Tove Lo’s ‘Bad As The Boys’ Is A Summer Heartbreak Anthem For Anyone

Earlier this year, Tove Lo returned with the altruistic bop “Glad He’s Gone,” a slice of partially cloudy sunshine that found her comforting a friend in the wake of a breakup. It was our first taste of her upcoming new album, Sunshine Kitty. Based on its floating guitar line and lyrical content, it seemed likely that the album would find Tove in a slightly sunnier place.

On Friday (August 2), she confirmed that with sleepy new single “Bad As the Boys,” and while it’s another breakup song — this time sung by Tove and guest ALMA in a first-person perspective — it retains a knowing sense that maybe this split isn’t quite the end of the world.

Its title might evoke a badass empowerment gem, but on “Bad As the Boys,” Tove quickly makes clear just how those four words are meant and in what context. “She’s gone now / Took my heart and sunk with it / She was just as bad as the boys,” she sings with ALMA sing on the chorus, revealing the source of her broken heart to be a woman — and one whose emotional cruelty was on par with that of past dudes.

Still, Tove told MTV News recently that Sunshine Kitty is “a bit happier, production wise” than her past work, which has often probed into the darker corners of sex, love, lust, and desire. Naturally, she kept a few club bangers in the mix, but Sunshine Kitty‘s inspiration came from a much more… enlightened place: an episode of Girls where an influencer shares her secrets for retaining a radiant complexion.

“People would ask her, ‘Where do you get the glow on your face?’ And she would sit and tan her vagina, so she would soak up the energy from the sun through her pussy, basically,” Tove said. “I just thought that was amazing.”

Check out the new “Bad As the Boys” lyric video above, then watch Tove’s full interview with MTV News below.

Surprise! Pitbull’s ‘3 To Tango’ Video Stars A Bald, Dancing John Travolta

Just a few months after the release of “No Lo Trates” with Daddy Yankee and Natti Natasha, Pitbull is back at it with a simple math equation that might not check out on paper, but that does check out in all of his sexual fantasies. “3 to Tango” has all the trappings of a Pitbull club banger — sexy and suggestive lyrics, a beat that pays homage to his Latinx roots, and of course, a proud proclamation that Mr. Worldwide is officially back on his bullshit.

Inevitably, the music video is just as provocative as the song itself, as it opens with a seasoned tango dancer performing her sultry moves in an empty bar as a bald, suited-up man looks on. “I like her, she likes her, we gon’ have a love fest / One, two, tres, ménage à trois, let’s get down to business,” Pitbull sings, not-so-subtly revealing plans for a threesome later on in the night. The sexual tension in the room builds when two additional scantily clad dancers join in, giving life to the lyrics “it takes three to tango.”

From there, the video takes quite an unexpected turn. After a lineup of women outfitted in lace lingerie do everything from chair dances to high kicks and splits, the video takes us back to the bar where it’s ultimately revealed that the bald man observing the three tango dancers is none other than — wait for it — John Travolta. The actor then shows off his own tango skills, switching between the ladies before putting on sunglasses and hitting us with Pit’s signature “Dale.” End scene.

Hopefully, “3 to Tango” is just the start of what will be a long list of sexy dance hits from Mr. 305 himself. After all, it’s been two whole years since the release of Climate Change, and we think we can all agree that nightclubs around the world could use a resurgence of the sexual energy that only Pitbull can provide. Don’t you?

Watch the spicy video for “3 to Tango” — which also hits mtvU and MTV Live today — up above.

Ariana Grande Shoots Lasers Out Of Her Boobs In ‘Boyfriend’ Video With Social House

Ariana Grande‘s latest release — roughly her millionth of the past year — is here, and it’s definitely not what you were expecting. Unless, of course, you expected to see her shoot an arrow at another girl, then shoot heart-shaped lasers out of her boobs, then shoot her shot by fully making out with Social House‘s Mikey Foster.

After a solid week of archery-inspired teasers (Taylor Swift is shook!), Grande’s collab with Social House, “Boyfriend,” arrived at the stroke of midnight on Friday (August 2) alongside a Hannah Lux Davis-directed video. In it, Ari and Mikey declare themselves “train wrecks” while singing about a budding relationship that they don’t actually want to define as a relationship. Their infatuation with one another makes them hilariously jealous and just a tad violent, if only in their imaginations. Ultimately, though, this story has a happy ending — except, perhaps, for Social House’s Scootie, who becomes a third wheel after seeing Ariana and Mikey making out in a bathroom. Hit play below to see for yourself.

In a press release about the new song, Social House said, “We’ve always had so much fun working with Ariana, so we’re really excited for this song to finally be out in the world and for our fans to hear it! We hope everyone loves it as much as we do.”

Grande also talked up the new track in a tweet on Thursday, telling a fan, “i feel like this song captures a common theme in the lives of so many people i know! people want to feel love but don’t want to define their relationship & have trouble fully committing or trusting or allowing themselves to fully love someone. even tho they want to.”

She added, “we wanted to make something uplifting that captures that feeling of being afraid to take the leap & trust, being afraid of being hurt or feeling like you won’t be enough for that person … but also how it feels to have a crippling crush on someone.”

Ultimately, “Boyfriend” sounds like a serious song-of-the-late-summer hit, but that’s really no surprise considering Grande’s track record with Social House. The production duo also worked on a handful of track’s from Ari’s thank u, next, and she returned the favor by lending her vocals to their gorgeous single “Haunt You” and taking them on the road as her openers on the Sweetener World Tour.

This new release, however, has shaped up to be more of a true collab between Grande and the duo, and it’ll be interesting to see whether “Boyfriend” reaches the success of some of their other banner team-ups, like “thank u, next” and “7 rings.” Could this be the track that finally topples “Old Town Road” from the top of the charts? Only time will tell, but it’s nice to see Grande firmly on her grind. “Boyfriend” marks her first release since April’s flex-heavy loosie “Monopoly” with BFF Victoria Monet, and in the meantime, she’s continued touring, is curating the soundtrack for the new Charlie Angel‘s reboot, and has somehow found time to become the new face of Givenchy. Oh, and she’s nominated for a whopping 10 awards at this month’s VMAs — vote now, Arianators!

Drake Is Dropping An Album Full Of Fan-Favorite Loosies: See The Tracklist

Following the recent re-release of So Far Gone, Drake is keeping the nostalgia train running with the announcement of a brand new compilation project.

Fittingly titled Care Package, it’s a project comprised of Drizzy’s most classic loosies that weren’t previously available on streaming platforms. The 17-track collection includes gems like “Can I,” which was leaked during the Views era, and “Trust Issues,” which he dropped before his 2011 album Take Care. Other highlights include fan-favorites like “How Bout Now” and “5AM In Toronto,” as well as collaborations with Rick Ross, J. Cole, and James Fauntleroy. It’s not quite the new release Drake fans may have been expecting — especially since he recently hinted he’s in “album mode” — but it’s certainly a pleasant surprise.

In an Instagram post, Drake described the project as “some of our most important moments together available in one place.” Peep the cover art and tracklist below, and look out for Care Package when it arrives at midnight on Friday (August 2), ahead of the 6 God’s OVO Fest this weekend.

Lauv And Anne-Marie Are Lonely As Fuck On New 13 Reasons Why Song

Lovestruck collaborations are a staple of the 13 Reasons Why soundtracks — the Netflix series has been bolstered before by Billie Eilish and Khalid’s delicate “lovely” and Lord Huron and Phoebe Bridges’s heartbreaking “The Night We Met.” Now, the newest 13RW duet has arrived on the same day as the first Season 3 trailer, and it unites Lauv with British pop star Anne-Marie.

Everything you need to know about the duo’s collab is there in the title: “fuck, i’m lonely.” Sonically and thematically, it’s right in line with Lauv’s other recent singles, like “i’m so tired,” “sad forever,” and “drugs & the internet.” Over a quirky combination of synths, he and Anne-Marie ruminate on their exes and wallow in their loneliness, singing, “Fuck, I’m lonely, I’m lonely, I’m lonely as / Fuck, come hold me, come hold me, come hold me.” It’s a little more jaunty than the usual 13RW fare, but it still has that air of heartbreak that we’ve come to expect from the divisive series.

“fuck, i’m lonely” arrived on Thursday (August 1) alongside two nearly identical videos. In both, the duo sing while sitting back-to-back and wearing all-white ‘fits, but their surroundings are different colors in each. Check out the green-hued Anne-Marie version below, and see Lauv’s orange-colored version here.

In a statement, Lauv said of the new single, “I’m excited to have ‘fuck, i’m lonely’ included on the 13 Reasons Why soundtrack. I believe the show has done amazing work but as we release this song, I wanted to share my thoughts about the show with you: when you watch, watch thoughtfully – start with a close friend who you feel like you can be honest with.”

Anne-Marie added, “I love this song and I love Lauv. I’m so excited to share ‘fuck, i’m lonely’ with everyone. I never really like admitting that I miss someone after a break up. So here’s a song that does it for me.”

Jessie J’s Rendition of “On My Own” From Les Misérables Will Make Your Arm Hairs Stand Up

Jessie J‘s perfectly powerful voice is something we’ve been reminded of several times throughout her career. From her 2016 rendition of “Grease Is the Word” in Grease: Live to her many show-stopping performances of Whitney Houston‘s “I Have Nothing,” Jessie’s proven that she can belt with the best of ’em. But in case you needed a little refresher of her flawless vocals, the singer took to Instagram to share an impromptu cover of a Les Misérables classic that will make every hair on your body stand up within seconds.

“Didn’t practice before this video,” Jessie casually wrote alongside a clip of her singing “On My Own,” one of the musical’s greatest hits. “I just sat down and pressed play and record and sang this for the first in over 20 years. When I need clarity or to calm my heart and mind, I sing. Been that way since I was 10 years old.” Jessie then took the opportunity to poke fun at how emotional she appears in the video, which is likely due to her background in musical theatre.

“For those who don’t know. My training is musical theatre,” she added. “I have always wanted to be on the stage. It’s also a great way for me to see where I can improve vocally. My timing, pitch, delivery, diction etc. I do this a lot. But thought I would share today. Practice makes better.” And while we totally agree that more practice never hurts, we can probably also agree that the extremely talented singer didn’t leave much room for improvement.

And we’re not the only ones impressed by Jessie’s immaculate cover. Rachel Zegler, the actress and singer set to play Maria in Steven Spielberg’s upcoming remake of West Side Story, is also loving it. “This. Is. Everything,” she wrote with a kiss mark emoji. Debbie Gibson was equally captivated, thanking Jessie for starting her day off on “quite literally, a high note.” Now, excuse us as we watch this on repeat.

Schoolboy Q, Ty Dolla $ign, And YG Travel Back In Time To A Drive-In Theater In ‘Lies’ Video

Schoolboy Q, Ty Dolla $ign, and YG have come together for the music video for “Lies” from Schoolboy Q’s recently released album, Crash TalkTeyana “Spike Tee” Taylor is behind the lens, filming the memory museum of shenanigans at what’s probably the last functioning drive-in theater in 2019. There’s a lot of fun to be had, hearts to be won over, and bathroom stalls to shake when taking a date to the next level. It’s just a good time for everyone involved, easily making you smile at home watching it.

Schoolboy Q, Ty Dolla $ign, and YG are minding their business, watching the grand screen at the theater and you’ll never guess what’s playing: Schoolboy Q’s video for “Dangerous,” his collaboration with Kid Cudi. While this thematically heavy video plays on the screen, the drive-in gets crowded. People of all colors, shapes, and sizes, come together for a night of fun and spontaneity. While the fun happens around them, the trio ogle women from afar while enjoying themselves. It’s then that we see some doppelgangers that look a bit younger than they do, but we never see them all in the frame at the same time.

The party rages on through the night. Eventually, no one’s even paying attention to the screen. Everyone’s focusing on fostering new connections, getting butterflies from that cute person just out of reach, and figuring out what’s the move afterward. The trio find partners for themselves and duck off separately to spit some game and get a little closer and cuddlier. The video ends with a surprise; when the performers lean in for kisses from their ladies, they come back up as their younger counterparts. We’ve been watching them relive the past. The video takes on a new meaning at this point, living in nostalgia as the trio reminiscence on beautiful and much simpler times.

Schoolboy Q released Crash Talk in April. In addition to “Lies,” and “Dangerous,” it also features “Floating,” his collaboration with 21 Savage, “Chopstix,” his collaboration with Travis Scott, and “Numb Numb Juice.” Each of these tracks also has a ridiculously wild music video so you’ll want to check those out as well.

In the meantime, watch Schoolboy Q, Ty Dolla $ign, and YG have a full-blown blast in “Lies” up above.

Mid-Air Thief Made A Beloved, Award-Winning Album And Still Hasn’t Shown His Face

By Eli Enis

The wide-ranging embrace of Mid-Air Thief‘s Crumbling defies every wonky metric and hype-hounding qualifier for success that the music industry places on artists today. The South Korean musician doesn’t have a life-affirming narrative or a compelling personal story arc. He doesn’t manage a Fun And Engaging voice on Twitter or Instagram. And he doesn’t have a must-see live show, a zany creative process, or any sharp political overtones meant to shatter the way we think about the world. In a hypothetical boardroom meeting between stuffy money-movers in suits, the only thing that stands out on Mid-Air Thief’s resume is his magnificently beautiful, imitable, and forward-thinking music.

Very little else is known about the reclusive prodigy. He refuses to reveal his age, the region of the country he lives in, or his birth name. He refers to himself only as “Mr. Mid-Air Thief” while addressing press and fan inquiries. He doesn’t have any social media accounts related to his music, and he’s never spent a cent on promoting or marketing either of his albums (2015’s Gongjoong Doduk or 2018’s Crumbling, both of which he self-released) or any of the glitchy beat music he used to make under the name Hyoo. He’s never performed live, and he’s wearing a full-face rabbit mask over his head in his only existing press photo.

Yet somehow Mid-Air Thief has developed a rabid international cult following. Crumbling, initially released in July 2018, is now the 15th highest-rated album of that year on user-based scoring catalog Rate Your Music. It’s raved about in the incredibly popular indie music subreddit r/indieheads. The record’s individual song streams amount to well over a million on Spotify alone. And when it was re-released physically and digitally via U.S. indie eclectics Topshelf Records in June, it sold out of its first pressing within a day.

But most impressively, Crumbling was nominated for two achievements at the 2019 Korean Music Awards: Album of the Year and Best Dance & Electronic Album. It won the latter, but Mr. Thief couldn’t make it to the ceremony to celebrate. Instead, his collaborator Summer Soul, who wrote and sang her own parts on much of Crumbling, attended to accept the award — an accolade that Mr. Thief is conflicted to have even received in the first place.

“When they called and said I was nominated, I asked them [to] please not to,” he wrote in a sparse email interview with MTV News, in which he deliberately dodged a number of questions and had difficulty responding to those he did answer. “I didn’t think it fit into the category of Dance & Electronic. Labeling music is often pointless, yes, but don’t you get quite a solid picture of a certain type when you see the word ‘Dance/Electronic’? I just didn’t think it fit. I guess what I mean is I’m very ungrateful haha.”

He may just be overprotective of his work (and rightly so), but the connotations that come with the category are completely unrepresentative of what Crumbling actually sounds like. Folktronica is perhaps the most accurate tag, particularly because the record itself is a sonic portmanteau. In a song like “These Chains,” the purring, gurgling, and crackling synths are woven seamlessly into the swirling acoustic guitar strums and pitter-pattering drum passages. At the very end of the nine-minute centerpiece “Crumbling Together,” a simultaneous splattering of intense picking and squishy electronic percussion emulates the sound of sudden rainfall cascading down a windshield. Crumbling is full of little moments in which totally inorganic compositions recall the most earthly phenomena.

The album blends together digital and acoustic instrumentals with a supreme level of ingenuity, drawing influence from turn-of-the-decade psych-pop acts like Animal Collective and Dirty Projectors, but with the exquisite production and maximalist minimalism of the post-Blonde and 22, A Million era. It’s texturally rich, densely layered, and restlessly dynamic music, but Mr. Thief and Summer Soul’s fluttery, wind-sailing vocals maintain a serene hold over the colorfully mutating arrangements. For as lively as the album is, there’s never an opportune moment to dance — but rather to sip quietly and let yourself fall deeper into their utopian wonderland.

The execution is masterful, but it certainly doesn’t sound effortless. Mr. Thief, who produced the entire thing and played every instrument, says he worked on the album for a year and a half before he felt it was ready. “It took so long because I started the music-making process over in the middle,” he wrote. “After a week of not working, then listening with fresh ears, I was horrified at what I had made so far. So I had to start over from the beginning. Also a singer quit, so there was some adjustment time for that too.”

The other singer’s departure is what catalyzed his relationship with Summer Soul, who has her own relatively successful indie career in Korea. Mr. Thief says she messaged him to commend him on his first record, and since he thought her voice was “so nice and sweet,” he decided to reach out in his moment of desperation. She wasn’t able to come work with him in person, but she sent her vocal takes over email and he placed them into the tracks, engineering the incredibly natural chemistry that’s heard on the record. The mixing and overall production of the album is no less than high quality, especially for what’s essentially a bedroom project. Nevertheless, Mr. Thief is convinced he’s still a complete novice.

“The more I read and learned about recording and mixing, the more I realized I’m so clueless and also that so much is required to sound GOOD GOOD,” he wrote, adding the capitalization for emphasis. “So I thought it would be nice to have no pressure to sound professionally good and make whatever, if I do homemade-type music. I always loved that kind of one person having fun and making whatever at home without any care standard.”

In a recent (equally untalkative) interview with Uproxx, Mr. Thief said that one of the best shows he’s ever been to was seeing Andy Shauf, another hermetic cult songwriter who makes dazzlingly crisp indie-pop at his own pace and on his own terms. It’s also worth noting that the idyllically blueish horizon on the album artwork for Crumbling recalls two other album covers in particular. One is Duster’s renowned slowcore classic Stratosphere, which uses a very similar tonal palette to convey its stormy vastness. The other is (Sandy) Alex G’s beloved debut Race, which features a handful of unidentified people standing atop a dirt mound, drawing all attention away from the bright cerulean sky behind them. The far-off fisherman in front of the gigantic skyline on Crumbling‘s cover is sort of like a combination of the two.

Each of those aforementioned artists has a unique sense of mystique about them — whether it be their reluctance to speak to their creative intentions, or the magical attributes their art has developed over years of fan deification, or the ways in which their sounds have influenced their respective genres. Maybe tomorrow, Mr. Mid-Air Thief will remove his mask, leak his seventh-grade report card, and reveal that he’s just a dude who happens to put sounds together in a way that resonates with thousands of people. Crucially, it may resonate in person soon, too: He hinted that a full-band live line-up is in the works. But that, like everything else he does, is not being rushed.

Until then, his air of mystery feels like a product of the supernatural world his music beckons you to enter.

Justin Bieber And Kanye West Hung Out, So The Internet Thinks They’re Collaborating

Justin Bieber‘s been featured on a lot of tracks recently, from Billie Eilish‘s “Bad Guy” remix to Ed Sheeran‘s “I Don’t Care.” But is it possible that Bieber’s recent string of collaborations isn’t over? Thanks to some photos the pop star posted on Instagram on Wednesday (July 31), the internet is fairly convinced that he’s got another one coming. This time, with Kanye West.

Along with a photo of himself crouching down next to the rapper under light beams, Bieber quoted A Boogie Wit Da Hoodie‘s “Drowning.” “Every where that I go it’s a light show I’m surrounded bust down bust down bust down bust down bust down bish I’m drownin,” he wrote. Of course, fans were extremely confused by the post, but ultimately, the general consensus among them was that the two must be working on new music together.

“Hmmmm teaming up for something?” one fan asked in the comments. But other fans weren’t quite as subtle, with someone writing, “RELEASE IT AND SAVE THE INTERNET PLZ.” Alas, the two didn’t release a song together — or at least not yet. But Bieber did post another photo, which only further fueled the rumors that something big might be coming. “It’s lit,” he wrote alongside a series of photos with West and Ray Romulus from production team The Stereotypes.

If fans weren’t totally convinced about a possible collaboration after Bieber’s initial post, Romulus’s presence combined with the intricate lighting in his second post had many wondering if perhaps they were on the set of an upcoming music video. Not to mention, Bieber recently teased that new music is coming on Twitter when he announced that he joined China’s social app Weibo. “For all my fans in China I just wanted to say that I am super excited to be on Weibo,” he wrote. “Looking forward to sharing more. Some good music coming.”

In conclusion, new Bieber music is coming. But if you’re wondering whether or not Kanye will be involved, well, the jury’s still out on that one.

Lana Del Rey Is Heading Out On Tour To Support Norman Fucking Rockwell

It feels delicious to say that Lana Del Rey is going on a fucking tour in support of Norman Fucking Rockwell; partly because the album will arrive soon, and also because continuously typing out this profanity to match her album feels liberating, in a way. The Norman Fucking Rockwell tour’s first leg kicks off on September 21 in New York. From there, it ping-pongs around North America. It seems likely that more dates will be announced later. The hype for Norman Fucking Rockwell just got bigger.

On September 21 at the Northwell Health at Jones Beach Theater in Wantagh, NY, Lana Del Rey’s journey begins, with seven more dates to go. She hits Pepsi Live at Rogers Arena in Vancouver, British Columbia after that on September 30 and then comes back to the United States for the duration of the tour, wrapping it up on October 11 at the Cal Coast Credit Union Open Air Theatre in San Diego, CA. Keep in mind that this is just the first leg. There’s sure to be more across the country and world. Tickets go on sale on August 9.

Lana Del Rey recently revealed that Norman Fucking Rockwell will be out on August 30. She shared the cover art which features actor Duke Nicholson, grandson of Jack Nicholson. The LP will feature “Mariners Apartment Complex,” “Venice Bitch,” “Hope Is a Dangerous Thing for a Woman Like Me to Have — But I Have It,” and her cover of Sublime’s “Doin’ Time.”

Check out the dates for The Norman Fucking Rockwell Tour below.

9/21 – Wantagh, NY @ Northwell Health at Jones Beach Theater

9/30 – Vancouver, British Columbia @ Pepsi Live at Rogers Arena

10/02 – Seattle, WA @ WaMu Theater

10/03 – Portland, OR @ Moda Center

10/06 – Berkeley, CA @ Greek Theatre

10/08 – Sacramento, CA @ Sacramento Memorial Auditorium

10/10 – Los Angeles, CA @ Hollywood Bowl

10/11 – San Diego, CA @ Cal Coast Credit Union Open Air Theatre