2022 was a glowing year for R&B, with newcomers and legends alike shattering claims that the genre is on the brink of losing its popularity. It was quite the opposite, actually — newer R&B stars like Flo helped revive '00s nostalgia, and veterans like Babyface showed that there's strength in collaboration.

As the world re-emerges from the pandemic, artists channeled a brighter energy in their music, using more upbeat melodies and lyrics that emphasized fun and romance. Chlöe provided the twerk-friendly anthems, while FKA Twigs' Caprisongs mixtape featured a song for every kind of party imaginable.

There were plenty more R&B stars new and old who contributed to the genre's shine this year. Below, revisit some of 2022's biggest moments in R&B.

The Ladies Seduced Us

R&B has always maintained a sensual core, and the women of the genre confidently reminded listeners of that fact throughout 2022. On her second album Age/Sex/Location, ​​Ari Lennox explored the ebbs and flows of lust with songs like the NSFW "Leak It" (featuring Chlöe) and the flirtatious "Hoodie." Chlöe also continued to unleash her seductive goddess on her solo single, "Surprise."

Two years before SZA dropped her long-anticipated second album, SOS, in December, she showed off her pole-dancing skills in a 2020 Instagram post teasing single "Shirt." (And when lead single "Good Days" arrived in March, she continued her seduction in the outro of the music video.) The LP details the journey of post-lust heartbreak and how to regain one's confidence, from the sneaky affair of "Low" to feeling empty on the punk rock-inspired "F2F."

Peacock's Bel-Air star Coco Jones proved her singing ability was equally as strong as her acting skills, as she captured hearts with her debut EP, What I Didn't Tell You, including the yearning single "ICU." Amber Mark, also a fellow newcomer, released her debut album Three Dimensions Deep. The LP features an array of genres, but songs like "Softly" are what really entranced listeners.

Singers From Across the Pond Ruled

The appreciation for R&B spans shores, and British artists delivered fresh spins on the genre. Cheltenham's FKA Twigs set the energetic tone with the January release of her first mixtape, Caprisongs, which is filled with a kaleidoscope of sounds from drum and bass to trap. Leicester's Mahalia navigated heartbreak with her Letter To Ur Ex EP. Southampton native Craig David tapped back into his '00s style with his nostalgic eighth album, 22, which opens with an interpolation of fellow R&B star Jon B.'s 1998 classic, "They Don't Know."

After winning over stateside fans in 2018 with her GRAMMY-winning single "Boo'd Up," London-born Ella Mai returned with her sophomore album Heart on My Sleeve — a self-described "therapy session" that highlighted the artist's diaristic songwriting. London also spawned a new girl group this year with Flo, a trio who channeled the heydays of '00s pop&B with their debut EP, The Lead.

Afrobeats Trickled Into The Genre

Afrobeats' international popularity has surged over the past few years, so much so that other genres are now borrowing its infectious groove. This year, R&B singers infused the genre into their own sounds, further showcasing Afrobeats' versatility.

FKA Twigs' Caprisongs features "Jealousy," a mellow collab with burgeoning Nigerian artist Rema. Two months later, Rema dropped R&B-infused music of his own on his debut album, Rave & Roses, which featured guests like 6lack and Chris Brown.

The month of June gave way to sweltering summer collaborations. Diddy paired up with Bryson Tiller on the brooding "Gotta Move On," which scored the music mogul his 11th No. 1 on Billboard's Adult R&B Airplay chart. And in true Diddy fashion, he dropped a "Queens" version featuring Yung Miami and Ashanti.

Not long after, Chris Brown and Wizkid joined forces for "Call Me Every Day." Marking their third collaboration, the sultry smash illustrated just why they're crowned the princes of R&B and Afrobeats, respectively.

Artists Took It Back To The Club

R&B is not always about love songs and heartbreak. Rather than dwell in their feelings, a handful of singers opted for a more lighthearted approach in their music. After jumpstarting her solo era with last year's booty anthem "Have Mercy," Chlöe kept the ode to curves going with "Treat Me." Built atop a sample of Bubba Sparxxx and the Ying Yang Twins' 2005 hit "Ms. New Booty," "Treat Me" is a self-confidence anthem.

Baby Tate also borrowed an Atlanta crunk staple from the same year for "Ain't No Love." Featuring fellow Georgia native 2 Chainz, the bouncy tune samples Ciara's "Oh" collaboration with Ludacris, spinning the '00s classic into a modern-day jam.

On the opposite coast, Los Angeles' own Blxst solidified his signature laid-back style with his debut album, Before You Go. Lead single "About You" is best served with a cold one and a two-step.

Kehlani then took listeners to their native Bay Area with April's Blue Water Road album (where Blxst also makes an appearance). The Slick Rick-sampling "Wish I Never" is the ultimate '90s house party jam while the upbeat "Up At Night" with Justin Bieber will do just what its title implies.

Other club genres also came into play, with Ravyn Lenae experiencing house euphoria on Hypnos' "Xtasy" and FKA Twigs going full dancehall alongside shygirl with Caprisongs' "Papi Bones."

There Were Many '90s Celebrations

The '90s still has a tight grip on R&B's current sound, and the artists who ruled that decade proudly reminded us of that fact in 2022. For the 25th anniversary of Mariah Carey's transitional Butterfly album, the icon released a special re-edition that features an updated version of "The Roof" (with added vocals from Brandy) and "Whenever You Call" (with Brian McKnight), a live version of "My All" from VH1 Divas Live, the "Amorphous Anniversary Club Remix" of the title track and more.

Usher also got in the commemorative spirit, releasing My Way (25th Anniversary Edition) — which happens to share the same Sept. 16 anniversary as Carey's Butterfly. The new edition included reimagined versions of three tracks: "My Way (Ryan James Carr Remake)," "Nice & Slow (Ryan James Carr Remake)" and "You Make Me Wanna… (Ryan James Carr Remake)."

To commemorate another 25th anniversary, Erykah Badu celebrated her GRAMMY-winning Baduizm debut with a pair of shows at London's Royal Festival Hall.

Other '90s celebrations came from R&B quartet Xscape, who received the Lady of Soul honor at the 2022 Soul Train Awards, and new artist LAYA, who honored Missy Elliott with a cover of the rapper's 1997 single "Sock It 2 Me" for Women's History Month.

Alt-R&B Girls Made A Return

The beauty of R&B is in its sonic diversity. Alternative R&B has blossomed in popularity over the years, and 2022 saw the return of some of the subgenre's leaders.

Santigold made a thrilling return with Spirituals, the singer's first album in six years. An emotional journey through lockdown, the LP fuses gospel, electronica, punk and pop, all tied together with Santigold's signature yelps.

Another long-awaited comeback came from Kelela, who re-emerged in September after a five-year hiatus. Her single "Washed Away" is the launchpad to her second album Raven, which will be released next February. "Raven is my first breath taken in the dark, an affirmation of Black femme perspective in the midst of systemic erasure and the sound of our vulnerability turned to power," Kelela shared in a press release.

Although Solange didn't give fans new music in 2022, the singer was honored with the 2022 NYU Global Trailblazer Award for Creative and Artistic Excellence in March. And ever the ever-unpredictable star, she composed a score for the New York City Ballet that came to life with a performance at the Lincoln Center in September.

Old School Met New School

This year, there was no separation of generations. Rather, the "legend vs. newcomer" hierarchy was completely dismissed, as artists from the '60s to today joined forces in the recording studio.

Ronald Isley and Beyoncé wooed soul fans with their rework of "Make Me Say It Again, Girl," which originally appeared on the Isley Brothers' 1975 album, The Heat Is On. Isley's wife/manager Kandy told Billboard that Beyoncé's mother Tina Knowles-Lawson was integral in the collaboration, marking a full-circle moment for the star, who grew up listening to the group. "The fact that they are giving us permission to put it out at this time is just overly special," Kandy said.

Ciara and Summer Walker's lilting vocals complemented each other on "Better Thangs," while  SZA (whose stage name pays homage to Wu-Tang Clan member RZA) featured the late Ol' Dirty Bastard on SOS. Elsewhere, PJ Morton's latest album is a celebration of collaboration, with guests Stevie Wonder and Nas on "Water," and Jill Scott and Alex Isley on "Still Believe."

In October, Babyface passed down his GRAMMY-winning torch to the women of R&B with his collaboration album, Girls Night Out. Solely featuring the new generation of female singers, from Muni Long to Ari Lennox, the album showed that romance has no age.

Mary J. Blige donned her Queen of Hip-Hop Soul crown on her latest album, which features rappers like Dave East and Fivio Foreign. On the opposite end, Toronto R&B duo dvsn teamed with male R&B group Jagged Edge on "What's Up" from the former's Working on My Karma album.

Whether it was R&B's legends or promising newcomers making waves, this year had plenty of proof that the genre is still thriving — and never going anywhere.

R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

It’s yet another big day for music enthusiasts, as listeners were gifted with unexpected collaborations and fresh new melodies from artists of every genre on Sept. 15. 

With an Instagram caption-worthy single from Drake and SZA , a playful, self-confident anthem from Tate McRae, and a chill, euphoric vibe from Noah Kahan & Lizzy McAlphine, there’s plenty of different sounds to dive into. 

As you’re putting together your autumn 2023 playlist, add these six new tracks to the mix.

Drake feat. SZA - "Slime You Out"

Just hours after GRAMMY winners Drake and SZA announced they’d be teaming up for a new track, the pair unleashed "Slime You Out" promptly at noon ET on Sept. 15. 

As the song’s title insinuates, the duo seem to express their thoughts on someone "sliming" them out — which, in this case, refers to someone playing with their feelings. "Tryna build trust, showin’ me your DMS, how they tryna bag you / Ironic how the news I got about you ended up bein’ bad news."

Drake’s clever wordplay paired with SZA’s mellow, hypnotic voice make the single a memorable one. But perhaps it’s even more memorable because it’s been a team-up long in the making: according to Drake’s eyebrow-raising line in his 21 Savage collab "Mr. Right Now," the two used to date "back in '08."

SZA feat. Justin Bieber - "Snooze (Acoustic Remix)"

As SZA fans awaited her song with Drake, she gave them another high-profile collab in the form of a "Snooze" remix with Justin Bieber. An alluring, stripped-down version of the original SOS track, the "Snooze" remix sees SZA and Bieber passionately harmonize; added guitar chords add a dreamy touch to the song.

The remix also marks a full-circle moment for the pair, as Bieber starred in the original "Snooze" music video, which was released on Aug. 25.  

Offset - "Fan"

Kicking off what seems to be his Michael Jackson era, Offset has released this newest single, "Fan." This song features an infectious, hype beat with lyrics presenting a nonchalant ‘IDGAF’ attitude: "You supposed to hold me down, but it didn't happen (You supposed to hold me down)/ Now I'm over it." 

"Fan" is a taste of Offset’s forthcoming second album, Set It Off, which he will release on October 13. The LP follows his debut solo album, 2019’s Father of 4, which landed him a Best Rap Performance GRAMMY nomination for the single "Clout" featuring his wife, Cardi B. 

In the "Fan" music video, Michael Jackson is heavily referenced, with moments including Offset transforming into werewolf and zombie, and dance moves like the reverse moonwalk. 

Tate McRae - "Greedy"

self-confidence single "greedy." This song is a testament to McRae’s inner thoughts, as the lyrics let listeners know she’s not tolerating insecurities — and definitely not enabling any "greedy" men. 

"I would want myself/ Baby, please believe me/ I'll put you through hell/ Just to know me, yeah, yeah," she sings on the chorus.

"Greedy" is McRae’s first release in 2023, and first solo single since her 2022 debut album, i used to think I could fly. She also teamed up with DJ/producer Tiësto for the late 2022 hit "10:35."  

Noah Kahan feat. Lizzy McAlpine - "Call Your Mom"

Folk-pop favorite Noah Kahan teamed up with rising pop singer Lizzy McAlpine to create a new version of "Call Your Mom," an emotional track from his hit 2022 album Stick Season.

Kahan recently brought McAlpine out as a surprise guest during his sold-out show at L.A.'s Greek Theatre on Aug.11, where the two singer/songwriters performed the song for the first time together. 

Written about giving unconditional support to a loved one struggling with mental health issues and depression, the moving song reaches new heights with two voices on it. Kahan’s and McAlpine’s voices perfectly blend together and capture the lyrics’ powerful  emotions.  

Maren Morris - The Bridge

Maren Morris dropped not one, but two new songs, "The Tree" and "Get The Hell Out of Here," which both seem to focus on a new chapter in Morris’s life. "The Tree" feels like a farewell, as she proudly sings,"I'm done fillin' a cup with a hole in the bottom/ I'm takin' an axe to the tree/ The rot at the roots is the root of the problem/ But you wanna blame it on me."

"Get The Hell Out of Here" has a more mellow country melody that also talks about growth and navigating different areas of her life. Both songs share a different story, yet share the same theme of a transitional period in her life — and tease what’s to come on her next album, which will follow 2022’s Humble Quest. 

As Morris said in a statement, "These two songs are incredibly key to my next step because they express a very righteously angry and liberating phase of my life these last couple of years, but also how my navigation is finally pointing toward the future." 

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Nobody can deny Herbie Hancock is a jazz artist, but jazz cannot box him in. Ditto Quincy Jones; those bona fides are bone deep, but he's changed a dozen other genres.

Cautious Clay doesn't compare himself to those legends. But he readily cites them as lodestars — along with other genre-straddlers of Black American music, like Lionel Richie and Babyface.

Because this is a crucial lens through which to view him: he's jazz at his essence and not jazz at all, depending on how he wishes to express himself.

"I'm not really a jazz artist, but I feel like I have such a deep understanding of it as a songwriter and musician," the artist born Joshua Karpeh tells GRAMMY.com. "It's sort of inseparable from my approach to this album, and to this work with Blue Note."

Karpeh is talking about, well, KARPEH — his debut album for the illustrious label, which dropped in August. In three acts — "The Past Explained," "The Honeymoon of Exploration," and "A Bitter & Sweet Solitude," he casts his personal journey against the backdrop of his family saga.

As Cautious Clay explains, the title is a family name; his grandfather was of the Kru peoples in Liberia. "It's a family of immigrants. It's a family of, obviously, Black Americans," he notes. "I just wanted to give an experience that felt concrete and specific enough — to be able to live inside of something that was a part of my journey."

On KARPEH, Cautious Clay is joined by esteemed Blue Note colleagues: trumpeter Ambrose Akinmusire, saxophonist Immanuel Wilkins, vibraphonist Joel Ross, guitarist Julian Lage, and others.

Vocalist Arooj Aftab and bassist Kai Eckhardt — Karpeh's uncle — also enhance the proceedings. The result is another inspired entry from Blue Note's recent resurgence — one lyrically personal and aurally inviting.

Read on for an interview with Cautious Clay about his signing to Blue Note, leveling up his recording approach, and his conception of what jazz is — and isn't.

This interview has been edited for clarity.

Tell me about signing to Blue Note Records, and the overall road to KARPEH.

I kind of got connected to Don [Was, the president of Blue Note] through a relationship I had with John Mayer, who had, I guess, connected Don to my music.

Don reached out via email probably a year ago, and so we connected over email. And I had sort of been in a situation where I was like, OK, I want to do something different for this next project. We kind of met in the middle and it just made a lot of sense based on just what I wanted to do, and then what they could potentially kind of work with on my end. 

So, [I was] just recording the album in six days, and doing a lot of prep work beforehand and getting all these musicians that I really liked to be able to work on it. It was just a really cool process to be able to unpack that with Blue Note.

That's great that you and Mayer go back.

Yeah, man, we have a song. We worked on each other's music a little bit together. The song "Carry Me Away" on his [2021] album [Sob Rock] I actually worked on, and then we did a song together called "Swim Home" that I released back in 2019.

You said you wanted to "do something different." What was the germ of that something?

I felt like it could be interesting to do a more instrumental album, or something that felt a little bit more like a concept album, or more experimental. I wanted to be more experimental in my approach to the music that I love.

I wanted to call it a jazz album, but at the same time I didn't, because I felt like it wasn't; it was more of an experimental album.

But I felt like calling it jazz in my mind kind felt like a free way to express, because I think of jazz much more as a philosophy than necessarily a genre.

So, it was helpful for me in my mind to be able to like, OK, let me completely deconstruct my conception of the music I make and how I can translate that music.

And then it eventually evolved into a story about my family and about American history to a certain extent in the context of my family's journey, and then also just their interpersonal relationships. That sort of made itself clear as I continued to write and I continued to delve deeper into the process.

Not that KARPEH ended up being instrumental. But instrumental records are lodestars for you? I'm sure that blurs with the Blue Note canon.

There's a lot of different stuff. There was that red album that Herbie Hancock released [in 1978, titled Sunlight] that I really liked. "I Thought It Was You" was super inspirational — sonically how they arranged a lot of that record.

Seventies jazz fusion was an overall influence. I felt inspired by the perfect meld of analog synthesizers, and then also obviously organic instruments like horns and guitars of that nature. So I wanted to create something that felt like a contemporary version of what could be a fusion record to a certain extent.

Any specific examples?

Songs like "Glass Face," for example, are pretty fusion-y, but also very just experimental in a way that doesn't feel like jazz, even.

My uncle [Kai Eckhardt] is a pretty big-time bass player, and he played on "Glass Face." I just was like, OK, dude, do your thing, and he just did this sort of chordal bass solo. Then, I did all these harmonies over top of the song.

And then, Arooj Aftab is a really good friend and musical artist; she was able to work off of that as well. So, it was an interesting journey to make a lot of these songs and sort of figure out how they all fit together.

How did you strike that balance between analog and synthesized sounds?

I recorded most of this album at a studio, which is very different for me.

I don't normally do that. I use a lot of found sounds like drums and stuff that I've either made or sampled, but I did all of the drums and bass and upright and electric guitars we'd recorded at a studio called Figure 8 in Brooklyn. That was the backbone for a lot of the music that I created for the album. 

Then, I took it back home to my home studio. After we had recorded all of the songs, I essentially had some different analog synths and things that I wanted to add into it either at the studio that I worked at or my own personal studio, which happens to also be eight blocks [away] on the same street away.

I struck a balance just mostly with it in the context of working at a very formal studio and then having an engineer and just getting sounds that I wanted that could be organic and more specific in that way. And also using some of the synths they had.

In terms of the approach, I kind of wanted it to be different. And so part of that was just being at more of a formal studio and having an engineer and overseeing the overall process outside of just being inside of my Ableton session.

Tell me more about the guests on KARPEH.

I knew Immanuel through a couple of mutual friends, and he has a certain sort of bite to his sax playing that I felt was so juxtaposed to my sax playing.

And same with Ambrose. I feel like his trumpet style couldn't be more esoteric and out, in the context of how he approaches melodies. It's almost in some ways like, Whoa, I would never play that way.

They're also soloists, and conceptually for me, the idea of being in isolation or being in bittersweet solitude was conceptually a part of the last part of the album. They as soloists have so much to offer that I feel like I can't do and I don't possess.

So, I wanted to have them a part of this album, to demonstrate that individuality within the context of what it takes to make a song.

Julian is just a beautiful and spirited man, a beautiful guitar player. I've liked his sound for a while. I think it was back in 2015 when I first heard him; he had a couple of videos on YouTube that I thought were just super gorgeous.

I feel like he just has this way of playing that's folky. Also, it's jazz in the context of his virtuosic playing style, but it's also not overbearing. I felt like as a writer and as a musician, it would be a really great connecting point for a few of the more personal songs on the record.

And then my uncle Kai as well, — he's not on Blue Note, but he used to play with John McLaughlin and run bass clinics with Victor Wooten and Marcus Miller back in the early 2000s. Dude is a real heavy hitter, and he happens to be my uncle, so it's just cool to be able to have him on the record.

Cautious Clay. Photo: Meron Menghistab

With KARPEH out, where do you want to go from here — perhaps through a Blue Note lens?

I really love a lot of the people there, and I feel like this could be the first of many. It's also a stepping stone for me as an artist.

I feel really connected to the relationship I have, and our ability to put this out. It's hard to say what exactly the future holds, but I am genuinely excited for this album. I feel excited to be able to put out something so personal and so connected to everything that sort of made me, in a very concrete way.

From what I understand, this is a one-time thing, but it could potentially be two. It depends, obviously. I'm very open-minded about it. I'd love to keep the good relationship open and see where things go.

I really have enjoyed the process and I feel like this next year is going to be something interesting. So, we'll see.

On Her New Album, Meshell Ndegeocello Reminds Us "Every Day Is Another Chance"

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

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

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

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

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

CIRCUS MAXIMUS Is UTOPIA's Visual Companion

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

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

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

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

Yeezus Rises Again

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

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

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

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

Drake And Travis Scott Take Aim At Their Opps Once Again

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

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

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

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

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

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

Scott Finally Got His Dream Collab

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

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

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

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

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

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

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

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

According to the Spanish press, Beyoncé is a goddess, which, at this point in her 30 years career, is a rather irrefutable claim. Yet the artist is proving her status once again via her 56-date Renaissance World Tour, which arrives in the U.S. on July 12.

"Beyoncé isn't a human, isn't divine, she's something much more powerful," Spanish publication  El Confidencial proclaimed after her June 8 date in Barcelona, her eighth tour stop. 

I can't really argue with these claims, likely scribbled furiously by some of the men sitting near me inside Barcelona's Lluís Companys Olympic Stadium. There, the pop diva brought her GRAMMY-winning RENAISSANCE album — which celebrates queer Black culture, house music and disco — to life in a show that also samples from her rich catalog. 

Yet the humanity behind the most-decorated GRAMMY winner could be felt acutely throughout: when she'd shout out to the audience, or when she gave the floor to her daughter Blue Ivy or her incredible dance crew, and in the simple act of hearing her unparalleled voice in person. 

It's impossible to attend this stellar show — a two-and-a-half-hour work of art — and not attempt to calculate all the work and care that Beyoncé and her team put into executing a live celebration of RENAISSANCE and her wider catalog. One of the writers in my midst looked like he was performing calculus to determine how the hell Queen Bey brought so much magic on stage. 

Beyoncé will launch the North American leg of her tour in July in Toronto. If you are lucky enough to score a ticket, you’re in for a treat; the performance features a runway show of iconic looks (which change nightly), an energetic setlist brought to life by a large, stellar live band, and a ballroom performance. The show has been executed flawlessly of course, but by the time Queen Bey and her crew bring it to the U.S., they’ll have put in hours and hours of practice for what will undoubtedly make for a heavenly event.

Read on for a lowdown of what Beyoncé served up at her record-breaking Barcelona show (the sold-out crowd of 53,000 was the largest audience for a solo female artist in Spanish history) to get a taste of what you can anticipate when she brings the energy, glitz and glam to a city near you.

Expect Uninterrupted Dance Floor Ecstasy

"My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom," Bey wrote in her announcement of the RENAISSANCE album last summer. "I hope it inspires you to release the wiggle. Ha! And to feel as unique, strong, and sexy as you are." 

She’s brought that intention fully to life with the Renaissance tour,  creating collective moments to stadiums full of dancing, euphoric bodies.

The expert curation of seemingly endless looks, incredible choreography and seamless setlist filled with "remix" moments made it hard to sit down. The show is so action-packed, you'll be catching your breath if you try to track every single sample and gravity-defying dance move. Even when the queen left the stage for a costume change, her incredible dancers continued the energy and kept the eye-catching show going. 

Just as the album plays like a DJ set, with each track leading directly into a juicy teaser of the next track, the stacked setlist of 40 songs is just as lively, energetic and flowing. "Samples" from across her catalog and her influences were woven into every song, offering fresh renditions of her music and a non-stop delivery of groove. 

Beyoncé's voice was impeccable; her vocal range shined through the expansive set list. On tracks like "Heated," Beyoncé reminded us she’s a badass rapper who can throw down bars.

The Custom Designer Looks Are A Show In Itself

The show’s plentiful fashion moments channeled the sparkle and glam of the disco era through a Afrofuturistic, space age lens, to eye-catching effect. Expect more fresh variations of her Renaissance lookbook stateside to be revealed each night. 

In Europe, Bey rotated her looks for each show, an extra special treat for fans (and surely for the fashionista herself) as she debuted new ones. Her European tour was filled with outfits from established and smaller designers — including some local brands —  with Balmain, David Koma and Loewe designs aplenty.  To commemorate Juneteenth at her Amsterdam show, she exclusively wore outfits by Black designers. The coordinating accessories were on-point as well; apparently, the singer brought 41 pairs of custom Jimmy Choos on the trek. 

In a rather legendary moment in Barcelona, Ms. Carter returned from a costume change lounging on a gigantic golden shell as she sang "Plastic Off The Sofa." In her peak shimmery moment of the evening, she soon revealed her head-turning golden custom Loewe catsuit, covered in sparkling red-fingernailed hands. She rocked sparkly black red finger-nailed gloves and gold rhinestone booties to match. The dancers wore matte, mesh catsuits, each with their "hands" in different positions.

Other stunning ‘fits from her Barcelona show included a colorful psychedelic mesh dress by David Koma paired with rimless bedazzled space-age sunglasses. She donned a silver, red and black leather space suit from Fendi with matching thigh-high boots, silver gloves and an upcycled fur stole she added on later. 

During the jaw-dropping "Mind Control" act featuring "America Has A Problem," Queen Bey channeled her nickname in a futuristic killer queen space bee look from Mugler with thigh high patent high-heeled boots and antennaed helmet. She’s served up an artsy, buzz-worthy selection of bee-inspired couture during this segment (near the end) of the show.

The BeyHive also adorned themselves in rhinestones, sequins, silver-everything, and cowboy hats and boots to pay tribute to their queen. 

It’s Not Just Glitz & Glam, There’s Plenty Of Feels

Beyoncé’s 11-year-old daughter Blue Ivy also made headlines during the European tour. During the impactful The Lion King: The Gift cut "My Power," Blue stole the show and spotlight. She rocked the same red suit as the dancers, but stood out as she danced next to her mom, deftly hitting every move with power. 

Kendrick Lamar's social justice anthem "Alright" was powerfully woven in with "My Power" and brought into the sonic, visual conversation, expanding the two tracks to new heights. This led to Bey’s inspiring Juneteenth 2020 track, "Black Parade" and ended with everyone on stage holding up their fists in the Black power symbol as the stadium cheered.

It's been almost a year since RENAISSANCE lead single "Break My Soul" dropped, and much has gone on in the world since. The refrain "you won't break my soul" remains a pertinent mantra, a cold glass of lemonade when things feel unbearable. And hearing the echoes of tens of thousands of voices singing it in unison felt like we could harness at least a little of Beyoncé's history-making, era-defining superpowers.

During 4 opener, "Love On Top," Beyoncé turned her mic to the crowd to amplify their voices. It felt as if the entire, 53,000-person audience — probably some of the staff too — was singing along in a moment of collective love and unity. 

Bey Shares The Stage With A Collective Of Powerhouse Dancers & Musicians

Just as she brought in an impressive team of co-producers collaborators to craft RENAISSANCE, she assembled a stellar cast of dancers, singers and musicians to help bring it to life on stage. Yes, everyone doled out the big bucks to see Beyoncé perform, but she clearly and beautifully made space for everyone to shine.

According to her website, there are 23 dancers, including Blue Ivy and Les Twins — a twin brother duo and regular Bey guests who can contort into gravity-defying shapes. In addition to sharing the credits online, she also made sure to shout everyone out during her final song.

"Pure/Honey" featured a full-on ballroom moment where the dancers with real-life ball experience, including Honey Balenciaga, wowed the audience. Together, they offered full-on, tens-across-the-board-worthy ball with dips, duckwalks and so much more. 

During an epic rendition of Bey and Jay-Z’s "Crazy in Love," her band got a chance to shine. The horn players came out front for their moment, and the female saxophonist got down for her solo. During the show, they served up world-class sound from an elevated silver platform.

When the star left to change after "Crazy in Love," her backup singers flawlessly sang Diana Ross' 1976 disco classic, "Love Hangover." They were serving futuristic Supremes in matching holographic silver dresses and gloves as a giant disco ball moved towards them, as if magnetized by their disco realness. 

Patron Saint Beyoncé Took Us To Church 

Beyoncé and her angelic voice were raised in the church, and during the show, the "Annointed" act brought her vision of worship to life, where all are welcome.

To announce the segment, lasers spelled out "Annointed" on the screen, followed by a gold and green church. In yet another breath-taking style moment (one that’s seemingly consistent throughout the tour) Queen Bey appeared in a long all-white robe-like dress. As she held her arms out in cross-form under the UV light, it was transformed into stained glass rainbow print. Japanese fashion brand Anrealage made that miracle possible.

As if her mind-blowing technicolor dreamcoat wasn't enough, Bey threw it off to reveal a shimmering Balmain silver sequin and pearl bodysuit, complete with a silver rhinestone-encrusted church hat. Her choir’s robes were also transformed by the light, but they also revealed black mesh outfits (presumably much easier to twerk in). 

This extravaganza led into "Church Girl," albeit a slowed down version, which added drama and showcased her heavenly vocals. When she went into "drop it like a thotty," the music sped up and the dancers started twerking. In a similar contrast of party-heater and soulful ballad, the 2007 Swizz Beatz-co-produced heater "Get Me Bodied" led to a stunning rendition of "Before I Let Go." The act ended with an a cappella moment where one of the dancers adorably looked at the real-life goddess with pure admiration.

On "Church Girl," Beyoncé preaches her vision of spirituality — you can be sexy and have fun as a child of God. And perhaps it's exactly the dancing with abandon, shaking your troubles away, that supports your path towards righteousness. 

The Flawless Production Will Leave Your Head Spinning – In A Good Way 

A massive, high-definition screen that ran the width of the stage with an archway in the middle provided extra context and visuals during the show, announcing each act and adding to the set with images of disco balls, robot legs, dancers, and more. The lighting and lasers were also amazing and added a dance club energy to the stadium. 

The stage itself was also large and unique, with an additional catwalk jutting from it, and a circle surrounding it. The stage brought Beyoncé  closer to the lucky fans at ground level, and allowed plenty of space to slay.

Stage props included a silver space tanker and disco horse, both of which Beyoncé rides on, along with robot arms that fan her off during "Heated." During that song — which she revealed is her favorite from RENAISSANCE —  a towering circle of mics surrounded her.

While it's quite hard to measure fabulous against fabulous, the Virgo queen progressively one-upped herself throughout the show. She saved the best for last, though, opening the jaw-dropping final act with Jim Morrison quote "Whoever controls the media controls the mind" flashed on screen, between "MIND" and "CONTROL," with Bey's face in the middle. It felt like a playful nod to the conspiracy theory that Bey and Jay are part of the Illuminati, as well as to the very real overload of information (and misinformation) we experience 24/7. The screen flashed images of fire, clocks, reCAPTCHA prompts, and more to a medley of Destiny's Child's songs.

This organized chaos set the tone for "America Has A Problem" during which a fake stock market ticker — with symbols like "HNY" that alluded to her song titles — inched along the edges of the screen. The supposed master puppeteer sat at an "on air" news desk, a la her RENAISSANCE photo shoot. 

And for the final moments of magic on stage, Beyoncé took us to heaven. She rode out on a disco horse a la the RENAISSANCE cover (and Bianca Jagger at Studio 54) to Donna Summers' disco hit "I Feel Love." She wore an impossibly long, blindingly shimmering disco cape, and wrapped the show with the "I Feel Love"-sampling track and RENAISSANCE closer, "Summer Renaissance." As silver confetti burst into the audience, she flew through the air high above the stage, her regal cape fluttering like angel wings.

Beyoncé Kicks Off Her Renaissance World Tour In Stockholm, Sweden: Watch Performance And Stage Videos, See Photos, View The Setlist & More