If the name Jon Bellion sounds familiar, it's probably because of his 2016 single "All Time Low." With its relentless "low-low-low-low-low" chorus, the electronic-fused pop confection scored Bellion his first major hit — as a solo artist, that is.

Prior to Bellion's breakthrough with his debut solo single, he'd already made a name for himself behind the scenes by writing and producing songs for the likes of Eminem, Jason Derulo, Zedd and CeeLo Green. And in the seven years since "All Time Low" became a top 20 hit, he's celebrated plenty of other smashes with some of pop's A-listers from Christina Aguilera to Justin Bieber.

This year alone, he worked with the Jonas Brothers to executive produce their statement-making record The Album, helped shape Maroon 5's "Middle Ground" — which is expected to be the lead single off the veteran pop-rockers' forthcoming eighth studio album — and teamed up with Switchfoot for an orchestral 2023 update of the band's 2003 breakout single "Meant to Live."

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Bellion's most recent work can be heard on Tori Kelly's new self-titled EP tori, which dropped July 28. Along with producing the project, Bellion joined Kelly for a magnetic, electro-tinged track titled "young gun." Upon the EP's release, Kelly herself noted Bellion's impact, calling their collaboration "the start of something really special."

In honor of Bellion's latest project, take a look at nine songs you may not have known contained Bellion's signature touch — a roadmap to his becoming one of the most in-demand producers of the moment.

Eminem feat. Rihanna — "The Monster"

One of Bellion's earliest smashes came courtesy of Eminem — well, and Bebe Rexha. The pop singer penned the track's dark hook while working on her debut album, but it later made its way to Eminem and eventually shapeshifted into his fourth collaboration with Rihanna. The song became the duo's second No. 1 collaboration following 2010's "Love The Way You Lie" and remains one of most monstrous hits in Bellion's career.

Jason Derulo — "Trumpets"

Jason Derulo worked solely with Bellion on this top 20 hit from his 2013 Tattoos, which was later re-packaged as 2014's Talk Dirty. Built around an irresistible horn line of, yes, literal trumpets, Bellion and Derulo concocted a bouncy, flirtatious symphony to smoothly objectify the R&B singer's lady love, and manages to name drop Coldplay, Katy Perry and Kanye West over the course of just three minutes and thirty-seven seconds.

Christina Aguilera feat. Demi Lovato — "Fall in Line"

Bellion handled production on Christina Aguilera's fierce 2018 team-up with Demi Lovato, "Fall in Line," off the former's 2018 LP Liberation. Behind the boards, Bellion effectively captured all of the feminist rage and empowerment that the two vocal powerhouses lit into their lyrics, pairing their sneering vocals with a vamping strings section, rattling chains and a robotic male overlord futilely demanding, "March, two, three, right, two, three/ Shut your mouth, stick your ass out for me."

"Fall in Line" scored a nomination for Best Pop Duo/Group Performance at the 2019 GRAMMYs, marking Aguilera's twentieth career nod and Lovato's second. 

Maroon 5 — "Memories"

To kick off their seventh album, JORDI, Maroon 5 enlisted Bellion to co-write lead single "Memories." The gentle ballad found frontman Adam Levine mourning the loss of a friend, pouring one out over a lilting reggae-pop line that cleverly samples Johann Pachelbel's "Canon in D Major." While the heartfelt song is dedicated to the band's longtime manager (and namesake of the LP) Jordan Feldstein, who tragically passed away in 2017 due to a blood clot, the relatable sentiment of "Memories" helped it peak at No. 2 on the Hot 100.

In addition to "Memories," Bellion also worked with the band on two other songs from JORDI, co-writing fourth single "Lost" as well as Anuel AA and Tainy collab "Button." Three years later, he would reunite with the band to co-write and co-produce their latest, equally delicate single "Middle Ground" alongside the likes of Andrew Watt and Rodney Jerkins.

Miley Cyrus — "Midnight Sky"

Miley Cyrus came raring into her glam rock-inspired album Plastic Hearts on the back of "Midnight Sky," an unapologetic statement of independence following her split from longtime love Liam Hemsworth. Dripping in sultry synths, the power ballad took a page from '80s rock icons like Joan Jett, Debbie Harry and Stevie Nicks.

The sound was an entirely new one for Cyrus — which is one of Bellion's tools when working with a new superstar for the first time. In a 2023 Billboard interview, he likened his approach to inventing a new kind of ride for the given A-lister. "They have already built an amazing theme park: millions of people go to it and experience their roller coasters," he said. "They put me in charge of revamping or creating a new section of the theme park, and they let me be the foreman of it all." The new style worked in Cyrus' favor, and earned Bellion yet another top 20 hit on the Hot 100.

Justin Bieber — "Holy"

Bellion's fingerprints are all over Justin Bieber's 2021 album Justice, starting notably with its Chance the Rapper-assisted lead single "Holy," which he both co-wrote and co-produced. The superproducer contributed to six other songs on the pop-driven LP — including the pop radio No. 1 "Ghost," which was inspired by Bellion's late grandmother — as well as three deluxe tracks. And though Bellion didn't have any credited features, his voice can still be heard: he offered background vocals on seven of the songs.

Justice earned Bellion his very first GRAMMY nomination, as the project was nominated for Album Of The Year at the 2022 GRAMMYs (Bieber also received seven other nods). 

Selena Gomez — "My Mind & Me"

Bellion first collaborated with Selena Gomez on Rare album cut "Vulnerable" alongside Amy Allen, Michael Pollack and The Monsters & Strangerz. Two years later, the entire team reunited for the title track to the pop singer's Apple TV+ documentary My Mind & Me.

Bellion and co. helped Gomez tap even further into the most vulnerable side of her psyche to date. "Vulnerable" saw Gomez letting her guard down with a new flame, but "My Mind & Me" allowed her to completely lay bare her mental health journey. "Sometimes I feel like an accident, people look when they're passin' it/ Never check on the passenger, they just want the free show," she sings. "Yeah, I'm constantly tryna fight somethin' that my eyes can't see," over spare guitar and piano.

Jonas Brothers — "Waffle House"

After the success of their 2019 comeback album Happiness Begins with producer Ryan Tedder, the Jonas Brothers recruited Bellion to helm the boards on their 2023 follow-up The Album. The producer helped the hitmaking siblings tap into a new facet of their pop-rock sound, finding inspiration in the '70s music their dad raised them on. (As Joe Jonas told GRAMMY.com upon the album's release, Bellion "was saying exactly what we were hoping for" when they first met to mull over ideas.)

While Bellion had a hand in every song on The Album, second single "Waffle House" is the latest to earn both him and Jonas Brothers a top 15 hit on pop radio. Bellion also serves as the one and only featured artist on The Album, coming out from behind the boards and into the vocal booth for bombastic closer "Walls."

Tori Kelly — "missin u"

Tori Kelly first linked up with Bellion thanks to Justin Bieber, as the pair worked together with the Biebs on tender bonus cut "Name" from the Justice sessions. So, when it came time to launch a new era with her self-titled EP tori, the songstress turned to Bellion to help bring her vision to life.

On lead single "missin u," the two-time GRAMMY winner throws the guitar-driven singer/songwriter vibes of her past work out the window in favor of a sleek R&B sound reminiscent of the early 2000s. The sonic gear shift is a natural fit for her lithe voice as she replays a romance that "was rainin' purple skies in my room." Somehow, Kelly even manages to outdo the vocal acrobatics of "missin u" with a deliriously brilliant "R&B edit" that adds even more layers, soul and vocal flourishes to the single.

"When I first started working with Jon Bellion, we were just beginning to scratch the surface on a new sound that truly felt like my own," Kelly explains in a video celebrating the release of her self-titled EP tori. "I know that I'm gonna look back on this collaboration as the start of something really special." As for Bellion's thoughts on his latest project? "Tori Kelly's the greatest vocalist of all time!"

Ariana Grande's Musical Growth In 15 Tracks, From "The Way" To "Positions"

Four years into his career, Teddy Swims made a promise to himself to be more honest. With that in mind, he decided to be unflinchingly real with his debut album title: I've Tried Everything But Therapy.

While the title may be true for now, Swims is incredibly vulnerable. Across 10 tracks, he divulges the raw emotions of heartbreak, from reeling over what could've been in opener "Some Things I'll Never Know" to leaning into new love — while still in repair — on closer "Evergreen."

"It's the most honest I've ever let myself be," Swims, born Jaten Dimsdale, says of the album. "I'm proud of it, and I'm proud of myself. And it's a f—ing relief to just get it off my shoulders."

For someone who bares his soul in his music, both lyrically and vocally, it's rather surprising to think that he wouldn't be the type for therapy. But now that the album is out, his next step is seeking professional help — another promise he made to himself upon choosing the candid title.

In the meantime, Swims is already seeing the impact of being more and more open in his music. "Lose Control," the album's lead single, has earned Swims his first entry on the Billboard Hot 100 and first solo radio hit (in 2022, his Meghan Trainor collab "Bad For Me" reached No. 15 on Billboard's Adult Pop Airplay chart). But perhaps more notably, his powerful vocal runs on the song's dynamic chorus are stopping listeners in their tracks. As one YouTube commenter put it, "Man has a voice that speaks to the core of your soul."

Just before the album's arrival, Swims talked with GRAMMY.com about how I've Tried Everything But Therapy has helped him understand the impact of wearing his insecurities on his sleeve — and how his bewitchingly soulful voice ties it all together. 

How does this album feel different from what you've put out before this, whether it's lyrically or sonically, or even how you feel mentally based around the process?

I feel like this is maturity. I can listen to these songs and I feel proud of them. 

Everybody kinda doesn't like their own voice, you know? But I feel like I belong on those songs, and nobody could say what I needed to say the way I could say it. I feel like I'm saying something that I need to say and get off my chest in an entirely different way than I ever have. 

I'm kind of an emotional toddler. I'm getting more of a grasp on what I want to say and how to say it, how to talk about my feelings more. I feel like the more I do it, the longer I do it, the more honest I become, the more I get out of the way of things. I'm learning to get out of the way and let the creative flow just be what it is now.

Going into writing this album, like, what were you going through? And did you have a goal in mind about what you wanted the album to be?

I really didn't know at the time. In the last four years, I've written maybe four or five hundred songs. I didn't write it knowing that it was an album, or write it knowing that this was going to be the album; but more so, when it started coming together, it just felt like things fell into place. 

I realized that I've been circling around the same feelings and emotions for a very long time. It's always about — I was in a very toxic relationship, and I have been a lot in my life. This is me kind of learning that I can be loved, and that I am beautiful, and I deserve love. That's kind of what the struggle is and always has been.

The album title is interesting to me, because so many artists compare songwriting to therapy. But has songwriting always felt like therapy for you? 

Songwriting can be therapeutic if you have a feeling that you need to get out, and you write that feeling down, and you get it out. But what I tend to do a lot in my life, I'll write it down into a song, and then I'll write it into another song from a different perspective. And I'll write it down 100 different ways, in 100 different perspectives, to the point that it ends up that that small problem has now turned into the biggest problem in my life, because I've thought about so many different ways. 

Instead of being more therapeutic, [songwriting has] been more of a way of highlighting what I'm going through, sometimes way too much.

The title itself was kind of a promise to myself that I would go to therapy when the album comes out. I think it's something that everyone can benefit from, especially me. But there's still something about me — maybe it's a generational mindset, like, I'm not crazy, I don't need that, or maybe there's answers to questions I don't really want to ask that I'm gonna get. 

I like my coping mechanisms. I like how I am and who I am when I do cope. So there's a part of me that's afraid that I'll have to change.

But I made a promise to myself, put a deadline on myself where I'll go and I'll seek help, and I'll try. It's also me being honest and open about that, to you and to everyone, that I'm like, "I need help, that's okay." I'm gonna ask for help, and that's a liberating and equally terrifying thing.

The nice thing is, there has been a lot more public acceptance of mental health in recent years. How have you felt that change since you started releasing music, and how has it impacted your songwriting?

I think what's so great about our industry these days is that I'm not held to the same standard as, like, Stevie Wonder or Michael Jackson, where I have to be such a star, and you don't know anything about me. These days, as an artist, I get to be absolutely insecure and absolutely terrified, and it's what makes my artistry beautiful. And people that feel the way I feel can look at me and say, "That guy's so insecure, and he's so scared. But he's doing it, and we want him to win." 

I don't want to swallow my insecurities. I don't have to wait until I feel like I'm worthy of love to put myself out there. Every bit of insecurity, and everything that's going on in my life, I'm allowed to just wear it and put it on for everybody to see. That has helped me in more ways than me trying to be anything I'm not.

You've said that for a long time, you worried about giving too much of yourself in your music, but seeing people connect to the music has made you realize it's actually making a difference. When did you start realizing that? 

I am very lucky — every show we do, I have a meet and greet where I can talk to 100 people, and they tell me things that have changed their life, ways that I've affected them, and the ways that I've touched their lives. 

I also want them to know that I'm just that fat kid from Rockdale County, Georgia, and still feels like that. And they make me be able to be honest and have an outlet to turn my trauma into something positive in me. 

I feel like I learn it more and more every day that I am in a safe space, and I've created a safe space for people, and I become safer in that all the time. And I'm becoming more honest with myself, with them, in the safe space. It's just sacred, you know?

Was there a song of yours that kind of opened that up for you, because of the way that people connected to it? 

I've had a few like that, but "Simple Things" that I released on one of my EPs is still a song I sing all the time. I thought the verses were only specific to my life and what I was going through — that was the first time I was honest, and I wrote from only what I was going through specifically to my life, and that connected and did more for people than anything I did [previously]. 

You've said that you're insecure, but would you consider yourself an introvert?

I think the more that I do this, the more I become one. I used to be the biggest extrovert in the world, but the more I do this job, the more I have to be social, I feel myself becoming more of an introvert. 

Well, I brought that up because so many artists consider themselves introverts, when you are pouring your heart out in music that is then heard by thousands, if not millions, of people. Has that dichotomy ever crossed your mind? 

Yeah, but that's kind of why I think I've become more introverted, because I gotta figure out what's still mine or if there should be anything that I should hold to myself. That is the question: What is still for me, or should there still be anything just for me?

That's so interesting to think about — I've never really thought about the battle that an artist can have when they share so much. Because it's like, at that point, you're so exposed, how are you even supposed to function as a private person in any regard? 

Yeah. You figure it out, you let me know. [Laughs.]

It's cool that you're feeling so proud of this album, though, because I'd say that means that you haven't gone too far. 

It's the most honest I've ever let myself be. And I don't feel exposed — I just feel like I said what I needed to say.

I've heard that I've Tried Everything But Therapy is coming in multiple parts and this is just part one. Is that true?

Yeah, we're planning on part two, but I don't know what that looks like yet. But I want to put out more music. And I think I want to come from a different place of what I've learned from how I've healed. I just don't feel like this story's done yet. 

But you said you're going to start therapy after this album releases — so you're going to release a part two of I've Tried Everything But Therapy after you've been in therapy?

Yeah, I guess that doesn't make sense. But it will!

It would be kind of interesting to have part two be the response to therapy after you have done it.

Yeah, exactly. That's the vibe. Maybe we just go straight to part three and skip part two altogether. 

Before you even released part one, people were going crazy over "Lose Control" because of how soulful you sound on it. When did you realize you had such a captivating voice?

It wasn't really a realization — I was bad for a long time. But I love this, and I wanted this, so I worked hard to become good at it. I wanted to be the best I could at it, because using my voice means everything to me, and I want to know how to do everything I can with it. 

Well, you're doing something right, because people are exclaiming about it left and right. I saw a comment on one of your Instagram posts that said, "I just threw my shoe across my damn office, you better sing!" Do you feel the power of your own music?

I know, technically and dynamically, I am a good singer. When I listen to myself, I can't say I can't sing, because it's all there. Any singer or vocal coach could tell "That kid knows what he's doing. He can sing his ass off." 

But also, there's part of me that still doesn't like my voice, too, just like anyone else. And I think that might be why I became so good at it. Because I want to hear it and be like, "Well, you can't tell yourself you ain't good, 'cause that was f—ing — that takes skill." I've learned enough to know that I can't tell myself I'm bad. [Laughs.]

And I have to say, I've been impressed with all of the people you've posted singing their own versions of "Lose Control."

People can sing! And people have been writing verses to it too. The love on it has been so rewarding.

I feel very justified [that the music] is connecting. I feel like it's already helping. I feel very humbled, appreciated and loved.

On 'Super Over,’ Leah Kate Offers Advice On Cutting Off Toxic Relationships

From the moment Justin Timberlake first stepped into the spotlight at just 11 years old, his star power was strikingly apparent. Initially dabbling in country music on Star Search, he further displayed his knack for performing on The Mickey Mouse Club in 1993 and 1994 before being  recruited for the boy band *NSYNC in 1995 — and soon, he was on his way to pop domination.

As the group's popularity soared and they sold over 70 million records worldwide, so did Timberlake's solo appeal. With his curly blond hair and falsetto that would make Michael Jackson proud, he became a defining figure in the late '90s/early 2000s zeitgeist. He took the lead in several *NSYNC songs and progressively developed his songwriting skills, hinting to the world that he was a star of his own right. 

By the time <em>NSYNC halted in early 2002, Timberlake's solo career was not a mere possibility, but an undeniable next step. A few months later, he released his debut album, Justified*, which set the stage for one of the most innovative, defining artists of his time. In the two decades since, Timberlake has released five studio albums (with a sixth reportedly on the way), sold more than 88 million records, collaborated with the likes of Jay-Z and Madonna, and won 10 GRAMMYs. It's hard to imagine pop music today without his contributions.

Although Timberlake has periodically taken some time off music to focus on his family, acting and producing, a comeback was always around the corner. Last week, for example, he reunited with *NSYNC at the 2023 MTV Video Music Awards and confirmed the release of their first new song in 20 years, "Better Place," out Sept. 29. 

He also recently reunited with Nelly Furtado and Timbaland for "Keep Going Up," the long-awaited follow-up to their 2007 smash "Give It To Me." Timbaland — a longtime collaborator of Timberlake's — further teased what's to come for JT, telling Variety that Timberlake's next album is "finished up" and sounds like "FutureSex/LoveSounds part two."

To celebrate these upcoming chapters, as well as Timberlake's boundless creativity, GRAMMY.com looks back at the most defining songs in his trailblazing career.

"Pop," Celebrity (2001)

A response to all the animosity surrounding the success of late 90s' boy bands, "Pop" gave us *NSYNC at their most "no strings attached." Composed by Timberlake in partnership with choreographer, director, and songwriter Wade Robson, it blended electropop, metal riffs and Timberlake's signature beatboxing into a thrilling, limitless portrait of what being a pop star really means.

"It doesn't matter/ 'Bout the clothes I wear, and where I go, and why/ All that matters/ Is that you get hyped, and we'll do it to you every time," Timberlake sings in the pre-chorus. As the first single off <em>NSYNC's last album, 2001's Celebrity*, "Pop" foreshadowed key elements of Timberlake's burgeoning success — setting sights on his impending, hit-filled solo career.

"Gone," Celebrity (2001)

Another collaboration between Timberlake and Robson for Celebrity, "Gone" remains one of the most stirring ballads of the new millennium. Originally written for Michael Jackson, who passed on the offer — but later regretted it, as Timberlake told Oprah's Master Class Podcast in 2014 — "Gone" was the first and only *NSYNC single where Timberlake sings all the lead vocals and plays the music video protagonist.

Although its success led to a nomination for Best Pop Performance by a Duo or Group with Vocals at the 2002's GRAMMY Awards, the song unveiled uncomfortable feelings about the future of the group. If *NSYNC were to halt activities, it laid bare the fact that Timberlake could survive — and thrive — as a soloist just as well.

"Like I Love You," Justified (2002)

As many suspected, <em>NSYNC did go into a hiatus after the release of Celebrity, and Timberlake's much-anticipated solo debut came shortly after. In November 2002, he released the studio album Justified*, spearheaded by lead single "Like I Love You."

Pairing his penmanship with producer duo the Neptunes, Timberlake found an exquisite recipe to express himself. "Like I Love You" posed a sleek introduction to a fully-developed star, mixing funk drums, pop beats, Spanish guitars, sultry falsettos, and a participation by hip-hop duo Clipse. Coincidentally landing the same spot on the Billboard Hot 100 as "Gone" at No. 11, "Like I Love You" showed that Timberlake was able — and ready — to hold his own.

"Cry Me a River," Justified (2002)

If "Like I Love You" was an introduction to Justin Timberlake the soloist, follow-up single "Cry Me a River" cemented him as 2002's main character. A vengeful opera inspired by his former (and very high-profile) relationship with Britney Spears, Timberlake showed his spiteful side — one that would later resurface on his second album, FutureSex/LoveSounds.

The poignancy of his feelings is aided by producers Timbaland and Scott Storch, who crafted a haunting synthscape filled with wails and warnings. In the music video, Timberlake finally sheds his good-boy image, breaking into a Spears look-alike's mansion to film steamy moments of himself with another woman. 

On top of giving the audience much to think about, "Cry Me a River" gave Timberlake one his first two solo GRAMMY Awards in 2003: the song won Best Male Pop Vocal Performance, and Justified won Best Pop Vocal Album.

"Señorita," Justified (2002)

Justified offered hit after hit, and although "Señorita" wasn't the biggest (it peaked at No. 27 on the Hot 100), it's still a Timberlake staple. The song highlighted Timberlake's commitment to go beyond expectations, as he created his own deconstructed salsa, pushing and pulling vocals around the Neptunes' unmistakable drum beats and Stevie Wonder influences.

While singles like "Rock Your Body" may have found more popularity, "Señorita" and its odd little strutting intro is instantly recognizable — and remains one of Timberlake's best displays of the fun he has in the studio . The call-and-response section at the end, where Timberlake directs "the fellas and the ladies" to sing in different vocal tones, is the cherry on top of it all.

"SexyBack," FutureSex/LoveSounds (2006)

Four years after Justified, Timberlake returned raunchier than ever: "I'm bringing sexy back," he sings in the opening line of "SexyBack," unknowingly birthing 2006's ultimate catchphrase. The first single off his highly-acclaimed sophomore album, FutureSex/LoveSounds, "SexyBack" became Timberlake's first No.1 song on the Billboard Hot 100, and further solidified the finesse of his collaborations with Timbaland.

Scurrying through a suffocating dance floor, "SexyBack" distorts everything it touches, creating a cybernetic atmosphere where Timberlake will both "let you whip me, if I misbehave" and make you "watch how I attack." Timbaland's low vocals bounce off Timberlake's high-pitched lines and make for a breathless, sweaty run.

"My Love," FutureSex/LoveSounds (2006)

Timberlake achieved his second consecutive Hot 100 No.1 with "My Love,"  a song that has been defined by many as the sequel to "Cry Me a River." Although borrowing from the same insistent staccato beats, "My Love" is rather a happier, snappier version of it. Gone is the desire for retaliation — Timberlake is now focused on the sweet highs of a promising relationship.

"All I want you to do is be my love," he sings over masterful production by Nate "Danja" Hills and Timbaland, who infuse the track with quirky distortions, beatboxing and a slow beat juxtaposed to Timberlake's frenzy. Atlanta rapper T.I. also adds contrast to the track, delivering a stack of verses that contrast Timberlake's lyrics and add to the multifaceted perceptions of love. If Timberlake's lines represent one's heart soaring with possibility, the other elements of the song keep it grounded, reminding us that true love runs steady.

"What Goes Around... Comes Around," FutureSex/LoveSounds (2006)

The true "Cry Me a River" sequel lays on the grandiose "What Goes Around... Comes Around." Despite the single's lofty arrangements and a cinematic music video starring Scarlett Johansson, Timberlake is still heartbroken.

However, instead of seeking revenge by his own hands, he now trusts karma to take care of his lover's wrongdoings. The circular, haunting motifs of the lyrics are repeated through synth loops and Turkish strings.

"What Goes Around... Comes Around" is one of FutureSex/LoveSounds' standouts, bridging the catchy sounds of Justified with more experimental nuances. It also seemed to resonate with listeners, as it landed the singer his third consecutive chart-topper.

"LoveStoned," FutureSex/LoveSounds (2006)

While violins surely can provide a sultry mood, it's not often that they will be paired with beatboxing and funky bass — which makes "LoveStoned" a peculiar feat.

One of Timberlake's most provocative tracks off FutureSex/LoveSounds, it could also be defined as a bolder cousin to 2002's "Rock Your Body" due to its rushing, disco-esque energy. Along an easygoing progression, it carries Timbaland's trademark vibes and fiery lyrics about what the internet would call a "baddie" nowadays ("She's bad, and she knows," Timberlake sings).

Originally named "LoveStoned/I Think She Knows (Interlude)," the track swiftly slows down in the last two minutes, where an Interpol-inspired guitar solo flourishes, offering a hazy conclusion to an innovative pop expedition.

"Suit & Tie (feat. Jay-Z)" The 20/20 Experience, (2013)

After wrapping up his highly successful FutureSex/LoveShow world tour in 2007, Timberlake took some time off to focus on acting and producing for other musicians. Following a six-year musical hiatus, he released his third studio album in 2013, The 20/20 Experience, led by the steamy "Suit & Tie," featuring rapper Jay-Z.

The single is anchored by samples of Sly, Slick and Wicked's 1972 song "Sho' Nuff" and swirls around a matured, glistening R&B production by Timberlake, Timbaland and J-Roc. It's the most sophisticated that Timberlake has sounded, accompanied by a fittingly classy, black-and-white music video — which won a GRAMMY for Best Music Video in 2014.

"Mirrors," The 20/20 Experience, (2013)

The second single off The 20/20 Experience, "Mirrors" was written back in 2009 and inspired by Timberlake's relationship with wife Jessica Biel, as well as his grandparents' six-decade marriage. Although the sounds harken back to "Cry Me a River" at times, the lyrics reveal that Timberlake is no longer bitter, but instead very much in love: "Now, you're the inspiration of this precious song/ And I just wanna see your face light up since you put me on/ So now I say goodbye to the old me, it's already gone."

Paired with an emotional music video, "Mirrors" is a defining landmark in Timberlake's discography, showing how personal growth impacted his music for the better. Alongside trusty producers Timbaland and J-Roc, he proved that it's possible to turn an eight-minute prog-soul aria into a timeless, effortlessly catchy love song.

"Drink You Away," The 20/20 Experience – 2 of 2 (2013)

Six months after the release of The 20/20 Experience, in September 2013, Timberlake dropped the second half of the album, The 20/20 Experience – 2 of 2. Out of its four singles (which also included "Take Back the Night," "TKO," and "Not a Bad Thing"), "Drink You Away" stands out for its adventurous streak.

Here, Timberlake recalls his Southern roots, spinning a pop twist on Memphis soul and country rock riffs. "I've tried Jack, I've tried Jim/ I've tried all of their friends/ But I can't drink you away," he sings, matching love pains to alcoholism. Once again working with producers Timbaland and J-Roc, he daringly explores new scenarios, ultimately proving that his talents can't be restrained. (The track also teased Timberlake's later collab with country crooner Chris Stapleton, as the pair mashed "Drink You Away" with Stapleton's "Tennessee Whiskey" at the 2015 CMA Awards.) 

"CAN'T STOP THE FEELING!," Trolls (2016)

Timberlake's career may have firm pillars in experimentation, but 2016's "CAN'T STOP THE FEELING!" showed that he is also a master in well-rounded bubblegum pop. In 2016, after voicing the character Branch and serving as the executive music producer for the movie Trolls, Timberlake worked with Max Martin and Shellback for the soundtrack's lead single.

The result was a simple, yet contagiously happy disco track that quickly hit No. 1 on Billboard's Hot 100, followed by several other countries' charts. "CAN'T STOP THE FEELING!" was also the top-selling song in the U.S. that year according to Nielsen Music's Year-End Report, and quickly achieved an omnipresent status; the song remains a global staple today.

"Young Man," Man of the Woods (2018)

After another long break between albums, Timberlake released his fifth LP, Man of the Woods, in 2018. The title references the meaning behind his firstborn son's name, Silas, and features some of his most experimental trials to date, despite enlisting the same longtime producers like the Neptunes and Timbaland.

As Timberlake's personal life changed with marriage and parenthood, so did his music. He plunged even deeper into his Tennessee origins and the country music of his childhood, as evidenced in singles "Filthy," "Supplies," and the Stapleton-featuring "Say Something."

However, the most essential song to understand Timberlake's current moment is the sweet, deeply personal "Young Man." It closes the album on a vulnerable note, showing the singer not as a superstar, but as a devoted father passing on his teachings. Vocal snippets from both Silas and Jessica Biel make it even more special, framing a fleeting moment into eternity.

After seeing Timberlake grow from a teenager himself to raising his own family, there's a full-circle element coloring his next steps with much expectation. What will be his next reinvention? If Timbaland's words are true, luckily we won't have to wait too long to find out.

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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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Seven years into their career, Switchfoot were only beginning their legacy.

On Feb. 25, 2003, the rock group released their fourth album, The Beautiful Letdown. The project marked their first on a mainstream record label, Columbia Records, an "interesting" move in frontman Jon Foreman's eyes because the album was "so spiritually driven." A Christian band at heart, Switchfoot had released their first three albums through Universal Music Group's Christian imprints Re:Think and Sparrow Records — and it was time for mainstream audiences to hear their message.

Though the album wasn't an instant success — it debuted at No. 85 on the all-genre Billboard 200 albums chart — The Beautiful Letdown has undoubtedly become Switchfoot's staple record and spawned hit singles "Meant to Live" and "Dare You To Move" (the latter of which got a second life after initial placement on their third LP, 2000's Learning to Breathe). That a Christian rock band broke through while the likes of 50 Cent and a newly solo Beyoncé dominated was inspiring to many up-and-coming acts. 

Twenty years later, some of those artists have left their own stamp on The Beautiful Letdown. Out Sept. 15, The Beautiful Letdown (Our Version) [Deluxe Edition] is a 25-track reimagining of Switchfoot's breakthrough album featuring re-recordings by the band themselves, as well as covers from hitmakers Jonas Brothers, Twenty One Pilots, Jon Bellion and more.

"We weren't so sure about it. I mean, it's a strange thing to do, revisit songs that you crafted when you were so much younger," Foreman says of the concept, which was first pitched to the band by some close friends. "But the idea was intriguing — what these heroes and friends of ours would turn these songs into if they were given complete control."

As Foreman recalls, the group initially planned on having the reimagined tracks be an EP. But before they knew it, every track on the album — including a B-side, "Monday Comes Around" — was spoken for.

Calling the project "a true honor," Foreman also notes that hearing artists his band inspired put their own spin on The Beautiful Letdown has brought new life to the songs. Like Bellion's version of "Meant To Live," which Foreman listened to while watching the sunrise in Perth, Australia: "I had tears in my eyes hearing this song that I've played a thousand times as if I was hearing it for the first time." 

Below, eight of the artists who were part of The Beautiful Letdown reimagining — Ryan Tedder of OneRepublic, Noah Gundersen, Adam Young of Owl City, Sloan Struble of Dayglow, Ingrid Andress, Ryan O'Neal of Sleeping At Last, Matt Thiessen of Relient K, and Caleb Chapman of Colony House — detail how their cover came together, and the impact that Switchfoot has made on their own careers.

Why did you choose to cover the song you did, and why is it important to you?

Ryan Tedder, OneRepublic: ["Dare You To Move"] came out right when I was trying to figure out if I wanted to be a solo artist or start a band. There hadn't been a lot of alternative-sounding bands that were having success in the mainstream, but still felt cool to me and authentic and had actual messages to their music. Also, they were raised in the church like I was. I didn't want to be a CCM [contemporary Christian music] artist because it felt too limiting, and Switchfoot was a group that I knew came from the same background, but was having success in the mainstream with just great music.  

That song came out at exactly the time I needed to hear it. Even the message behind "Dare You to Move." I was so nervous about moving to L.A. for the first time. That song came out and I literally picked up and moved. That song has a lot of meaning to me. 

Noah Gundersen: "Dare You To Move" was already taken! "This Is Your Life" has one of those timeless radio rock choruses that feels both familiar and brand new every time you hear it. I also think the sentiment of being responsible for your own happiness really resonates with me.

Adam Young, Owl City: I really relate to the fact that the physical things on planet Earth that we as humans desire are ephemeral. Fame, wealth, beauty, success… those can make you happy for a time, but none will ultimately satisfy you because they don't last forever. I think the point of "Gone" is that the only thing that does last forever is your soul, so ensuring that you store your treasures in heaven, where moths and rust can't get at them, is an enduring piece of wisdom. It's a truth that inspires me. 

Sloan Struble, Dayglow: When I was about 5 years old, my older brother showed me Switchfoot. I'd listen to his (probably illegally burned) copy of The Beautiful Letdown every day on his portable CD player. I remember thinking this record just embodied "cool." 

"Adding to the Noise" was always a favorite to me because of its stick-it-to-the-man undertone. What 5-year-old doesn't love poking fun at consumerism and big tech?

Ingrid Andress: The guys actually picked “On Fire” for me to sing — it worked out great, because that's one of my favorite songs on the album. It's such an emotionally vulnerable song, and I've always been drawn toward that kind of music. I remember singing along to it in my room when I was growing up, so it was a really amazing full-circle moment for me when Jon asked me to sing it!

Ryan O'Neal, Sleeping At Last: When Jon called to invite me to sing on "Monday Comes Around," I think I blurted out a "yes" before he finished asking. I am a forever Switchfoot fan. "Monday Comes Around" is a great song with a gorgeous melody and I was beyond honored to be welcomed into the reimagining of it!

Matt Thiessen, Relient K: Switchfoot requested that we cover "Ammunition" specifically. However, [Relient K's lead guitarist Matt] Hoopes and I were talking about it in the car the other day, and we said we would have picked it over any other number from TBL. I always loved the energy of the song. It has a tinge of pop-punk flavor that especially appealed to me at the time the album was released.

Caleb Chapman, Colony House: Well, I got a phone call from Jon asking if we'd be up for recording "Redemption" specifically, so the song chose us, I suppose. We just couldn't believe we were going to get to be part of such an iconic project celebrating an album that impacted our whole band so profoundly.

Any fun memories from reimagining the song and/or recording it?

Tedder: I recorded on a tour bus, so my most fun memory was that we had to turn the air conditioning off. It was in the summer and we were in Texas or something. We had to kill the generator so there wouldn't be the sound of an engine running in the background. I probably lost three pounds from sweating while I was recording the song because it was unbearably hot. We were trying to keep the laptop from overheating and all my gear from shutting down. It was kind of a feat to pull that off [Laughs]. 

Gundersen: It was a lot of fun digging through the original stems for this tune. Hearing Jon's solo'd vocals, along with some of the cool and weird little ear candy that got buried in the original mix. Imagining what the process was for each one of those little parts, knowing that they are all significant in their own way.

Young: I recorded a lot of random objects around my house and cut them up into tiny microscopic samples and used them as layers in the drum sounds on the track. Silverware, door handles, ice chunks, an antique Victrola. I cut down most of the sounds I recorded and only left the attack in each sample. This left me with a palette of extremely short click sounds that made great layers for snare drums, kick drums, clap sounds, etc. I had a lot of fun with this during the recording process.

Struble: Tim [Foreman, Switchfoot's bass guitarist] and I met through a mutual friend, and we got to hang out for the first time in San Diego while I was passing through on tour. That was the first time I ever went surfing, and it was with a childhood hero of mine. If that wasn't already an epic day enough, he asked me after if I'd want to cover a song for the record. It was such a personal full-circle, mind-blowing moment.

Andress: I just remember thinking the whole time Sam Ellis and I were making it, "Don’t f— it up. Don’t f— it up." The song was already perfect. I'm glad we found a way to still keep the integrity of the song while adding my own spin on it. Once I got past the nervous part, I had so much fun diving in!

O'Neal: It was an instant joy to get to sing. Jon and Tim recorded the track and I couldn't help but smile during my entire vocal recording session.

Thiessen: Oh yes. First of all, the assignment was a catalyst for Relient K getting together for the first time in over a year. What a gift. We were able to rehearse and record in conjunction with Dark Horse Academy in Franklin, Tennessee. Basically, there were students helping, observing, and hanging throughout pre-production and the recording. We had a blast working in that environment. We also used the opportunity to record an additional cover of Switchfoot's song, "Home," from their Legend Of Chin LP. 

Chapman: Funny enough, we were in the studio working on some music to celebrate the 10-year anniversary of our first album, When I Was Younger, when I got the call from Jon. It was perfect timing because we were already in the headspace of looking back fondly on the music that has brought us to where we are today.

What does Switchfoot and their music mean to you?

Tedder: I think aspirational is the term. They were a great, cool band with huge, cool songs right when I needed an example of just that to justify my own pursuit. Obviously I'm a fan of U2 and the Beatles and a lot of bands from decades before me, but Switchfoot was early 2000s — right when I was like, What do I do with my life? Can you be successful in a band in 2003 and what would it sound like? I needed a band like that at that exact moment in time. 

Gundersen: Growing up in a conservative religious home, Switchfoot was one of those bands who's message and identity was just vaguely Christian enough so as not to scare my highly sensitive parents, while still being far enough outside of the bland vanilla Christian music industry to actually be interesting. And the hooks are undeniable. There's also a kind of innocent hopefulness of the early 2000s that The Beautiful Letdown in particular seems to embody. 

Young: I have fond memories of Switchfoot's music all the way back 20 years ago. I was in high school at the time The Beautiful Letdown came out, and I remember I'd just gotten my first car. Having my own car meant my world got exponentially bigger, and I rejoiced at the new freedom made available to me. I listened to Switchfoot's music a lot in that car, and when I think back to that season of my life, which was very pivotal, I always think of Switchfoot.  

Struble: There was a time in my life when Switchfoot was one of three bands, probably, that I knew existed on the planet. Their music is just so core to my childhood and my upbringing. It lives deep in my brain. I've been a fan always, but it won't ever not feel nostalgic to me no matter what new music they make — it's like watching grunge-Mister Rogers or something for me. It will always remind me of learning to skateboard in my driveway and just being a little prepubescent punk.

Andress: I grew up in a conservative family that only allowed me to listen to Christian music. I would get so bored with all of it, so when Switchfoot came on the map, it truly changed my world sonically. A Christian band that plays cool rock music? I mean, come on. That was pretty different at the time, so it gave me inspiration to think outside the box when it comes to genres.

O'Neal: Back in 2000, Sleeping At Last had the privilege of being the opener at a Switchfoot show at a small venue in Illinois. Already a fan of their work, it was a huge opportunity to get to open up for a band I so admired. They were instantly lovely to me and my band and in some miracle of kindness, [Switchfoot's drummer] Chad Butler videotaped our set and shared it with his friends at record labels. 

I was — and still am — entirely blown away by such kindness to share some local band's music with others. A few years later, Switchfoot was sweet enough to extend an invitation to open up for them on their Beautiful Letdown US Tour. It was a first-ever Sleeping At Last tour and was such a pivotal and wonderful experience. 

Forever grateful to the Switchfoot family for their friendship over the years, and the incredibly generous encouragement they've given from the start of Sleeping At Last. To have the encouragement of your heroes is such a rare and special gift.

Thiessen: We met the guys in a gymnasium in Toledo back in '97. I can still remember the warmth in their eyes as they approached us and shook our hands for the first time. I've never known a band that are as kind, loving, and nourishing to everyone they touch. They've impacted RK and my life more than I'll ever know. 

Getting to play shows, festivals, and entire tours with them, while watching them intensely impact the world, has to be one of the most gratifying blessings of God that I've ever witnessed. I am so honored to be their friend and a big fan. 

Chapman: I could write a book with this kind of prompt. Since my brother and I were kids, we have dreamed of being in a band together. When Switchfoot's first album came out, my dad brought it home, put it in the CD player, and explained that there were two brothers in the band and that they made rock 'n' roll music! 

About a year later, we ran into Jon, Tim and Chad at a mall in Nashville and got to meet them and tell them that they were our favorite band. Fast forward to The Beautiful Letdown... I had a pre-release copy of the album and remember being in the locker room before PE class one day asking all my friends if they knew who Switchfoot was. Most of my friends had not heard of them yet. To anyone who said no, I simply responded with, "You will know who they are soon."  

Each one of us in the band has unique and powerful memories attached to this album and to this band. We are honored to now call Switchfoot friends and mentors. They have led a life and career full of artistic and personal integrity that has laid the groundwork that so many of us have tried to emulate. Their kindness is their legacy, and their intentionality is like a superpower. Their music is a reflection of their heart: bold, uncompromising, disarming, and powerful. You know what they say, right? "Never meet your heroes" — unless it's Switchfoot.

What is your favorite Switchfoot song and why?

Tedder: "Dark Horses" because it's an underdog anthem and I've felt like an underdog my whole life. 

Gundersen: "Dare You To Move." As a kid who struggled with depression and anxiety, this song was a sort of self-talk anthem for me. I think it instilled something in me and my own music, something about the duality of hope and struggle and one's own choice in how to engage with life. This feels like the essence of Switchfoot: hope, pain, and potential. 

Young: I'd have to say "Chem 6A." It was the first Switchfoot song I heard back in 1997, and I remember learning it on guitar. Memories like that are priceless to me.

Struble: I freaking love "Gone." I was hooked after the first time I heard that for years. And the fact that Owl City is covering it! That is so satisfying to me. Owl City and Relient K were both bands that I admired alongside Switchfoot, so to be on this record with them is just beyond special to me. I don't think I'll ever acknowledge it as reality! Maybe it's not, who knows!

Andress: It's hard to pick, but "This Is Your Life" is probably my favorite Switchfoot song. It gave me a sense of agency over my life when I was growing up and how important it is to be present in the moment. It was pretty high-concept for me at 10 years old, but it inspired me to go after things in life because it's the only chance we have to do it.

O'Neal: There are so many that I adore, but "Only Hope" is one of my favorite songs of all time. A rare song where every single element feels in its right place. The production somehow feels intimate and expansive at the same time, and the lyrics express a deeply personal and yet completely universal story. This song perfectly captures what Switchfoot does best.

Thiessen: "The Shadow Proves The Sunshine" is definitely one of 'em. "Company Car" always makes me really happy. I'm not a big "favorite" picker, but Switchfoot as a whole is definitely one.

Chapman: It's an impossible question. Too many songs over too many years. Switchfoot is not just another band to us. It goes deeper than what is our favorite song. In our eyes, their career is an arch that doesn't exist without every piece playing its part. Every song serves a purpose, and without it, the arch collapses. That's what makes them different. That's what makes them Switchfoot. 

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