J-Hope is building up quite the list of collaborators. Since his discharge from mandatory military service, he’s released “LV Bag” with Don Toliver and Pharrell, “Sweet Dreams” with Miguel, and now, the crossover between K-pop and hip-hop continues with two of those genres’ hottest rising stars. J-Hope taps Memphis rapper GloRilla for his latest single, the kinetic “Killin’ It Girl.” The song comes with a dizzying music video that was show in an unusual zoom and frame rate, creating some stunning, unique (and possibly motion sickness-inducing) visuals with Hope’s usual flashy dancing.
In addition to his collaborations, the BTS member also dropped the “Mona Lisa” video, in which he traipses through an art museum. He certainly seems to have developed a flair for eye-popping visual concepts, which perhaps grew from his broadened experiences as a result of military service. “I’ve learned a different life,” he said of the experience. “And in many ways, I got to meet people from all walks of life and I received a lot of good energy. And I heard a lot of good things. But also, you know, a year and a half is actually not a very short time. That bit made me feel a lot of things. In the end, I think the most important thing was I realized how important the work I’ve been doing for all these years is incredibly meaningful to me.”
You can watch the video for J-Hope’s “Killin’ It Girl” featuring GloRilla above.
Roddy Ricch has entered the race. As the F1 film inches closer to its theater green light, another gem from its soundtrack has surfaced. Roddy Ricch taps into the primal theme of the film with “Underdog,” produced by D.A. Got That Dope. The former Uproxx cover star applies a propulsive flow to the murky, menacing beat, akin to his approaches “Start With Me” with Gunna or “Tip Toe” with A Boogie.
The single adds yet another dimension to the expansive, diverse sounds present across the soundtrack — which appears to be rolling out in full, one track at a time. Doja Cat and Don Toliver kicked off the rollout with “Lose My Mind,” a more club-friendly hip-hop track. Likewise, “Baja California” by Myke Towers adds similar flair in Spanish, as does Sexyy Red’s EDM experiment Tiësto, “OMG.”
But rather than sticking to that one mode, the soundtrack veers across lanes (heh), incorporating K-pop with Rosé’s “Messy,” country music, with Chris Stapleton’s “Bad As I Use To Be,” and dance-pop with tracks like Tate McRae’s “Keep Watching” and Dom Dolla’s “No Room For A Saint.”
F1 The Album is out 6/27 via Atlantic Records. You can find more info here.
Roddy Ricch has entered the race. As the F1 film inches closer to its theater green light, another gem from its soundtrack has surfaced. Roddy Ricch taps into the primal theme of the film with “Underdog,” produced by D.A. Got That Dope. The former Uproxx cover star applies a propulsive flow to the murky, menacing beat, akin to his approaches “Start With Me” with Gunna or “Tip Toe” with A Boogie.
The single adds yet another dimension to the expansive, diverse sounds present across the soundtrack — which appears to be rolling out in full, one track at a time. Doja Cat and Don Toliver kicked off the rollout with “Lose My Mind,” a more club-friendly hip-hop track. Likewise, “Baja California” by Myke Towers adds similar flair in Spanish, as does Sexyy Red’s EDM experiment Tiësto, “OMG.”
But rather than sticking to that one mode, the soundtrack veers across lanes (heh), incorporating K-pop with Rosé’s “Messy,” country music, with Chris Stapleton’s “Bad As I Use To Be,” and dance-pop with tracks like Tate McRae’s “Keep Watching” and Dom Dolla’s “No Room For A Saint.”
F1 The Album is out 6/27 via Atlantic Records. You can find more info here.
Roddy Ricch has entered the race. As the F1 film inches closer to its theater green light, another gem from its soundtrack has surfaced. Roddy Ricch taps into the primal theme of the film with “Underdog,” produced by D.A. Got That Dope. The former Uproxx cover star applies a propulsive flow to the murky, menacing beat, akin to his approaches “Start With Me” with Gunna or “Tip Toe” with A Boogie.
The single adds yet another dimension to the expansive, diverse sounds present across the soundtrack — which appears to be rolling out in full, one track at a time. Doja Cat and Don Toliver kicked off the rollout with “Lose My Mind,” a more club-friendly hip-hop track. Likewise, “Baja California” by Myke Towers adds similar flair in Spanish, as does Sexyy Red’s EDM experiment Tiësto, “OMG.”
But rather than sticking to that one mode, the soundtrack veers across lanes (heh), incorporating K-pop with Rosé’s “Messy,” country music, with Chris Stapleton’s “Bad As I Use To Be,” and dance-pop with tracks like Tate McRae’s “Keep Watching” and Dom Dolla’s “No Room For A Saint.”
F1 The Album is out 6/27 via Atlantic Records. You can find more info here.
For the past month or so, Latto has been touring Europe and the UK promoting her 2024 album Sugar Honey Iced Tea. The former Uproxx cover star has clearly gotten comfortable across the pond, forging musical friendships with locals like rising Manchester rapper Nemzzz. Cozy enough, it appears, to join Nemzzz on his latest single, “Art,” and give him a tour of her hometown, Atlanta, in its video. The visual hits all the A-Town staples: a gas station link-up, a cruise through downtown, and of course, a trip to the strip club.
While prepping for her first trip overseas, Latto has continued to roll out visuals for Sugar Honey Iced Tea, such as “Blick Sum” with Playboi Carti, and released a new single, “Somebody.” She also teamed up with GloRilla in the video for the Memphis rapper’s Glorious standout, “Procedure.”
Nemzzz, meanwhile, is fresh off the release of his second mixtape, Rent’s Due, which features guest appearances from Central Cee and Kyle Richh. The project reached No. 6 on the UK Albums Chart and No. 1 on the UK R&B Albums chart, while its singles, “Cold” and “Bad Decisions,” charted in the UK and New Zealand. Nemzzz followed up with a deluxe edition, adding features from D-Block Europe and Chy Cartier.
Last Saturday, Lexa Gates was supposed to perform at Governors Ball, her very first music festival. But unfortunately, the morning she was set to play, the fest sent a message to fans: the performances would be delayed and early sets — the ones more likely to feature up and coming acts — would be canceled. When Gates realized her set was one of the performances scrapped from the lineup, she sent a direct and witty (much like her lyricism) message to fans via Instagram: “Sorry, they told me to F off” she captioned a photo of multiple DMs from followers asking if she’d play.
However, the Queens-born singer and rapper took the cancellation in stride, bringing her hometown show to the streets of New York City. On Monday, she played a free show in the middle of Canal Street, blasting her hits from the top of a car. She announced the renegade gig to fans only a few hours before the performance went down, sharing a flyer to Instagram with the caption “(complimentary) pull up. rain or shine.” What’s more New York City than that? “I gotta show love to the people of New York, this is my city,” she tells UPROXX, after the impromptu show. “It was nice to do something anyone could go to free of charge and it made me feel loved to see so many people show up.”
Last Friday, the day before her would-be set, she dropped her latest single “Latency,” — a soulful, honest, hypnotic track produced by Grammy Award-winning producer, Jasper Harris (Baby Keem, Kendrick Lamar, Lil Nas X). The track pontificates on the push and pull of an almost romantic connection, sampling “Tell Me You’ll Wait,” by Hamilton Bohannon, as Gates sings, “I got ideas of you making moves on me, what’s the latency?” It’s a fresh and organic sound, one that could only come from a Gen Z creative with internet access, a push against what’s trend-worthy, and no allegiance to rules. Last year, she released her debut album, Elite Vessel, followed by a sold-out US tour. She’s been making the rounds on ‘who to watch lists,’ and, with an impending next album on the way, it’s safe to say she’ll be making her way up multiple festival line-ups.
We spoke to Gates about “Latency,” her favorite fan interaction so far, and what it means to be from New York City.
Let’s talk about “Latency.” What was the inspiration? How did it come to you?
It’s a term in music, when the microphone isn’t working. It’s a cute romantic song. I made it with Jasper Harris. It was his idea, the beginning that … “I got ideas about you” and then we just ran from there. It was just fun. It’s the only fun song on the album. Everything else is pain.
How do you hope people react to the track when they hear it live or when it drops?
I hope they dance a little bit. I hope they listen, I hope they put it on TikTok.
You shared Elite Vessel last fall. How has it been to have that out in the world?
Amazing. I’m happy people liked it. I was just doing it for fun. I was listening to it this morning actually, and it was really good.
You’re like, “I’m also a fan.”
Yeah, exactly.
I know you just had a sold-out tour. What are some of the memories that you have from playing those shows and interacting with fans?
I remember when I was in Atlanta and there was a girl in the front who was crying the whole time. Looking me in my eyes, just crying. I had to not look at her ’cause she was making me hella emotional.
I wanted to ask about your personal style — from your signature cat eye to the way you deliver your bars. There’s a lot being said about your authenticity, but what is authenticity as an artist to you?
I’m just doing what I want to do and I never really listened to anything new growing up. I just didn’t care about anything or any movies or anything trendy at all. I feel inspired by walking outside and just looking into the world. So I guess moving without fear … that’s what that means to me.
I love that — just being inspired by yourself and not tracking what everyone else is doing.
Yeah, exactly. Not trying to do what other people are doing ’cause it’s popular. You know how when Cash Cobain started doing sexy drill, everybody did sexy drill. I just feel like that’s not a good idea.
What’s inspiring you right now?
I actually feel more into the trends right now. I love Labubus. Being in new environments … I’m also into interior design right now.
Are you making mood boards? Are you decorating your home?
No, no. I’m just going to people’s houses and seeing that they have a bunch of cool things, and I want that too.
What are you most excited about sharing with fans?
This album, I’ve been working on an album for like hella long and it’s just taking a long time to clear everything, but I’m ready to just do full rollout and put everything out.
Without spoiling it, what can we expect from the album?
It’s like an autobiography. It’s a recording of whatever the present moment I was in.
I have to ask, since we were talking about Gov Ball, NYC’s signature fest, what does it mean to be a NYC artist for you?
I don’t wanna necessarily identify myself with anything. I hate when people are like, ‘Oh, you’re a Latina female rapper.’ You know? I’m trying to create my own type of thing. That’s how I feel about it. But obviously it is really important and I’m heavily influenced by my neighborhood and how I grew up. I’m just like the most New York person ever.
What else do you want your fans to know?
I’m dropping an album. In a few months. In a few months. We’ll just keep it vague.
Sabrina Carpenter released her latest album, Short N’ Sweet, last August. Less than a year later, she’s already onto a new album with yesterday’s announcement of Man’s Best Friend. That’s a relatively quick turnaround, but the way Carpenter sees it, she didn’t want to wait to drop a new album just because she might be expected to.
“If I really wanted to, I could have stretched out Short N’ Sweet much, much longer. But I’m at that point in my life where I’m like, ‘Wait a second, there’s no rules.’ If I’m inspired to write and make something new, I would rather do that. Why would I wait three years just for the sake of waiting three years? It’s all about what feels right. I’m learning to listen to that a lot more, instead of what is perceived as the right or wrong move.”
She also shared her mindset ahead of the project’s release, before anybody outside of her circle has heard it yet, saying, “I’m living in the glory of no one hearing it or knowing about it, and so I can not care. I can not give a f*ck about it, because I’m just so excited.”
It’s Bonnaroo time: The four-day festival launches today (June 12). If you’re not going to be down in Tennessee this weekend, though, you can still watch: Some of this weekend’s sets will be streaming on Hulu, including performances from headliners Olivia Rodrigo, Tyler The Creator, Luke Combs, and Hozier (who’s still performing despite his recent illness).
King Gizzard & The Lizard Wizard, meanwhile, are doing the first Roo Residency this year, meaning they’ll be playing three different sets over three days.
If you’re not currently a Hulu subscriber, Hulu’s Bonnaroo landing page also includes a link to sign up for a one-month free trial.
Check out the livestream schedule below. All times are p.m. and CT unless otherwise noted, and the channel where the set will broadcast is noted in parentheses.
Bonnaroo 2025 Livestream Schedule For Thursday, June 12
07:15 — Marcus King (1)
07:05 — King Gizzard & The Lizard Wizard (2)
08:20 — Wisp (1)
08:50 — Die Spitz (1)
09:10 — The Red Clay Strays (2)
09:20 — Wilderado (1)
10:10 — Luke Combs (1)
10:30 — Rainbow Kitten Surprise (2)
11:10 — Goose (2)
12:00 a.m. — Joey Valence & Brae (1)
12:45 a.m. — Megadeth (2)
01:05 a.m. — Insane Clown Posse (1)
Bonnaroo 2025 Livestream Schedule For Friday, June 13
07:05 — Cults (1)
07:05 — King Gizzard & The Lizard Wizard (2)
07:40 — Foster The People (1)
08:45 — John Summit (1)
09:10 — The Red Clay Strays (2)
10:05 — Marina (1)
10:30 — Rainbow Kitten Surprise (2)
11:10 — Tyler The Creator (1)
11:10 — Goose (2)
12:30 a.m. — Glass Animals (1)
12:45 a.m. — Megadeth (2)
Bonnaroo 2025 Livestream Schedule For Saturday, June 14
Every time you turn on the radio, you are hearing Sly Stone.
That’s not literal. It’s not just a poetic exaggeration, either. Whether your bag is rock or rap or soul or pop, the artists you love either loved Sly And The Family Stone or loved artists who loved Sly And The Family Stone.
That’s because Sly Stone created music without boundaries or regard for the constraints of genre. It was Black music, because Sly was Black, and that’s the only kind of music we can make. But the sound was universally appealing, defying the racist radio standards that persist to this day.
As pointed out in endless histories of rock and roll, hip-hop, pop, and country (including Questlove’s Sly Stone documentary Sly Lives! [aka The Burden of Black Genius]), when Stone started making music in the 1960s as a DJ in San Francisco, commercial music broadly belonged to just two categories: pop and “race” records, meaning Black-originated genres.
The primary distinction between those categories wasn’t a time signature or unique preference for instrumentation, lyricism, or vocal intonation. It was the skin color of the performer. Lots of stories have documented and dramatized this distinction, but my favorite among them is the “Cadillac Car” sequence from the 2006 Dreamgirls adaptation. Here, check it out:
But Sly Stone lived up to his moniker in his approach to circumventing this system. By assembling his band of both Black and white members, incorporating both men and women, he bypassed record executives’ and radio programmers’ instinctive need to classify the band’s music by their facial characteristics or gender presentation.
When their manager, David Kapralik, advised Sly that the music needed to be more broadly accessible after the band’s debut album A Whole New Thing flopped commercially, Sly knew how to simplify the songwriting to appeal to anyone’s sensibilities. Sly Lives has a remarkable breakdown of just why “Dance To The Music,” the group’s breakout hit, was able to tap into every taste, no matter the market.
As Jerry Martini, the group’s saxophonist, points out, the song’s drum line is “close to the Motown beat… but it ain’t.” There are elements of jazz, with the scatting of the background singers offering familiarity to fans of that music, along with horns backing the howling of the electric rock guitar.
Each piece is spotlighted in the breakdown, giving everyone something to look forward to. In many ways, “Dance To The Music” is the Platonic ideal of the concept of the American Melting Pot — many voices coming together to create something greater than the sum of its parts. It fits that the song skyrocketed The Family to Top 10 status and set about laying the groundwork of the group’s ubiquity in modern sound.
You’d be hard-pressed to find a genre that was influenced by Sly And The Family Stone. Some of their first shows after blowing up in 1968 were with guitar gods like Jimi Hendrix and the performers at Woodstock, filtering out and down to more funky rockers like Beck, Maroon 5, and Red Hot Chili Peppers. Funk mainstays like Parliament owe at least some of their popularity to the Family Stone (or all of it, if you ask George Clinton). Like Sly, Prince sought to populate his bands with female members and push against easy categorization.
In the ’80s and ’90s, Sly And The Family became a huge part of the foundation of hip-hop and New Jack swing, with samples of their music appearing in songs from the likes of Arrested Development, 2Pac, Ice Cube, Janet Jackson, LL Cool J, Public Enemy, Snoop Dogg, The Roots, and too many others to name. It’d be criminal not to mention, Outkast, which took so many pieces of Sly Stone’s look and philosophy, including breaking with convention and incorporating psychedelia to the street-heard sound saturating 1990s rap radio.
Heck, without Sly, we might not even have Drake. For as maligned as the Canadian pop rapper has been over the past year, he undoubtedly dominated pop culture for the past decade and a half, spreading his own influence throughout music. And Drake himself will tell you, some of his first experiences with maneuvering around the recording industry were visits with his uncle, Larry Graham, one of the founding members of The Family Stone.
Perhaps there’s no better voice to speak about the impact of Sly Stone than Sly himself. At the end of his 2024 autobiography, Thank You (Falettinme Be Mice Elf Agin), the 81-year-old Sly muses about how peers from his era were so imitable, quoting his brother Freddie. “He was talking about how the world has lost certain kinds of figures that it needs to see itself clearly,” Sly recalls.
“He said there’s no one like Bob Dylan anymore. When I heard, I nodded. He said there’s no one like John Lennon anymore. I nodded again. He said there’s no one like Sly Stone anymore. I couldn’t nod so I just shook my head.” Sly Stone was one of a kind. It seems unlikely that anyone will ever shift global culture in the ways he did. But thanks to his work and his influence, Black artists can create as freely as they want. Everyone can be at least a little like Sly Stone.
“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. I’m not upset about it, other than I feel mad pressure to be funny sometimes.”
She also offered her thoughts on women, saying, “I don’t want to be pessimistic, but I truly feel like I’ve never lived in a time where women have been picked apart more, and scrutinized in every capacity. I’m not just talking about me. I’m talking about every female artist that is making art right now. […] We’re in such a weird time where you would think it’s girl power, and women supporting women, but in reality, the second you see a picture of someone wearing a dress on a carpet, you have to say everything mean about it in the first 30 seconds that you see it.”
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