It started as a mysterious announcement: an invite to an event deemed "a historic day that celebrates the past and future of ABBA."

Why this message was coming in September 2021, four decades after their gargantuan global success in the '70s, was an open question. As it turns out, there was a future of ABBA — and an auspicious one. 

The beloved band would release new music for the first time since 1982 in the form of the album Voyage. The project earned ABBA the first-ever GRAMMY nomination, thanks to the aptly-titled single "I Still Have Faith In You," up for Record of the Year. But in addition to being the group's highest-charting album to date — it debuted at No. 2 on the Billboard 200 in November — Voyage was emblematic of a '70s influence that had infiltrated contemporary music in full force. 

That's especially reflected at the 2022 GRAMMY Awards: In practically every nomination field this year, the sounds and sentiments of the '70s are thriving as boisterously as a pair of bell bottoms under a shimmering disco ball. From ABBA's inaugural nod to the musical voice of this year's most-nominated artist, Jon Batiste (who received 11 nominations across seven fields), it's an undeniable fact that everything old is new again. 

So why are the sounds of the '70s making such a triumphant return? One could argue that after two years of dour headlines and uncertainty, people are eager to remember times when society let loose and the culture was just unapologetically fun. Those two qualities are front and center in Doja Cat and SZA's downright fun "Kiss Me More," nominated for four GRAMMYS including Song and Record of the Year.

"I wanted to make a song about kissing," Doja matter-of-factly told Apple Music's Zane Lowe. "I just thought it would be cute. That doesn't happen too often, but just a song that's solely about kissing." How does one package up that blatant innocence in a musically joyous way? By infusing it with disco beat, of course, courtesy of Olivia Newton-John's "Physical" (though released in 1981, the single borrowed its buoyant vibe from the previous decade).

As ABBA, Doja and SZA have been bringing the disco era's pure pop sounds, Bruno Mars and Anderson .Paak's Silk Sonic dug into the soul and R&B of the time. The duo's acclaimed album An Evening with Silk Sonic takes a page from bygone acts like the Stylistics, the Spinners and the Manhattans. All of those groups who sang with deep passion, stacked melodies and slow-simmering rhythms. 

Silk Sonic's debut single, "Leave The Door Open," is a recipe for a bonafide throwback gem, with serious harmonizing buoyed by Mars' falsetto. Its '70s stylings clearly resonated: Along with topping several charts, "Leave The Door Open" is nominated for four GRAMMYS, including Record and Song of the Year.

Then there's Jon Batiste. He's the ceremony's most-nominated artist with a whopping 11 chances to win a prized trophy (including Record of the Year for "Freedom" and Album of the Year for We Are,) and the most acknowledged act since Kendrick Lamar scooped up 11 nods six years ago. (Only Michael Jackson and Babyface have been nominated for more GRAMMYS, once each scoring 12 nominations in a single year.) Much like Bruno Mars, Batiste's musical influences have a firm foundation in the past, specifically music popularized decades before his own 1986 birth.

"It has the classic feel I was trying to imitate when I was growing up," said Batiste in a recent interview of We Are's soulful, throwback and funky feel that could have been right at home smack in the middle of the 70s. "My mentors — Stevie Wonder, or Quincy Jones, who wrote the liner notes for the album — when they listen to it, they hear that in it." 

The recycling of former sounds is a story as old as the music industry itself, with long-antiquated genres popping up and taking culture by storm on a regular basis. These periods of renewed interest are akin to the revival of any sort of trend in music, fashion or otherwise. It often follows a formula: first something is cutting edge, then it becomes mainstream, sometimes resulting in a period of ultra-proliferation. During this phase, the trend morphs into passé, only to be forgotten about — and then subsequently rediscovered by some future generation. 

This oft-repeated cycle, which takes place over a period of 20 to 40 years, is another reason why the '70s are back. It even occurred during the actual 1970s, as the '50s came back into vogue in the wake of the Vietnam War and subsequent American political upheaval. Yearning for a simpler time, that innocence was found through the shows and music stemming from "Happy Days," American Graffiti and That's Entertainment taking over culture.

The 1960s had its comeback moment as well: At the turn of the century, pop had gone fully bubblegum and synthetic, paving the way for a '60s revival. By the mid-2000s, the spirit of the Motown era had returned; GRAMMY-winning artists like Amy Winehouse to Duffy brought soul back to pop radio, and the Beyonce and Jennifer Hudson-starring Dreamgirls revived the Motown story on screen. 

Even as the '70s influence is flourishing now, so is the emo music of the aughts. Elements of pop-punk are sprinkled across Olivia Rodrigo's Album Of The Year-nominated Sour (even sampling genre heavyweights Paramore in the hit "Good 4 U"); Halsey's If I Can't Have Love, I Want Power (up for Best Alternative Music Album) incorporates emo sounds in tracks like "Easier Than Lying."

Like ABBA, a few other veteran '70s acts earned GRAMMY nominations this year. AC/DC — who formed in Australia in 1973 and released a variety of acclaimed albums through the decade — received their first nominations since 2010. The group's 17th studio album, 2020's Power Up, is up for Best Rock Album, while its single "Shot in the Dark" also scored nods for Best Rock Song and Best Music Video.

Powerhouse vocalist Mavis Staples notched her 14th GRAMMY nomination — and her first for Album Of The Year — as a featured artist on the aforementioned Batiste's album, We Are. (Staples got her start in the '70s with family gospel/soul band the Staple Singers, who fully came into their own with a string of nominations in R&B categories from 1971 to 1973.) 

It's been well-documented that GRAMMY voting has continually been a push and pull between new generations of decision makers and the old guard. The nominating of bygone artists is as much about honoring a legacy as it is about a current place in the music landscape. 

Read More: For The Record: How AC/DC's 'Power Up' Continues Their Electrifying Legacy

The same push and pull is happening on a macro level with audiences whose very contemporary love for these past eras translates to streams and album sales. Case in point: AC/DC's Power Up debuted at No. 1 on the Billboard album charts, only the third time the band has ever achieved the feat.

Meanwhile, ABBA's Voyage not only enjoyed critical acclaim, but its No. 2 debut on the Billboard 200 marked the first top 10 album of the band's history. It's a long way from the days when ABBA were considered more of a guilty pleasure than icons in the making. Today, they're GRAMMY nominated and widely regarded as legends of the industry, no doubt a result of a changing, nostalgia-loving culture.

While there may be no exact explanation for the '70s making a comeback at this particular moment — even ABBA's Benny Andersson admits "I really don't get it" — Bruno Mars arguably encapsulated the decade's musical revival best in a 2021 Rolling Stone interview about Silk Sonic's process. "I don't know what year it is," he said. "I'm not looking at the charts. So we'd just come here every night, have a drink, and we play what we love."

How The Pandemic And Political Turmoil Inspired 2022 GRAMMY Nominees: Alicia Keys & Brandi Carlile, Foo Fighters & More

Mark Ronson's fingerprints are everywhere in pop music. 

Whether he's behind the board as a producer, penning earwormy hooks for some music's biggest names, or employing a crate digger's mindset to create his own records, you'd be hard-pressed to find something on your playlist that Ronson hasn't touched. The seven-time GRAMMY winner might as well be considered the industry’s Kevin Bacon — he's worthy of his own "six degrees" game. 

Today, Ronson is on his way back to New York City from some time spent in the Hudson Valley — a much-need reprieve after a blockbuster summer that saw his Barbie movie soundtrack top charts around the world. 

"I love this film so much and I did something I've never done before by executive producing and overseeing [its music]," he tells GRAMMY.com. 

That Ronson still has things to check off his professional bucket list is something of a surprise. The stepson of Foreigner guitarist Mick Jones, Ronson got his start DJing in New York in the '90s, bridging his twin loves of funk and hip-hop. In the latter part of the decade, Diddy hired Ronson to DJ several parties, thus opening up the then-twentysomething to a world of A-list talent. Ronson's elite status only grew over decades — from DJing Paul McCartney's wedding in 2011 (for which he refused to accept payment), to creating the ubiquitous hit "Uptown Funk," and curating the final night of the iconic 2023 Montreux Jazz Festival.

Ronson has released five of his own albums — beginning with 2003's Here Comes The Fuzz and up to 2019's Late Night Feelings — each of which is a star-studded affair, featuring everyone from Miley Cryus and Camilla Cabello to Bruno Mars and Mary J. Blige (as well as the occasional lawsuit over interpolation and sampling). Over the years, he's developed a cadre of session musicians and production collaborators, creating an incredibly pop savvy sound often built on horn-driven funk and soul.

At the bedrock of Ronson's production — and among his best-known works — is Amy Winehouse's GRAMMY-winning album Back To Black. Since that 2006 release, Ronson has collaborated with an ever-increasing number of major acts, composing, arranging, producing, writing or playing on (and sometimes all of the above) works by Lady Gaga, Duran Duran, Dua Lipa, Adele, Queens of the Stone Age, and even Sir Paul himself. 

Ronson will add another first to his list: author. A hybrid memoir and cultural history, the still-in-progress 93 'Til Infinity will cover the New York downtown club scene of Ronson's salad days. 

"It's really fun to revisit that era, and it was a very specific time in DJing where DJs weren't really famous," he recalls. "There was no stage; sometimes the turntables were shoved in the corner at the end of the bar and you would have to crane your neck to even see the crowd. I sound like Grandpa Simpson, but I loved it." 

Ronson is en route to a DJ gig as we speak, though the new dad says he'll be "kicking back into high gear on the book" soon. "[Writing it] requires really falling off for seven hours in the basement, like Stephen King says in his book. But I like that," he says.

Ahead of a celebration of Barbie The Album at the GRAMMY Museum on Sept. 27, Mark Ronson shared the stories behind some of his favorite productions – including the song that makes people "stupidly happy." 

"Ooh Wee," Here Comes The Fuzz feat. Ghostface Killah, Nate Dogg, Trife and Saigon (2003)

I went to see Boogie Nights in the theater and I remember this scene where Mark Wahlberg's a busboy on roller skates and in the background there was this song playing that had just this string thing that just hit me so hard. I bought the Boogie Nights soundtrack and it wasn't on there — obviously this is 20 years before Shazam — then I figured out it was the song called "Sunny" by Boney M. 

When I was making my first record, I was sort of locked up by myself in the studio on 54th Street just experimenting, making tracks all the time. That string line, I could never figure out what to do with the sample. I tried 80 different tempos and drum beats over it, and it wasn't until I just put that drum break behind it, the drums from the song, and it just all sort of gelled together. 

Because that was an era in hip-hop where people weren't really using drum loops or drum breaks anymore. It was about chopping and having hard kicks and snares,  like DJ Premiere and Timbaland. The DJ in me was like, f— it, let me just try putting a drum break under it. It all gelled and felt good.

I was a huge Wu-Tang fan, and at that point Ghostface was my favorite out of the group and I loved his solo records. I've never been more nervous in some weird way to talk to somebody — nervous and giddy, and what if I just sound so dorky? 

I remember he was like, "Yeah, I get it. I think it's dope. It's like some Saturday Night Fever with Tony Manero s—." I guess because of the strings and it was so disco, and Ghost always had this pension for those disco kind of uptempo beats. 

The album had to be handed in and I didn't have a hook that I liked on this song yet. Sylvia Rhone was the head of Elektra and she said, "I could try and get Nate Dogg on it." Of course that was the dream. I sent him the track, and it was probably two days before I had to master the album, on a Sunday. He sent me the files back, and all the waveforms were blank.

I had to call Nate Dogg at like 10 a.m. at home on a Sunday. While he's on the phone, he goes back in the studio and turns all his equipment on, trying to do the session. 

The fanboy thing is still very real because I still work with people all the time that I'm a fan of. At that age, being in the studio with M.O.P., Mos Def, Q-Tip, Jack White, Freeway, Nate. I was just trying to keep it together some of the time.

"Rehab" - Amy Winehouse, Back to Black (2006) 

"Rehab" just came about in general because Amy was telling me an anecdote. She was really together when we worked — she might not have been sober, but she got her whole life together. She was telling me about this time in her life that was difficult and she was in a really bad place. She said, "And my dad and manager came over and they tried to make me go to rehab and I was like, 'No, no, no.'"

I remember that it instantly sounded like a chorus to me, so we went back to my studio and we made the demo. That was when the Strokes and the Libertines were really big. I remember [the drums] sounded much more like an indie beat, even though it came from soul and Motown and the original rock 'n' roll. She would tease me; she's like, "You trying to make me sound like the bloody Libertines."

When [studio group] the Dap-Kings played it, they just brought it to life. I didn't really know anything about analog recording at that point. I only knew how to make s— sound analog by sampling records, so to hear them all play in the original Daptone studio, all the drums bleeding into the piano…. I felt like I was floating because I couldn't believe that anybody could still make that drum sound in 2006.

Amy couldn't be there for the recording, so I was taking a CD-J into the studio with me and I had her demo vocals on a cappella. I was playing it live with the band so that they could keep pace with the arrangement. I loved it so much.  

"Valerie," feat. Amy Winehouse,Version (2007)

Amy had never met the Dap-Kings, even though they had been the band for all the songs that I had done on Back to Black. There was this really lovely day in Brooklyn where I took her to the studio to meet all the guys. The album was already out; there was a very good feeling about it [and] they obviously made something really special together. Amy loved the way the record sounded so much, she was so grateful. They loved her.

While we're all having this love-in in Bushwick, I was finishing my album Version and I said, "Maybe we could just cut a song for my record?" The whole theme of the record had sort of been taking more guitar indie bands like the Smiths, the Jam, the Kaiser Chiefs, and turning those into R&B or soul arrangements. I asked Amy if she knew any songs like that. She's like, "Yeah, they play this one song down at my local. It's called 'Valerie,'" and she played us all the Zutons' version. I didn't really hear it at first.

The first version we did was this very Curtis Mayfield kind of sweet soul. Part of me was just like, This is really good, but I feel like there's a hit version as well. I don't have that kind of crass thing where everything needs to be a hit, but…

Everybody was already packing up their instruments and I didn't know the guys that well yet, so it was kind of a pain in the ass to be like, "Hey, I know everybody just wants to go onto the f—ing bar and get a beer right now, but can we just do one more version where we speed it up a little?"  Everybody flips open their guitar cases and we do like two more takes, and that's the version on my album.

"Alligator" - Paul McCartney, NEW (2013)

We've done other things together, but I've only really [worked on] three songs on his album, NEW. "New" I just loved as soon as he sent me the demo, because as a McCartney fan, it gives you the same feeling as "We Can Work It Out"; it just has that amazing uplifting feel. That's just his genius. I love "Alligator" maybe a little more because it's more weird.

He definitely gives you a day to f— up and be an idiot because you're just so nervous to be in the studio with McCartney. By the second day it's like, okay, get your s— together.

I remember running around just like, What sound can I find for Paul McCartney that every other amazing producer who ever recorded him [hasn't found already]? He was like, "Anybody can record a pristine acoustic guitar. Give me something with some characteristic that's iconic. That feels like someone just put the needle down on track one on an album." 

That's something I always try to remember: don't just make it sound like a guitar, make it sound like a record.

"Uptown Funk" feat. Bruno Mars, Uptown Special (2015)

My enjoyment of the song is now gauged by the people that I'm playing it for. I was playing at this party at Public Records [in Brooklyn] on Sunday. I knew that I wasn't going to play that song on that night; it wasn't right for that crowd or something. And then an hour into my set, the vibe is really good, and I was just like, f— it and I dropped it, and people went crazy.  

I'm a little extra critical sometimes on the more commercial songs, thinking nobody wants to hear this or this doesn't really have a place in this space. I think it's just a song that makes people stupidly happy, and that's cool. 

The lyrics [to "Uptown Funk"] came really quick. We had the jam: Bruno was on drums, I was playing bass, Jeff Bhasker was on keys, and then Phil Lawrence was there and we jammed for five hours. We just chopped up our favorite parts of the instrumental jam, and then just started writing lyrics almost like a cipher. Bruno had been playing the Trinidad James song ["All Gold Everything"] in his live sets and playing it over a sort of uptempo, funky James Brown, "Get Up Off That Thing" groove.

We were just throwing about lyrics, throwing a little bit of the cadence of the Trinidad James song. Then when Jeff Bhasker said, "This s—, that ice cold/That Michelle Pfeiffer, that white gold." It was like a great rap line. Then everything started to elevate a little bit from there on up.

That first day, we had the whole first verse and it felt great. Every time we went back in the studio, a lot of the times it would feel labored and not as good as that first verse. So it really took a long time to get in. Sometimes we'd go in the studio for three days and then at the end of the whole session we realized, we actually only liked these four bars. 

So we kept building on it, and luckily Bruno didn't really let it die. Bruno was touring Unorthodox Jukebox; I was just flying around the country with a five string bass just to get the song done.

"Uptown Funk" still ended at Daptone…to do the horns last with Dave [Guy] and Neil [Sugarman], me. It's almost like you've always got to go through Daptone to finish something. 

Bruno came up with that horn line. He was like, "I know you're going to kill me because you're trying to get away from being the horn guy, but I have this horn line and I think it's kind of killer." He demoed it from whatever backstage room on tour and I was like, Okay, here we go.

"Shallow" - Bradley Cooper and Lady Gaga, A Star Is Born Soundtrack (2018)

It's very rare that I write on a song that I don't have to produce as well. We wrote that song in the middle of sessions for [2016's] Joanne, and then Gaga produced the whole Star is Born soundtrack herself. I remember we all had some tingly feelings when we were writing it.

It wasn't meant to be a duet ever. Then Bradley wrote it into the film; it becomes the beginning of their love story. Bradley showed [me a rough cut] at his house, I remember just being like, he's taking this special song [and] made it put its hooks into you. This film, and the story, and the way this song is unfolding is so special.

Then also shout to Lukas Nelson, because that guitar that he came up with that opens the song was not in our demo, and that is such an iconic, memorable part of the song.

The film and the script was really powerful, and I think that me, [co-writers] Andrew [Wyatt], Anthony [Rossomando], Gaga were all in this sort of heartbreak place. We're all just going through our own dramas in the song. The juju was really good and a little spooky in the studio that night.

"Electricity" - Dua Lipa & Silk City feat. Diplo, Mark Ronson, Electricity (2018)

That song just always makes me happy. I don't have a lot of other songs [that sound] like that. I'm always psyched to play that in a set or to go see Diplo play it live.

When I came up DJing in the mid-'90s in New York, if you're a hip-hop DJ you had to be versed in dancehall, old R&B dance classics, and a little bit of house. So I knew 12 house records, but I love those records.

It came out of a fun jam, just me and Diplo — who I'd known probably at that point for 10, 15 years, but we never got in the studio together. He's just firing up drum s— and I'm just playing on this old tack piano that was in the studio I just moved into. But it also sounded quite housey. 

We came up with those chords and [singer/songwriter] Diana Gordon came over. I never met her before and she just started freestyling some melodies, and it was just so soulful instantly.

We'd moved the key a little bit lower for Dua — she has this amazing husky voice — but we still left Diana's demo vocal in. She's singing these mumble, non-word melodies that sound like a sample.

We had that old studio where we did Version and all the Amy demos. It has an old-school elevator that was sort of manual and it would always break down. There were people that were just too afraid, like Cathy Dennis — the  brilliant songwriter who wrote "Toxic" and "Can't Get You Out of My Head" — she would just always be like, "I'm taking the stairs." We were on the fifth floor and it was a steep, steep walk up. [Editor's note: The music video for "Electricity" features Ronson and Diplo stuck in an elevator. He notes that he's gotten stuck several times in real life.] 

"Nothing Breaks Like a Heart" feat. Miley Cyrus, Late Night Feelings (2019)

I was in L.A. working in Sound Factory [Studios], and I had seen Miley a couple years back sing "50 Ways to Leave Your Lover" on the "SNL" 40th anniversary; I had never heard her perform with that stripped-down arrangement. I was just so in love with her voice and the tone. I remember hounding my manager, because usually somebody who knows somebody, but Miley Cyrus was completely unreachable and just in another stratosphere.

I was in the studio with [Dap-King] Tommy Brenneck; he's just such a wonderful player, such a soulful touch. We got this thing going, and then Ilsey [Juber] was saying, like, "What about all these things that break, but nothing breaks like a heart?" 

[I thought], You know what? I've been trying to hit this girl up for years and nothing ever happened, but let me just try it one more time. I sent it off to Miley, and I guess she was just in a really motivated part of life. She's like, "This is cool. Where are you guys? I'll be there Monday." She came down Monday to the studio, and then her and Illsey wrote the whole rest of the song. 

"Break Up Twice" - Lizzo, Special  (2022)

[I produced a few other songs on Special], but they didn't make the cut. There's one that I really love called "Are You Mad" that might hopefully see the light of day once.

We spent a lot of time together and I love working with her because she has a really eccentric/ avant garde music taste. Like, the Mars Volta is her favorite-ever band; she's a conservatoire flute player; then she has a strong Prince heritage because she spent time in Minneapolis and she's been to Paisley Park. 

The thing that I really love about her is, even at the status that she was at when we were working, there was never anything too silly or too left field to try. It's really freeing when you're with a big artist who isn't afraid to just f— around and jam and make some s— that you know might not be the thing. 

"Break Up Twice" was actually an instrumental that we had done at Diamond Mine with [Daptone family] Tommy [Brenneck], Leon [Michels], Victor [Axelrod] and Nick [Movshon]. I just played that, and it instantly spoke to her and she just started freestyling, adding the harmonies and the sax and the vocal arrangements. I just didn't quite know how versatile and talented that she was when we first went in the studio. I just remember constantly being impressed and amazed.

Barbie: The Album (2023)

I'm really proud of the Dom Fike song ["Hey Blondie"], the Sam Smith song ["Man I Am"], [Dua Lipa's] "Dance and Night," of course. Even the Billie [Eilish] song that we did the string arrangement for. I played the tiniest bit of synths on the Nicki [Minaj]i/Ice [Spice] song. 

I love this film so much and I did something I've never done before by executive producing and overseeing it. There's so many songs that I had nothing to do with creatively; sometimes I was just doing admin, hounding Tame Impala to send in a demo.

I'm really proud of "I'm Just Ken." Of course Ryan Gosling is a superstar in a different kind of way, but the fact that he's not some superstar pop artist, and the fact that that song has managed to do what it's done….Obviously it's so much to do with the film and his performance, but I'm really proud of that song. I was so inspired by the script. I just instantly had the idea for that line.

There was never anything in the script that said Ryan was going to sing a song. It was just something where Greta [Gerwig] and him really loved the demo, and she loved it enough to write it into the film, which was just so exciting. It was happening in a way that felt wonderful and organic, and to then get Josh Freese and Slash, and Wolf Van Halen to play on it and even bring it to even this next level of sonic fullness. 

On TikTok and Instagram, I've seen people singing it; [even] in Spanish, really intense, really earnest covers. We were never trying to write a parody song or anything that wasn't earnest, because there's nothing parody about the film. I guess the chords have a bit of heartbreak in them, a little melancholy, and Ryan's performance is really lovely.

Barbie score (2023)

We worked equally hard or harder [on the score]. It doesn't have quite the same shine because obviously it's not Billie Eilish, Lizzo, and Dua Lipa, but it's something Andrew [Wyatt] and I did. A piece called "You Failed Me" — that's during both Barbie and Ken's meltdown in the middle of the film — I'm quite proud of that. I really love the "Meeting Ruth" orchestral interpolation of the Billie tune as well.

I've contributed music to other films and little cues and things like that, but this is the first time that Andrew and I really did a whole movie from start to finish while also doing the soundtrack.

It's incredibly humbling, too, because when you make a song for someone's album, you're working. It's certainly the most important thing that's happening. In a film, it could be the second most important thing. You could sometimes say it's the third most important thing after dialogue and the sound effects. All that's programmed into your mind about hooks and things like that it's like, No, actually sometimes get the f— out of the way and just provide a lovely emotional texture for things to sit under things.

The thing that I guess is universal is you're reacting to an emotion. Especially if it's a film that you really feel emotionally partial to, you're watching this wonderful performance on screen and how could you not be inspired by that? We're so spoiled to have this as our first film where we're reacting to the emotional heart of this film, which is so rich.

Behind Shania Twain’s Hits: How A Hospital Stay, A Balmy Porch And A Hair Nightmare Inspired Her Biggest Songs & Videos

Doja Cat has come such a long way since her viral hit, "Mooo!" Since her 2019 breakout album, Hot Pink, which birthed the GRAMMY-nominated Billboard Hot 100 chart-topper "Say So," the 27-year-old's musical versatility, out-of-the-box concepts, and unique aesthetic helped her become one of the buzziest stars in music today.

Following her blockbuster album, Planet Her, Doja Cat is returning to her rap roots while still challenging herself. Released on Sept. 22, Doja's fourth studio project, Scarlet, was entirely self-penned. The 17-track LP contains zero features and is named after GRAMMY winner's alter ego.

Scarlet is a creative reset, released after Doja Cat denounced her previous two albums as "cash-grabs." On "Demons," Doja addresses critics who labeled her "too pop" and doubted her rap skills: "I'm a puppet, I'm a sheep, I'm a cash cow / I'm the fastest-growing bitches on all your apps now," she raps.

Elsewhere, Scarlet sees a self-assured Doja Cat trading in her radio-friendly sound for an emotional release, which is best exemplified on tracks like "97," "Skull and Bones," "Balut, " and her latest single, "Agora Hills."

"It's kind of an intro to what's to come," she told Harper’s Bazaar in August. "This new album is more introspective, but I'm not leaning so hard into that to where it becomes boring. So I want to give stories and bops. It's a nice mixture of both. 

"I think this project is a really fun canvas for me to play with my rap skills and talk about what's going on in my life," she continued. "But I'm not abandoning who I was and what I know about pop and singing and that aspect of music."

Throughout its jarring journey of introspection, here are five takeaways from Doja Cat’s new album, Scarlet.

She's Devilishly Creative In Her Scarlet Era

Doja Cat has been quirky and daring since day one, but Scarlet demonstrates her desire to reinvent herself and provoke anyone who'll listen — even if it means possibly alienating her fanbase. True to form, Scarlet had an impossible-to-miss rollout, which included her Scarlet character's nude, blood-covered wax figure popping up around the U.S. 

But that stunt pales in comparison to her music videos for "Demons" and "Paint the Town Red," the latter of which is the first hip-hop song to top the Hot 100 this year.

Both visuals feature occult themes, as well as references to death and the devil, but no matter how "frightening" they may come off to some, they're further proof that Doja Cat isn't just an internet meme — she's a creative genius who knows how to demand our attention.

She's Enjoying Her Success And Fame

Multiple tracks off Scarlet, including "Paint the Town Red," "Attention," and "F— the Girls (FTG)," are a direct response to how Doja Cat's seemingly meteoric success in recent years has made her the target of jealousy and criticism from fans and peers. But "Love Life" stands out due to its lighter approach, as Doja Cat expresses her gratitude for those who helped her make it this far: "I love it when my team feel strong and them deals flowin' in" and "I understand you want me to win / I understand how hard that you bend."

Like many artists, Doja Cat's rise to fame was not without some struggle. Most notably, her "writer's block" stopped her from being able to join forces with Billie Eilish on her popular 2017 song, "Bellyache." But life now is good for the star, born Amala Ratna Zandile Dlamini, and she isn't apologizing for it.

But She's Aware That Celebrity Culture Has Its Dangers

A year ago, Doja Cat shocked fans when she shaved her head and eyebrows on Instagram Live, which drew some comparisons to Britney Spears’ infamous head shaving incident in 2007. Of her physical transformation, she told Dazed, "I have never felt more beautiful in my entire life." 

But on lead single, "Attention," it's clear Doja isn't done setting the record straight.

"I read it, all the comments sayin', 'D, I'm really shooketh' / 'D, you need to see a therapist, is you lookin'?' / Yes, the one I got, they really are the best / Now I feel like I can see you bitches is depressed / I am not afraid to finally say s— with my chest," she raps in the first verse.

The song also addresses her decision to pull out of the Weeknd’s After Hours til Dawn Tour, as well as comparisons to one of her biggest influences, Nicki Minaj.

She's Not Ready To Completely Abandon Singing

The highly-anticipated release of Scarlet marks Doja Cat's official return to her rap roots, but the album isn't void of the catchy, pop-esque hooks and sugary sweet singing style she's known for on songs like "Say So," "Kiss Me More" with SZA, and "You Right" with the Weeknd.

On Scarlet's sensual "Often," she effortlessly emulates neo-soul icons like Erykah Badu, D’Angelo, and Maxwell as her breathy vocals take center stage. The track shows off Doja's softer side while doubling as perfect "baby-making music." 

"'Cause when you run your tongue up my thigh / I can't help but wonder, hmm, why / You got so much more up yo' sleeve / You wanna make sure I don't leave," she croons on the song's chorus.

Her IDGAF Attitude Is On Full Display 

In late July, Doja Cat lost half a million Instagram followers after slamming fans who call themselves "Kittenz" and use her real name as their screen names. 

In addition, her relationship with boyfriend J.Cyrus — who was accused of grooming and sexual misconduct — and use of darker imagery (e.g., her "Demons" video and bat skeleton back tattoo) have sparked backlash. Yet Scarlet's "97" proves how Doja Cat is unfazed by the noise and thrives off controversy: "They gon' buy it, they gon' pirate, they gon' play it, they consume it / If you're scootin', let me know 'cause that's a comment, that's a view / And that's a ratin', that's some hatin', that's engagement I could use."

Similarly, she gets the last laugh on "Skull and Bones" and "Balut," the latter of which fires back at haters who accused her of stealing other artists' style. They speak to Doja Cat's defiant nature, which seems to be paying off for the superstar as she prepares to embark on her first headlining tour kicking off on Oct. 31.

From Meme Queen To Popstar: Revisiting Doja Cat’s Inevitable Breakout

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." 

Listen: *NSYNC Announce "Better Place," First New Song In 20 Years — Hear A Snippet

"We are the chosen ones," Jon Batiste announced in the title track to 2021's We Are, which would sweep the following year's GRAMMYs. Now, it's clear who "we" are. And there are no boundaries.

"Love Black folks and white folks," he declares in the exultant "Be Who You Are," from his new album, World Music Radio. The track features the American rapper J.I.D, the ascendant K-poppers NewJeans and the Colombian singer Camilo. "My Asians, my Africans, my Afro-Eurasian, Republican or Democrat."

What should be an obvious stance — that we're one human race, and can dignify and respect each other across our differences — isn't so obvious in 2023.

"It's radical today to love everybody," Batiste told The New York Times in an interview about World Music Radio — out Aug. 18 via Verve Records. "We are in a time that there's more of a pressure to make people into the other, and to dehumanize them in the process.

"But the act of removing a certain baseline of humanity in how we approach living amongst each other, that should be radical," the five-time GRAMMY winner and 14-time nominee continued. "That should be the thing that is disruptive."

Accordingly, World Music Radio is charged with a spirit of true inclusivity; it dismantles the echo chamber. Presented in an airwave-style format like a globetrotting The Who Sell Out, World Music Radio presents a dizzying number of perspectives and styles, from East to West.

This widescreen vantage has always been central to Batiste's art. Even his "solo records" have a jubilant, communal lift.

We Are dealt heavily in the concept of "social music," which directly connects to his roots in New Orleans — whose gumbo of cultural cross-currents changed everything. Plus, his bird's-eye view of Black musical traditions made him a shoo-in to create the music for Disney/Pixar's 2020 film Soul.

The various streams of his career intermingled — and seemed to come to a head — with 2022's American Symphony, which premiered at none other than Carnegie Hall.

For this hyper-ambitious work, Batiste took inspiration the game-changing partnership of Duke Ellington and Billy Strayhorn was a lodestar. "They consistently synthesized cultural lineages through the lens of a pluralistic and noble worldview," he wrote in the program book.

This description applies to Batiste too. During that multitudinous musical presentation, he addressed America's cultural multitudes through a commingling of African diasporic traditions — Caribbean, Brazilian, Yoruba, Haitian, Creole.

Accordingly, it featured everyone from banjoists and steel drummers to Afro-Latin percussionists and Indigenous vocalists and drummers.

World Music Radio emanates from that headspace. It begins with an introduction from our host — a cosmic entity named Billy Bob Bo Bob, transmitting the sounds of Earth to an interstellar radioland.

"He's a D.J., he's a griot, he's a storyteller, he's a unifier, he's a rebel," Batiste told the Times of Billy Bob Bo Bob. He cited the word again: "He's a disrupter."

From there, World Music Radio charges out of the gate with the exultant "Raindance," featuring the South African house duo Native Soul. From there, Batiste funnels his vision through a wildly diverse crew, from Rita Payés ("My Heart") to Kenny G (a saxophone version of "Clair de Lune") to Lil Wayne ("Uneasy").

Back to "Be Who You Are," that aural hug to everybody, no matter their background or station in life. That seemed to be Batiste's dictum to all involved: let your personality fly, and don't sweat the differences.

Because differences aren't merely acceptable. They're at the root of all compelling art, and the only way to move past throttling divisions. If you feel it's time to cast away borders and delineations, Batiste's latest offering is for you: do not adjust your dial.

Here's What Went Down At The World Premiere Of Jon Batiste's American Symphony At Carnegie Hall