Category: Viral

Keeping track of all the new albums coming out in a given month is a big job, but we’re up for it: Below is a comprehensive list of the major releases you can look forward to in February. If you’re not trying to potentially miss out on anything, it might be a good idea to keep reading.

Friday, February 7

• Avalanche Party — Der Traum Uber Alles (Kartel Music Group)
• Biig Piig — 11:11 (Sony Music)
• corook — committed to a bit (Atlantic)
• Dream Theater — Parasomnia (Ytse Jams)
• Drop Nineteens — 1991 (Wharf Cat Records)
• FACS — Wish Defense (FACS)
• Fotokiller — Eerie Nostalgia (Fotokiller)
• FVZZ POPVLI — Melting Pop (Francesco Pucci)
• Guided By Voices — Universe Room (GBV Inc)
• Heartworms — Glutton For Punishment (Speedy Wunderground/PIAS)
• Helen Ganya — Share Your Care (Bella Union)
• HONESTY — U R HERE (Partisan Records)
• HORSEBATH — Another Farewell (Strolling Bones Records)
• Inhaler — Open Wide (Universal)
• James Brandon Lewis Trio — Apple Cores (Anti)
• Jinjer — Duél (Napalm Records)
• John Ely — Love and Freedom (Rack ‘Em Records/Thirty Tigers)
• JOHNNYSWIM — When The War Is Over (Mr And Mrs Swim LLC)
• Leæther Strip — Pornography: A Tribute to The Cure (Cleopatra Records)
• Lewis Watson — blue skies grey (Nettwerk)
• Matt Pond PA — The Ballad of the Natural Lines (Sonder House)
• The Moles — Composition Book (Splendid Research)
• Mun Sing — Frolic EP (Illegal Data)
• Nadia Reid — Enter New Brightness (Chrysalis Records)
• Natti Natasha — Natti Natasha En Amargue (Sony Music)
• Oklou — Choke Enough (True Panther Records)
• Olly Alexander — Polari (Universal)
• Rats on Rafts — Deep Below (Fire Records)
• Real Bad Man and ZelooperZ — Dear Psilocybin (Real Bad Man Records)
• The Rumjacks — Dead Anthems (Australian Broadcasting Corporation)
• Sarah Klang — Beautiful Woman (Nettwerk)
• Sean Thompson’s Weird Ears — Head In The Sand (Missing Piece Records)
• Sharon Van Etten & The Attachment Theory — Sharon Van Etten & The Attachment Theory (Jagjaguwar)
• Skeleten — Mentalized (Astral People Recordings)
• Sleeper’s Bell — Clover (Fire Talk)
• Squid — Cowards (Warp Records)
• Thundermother — Dirty & Divine (AFM Records)
• Tommy Castro & The Painkillers — Closer to the Bone (Alligator Records)
• The Vices — Before It Might Be Gone (+1 Records)
• Winona Oak — Salt EP (Nettwerk)

Friday, February 14

• Alessia Cara — Love & Hyperbole (Def Jam)
• The Altons — Heartache in Room 14 (Daptone Records)
• Art d’Ecco — Serene Demon (Paper Bag Records)
• Bartees Strange — Horror (4AD)
• BLOND:ISH — Never Walk Alone (Insomniac Records)
• Chatham Rabbits — Be Real With Me (Chatham Rabbits)
• Cryogeyser — Cryogeyser (Cryogeyser)
• The Delines — Mr. Luck and Ms. Doom (Decor Records)
• Denison Witmer — Anything At All (Asthmatic Kitty)
• Doves — Constellations For The Lonely (Universal)
• fish narc — frog song (K Records)
• Gary Louris — Dark Country (Thirty Tigers)
• Horsegirl — Phonetics On and On (Matador)
• Immersion and SUSS — Nanocluster Vol.3 (Swim)
• JISOO (of BLACKPINK) — AMORTAGE (YG)
• John Glacier — Like A Ribbon (Young)
• Lacuna Coil — Sleepless Empire (Century Media)
• The Lumineers — Automatic (Dualtone)
• Mallrat — Light hit my face like a straight right (Nettwerk)
• Margaret Cho — Lucky Gift (Clownery Records)
• Marshall Allen — New Dawn (Mexican Summer)
• Mereba — The Breeze Grew a Fire (Secretly Canadian)
• Neil Young — Oceanside Countryside (Reprise Records)
• Ohgeesy — Paid N Full (Atlantic)
• Oracle Sisters — Divinations (Wizard Artists)
• Oslo Twins — Tresor EP (Half Normal Records)
• Richard Dawson — End of the Middle (Domino)
• Rusty Williams — Grand Man (Congrats Records)
• Shygirl — Club Shy Room 2 EP (Because Music)
• Thala — Avalance (Fire Records)
• The Velveteers — A Million Knives (Easy Eye Sound)
• The War and Treaty — Plus One (UMG)
• WARLUNG — The Poison Touch (Heavy Psych Sounds)
• Winona Fighter — My Apologies to the Chef (Rise Records)

Friday, February 21

• A Great Big World — then there were sparks EP (Ian and Chad LLC)
• Anna Shoemaker — Someone Should Stop Her (+1 Records)
• Anxious — Bambi (Run For Cover Records)
• Basia Bulat — Basia’s Palace (Secret City Records)
• Bren Joy — Sunset Black (Bren Joy)
• Califone — The Villagers Companion (Jealous Butcher Records)
• CHALK — Conditions III EP (Dutch Tilt)
• Colin Self — respite ∞ levity for the nameless ghost in crisis (RVNG Intl.)
• Dirty Honey — Mayhem and Revelry Live (Dirt Records)
• Ellis Mano Band — MORPH (SPV Recordings)
• Floodlights — Underneath ([PIAS])
• Glixen — Quiet Pleasures EP (Wichita Recordings)
• IDER — Late to the World (Nettwerk)
• Kameron Marlowe — Sad Songs For The Soul (Sony)
• Katy Pinke — Strange Behavior (Katy Pinke)
• Kelora — Sleepers (True Panther Records)
• Killswitch Engage — This Consequence (Metal Blade Records)
• Les Rallizes Dénudés — YaneUra Sept. ’80 (Temporal Drift)
• Luke Sital-Singh — Fool’s Spring (Nettwerk)
• Masma Dream World — Please Come to Me (Valley Of Search)
• Max Frost — Shelby Ave (Nettwerk)
• The Murder Capital — Blindness (Human Seasons Records)
• Nao — Jupiter (Sony)
• Nina Nesbitt — Mountain Music (The Summit) (Apple Tree Records)
• ONE OK ROCK — DETOX (Elektra)
• Patterson Hood — Exploding Trees & Airplane Screams (ATO)
• Porridge Radio — The Machine Starts To Sing EP (Secretly Canadian)
• Rum Jungle — Recency Bias (Rum Jungle)
• SAINt JHN — Festival Season (GODD COMPLEXX)
• Sam Fender — People Watching (Universal)
• Saya Gray — SAYA (Dirty Hit)
• Scour — Gold (Nuclear Blast)
• Silverstein — Antibloom / Pink Moon (UNFD)
• Tate McRae — So Close To What (RCA)
• Tim Hecker — Shards (kranky)
• Trupa Trupa — Mourners EP (Glitterbeat Records)
• The Wombats — Oh! The Ocean (AWAL)
• Yawning Balch — Volume Three (Heavy Psych Sounds)
• The Young Mothers — Better If You Let It (Birdwatcher Records)
• Youth Lagoon — Rarely Do I Dream (Fat Possum Records)
• Ziggy Alberts — New Love (Commonfolk Records)

Friday, February 28

• Aloe Blacc — Stand Together (Grand Scheme Productions)
• Andy Bell — pinball wanderer (Sonic Cathedral)
• Architects — The Sky, The Earth & All Between (Epitaph)
• ARTEMIS — ARBORESQUE (UMG)
• Banks — Off With Her Head (Her Name Is Banks)
• bdrmm — Microtonic (Rock Action Records)
• Bonnie Trash — Mourning You (Hand Drawn Dracula)
• Chesney Hawkes — Living Arrows (HGLA)
• Chick Corea, Christian McBride, and Brian Blade — Trilogy 3 (Universal)
• The Chills — Spring Board: The Early Unrecorded Songs (Fire Records)
• Cloakroom — Last Leg of the Human Table (Closed Casket Activities)
• Cornelia Murr — Run to the Center (22TWENTY)
• CAPYAC & Reggie Watts — Songs from Celestial City EP (Nettwerk)
• Darkside — Nothing (Matador)
• David Grubbs — Whistle from Above (Drag City)
• Deep Sea Diver — Billboard Heart (Sub Pop Records)
• The Devil Makes Three — Spirits (New West Records)
• Domestic Drafts — Only the Singer (Glamour Gowns)
• Double Wish — Deeper Ecstasy EP (Hit the North Records)
• Edith Frost — In Space (Drag City)
• Eric Bass — Eric Bass Presents: I Had A Name (Eric Bass Presents)
• Everything Is Recorded — Temporary (XL)
• Hachiku — The Joys of Being Pure at Heart (Marathon Artists)
• Hope Tala — Hope Handwritten (Secretly Distribution)
• Ichiko Aoba — Luminescent Creatures (Psychic Hotline)
• JD Clayton — Blue Sky Sundays (Rounder Records)
• Kip Moore — Solitary Tracks (Slowhearts Production)
• Lettuce — Lettuce with the Colorado Symphony (Lettuce Records)
• Lisa — Alter Ego (RCA Records)
• Marie Davidson — City of Clowns (DEEWEE/Because Music)
• Max Cooper III — The Overthinker EP (Max Cooper Music)
• Mdou Moctar — Tears of Injustice (Matador Records)
• The Men — Buyer Beware (Fuzz Club)
• Michi — Dirty Talk (Stones Throw Records)
• Miya Folick — Erotica Veronica (Nettwerk)
• Panda Bear — Sinister Grift (Domino)
• Perfect Plan — Heart of a Lion (Frontiers Records Srl)
• Polly Paulusma — Wildfires (One Little Independent Records)
• serpentwithfeet — GRIP SEQUEL (Secretly Canadian)
• The Ting Tings — Home (Finca)
• Venamoris — To Cross or To Burn (PIAS)

James Sweeney has made peace with the fact that what he’s done might be unforgivable. His Sundance breakout, Twinless, recently blindsided critics (in the best way), promising a quirky bromance and delivering instead a twisted, acerbic examination of loneliness that used a bioevolutionary phenomenon as its driving vehicle. And his character was the one yanking the proverbial rug.

“I wish I could say I don’t give a shit what people think but I want to be liked like everyone else,” Sweeney tells UPROXX. “There was always a fear of turning people off. My thing is I’m always going to have fears. I just don’t want to let that prohibit me from doing what I think is best creatively.”

Those creative swings aren’t something we’ll spoil here except to say that, whatever movie you think you’re sitting down for when Twinless eventually gets its wide release – you’re wrong. The late scrolling title credits will no doubt jar you back to reality, setting you adrift on a journey that’s both thrilling and unsettling, mostly because its destination is completely unknown.

Sweeney plays Dennis, an isolated and acid-tongued twink who befriends Dylan O’Brien’s Roman at a bereavement group for those who have lost their twin. O’Brien pulls double duty here, playing both Roman (the dull-witted but well-meaning himbo of this story) and Rocky (his charming, successful, and as of recently, very deceased, counterpart). Rocky and Dennis’ shared sexual orientation lead to some fumbling musings by Roman on nature versus nurture and the existence of the “Gay gene,” cementing it as one of the stranger meet cutes you’ll see on screen this year.

But you’ll likely find yourself rooting for their friendship to work – at least in the beginning – because the boys are lonely. According to Sweeney, both “equally fucked up in their own ways.” Roman needs someone to fill the void his carbon copy has left, to go grocery shopping with, to point out the difference between lemons and limes. Dennis yearns for a stand-in too, a plus one to any awkward after-hours co-working events who can introduce him to violent spectator sports funded by stale pretzels and craft beer.

Their bromance is refreshingly sweet, in spite of all the grief and heartbreak that fuels it.

“We rarely ever see friendships explored specifically about gay men and straight men,” Sweeney explains. “Those are some of the closest relationships in my life. My cinematographer Greg*, he’s my best friend. We met freshman year of film school.”

*This film is not about Greg.

“Our cultural ideas of masculinity are slowly shifting. And I think it was interesting for Dylan and I to be able to explore that through these characters,” he continues. “I mean even the relationship to violence and talking about their feelings. I don’t think that Roman and Dennis are necessarily the role models of male friendship, but I do think there are a lot of aspects of their friendship that I admire, and I think it’s part of why people respond to the movie, because they have a lot of good times together.”

Casting O’Brien, who’s pivoted from early, big-budget YA fare to indie arthouse projects that often showcase his impressive range, was one of the turning points in the creational odyssey of the film.

Sweeney’s feature debut, a quick-witted rom-com called Straight Up, was well received by critics in 2019. He didn’t harbor any “grandiose expectations” in terms of career-changing trajectory, but he also didn’t expect to find himself broke and taking a Java Script course online during lockdown – a break-glass-in-case-of-emergency measure that almost led to him quitting Hollywood. He phoned his agents, begging for any kind of gig, and lucked out with a staffing on Gloria Calderon Kellet’s latest Amazon Prime series, With Love.

“It was a life-changing job for me,” Sweeney says.

He joined the WGA. He got health insurance. After months of searching, he found a therapist who accepted that health insurance. And he learned how to play tennis. He was in a good place … but he still had twins on the brain.

“I think there is something appealing about twins because it sort of fulfills the fantasy of a soulmate. ‘They understand me. I don’t even have to say anything and they’ll be feeling sad.’ That sort of the fantasy of it. The reality can be quite different, but I think that’s where the obsession comes from, especially for people who are struggling with loneliness. They look at them and go, ‘I want that, that feeling. I want to feel understood and seen.’”

When O’Brien’s reps reached out about a possible Zoom meeting, he was seasoned enough to temper his optimism with caution.

“I heard how much he responded to the script and how eager he was to meet me, so I felt good going into it, but talking to him… I mean, talk about feeling seen. He just gets my voice,” Sweeney explains. “I’m just such a fan of his as a performer, his range comedically, dramatically. I think he’s such a versatile actor and it’s been so wonderful to watch him transform. I think it was sort of the best of both worlds where he’s a phenomenal actor who wanted to do the movie, but also he’s just a really wonderful person who evolved into a friend and that made the process of making it feel like I had a partner in crime. He’s an executive producer on film, so every step, every heartbreak… we’ve been on this journey together.”

O’Brien shoulders the burden of conveying the film’s more dramatic, emotionally searing moments, making tweaks to his voice, mannerisms, and appearance to sell the seeing-double aspect of his role. Sweeney recalls how they obsessed over everything, O’Brien sending selfies with fake mustaches of varying lengths and thickness, to nail down the difference between the twins on-screen. The thought? The more the audience connected with the we – the idiosyncratic differences that made each sibling unique and likable – the more devastating it would be to see the aftermath, the “me.”

“Whenever I see a twin die and it [doesn’t] really have any implication on a storyline, it makes me go, ‘Come on,’” Sweeney says. “To me it’s the most heartbreaking because it’s a loss of self. I mean, every twin relationship is different, it’s not a monolithic experience, but it’s such a unique and complex relationship.”

But, while Twinless is certainly a love letter to that rare familial bond, Sweeney isn’t precious about it – or how his character’s choices when dealing with the guilt and grief of losing someone might be received. It’s his willingness to probe deeper, to make us confront the uncomfortable truth that duality is inherent in our nature, that good people can do bad things, that we all harbor parts of ourselves we don’t necessarily like, that makes his film better than what we expected. He trades in surface-level laughs for something stickier, a complex and thought-provoking musing on loneliness and our sense of self and the lengths we might go to for connection.

We can forgive him for that.

Jisoo recently announced Amortage, her debut solo EP, and the project marks a turning point, as it’s the Blackpink member’s first solo project since signing with Warner Records just a few days ago. Now, she has unveiled a bit more about the release: its tracklist. Pre-orders are also now open.

Jisoo previously said of the project, “I’m excited about this new era and the continuation of my musical journey. I feel like I’m just getting started, and I’d like to thank the BLINKs for all of their love and support. This is just the beginning, and I’m thrilled to kick off this seismic moment with Warner Records.”

Aaron Bay-Schuck, CEO/co-chairman of Warner Records, also said in a statement, “There is no question that Jisoo is one of the biggest stars in the world, and we have no doubt that her solo career will be even more impactful. The energy, passion, and artistry Jisoo brings to her music is on another level. Her music transcends cultures and Tom Corson and I along with the entire team are thrilled to join forces with Jisoo as she continues to make history and inspire millions around the world.”

Check out the Amortage cover art and tracklist below.

Jisoo’s Amortage Album Cover Artwork

Jisoo’s Amortage Tracklist

1. “Earthquake”
2. “Your Love”
3. “Tears”
4. “Hugs & Kisses”

Amortage is out 2/14 via Warner Records. Find more information here.

As much as award shows like the Grammys are competitions, they are also elaborate parties designed to celebrate and promote camaraderie among the members of the entertainment industry. Case in point: watching Taylor Swift vibing out to “Not Like Us” as Kendrick Lamar won the awards for Song and Record Of The Year, or handing Beyoncé the golden gramophone for Best Country Album. In fact, Ms. Swift seemed to be having herself a ball all night despite not winning anything, even taking home a shiny souvenir of her night that wasn’t a trophy, courtesy of Janelle Monáe.

Monáe had donned a Michael Jackson inspired suit for the Grammys’ Quincy Jones tribute, as she performed the late stars’ chart-topping classic “Don’t Stop ‘Til You Get Enough.” Her sequin-studded suit was an homage to Jackson’s ensemble in the music video for the post-disco hit, but midway through her performance, the non-binary star whipped off the jacket and tossed it into the crowd. A close study of the reaction shots from the crowd reveals which of the attending stars caught it; that’s right, Taylor Swift. She can even be seen slipping it on in the background, and in her next close-up, she cheers like a fan who just caught a valuable piece of show merch — which, on some level, she is. After all, anyone who records music for a living is a fan of recorded music, and judging from Taylor’s reaction, getting to keep the Janelle Monáe worn, one-of-a-kind piece was almost just as good as winning an award.

Check out the video below:

the way she caught the jacket and put it on is sending me 😭 #grammys pic.twitter.com/RB2yhcdjVo

— marley (@marleyharper) February 3, 2025

St. Vincent ended up being one of the winningest artists at the 2025 Grammys, coming home with three awards, good enough to tie for third-most overall behind Kendrick Lamar with five and Sierra Ferrell with four. It turns out Annie Clark is winning in more ways than that: She recently got married and had a kid.

While accepting the award for Best Alternative Music Performance during the pre-show, St. Vincent started her speech (here’s a video of it) by thanking her “beautiful family: my beautiful wife Leah and our beautiful daughter.”

That may sound like a typical thing to say after getting a Grammy, but St. Vincent had not previously publicly revealed that she was married or had become a parent.

In the backstage press room later on (video here), a reporter congratulated St. Vincent on the family news and noted he was “totally unaware” of it, and St. Vincent interjected, “Oh, most people were, that’s OK. It was kept… she’s young, we’ve kept it under wraps.” She added, “The child is young, just to be clear: The child is young, not the wife.”

During a 2024 Billboard interview about her album All Born Screaming, St. Vincent explained, “Every record I’ve ever made has been so personal about what’s going on in my life at any given time. I’m queer. I know how to code-switch. The idea of identity as performance has been very clear to me since I was a child. […] I’m queer, I’m living in multitudes, but this record in particular is not about persona or deconstruction.”

Hurry Up Tomorrow is not only Abel Tesfaye’s possibly final album as The Weeknd — it’s also the title of a film he made with director Trey Edward Shults (It Comes At Night). The “Timeless” singer plays a version of himself, a “musician plagued by insomnia [who] gets pulled into an odyssey with a stranger who begins to unravel the very core of his existence,” according to the official synopsis.

The cast also includes Jenna Ortega (she’s the “stranger”), who discussed her involvement with Hurry Up Tomorrow in a new interview with Entertainment Weekly.

“I actually didn’t think that I was right for it initially,” the Wednesday star said. “But through conversation and built trust with Trey and Abel, it felt like a team and vision I wanted to work with.” Ortega described Hurry Up Tomorrow as an “experimental telling of what it means to be an artist who is changing, evolving, managing their past while trying not to fear the unknown. What a mental block can do to one’s sense of self.”

As for her character, Anima, Ortega said she’s “a version of Abel. A side of him that the persona The Weeknd doesn’t show as much. There were many iterations of Ani as the new script drafts came in, but I just loved that she consistently took no sh*t and felt everything intensely.”

Hurry Up Tomorrow opens in theaters on May 16.

Doechii was among the biggest winners of yesterday’s (February 2) 2025 Grammys: Aside from her kick-ass performance, Alligator Bites Never Heal won Best Rap Album, making Doechii just the third woman to ever win the award.

In celebration, Doechii shared a new song, “Nosebleeds.”

Lyrically, the track is a pretty direct reaction to her big night at the Grammys, with lyrics that all but mention the awards show by name. She ends the first verse, “I don’t know, is she gonna go crazy? Is she gonna go crazy? / Everyone wanted to know what Doechii would do if she didn’t win / I guess we’ll never…”

Later, she essentially gives a thank-you speech mid-song, saying, “Right now is my time and my moment / Thank you to my swamp and thank you, God, I was broke / I thanks you, God, I thank you to Top God Entertainment / Oop— Top Dawg Entertainment / SZA, Zay, Moosa in the hatin’ ass stands / Mommy, Blake High School, and all the b*tches I surpassed / I knew it / Tonight we poppin’ bottles, f*ckin’ hoes, and forgettin’ our name / To the audience wonderin’ how it feels to be famous? / I guess you’ll never…”

Listen to “Nosebleeds” above.

Find the full list of nominees and winners at the 2025 Grammys here.

Now that Beyoncé has finally (finally!) won the Grammy for Album Of The Year, she’s announce the dates for the Cowboy Carter Tour.

There are multiple ways to get tickets for the tour. The BeyHive presale begins February 11, at 12 p.m. local time. Fans can also sign up for the artist pre-sale here for the U.S. and U.K. shows and here for the Paris shows until February 6 at 8 a.m. ET. Those tickets go on sale on February 13 at 12 p.m. local time. The general on-sale takes place the following day, February 14, at 12 p.m. local time.

But that’s not all: Citi is hosting a pre-sale for card members beginning February 12 at 12 p.m. local time, as is Verizon and, for those in the U.K. and France, Mastercard. You can see more information here.

Check out the complete dates below.

Beyoncé’s 2025 Tour Dates: Cowboy Carter Tour

04/28 – Los Angeles, CA @ SoFi Stadium
05/01 – Los Angeles, CA @ SoFi Stadium
05/04 – Los Angeles, CA @ SoFi Stadium
05/07 – Los Angeles, CA @ SoFi Stadium
05/15 – Chicago, IL @ Soldier Field
05/17 – Chicago, IL @ Soldier Field
05/22 – East Rutherford, NJ @ MetLife Stadium
05/24 – East Rutherford, NJ @ MetLife Stadium
05/25 – East Rutherford, NJ @ MetLife Stadium
05/28 – East Rutherford, NJ @ MetLife Stadium
06/05 – London, UK @ Tottenham Hotspur Stadium
06/07 – London, UK @ Tottenham Hotspur Stadium
06/10 – London, UK @ Tottenham Hotspur Stadium
06/12 – London, UK @ Tottenham Hotspur Stadium
06/19 – Paris, France @ Stade de France
06/21 – Paris, France @ Stade de France
06/28 – Houston, TX @ NRG Stadium
06/29 – Houston, TX @ NRG Stadium
07/04 – Washington, D.C. @ Northwest Stadium
07/07 – Washington, D.C. @ Northwest Stadium
07/10 – Atlanta, GA @ Mercedes Benz Stadium
07/11 – Atlanta, GA @ Mercedes Benz Stadium

As you might imagine, SirDavis is the “official spirit” of the tour.

There are a ton of success stories from the 2025 Grammys that went down last night (February 3), but in hip-hop, perhaps none is bigger than that of Kendrick Lamar’s Drake diss track “Not Like Us.” The No. 1 single was nominated for five awards — Record Of The Year, Song Of The Year, Best Rap Performance, Best Rap Song, and Best Music Video — and it went ahead and won every single one of them.

Given that the track is a scathing attack against Drake, its success had people thinking about the Canadian rapper, so much so that he was the No. 1 trending topic on X (formerly Twitter) the morning after the Grammys.

One tweet summarized the overarching sentiment of the reactions well: “Imagine being drake and a song that calls you out by name for being a pedophile wins a Grammy for record of the year and the entire crowd is singing along as he walks up to accept the award.”

In reference to Drake’s “Family Matters” lyric “Kendrick just opened his mouth, someone go hand him a Grammy right now,” another user wrote, “this Drake line aged the worst as Kendrick Lamar proceeded to be the most awarded artist at this year’s Grammys.”

Others referenced Lamar’s upcoming Super Bowl Halftime Show, like one user who wrote, “Drake is about to get called a pedophile by millions of people at the Superbowl, it ain’t even over yet.”

Check out some more tweets here.

Ever since the release of Kendrick Lamar’s surprise album, GNX, fans just can’t get enough of his ad-lib from “TV Off.” His battle cry of “MUSTAAAARD!” launched a thousand memes and much like the condiment from which the producer of the track got his moniker, it’s the perfect way to season up just about any social event.

Including, it turns out, the Grammy Awards, where Kendrick and Mustard’s other collab, “Not Like Us,” did a clean sweep, scooping up the awards for Best Rap Song, Record Of The Year, and Song Of The Year. The sauce on top? Heinz, the condiment conglomerate, used the “MUSTAAAARD!” ad-lib in its new commercial for the product, just moments after Kendrick accepted his big awards on national television (the ad also features the Etta James classic “At Last,” so multiple bags were secured on the way to air).

It might seem like a silly moment, but it truly does highlight the massive cultural impact of Kendrick’s latest efforts — especially as the rollout for GNX was unofficially kicked off by a testy feud between Kendrick and his longtime rival Drake, the highlight of which was “Not Like Us,” which has now become just the second rap song in history to earn Record or Song Of The Year (is it pettiness that prompted him to don a Canadian tuxedo to accept his awards?). Now, Kendrick is inextricably linked with beloved American traditions like dressing a hot dog at a barbecue or ballgame. If that ain’t winning, we don’t know what is.

Check out the commercial above.