New Cardi B songs have been few and far between in recent years. Her most recent solo single, “Enough (Miami),” came in early 2024, and before that was “Up” in 2021, with some collaborations sprinkled in between. Now, at long last, we have another new Cardi song as she shared “Outside” today (June 20).
On the chorus of the hard-hitting track, Cardi seemingly references the end of her relationship with Offset, rapping, “On the pop-out, ’cause it’s hot out / You was playin’ games, now you on timeout / Where the fine n****s? I’m tryna find n****s / I been cuffed up too long, let me remind n****s.”
This comes a couple months after Cardi explained why her new album, to follow her 2018 debut Invasion Of Privacy, is taking so long to materialize, saying, “I really need these f*cking features. And it’s like I’m not really trying to press or go crazy on these artists because I love them down. But it’s like, come on now! I need that! I need that right now! Hello! Y’all don’t want to miss this opportunity. I’ll sing this sh*t myself! But I really need y’all and I need y’all to hurry up and I love y’all. I feel like nobody want to miss being on this album.”
Hot girls, hot beats, and even hotter yoga — BAYLI, the New York City-based, inventive pop purveyor, has been combining her penchant for wellness and musicality into a singular career. Recently, she’s found a way to embrace the underground clubbing scene of NYC while also going sober and taking her body, soul, and mind to the next level with yoga and transcendental meditation she picked up from her mentor Rick Rubin. Her upcoming EP, No Re-Entry is a testament to that exploration, with six internet-era dance tracks plus hypnotic beats and lyrics that play on the idea of hedonism and desire. Her glitchy single “SUGARCOAT” is prepped for runways and clubs, a self-love, sharp anthem from a femme who knows herself. Her second teaser from the album “ALL OF THAT,” pays homage to the indie sleaze BAYLI grew up on, with a bouncy 2000s, vibrating beat under the lyrics “always my princess, sometimes my peach.”
“I started working in music so young,” she tells UPROXX. “Even before I was a person whose body was gonna be on a stage and [in front of] thousands of people, I always connected to taking care of the body. And also, the proverbial… the body is a temple. I was mentored by a lot of hippie musicians who were like, ‘If you do not feel good, and if you’re not taking care of yourself, the music doesn’t come. The greatness doesn’t come if you are not in a good place.’”
BAYLI was just a teenager when she began performing as a backup singer, joining multiple indie bands before starting one with her siblings and friends. “I feel lucky that at around 16 when I was in an indie rock band (The Skins, “like the British TV show”) we were signed by Rick Rubin, who was the most meditative, spiritually leaning producer in the industry.”
“The very first time I left New York to do anything for music, we went to Malibu and the first thing Rick Rubin wants to do is a meditation with us. He does transcendental meditation. He wants to connect on that level before we even talk business,” she says. She was mentored by the “music guru” for four years, and his guidance left her with a new approach to her art. “Taking care of yourself before anything, before writing, before getting in the studio … it’s the number one thing. I still carry that out.”
Below, UPROXX catches up with BAYLI to chat about mediation, creating without expectation, and what we can expect from her No Re-entry EP.
Can you tell us about your experience with transcendental meditation?
I respect transcendental meditation so much, and I’m looking into doing an established transcendental meditation course. Rick Rubin does that and other goated celebrities like Oprah, Stevie Wonder … Stevie’s been doing and singing about transcendental meditation since the ‘70s. I don’t know too much, but what I do know is that it’s a very sustainable way to meditate. You don’t need to do it for hours a day. You can do it for five minutes a day. You have a dedicated mantra that’s made for you, it’s your own practice. I really practice that with how I take care of my body. So with meditation, it could be just 30 seconds in a cab before I show up to an event or it could be a dedicated routine. I think it’s just what works for you, that’s what I take from it.
Can you feel a marked difference in your creativity and music when you’re actively practicing in comparison to when you’re not?
I do feel that there’s a marked difference. I’m not doing it religiously; I’m in the phase of not really doing that much anymore. We live in such a high-sensory world. If you’re not in a high stimulation world, if you’re not stimulating or being stimulated, it’s like you’re not working, you’re not doing enough. Our brains tell us that being chill, taking personal time means that maybe you’re not doing enough in the world. I think there’s this subconscious reluctance [to mediate].
But when you do it, it always helps. The world is so insanely overstimulating right now that the biggest luxury in the future is going to be low or no sensory activities like meditation but now it’s still stigmatized. I think people think you’re working harder and are more quote-unquote successful if you’re waking up early to go to the office than waking up early to meditate. I really still think we’re unfortunately in that place in society. So how do we make meditation and wellness cool? By showing examples. I’m a person at clubs and parties and I’m a bad bitch and in order to be a bad bitch, I have to meditate. I love meditating. I love working out.
Let’s talk No Re-entry. What was the headspace when you were going into the studio to record these tracks?
I’m gonna be vulnerable. I feel really lucky with my career, but [I haven’t had] a super mega mainstream or internet viral moment or anything. I’m not an artist that’s ever had that from my perspective. It feels like with this album, it was giving last hurrah. It was giving last dance a little bit when I was working on it. For me it’s like, ‘Do I wanna keep working in the same space of music? Do I wanna take a break or a hiatus from artist work?’ I’ve been doing it for so long, maybe I could use a change of pace. I wanna put my best foot forward at the same time. I’m not gonna overthink it. I’m not gonna be a perfectionist. I’m just gonna be a little bit looser and more flowy. I was trying to give less of a fuck and not be like so overly professional, overly perfectionist with how I’m finishing this project. I was free flowing with it. That’s why it feels to me a bit more dancey, like club, experimental music. I can be really composer-y with my music and I was trying to be fun.
Did that make it harder or easier? How did the shift in that mode of thinking impact the final project?
With the former projects, there’s a young and fearless mindset. Like boom, I’m gonna put everything into this and it’s going to be life-changing, it has to be really good. The expectation and the perfectionism from my last projects didn’t make it fun. So, when I had a moment that was a big deal, like when I was Spotify EQUAL Woman of the Month and I had a billboard, it’s like I’m not even present and thinking that that’s a big moment or a legitimately cool moment. I’m just like, ‘Cool, what’s next? I looked kind of terrible in that photo.’ Nothing is present. When you have that perfectionism, it’s overly transactional. I took the pressure off and the expectation off for this one. If the song isn’t the most profound song ever, I’ll be fine. It makes it freer, it makes the writing process freer. It makes the visuals and the creative direction freer. It was just me playing with the process of ‘This doesn’t have to do really well. This doesn’t have to be like a game-changing project.’ I think I got different results. I’m really happy with. I’ll be really happy to look at this era and know I was in a slightly different, freer mindset.
Let’s talk about your single “SUGARCOAT,” to me it sounds like summer. What inspired it?
It was a really quick one to write. I wrote it with John Santana, who produced “Telly Bag,” one of my songs. Also, Malik Ninety Five, who’s a big Doechii producer and collaborator. There is also an artist named cr1tter, she was my co-writer, so we were vibing. We pretty much all knew each other and then we wrote the song within 30 minutes and nothing about it was serious. I’m sure there’s serious messaging in there, but not nearly as serious as my past work. It’s just “Tell me you adore me, sugarcoat it for me.” We were just playing around in the studio. We ended up writing another song called “Femmes” in that same session.
“Femmes” is such a good name for a track.
My music media company is called High Femme, Inc. I love us, I love femmes, I love women. I wanted to incorporate that messaging even into the project. I’m always trying to say something empowering, whether it’s serious or not.
What about your next single “All Of That,” what can you tell us about that track?
It’s really a touchstone of the project because “SUGARCOAT” sonically is a harder dance song. It’s like a techno vibe or a hard groove, it’s a ‘how hard can the beat go’ type of song with a hard groove. All of that is more of the foundation behind what inspired the sound of this project. So, “All Of That” feels a bit more indie sleaze. That’s because I was thinking of when I was starting in music, when I was a bit younger and just having fun and [thinking about] who were the artists I was listening to and the bands popping up in New York during that time. It was LCD Soundsystem, Yeah Yeah Yeahs, ASAP Mob, MIA, Animal Collective. Long story short, I ended up working on this song with Nick Sylvester, who’s an LCD Soundsystem producer for that era. I was trying to capture a Peaches, LCD Soundsystem type sound with the production.
I love Peaches. They don’t get enough credit.
They’re legends and I feel like a lot of people are utilizing that sound these days. I really grew up in that era. I wanted to pay homage to that coming-of-age era for me, 2009, 2010, and keep it in the club world. It’s still dance, it’s still upbeat, but it’s a bit more indie-sleaze.
I know you have some yet-to-be-announced features on the EP. What can you tell us?
We have some legendary features. I don’t even know if I wanna drop them, but I wanna gag the girls a little bit. I wanna drop it with the track list. But we have amazing queer, Black features. I’m a queer Black artist and I’m always gonna bring the community with me as much as possible. Really sweet features and people that really inspire me, old and new features. Think about the 2010s era … who from that world could we possibly have? And then also the new age people bringing in the new wave of music. I don’t mean to be vague, but let me not even share prematurely.
Something I saw that you posted over a video for “SUGARCOAT,” was Black girls making club music will heal the world. Can you expand on that? What does that mean to you? What would you hope people take away from that?
I know Black people invented literally every genre. We are the foundation of all Western music. That’s me being like, ‘We’ve been the blueprint.’ We black people are doing dance music, disco music and club music. We’ve already healed the world before. We need to bring it back. Also there’s such an underground scene of young Black club musicians between New York and LA and in the club scene. I wanted to bring that to the forefront. I think also club house music is very healing and spiritual to dance amongst a thousand people together in a room and be that free and have that level of trust and feeling music at that level, I think is really spiritual.
Back in 2021, PinkPantheress released a song called “Close To You” on Soundcloud, and in the years since then, it has remained a fan favorite. Now, the song is less of a superfan obscurity, as PinkPantheress has finally given it a proper release today (June 20).
PinkPantheress says in a statement, “so excited to FINALLY present this song, i can’t believe how many people have asked for this song, im really honoured to have had fans wait this long for this release, being one of my first written songs, it’s so special that 4 years later it can see the light of day.”
Yesterday, ahead of the song’s release, a fan on Reddit noted that after her concert that night, CD singles of the song were handed out to attendees, and many of the comments expressed excitement about the track’s release. She also gave the song its live debut during that performance, per setlist.fm.
Watch the “Close To You” video above and check out PinkPantheress’ upcoming North American tour dates below.
PinkPantheress’ 2025 Tour Dates: An Evening With PinkPantheress
10/24 — Brooklyn, NY @ Kings Theatre
10/25 — Brooklyn, NY @ Kings Theatre
10/27 — Toronto, ON @ Massey Hall
10/29 — Toronto, ON @ Massey Hall
11/01 — Chicago, IL @ Byline Bank Aragon Ballroom
11/05 — Los Angeles, CA @ The Wiltern
11/06 — Los Angeles, CA @ The Wiltern
11/12 — San Francisco, CA @ The Masonic
11/13 — Oakland, CA @ Fox Theater
The F1 movie went all out for its blockbuster soundtrack, featuring new songs from Don Toliver and Doja Cat, Roddy Ricch, Tate McRae, and Ed Sheeran. Sheeran’s song is the latest of the bunch to be shared, as it just came out today (June 20).
“Drive” is a different sort of tune in the Sheeran oeuvre, as it’s the kind of stomping, distorted-guitar-forward rocker that he’s not really known for. But, given his expertise at crafting catchy hits, the genre shift works out well.
Meanwhile, Sheeran previously said of his own upcoming album, “Play was an album that was made as a direct response to the darkest period of my life. Coming out of all of that I just wanted to create joy and technicolour, and explore cultures in the countries I was touring. I made this record all over the world, finished it in Goa, India, and had some of the most fun, explorative creative days of my life. It’s a real rollercoaster of emotions from start to finish, it encapsulates everything that I love about music, and the fun in it, but also where I am in life as a human, a partner, a father.”
Watch the “Drive” video above.
F1 The Album is out 6/27 via Atlantic Records. Find more information here.
When Lorde announced “Hammer” yesterday (June 19), she revealed that it’s the opening track of her forthcoming album, Virgin. More intriguing, she called the song “an ode to city life and horniness.” Now, with today’s release of the song, we get a better idea of what that means.
On the opening verse, she sings, “There’s a heat in the pavement, my mercury’s raising / Don’t know if it’s love or if it’s ovulation / When you’re holding a hammer, everything looks like a nail / The mist from the fountain is kissing my neck / The liquid crystal is in my grip / Anyone with a snake tongue, I show ’em the chambers of my heart.”
She also shared a video for the song, directed by Renell Medrano and shot on location at London’s Hampstead Heath. It features a variety of scenes, including Lorde getting a butt tattoo in the woods and making out with somebody in a car.
Lorde previously said of the new album, “I was trying to see myself, all the way through. I was trying to make a document that reflected my femininity: raw, primal, innocent, elegant, openhearted, spiritual, masc. I’m proud and scared of this album. There’s nowhere to hide. I believe that putting the deepest parts of ourselves to music is what sets us free.”
Watch the “Hammer” video above.
Virgin is out 6/27 via Republic Records. Find more information here.
The clip starts with Boone, wearing a “One Hit Wonder” shirt, walking into a meeting at the fictional Industry Plant Records. Boone’s agent, played by his songwriting partner Jack LaFrantz, informs him that his investments in backflips and “moonbeam ice cream” aren’t working out. He suggests “good songwriting” as a new gimmick, to which Boone pushes back, “You know I can’t do that.” The agent then informs Boone he owes the label $10 million and has a week to pay up.
That’s when the song starts and the video shows Boone trying out a variety of different jobs. After the song ends, the opening skit resumes, with Boone telling his agent he only managed to earn $168 but to give him another chance. The agent then informs him that everything is actually alright, as he sold Boone’s musical catalog to “retail chains, fast food chains, and movie theaters” so he’ll be “the most over-played artist in the world.” A shocked Boone hangs his head before exclaiming, “That’s all I’ve ever wanted. Yes!”
Watch the “Mr Electric Blue” video above.
American Heart is out now via Night Street Records/Warner Records. Find more information here.
Steven and Ian open this week’s episode by hashing out the new trailer for Springsteen: Deliver Me From Nowhere, the upcoming film about the making of Nebraska starring Jeremy Allen White from The Bear. Does the movie look any good? Does Jeremy have the proper level of rasp? The guys also talk about a (terrible) new song featuring three sons of The Beatles. Then, after Steven officially concedes defeat in the latest Fantasy Albums Draft, they review new albums by Haim and Hotline TNT.
In the mailbag, they contemplate the AI versions of themselves as determined by ChatGPT. In Recommendation Corner, Ian talks about the rave-inspired Real Lies and Steven goes for the Kentucky songwriter S.G. Goodman.
New episodes of Indiecast drop every Friday. Listen to Episode 244 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.
Kiss Of The Spider Woman fans know that the Broadway musical was a massive deal back in its day: In 1993, it won a bunch of Tony Awards, including Best Musical and Best Original Score. Now, over 30 years later, the story is hitting the big screen via a film adaptation led by Jennifer Lopez.
The movie was a hit earlier this year at Sundance, where the Associated Press reports audiences broke out “in spontaneous applause” at its premiere. They got perhaps the best-possible candidate to helm the film, too: Bill Condon, who directed and wrote the screenplay. He has a superlative track record when it comes to Broadway-to-film adaptations, as he was behind the screenplays of both Dreamgirls and Chicago.
As Kiss Of The Spider Woman‘s theatrical release approaches, continue below to learn everything you need to know about the movie.
Plot
We already know the main plot of this one, since the film is based on the musical, which itself is based on Manuel Puig’s 1976 novel. It focuses on the imagined films of Luis Molina, a gay hairdresser serving an eight-year prison sentence in Argentina in 1981. His stories star Ingrid Luna, an actress who plays the “spider woman,” whose murderous trademark is using a kiss to kill her victims. Molina also forges a deep and unexpected connection when another prisoner is brought into his cell.
“It’s about two different people who come together and find the humanity in one another and fall in love. To me, that is something that is special and needs to be seen. We are all just human. It’s an important movie in this way.”
Cast
Aside from Lopez, the cast includes Diego Luna, Tonatiuh Elizarraraz, Tony Dovolani, Josefina Scaglione, Bruno Bichir, Aline Mayagoitia, and Lynn Favin.
Lopez told Variety, “I was waiting my whole life to be able to do a real big MGM Hollywood musical, and I finally got to do it. It was more [than I hoped]. Me and Diego were on set and we’re dancing around and we’re singing and looking at each other and it’s like we don’t want to do anything else but musicals. Diego said that! Me, too. I don’t want to do anything else.”
Release Date
The film is set to hit theaters on October 10.
Trailer
Check out the Kiss Of The Spider Woman trailer below.
If you know anything about Benson Boone beyond his hit songs, it’s likely that he can do a backflip and he tends to do them often. It’s a joke that Boone himself is in on, as he shows in a teaser for his upcoming “Mr Electric Blue” video, which is set to arrive tomorrow (June 20).
The clip is set three years in the past and it begins with Boone doing backflips on a trampoline. Then, a neighbor (played by Boone’s songwriting partner Jack LaFrantz) appears over the fence and says, “Excuse me, young innocent boy?” After Boone answers, the man continues, “Was that a backflip I saw?” Boone replied, “Yeah. Yeah, that was a backflip. They’re pretty easy for me.” The neighbor then asks if Boone happens to be able to sing and Boone responds, “No… but I guess I could try.” The neighbor says that’s “absolutely perfect” before disappearing behind the fence, and Boone calls him a “weird guy” before getting back to doing flips.
“Speed Of Sound” was a huge moment for Coldplay, as it kicked off the X&Y era and was the band’s first top-10 single in the US. Yet, the band has a contentious relationship with the song.
In a 2011 interview with Concrete, Chris Martin explained that Coldplay thought they “never got it right” when it comes to “Speed Of Sound.” In a 2011 chat with Howard Stern, he explained that the band doesn’t play the song live because “an audience can pick up real fast if you’re not convinced by something.”
Since the X&Y era, the band has played the track live only rarely, and when they do, it’s usually acoustic of just a shortened version of the song. However, during a recent show at El Paso, Texas (as NME notes), they performed a full-band version of the full song for the first time since 2016.
Before playing it, Martin told the audience, “Why don’t we try and reclaim the song ‘Speed Of Sound?’ At some point, we’ll do a proper edit of the song and just do a remix. I’d like to make it a little bit quicker, a little bit shorter, a little bit tighter…” He added, “For those of you who weren’t born in 2005, it’s not that good, but [laughs] we’re going to try and play it anyway.”
Check out the video above.
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