Category: Worldwide

Kacey Musgraves has announced a run of 2022 North American tour dates — “Star-Crossed: Unveiled” — in support of her upcoming Star-Crossed album, which arrives September 10. The country-pop crossover will hit the road starting January 19 in Saint Paul, Minnesota, and wrap up in February at the Staples Center in Los Angeles. Supporting Musgraves will be King Princess and Muna.

So far, Musgraves has shared two singles — “Justified” and “Star-Crossed” — from the new album, which she has described as a “Greek tragedy in three acts.” Star-Crossed follows its author’s experience through her divorce from fellow country star, Ruston Kelly, the chapter that comes after her record-breaking album, Golden Hour, which was mostly inspired by their love story and marriage.

Check out the dates below.

01/19/2022 — Saint Paul, MN @ Xcel Energy Center
01/20/2022 — Chicago, IL @ United Center
01/21/2022 — Kansas City, MO @ T-Mobile Center
01/23/2022 — Cleveland, OH @ Rocket Mortgage Fieldhouse
01/24/2022 — Toronto, ON @ Scotiabank Arena
01/26/2022 — Philadelphia, PA @ Wells Fargo Center
01/27/2022 — Boston, MA @ TD Garden
02/03/2022 — Washington DC @ Capital One Arena
02/05/2022 — New York, NY @ Madison Square Garden
02/09/2022 — Atlanta, GA @ State Farm Arena
02/11/2022 — Nashville, TN @ Bridgestone Arena
02/14/2022 — Dallas, TX @ American Airlines Center
02/16/2022 — Denver, CO @ Ball Arena
02/19/2022 — Oakland, CA @ Oakland Arena
02/20/2022 — Los Angeles, CA @ Staples Center

“Star-Crossed: Unveiled” tickets go sale to the general public 9/9 at 10 a.m. local time. Get them here.

Star-Crossed is out 9/10 via Interscope Records/UMG Nashville. Pre-order it here.

The Velvet Underground is the first documentary from I’m Not There and Carol director Todd Haynes (Superstar: The Karen Carpenter Story almost counts, but not quite).

The Apple TV+ film, which premiered to rapturous reviews at the Cannes Film Festival, looks at one of the most influential rock bands ever. Lou Reed, John Cale, Sterling Morrison, and Moe Tucker (and later, Doug Yule) packed a lifetime’s worth of sunglasses-wearing, guitar-distorting, BDSM and heroin and stabbed in the head with a sheet metal cutter-chronicling memories into four short years, from 1967’s The Velvet Underground and Nico to 1970’s Loaded. It’s in the spirit of the VU that Haynes’ film doesn’t look like your average music doc — it channels the experimental Exploding Plastic Inevitable scene that guided the band, while still allowing for talking head interviews. Your life can be saved by rock and roll (and rock and roll documentaries).

Here’s the official synopsis:

The Velvet Underground created a new sound that changed the world of music, cementing its place as one of rock and roll’s most revered bands. Directed with the era’s avant-garde spirit by Todd Haynes, this kaleidoscopic oral history combines exclusive interviews with dazzling archival footage.

The Velvet Underground premieres in theaters and on Apple TV+ on October 15.

Scammers: they’re in your email pretending to charge your credit card for Norton Anti-Virus fees (just me?), they’re on your phone calling from familiar area codes, and they’re apparently pretending to be Modern Lovers singer and solo performer Jonathan Richman.

Over the weekend, reports arose that an Olympia-based music festival, LoveOly Summerfest, had booked who they thought was the cult indie-rock singer/songwriter in what would’ve been his first live performance since the pandemic started. But when the Evergreen State College radio station tried to book a pre-show interview with Richman, the singer’s publicist had never heard of the festival or of Richman’s alleged booking. Apparently, festival organizers (the Olympia Film Society) had been hoodwinked by someone who had gotten in touch pretending to be Richman.

Olympia Film Society executive director Audrey Henley said in a statement, “We are shocked that this happened. We’ve been booking bands for the past 30 years, and this is a first for us. We hope this does not in any way hurt our relationship with the real Jonathan Richman and that he will return to Olympia soon.”

Richman himself also sent out a statement:

“Hello everyone! This is the real Jonathan Richman! I just heard of your wonderful festival and sounds like an ideal place for me to play someday. No hard feelings on my part and no apologies necessary from the wonderful people at OFS who have invited me and Tommy up to play so many times. Did the guy who called you up manage to imitate my voice pretty good? Cuz if he did, you’ve got to hand it to him, most people can’t do it! But seriously now for just a second, I am sad for any disappointments and expenses caused to the Film Society and the fine people of Olympia. Of course I will come back to play for the Olympians!”

Well, Richman certainly has a good attitude about the whole thing. What a guy.

After the initial wave of signings and trades to open the offseason in early August, things have slowed significantly in the last two weeks, but there are still conversations ongoing and deals being worked out as teams continue to try and shape their rosters prior to training camp in a month’s time.

One of the final big free agents has a new home in Lauri Markkanen, as the Bulls’ RFA was sent to Cleveland in a three-team sign-and-trade. Another former Bull who was part of a different sign-and-trade, Thaddeus Young who ended up in San Antonio in the DeMar DeRozan deal, has popped up in a new trade rumor and could be on the move again soon.

Young, who was one of the brightest spots for the Bulls in 2020-21 averaging 12.1 points, 6.2 rebounds and 4.3 assists, is garnering interest from last year’s title runner-up in the Phoenix Suns, per Shams Charania of The Athletic. Charania reports the Suns are “among the contenders” who have reached out to the Spurs about Young, indicating that they aren’t alone which isn’t surprising considering Young is the type of steady, veteran role-playing presence on both ends of the floor that just about every contender would like to have.

That said, with Dario Saric likely out for the season, even with JaVale McGee now in tow, the Suns could certainly use someone like Young to bolster their frontcourt rotation. Now, the difficulty lies in making a trade happen. Young can’t be dealt until early October because he has to be in San Antonio for two months before being dealt again, but the real issue is Phoenix figuring out how to match salary. The Suns have done a really good job of building this team with guys on rookie deals and smaller contracts, but the one problem with that is it becomes much more difficult to bring in a guy on a $14 million deal.

The only real option for Phoenix would be to trade Saric and Jalen Smith (and any draft assets) for Young, which would require them to once again address their backup center position in free agency next season. That’s not an unreasonable price for a player the caliber of Young, but they’d have to hope the Spurs have interest in Smith’s potential to make that happen, as Saric adds another year and $8.5 million to the San Antonio cap sheet. Still, for a Suns team looking to get back into the Finals picture this season, Young’s presence would be a big addition.

At last year’s Grammy Awards, Yola received four nominations — including Best New Artist — for her breakthrough debut album Walk Through Fire. Yet many were quick to place the Bristol, UK-born singer in a box, classifying her as an Americana artist following the Grammy recognition.

With her follow-up album Stand For Myself (released July 30 via Dan Auerbach’s Easy Eye Sound), she’s shattered all of those unwanted expectations and showed Black women’s multifacetedness. The album’s kaleidoscopic take on music (a blend of disco, funk, soul, pop, country, and rock) partly has to do with growing up with a Ghanian father and Bajan mother. We have specific genres in America: hip-hop, R&B, techno, pop, etc. But when speaking to UK artists, their perspective is more genre-less because of their radio format.

“Everything you said is what I normally tell people when they haven’t noticed,” Yola says over Zoom with a hearty chuckle. “The smushing of genres is a very British thing. I’m bringing my lens: Bajan, African, British, and feminine. It is it’s all of those things in balance. I’m really glad that it’s connecting to you as a second-generation Caribbean woman who sees the different layers in ways that others won’t. This is such a joy.”

Stand For Myself details her story: traveling to America and ultimately settling in Nashville. To Yola, the album feels like a release.

“I didn’t choose any of the co-writers for the first record and I hadn’t met Dan yet. I didn’t know anybody here [in America],” she explains. “I didn’t know how the industry was different from the UK and consequently, how I might function in it. So the concept of agency was absent. We managed to make a record that’s beautiful, but it’s impossible for it to be deeply personal because all of the co-writers are older white American males.

“We didn’t even have a geographical standpoint where I can speak on how our radio stations are very different or how being a Black woman in the UK is different. With this record, I understood how the machine works. I was able to pick all the crew myself, dig into my life experience and go into songs from the back catalog that was I ready to approach because I knew people who could help me finish them.”

Below, Yola goes deep with UPROXX about Stand For Myself’s story and why Black women are simply fed up with society’s archaic standards.

The closer “Stand For Myself” summates your entire journey. There’s such a gospel-inspired assertion when you sing “I’m alive!” I love that as a full-circle moment from the “Barely Alive” opener, where you’re not really mentally there. By the time you get to the final song, you’re in the fully realized moment of your purpose as a person.

Well, this is why it’s really nice talking to Black lady interviewers because normally I’m saying what you just said to somebody! [laughs]

Doesn’t it feel good when you finally have that relatability? We Black women just get it.

Yes! Normally [in interviews] I’m like, “Did you notice that?” But you’re like, “Of course I do!” Well, I can skip that entire part of the conversation and get even deeper. So you get to a place in your life where you decide that this sh*t isn’t a dress rehearsal anymore and you’re going to have to do everything in your power to live in your most honest truth as possible. I don’t think I recognized the blast radius of segregation in this country and what it would do to your networks and how hard it would be if you arrived with a manager who was a white lady, then everyone would assume that you want to only speak to white people. Like, I’m here too guys!

Another thing that was massive for this record was finding writers of color who are published and have experience with co-writing. I noticed that there was such a disparity with writers of color that were on rosters that I would have access to. It didn’t even necessarily have to be just writers based in Nashville, I’m like, “Send me whoever you have.” They [told me], “We don’t have anyone that doesn’t do hip-hop who’s Black.” That’s not great because white people are doing everything — they’re the most.

They’re doing everything that we laid the groundwork for, which is equally frustrating.

Thank you, it is! They’re doing hip-hop, R&B, neo-soul, jazz, funk, gospel, blues. We can’t stop white people. They’ll do everything. They’ll start doing Afropop soon. Wait, they already are! It’s never gonna end, what white people think they can do. Hey I don’t want to piss on your chips, whch is what we say in the UK. But at the same time, I just want the same level of freedom. No one goes: “So Justin [Bieber], how in the living heck did you get all of those Afropop influences given that you’re not African? Have you been to Ghana, Nigeria, or Senegal? Have you been up in Dakar? No? I didn’t think so!” [Laughs] So this expectation to have some connection that is more than “I bought a record” is something that is bestowed upon people that aren’t white guys.

Being a Black woman, I think about the title Stand For Myself. It’s like, “Well we survived, but at what cost?” Even though we’re empowered and trying to reclaim certain things, we’re always going to have to go through the struggle.

It’s standing for my rights to nuance. It’s not standing for my right to be a strong Black woman. If anything, it’s quite the bloody well opposite. We’re tired!

I’m over being strong, I want to be vulnerable and soft. And it feels like a luxury to be afforded that.

It really does. When we were doing the treatment for the “Starlight” video, I was like “We can’t have any sassy, strong Black woman energy” because I so rarely feel like that. If I’m in a romantic situation, I’m not like that. So let’s not misrepresent who I am.

I borrowed from Issa Rae’s brief where all the male romantic interests are still Black guys, but they’re nicer than the ladies. Could it be that we have a non-colorism option? So I was like, “my romantic interest in the video has to be at least one makeup shade lighter than me.” So I’m not putting the same toxic BS into the world for dark-skinned women. Not on my watch, sunshine.

In the middle of the album, there’s so much sentimental information. For that reason, I wanted the main body of my journey to be about my right to sentimentality, to that softness, to be Black ladies having nice times and being well-tended to. That’s all I want to see on my Instagram feed. I want to see on my television. I just want to see people being nice to Black ladies, that’s it. Not trying to deal with stuff in our lives. We’re not a sideshow or “the friend of”. We’re the protagonist. And that’s what this record is.

You’re also playing Sister Rosetta Tharpe in Baz Luhrmann’s Elvis biopic — congratulations on this big breakout role, by the way — and she never gets credit for being the literal backbone of rock and roll.

She invented rock and roll, let’s not beat around the bush. Before the likes of B.B. Kings, Little Richards, and Elvises of the world came along, they went to her nights on Beale Street in Memphis. They were influenced by her. She’s doing this brand new distorted guitar, shredding sound. They’ve never seen anything like that. She was the first person to do it! Another day, another Black woman giving but not receiving. It’s an honor represent her, so that even though she’s not with us anymore, other Black people can go: “I have a right to this legacy and no one can talk me out of it.”

You are a Black woman who sings within so many genres that are now whitewashed, despite directly deriving from Black people. Did playing Rosetta wake up anything inside of you?

Maybe less with the movie, but I remember when I first came across Sister Rosetta in my teens and I was like, “Wait a minute, what year is this? Sorry, what? Shredding guitars was a thing in the ‘40s?” No one else was doing it. So she invented it! How didn’t I know this and how is this some kind of niche thing? If I invented rock and roll, I would expect to be carried on a damn chair everywhere I went. [Laughs] It’s a travesty. But you know, segregation was a whole thing. But what gets me is how easily we can be talked out of our own inheritance. Talking about Black people in jazz, blues, soul music and rock and roll. The number of times I come across a clutch of artists who are campaigning to be involved in something that they created or at least played a part in creating —

It’s so backwards and disheartening.

There’s something so profoundly wrong with the pleading. So I try and impart my sense of “white boy privilege” into everything that I do. I went to a posh school in England with white kids walking into places like they owned it. I thought, “Cool, that’s about to be me. I’m going to Kool-Aid myself into places and go, ‘Oh you thought this was yours? Cute, it’s all mine now.’”

Contemporary music is African, it’s at the origins of all of these things. Before we even had African-Americans in America we had Africans in America. So there’s no way of avoiding that contribution that engineered the inventiveness of African-American culture. Every time you see something groovy, you really think some buttoned-up white guy did that?

There’s a heavy dose of nostalgia on the album too, which sounds comforting. I hear Ella Fitzgerald, Earth, Wind and Fire, Sam Cooke, Aretha Franklin, Donna Summer, and Tina Turner. These are people that we grew up with and love. It subconsciously seeps out of our pores to only celebrate that in anything that we do. And I think you do it very well on this album.

Aah, you named everyone! Like no one ever pulls out Ella Fitzgerald [in interviews]. But you can hear it! She’s been my [inspiration] since I was 10. So when you’re like, “Well obviously!” I’m like thank goodness someone could hear it! But it’s all of our touchstones, so this album will touch everybody. Especially if you’re a second-genner in the west.

I totally relate to “Break The Bough” because as a Caribbean-American girl, I grew up eating tropical fruit. I grew up with that sense of joy and being free, which was juxtaposed with being “othered”. I came from a family of immigrants and had those luxuries ultimately taken away from me as I grew up in a white society. I was like, “This song is the story of Black women.” People who aren’t Black won’t get that.

No, but it’s not for them this time. There are a number of things specifically for Black women on this album. Speaking about being “othered,” I’ve gotten a lot of support and fellowship from the LGBTQ+ community. They’re like, “we’ve been othered and connect with a lot of things on this record.” Even if you’ve been a white woman in a space that’s dominated by guys, you would have felt some of this. But if you’re a Black woman, OOOOOOH! Every single jam on this is going to hit very close to home, especially if you’ve got immigrant parents. I’ve talked to Filipino and Asian people that have immigrant parents and they [tell me] they get it too.

So It was really important to represent all of that. Although every song on this record was co-written [with Dan Auerbach], there’s a volume of lyrics that could only come from me because of how personal it is. The pandemic gave me the time to finesse that so that there are these touchstones specifically for women of color.

Stand For Myself is out now on Easy Eye Sound. Pick it up here.

Comedian-actor-writer-producer-director-stoner-author-ceramic vase maker Seth Rogen has added another hyphenate: -podcaster. Storytime With Seth Rogen (available on Stitcher) has a deceptively simple premise — “Do you have a great story?” he asks potential guests, “And if you do, will you tell it on my podcast?” — but “each episode plays like a little audio documentary, a feature presentation unto itself, with supporting interviews and archival tape woven into each story with a rhythmic editing style.”

In an interview with Vulture about Storytime, Rogen gave an example of an episode — one that confirms everything you want to believe about Paul Rudd being a good person. His guest is writer, comedian, and author Quinta Brunson, who once considered giving up comedy after a bad breakup to become a Jehovah’s Witness. “Then one day, on a date with this guy where they’re going to see Inglourious Basterds, she meets Paul Rudd in the theater, whom she’s a huge fan of,” Rogen recapped. “He was very nice to her, and she told him about her dream of pursuing comedy; he told her if she was serious about it, she might as well do it. That conversation changes the course of her life.”

Rogen spoke to Rudd for the podcast in the hopes that he’d remember the interaction, “but he had no memory of it. He changed her life, and it was a result of him being a nice dude in general.” I can already hear the iconic laugh.

Storytime With Seth Rogen launches on October 6.

Olivia Rodrigo’s debut album, Sour, was a major success upon its initial release in May, as it quickly topped the charts and stayed on top for weeks. Now, it is once again No. 1 in the latest Billboard 200 chart, and that’s thanks largely to the recently released vinyl edition of the album. The vinyl edition, in fact, actually had one of the best sales weeks in the past three decades.

In the latest tracking week, 76,000 copies of Sour were sold on vinyl. That’s the second-largest sales week for a vinyl album since that data started to be tracked back in 1991. The top album in that regard is Taylor Swift’s Evermore, which moved a whopping 102,000 vinyl copies in a week earlier this year.

Ahead of the vinyl edition’s release, Rodrigo shared a video of herself excitedly opening one of them for the first time. She wrote at the time, “SOUR vinyl comes out this Friday and I couldn’t be more excited if I tried!!!!!! u can preorder them now on oliviarodrigo.com if ya like! I’ve discovered so many of my favorite albums through vinyl records and it’s the coolest thing in the world to get to hold one with songs I wrote.”

Revisit our review of Sour here.

After initially stammering during a select committee hearing in July and claiming to not recall if he spoke to Donald Trump during the January 6 attack on the U.S. Capitol building, Ohio Congressman Jim Jordan has finally confirmed that he spoke to the former president “more than once” after being evacuated to a safe room.

Jordan confirmed the Trump calls to Politico but he said he’d “have to think about it” when asked to corroborate sources who claim fellow Republican Matt Gaetz was also involved in conversations with the former president:

“Look, I definitely spoke to the president that day. I don’t recall — I know it was more than once, I just don’t recall the times,” Jordan told our Olivia Beavers. He later said that “I’m sure” one of the Trump-involved calls took place in the safe room “because we were in that room forever.” (For safety reasons, we are not disclosing the specific room where members were evacuated to, but that is the room Jordan is referencing.) Jordan would not get into the specifics of what he discussed with the president, though he said that like everyone, he wanted the National Guard to get involved.

Jordan’s admission is notable considering his prior testimony to Congress that he couldn’t remember what time of the day he had spoken to Trump on January 6. There was also a considerable amount of backlash from Republicans after House Speaker Nancy Pelosi didn’t pick Jordan to serve on the select committee because he was a “material witness.” That characterization appears to be holding up.

As for Jordan suddenly remembering that, OK, he did call Trump a bunch of times during the historic assault on the Capitol building, the Ohio congressman is getting roasted on social media for looking suspicious as hell.

(Via Politico)

After months of delays — perhaps prompted by Drake and Kanye’s ongoing feud — Drake’s new album, Certified Lover Boy, officially got a release date when he made the announcement with an emoji-laden Instagram post. However, now fans are feeling skeptical about the album — or at least its ostensible cover art — after Ebro Darden confirmed on Twitter that the picture Drake posted is actually the album’s cover. Of course, Drake’s been roasted over questionable art before, but this picture — which features a grid of pregnant woman emojis in various skin tones and different colored shirts — doesn’t exactly scream “album of the year.”

Fans were quick to drag Drake’s decision to use, as one put it, such an “unserious” picture as his actual album cover. I’m old enough to remember the reaction to his Take Care album cover, which was derided for the exact opposite reason, so maybe this is Drake’s way of telling us this next album will be fun and lighthearted — or at least full of baby-making music that can be appreciated by people of all types. That hasn’t stopped some fans from being convinced that he’s “sabotaging his own rollout” and declaring that it’s “worse than the Donda artwork.” However, as Kanye recently proved with the chaotic release of his own recent release, these are two artists who exist in their own echelon, where rollout won’t matter as much as the music and the communal experience of streaming along with the rest of the word whenever the album drops. Check out more responses below.

Certified Lover Boy is due 9/3 via OVO and Republic.

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 Kanye West finally drop Donda and one his Ye’s adversaries team up with one of his collaborators. Yeah, it was a great week for new music. Check out the highlights below.

For more music recommendations, check out our Listen To This section, as well as our Indie Mixtape and Pop Life newsletters.

Kanye West — “Hurricane”

Kanye West was reaching a point where, given all the delays, nobody was putting much stock in any potential Donda release date. Finally, though, West dropped the album, and it’s a 26-track, near-two-hour odyssey. Among the highlights is “Hurricane,” which, aside from featuring DaBaby, is the first collaboration between West and The Weeknd in half a decade.

Big Red Machine — “Birch” Feat. Taylor Swift

This is one on both the same and opposite ends of the spectrum as West: Taylor Swift and the rapper of course have their disagreements, but Big Red Machine’s Justin Vernon has collaborated with West on a number of occasions. Whatever the case, “Birch” is one of two Swift-featuring songs from the new Big Red Machine album, and here, Swift leans into a support role and does her job perfectly.

Baby Keem and Kendrick Lamar — “Family Ties”

The biggest Kendrick Lamar news of recent days is the fact that he’s currently working on what will be his final album for his longtime label, TDE. He’s also been working on some collaborations outside of that, as last week saw him and Baby Keem drop “Family Ties,” the title of which makes sense since the rappers are actually cousins.

Halsey — “Honey”

Halsey has oven leaned into alternative-influenced music over the years, but she takes it to a new level on her latest album, If I Can’t Have Love, I Want Power, which she made with Nine Inch Nails’ Trent Reznor and Atticus Ross. They’re not the only collaborators who appear on the album, though, as Lindsay Buckingham contributed guitars to “Darling” and Dave Grohl got behind the drum kit for “Honey.”

Gorillaz — “Jimmy Jimmy” Feat. AJ Tracey

Damon Albarn hasn’t given himself much rest in recent years, as he’s rolling out a solo album right now and Gorillaz have also been busy. After last year’s Song Machine series, Gorillaz have returned with a surprise new EP, Meanwhile, a succinct three-track effort that features collaborations with Jelani Blackman, Barrington Levy, AJ Tracey, and Alicaì Harley.

BTS — “Butter” Feat. Megan Thee Stallion

BTS’ “Butter” doesn’t need any help, as it did a fine job remaining at the top of the charts for multiple weeks. Regardless, it got a breath of new life from Megan Thee Stallion, who contributes to a new remix of the track. She’s actually the one who needed help, as it took a judge’s ruling for the song to get released.

Meek Mill — “Sharing Locations” Feat. Lil Baby and Lil Durk

Lil Baby and Lil Durk are just months removed from their collaborative album, Voice Of The Heroes. The pair has already reconvened, though, this time joining Meek Mill on “Sharing Locations.” As for Meek, the song is hopefully a look at his next album, which would follow 2018’s Championships.

Chvrches — “California”

Chvrches just dropped Screen Violence, and Lauren Mayberry told Uproxx of it, “It’s not about horror movies, but it was more like we can build a backdrop and a landscape that you can tell personal stories through. Once we’ve written a few songs and I had a few things under our belt and especially with the aesthetics and the visuals, it was more about the role of women in those stories and the role of women in horror. How can you take those tropes and ideas and use those to tell your stories? And what about being a woman feels horrific? What about it feels violent? How do you live in and around that violence, how can you live through it? What do you do with it when you live in this space? I think that’s been really fun to play with, especially like with the imagery on the record and the imagery in terms of the album artwork and the videos and the visuals. How can you take that genre and bend it to tell your stories?”

Kacey Musgraves — “Justified”

Kacey Musgraves is ready to follow up 2018’s Golden Hour, the album that fully transformed her into a crossover star. The Star-Crossed era has already begun, and she continued it last week with “Justified.” Uproxx’s Caitlin White notes that on the track, Musgraves “details the myriad of reactions that come after a breakup, tracing the journey from numbness, anger and sadness, to trying to connect with someone new, and even recounting some of what went wrong with the relationship.”

Griff — “One Night”

Griff has established herself as one of the UK’s brightest pop up-and-comers, and she continued to add to her resume last week with “One Night.” The track would feel right at home on top-40 radio, as it’s a catchy and anthemic pop tune with the sort of big retro- and dance-inspired hook that both plays well right now and is impossible to not get into.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.