Two weeks after dropping her new single, “Baddie Baddie,” Ice Spice has followed up with a stylish music video. Directed by Ice Spice herself along with her frequent collaborators The Evil Twins, George and Frederick Buford, the “Baddie Baddie” visual was shot during September’s New York Fashion Week and sees Ice pair off with some of the industry’s most in-demand models, including Sudanese-American Anok Yai. Ice shows off her sturdiest strut as she catwalks her way through the streets of New York on the way to the hottest shows.
Prior to releasing “Baddie Baddie,” Ice Spice shocked the rap world by teaming up with Latto for the posterior-praising “Gyatt.” The two had spent early 2024 exchanging diss tracks, so to see them burying hatchets was almost as exciting for their fans as watching them twerk in the wrestling-themed video.
Ice’s latest song was produced by her longtime partner RiotUSA, which suggests that she’s going to stick to her formula on her next project. Likewise, keeping the Evil Twins in the mix after they directed videos for “Deli” and “Gimmie A Light” shows she knows her lane and isn’t looking to swerve too far out of it for the time being.
You can watch Ice Spice’s “Baddie Baddie” video above.
Nate Amos is busy, whether he’s performing with his band Water From Your Eyes or solo as This Is Lorelei. His first solo album, Box For Buddy, Box For Star, arrived last year. Now, he’s readying what a press release calls a “sort-of-second sort-of-album”, dubbed Holo Boy.
The reason for the uncertain labeling is that instead of a bunch of new songs, Amos grabbed older songs from his back catalog and re-recorded them in May 2025. The ten re-recorded songs from come nine different original releases and were written between 2014 and 2021. Out now is the new recording of “Name The Band.”
In a statement, Amos explained how the new project is different from its predecessor, saying, “The songs on Box For Buddy, Box For Star are really similar, and they’re produced in such a way that the differences are accentuated, whereas with Holo Boy, the songs are really different, but they’re produced in such a way that the commonalities are accentuated.” He added, “I tried to look at the catalog as little as possible and more just think to myself, ‘What are songs from the past that I feel like are good songs, demonstrate growth, and are significant to me, in terms of embodying a certain period of time?’”
Listen to “Name The Band” above and find the Holo Boy cover art and tracklist below, as well as Amos’ upcoming tour dates.
This Is Lorelei’s Holo Boy Album Cover Artwork
Double Double Whammy
This Is Lorelei’s Holo Boy Tracklist
1. “I Can’t Fall”
2. “But You Just Woke Me Up”
3. “Dreams Away”
4. “SF & GG”
5. “My Friend 2”
6. “Name The Band”
7. “This Is A Joke”
8. “Mouth Man”
9. “Money Right Now”
10. “Holo Boy”
This Is Lorelei’s 2025 Tour Dates
12/17 — Brooklyn, NY @ Music Hall of Williamsburg +
12/19 — Philadelphia, PA @ The Fillmore ^
+ with Dutch Interior
^ with The Front Bottoms
Holo Boy is out 12/12 via Double Double Whammy. Find more information here.
While Solange’s big sis Beyoncé racks up the hits, the younger Ms. Knowles has taken a more circuitous path in the music business. It’s led her to some interesting places; she’s directing films, scoring ballets, curating events, and learning new instruments, proving that there is more to musicianship than simply recording music and performing concerts.
Solange’s latest resume addition furthers that end; this week, she began a three-year position as the University of Southern California’s (USC) first-ever scholar in residence for the Thornton School of Music. As part of her duties, she’ll teach a course, Records of Discovery: Methodologies for Music and Cultural Curatorial Practices, while helping to develop program offerings in music curation, and hosting student workshops. In addition, she will join the Dean’s Creative Vanguard Program, along with Raphael Saadiq, the program’s inaugural member.
In an interview with The Los Angeles Times, Solange said, “I am a G.E.D. graduate. I was a teenage mom. I was pregnant with my son at 17, so I didn’t get to further my education in the classical sense. But I was really blessed and honored to have enriched these other parts of education through my art, through travel [and] through the globalization of my life … so to be able to have access and broader tools as a scholar in residence, to enrich that and deepen that, is really so exciting for me.”
Wale knows how he can be. Over the year’s the DMV area pioneer has earned himself a reputation for being short-tempered (to put it nicely) and sensitive about his status in hip-hop. After all, very few other artists with his resume get talked about the way he does, and almost no one is meaner to him than he is to himself.
He aims to change that with “Mirroronnabenz,” the latest single from his upcoming eighth studio album and Def Jam debut, Everything Is A Lot. Over a BNYX-produced Afro-swing beat, Wale gets real with the man in the mirror, shifting his self-talk with more encouraging affirmations. “Mirror, mirror, mirror, look at all your transgressions / N****s think you crazy, crackers think you too aggressive,” he muses. “The people think you mad, I ain’t mad, just reflecting.” At the end of the song, he tells himself, “Say I’m good enough / Say I’m Black enough / Say I’m rich enough.”
It’s an intriguing idea for an artist with a complicated legacy, and it’s fascinating to hear after “Blanco,” another self-reflective single in which Wale appears to hold himself accountable. His next album will be his first since 2021’s Folarin II, and it looks like he’s used the intervening four years to work on some things.
St. Louis crooner Jordan Ward released one of the best R&B albums of 2023 in his debut Forward, snapping up attention with its single “White Crocs” and becoming one of the most exciting young voices in music today.
Now, he’s returned to announce its follow-up, Backward, and share the first single: “Smoking Potna” featuring Florida breakout singer Sailorr. In the single, Ward asserts that his “smoking partner” is the only person he smokes with, highlighting the special connection between them. “I don’t pass the blunt to no one else but you, baby / You can help yourself.” Sailorr doubles down on this sentiment, explaining that she may have low tolerance for the smoke, but she likes her own smoking buddy enough to put up with it.
Meanwhile, in an interview with Rolling Stone about the new album, Jordan said, “Coming up off the last project, I felt I had a lot of room to grow with the songwriting, as far as structuring [it,] having more clear takeaways for the songs.”
He says he wants “to keep the story evolving,” and to do so, he’s looked at the songwriting of legends like Donny Hathaway, Joni Mitchell, Bob Marley, James Taylor, and Roberta Flack. The results will arrive January 30th.
You can watch the video for Jordan Ward’s “Smoking Potna” featuring Sailorr above.
Backward is due on 01/30/2026 via ARTium Recordings/Interscope Records. You can find more info here.
Colleen Hoover is on fire. Last year, the author’s book It Ends With Us was adapted into a Blake Lively-starring movie (even if the whole thing has been at least a little overshadowed by off-screen drama). She has two other movies, Reminders Of Him and Verity, in the pipeline for 2026, but before that, we get Regretting You this year.
The latest young-adult adaptation dives into the aftermath of an unexpected accident and how it shakes up a family. Among those portraying that family are Allison Williams and Mckenna Grace.
Ahead of the movie’s release, keep reading for everything you need to know before it hits theaters.
Plot
An official description reads:
“Based on the bestselling book, Regretting You introduces audiences to Morgan Grant (Allison Williams) and her daughter Clara (Mckenna Grace) as they explore what’s left behind after a devastating accident reveals a shocking betrayal and forces them to confront family secrets, redefine love, and rediscover each other. Regretting You is a story of growth, resilience, and self-discovery in the aftermath of tragedy.”
Director Josh Boone previously said of the film, “When I read Regretting You, I was captivated by the characters and knew we needed a partnership with an amazing cast to make it real. I’m thrilled to be joined by old friends and new to bring Colleen Hoover’s novel to the screen. I’ve been working for several years with the incredible team at Constantin, and my producers Brunson, Anna, and Flavia, and our plan is to make a classic that mothers and daughters will cherish for years to come.”
Cast
The movie stars Allison Williams, Mckenna Grace, Dave Franco, Mason Thames, Willa Fitzgerald, Scott Eastwood, Clancy Brown, Sam Morelos, and Ethan Costanilla.
“[My character is] pretty pure-hearted and to a fault sometimes — he is always trying to do the right thing, even if it goes against what his heart is telling him. [Laughs] I usually play either villains or very morally corrupt characters, which is also very fun, but it’s nice to play a character that is hopefully a little bit closer to who I am in real life. That’s been really, really fun to not start in a place where I feel like I’ve dug a hole for myself, and I’m trying to plead and beg audiences to relate to me and understand where I’m coming from. I can now start in a good place where audiences will hopefully be on board with me from the get-go.”
The first night of her Live From The Swamp in Chicago upheld the standard she set at shows like The Grammys, wowing fans who attended and setting online fans abuzz with some of the innovations captured by their smartphones. One moment that caught fans’ eyes (and ears) was Doechii covering Charli XCX‘s Brat standout “360” (a rap fave, clearly) blending it with her breakout song “Persuasive.” Other fans were amused to see Doechii selling K-pop-style light sticks at her merch table.
With 11 dates remaining on the Live From The Swamp tour, future fans will have plenty more opportunities to get their hands on the Doechii light stick, and see what other surprises she has in store. See below for the remaining tour dates.
Doechii Live From The Swamp Tour Dates
10/14 – Chicago, IL @ Aragon Ballroom
10/17 – Toronto, ON @ Coca-Cola Coliseum
10/19 – Boston, MA @ MGM Music Hall
10/21 – Washington, DC @ The Anthem
10/23 – Charlotte, NC @ Bojangles Coliseum
10/27 – Atlanta, GA @ Coca-Cola Roxy
10/29 – Dallas, TX @ Toyota Music Factory
10/31 – Houston, TX @ 713 Music Hall
11/03 – Phoenix, AZ @ Arizona Financial Theatre
11/05 – San Diego, CA @ Gallagher Square
11/07 – San Francisco, CA @ Bill Graham Civic Auditorium
11/10 – Seattle, WA @ WAMU Theater
The last we heard from Courtney Barnett was her 2023 instrumental album End Of The Day, and before that, her 2021 LP Things Take Time, Take Time. Thankfully, she’s revving up a new era: Today (October 15), Barnett shared a video for the new single “Stay In Your Lane.”
The tune is carried by a buzzy guitar riff and she sings on the chorus, “Gotta get this off my chest / This never would’ve happened if I stayed in my lane, stayed the same way.” The video, meanwhile, isn’t for the squeamish, as there is blood.
Barnett also revealed she’s set to perform the song on The Tonight Show Starr Jimmy Fallon next week, on October 22.
Barnett hasn’t officially announced a new album, but she previously revealed that one is on the way. In a Guitar World interview from earlier this year, Barnett said of working on new music:
“Sometimes I find it hard to know [where I’m going musically] because I’m so into it, I’m just writing all these different songs and sometimes I don’t completely see the differences in dynamics in them or whatever. I’m working on a new album now, and the songs… I guess they’re kind of varied. It depends on the mood and energy that’s necessary for the song. Sometimes it’s not even intentional, I just have to follow. I like it when things move around and when everything doesn’t sound the same.”
At the time, she said she felt like she was “in the last quarter” of finishing the album and added, “It’s getting close and it’s feeling good: I’m feeling excited about it being a journey.”
Watch the “Stay In Your Lane” video above and find Barnett’s upcoming tour dates (“date,” rather) below.
Courtney Barnett’s 2025 Tour Dates
11/15 — Hobart, Australia @ Odeon Theatre (triple j 50 On Tour)
Charli XCX’sBrat tour is one of the biggest music events in recent memory, but don’t expect a tour documentary to surface, because Charli shot the idea down. Why? She thinks the market for tour docs is saturated.
That’s what she said in a new Vanity Fair interview. She said she didn’t feel like her experience didn’t line up with what’s expected of a music documentary, saying:
“I feel like my problem with a lot of musician documentaries is it often shows the musician coming up against some kind of opposition and eventually overcoming it to be the hero. And that’s just not been my experience, you know? Maybe it has been a lot of other people’s, and that’s awesome.”
She added of her movie The Moment, “It’s not a tour documentary or a concert film in any way, but the seed of the idea was conceived from this idea of being pressured to make one. It’s fiction, but it’s the realest depiction of the music industry that I’ve ever seen.”
Of making The Moment, she also said, “I always find it hard to sit down and look at things with distance, because I am always moving on to the next thing. I think that I process myself through my work. I’m writing about myself and my thoughts all the time, and my thoughts about what people think about me.”
Hope In LA Photography/Ethan Karlin/Ross Allen/Uproxx
From the moment you hit the sand at Same Same But Different (SSBD) festival at Lake Perris, the world turned technicolor. Paddleboards bobbed at the shoreline, sun shards reflected across the water, and that boutique festival energy that SSBD has bottled since its early days was on full display. This year’s two big performance sites — the Same Stage and the Different Stage — ran like a relay. No overlaps, no FOMO. The weekend’s biggest name headliner, Zeds Dead, leveled the beach with a set that swung from pop-culture winks to full-body catharsis; LSZEE (LSDREAM + CloZee) followed with that honeyed bass they’ve been perfecting, and Dr. Fresch kept the throttle pinned. Support was savvy: ALLEYCVT ripping frenetic pockets; Know Good pushing a live-instrument hybrid that felt custom-built for sunset.
If you went for headliners, you ate. If you went to discover, you still ate.
But the music is only half the sentence. SSBD treated the assembled adults (and a smattering of kids) to a hot-air balloon drifting over the cove and a secret shack called “The Corn Hub” that played on “corn” as the IG-safe word for “porn” and then sort of ran chaotically wild from there. Fire dancers stitched the transitions, and somewhere along the way the boundaries between performer and attendee fell away.
That’s the point. We’re deep in the co-creation era, and attendees were fully on board.
The little festival that could has also grown up. Attendance is intentionally capped around 7,500, and you feel it in the air: enough energy to surge, not so much that it swallows you. Camping was… almost quaint — real bathrooms and showers courtesy of the state park — even if the occasional empty sink or TP-less porta reminded you this isn’t a mega-corp production. “Fixable logistics” win over “corporate sprawl” any day.
But there’s another reason why SSBD matters this year: ownership. The festival just opened a community investment window via Wefunder, inviting fans to buy an actual equity stake for as little as $100 — not a VIP club, not a donation, real securities in the company behind the festival.
Does that change festival culture? Yes, and for the better. In a consolidation era where indie fests either sell or vanish, sharing upside with the people who camp, dance, and build the art cars feels both smart and progressive. If the cap table includes the crowd, decisions trend toward experience over bloat, and the community gains real leverage to keep the thing weird, welcoming, and human. Fan ownership won’t solve every growing pain, but at SSBD it reads like the natural extension of what’s already happening on the beach: the audience stepping onto the stage, not just for one set — for the long haul.
