Every last Sunday of the month, composer, educator and community organizer, Mafer Bandola hosts workshops at Barbés, a popular bar in Brooklyn. In these didactic shows called Pipiris Nights, she teaches attendees about the instruments, music, and dance of joropo —  a style from the grassy plains of Venezuela. 

Attendees range from curious visitors to fellow Venezuelans, many of whom are recent immigrants, longing to reconnect with their roots. At Bandola's workshop, those Venezuelans often find themselves in tears while reminiscing over the country they left behind and watching their American children learn about their heritage. 

In the past year, the number of Venezuelans living in New York has increased exponentially as part of a larger migrant crisis. In December 2023, the New York Times reported that more than 136,000 migrants have arrived in New York since the spring of 2022. Many of these migrants are from Venezuela. The NYT describes this movement as something which could lead to the first "Little Caracas" in the U.S. 

Conditions in Venezuela — including a lack of food, medicine and essential services, increased crime and political unrest — have led many musicians to leave their country in search of better opportunities and quality of life. More than 7.3 million Venezuelans have left the country since 2014, and as of 2023 the exodus is considered the largest displacement crisis in the world. This migration is creating more than a social and economic impact; Venezuelan migrant musicians are leaving aural trails wherever they settle.

Prior to the current crisis, the power and passion of Venezuelan music caught the attention of archivists for the Smithsonian Center for Folklife and Cultural Heritage in 2008. Patricia Abdelnour, then the Cultural Attaché to the Venezuelan Embassy, traveled to Venezuela with Smithsonian Folkways Recordings to explore the musical landscape of her home country. Abdelnour’s trip and work led to the recording of three albums and concerts in the U.S. for Venezuelan musicians who had never even traveled outside of Venezuela.

Y Que Viva Venezuela is one of these albums, performed by the group Maestros del Joropo which includes Alfonso Moreno, Roberto Koch, Aquiles Báez and José Martínez. In the above video, they perform alongside Venezuelan violinist, director, and member of the Music Council of UNESCO Venezuela Eddy Marcano. Marcano was recognized by the Latin GRAMMYs in 2010 for his contribution to Tesoros de la música Venezolana - Llanos.

Inside New York's "Little Caracas" music scene

Bandola's first experience in the U.S. as a musician was in 2014, when she was accepted into a month-long musical residency called  One Beat. To fill out the application, she "put each question through Google translate" because she didn’t know any English at the time, she says in Spanish via Zoom. At One Beat, Bandola met the members of LADAMA. 

Bandola is a pioneer in musica llanera, as the first woman bandolista (in some regions women accompanied musica llanera with dance and song, however, the playing was left to the working cowboys). Bandola is also the only bandolista to play an electric bandola, merging traditional and modern elements with LADAMA. 

There are plenty of styles within musica llanera, however, the most popular is Joropo. One that is accompanied by dance in festive settings. The llano work songs are sung to keep the cattle calm while they are being milked at dawn. There is an innate celebration and honoring of nature in musica llanera. The present-day style comes from a fusion of Indigenous, African, and Spanish influences, when colonization brought the Spanish style of fandango to Venezuela. LADAMA has incorporated these themes and sounds into their music by way of Bandola’s electric bandola stylings.

LADAMA toured Latin America in 2016 and 2017. During this time, Bandola endured many obstacles when traveling between countries. It was difficult for her to leave and enter Venezuela and the military at the Venezuelan airport would try to take away her instrument. 

"The ideal life for me would be to live in Venezuela and only leave to travel and tour with my music," she tells GRAMMY.com. "I never thought I’d live outside of my country, only travel." 

This is a shared experience for many Venezuelan musicians who made the difficult decision to leave. In a theater production in Miami called "Papá Cuatro," Mafer shares her life and immigration story alongside Venezuelan Latin GRAMMY winner Miguel Siso and Latin GRAMMY nominee Mariaca Semprún.

After the LADAMA tour concluded, Bandola "moved from country to country, because Venezuela wasn’t an option." After some time living in Canada during the pandemic, her manager successfully expedited the process to receive an artist visa and move to the United States permanently. 

The story of how she chose the venue for her joropo workshops was serendipitous and spiritual even. When she approached Oliver Conan, the French owner of Barbés, he shared that he had spent 6 months traveling and living in Venezuela. He had been inspired so much by the music and the culture of los llanos that he bought himself a cuatro (a traditional Venezuelan instrument with four strings) and learned how to play. He even has a portrait of a Venezuelan saint hung above the bar, Dr. Jose Gregorio Hernandez.

The first Pipiris Night took place in March 2022 and is still going strong.

Afro-Venezuelan tambores meet in New York City

Mafer Bandola isn't the only Venezuelan artist creating community in New York. Elsewhere in the city, Willie Quintana is making a name for himself in the sphere of Afro-Venezuelan tambores. Born in Valencia and raised in Barinas, Venezuela, Willie came from a musical family. 

In 2015, the lack of resources in Venezuela forced Quintana and his wife to move to the United States with their son. With him he brought a project that he hadn’t had the chance to develop in Venezuela;   Afro-Venezuelan drumming collective Tambor y Caña was born in NYC in 2017. 

Quintana shares that some new participants of Tambor y Caña recently arrived in the U.S.  — a few risking their lives crossing the southern border. He says these young men from small rural areas have the true authentic cadence of Afro-Venezuelan drumming. "They are insanely talented!" he shared in Spanish in a Zoom interview.

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To bring traditional Venezuelan instruments into the U.S., Quintana resorted to having friends bring a few instruments at a time when they traveled between the two countries. These drums — the cumaco, the mina, the curbata, the culo e’ puya, the long drum, and the pipa corta — are quite fragile and difficult to travel with in bulk.

Tambor y Caña has since performed at impressive venues throughout New York City, including the Lincoln Center, Barclays Center, Bronx Music House, and NYC City Hall. Inspired by the work Tambor y Caña was doing, a group of women became interested in learning Afro-Venezuelan drums. Through Quintana's drumming school (Escuela de Tambor Afrovenezolano y Percusión Afrolatina), TamborEllas was born.

Much like Bandola, TamborEllas are doing important work in Afro-Venezuelan musical tradition as it is generally dominated by men. 

Tambor y Caña haven’t recorded music yet, instead focusing on leading workshops throughout New York City schools both for children and adults. Quintana has also worked with Venezuelan classical maestro Samuel Marchán, leading workshops for youth in the East River Music Project. 

A burgeoning Venezuela 2.0 in Miami

Miami is also a hub for Venezuelan artists — so much so that Mafer Bandola felt nervous about finding a community in New York because so many Venezuelan musicians had left NYC for the south Florida city. 

The largest enclave of Venezuelan immigrants is in south Florida, the city of Doral (also known as Doralzuela), and there is increasing demand for Venezuelan performers to share their work in the area. 

Nostalgia for the country and people he left behind is a recurring theme in the music of now Miami-based Latin GRAMMY-nominated singer Danny Ocean. The lyrics of "Caracas en el 2000," a track with Miami-based Venezuelan artist ELENA ROSE and Jerry Di, reminisce about the youthful joy of walking along the streets of the capital city eating traditional Venezuelan foods with friends. Ocean's fond memories resonated with Venezuelan immigrants around the world, who share the sentiment of wanting to return soon. In "Caracas en el 2000" he sings, "quiero volver, quiero volver, cuándo?" (I want to return, but when?)

Simón Grossmann, often called the "Latin Jack Johnson," started performing while he was a summer camp counselor. Encouraged by colleagues and campers, Grossman recorded his first album, Ciclo, in 2017. Today it has over 7 million streams. 

The album’s producer, Venezuelan GRAMMY nominated José Luis Pardo has also worked with DJ Afro, Rawayana, Camila Luna, and Los Amigos Invisibles. 

Grossmann released  Mujer Eléctrica in 2018 and Bahia Margarita three years later; the latter is considered to be his best work to date. In an interview with NPR, Grossmann said the album was inspired by the Venezuelan island of Margarita where he spent many childhood summers. Grossman recalled those memories during the quarantine lockdown as a form of escape and wondered "what would my adult self be doing in that place right now?"

Also known for his skillful lyricism, Migguel Anggelo is a dancer, actor, and musician who has moved away from traditional Venezuelan styles. When he was trying to get projects off the ground in Miami, he was told his experimental style was "not commercial enough" and too "poetic" for the Miami music scene. Fittingly, he even speaks in metaphors. 

"I am a Venezuelan tree, an Araguaney, the national tree from Venezuela. I am beautiful and have huge branches," Anggelo says, describing himself. "I can offer you my shade, my music. I can comfort you…I came here to give you music and shade from the sun and the rain."

On "Inmigrantes" Anggelo sings in Spanish, "my only frontier is my mother’s womb." He shares that he was ecstatic and surprised when he toured in Russia and audiences sang along to the English and Spanish lyrics. Migguel Anggelo has two albums, Dónde Estará Matisse and La Casa Azul, and he is currently working on his third album. He has completed residencies at the Lincoln Center, Miami Light Project, The Kimmel Center for the Performing Arts, and BRIC (Brooklyn) and hopes to continue expanding his repertoire. 

As an openly gay man from a relatively machista culture, Migguel Anggelo has inspired people to come out to their families through his performances. Migguel Anggelo wants American audiences to see that immigrants are not bad, as some American pundits like to say. 

San Juan USA brings a Venezuelan drumming festival to Miami

Approximately 100,000 people were kidnapped from West Africa and enslaved in Venezuelan territories between 1576 and 1810. Along Venezuela's coast and bordering states, their descendants now celebrate the festival of San Juan, in which they honor and worship St. John the Baptist. The cornerstone of this June event is the drumming tradition, during which traditional maraca accompanies the beat of the Afro-Venezuelan drums. The festive cycle includes many musical and dance rituals grounded in mythical and symbolic traditions which have been taught for the past 400 years. 

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San Juan USA, which includes Grace Salamanca, Marcos Espinoza, and Pedro Sarabia, continues this tradition with an annual festival at the Miami Beach Bandshell. In February, San Juan USA led a dance and drumming workshop as part of a Black History Month celebration. Children gathered around the traditional drums with bright smiles and insatiable curiosity as the musicians showed them how to play the instruments. San Juan USA’s participation in such community events, underscores the importance Venezuelan artists place on educating people about the culture and musical tradition of their country.

Local Venezuelan artists are performing innovative sets at new venues, such as ZeyZey in Miami's Little River neighborhood. In February, Venezuelan DJ Venezonix and tambores group San Juan USA performed a combination of traditional Afro-Venezuelan styles with EDM and house beats. The crowd, many of whom were Venezuelan, took advantage of the venue’s large terrace to dance the traditional tambores style. The event successfully brought a modern take of traditional Venezuelan music to an audience of Venezuelan immigrants and visitors, as well as locals and tourists of other cultures. 

Luis "Papo'' Marquez — Cuban singer, composer, and producer and president of Miami recording studio PapoMusic — lived in Venezuela for many years, and collaborated with local artists. He attributes a large part of his musical formation to the time he spent working with musicians in Venezuela. "I quickly realized that Venezuelan musicians were very versatile," Marquez says via WhatsApp. 

This openness and versatility allows its musicians to adapt to many genres. Venezuela has always been receptive to international music, Marquez continues, adding that the Venezuleans he knows will learn any style of music — including pop, rock, flamenco, salsa, and jazz. 

"Venezuelans in general are very talented and hard-working people," he says in Spanish. It’s easy for them to enter any scene, specifically the American music scene, due to their outstanding preparedness. 

Marquez refers to himself as Cuban Venezuelan due to the influence the country had on his career, and their shared histories. He is proud of the impact this community of creative, well-rounded, and determined musicians have made here in the states. The success, talent and prolific nature of Venezuelan musicians is proof that, while you can take the artist out of Venezuela, but you cannot take the love and pride with which they sing and play.  

Meet The Gen Z Women Claiming Space In The Regional Mexican Music Movement

Fans likely know Danny Ocean best for "Me Rehúso" — his global megahit from 2017 — but the Venezuelan singer/songwriter digs into deeper and more introspective territory with his newer material, including "Fuera Del Mercado."

In this episode of Press Play at Home, watch Ocean's intimate onstage performance of the song. Though the stage is decked out for a full concert — featuring a band, lighting and even a bodyguard standing by the pit — there's no one in the audience. The empty venue makes for a rendition of the song that's introspective, and even eerie, despite its danceable beat.

"Fuera Del Mercado" translates to "Off the Market" in English. But as Ocean explained to La Mezcla, it's unfortunately not about himself going off the market — instead, it's a bittersweet goodbye to an ex.

"The story of when someone finds out that a person they like very much is going to get married, and also in the end you realize that the happiness of the other person is what is most valuable, and also your happiness," Ocean wrote.

That yearning, regret and optimism all come through in the singer/songwriter's performance, amplified by his expressive vocal delivery. The complex narratives behind "Fuera Del Mercado" are representative of what Ocean set out to do when he was making his second full-length album, @dannocean. 

"The process of this album has been love and hate," he told Rolling Stone, adding that he hopes fans will see a "darker Danny" in the results. "It took me a while to figure out what I wanted to say, the stories I wanted to write, visually how I wanted to express myself."

"Fuera Del Mercado" is one of 16 songs on @dannocean, which is available on all streaming platforms now. Enjoy the video above, and check back to GRAMMY.com for more episodes of Press Play at Home.

10 Must-Hear Albums In July 2022: Beyoncé, J-Hope, Burna Boy, Lizzo & More

The 2024 Paris Olympics came to life today as the Parade of Nations glided along the Seine River for the opening ceremony. The opening spectacular featured musical performances from Lady Gaga, Celine Dion, and more. Earlier in the week, some of music’s biggest names were also spotted in the city for the Olympics, including Olympics special correspondent Snoop Dogg, BTS' Jin, Pharrell Williams, Tyla, Rosalía, and Ariana Grande.

Read More: When The GRAMMYs & Olympics Align: 7 Times Music's Biggest Night Met Global Sports Glory

Below, see a full breakdown of some of the special musical moments from the 2024 Paris Olympics opening ceremony.

In a grand entrance, Lady Gaga emerged behind a heart-shaped plume of feathers on the golden steps of Square Barye, captivating the audience with her cover of the French classic "Mon truc en plumes." Accompanied by cabaret-style background dancers, she flawlessly belted out the song, executed impressive choreography, and even played the piano.

Lady Gaga’s connection to the song is notable, as Zizi Jeanmarie, the original artist, starred in Cole Porter’s musical "Anything Goes," which was Lady Gaga’s debut jazz release.

"Although I am not a French artist, I have always felt a very special connection with French people and singing French music — I wanted nothing more than to create a performance that would warm the heart of France, celebrate French art and music, and on such a momentous occasion remind everyone of one of the most magical cities on earth — Paris," Lady Gaga shared on Instagram.

Celine Dion 

Closing out the ceremony with her first performance in four years since being diagnosed with stiff-person syndrome, Celine Dion delivered a stunning rendition of Edith Piaf’s everlasting classic, "L’Hymne à l’amour" from the Eiffel Tower. Her impressive vocals made it seem as though she had never left.

This performance marked Dion’s return to the Olympic stage; she previously performed "The Power of the Dream" with the Atlanta Symphony Orchestra and composer David Foster for the 1996 Olympics.

Axelle Saint-Cirel 

Performing the National Anthem is no small feat, yet French mezzo-soprano Axelle Saint-Cirel knocked it out of the park.

Dressed in a French-flag-inspired Dior gown, she delivered a stunning rendition of "La Marseillaise" from the roof of the Grand Palais, infusing the patriotic anthem with her own contemporary twist.

With the stirring lyrics, "To arms, citizens! Form your battalions. Let’s march, let’s march," Saint-Cirel brought the spirit of patriotism resonated powerfully throughout the city. 

Gojira 

Making history as the first metal band to perform at the Olympics Opening Ceremony is just one way Gojira made their mark at the event.

The French band took the stage at the Conciergerie, a historic site that once housed French kings during medieval times and later became a prison during the French Revolution, famously detaining Marie Antoinette – Creating a monumental moment as the first metal band to perform at the ceremony, but also stirring the pot as they used the chance to nod toward politics. 

Performing a revamped version of "Ah! Ça Ira," an anthem that grew popular during the French Revolution, the artists aren’t new to using their songs as a vehicle for political messages. The GRAMMY-nominated group are outspoken about issues concerning the environment, particularly with their song, "Amazonia," which called out the climate crisis in the Amazon Rainforest. Using music to spread awareness about political issues is about as metal as it gets. 

Aya Nakamura

Currently France’s most-streamed musician, Aya Nakamura went for gold in a striking metallic outfit as she took the stage alongside members of the French Republican Guard. As there were showstopping, blazing fireworks going off behind her, she performed two of her own hit songs, "Pookie" and "Djadja," then followed with renditions of Charles Aznavour’s "For Me Formidable" and "La Bohème." 

Although there was backlash regarding Nakamura’s suitability for performing at the ceremony, French President Emmanuel Macron dismissed the criticism. "She speaks to a good number of our fellow citizens and I think she is absolutely in her rightful place in an opening or closing ceremony," Macron told the Guardian.

Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.

July has graced us with a diverse array of new music from all genres, lighting up dance floors and speakers everywhere.

The last weekend of the month brings exciting new collaborations, including another iconic track from Calvin Harris and Ellie Goulding, as well as a fierce team-up from Paris Hilton and Meghan Trainor. Halsey and Muni Long offered a taste of their forthcoming projects, while Jordan Davis and Miranda Lambert each delivered fun new country tunes. 

In addition to fresh collabs and singles, there's a treasure trove of new albums to uncover. Highlights include Ice Spice's Y2K!, Rakim's G.O.D., Sam Tompkins' hi, my name is insecure, Wild Rivers' Never Better, Tigirlily Gold's Blonde, and kenzie's biting my tongue.

As you check out all the new music that dropped today, be sure you don't miss these 10 tracks and albums.

Although fans anticipated Machine Gun Kelly's next release to mark his return to hip-hop, no one seems to be complaining about "KellyRoll." Embracing the trend of venturing into the country genre, mgk teams up with fellow GRAMMY-nominated artist Jelly Roll on their newest track, "Lonely Road."

The genre-blending track interpolates John Denver's classic "Take Me Home, Country Roads." However, unlike Denver's sentimental ode to the simplicity of rural life, mgk and Jelly Roll reinterpret the track through the lens of romantic relationships that have come to a, well, lonely end.

As mgk revealed in an Instagram post, "Lonely Road" was a labor of love for both him and Jelly Roll. "We worked on 'Lonely Road' for 2 years, 8 different studios, 4 different countries, changed the key 4 times," he wrote. "We finally got it right."

In another interpolation special, Halsey samples not one but two classics in their latest single, "Lucky." The song's production features elements of Monica's 1999 hit "Angel of Mine," while the chorus flips Britney Spears' fan-favorite "Lucky" into a first-person narrative.

While Halsey has always been a transparent star, their next project is seemingly going to be even more honest than their previous releases. After first revealing their journey with lupus with the super-personal "The End" in June, "Lucky" further details their struggles: "And I told everybody I was fine for a whole damn year/ And that's the biggest lie of my career."

Though they haven't revealed a release date for their next project, Halsey referred to her next era as a "monumental moment in my life" in an Instagram post about the "Lucky" music video — hinting that it may just be their most powerful project yet.

Read More: Everything We Know About Halsey's New Album

Ahead of Paris Hilton's forthcoming album, Infinite Icon — her first in nearly 20 years — the multihyphenate unveiled another female-powered collaboration, this time with Meghan Trainor. Co-produced by Sia, "Chasin'" is a lively pop anthem about discovering self-worth in romantic relationships and finding the strength to walk away from toxicity.

"She is the sister I always needed and when she calls me sis, I die of happiness inside," Trainor told Rolling Stone about her relationship with Hilton. Coincidentally, Trainor first wrote the track with her brother, Ryan, but the pop star was waiting for the right collaborator to hop on the track — and Hilton was just that.

"We made something truly iconic together," Trainor added. "It was a bucket list dream come true for me."

A highly awaited return to music after eight years, Australian electro-pop duo Empire Of The Sun are back with their fourth studio album, Ask That God.

"This body of work represents the greatest shift in consciousness our world has ever seen and that's reflected in the music," says member Lord Littlemore in a press statement.

Like their previous work that transports listeners to a different universe, this album continues that tradition with trancey tracks like lead single "Changes" and the thumping title track. Ask That God offers a chance to reflect on the blend of reality and imagination, while also evoking the radiant energy of their past songs.

Dance music's collaborative powerhouse, Calvin Harris and Ellie Goulding, are back with another summer hit. Their latest track, "Free," marks the fourth collaboration between the duo — and like their past trilogy of hits, the two have another banger on their hands.

The track debuted earlier this month at Harris' show in Ibiza, where Goulding made a surprise appearance to perform "Free" live. With Harris delivering an infectious uptempo house beat and Goulding's silky vocals elevating the track, "Free" proves that the pair still have plenty of musical chemistry left.

Post Malone's transition into country music has been anything but slow; in fact, the artist went full-throttle into the genre. The  New York-born, Texas-raised star embraced his new country era with collaborations alongside some of the genre's biggest superstars, like Morgan Wallen and Blake Shelton. Continuing this momentum as he gets closer to releasing F-1 Trillion, Post Malone teams up with Luke Combs for the new track "Guy For That."

The catchy collaboration tells the story of a relationship that has faded, where the protagonist knows someone who can fix almost anything, except for a broken heart. It's an upbeat breakup song that, like Post's previous F-1 Trillion releases, can get any party going — especially one in Nashville, as Malone and Combs did in the track's music video.

Just one month after Surfaces released their latest album, good morning, the duo's Forrest Frank unveiled his own project, CHILD OF GOD — his debut full-length Christian album. Among several features on the LP, one of the standouts is with GRAMMY-winning artist Tori Kelly on the track "Miracle Worker."

Over a plucky electric guitar and lo-fi beats, Frank and Kelly trade verses before joining for the second chorus. Their impassioned vocals elevate the song's hopeful prayer, "Miracle Worker make me new."

Their collaboration arrives just before both artists hit the road for their respective tours. Frank kicks his U.S. trek off in Charlotte, North Carolina on July 31, and Kelly starts her world tour in Taipei, Taiwan on Aug. 17.

Since their debut in 2022 with "Tippy Toes," Japanese girl group XG has been making waves and showing no signs of slowing down. With their first mini album released in 2023 and now their latest single, "SOMETHING AIN'T RIGHT," the group continues to rise with their distinctive visuals and infectious hits.

The track features a nostalgic rhythm reminiscent of early 90s R&B, showcasing the unique personalities of each member. As an uptempo dance track, it's designed to resonate with listeners from all across the globe.

"SOMETHING AIN'T RIGHT" also serves as the lead single for XG's upcoming second mini album, set to release later this year.

For nearly 15 years, Mustard has been a go-to producer for some of rap's biggest names, from Gucci Mane to Travis Scott. On the heels of earning his first Billboard Hot 100 chart-topper as a producer with Kendrick Lamar's "Not Like Us," he's back with his own collaboration-filled project.

Faith of a Mustard Seed features a robust 14-song track list with contributions from Vince Staples, Lil Yachty, Charlie Wilson, and more. The LP marks Mustard's fourth studio album, and first since 2019's Perfect Ten.

In an interview with Billboard, Mustard shared that the album's title is an ode to late rapper Nipsey Hussle, who suggested the title during one of their final conversations before his untimely death in 2019. And once "Not Like Us" hit No. 1, Mustard knew it was time to release the long-in-the-making album.