For five full years now, Netflix’s Outer Banks has delivered the onscreen version of a beach read for mystery-thriller lovers, and the streaming service recently announced that a fifth and final season would wrap up the warring tales of Pogues and Kooks. In the process, perhaps John B. and friends will finally score a treasure worth something.
That would not probably be the “Blue Crown.” As viewers realize, that relic got handed over in the most recent season finale with more important objectives ahead. Those would be the duty of avenging JJ’s death at the hands of mass-murdering Groff, and the importance of finding a real home for the Pogues as a group. And don’t get me started on Sarah and John B. being on the verge of parenthood, which is a reminder that no matter how much treasure talk and intrigue happens in this series, those soap operatic touches will always return. So perhaps you are wondering we’ll find out more about how this couple will prepare for diapers and such while possibly chasing after Groff in Europe.
Does Outer Banks Season 5 Have A Release Date?
Not yet.Netflix announced the final chapter in November 2024, and the fourth season was understood to be a complicated production (those rat scenes didn’t ease logistics), so we can expect that the fifth season will take at least a year to complete. Spring 2026 sounds feasible, although again, no release window has been publicized.
In a letter published to Tudum, series creators Josh Pate, Jonas Pate, and Shannon Burke wrote this will be a season “in which we hope to bring our beloved Pogues home in the way we imagined and planned years ago. Season Five will be our last season, and we think it will be our best yet. We hope you’ll join us for one more paddle out to the surf break.”
Until official word surfaces on a date, we can all contemplate this wisdom from John B.: “I don’t think the ocean washes away anything. If anything, the ocean makes you remember.” Dude is gonna be a good dad, huh?
New York’s top summer music festival, Governors Ball, is less than two months away, so it’s not too soon to get excited about seeing headliners Tyler The Creator, Olivia Rodrigo, and Hozier.
Today (April 22), organizers released the set times for the 2025 edition of the fest, which is held at New York City’s Flushing Meadows Corona Park from June 6 to 8. Tickets are on sale now.
You can check out the Gov Ball 2025 set times below.
Governors Ball Set Times For Friday, June 6
GovBallNYC Stage
12:15-12:45 p.m. — School Of Rock Queens
1:15-1:45 p.m. — Black Party
2:15-2:45 p.m. — Isabel Larosa
3:30-4:15 p.m. — BigXthaPlug
5:00-5:45 p.m. — T-Pain
6:45-7:45 p.m. — Mk.gee
8:45 p.m. — Tyler The Creator
Sombr is about to spend some “late nights” on the road.
The fast-rising singer — who currently has two songs in the Billboard Hot 100, “Back To Friends” at No. 56 and “Undressed” at No. 84 — has shared the North American dates for his The Late Nights & Young Romance Tour. The trek begins in St. Paul on September 30 and ends in Los Angeles on October 28, with stops in Chicago, Boston, and New York, among other cities, in between.
Pre-sale tickets for The Late Nights & Young Romance Tour will be available beginning Wednesday, April 23, at 10 a.m. local time with the general on-sale on Friday, April 25, at 10 a.m. local time. You can find more information here.
Check out the full tour dates below.
Sombr’s 2025 Tour Dates: The Late Nights & Young Romance Tour
09/30 — St. Paul, MN @ Amsterdam Bar & Hall
10/02 — Chicago, IL @ Outset
10/03 — Columbus, OH @ A&R Music Bar
10/05 — Pittsburgh, PA @ Spirit Hall
10/06 — Toronto, ON @ The Axis Club
10/08 — Boston, MA @ Brighton Music Hall
10/09 — New York, NY @ Gramercy Theatre
10/12 — Philadelphia, PA @ The Foundry
10/13 — Washington, D.C. @ The Atlantis
10/15 — Atlanta, GA @ The Loft @ Center Stage
10/17 — Dallas, TX @ Cambridge Room at House of Blues
10/18 — Austin, TX @ Empire Control Room
10/20 — Denver, CO @ Globe Hall
10/21 — Salt Lake City, UT @ Soundwell
10/24 — Seattle, WA @ Madame Lou’s
10/25 — Portland, OR @ Hawthorne Theatre
10/27 — San Francisco, CA @ Rickshaw Shop
10/28 — Los Angeles, CA @ El Rey Theatre
Keeping up with new music can be exhausting, even impossible. From the weekly album releases to standalone singles dropping on a daily basis, the amount of music is so vast it’s easy for something to slip through the cracks. Even following along with the Uproxx recommendations on a daily basis can be a lot to ask, so every Monday we’re offering up this rundown of the best new music this week.
This week saw Addison Rae continue her pop star pivot and Post Malone reunite with a fruitful collaborator. Yeah, it was a great week for new music. Check out the highlights below.
Rae isn’t the first social media star to attempt a transition into music, but she’s doing better at it than most in her position ever have. “Diet Pepsi” ranked highly on last year’s Uproxx Music Critics Poll, and now she’s back with “Headphones On,” a chill, Madonna-like number.
Morgan Wallen — “I Ain’t Comin’ Back” Feat. Post Malone
“I Had Some Help” was a big No. 1 hit for Malone and Wallen, and now they’re taking another crack at having a collaborative smash with “I Ain’t Comin’ Back.” “I Had Some Help” was Malone featuring Wallen, but the new tune is the other way around and it sees Malone and Wallen singing about one way they’re especially unlike Jesus.
Leon Thomas and Halle — “Rather Be Alone”
Not long after making his Tiny Desk debut, Thomas is in the spotlight once again with “Rather Be Alone.” Last week’s Halle collaboration is a smooth and emotional joint effort that should hold fans over as they wait for the deluxe edition of Mutt.
JID — “Wrk”
JID has, to use his words, a “new world” in the works. He offered a peek at it last week with “Wrk,” which sees the rapper plying his signature flow on a head-bobbing tune.
Dom Dolla and Kid Cudi — “Forever”
Dolla debuted his Cudi collaboration “Forever” during his recent sold-out Madison Square Garden shows, and now he’s unveiled the studio version. Cudi graces the dance-ready tune with some uplifting lyrics: “Slip and see, I float through heaven / No words you speak, just so lost forgettin’ / What the world can bring, I’m in my world, it’s better / Ain’t no time to think, I wanna stay forever.”
Julien Baker & Torres — “Bottom Of A Bottle”
After years of wanting to make a country album together, Baker and Torres have finally done it. Send A Prayer My Way is out now and they refaced last week’s release with one final pre-album single, the languid “Bottom Of A Bottle.”
Davido — “Offa Me” Feat. Victoria Monet
Afrobeats star Davido just unveiled his latest album, 5ive, and there are a lot more than just five features, as the project includes collabs with people like Becky G, Musa Keys, Omah Lay, Shenseea, Victony, YG Marley, and Victoria Monét. The later guests on “Offa Me,” adding some smoothness (not that Davido is ever short on that) to the rhythmic tune.
King Gizzard & The Lizard Wizard — “Deadstick”
King Gizzard etc. are tough to put in a box, largely because just when you think you have, they have a new album out already. Their latest, Phantom Island, is set for June, and the single “Deadstick” delivers some ’70s or ’80s summery rock vibes.
Yeat — “The Bell”
Coachella is one of music’s biggest stages and Yeat made the most of it on the first weekend this year. He put on a spectacular performance of “The Bell” out in the desert, which he chronicles in the song’s new video.
Caroline — “Tell Me I Never Knew That” Feat. Caroline Polachek
We’re still waiting for that Lil Nas X and Nas collab, but in the meantime, we have an indie version of that: Caroline have a new album, Caroline 2, on the way, and last week, they shared a new single featuring Caroline Polachek.
When Kelcey Ayer announced in 2024 that he was leaving Local Natives, he explained he had “my own music and my own interests that I’d like to see flourish.” Well, they’re flourishing: He has a new project, No Sleep EP, on the way, and today (April 22), he shared “Ghosts Of Neighborhood Dogs,” a new song featuring Jordana.
Ayer says in a statement of the song’s inspiration:
“My wife and I moved to Highland Park in 2019, and since we walk our dog twice a day, it forced us to get to know our new neighborhood really quickly. There was this Doberman named Diesel who barked bloody murder at us every day we walked by his house for about 3 years straight. At first it was terrifying, but then we made a game out of it, saying silly things, singing him ‘Happy Birthday,’ whatever we thought of at the time. Then all of a sudden he was gone. It was eerily quiet from then on, and we could swear we still heard his barks for months after. The song imagines me telling Diesel’s story to our son Oskar who was born after Diesel passed away, as a way of getting him to know our home, our neighborhood, and our history.”
Of the music, he continues:
“I had it written on piano and needed a sonic direction for the production, and I’d heard of other artists using songs they loved as a template, so I thought I’d give it a shot. I chose Wilco’s ‘Ashes Of American Flags.’ That song has always haunted me, and felt as though they made such interesting choices when to start and stop drums or bring elements in or out. The logic is nonsensical, but it feels absolutely perfect, kind of like bowing to the chaos of life. I think it really helped the song take off.
Last piece of the puzzle was finding someone to sing it with, since I’d always felt it should be a duet. I’d become fast friends with Jordana when she opened for Local Natives a few years ago. Despite her being quite a bit younger than me, her musical talent and voice feels so timeless, so last summer I asked her to try it and she crushed it in a couple hours. She’s a superstar and I’m so grateful to have had her join me on this song.”
Jordana also said, “Kelcey is the most professional professional I’ve ever had the pleasurable business of professionally working with. When we are in the studio, it is understood that he is the beautiful boss, and I am the mere employee, there to do a beautiful job.”
Watch the “Ghosts Of Neighborhood Dogs” video above.
No Sleep EP is out 7/18 via AWAL. Find more information here.
This June 6, Lil Wayne is releasing Tha Carter VI, the first installment in his long-running Tha Carter series since 2018’s Tha Carter V.
To celebrate, the “A Milli” rapper is playing New York City’s Madison Square Garden the night the album drops. It’s his first-ever concert at the historic venue, which is hard to believe. Lil Wayne is one of the world’s most famous rappers, and MSG is “the world’s most famous arena.” It seems like this should have happened years ago; It’s not like he called a Knicks player “a ho.”
Tickets for Lil Wayne’s Madison Square Garden show will be available beginning Wednesday, April 23, for the artist pre-sale, and Friday, April 25, at 10 a.m. ET for the general on-sale. You can find more information here.
Tha Carter Vfeatures everyone from Miley Cyrus to Bono to Andrea Bocelli, as well as Machine Gun Kelly, Elephant Man, Wyclef Jean, Wheezy, and Kameron Carter (Wayne’s son). There’s also an “uncleared Billie Eilish sample.”
In a recent interview with Rolling Stone, Lil Wayne was asked what he wants his legacy to be. “I’ve always had the same goal since the day I said it: Best rapper. Plain and simple,” he said. “When we talk about Michael Jordan, it’s just hands-down [that he’s considered the best]. Of course LeBron [James] came up and had some people asking questions about that, but naturally, Jordan’s the best ever. I want that type of thing. That’s the legacy I want to leave when they say, ‘Weezy? Oh, sh*t, that’s the best rapper, that n**** don’t even count. If you do a list, that n**** don’t count.’”
All Things Go isn’t just in the DC-area — there’s also a New York edition of the three-day music festival. This year’s All Things Go NYC is headlined by Lucy Dacus and Djo on Friday, September 26; Doechii and Remi Wolf on Saturday, September 27; and Clairo and The Marías on Sunday, September 28.
Also on the bill are Gigi Perez, Rachel Chinouriri, Lola Young, Griff, The Last Dinner Party, Blondshell, The Aces, Michelle, Paris Paloma, Joy Oladukon, Alemeda, Sarah Kinsley, Peach PRC, G Flip, and many more.
Fan pre-sale tickets for All Things Go NYC, which is held at Forest Hills Stadium, begins Thursday, April 24, at 10 a.m. ET. The public on sale is Friday, April 25. You can find more information here.
Check out the full All Things Go NYC lineup below.
All Things Go 2025 @ Forest Hills Stadium Lineup For Friday, September 26
Lucy Dacus
Djo
Gigi Perez
Rachel Chinouriri
Maude Latour
The Aces
Sarah Kinsley
Goldie Boutilier
All Things Go 2025 @ Forest Hills Stadium Lineup For Saturday, September 27
Doechii
Remi Wolf
Lola Young
Griff
Peach PRC
MICHELLE
Alemeda
Sunday 1994
All Things Go 2025 @ Forest Hills Stadium Lineup For Sunday, September 28
Clairo
The Marías
The Last Dinner Party
Paris Paloma
Blondshell
G Flip
Joy Oladukon
hey, nothing
Two years ago, Paul Simon released his 15th album. And the public greeted it as one might expect the 15th album by a singer-songwriter in his 80s to be received. Reviews were respectful. Interviews dutifully noted Simon’s iconic status. A two-part career retrospective documentary directed by Alex Gibney was concurrently released on a prominent streaming platform. And, after that, the album gently drifted to that place where all pop culture artifacts go after their brief window of exposure has closed.
There was a time when a new Paul Simon record was a major event guaranteed to gin up commercial and critical excitement. It’s fair to say that time composed much of the last half of the 20th century, and even a decade or so of the early 21st. But in 2018, Simon excused himself from the world’s stage, via a well-publicized farewell tour. Then something strange and unexpected happened. Just four months after his “final” concert, he was awakened from a strange dream that instructed him to start a new project called Seven Psalms. Over the proceeding weeks, there were more dreams that conjured lyrics. In time, the most formally atypical record of Paul Simon’s life took shape — a single 33-minute piece of music, divided into seven movements, that weighed the pros and cons of faith, life, and the end of life.
As much as any of his ’60s-originated peers, Simon is responsible for the kinds of songs (“The Sound Of Silence,” “Bridge Over Troubled Water,” “Mrs. Robinson,” etc.) so entrenched in the collective cultural memory that even non-fans know them by heart. But Seven Psalms is not a “songs” record in the traditional sense. Simon lets these melodies drift rather than refining and perfecting them, as is his custom, seemingly directing his beautiful, questing guitar licks at the heavens. The first movement, titled “The Lord,” becomes a recurring motif, with Simon returning to a folk-baroque riff and a lyrical structure in which he describes the almighty in terms that are wondrous (“The Lord is my engineer”), mysterious (“The Lord is a puff smoke”), and confounding (“The Lord is my personal joke”). By the last movement, “Wait,” he’s arrived at a similarly conflicted destination, expressing both fear and acceptance over an unavoidable fate in the form of a conversation between a man at death’s door and an angel assuring him of heaven’s comforts. (“It’s just like home,” she says.)
Comparisons to other “mortality” records by artists of Simon’s generation, namely David Bowie’s Blackstar and Leonard Cohen’s You Want It Darker, were obvious and inevitable upon the release of Seven Psalms. But Simon’s record differs in two important ways. First, other than significant hearing loss in his left ear, Simon insists he is in good health. “That character in ‘Wait’ could be me. It’s not far from me. But am I actually thinking that on a daily basis? No, I’m not,” he told Mojo in 2023, adding of Seven Psalms, “I don’t think this is my final piece.”
Unlike Bowie and Cohen, thankfully, Simon did not die immediately after the release of his mortality record. Which brings up the other important distinction for Seven Psalms: He’s back on tour for the first time in seven years, and introducing his latest songs to audiences that have come to hear “Cecilia” and “You Can Call Me Al.” Dubbed A Quiet Celebration, a concession to Simon’s hearing problems, the show opens with the entirety of Seven Psalms before a set that mixes lesser-known gems from his back catalog with a small selection of the “everybody knows them by heart” songs. (No “Cecilia” and “You Can Call Me Al” this time, though.)
An artist of Simon’s stature “lying” about the veracity of a farewell tour used to be fodder for indignant music critics and hacky stand-up comedians. But, personally speaking, it’s hard to feign outrage over a man of Simon’s advanced age continuing to ply his craft on stage, especially given the nature of these shows (worthwhile new material in mid-sized theaters rather than familiar greatest hits in arenas) and the fact that all of us eventually are permanently retired by the usual life-and-death circumstances. Simon might have (briefly) quit touring, but he never stopped being creative. And for that we should be grateful.
On Easter Sunday, I caught the first of three shows scheduled this week in Minneapolis. I was extra-eager to see Simon given my ever-growing love and respect for his work as I have followed my own mortality journey into middle age. Back in my teens and early 20s, I viewed Paul Simon as a purveyor of sleepy soft rock with occasional problematic overtones. But now I regard him as one of my very favorite boomer-era songwriters, whose light musical touch and conversational lyrical style often belies heavy subject matter and genuine philosophical insight.
This personal shift began with 2011’s So Beautiful Or So What, a warm and witty song cycle that addresses many of the same themes as Seven Psalms but with a slyer sense of humor. (Like “The Afterlife,” which imagines going to heaven like a trip to the DMV.) From there, I dug deeper into the less celebrated corners of his work and found that I especially adored two so-called flops released between two of his most successful records — 1975’s Still Crazy After All These Years, which won the Album Of The Year Grammy, and 1986’s Graceland, still his most popular LP.
The first flop was One-Trick Pony, a film that Simon starred in, wrote, and soundtracked with 10 original songs. Simon plays Jonah Levin, an over-the-hill folk-rocker who had a hit in the ’60s but now is stuck playing low-paying club gigs in the middle of nowhere. As an actor, Simon falters when playing stock “domestic strife” scenes with his estranged wife and co-parent (Blair Brown), the proverbial woman who gets left behind while he hacks out in the hinterlands. But when the film focuses on Simon and his band (played by Simon’s actual band at the time, including drummer Steve Gadd, bassist Tony Levin, guitarist Eric Gale, and keyboardist Richard Tee), it naturalistically depicts the rhythms of tour life, in which a series of minor triumphs intermittently break up the prevailing dreariness of performing concerts everyone can see aren’t going very well.
The result is one of the most authentic movies about musicians I’ve ever seen. That verisimilitude is doubly impressive given that Simon — a celebrity pop star since his mid-20s — had been the opposite of a struggling musician for a good 15 years at that point. But he nevertheless was uniquely attuned to the drudgery of being a past-your-prime has-been. In one particularly painful sequence, Levin is invited to appear on a ’60s nostalgia TV special alongside actual stars of the period like The Lovin’ Spoonful. And he performs his hit, a drippy “topical” folk-rock ditty called “Soft Parachutes,” which actually is a brilliant Simon & Garfunkel parody written by Simon. But this ultimately proves to be a moment of professional disappointment and embarrassment.
One-Trick Pony came out in the fall of 1980, but the tone is pure ’70s New Hollywood, with its deep cynicism about the music business (look for Lou Reed — yes, that Lou Reed — as a meddling record producer), episodic storytelling, and downbeat ending. Which likely explains the film’s failure at the box office. (Heaven’s Gate opened catastrophically the following month, signaling the end of Hollywood’s last golden age.)
It says something about Simon’s commercial reputation that the soundtrack produced a top-10 hit, “Late In The Evening,” and still was regarded as an underperforming bomb. Simon responded by reuniting with his old partner, Art Garfunkel, an unexpected echo of his desperate One-Trick Pony character, albeit on a much grander scale. But his next record, 1983’s Hearts And Bones, was even truer to One-Trick Pony‘s vibe of “aging sad guy in a rapidly changing world” disillusionment. Balancing of-the-moment new-wave pastiches (which have aged better than expected) with bitter divorced-guy ruminations (he had recently split from his second wife, Carrie Fisher), it’s as real and gut-wrenching an expression of midlife ennui as any album put out by a member of his peer group in that era. Given that Graceland was still an unforeseen comeback on the distant horizon, Simon at the time must have seemed, like Jonah Levin, to be playing out the string of a fading career.
Only in Simon’s case, he also happened to be writing some of his finest songs. A personal favorite is “Train In The Distance,” which evinces Simon’s talent for encapsulating entire lifetimes in the space of a few, impeccably worded verses. In the song, a couple meets, they fall in love, they fall out of love, and then they try to come to terms with what it all means. At the song’s conclusion, Simon sings ruefully:
“What is the point of this story
What information pertains
The thought that life could be better
Is woven indelibly
Into our hearts and our brains.”
As Sunday’s concert commenced, and Simon guided his (large but quiet) band into the Seven Psalms material after informing the audience that they would have to wait for songs they knew for about 35 minutes, my mind flashed on how much I’ve listened to One-Trick Pony and Hearts And Bones in recent months. And I also thought about Simon’s most famous peer, Bob Dylan (who I also have seen perform recently), and about how both men have avoided ending up like Jonah Levin.
Since 2021, Dylan has been on a tour centered on his most recent album, 2020’s Rough And Rowdy Ways. This insistence on pushing new material on historically complacent classic-rock audiences sets Dylan and Simon apart from most of their contemporaries. (As does, it should be noted, the quality of their “late” career material.) In a live setting, Seven Psalms was heavier on mood than grabby hooks, creating a feeling of dreamy contemplation somewhat antithetical to the boozy rowdiness of some in the audience. Simon pressed on admirably, regardless.
And then there’s the matter of his voice, which has aged considerably even since the 2018 farewell tour. For most of his career, Simon retained the boyish sunniness that’s defined his vocals since the mid-1960s. But now, his voice is raspy and quivers noticeably. You can’t help but hear the strain when he reaches for high notes. Dylan has had the benefit of his voice evolving (or deteriorating, if you’re less of a fan than I am) over the span of decades. With Simon, however, the change was more sudden. And yet, like Dylan, he has compensated for this by writing songs that suit him as he sounds now. Seven Psalms plays like a private confrontation with God at 3 a.m., and when Simon sings lines like “I have my reasons to doubt / A white light eases the pain / Two billion heartbeats and out / Or does it all begin again?” (from “Your Forgiveness”), the cracks in his voice make the lyrics all the more affecting.
But how would that old-man voice affect the old songs? During the intermission, my wife and I wondered whether this Simon could pull off the youthful exuberance of “Me And Julio Down By The Schoolyard” or any of the Simon & Garfunkel material. But as the second set unfolded, it became clear that Simon had chosen songs that aligned with the mood and themes of Seven Psalms. It’s possible that I was projecting after being put into a certain headspace by that spellbinding opening act. But Simon appeared to be using Seven Psalms to illuminate meanings, both stated and hidden, in his older work. In that context, “Graceland” was renewed as a plea for redemption, with the hope that eventually “we all will be received” at some glorious, mystical place sustained by belief and imagination. “Slip Slidin’ Away” reverted from feel-good sing-along back to an existential meditation about how people “believe we’re gliding down the highway / when in fact we’re slip slidin’ away.” One of the oldest tunes in the set, “Homeward Bound,” rhymed with both those aforementioned songs as a yearning anthem about returning to “home where my love lies waiting / silently for me.” Even the configuration of Simon’s band extended these concepts of reunion and reconciliation — there was Steve Gadd back behind the kit, playing the legendary drum pattern he created for “50 Ways To Leave Your Lover,” along with a cameo by bassist Bakithi Kumalo, the sole surviving member of the Graceland band.
Amid the hits were several numbers most of the audience didn’t seem to recognize, including a shocking amount of songs from my beloved Hearts And Bones. There were three in all, including “The Late Great Johnny Ace,” an overt song about loss tying together tributes to the titular R&B singer, John F. Kennedy and John Lennon; and “Rene And Georgette Magritte With Their Dog After The War,” another dazzling pocket-narrative about the surrealist painter and his spouse dancing to the doo-wop groups that Simon loved as a child. Groups that are all now long since departed.
There was also “Train In The Distance,” which fit perfectly. What I love about that song is the duality of the central image. A train in the distance can induce dread, or it may provide comfort. It all depends on where you are in relation to the train. But no matter where you are, that train is coming. And it could be closer than you think. So you might as well make all the noise — quietly, if necessary — that you can in the meantime.
In December 2024, it was announced that ASAP Rocky had landed a starring role in Spike Lee’s new movie, Highest 2 Lowest, which also starred Denzel Washington. It’s pretty easy to figure out how Lee came to the decision to cast Washington: He’s an icon and the two have worked together before. As for how Rocky landed on Lee’s radar, it turns out social media memes played a part.
On a recent episode of Carmelo Anthony’s 7PM In Brooklyn podcast (as HipHopDX notes), Lee explained, “What’s funny is that I was looking at Instagram, four or five years ago, and people were saying that ASAP looked like he’s Denzel’s son. I seen those memes, and then in the film, we used that.”
He also had some praise for Rocky’s acting abilities, saying, “ASAP, man, he fire. I mean there’s some scenes with him and D where he’s not backing up.”
Lee previously told Deadline of the movie, “This is not a remake, this is a reinterpretation of Akira Kurosawa’s great film [High And Low]. In Kurosawa’s film, Toshiro Mifune is a shoemaker. In our film, Denzel Washington is a music mogul with his own label and his reputation as the best ears in the business. So, this is the fifth film with the dynamic duo [of Lee and Washington].”
To promote her new album, Addison Rae revealed the release date on her underwear at Coachella. She also wore a clamshell bra and electric-blue fishnets on the day her single “Aquamarine” came out and rolled out in powdered sugar in the “High Fashion” music video amid unfounded rumors of cocaine use. In a new profile with Elle, Rae discussed her attention-grabbing methods to promote her exhilarating turn from TikTok-to-pop star.
“In life, everyone acts,” she said. “We’re all putting on a show, aren’t we?”
Rae also shared her feelings on how some people will always associate her with TikTok, no matter how many good songs she puts out: “All of that led me to where I am right now. What’s funny to me is that people assume that these passions are new. First of all, no one ever even knew who I was before I was a freshman in college, so it’s like, ‘How would you even know what my interests were before?’ I grew up dancing; I’ve always loved to sing.”
She continued, “I acknowledge how lucky I am that I was on TikTok, and people cared enough to watch my videos and follow me, and therefore gave me the freedom to be able to explore my deep desires that I’ve always had. It’s like, what am I going to do? Not chase my dreams because I feel like I haven’t done enough school to get here? Or I haven’t had enough experience?’ It’s like, no, the door opened for me, and I’m going to go through and explore it.”
Rae’s still-untitled album comes out on June 6.
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