meta-scriptMaren Morris Announces 2020 'RSVP: The Tour' North American Tour | GRAMMY.com
Maren Morris performs at the 2019 Watershed Music And Camping Festival

Maren Morris performs at the 2019 Watershed Music And Camping Festival

Photo: Suzi Pratt/WireImage

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Maren Morris Announces 2020 'RSVP: The Tour' North American Tour

The 28-city trek will take the GRAMMY-winning country artist to major amphitheaters and arenas across North America and will include multiple festival performances

GRAMMYs/Feb 26, 2020 - 11:40 pm

GRAMMY-winning country artist Maren Morris has announced dates for her forthcoming RSVP: The Tour, which will take the singer-songwriter/producer to major amphitheaters and arenas across North America. The 28-city trek, which kicks off next month (March 7), also includes multiple performances at festivals, including RodeoHouston, BottleRock Napa Valley, Governors Ball and others. James Arthur, Ryan Hurd and Caitlyn Smith will join Morris as support acts on select tour dates. 

The forthcoming tour follows a massive 2019 for Morris. Last March, she released her second album, Girl, which peaked at No. 4 on the Billboard 200 chart and topped the Top Country Albums chart in the U.S. The album also saw the "largest debut-week streaming sum for a country album by a female artist," according to Billboard.

Read: Maren Morris Cooks Up New Flavors On 'Girl' 

With Girl, Morris notched her most recent, and 10th overall, GRAMMY nomination: At the 62nd GRAMMY Awards last month, she received a nod for Best Country Duo/Group Performance for "Common," a collaboration off the album featuring four-time GRAMMY winner Brandi Carlile.

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Of course, Morris and Carlile are no strangers to collaborating together. They're both members of the all-female country music supergroup The Highwomen, which also includes fellow GRAMMY winners Natalie Hemby and Amanda Shires. Their 2019 self-titled debut album became a top 10 hit on the Billboard 200 chart and topped the Top Country Albums chart in the U.S. 

Read: Maren Morris, Natalie Hemby & Amanda Shires Of The Highwomen Are "Redesigning Women" | Newport Folk 2019

Tickets for Morris' RSVP: The Tour North American tour go on sale Friday, March 6, at 10 a.m. local time. For more information and for the full tour routing, visit her official website.

Maren Morris & Brandi Carlile Talk Empowering Women In Music & Collaborating Together

HARDY Press Photo 2024
HARDY

Photo: Robby Klein

interview

HARDY On New Album 'Quit!!' & How "Trying To Push My Own Boundaries" Has Paid Off

On his third album, the self-described "black sheep" of country music proves he's here to stay.

GRAMMYs/Jul 11, 2024 - 04:04 pm

Haters take note: nothing fires up a country boy like HARDY more than a naysayer. And this redneck has a long memory.

Despite the coveted catalog of country music hits to his credit — tunes he wrote for artists like Florida Georgia Line, Blake Shelton and Morgan Wallen, plus his own work as a solo artist — HARDY's third album begins with a three-minute response to a heckler who once left a nasty note in his jar in place of a tip.

That moment may have occurred a decade ago, but it's key to HARDY's defiant persona. In fact, the album's title is exactly what that note read — Quit!! — and its cover art is the actual napkin the message was written on, which the singer/songwriter has held on to all these years.

HARDY laughs off the memory at first, but as the title track plays on, his olive branch soon turns to coal. "I'm not the GOAT, I'm the black sheep hell-bent to find closure," he barks as the song escalates. "I can't let go — a note somebody wrote like ten years ago put a chip on my shoulder. If you wanted me to quit, you should've saved it, bro."

The takeaway here? HARDY won't quit. Or, to quote another Quit!! banger, "I DON'T MISS," when a hit is in the crosshairs, he "don't hit nothing but the bull's eye."

No doubt, he has the numbers to back it up. HARDY linked up with Florida Georgia Line after moving to Nashville in the 2010s, and landed his first country No. 1 as a songwriter in 2018 thanks to the duo and Wallen, with the smash "Up Down." As he began building a solo career — releasing a pair of EPs in 2018 (This Ole Boy) and 2019 (Where to Find Me) — he continued delivering chart-topping hits for FGL, Shelton, LOCASH, Wallen, Dierks Bentley, and more. As Quit!! arrives, HARDY boasts 15 No. 1 hits: 11 as a songwriter, and four as an artist.

Along the way, HARDY also established his Hixtape series, a countrified version of a hip-hop mixtape now three volumes deep, bringing together friends and superstars like Keith Urban, Trace Adkins, Thomas Rhett and a host of other stars to collaborate. Not only did Hixtape Vol. 1 land HARDY his first No. 1 as an artist in his own right — the Lauren Alaina and Devin Dawson team-up "ONE BEER" — but it put HARDY's shapeshifting musicality front and center.

"A lot of people ask, 'When did you decide to jump into the rock and roll thing?' HARDY, who uses his last name as his stage name, says. "I feel like I've always dipped my toes in it here and there, and a lot of my songs have been really close to it but not quite there. Hixtape, especially Vol. 1, I was definitely foreshadowing my sound, and I really didn't even know it at the time."

By now, modern country musicians regularly reflect influences from beyond Nashville's confines. But HARDY has played a big role in rock's country crossover, as he gradually showed more of his Mississippi-bred, guitar-riffing roots on his 2020 debut album, A ROCK. He fully embraced them on the 2023 double album, the mockingbird & THE CROW; while the first half has more country-oriented tunes like the Lainey Wilson-featuring murder ballad "wait in the truck," he lets loose on THE CROW.

"THE CROW will always be that cornerstone moment that defined who I am," he asserts. "It gave me the courage to do this Quit!! record."

HARDY has not only been an architect of this genre blending, but also its chief proponent — so much that in 2023, the L.A. Times crowned him "Nashville's nu-metal king." On Quit!!, he cashes in that currency with the gargantuan guitar riffs and bombastic beats popularized by acts like Limp Bizkit, and leans deeper into the rhythms and playful lyricism of hip-hop, a skill he recently flexed at the request of Jimmy Iovine and Dr. Dre on a hicked-up rendition of Snoop Dogg's G-funk classic "Gin and Juice."

Ironically, the further HARDY gets from straightforward country music, the closer he gets to who he really is as an artist. Below, the chart-topping star details the backstory of Quit!!, his conflicted relationship with the country-music formula, and how he'll continue pushing boundaries within the genre and beyond.  

You grew up in the small town of Philadelphia, Mississippi. What role did music play in your upbringing?

My dad introduced me to rock and roll in general, but it was his era of rock and roll. Whatever you define as classic rock and everything under that umbrella. But music was a big deal in Philadelphia and it still is. There were tons of cover bands, and a lot of [my] buddies were into music. So that had a big influence on me. 

I, thankfully, was in that last era of kids that the only time they got to hear a song was on MTV or on the radio. And I remember hearing "In the End" [by] Linkin Park, and then getting Hybrid Theory on CD. I remember the first time I saw [Limp Bizkit's] "Nookie" video on MTV. I was heavily influenced by all that stuff. I'm very thankful that I grew up in the era before the internet was really big.

Were you into country music back then?

Surprisingly, not at all. Not until Eric Church, Brad Paisley, a couple of people started singing about stuff that really piqued my interest. But no, I didn't really listen to much country. 

I think the only country that I listened to, if you even call it that, was Charlie Daniels. He played at the Neshoba County Fair. I got to see him twice. But even he was more of, like, you'd almost call it more Southern rock. For some reason, country music at the time didn't do it for me. It took me a long time to get into it.

You recently re-envisioned "Gin and Juice." Were Snoop Dogg and Dr. Dre big artists for you when you were younger?

Yeah, especially Snoop. Snoop was in his later years when he started doing more pop stuff. I was a little too young for Doggystyle. I was 4 years old when Doggystyle came out, so my folks weren't letting me listen to that. But I will say, [Dr. Dre's 1992 album] The Chronic and especially [1999's] Chronic II, those records were huge. And anything that Dre touched after that, like all the beats he produced for 50 Cent, and obviously I'm a huge Eminem fan. I mean, all the way up to Kendrick [Lamar]'s early stuff.

I don't know how much they influenced me musically, but I definitely listened to both of them at the time.

You've got so many projects and co-writes and stuff going on, always. Is it easy to pinpoint where your journey to Quit!! began?

I can tell you for a stone-cold fact that "BOOTS" [from A ROCK] is responsible for the album Quit!! That was the first song that I ever wrote that had a breakdown in it. And when I played that live before it came out, people didn't know it, so it was a little different then. But once the song came out, and we started playing it live, it was bigger than "ONE BEER." It was bigger than "REDNECKER." It was the biggest song in our set, and to this day, it's still one of the biggest songs in the set. 

But because I love the rock and roll sound so much, that's the song that I was like, Okay, this is working, because these people are losing their s— when we go into this song. So, then, that inspired me to write "SOLD OUT," and once "SOLD OUT" came out, and we started playing that song, that song was even bigger than "BOOTS," and it was heavier than "BOOTS." After "SOLD OUT," it was "JACK," and it's just a snowball of writing heavier songs and having the courage to keep going. "BOOTS" crawled so that Quit!! could run, you know? That was definitely the song that started it all.

The new album builds on the mockingbird & THE CROW and the direction you were heading.

Yeah, I think it builds on it maybe in the sense that there's a lot more screams, and maybe more breakdowns, and it's a little heavier than the mockingbird & THE CROW at times. But it is also very different. There's a lot more, like, pop-punk stuff and, I don't even know what you would call it, post-hardcore-sounding s—. 

But all of the rock and roll stuff stands on the shoulders of THE CROW. It will always be that cornerstone moment that defined who I am. I mean, it definitely teed me up. It gave me the courage to do this Quit!! record.

I like that word, courage. It's not a word I expected to hear out of you based on your persona, but that's a very interesting way to phrase it.

No, I mean, the metal and country cultures are very, very, very different. There's never fear, but there's definitely, what's the right way to say that? You know, there's like when we throw like the goat horns and s— on the screen. Country has a big Christian background, and metal is like the exact opposite of that, and those can clash a lot, but there's definitely a little bit of some reserve — it seems to not get too much push back — mixing the two. My mom's not crazy about it, but what can you do?

And you have moments like "wait in the truck," where you're not writing for the party. Do you see yourself pursuing those avenues more often? Does the world want to hear HARDY reflect?

You mean like more of the deeper country stuff?

Correct, yeah.

I hope. That's the s— I love. I feel like they're so few and far between. Like, "wait in the truck," we just got so lucky. I feel like "ONE BEER" was kind of the same. Like, it's gotta be the right day, and the right time, and the right people in the room to really tell a story. It's tough. But I would love to continue to have those cool story songs. 

But what I will say is there's a lot of gray area between the black-and-white of HARDY country and HARDY rock and roll. I'm still going to put out country songs. The gray area is that to me and to a lot of people, they're all just HARDY songs. But I have so many songs that I have written that I wanna put out that are so, maybe if they're not storylines, they're even deeper down the rabbit hole of thought-provoking stuff, like "A ROCK," or maybe even "wait in the truck," or even a song I have called "happy," on the last record — just songs that are very, very thought-provoking. 

Just trying to push my own boundaries of country music, and not everything is right down the gut, you know, "let's go to radio with it." But just really trying to experiment with what I wanna say with country music. So, yes, there's definitely more of that coming.

You're playing your first headlining stadium gig in September. How has performing in those venues, and anticipating that, informed how you write? Are you writing for the stage?

Yeah, 100 percent. I would say, 75 percent of the time you're writing for the stage — even if it's not for myself, if I'm writing for somebody else — I'm definitely writing for the stage. I cannot tell you how many times I've sat in the room and been like, This s— is going to pop off live! And then try to put the other writers in that headspace.

Like on [Quit!! track] "JIM BOB," when we did the pow-pow-pow! thing, I'm like, just think about how cool it's gonna be live, and living in that headspace, because that's where it all comes to life. That's the end product.

Writing for the stage is something that a lot of people do. And that's why songwriters love going out on the road, is because they go out and they write songs with these artists, but they love watching the show because they get to see what really translates live, and then take that back to the writing room and try to recreate that.

Did that kind of experience have anything to do with you making the move to a marquee artist? Because not all songwriters can make that jump. Or was that always the plan?

Yeah, I mean, it was always that kind of thing. I was fortunate that I got to see Morgan [Wallen] perform "Up Down," and FGL perform a couple of their songs before I made the jump into an artist. I kind of already scratched that itch a little bit. 

The Nashville writing scene can seem like a 9-to-5 kind of boring thing. But it doesn't sound that way from the way you describe it.

It's a little bit of both. The funny thing about that is like, if you walk into a publishing company, 10:30, 11 o'clock, whenever people start getting there, it's a bunch of dudes or girls standing around drinking coffee, hanging out. It's like a break room, and then everybody's like, "All right, well, y'all get a good one." And then everybody goes into their own rooms. That part of it is very 9 to 5. 

But there is definitely — especially with our group of people, when you get on something that is so special, it's beyond, like, "We're writing a hit today." There's just something that transcends that. I don't know how to describe it, man. That's when it's really, really, really, really great. The Nashville process, that's what it's all about — having those moments in the room where you're like, "This is special," and, like, "We're witnessing something special that is going to affect people on a global or on a nationwide scale." 

I remember when we wrote "wait In the truck" and how we were all just gassing each other up because we were like, "Dude, this song is gonna help a lot of people." And that's when the 9 to 5 goes away. We're being creative together, and it's a special thing. 

There's been so many moments like that, where you're just so thankful to be a part of a great song, and how hyped everybody is. It's a feeling that's really, really hard to beat. 

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The Spice Girls - Melanie B, Melanie C, Geri Halliwell, Victoria Adams And Emma Bunton, The Spice Girls - Melanie B, Melanie C, Geri Halliwell, Victoria Adams And Emma Bunton
Spice Girls

Photo: Brian Rasic

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On This Day In Music: Spice Girls Release "Wannabe," Their Iconic Debut Single

In 1996, the Spice Girls' spirited anthem not only dominated the charts and airwaves, but also put girl groups on the map. If you want to uncover the magic behind their meteoric rise, "you gotta listen carefully…"

GRAMMYs/Jul 8, 2024 - 08:44 pm

Who could have guessed that a track recorded in under an hour would become an iconic celebratory anthem of female empowerment and friendship? It seems like the Spice Girls did.

The music industry was ripe for a bouncy pop hit in 1996, and "Wannabe" entered the arena with undeniable power. With an infectious blend of dance-pop and hip-hop, as well as catchy lyrics promoting female empowerment, "Wannabe" carried on the spirit of the early '90s riot grrrl movement while delivering a radio-friendly bop.

The Spice Girls' debut single proved that the girl group wouldn't be wannabe stars for long. The song spent four weeks on the Billboard Hot 100, and was certified platinum multiple times in the U.S., United Kingdom, Australia, and several other countries.

Producer Richard Stannard told BBC that the now-canonical British quintet battled Virgin Records to release "Wannabe" as their debut single (executives pushed for "Love Thing"). While both songs would appear on Spice, the Spice Girls' 1996 debut album, the group's instinct and confidence paid off. Twenty-eight years later, "Wannabe" remains an iconic pop song and one of the Spice Girls' most enduring tracks.

While the Spice Girls may have seemed like an overnight success in America, its members had been working their way through the British music scene for years. In March 1994, hundreds of aspiring stars crammed into Dancework Studios in London after an advertisement was posted in The Stage magazine looking for the next girl band.

The groups were randomly split up, taught a dance routine, and then had to perform the song for talent managers and father-son duo, Bob and Chris Herbert. One month later, with 10 girls left, the initial final four — Melanie "Scary Spice" Brown, Melanie "Sporty Spice" Chisholm, Victoria "Posh Spice" Adams, and Geri "Ginger Spice" Halliwell — were all chosen to form the final group with a then-17-year-old Michelle Stephenson. The group moved into a home together, where they received additional dance training and vocal coaching. However, Michelle was soon replaced by Emma "Baby Spice" Bunton, completing the lineup of Spice Girls that as we know them today.

"Of course I regret I'm not a multi-millionaire like them. But at the time I left the group I knew I was doing the right thing and I still think it was the right thing," Stephenson told The Mirror in 2001. "It wasn't my kind of music and they were not living the lifestyle I wanted." 

Read More: The Evolution Of The Girl Group: How TLC, BLACKPINK, The Shirelles & More Have Elevated Female Expression

The group's charisma and corresponding archetypal personalities were put on display in the music video for "Wannabe." The iconic, single-take music video shot in London’s Midland Grand Hotel (now St. Pancras Renaissance Hotel), became as legendary as the track itself. In 2015, Billboard included the video for "Wannabe" in a list of 10 iconic girl group videos, solidifying the video's lasting impression.

Directed by Johan Camitz, the video was the perfect visual introduction to the group: Ginger Spice unapologetically dances through the hotel in a sparkly Union Jack leotard alongside Scary Spice, whose bold persona is conveyed through carefree dances that included whipping her hair around. The group's distinct, playful personalities remained a key selling point used throughout their career.

"Wannabe" producers Matt Rowe and Stannard first saw the Spice Girls at a showcase, and the duo instantly knew that they had the next group of superstars. Soon after, Rowe and Stannard worked with the group to produce "Wannabe," and the chemistry was undeniable.

In her 2002 book, Catch a Fire: The Autobiography, Brown recalls that the producer duo understood the group's vision and automatically knew how to blend "the spirit of five loud girls into great pop music."

"Wannabe" was an inescapable radio hit in the '90s — for all the right reasons. From the punchy beat and distinctive vocal inflections, to the shouts of "if you wanna be my lover," the song remains as a persistent earworm.

Even science backs that claim up. According to a 2014 study conducted by the University of Amsterdam and Manchester's Museum of Science and Industry, researchers found that study participants were able to identify and name "Wannabe" in an average of 2.29 seconds, making it the quickest recognized song in the study. This was ahead of Lou Bega’s "Mambo No 5" and Survivor’s "Eye of The Tiger," and underscores "Wannabe’s" celebrated and timeless status.

While the song itself is a lively, carefree summer anthem perfect for blasting in the car with the windows down, its lyrics resonate with a powerful message of female empowerment and friendship, standing tall above conventional romantic themes.

Read more: 'Spiceworld' At 25: How The Spice Girls' Feminine Enthusiasm & Camp Became A Beacon For Queer Youth 

"Girl Power embodies much more than a gender," Gerri Horner, formerly Halliwell, told BBC in 2017. "It's about everybody. Everybody deserves the same treatment, whatever race you are, gender you are, age you are. Everybody deserves a voice." 

With such a strong debut as "Wannabe," it's clear why the Spice Girls weren't just a one-hit wonder. The British girl group went on to deliver dozens of other pop hits like "Say You'll Be There" and "2 Become 1," which defined the late '90s and early '00s. Released months after "Wannabe," Spice would spend 15 weeks at No. 1 on the Official Charts U.K. Album Chart and also topped the U.S. Billboard 200 chart. The album sold more than 23 million copies worldwide. 

Even after 28 years, the meaning of "zig-a-zig-ah" remains a mystery, but it's a small price to pay for the beloved dance-pop song we cherish today.

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Scene Queen press photo
Scene Queen

Photo: Danin Jacquay

interview

Meet Scene Queen, The "Chaotic Mess" Cleaning Up The Alternative Scene

"I'm cool taking sticks and stones thrown my way if it means that 10 years down the line there's gonna be another girl that tries to do what I do and gets zero flak for it," Scene Queen says of her take-no-prisoners album, 'Hot Singles In Your Area.'

GRAMMYs/Jul 3, 2024 - 02:14 pm

"F*** the scene, I’m the queen!" Scene Queen announces early on her debut album, Hot Singles in Your Area. Delivered in a snarky sing-song, the exclamation serves as something of a mission statement for everything the singer has set out to accomplish with her winking metal-pop persona.  

On Hot Singles (out June 28 via Hopeless Records), the artist calls out the bad behavior that’s run rampant in the alternative music scene for decades. From the insidious grooming of teen fans ("Headline spot goes to the abuser/ Half my idols are f—ing losers," she sings on blistering lead single "18+"), to the blatant discrimination experienced by female artists in the genre (opener "BDSM"), and date rape drugs and sexual assault ("Whips and Chains") — Scene Queen takes unflinching aim.

Born Hannah Collins, Scene Queen isn’t out to destroy the genre she grew up loving as a Warped Tour-obsessed teenager in suburban Ohio. Instead, she’s using her perspective as a queer female artist and knack for razor-sharp songwriting to make the scene safer, more accountable and, ultimately, more inclusive. 

Featuring high-octane collaborations with the likes of The Ready Set ("POV"), WARGASM ("Girls Gone Wild") and 6arelyhuman ("Stuck"), Hot Singles in Your Area is also an unabashed pleasure ride that introduces listeners to Scene Queen’s unique brand of sexual freedom, self-love, queer pride and self-deprecating humor.

"My fans know that I'm playing into the joke of it a lot," Collins says from her home in L.A. "But a lot of people still don't understand it."

Ahead of her album release, Scene Queen opened up exclusively to GRAMMY.com about finding her voice in the metal space, the pop icons who inspired her persona (from Britney Spears to Paris Hilton, Dolly Parton, and Jessica Simpson), standing up to misogynists, homophobes and haters, and more.

How does it feel to be on the verge of finally releasing your debut album?

Really exciting! But also terrifying in a way. With [2022 EPs] Bimbocore Vol. 1 and Vol. 2, I feel like I told the story of, "Who is Scene Queen? What is this project?" Like, she's very loud and out there and opinionated, and in your face and whatever.  

But this record touches on everything in my life that happened for me to become this version of myself — why I needed to become Scene Queen. I made a whole record about being independent and reclaiming my power and sticking up for myself and sticking up for people in the scene…In a weird way, I'm making jokes this entire album, but it’s a vulnerable album in the sense that I'm revealing a lot via the lens of humor.

How did the Scene Queen persona come about?

I grew up in the alternative space. Like, I went to a million Warped Tours and all of that stuff. I was at shows in Cleveland, like, every weekend during high school. I've been listening to bands like Hawthorne Heights and stuff since I was 8 or 9 years old. So when I was 18, I moved out to L.A. from Ohio, and that was around the time that all of these bands started dropping members left and right because they were finally getting called out for, like, predatory behavior or what have you — just being, generally, not great people.  

Coming into adulthood, you start looking at things through a different lens, like, Oh, that was a weird interaction or Oh, I feel weird that they let me do that at 16 years old. It really felt like, as a woman, the scene wasn't a safe space for me anymore. Then suddenly, during COVID, the only thing I wanted to listen to was, like, super alternative music. 

TikTok introduced me to a lot of bands like The Home Team, that were combining pop-punk with, like, R&B — I always loved that experimental stuff. And I was listening to a ton of BABYMETAL and WARGASM, experimental metal-pop stuff. But I told myself the only way I would come back into the alternative space was if I did it on the terms of what I wished I’d had in the scene growing up.

So now I operate my entire persona as this elevated version of myself because I feel like people need that. Scene Queen is like a superpower for me in a way — she helps in my day-to-day life as Hannah, too.

What makes the Y2K era such a key element of the Scene Queen aesthetic?

Growing up in that time, super hyper-feminine women were often vilified, especially in rock music. If you were super girly at a show, people would assume that you were there to sleep with the band. Like, you weren't as worthy of being there as a man. When I was in high school, I actively chose to dress in mostly all black because I just didn't think I would be taken seriously.

So I wanted to pull that whole era into it and just be like, I'm actively going against everything I grew up with and what the scene told me was acceptable. And now I'm gonna be the antithesis of what any of the people that were misogynistic — or also just underestimated me — would want from me. And now I make the choice every day to irritate those people. [Grins.] 

Growing up, were there female artists you looked up to in the scene?

I just came off of a tour with PVRIS, and [Lynn Gunn] was one of the first queer people I ever knew of within the scene. Which is so crazy to think of back then, that I only had one example of that. She was just, like, openly queer and didn't feel the need to... I don't know, she didn't come out to anyone, she just always existed that way and people didn't criticize her for it. It was the first time that I saw that and was like, Oh, maybe I would be able to do that someday."

But behind the scenes, she was on the receiving end of so much misogyny, because men didn't think they could get something out of her, 'cause they knew that she was a lesbian and whatever. She was enduring 10 years of misogyny and homophobia so that someone like me could come around 10 years later and be this voice in the scene.

So it's cool that I'm getting recognition, but the only reason that I'm able to do this now is because so many women just took extreme hate and terrible things behind the scenes before me. And I still get massive flak for it now. The end goal of all of this, and I think if you ask any woman, they'll tell you the same thing: I'm cool taking sticks and stones thrown my way if it means that 10 years down the line there's gonna be another girl that tries to do what I do and gets zero flak for it. Someday I hope we get there. 

What other female artists helped inspire your Scene Queen persona?  

So there's two different versions of this answer. On the pop side, I'm so obsessed with 2000s pop princesses and also just pop icons in the sense of, like, that bimbo aesthetic. I allude a lot to Britney Spears in my music. Also Paris Hilton. Dolly Parton. Jessica Simpson. Women that, like, knew how they were perceived by the media and played into it, but were so the other way. 

Like if you've ever seen the Paris Hilton documentary [2020’s This Is Paris], she talks about how she put on this voice and everything, because people were just gonna assume that she was dumb anyway. So she completely capitalized on that and was like, "That's fine, I'll take your money and make my career successful. If you're already gonna assume negatively about me, then that's my superpower." Those people really inspired me, and that's very much the aesthetic drive behind my project. 

In the alternative space, there are bands that I grew up with that I was also super into like We Are the In Crowd, VersaEmerge, In This Moment. So there's a lot of women that have helped create the Scene Queen project without knowing.

How much of the album is autobiographical?

It tells the whole tale of coming [to L.A.] and getting my foot in the door, the music industry experience of it all. No one talks about having this second coming of age in your twenties and thirties where you're actually figuring out who you are. I was one of those people that didn't come out, or didn't even fully process that I was queer, until I was in my twenties.

I was just so scared about it 'cause I grew up in a small conservative town. And then I came here and was just like, I need to work in music so bad that I don't even want to think about dating! [Eventually,] I realized I spent all this time trying to be independent and confident. And now I'm going into the dating world. 

Some days you feel like an absolute sex god and the next morning you wake up, and you're on a first date and you have word vomit, and you don't know how to interact with people. So you get a song like "Oral Fixation" where it's just about having absolutely no game when you're dating for the first time. The record really tells the whole story of becoming all of this chaotic mess that is Scene Queen, which is both making fun of itself and hypersexual, and this, and this, and this. 

Read more: 15 LGBTQIA+ Artists Performing At 2024 Summer Festivals 

You play around so much on the album by mixing really serious topics with a sense of humor. How do you balance that in your songwriting? 

I always come into a session with the baseline idea of subject matter and title. This album was a lot easier because it's a concept album in a sense, and I thought of all these [explicit] categories that I could've used… Take "Oral Fixation," for example. That was the first song I wrote for Hot Singles other than the title track. I realized I could write it about word vomit and, like, choking on something, instead. Or, like, the last song of the record is called "Climax" because it's the high point of the record, but it’s actually a really wholesome song.

And then "BDSM" means "Beat Down Slut Metal," but also "Big Dumb Stupid Men." I decided to make that the opening track because I was getting all of these comments that were like, "Scene Queen's a man hater!" for criticizing anything men do in any capacity. This was after my song "Pink Push-Up Bra," which is so specifically about sexual assault that I was like, "OK, of I can't even criticize people that sexually assault women as being bad, then sure, I’ll put it as the first track." 

What was your motivation behind the hypersexualization in some of the songs? 

I think people don't understand that you can be fully confident with yourself and your sexuality and think you're a good person, and worthy of love and worthy of sexual pleasure, while also not taking yourself too seriously. You can still make fun of yourself but also know your self-worth.

As much as I make these self-deprecating jokes, at the end of the day I refuse to be treated poorly. And I think that comes across in all the songs about sexual pleasure and sexuality. You learn at a young age — especially if you've been closeted for a long time — [the feeling of] I robbed myself of so much joy for so long. I deserve to get off for something. [Laughs.] I deserve a little bit of joy in my life. So I tried to write that. 

"M.I.L.F" is obviously a raunchy, very sexual song. But that song came from spending a summer in Nashville, and I was always just like, "Tennessee: conservative." But there's this huge population of people who have stayed or moved to Tennessee; who grew up listening to country music but then shied away from it because their beliefs no longer resonated with the [genre's] subject matter. So I wanted to have a song for those people who are like, "Yeah, I still wanna go chug a beer and jump off a boat on a lake, but also, I am pro-gay marriage and whatever."

I wrote a song that I knew the people who were country elitists, that would never like me anyway, would be horrified by. And the way I did that was via very explicit lyrics and the most sexual content ever. But it ends up being one of the rowdiest songs in my live set, because so many people truly do want to just put a hat on and do a line dance. They just don't want to be judged when they do it, you know?

So it ended up being this weird statement that I didn't necessarily fully think it would be, but it's one of my favorite parts of my set now. Having that little hoedown for the hoes every week is really fun for me.

I actually just attended this charity event at Stonewall for this organization called Inclusion Tennessee, where I learned that Nashville is the largest city in the country without its own LGBTQ center. Queer people in those types of communities are still fighting constantly for resources and inclusion and acceptance.

It is so wild, too, 'cause there's this discussion around Chappell Roan making that statement at Gov Ball about not performing at the White House, and then going to play in Charlotte, where North Carolina obviously has conservative views as a whole. There are so many pockets of queer communities that are actively seeking out someone that will advocate for them and give them a voice, and I think it is so cool. It's such a privilege to get to be one of those people now. 

This summer, you’ll be co-headlining idobi Radio’s Summer School Tour. What are you looking forward to about that?

That tour, in and of itself, is so cool and exciting for me. Because one, it has the rotating co-headliners, which emphasizes the importance of music discovery. You have to show up at the beginning of the day to see who you want to see. Anyone that grew up with Warped Tour obviously is going to be stoked to have something like that.

But also, there are so many queer people and women and people of color on that tour. The lineup is so diverse and I feel like if that tour had existed in the 2010s and 2000s and ‘90s even, that never would've happened. So the fact that the initial launch looks that way makes me so hopeful for the future of it. 

OK, last two questions: What’s the most memorable Warped Tour set you ever saw? And what are your top 3 "Bimbo" pop songs? 

Most memorable Warped Tour set: I'd probably say the first time I ever crowd-surfed. I think I was, like, 13, it was to the band Sleeping with Sirens, and that was just the pinnacle of, like, "I love alternative music!"

Then as far as the "Bimbo" pop songs, hmm...I have to say "I’m a Slave 4 U" just because that Britney Spears music video is so iconic — the dancing, all of it. We gotta do a Paris Hilton song. It was hard to be in a mall food court in the late 2000s and not be humming "Stars Are Blind." Yeah, soundtrack to my youth, for sure. And then "9 to 5" by Dolly Parton even though that’s country, not pop. Like, how do you not want to trot out there to [sings], "Hopped out of bed and I stumbled to the kitchen..."? It just gets the bimbo vibes going.

Listen To GRAMMY.com's 2024 Pride Month Playlist Of Rising LGBTQIA+ Artists 

LISA from BLACKPINK

Photo: The Chosunilbo JNS/Imazins via Getty Images

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New Music Friday: Listen To New Songs From LISA From Blackpink, Lil Nas X, Kelsea Ballerini, MC Lyte & More

Hot summer days require even hotter tunes. Here are some fresh-out-the-oven songs and albums by Hiatus Kaiyote, Lucky Daye, Headie One, Kaitlin Butts, and more.

GRAMMYs/Jun 28, 2024 - 05:09 pm

We’ve been feeling the heat for a minute now, but summer is finally, officially, upon us.

What do you have on deck to soundtrack it? Perhaps you’re checking out Camila Cabello’s fourth offering, C,XOXO. Or Jxdn’s expectations-bucking new album, When the Music Stops. And there are so many other worthy candidates for your playlist — from Lupe Fiasco’s Samurai to Omar Apollo’s God Said No.

No matter where your stylistic compass points, this Friday release day has got something for you. As you gather your sunscreen and shades, let’s breeze through a cross-section of what’s out there.

LISA — "Rockstar"

K-pop loves its solo releases, showcasing how the various members of a group can shine individually while combining with ecstatic chemistry. Enter LISA, one-fourth of Korean titans BLACKPINK, who's already turned heads with her 2021 debut album, Lalisa.

"Rockstar" is another swing outside her main gig, featuring serrated chiptune production and LISA's commanding rap flow. The gritty, urban, futuristic video is a visual treat, and the chorus's boast of "Lisa, can you teach me Japanese?" is a multilingual flex — as well as a maddeningly unshakeable earworm.

Kelsea Ballerini & Noah Kahan — "Cowboys Cry Too"

The "Peter Pan" heavyweight and four-time GRAMMY nominee Kelsea Ballerini has called 2024 "a new chapter of music." Her collaboration with folk/pop singer/songwriter Noah Kahan, "Cowboys Cry Too,"  is the tip of the spear.

More than a month after the pair performed together at the 2024 Academy of Country Music Awards, their first recorded team-up is an aching, yearning ballad about breaking down a gruff exterior and revealing true emotions.

"Cowboys cry too/ They may not let 'em fall down in their hometown thinkin' they still got s*** to prove," Ballerini sings in the chorus. "That well runs deep/ But when he's showin' his skin, lettin' mе in, that's when he's toughest to mе."

Lil Nas X — "Here We Go!" (from the Netflix film 'Beverly Hills Cop: Axel F')

"So excited to release the best song of all time this friday!," Lil Nas X proclaimed on Instagram. (And on a Beverly Hills Cop soundtrack, no less!)

"Here We Go!" comes at an inflection point for the "J Christ" singer: "sorry I've been so scared with my art lately," he added in the same post. "I'm coming around to myself again. I will make you guys very proud."

This pro forma banger certainly inspires pride: tenacious lines like "I'm livin' and livin' I wanna die/ They tryna get even/ I'm beatin' the odds" will get under your skin. As for Beverly Hill Cop: Axel F, the Eddie Murphy joint will whiz to your screen July 3 via Netflix.

Lucky Daye — 'Algorithm'

Lucky Daye picked up a win for Best Progressive Album at the 2022 GRAMMYs, for Table for Two. After a slew of nominations for work with Beyoncé and Mary J. Blige, he's investigating the Algorithm.

The single "HERicane" was just a teaser, with songs like "Blame," featuring Teddy Swims; "Paralyzed," featuring RAYE;" and "Diamonds in Teal" expanding on and honing his soul-funk-R&B vision.

"Don't know pickin' sides/ 'Cause I'm rollin' in desire," he dreamily sings in the gently roiling "Diamonds in Teal." "I don't know which lie's true/ Or maybe I do, or maybe I'm you." It's a suitable mission statement wrapped in a stealthily seductive package.

Hiatus Kaiyote — 'Love Heart Cheat Code'

A jazzy, soulful, psychedelic band of Aussies, Hiatus Kaiyote has been wowing audiences for more than a decade. Whether through sampling or features, they've crossed paths with Drake, Anderson .Paak, and Beyoncé and Jay-Z.

Love Heart Cheat Code builds brilliantly on their last three albums: their 2012 debut Tawk Tomahawk, 2015's Choose Your Weapon, and 2021's Mood Valiant. Tracks like "Telescope," "Everything's Beautiful," and "Make Friends" are burbling brooks of atmosphere, groove and vibe.

Boulevards — 'Carolina Funk: Barn Burner on Tobacco Road'

Any fans of deep, pungent funk grooves should investigate Boulevards immediately. The project of mastermind Jamil Rashad, their new album Carolina Funk: Barn Burner on Tobacco Road tips its hat to yesterday's funk with a contemporary twist, bringing a refreshing spin on the well-trod template of syncopated basslines and stabbing horns.

Across highlights like "Do It Like a Maniac Part 1&2" and "Run & Move," Boulevards shows — once again — that few can nail this gritty sound quite like Rashad and crew.

Headie One — 'The Last One'

British drill-inflected MC Headie One first made a splash overseas with his 2023 debut album, Strength to Strength. Less than a year later, he's returning with The Last One.

Back in 2022, he hinted at the existence of his sophomore album in his non-album track "50s" — "The fans calling for 'Martin's Sofa'/ It might be the first single from my second," he rapped. 

Helmed by that single, The Last One features Potter Payper, Stormzy, Fridayy, Skrillex, and more. The album is a leap forward in terms of production, scale and exploration.

Katlin Butts — 'Roadrunner!'

Any theater kid worth their salt knows at least a few bars from the musical "Oklahoma!"; country sensation Kaitlyn Butts has just unfolded it into an entire album.

"It's a love story but there's also a murder and a little bit of an acid-trippy feel to it at times; it's set in the same place where I come from," she said in a statement, noting she saw "Oklahoma!" with her parents every summer during childhood. "Once I got the idea for this album," she continued, "I couldn't believe I hadn't thought of it before, and it turned into something that completely encompasses who I am and what I love." 

A laugh riot as well as a colorful, openhearted statement, Roadrunner! does the old Rodgers and Hammerstein chestnut good.

Read more: 5 Female Artists Creating The Future Of Country Music: Jaime Wyatt, Miko Marks & More

Amaarae — 'roses are red, tears are blue — Fountain Baby Extended Play'

Futurist Afropopper Amaarae made a gigantic splash with her second album, 2023's Fountain Baby — even Pitchfork gave it their coveted Best New Music designation.

That lush, enveloping album just got an expansion pack: roses are red, tears are blue — A Fountain Baby Extended Play is a continuation of its predecessor with six new songs. The oceanic "wanted," featuring Naomi Sharon, is a highlight, as is a remix of "Disguise" with 6LACK.

"Ooh, I'll be wanted/ I've been wanted," a pitch-shifted Sharon sings near the end, as if turning over the phrase. "Wanted" is one way to describe Amaraae's position in the music landscape.

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

MC Lyte — "King King" (feat. Queen Latifah)

The 50th anniversary of hip-hop may have come and gone, but hip-hop is forever. Today, legendary hip-hop pioneers MC Lyte and Queen Latifah continue to bear the flame of the genre as an elevating force with "King King," a conscious, uplifting offering.

"This is dedicated to all the kings and all the soon to be kings/ We're counting on you/ We love  you/ This is for you, you and you and you," MC Lyte begins, while Latifah holds it down on the chorus with "This your crown hold it/ Even if it all falls down show it/ You know the world is watching now I know you get tired from keepin' it all together/ We need you."

During Women's History Month in March, MC Lyte released "Woman," the first single from her upcoming album, featuring hip-hop icons Salt (of Salt 'N Pepa), Big Daddy Kane, and R&B singer Raheem DeVaughn. MC Lyte's first new album in nearly a decade drops this summer; keep your eyes and ears peeled.

Learn more: 9 Teen Girls Who Built Hip-Hop: Roxanne Shante, J.J. Fadd, Angie Martinez & More

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