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We haven’t heard much from Blood Orange recently, but Dev Hynes is changing that today with the release of “The Field,” a new song that’s his first in three years.

He got a lot of friends to help him out with this one, as it features contributions from Caroline Polachek, Daniel Caesar, The Durutti Column, Tariq Al-Sabir, and Eva Tolkin.

Although this is Hynes’ first release of the year, he’s been active behind the scenes lately. A few months ago, he co-wrote a couple of songs with Daniel Caesar and Rex Orange County. He also popped up on a Turnstile song (and will join them on the road) and was a producer on Lorde’s new album Virgin.

In a 2024 interview, he discussed balancing his various creative endeavors, saying, “I’m still doing a lot of film and TV scoring, and then I’m also working on a Blood Orange album at the same time. […] But it’s also continuous. Because of how I write and record, it never stops. I do it at home and in hotel rooms and I find studios and it’s kind of always happening. […] Yeah, I’m definitely working on an album. But I have no idea when it will exist. But it’s definitely something.”

Watch the “The Field” video above.

It’s been a musical month for Jake Shane on his Therapuss podcast: He had Addison Rae on as a guest a couple weeks ago, and PinkPantheress joins him on the latest episode.

Notably, she discussed how having OCD impacts her mentality surrounding live performances:

“I don’t necessarily have many of the fears that you might have about certain things and I don’t need to touch anything, and I don’t really care about neatness. I’m actually very untidy, obviously. However, I do have this thing where once I have a thought, it loops, loops, loops for a month and it will never stop, and I get it over some of my biggest fears. My biggest fears are always just in the loop. […] One thing OCD does make me personally do is it means if I don’t consider myself a certain standard at what I’m doing, I don’t see the point doing it. Or I don’t enjoy it because I feel like sh*t. […]

And that’s something that’s birthed from my OCD, by not being satisfied by anything less than perfect. So, all that to say with performing. I love performing, yes. […] I simply don’t think I’m that good yet. So, until, I’m that good, then I’m always going to be a bit, like, ugh.”

She also added of touring, “I enjoy the elements that I enjoy but no, I don’t love being away from home.”

Watch the full episode above.

Oasis’ forthcoming reunion tour is a major deal that has been years in the making. Some have wondered what the shows are going to be like and Liam Gallagher is indicating that they’ll be relatively straightforward.

On X (formerly Twitter), a fan asked Gallagher, “have you decided what your entrance will be on the 4th,” referring to the band’s first reunion concert that’s set for July 4 in Cardiff, Wales. Gallagher replied, “We’re just gonna walk on and get on with it we’re not at the f*cking circus we’re not getting fired out of a cannon ball and we’re not SHOWOFFS.”

Others have been asking about Gallagher’s nerves ahead of the shows and he seems characteristically full of confidence. One user asked, “ONLY ONE WEEK LEFT LIAM, HOW DO YOU FEEL ABOUT IT” and Gallagher replied (laying on the sarcasm thick, presumably), “I’m absolutely sh*tting it nerves have kicked in I’m scared.” Another user asked if he has “a little bit of nerves for the opening night” and he answered, “Karen if you ask me that stupid question again me n you are gonna fall out.”

Somebody else asked, “Are you going to give Noel a big hug on stage the first night?” Gallagher responded, “Eh don’t be expecting us to be holding hands and kissing n cuddling we got a gig to do and people to move no time for all that nonsense.”

Laufey is in album mode with the recent announce of A Matter Of Time. It’s shaping up to be a diverse effort: Today’s new song “Lover Girl” is a departure from the previous single “Tough Luck” as it leans into a bossa nova influence.

Laufey says of the new song, “The hardest part of loving someone is being away from them. This is that story.”

Laufey previously said of her new album, “Every new album for me is a blank book of stories to write. […] I’m constantly thinking about classical and jazz, how to properly preserve them and pay homage. For this album, I just wanted to let my heart wander.”

Listen to “Lover Girl” above. Also check out Laufey’s upcoming tour dates below.

Laufey’s 2025 Tour Dates: A Matter Of Time Tour

07/30 — Norfolk, VA @ Virginia Arts Festival at Chartway Arena *
07/31 — Norfolk, VA @ Virginia Arts Festival at Chartway Arena *
08/02 — Chautauqua, NY @ Chautauqua Institution †
08/03 — Chautauqua, NY @ Chautauqua Institution †
08/07 — Cuyahoga Falls, OH @ Blossom Music Center ‡
08/09 — Saratoga Springs, NY @ Saratoga Performing Arts Center §
09/15 — Orlando, FL @ Kia Center **
09/16 — Atlanta, GA @ State Farm Arena **
09/18 — Fort Worth, TX @ Dickies Arena **
09/20 — Houston, TX @ Toyota Center **
09/21 — Austin, TX @ Moody Center **
09/23 — Phoenix, AZ @ Desert Diamond Arena **
09/24 — San Diego, CA @ Pechanga Arena **
09/26 — Los Angeles, CA @ Crypto.com Arena **
09/30 — San Francisco, CA @ Chase Center **
10/02 — Vancouver, BC @ Rogers Arena **
10/04 — Seattle, WA @ Climate Pledge Arena **
10/06 — Salt Lake City, UT @ Delta Center **
10/08 — Morrison, CO @ Red Rocks Amphitheatre **
10/10 — Chicago, IL @ United Center **
10/11 — Minneapolis, MN @ Target Center **
10/13 — Nashville, TN @ Bridgestone Arena **
10/15 — New York, NY @ Madison Square Garden **
10/19 — Toronto, ON @ Scotiabank Arena **
10/21 — Laval, QC @ Place Bell **
10/23 — Washington, DC @ Capital One Arena **
10/24 — Philadelphia, PA @ Wells Fargo Center **
10/27 — Boston, MA @ TD Garden **

* with The Virginia Symphony Orchestra
† with The Chautauqua Symphony Orchestra
‡ with The Cleveland Orchestra
§ with The Philadelphia Orchestra
** with support from Suki Waterhouse

A Matter Of Time is out 8/22 via Vingolf Recordings/AWAL. Find more information here.

Sabrina Carpenter isn’t afraid to rock the boat in the name of creativity: When she revealed the cover art of her upcoming album Man’s Best Friend earlier this month, some people thought it was offensive, as it featured Carpenter on her hands and knees, at the foot of a person (a man, it appears) holding her by the hair.

Carpenter has also established herself as having a great sense of humor, which she did again today (June 25) by sharing a new, more innocent alternate cover for the album. The latest art features a tamer scene, of her (on her feet) simply holding onto a man. Seemingly in a nod to the backlash of the original cover, she wrote in the announcement post’s caption, “here is a new alternate cover approved by God.”

On a related note, Carpenter recently spoke about the criticism she sometimes faces for her risqué concerts, saying, “It’s always so funny to me when people complain. They’re like, ‘All she does is sing about this.’ But those are the songs that you’ve made popular. Clearly you love sex. You’re obsessed with it. It’s in my show. There’s so many more moments than the ‘Juno’ positions, but those are the ones you post every night and comment on. I can’t control that. If you come to the show, you’ll [also] hear the ballads, you’ll hear the more introspective numbers. I find irony and humor in all of that, because it seems to be a recurring theme.”

Since its inception, the question of who, when, and where rock music originated has been a topic of debate. That cool mixture of drums, bass, and electric guitar, merging melody, uptempo beats, and lyrics inspired by the counterculture has — since the 1950s — represented the diversity of the country it was born in, stumbling into folk, country, gospel, and blues territory while generating a sound all its own. Unfortunately, the multiculturalism depicted by its sonics has rarely been reflected in the people believed to have created it.

It makes sense — early visions of the genre all seemed to fit into the same white male aesthetic, making it easy to assume that women and artists of color were unlikely to be the shapers of the sound, let alone its initiators. But early famous purveyors of rock like Elvis, in his renegade adoration for gospel and blues, have been reported in multiple instances to give credit to Black artists as the impetus of rock and roll. The Beatles, in their well-earned historic musical glory, also pointed to early Southern musicians as part of their musical upbringing, with John Lennon telling Jet Magazine that Black music was his “life,” adding, “The Beatles and Sgt. Pepper and all that jazz – it doesn’t mean a thing. All I talk about is 1958 when I heard [Little Richard’s] ‘Long Tall Sally,’ when I heard [Chuck Berry’s] ‘Johnny Be Good,’ when I heard Bo Diddley. That changed my life completely.” Despite early disc jockeys, music industry insiders, and marketers pushing white artists to the forefront due in part to their desire to market palatable artist to white listeners, Black music makers have continued to perform, create and reclaim the sound they were at the heart of creating decades ago.

When Brittany Howard of Alabama Shakes inducted Sister Rosetta Tharpe — the godmother of rock who paved the way for fellow electric guitar wizards — into the Rock And Roll Hall of Fame in 2018, she memorably declared, “It’s long overdue!” Now, with Afropunk and I Made Rock ‘N’ Roll carving out music festival space that pays homage to and puts Black punk and rock artists on stages, the tide is shifting, and the historical impact of the musicians that started it all is not only being paid forward, but finally recognized. We still have a long way to go before Black stars are handed Grammys for best rock or alternative album on a regular basis, and most rock centric line ups are still homogenous, but up and coming, boundary pushing acts are still staking a claim to the music that’s been beating in their veins all along. Here are just a few of the Black rock and punk artists who are breaking the rules of genre and reclaiming the sound that has always been theirs.

Nova Twins

A Black british duo with style, flare and a penchant for metal — Nova Twins have made name for themselves by doing things their own way. Amy Love and Georgia South mix the rock, pop, and R&B they grew up in while leaning into distortion, boldly pulling in nu-metal, and keeping things playful by merging it with pop punk. Despite the misogynoir they experienced in rock scenes they’ve continued to share their sound — from their 2017 EP Thelma and Louise, to their 2022 album, Supernova, with no plans of stopping. In August, they’re set to release their third album, Parasites & Butterflies, another testament to their dedication to unbridled rock joy and to ignoring the naysayers by focusing on their work. “We had to remember what had worked for us so far in our career,” Love said in a statement on the upcoming album. “And that was to simply not give a fuck.”

Rico Nasty

Rico Nasty was always primed to make a sound all her own. Growing up listening to everything from Beyoncé to Tyler, the Creator, her taste of popular music yet lack of allegiance to genre has always pushed her, and her freestyle rapping skills, into the rock space. She’s coined her sound as sugar trap and although she’s consistent in paying it homage, her recent music has upheld her rock propensities. From the release of her 2020 hit “Smack a Bitch” a perfect blend of rock and rap, she’s continued to push through the boundaries of sound — recently releasing LETHAL, an album that doesn’t shy away from grunge, rock, and even rap, embodying the free flowing nature and devil may care energy of punk. It’s another leap forward for the artist, who has shared that she finally feels comfortable fully embracing the sounds and music that have always represented her true self. “I don’t want to be this gimmicky thing of ‘Rico Nasty,’ this big costume,” she recently told PAPER. “I just want to be myself.”

DE’WAYNE

Blending funk, soul, punk, and rock, alternative artist DE’WAYNE has been steadily building a fan base while getting vulnerable with his subject matter. His third album june is set for release on July 30, and his latest single “sundays” recalls the Houston-born LA-based musician’s relationship with his father. “I wanted to reframe vulnerability as a superpower, not a weakness, and use this record to show my evolution — not just as an artist, but as a human being,” De’Wayne said in a statement on the album. With a packed festival season, a penchant for music that merges melody and honesty, and a vintage rock and roll wardrobe that matches his sound, it’s safe to say his star will continue to rise. He’s worn his inspirations on his sleeve, citing Lenny Kravitz and Brandon Flowers as influences, while sonically paving the way for a sound that’s all his own.

Uproxx’s Steven Hyden named Bon Iver’s SABLE, fABLE one of 2025’s best albums so far, and Justin Vernon isn’t finished with it yet as he shares a fun new video for “From” today (June 25).

In the retro-styled clip, Vernon positions himself at both ends of the ill-fated-marriage pipeline, as both a limo driver for newlyweds and a divorce attorney.

This video certainly went better than one of Vernon’s earlier acting attempts. He recently said of the time he auditioned for the lead role in Inside Llewyn Davis, “They wanted to have a meeting in New York, so I read the script. Over the course of a month, I read it once. I went to the Upper West Side, I believe it was Joel Coen’s apartment. […] In that moment, I realized that I was in an audition and I didn’t know that. And I was completely paralyzed. […] So I’m sitting there, I’m a terrible actor, I’ve read this thing exactly once. […] It was OK that they were laughing at me, because I was so bad. But anyways, it was one of those learning experiences where if something doesn’t feel right to you, and you’re not meant to do it, maybe just let it pass.”

Watch the “From” video above.

Gunna speaks with UPROXX Chief Visionary Officer will.i.am about his creative process, influences, and what he wants from his new era.

Aside from her former labelmate Kendrick Lamar, perhaps no other artist had as big an impact on Doechii’s explosive rise to stardom last year as Tyler The Creator. Tapping Doechii to feature on his Chromakopia cut “Balloon,” Tyler also brought her out during his headlining performance at Camp Flog Gnaw, adding to the praise for her recent string of standout performances from fans watching the livestream online.

The two have teamed up once again, previewing a new song, “Get Right,” during Louis Vuitton’s Paris Fashion Week show. According to Billboard, the song was also produced by Louis Vuitton’s creative director, Pharrell Williams, who has previously collaborated with both rappers separately. Williams styled Doechii for this year’s Met Gala, decking her out in the brand’s signature checkerboard pattern as part of the gala’s theme, Black Dandyism. The song snippet appears at 14:20 in the stream below.

While Doechii’s appearance on Tyler’s “Balloon” helped raise her profile considerably, the Florida native was already well on her way to being a supernova by the time the song dropped. This is thanks to her exquisitely detailed design sensibilities in performances for NPR Music Tiny Desk, The Late Show With Stephen Colbert, and Genius’ Open Mic series, as well as the runaway success of singles like “What It Is (Block Boy),” “Denial Is A River,” and even a collaboration with pop queen Katy Perry. As Doechii’s star continues to rise, it’ll be fascinating to watch her experiment with new sounds like the ones on “Get Right.”

Lorde, at this point, is a veteran performer. For a long time before she reached that level, though, she didn’t always thrive on stage as she dealt with some anxiety. On The Late Show With Stephen Colbert yesterday (June 24), though, she explained to the host how she got over it.

Lorde told Colbert that she had the “truly the most horrific stage fright” since she was doing community theater performances at about five years old. Colbert asked how she got over it and she wondered out loud if she’s allowed to talk about it. She then said:

“Well, it’s MDMA therapy. […] Truly, like, changed the game on my stage fright. […] From what I have heard, some of these things live very deep in the body, and you hold on to it. You hold on to a response like stage fright for reasons that no amount of talk therapy or brain use could get at. But when you bypass that and get to the body, something shifts. And that totally happened for me. I tried everything for my stage fright. I did this therapy and then literally, I woke up the next day and was like, ‘Oh, it’s over. I know it’s over.’”

Watch the full interview above.