrough mixtape, TwoFr, showcased his ability to shine without major features, delivering verses with catchy hooks and melodic rap. He's shown he's not confined to one sound, delivering vulnerable tracks like "Going Through Things'' and "Never Lose You." His EP Make the West Great Again, Kalan.FrFr both proves his loyalty to his origins and highlights his versatility. Kalan.FrFr's signature punch-in, no-writing-lyrics-down style keeps his fans on their toes, ensuring that whatever comes next is unpredictable but authentic.

Jayson Cash, a rapper hailing from Carson — the same city as TDE artist Ab-Soul — stays true to West Coast rap, from his lyrics to his beat selection. Listening to Jayson Cash's music is like diving into a vivid life narrative. His prowess as a lyricist and storyteller shines through in every verse. He gives his fans an insight into his journey, making it a relatable music experience.

Cash made waves with his debut mixtape, Read The Room, and scored a Mustard beat on the song "Top Down." Two years later, their collaboration continues, with Cash writing on Mustard's upcoming album. Though often seen as an underdog, Cash is not to be underestimated, earning cosigns from West Coast legends like Suga Free and Snoop Dogg. His latest project, Alright Bet, includes a notable feature from Dom Kennedy.

310babii has achieved platinum-selling status at just 18 years old, while successfully graduating high school.  Yet 310babii's career began in seventh grade, when he recording songs on his phone showing early signs of motivation and creativity. His 2023 breakout hit "Soak City (Do It)" quickly gained traction on TikTok — and caught the ears of Travis Scott and NFL player CJ Stroud.

As the song grew in popularity, it led to a remix produced by Mustard, who invited the Inglewood native to join him onstage during his set at The Pop Out. 310babii's innovative spirit shines through in his distinctive visuals, exemplified by the captivating video for his song "Back It Up." His recent debut album, Nights and Weekends, released in February, underscores his evolving talent and promise within the music industry.