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Shakira has used her Las Mujeres Ya No Lloran World Tour to showcase her career-spanning collaborations.

Back on May 13, Shakira even treated the Bank Of America Stadium crowd in Charlotte, North to a surprise onstage reunion with Alejandro Sanz.

Today (May 23) the pair revealed the performance was not a one off link up. Now that Sanz’s new EP ¿Y Ahora Qué? has dropped supporters were given another musical collaboration. On the romantic new song, “Bésame,” Alejandro Sanz and Shakira will make you fall in love with love once again thanks to the record’s luscious harmonies and deeply poetic lyrics.

“Don’t think about it so much and kiss me / Let the mysteries / Kiss me at once / No fear, let’s go seriously forward/ Whoever it hurts, hold on / You don’t have to go back anymorе / Better come on, gеt behind the wheel / Don’t think about it so much and kiss me / Let the mysteries end / Kiss me at once / Zero fear, let’s go seriously, get ahead / Whoever it hurts, hold on,” the pair delicately sings across the chorus.

“Bésame” follows the duo’s 2005 song “La Tortura” and 2006’s “Te Lo Agradezco, Pero No.”

¿Y Ahora Qué? is out now via Sony. Find more information here.

Benson Boone loves his mother, which he makes abundantly clear on the new single “Momma Song” and its accompanying video.

On the chorus, Boone sings, “Take me down your old street / Tell me your memories of when you were young and when you fell in love / Drive me through the country / Tell me your story and you can play all of your favorite songs / ‘Cause I’m gonna need this / When I’m holding pictures of you and that’s all that I’ve got left / All that I’ve got left / All that I’ve got left.”

The video goes back and forth between Boone performing the song and vintage home video footage, making for a visual that surely brought a tear to Mrs. Boone’s eye.

Watch the “Momma Song” video above and find Boone’s upcoming tour dates below.

Benson Boone’s 2025 Tour Dates: American Heart Tour

05/24 — Napa, CA @ BottleRock Music Festival
06/05 — Canandaigua, NY @ CMAC
06/06 — New York, NY @ The Governors Ball Music Festival
07/03 — Milwaukee, WI @ Summerfest
07/05 — Québec City, Canada @ FEQ Festival
07/10 — Algés, Portugal @ Nos Alive Festival
07/11 — Madrid, Spain @ Mad Cool Festival
07/13 — Berlin, Germany @ Lollapalooza Berlin
07/15 — Montreux, Switzerland @ Montreux Jazz Festival
07/16 — Monaco, France @ Monte-Carlo Summer Festival
07/18 — Paris, France @ Lollapalooza Paris
08/22 — St. Paul, MN @ Xcel Energy Center
08/23 — Chicago, IL @ United Center
08/25 — Columbus, OH @ Nationwide Arena
08/26 — Cleveland, OH @ Rocket Arena
08/27 — Detroit, MI @ Little Caesars Arena
08/29 — Toronto, ON @ Scotiabank Arena
08/30 — Montreal, QC @ Bell Centre
09/02 — Boston, MA @ TD Garden
09/03 — Philadelphia, PA @ Wells Fargo Center
09/05 — New York, NY @ Madison Square Garden
09/06 — Baltimore, MD @ CFG Bank Arena
09/07 — Raleigh, NC @ Lenovo Center
09/09 — Nashville, TN @ Bridgestone Arena
09/10 — Atlanta, GA @ State Farm Arena
09/11 — Louisville, KY @ Bourbon & Beyond Music Festival
09/13 — Tampa, FL @ Amalie Arena
09/14 — Miami, FL @ Kaseya Center
09/16 — Orlando, FL @ Kia Center
09/18 — Houston, TX @ Toyota Center
09/19 — Austin, TX @ Moody Center
09/20 — Fort Worth, TX @ Dickies Arena
09/22 — Denver, CO @ Ball Arena
09/24 — Glendale, AZ @ Desert Diamond Arena
09/26 — Las Vegas, NV @ T-Mobile Arena
09/27 — San Diego, CA @ Pechanga Arena San Diego
09/30 — Los Angeles, CA @ Crypto.com Arena
10/03 — Portland, OR @ Moda Center
10/04 — Vancouver, BC @ Rogers Arena
10/05 — Seattle, WA @ Climate Pledge Arena
10/08 — Salt Lake City, UT @ Delta Center
12/04 — Abu Dhabi, UAE @ Abu Dhabi Grand Prix

American Heart is out 6/20 via Night Street Records/Warner Records. Find more information here.

When attention turns to the Favorite Male Hip-Hop Artist category at this year’s American Music Awards, two names will stand out among the nominees like luminous beacons: Kendrick Lamar and Drake, bitterest of enemies, combatants in the most ubiquitous rap beef the culture has seen in a generation.

To be clear, there should be no attempt to pitch the award as the next skirmish in Kendrick and Drake’s long-time conflict that escalated so rapidly last year. (Also nominated, it’s worth noting, are Eminem, Future, and Tyler, the Creator.) It’s plain to see that Kendrick sealed the win when he so viciously stunted on Drake during his Super Bowl halftime show in February. But Drake’s presence in the category does act as a reminder that he is still active, still releasing music, and still a tier-one genre draw. As the pummelled star defiantly told an Australian crowd in February, “My name is Drake. I started in 2008, I came all the way from Toronto, Canada. The year is now 2025, and Drizzy Drake is very much still alive.”

His heartbeat may be strong, but this is a new reality for Drake. Though he’s previously suffered a bad loss to Pusha T, the thrashing he’s experienced at the hands of the merciless Kendrick has been on another level. It has undeniably, perhaps unalterably, chipped away at his aura and skewered his career into a potentially hazardous new phase. Drizzy Drake is still alive, sure, but what is such an existence going to look like?

With remarkably poor timing, Some Sexy Songs 4 U, Drake’s joint album with fellow melodious Canadian PartyNextDoor, was released on Valentine’s Day — just five days after the Super Bowl humiliation. Living up to the title, there were no war cries or insults. For 73 minutes, fans could easily shut off their minds, listen to the hushed melodies and shadowy beats, and forget the Kendrick-Drake beef had happened at all. “Fuck a rap beef, I’m tryna get the party lit,” Drake raps on a song titled “Gimme a Hug.”

Some Sexy Songs 4 U duly went to the top of the Billboard charts, a sign that, for now, Drake’s commercial cachet remains strong. Evaluations of the music, however, were sniffy. For me, the project feels both disposable and inconsequential; at times, Drake barely feels present on it. The two headline artists don’t even appear together on every song, giving the sense the album was fleshed out with loosies pulled from various hard drives. If Drake was hoping to cleanse himself of the stench of defeat, this was no light rain. That said, the relatively low profile he’s kept while ostensibly in the middle of an album cycle indicates that his strategy might not be to blow people away with the quality of his work, but rather to let things blow over.

If we want to predict Drake’s fate, there aren’t many analogs from rap history to look to, because so few feuds have felt this one-sided. Jay-Z and Nas came out of their early 2000s beef both reinvigorated and inspired; Ice Cube and Common’s sharp battle in the mid-nineties ended at the behest of Nation of Islam leader Louis Farrakhan without too much collateral damage. Perhaps the most obvious comparison to Drake’s situation is the plight of Ja Rule, who, after his loss to Eminem and 50 Cent, favored a business-as-usual approach.

Having released an awkward attempt at tough guy posturing titled Blood in My Eye in 2002, his next album, R.U.L.E., included a healthy serving of pop-rap numbers he’d previously favored. It performed respectfully, cracking the Billboard top 10, but never again would Ja regain the popularity he had before the beef (I continue to argue that his music has aged finely). The next time Rule found himself in the cultural zeitgeist was due to his association with Fyre Fest.

If Drake is strategizing a reset that would draw a line under the clash with Kendrick, he might be well advised to abandon the lawsuit he’s launched in its wake against Universal Music Group (UMG) for its role in the release of Kendrick’s omnipresent diss track “Not Like Us.” The target of the suit is not Kendrick himself, but nevertheless, going down a legal avenue is so against the spirit of rap competition that it’s opened Drake up to further ridicule. Would any vindication he might feel with a legal victory be worth the continuing reputational cost?

Keeping the suit going also makes reconciliation more difficult. Rap beefs are frequently squashed, and often in a very public way. In this case, resolution might suit both parties, allowing them to move onto other projects and move through their careers without the feud taking up any oxygen or causing distractions. But even if such a move benefits Drake’s career, might it be too much for him to clink glasses with the man who has been shouting, “Certified lover boy? Certified pedophile” to sold out crowds?

Perhaps, instead, Drake’s villain season is coming, with the artist emerging like an emotionally scarred super villain, vowing revenge on a world that has spurned him. This appears unlikely, particularly because there’s still reason to believe that Drake’s fanbase, uncaring whether he’s a triumphant battle rapper or not, are still willing to be serviced with songs about popping bottles in Toronto clubs and being ghosted in the DMs. I’ve always felt Drake’s courting of street credibility while also trading on sensitivity has been an awkward combination. Perhaps he’ll finally commit to what he’s best suited for.

Really, though, the most likely outcome is Drake will do what he’s done with previous humiliations: carry on. And why not when we live in a post-shame world? Public standards are dead; street cred doesn’t mean what it used to. Win or lose at the AMAs or in this new post-beef world, Drake is still a draw and one of the biggest stories in town. And hip-hop will no doubt stay curious about how this next chapter is going to go.

Miley Cyrus has been out and about lately as she builds anticipation for her upcoming album, Something Beautiful. As part of the promo cycle, she stopped by Jimmy Kimmel Live! last night (May 22), where she explained the difference between “Nickelodeon gays” and “Disney gays.”

Kimmel asked Cyrus when was the last time she watched an episode of her old Disney Channel hit Hannah Montana, and she answered:

“I’m surrounded by gays. There’s a big difference… there’s Nickelodeon gays and Disney gays. Nickelodeon gays, and Nickelodeon… no offense, but in general, they do, like, boogers and like, you know, bro jokes. And Disney I would like to think is a little bit more, you know, fabulous, especially if it’s about a teenage pop star wearing a wig, like being the most famous drag queen for kids, ever. And I’m like, ‘You’re gay and you don’t live for Hannah Montana? What’s wrong with you? So I introduced them to Hannah and obviously, they were gagged. They’re obsessed with her. I was offended.”

Elsewhere on the show, she also performed her single “More To Lose.” This is something for fans to embrace, as she doesn’t plan to tour in the near future.

Watch Cyrus on Kimmel above.

Steven and Ian begin with a short Sportscast about the tush push surviving a potential ban in the NFL. Then they talk about about the terrible commercial performance for Arcade Fire’s latest album and where the band goes from here. They also listen to Sleep Token for the first time… and don’t hate it? After that, they discuss a disastrous turn for Steven’s Fantasy Album Draft team, which forced him to pick a new album. In happier news, they discuss the great new Wednesday single and what it portends for a potential new album, and then the new Pavement movie and their feelings about the band.

In Recommendation Corner, Ian goes for the new album by Home Is Where and Steven stumps for the latest from Florry.

New episodes of Indiecast drop every Friday. Listen to Episode 240 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at [email protected], and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.

Puerto Rican rapper and singer Myke Towers is the latest contributor from the upcoming F1 film soundtrack to drop a single, the old-school rap-sampling “Baja California.” Interpolating Black Sheep’s 1991 classic “The Choice Is Yours (Revisited),” Towers delivers a high-impact ode to living life on your own terms. Naturally, Myke drops in a plethora of references to racing, from driving like a maniac to flying down the highway at high speed (these are the English translations).

So far, Atlantic Records has released four other songs from the upcoming soundtrack, including Don Toliver and Doja Cat’s “Lose My Mind,” Rosé’s “Messy,” Dom Dolla’s “No Room For A Saint,” and most recently, Chris Stapleton’s “Bad As I Used To Be.” All of the songs capture either the high-octane thrills of the Formula One racing around which the movie is built, or the emotional themes experienced by the film’s protagonists, played by Brad Pitt and Damson Idris, as they search for redemption and rise to glory, respectively.

F1, the movie is expected to hit theaters on June 27, the same day the soundtrack will be avaible on DSPs.

Listen to Myke Towers’ “Baja California” above.

F1 The Album is out 6/27 via Atlantic Records. You can find more info here.

A little over a month after the release of her song “Blue Strips,” bubbling pop-country star Jessie Murph recruits strip club fav Sexyy Red for the remix. Building on the vengeful hedonism of the original, the new version finds Murph still insistent that “Boy, I ain’t mad at you,” but receiving backup from the unapologetic Sexyy Red, who adds a typically unbothered verse full of her trademark ad-libs and vows to “shake this ass with my friends.”

Murph’s unique blend of pop and hip-hop tropes with a signature country rasp has earned her plenty of attention in the past few months, with songs like “Gucci Mane” racking up the views on TikTok, and collaborations with BigXThaPlug and Jelly Roll finding new ears for her one-of-a-kind sound. Those fans will get a chance to see her live when she embarks on her Worldwide Hysteria Tour later this summer.

You can listen to Jessie Murph’s “Blue Strips (Remix)” featuring Sexyy Red above. See below for Jessie Murph’s tour dates.

07/27 — Phoenix, AZ @ Arizona Federal Theatre
07/30 — Austin, TX @ ACL Live @ Moody Theatre
08/01 — Durant, OK @ Choctaw Grand Theater
08/02 — Dallas, TX @ South Side Ballroom
08/03 — Houston, TX @ 713 Music Hall
08/05 — St. Louis, MO @ The Factory
08/07 — Des Moines, IA @ Lauridsen Ampitheater at Waterworks Park
08/08 — Minneapolis, MN @ The Armory
08/09 — Oshkosh, WI @ Crossroads 41
08/10 — Indianapolis, IN @ Everwise Amphitehatre
08/12 — Detroit, MI @ The Fillmore
08/15 — Columbus, OH @ KEMBA Live! – Outdoor
08/16 — Chicago, IL @ Byline Bank Aragon Ballroom
08/18 — Cleveland, OH @ Jacobs Pavillion
08/19 — Pittsburgh, PA @ Stage AE (Outdoors)
08/21 — Buffalo, NY @ Outer Harbor Live at Terminal B
08/23 — Philadelphia, PA @ The Met
08/25 — New York, NY @ The Rooftop at Pier 17
08/27 — Washington DC @ Anthem
08/28 — Boston, MA @ Leader Bank Pavilion
08/30 — Toronto, ON @ Massey Hall
09/01 — Montreal, QC @ Mtelus
09/04 — Raleigh, NC @ Red Hat Amphitheatre
09/05 — Anderson, SC @ Wendell’s
09/06 — Birmingham, AL @ Coke Amphitheater
09/08 — Orlando, FL @ Hard Rock Live
09/09 — Fort Lauderdale, FL @ War Memorial Auditorium
09/10 — Tampa, FL @ Yuengling Center
09/12 — Atlanta, GA @ Coca Cola Roxy
09/13 — Nashville, TN @ Ascend Amphitheater
09/17 — Kansas City, MO @ Cable Dahmer Arena
09/19 — Denver, CO @ Fillmore Auditorium
09/20 — Salt Lake City, UT @ Union Event Center
09/22 — Vancouver, BC @ Queen Elizabeth Theatre
09/23 — Seattle, WA @ WAMU Theater @ Lumen Field
09/24 — Portland, OR @ Theatre of the Clouds
09/26 — San Fransisco, CA @ Fox Theater
09/27 — Los Angeles, CA @ The Shrine

Karol G juxtaposes snow sports and beachwear as she celebrates her gente in her scintillating new single. “Latina Foreva” pays tribute to Latin people and culture, but takes a cheeky approach to the visuals. Where you might expect scenes of tropical relaxation on the beach in Puerto Rico or the Dominican Republic, instead, Karol G brings her fellow beach bunnies to the slopes for some skiing, snowboarding, and soaking in jacuzzis — no wardrobe change needed.

It’s an old, but effective trope. Juxtaposing the bikinis and warm weather attire one would associate with the tropical climates of Latin America with the snowbound peaks of a ski resort has been done, but here, it makes a potent statement along with the eye candy. In a world that isn’t really “for” them, Karol says, Latinas will still take over and look good doing so.

“Qué chimba, ‘tá buena la fiesta con ellas / Mamacitas foreva, me quedo con mis nenas,” she sings. “Latinas, ‘tá buena la fiesta con ellas / Mamacitas foreva, pa’ que tenga este sabor toca que vuelva y nazca.” It’s hard to translate directly, but the gist is this: Latinas, Karol G included, get the party started.

It’s hard to argue against her point; Karol’s been everywhere in 2025, sharing a documentary on Netflix, from which she shared her other new single of 2025, “Milagros.”

You can watch Karol G’s video for “Latina Foreva” above.

Sabrina Carpenter, the world’s tiniest (not horniest, thank you very much) pop star is up for six categories at this year’s American Music Awards. With nods for Artist of the Year, Album of the Year, Song of the Year, Favorite Female Pop Artist, Favorite Pop Album, and Favorite Pop Song it’s safe to say Carpenter, who has been scooping up wins at most award shows in the past year, will likely be bringing home more trophies.

Carpenter’s saccharine, sincere, and risqué pop album went right to the top of Billboard charts when it was released. Plus, that me “Espresso,” a disco, funk-fueled track about being addicting, lived up to its thesis, becoming Sabrina’s first top 10 single on the Billboard Hot 100 before ultimately topping the chart and becoming a permanent item on the pop culture conscious menu.

This year, Sabrina is up against a star-studded list of contemporaries for Artist of the Year: Ariana Grande, Billie Eilish, Chappell Roan, Kendrick Lamar, Morgan Wallen, Post Malone, SZA, Taylor Swift, and Zach Bryan. And though each of these artists are worthy competitors when it comes to hits and music industry success, Sabrina’s last year stands out in comparison. Not just because of her ability to spawn hit after hit (each song from Short N’ Sweet charted) but due to the amount of work she put into the album and her career, which basically started back in 2009, when she posted a video of herself covering Taylor Swift’s “Picture To Burn” to YouTube at just 10 years old, and made the decision to become a singer.

Short N’ Sweet is Carpenter’s sixth studio album. Sixth. She released four albums via Disney’s Hollywood Records before sharing her first album on Island in 2022 with Email’s I Can’t Send. The album hinted at, but didn’t fully embody Sabrina’s writing prowess — with tracks like “because i liked a boy,” that dug into her contentious relationship with fame, and relationship drama that seemed to take precedence in the media over her music. Then there was “Nonsense,” whic showed off her word play and cheeky delivery as she sang about being tongue-tied and later, improvised lines live on stage as she mixed innuendo with wit, again making headlines, this time for her boundary-pushing talent. By the time fans heard “Feather,” from the deluxe version of the album, she was fully comfortable putting her personality into her music: hilarious, cutting, and unafraid to distill chaotic relationships into pop bops, her confidence in her own brand of writing over sometimes retro, always incomparable sonics, had been achieved — and she did it while ignoring voices outside of her own. “I’ll put it this way,” she told PAPER last year. “When I was younger, I was told by a lot of grown men that I needed to pick a genre, stay in that genre, be that genre and do one thing.”

In fact, the same nonsensical yet cunning lyrics (i.e. “Say you can’t sleep baby I know/ That’s that me espresso,”) that pushed her into the spotlight were dubbed “lazy” by some critics, and others called her songs “raunchy.” She hit back at those naysayers in The Independent, sharing, “Female artists have been shamed forever. In the Noughties it was Rihanna, in the Nineties it was Britney Spears, in the Eighties it was Madonna – and now it’s me. It is totally regressive.” She continued to wear her coquetteish fashions, drop expletives in love songs, and move so suggestively on stage that she had folks on social media claiming to be “afraid.”

Still, there were those who saw the vision, like Taylor Swift who had her open for dates on her behemoth Eras Tour. There was also music heads like Nine Inch Nails’ Trent Reznor who dubbed “Espresso” his song of the year. But mostly there was Sabrina, who year after year, showed up for her dream. “For a long time, I was constantly guided and misguided,” she told Time. “I’m so grateful for all of those times where I was led astray, because now I’m a lot more equipped going into situations where I have to trust my own instincts.” And those instincts led her to Short N’ Sweet.

It’s hard to imagine another singer being nominated for Best New Artist by the Recording Academy six albums in. For Sabrina, it makes sense. She spent most of her life building a foundation for success — from early dance classes and voice lessons, to Disney acting debuts and industry boundaries she’s pushed through — taking the slow and steady route is the reason Sabrina deserves to win this race.

It’s a method for success, Sabrina was at first taught reluctantly, before experiencing it first hand. “Something that my mom always said to me as a little girl that really annoyed me was that I am the tortoise, and if you guys know the tortoise and the hare thing, that pissed me off a lot,” she said on stage while accepting the Rising Star Award at the 2023 Variety Hitmakers event. “Throughout my life, [I was] being told, ‘Sabrina, you’re the tortoise, just chill,’ like ‘it’s okay, you’re the tortoise, just slow down, it’s going to be okay. In moments of frustration and confusion, it can feel like a letdown, but it turns out it’s actually a very good thing. And I’ve really loved getting to know the mindset of a slow rise.” Here’s to Sabrina’s not-so-overnight success, to pushing towards the mark no matter what, and to (fingers-crossed) even less room on her crowded award shelf.

Alex Warren is currently in the middle of his Cheaper Than Therapy Tour, still riding the momentum of his breakout hit “Ordinary.” But rather than resting on his laurels, he’s already searching for his next Billboard smash… which he might have done with “Bloodline” featuring rapper-turned-country star Jelly Roll. With a soaring, sing-along chorus, and a knee-slapping backwoods rhythm, “Bloodline” is a rousing slice of Americana riding the line between the late-aughts bluegrass breakout and today’s pop-country resurgence.

In the press release for the song, Warren explained, “‘Bloodline’ is a record about overcoming generational trauma… it’s a reminder that where you came from and the way you were raised doesn’t define who you are today.” The song doesn’t waste time getting to this message, opening with Warren singing, “Take that pain, pass it down like photos on the wall / Momma said, ‘Your dad’s to blame, but that’s his Daddy’s fault’.” Whew.

Jelly Roll’s assist is timely but not wholly unexpected, after the Antioch native brought Warren out during his Stagecoach set, alongside other burgeoning genre dabblers such as BigXThaPlug, Brandon Lake, Jessie Murph, Lana Del Rey, MGK, Shaboozey, and Wiz Khalifa.

Listen to Alex Warren’s “Bloodline” featuring Jelly Roll above.