Lizzo and Missy Elliott’s ‘Tempo’ Is Already The Song of the Summer, You’re Welcome

What happens when you take Lizzo, one of hip-hop and R &B’s most energetic vixens in the modern day and age, and mix her energy with that of Missy Elliott, an equally energetic siren of the 1990s and 2000s?” The answer is “Tempo,” a fast and furious, bellowing record stuffed with the kind of swagger that makes those unsure of themselves uncomfortable. The pair dropped the record today and through its hi-hats and dominating lyrics, overtook the internet in a flurry of hip thrusts and flashed tongues.

Lizzo’s already proven that when it comes to vocal chops, she’s top tier. “Juice” enables her shimmering voice to shine and her funkiness has made her a household name because of it. But “Tempo” is completely different, almost as if it’s from a different voice entirely. Lizzo raps here with a snarl and a wink, exclaiming her preference for beats that have some gruff in them. Songs with tempo are meant for those with fuller thighs and blooming personalities. The beat is tailor-made for all kinds of twerking and hip gyration thanks to the rapid clapping and lush electro energy that makes the entire thing feel like one, extremely long, frenzy. Elliott brings a softer electricity to the mix, but don’t mistake it for hesitancy. On the contrary, she embraces the absurdity by being soft, yet delightfully arrogant about her dangerous curves. The two are a match made in hyper-charged heaven because they bounce off each other so organically.

Lizzo’s currently preparing for the release of her new album Cuz I Love You that’s set to drop in April. So far, she’s released captivating, big budget videos for “Juice” and, most recently, the LP’s title track. She’ll be heading out on a tour in support of Cuz I Love You next month as well, so if you want to bear witness to her endless energy live, it’s time to prepare accordingly.

Listen to the raging track up above.

Post Malone Releases A Music Video, But Not Really A Music Video, For ‘Wow’

For “Wow,” Post Malone‘s most stripped-down single thus far, he’s released an accompanying video that’s equally as bare, but totally authentic. It’s a music video, but not quite. It’s an interesting discussion, actually. What makes a music video? Is it reciting the lyrics to a B-movie storyline with plenty of celebrity friend cosigns? Or is any accompanying film that’s designated a music video, in actuality a music video?

“Wow” isn’t interested in answering these questions, but it does, however, present itself as the latter. It starts with a telling quote from former English Parliament member Charles Buxton: “You will never find time for anything. If you want time, you must make it.” Malone follows this by not showing a music video but, instead, a mix of random footage. It’s beautiful, dancing, laughing Malone. There’s DJ Khaled showing face here and we see a little bit of Red Hot Chili Peppers rehearsing ahead of the 61st Grammys Awards. The best part about it all is the extended scene of the viral dancing man, Mike Alancourt, getting his groove on while the energetic song plays in the background. It all adds up to a captivating video that, by avoiding the conventions of modern music videos, creates something intriguing.

“Wow” could be the first taste of something new from Malone following his 2018 album Beerbongs & Bentleys. Since then, he collaborated with Swae Lee for “Sunflower” and performed at the 61st Grammy Awards with the Red Hot Chili Peppers.

Check out this music video, that’s not really a music video, above.

Gunna Is Moving On From The Drip, But His Wave Is Just Starting

Gunna scored his first No. 1 on the Billboard Top R&B/Hip-Hop Albums chart earlier this month with his new album, Drip or Drown 2. His previous peak was No. 2 for Drip Harder, his 2018 collaboration with Lil Baby. Before that? Drip Season at No. 25 in February 2017. “I’m just honored and happy,” the 25-year-old rapper, born Sergio Giavanni Kitchens, told MTV News recently about this chart success. “I’m glad that all of my fans are being supportive and I’m just excited for the album going ahead.” To say that the Atlanta rapper is having a moment is an understatement. He is the moment.

It started in 2018 when his Drip Season 3 mixtape helped him ascend to the top of the scene in Atlanta, rap’s current epicenter, and solidified the hip-hop obsession with the term “drip.” Gunna’s silky, slightly robotic flow was fresh, similar to Young Thug’s excited trilling but more toned down and rich with commercial possibilities. The rest of his year was huge, as he joined with fellow local rapper Lil Baby for Drip Harder and the massive hit “Drip Too Hard” (which peaked at No. 4 on the Hot 100), and revealed how smooth his voice could be without its metallic edge in a freestyle video with 11 million views.

He spent the rest of the year becoming rap’s most loaned-out voice, appearing on songs by Tory Lanez (“Miami”), Travis Scott (“Yosemite”), and Mariah Carey (“Stay Long Love You”) — one of his career favorites so far. (His mom loves listening to her.) Now, Gunna’s hard work has paid off. His debut studio album, Drip or Drown 2, is the second in a series, the first of which came out in 2017. “Drip or Drown 2 is more me, more songs,” he said when comparing the two installments. “I enhanced it more, even with the cover itself. It’s more provocative, and this promotion scheme was super original.” He had an aquatic motif for the album seen through the album artwork itself — one of the hardest of all time — that captures him standing underwater with an umbrella. Gunna also threw a listening party at the Georgia Aquarium.

To find his best self, he sought out help from Atlanta production stalwarts Turbo and Wheezy, responsible for his songs “Drip Too Hard” and “Pedestrian,” respectively. “After two months of Drip Season 3 being out, me, Turbo, and Wheezy buckled down to focus on the new album,” he said of the LP’s creation. “It was extremely important to have them for this. We were already used to working together, but we weren’t working as a trio. This time, we were all in a room together.” Recording took place across a number of states including Atlanta, California, and Florida — Miami, specifically. “We just caught vibes in studios.”

Wisely, Drip or Drown 2, isn’t some big, bold reimagination or expansion of the rapper’s aesthetic. Instead, it takes what we know about his sound and cranks it up past the recommended level. “I’ve learned since Drip or Drown that no one should care what people think,” he said. “I learned that after years of comments, it really doesn’t matter. In making music, that’s really something that you have to know to move forward.” He’s wise not to let anyone interfere with his winning formula. He believes it “comes from being in the right spot and space of mind.”

Looking at the tracklist for Drip or Drown 2 reveals only three features, which makes it largely a vehicle for Gunna alone. The additional names, by extension then, are meaningful; of course, there’s Young Thug and Lil Baby, but there’s also Playboi Carti. They make for a thrilling combination – Gunna’s futuristic warbling, Carti’s pinky-up sniveling – that’s worked previously on “No Time” (from Carti’s 2018 album Die Lit, on which they turn up the personality to 11). On Gunna’s latest, they return with “Same Yung N—a.” “Me and Carti are both from the Southside of Atlanta,” he said of their chemistry. “That’s one of the main reasons that we clicked so well. Before I got on, we were already cool because we went to high school together.” That connection can be heard in how effortless their voices play off each other and they build upon the other rapper’s foundations.

But enjoy Drip or Drown 2 because, according to Gunna, the reign of the “drip” is coming to an end. “Drip Season 4 is going to be the last in the series and I’m going to come with something else,” he said. Since he began “dripping” in 2016 with the series’s first installment, the term “dripping” has become so commonplace that water, by association, has been absorbed into the rap canon. Offset and 21 Savage dropped “Ric Flair Drip” in 2017. One of Cardi B’s biggest records on her 2018 debut album Invasion of Privacy is the Migos-assisted “Drip.” Tory Lanez one-upped her by releasing a tune called “Drip Drip Drip” months later. The rapper’s influence is clear when looking at rap in 2019. It may feel like a quick journey to the top, but in actuality, it’s been a couple of years: “I just work hard and when you work hard, a lot of stuff just starts happening for you.”

Nilüfer Yanya Is Ready To Become Miss Universe

When Nilüfer Yanya sings, her face stays steely. She holds a constellation of emotion in her brow as she delivers the big questions like, “Do you like pain?” Her hands, meanwhile, rhythmically widen and stretch, evolving into chord shapes that keep her songs grounded, yet aspirational. It’s how each of the young London-based singer-songwriter’s tunes begins, with six strings and an idea.

Yanya, who started off on piano as a child but picked up the guitar at 12, has spent the past few years winning over fans with her sonic palette of alt-rock with jazzy corners. Her debut album, Miss Universe, out Friday (March 22), goes even deeper: the guitar lines slice harder, the percussion bulks up, and Yanya’s smoky voice fortifies the whole operation. Oh, there’s also the health-service hotline interludes that give the album a whisper of dystopia. Miss Universe contains multitudes.

Yet the star at its center remains completely unostentatious. “I’m not a natural — what’s the word — performer,” Yanya told MTV News. After positive experiences with a music instructor in school, she applied to study pop music in college, though she said she didn’t really want to go. When she didn’t get in, that was fine; she kept working on her own. “The first time I played I had such a big buzz off the playing that lasted a day, so it’s definitely addictive. Your songs are different when you’re playing them live. But it’s definitely not easy to do, for me anyway.”

You wouldn’t know it. At a recent show on a small basement stage at New York City’s Berlin, she breezed through selections from Miss Universe with help from her band, including creative collaborator/saxophonist Jazzi Bobbi, completely owning the room. She channeled her early guitar inspirations The Strokes and The Libertines on the rollicking “In Your Head,” a fantastic entry point into her vibrant catalogue. In the song’s video, Yanya oozes star power; one particularly IG-ready moment finds her posing with an Arby’s soft drink in a pink dress, bejeweled and fierce — it’s unsurprisingly become a go-to image for outlets covering her music. Her actual Instagram page is full of such defining moments. She can tell you who she is with a simple look. Or an indelible hook.

Nothing is quite like “In Your Head,” a lyrical doubt spiral that sounds like the most fun night out you’ve ever had. It began with a demo based around a muddy guitar part and a drum machine and with help from producer John Congleton (who’s worked with everyone from Earl Sweatshirt to St. Vincent to Marilyn Manson), ended up “bigger and better.” “It was kind of refreshing to be able to work like that, I think, because a lot of the time, from your demo to a finished song, you do a lot of refining. But here it was like, let’s just do it again but make it sound better,” Yanya said.

The song plays off the album’s overarching specter, a futuristic health hotline called We Worry About Your Health (WWAY Health) — “a kind of slogan” she found stuck in her mind — that manifests in five interludes dryly narrated by Yanya herself. “We are here for you. We care for you. We worry about you, so you don’t have to,” she intones to open the album. A minute later, on “In Your Head,” she’s questioning everything: “I can think what I want, I can feel what I feel / Until you say it out loud, how will I know if it’s real?” It’s entirely possible to experience Miss Universe solely through its wiggly grooves and midnight-purple guitar tones while not paying much attention to its higher conceptual aims. But if you listen, you might start pondering the unknowingly vast cosmos of your own brain.

“How much control do you want to give away?” Yanya said. “For everything you get, you give something away. And I think my conclusion is that your mind is the last safe space, really, and if you can’t look after your mind and you can’t keep it safe, if you have to open it up to everything, then you have no control. It’s kind of a scary thought, really.”

One place it’s nearly impossible to have total control, of course, is the internet. But it’s also capable of intense community-building, especially as it applies to musicians. Yanya’s already amassed some loyal fans who record themselves playing her songs on guitar and post the videos online. One particularly handy one offers a tutorial for her eerie and mournful “Keep On Calling,” a godsend for fans of artists whose work perhaps hasn’t made it onto guitar-tab sites yet. Yanya said a friend showed her one such cover. “I was like, wow this is so weird. But they were playing it kind of wrong,” she said with a hearty laugh. “It made me feel a bit better about myself, I don’t know why.”

One of the final sounds Yanya allows us to hear on Miss Universe comes as closer “Heavyweight Champion of the Year” winds itself up to a hypnotic, cathartic conclusion. Over a blast of squelching guitar noise, she lets out one of the most human cries found anywhere on the album: “Game over, I’m / Heartbroken / I gave you up.” It’s a powerful song even upon first listen. But in closing, it sheds new light on the entire preceding enterprise. All the spooky WWAY Health outsourcing and funky explorations of self become part of a larger ecosystem within the album’s framework. “Music is weird,” she said. “Like, whatever you’re kind of thinking, you write into a song, and then if you sing the song, it’s kind of like you’re making things happen by singing that song out loud and putting that message out there.”

Grimes’ New Album Miss_Anthropocene Is About A Space-Dwelling, Apocalypse-Fetishizing Demon

Grimes has a new album coming soon, she just hasn’t revealed a release date yet. It’s called Miss_Anthropocene and it’s “a concept album about the anthropomorphic goddess of climate Change.” The singer revealed this information, and so much more, on Instagram yesterday with an extremely long and detailed post. Not only do we know what her new album will be about, but we also know about what it entails and her plans leading up to its release. Forget detailed, lavish rollouts; Grimes may have just revolutionized the way that artists open up to fans completely. No more drip-feeding.

Grimes’ post wasn’t an album cover or anything, just a selfie. An innocent, quickly shot, selfie. The caption, however, was anything but. Right after announcing that her new album is called Miss_Anthropocene, Grimes delves into the meanings of each word; misanthrope being “a person who dislikes humankind and avoids human society,” and Anthropocene being “a proposed epoch dating from the commencement of significant human impact on the Earth’s Geology and ecosystems including, but not limited to, anthropogenic climate change.” It’s deep, interesting stuff. Later on, she adds more color to Anthropocene, writing that she’s “a psychedelic, space-dwelling demon/beauty-Queen who relishes the end of the world. She’s composed of Ivory and Oil.”

In addition to describing a little bit about the album’s title and subject matter, Grimes also discusses the content of the songs’ themselves. “Each song will be a different embodiment of human extinction as depicted through a Pop star demonology,” she writes. “The first song ‘we appreciate power,’ introduced the pro-AI-propaganda girl group who embody our potential enslavement/destruction at the hands of Artificial General intelligence.” If anyone deserves an awesome conspiracy theory show on Netflix, it’s Grimes.

After divulging these details about the LP, the singer also gives something of a roadmap for the upcoming album’s release. “It’s possible I will drop an EP or a few more singles of synth-based stuff b4 the album because it’s mostly ethereal nu metal (ish), and I know a lot of ppl miss the synths and whatnot.” There’s no word if the musical that she’s working on, which features “Pretty Dark” that she released last week, will be released before the LP.

It’s definitely time for a new album. Grimes’ last LP was 2015’s Art Angel. Last November, she released “We Appreciate Power” with HANA, leading to whispers and early expectations that a new project would finally be arriving soon. Grimes’ upcoming album has been delayed on a few occasions but now it’s time for the waiting game again, only, this time, we have more details to hold us over.

Check out Grimes’ lengthy Instagram post up above.

Miley Cyrus, Halsey, And Jay-Z: The Eclectic Woodstock 50 Lineup Is Here

This isn’t your parents’ Woodstock.

The full lineup for Woodstock 50 — the upcoming festival celebrating the original’s five-decade anniversary — arrived on Tuesday (March 19), and it’s packed with newcomers and veterans alike. Among the most notable are (deep breath please): Jay-Z, Miley Cyrus, Chance the Rapper, Halsey, The Black Keys, The Killers, and Run the Jewels. They’ll perform alongside legacy acts like Santana and Dead and Company, who played the inaugural Woodstock in 1969.

The rest of the lineup is impressively eclectic, spanning hip-hop (Vince Staples, Earl Sweatshirt), pop (Maggie Rogers, Janelle Monáe), rock (Greta Van Fleet, Cage the Elephant), and country (Margo Price, Sturgill Simpson). Current MTV Push artist Jade Bird will also perform. And that’s just scratching the surface.

Cyrus, for her part, is already getting psyched for the festivities — she tweeted on Tuesday, “Fuck yeah @woodstockfest 🐓 See ya in Aug! Performing on Friday, so I have all weekend to party!”

Woodstock 50 hits Watkins Glen, New York from August 16-18. Tickets go on sale April 22, and more information is available on the festival’s website. Check out the full lineup on the poster above.

Watch Normani Perform Rihanna And Fifth Harmony Hits At Her First Sweetener Tour Stop

Ariana Grande‘s very first Sweetener World Tour concert touched down in Albany on Monday night (March 19) and there was a lot to take in. But before the pop princess even planted a suede-booted foot on the stage, Normani got the crowd warmed up with a performance that proved her a true multi-threat.

The former Fifth Harmony singer packed a lot into her half-hour set, which opened with “Checklist,” her team-up with Calvin Harris and Wizkid. Curiously, she didn’t perform her other Harris collab, “Slow Down,” but the setlist did include her previously released singles “Love Lies,” “Dancing With a Stranger,” and “Waves.”

As for the rest of her performance, Normani opted not to debut new music during her set (probably a wise move to save the new tunes for a bigger release), and instead covered some beloved classics. After singing Aaliyah’s “One in a Million,” she launched into a dazzling Rihanna medley of “Diamonds,” “Run This Town,” “Where Have You Been,” and “We Found Love.” From there, it was on to a crowd-pleasing Fifth Harmony set that included “Work From Home,” “Worth It,” and “BO$$.”

Ultimately, it looks like Normani really made the most of her coveted opening gig. She’s long been a performer keen on following in Beyoncé’s footsteps, and she certainly looked the part (that sparkly bodysuit!), moved the part (that choreo!), and sang the part (those vocals!). Consider us even hyped for her upcoming debut solo album.

And before you go, here are two more must-see photos of Normani’s stellar opening night. You’re welcome.

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After A Career In K-pop, Tiffany Young Is Finally In Control

Who is Tiffany Young? It’s a question I’ve found myself asking a lot over the last six months as the 29-year-old singer has been making a name for herself in the U.S. To be clear, I know who she is — I’ve known of her since she went by just Tiffany, the cheery American member of the successful K-pop girl group Girls’ Generation — but I don’t really know her. Like you, I know her through the bits and pieces she’s been willing to share with me.

For example: Tiffany Young was born Stephanie Young Hwang. She loves musicals. And Christmas music. She’s a Slytherin. She inherited her late mother’s love of female artists, citing the “divas” — Annie Lennox, Madonna, and Mariah Carey — as her biggest musical influences. But she also went through a boy band phase in the early aughts and had a huge crush on Justin Timberlake. Her dream to become a performer led to a chance audition with South Korean company SM Entertainment and ultimately a move to Seoul at age 15, alone, where she trained for two years before debuting with Girls’ Generation in 2007. Despite her decade-long singing career abroad, she decided not to renew her contract and instead move back home to Los Angeles in 2018 to try and make her pop star dreams come true in the U.S. with a fresh sound and a fitting surname (“Young is the Chinese character for forever in Korean,” she told me last year).

These are all the familiar beats of Tiffany Young’s story, and she typically recounts them warmly, her signature smile always present. But it’s sometimes hard to see through all that poise and polish to find the woman underneath. It’s not Young’s fault; she’s been held to the highest standard of perfection for more than a decade, and that’s not something she can shed overnight. Though, she’s getting there.

After kicking off her U.S. solo career last year with bold, sensual songs like “Over My Skin” and “Teach You” — two groovy English-language singles that helped establish the Korean-American artist as a woman not to trifled with, while also relying on glossy K-pop-inspired visuals to convey the message — 2019’s “Born Again” was a fresh page for Young. “Never felt this safe, in a foreign place,” she croons. “I used to feel so hollow, shallow, vacant.”

Co-written by Young, the single was a sweeping confessional that picked at old wounds. At the end of 2018, her father was accused of fraud, and the situation made national news in Korea, forcing Young to not only apologize on her dad’s behalf but also reveal her own estranged relationship with him. It was a painful, embarrassing experience, but it inspired her to see things from a new perspective.

“It changed me a lot,” she told MTV News. “Finding that self-acceptance during that time really let me embrace some of the imperfections of myself [and] to find the strength to say, ‘I want this rebirth. I want this to be the beginning. I want to ultimately say I am reborn as a human being, as an artist.'”

She teamed up with prolific producers and songwriters like Fernando Garibay, The Rascals, and Babyface to lay these insecurities bare in the studio, co-writing all five songs on her debut English-language EP, Lips On Lips. For Young, Lips On Lips — released in late February — was a way for her to “open up so that others may open up and connect [with it] the way music made me feel when I was lost.” It was also an opportunity for Young to advocate for herself and her ideas for the first time and turn the studio experience into something fun and collaborative. “I used to always be nervous [in the studio],” she said. “I thought that I had to get things perfect in one take. I’m always trying to relax now. I’m just deprogramming a lot of things that I thought was supposed to be. There are no rules when creating, and I’m just reminding myself that every day because it really translates once you’re comfortable and you’re ready.”

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(L) Tiffany poses for photos in Seoul, South Korea in January 2009; (R) Tiffany Young attends the iHeartRadio Music Awards in March 2019

Young is hardly the first artist to turn personal tragedy into creative fuel — Ariana Grande’s done it twice in the last year alone (Sweetener, Thank U, Next) — but she’s in a unique position, where by rewriting her narrative she’s not simply writing it, she’s owning it for the very first time.

She debuted with Girls’ Generation at the age of 17. The first time I had interviewed her, last fall when she was promoting “Teach You” in New York, she had described it as “a time when you had to be perfect.” K-pop idols not only endure years of training — practicing singing, dancing, rapping, and languages (as a foreigner, it took Young two years before she was comfortable reading, writing, and speaking Korean) — but they also have busy promotional schedules and, in most cases, various restrictions. In the early days of Girls’ Generation, everything was decided for Young, from her clothes to her hairstyles. When the group released their first single, Young sported a short chop, which would become her signature look over the years. The style, she says, was determined by management as a way to give her an identity within the nine-member group. The long, loose blond waves she has now are as much a tangible representation of her rebirth as “Born Again.”

And while the modern K-pop landscape is embracing new narratives, there’s still an expectation to work hard and to always strive for more — better music, tighter formations, and better performances. “It was the most grueling work but [also] educational,” she said. “I am thankful.”

That unyielding level of work ethic is present in everything Young does, from changing into a new outfit at every press stop during a hectic 19-hour media day, to co-writing all five songs on Lips On Lips, and mapping out her first North American tour — an “intimate” showcase in which Young planned the set list (which includes euphoric covers of *NSYNC’s “Gone” and George Michael’s “Freedom”) and the costumes (she was inspired by Blake Lively’s character in A Simple Favor). “I’m just trying to find that balance of being relaxed and still kicking my ass to work harder and pushing myself to create,” she said. But that hard work is already paying off. The singer recently won the iHeartRadio Music Award for Best Solo Breakout.

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According to Young, one of the most personal songs on the EP is “Not Barbie,” an R&B song that celebrates human imperfections. “Even if I don’t look like what they show me,” she sings on the track. “They can’t ever judge me ’cause they don’t know me.” To bring this song to life on tour, Young invites a few fans at every stop join her on stage for the emotional performance. “This tour is all about intimacy and closeness for me,” she said. “That song’s so special. I want every woman and man and boy and girl to know that beauty is being positively true to your mind, body, and soul, and nothing else.”

Even for Young this idea of being true to yourself is a process. “I’m still learning,” she said. Old Tiffany had to be perfect, but New Tiffany likes perfection too. This time, of course, it’s her choice.

Just like it’s her choice to decide what she wants to say and how to say it. In 2019, we don’t want our idols to be perfect. In fact, we prefer when they’re not, when they’re a little messy — but not too messy. Thanks to social media, the relationship between an artist and their fans has never felt more intimate; there’s an expectation to share the everyday emotions and anxieties you’re feeling. That can feel overwhelming for some, but for Young, it’s liberating.

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“I feel like opening up to this part of me made things a lot more clear in the sense of how optimistic and persevering I wanted to be during that time of Girls’ Generation. I’ve always found a lot of beauty in pain.” And that beauty can manifest itself in many ways, like, say, a persistent smile. Because sometimes the best way to really know someone is to pay attention to what they’re not saying — like the tone of their voice, or the way their eyes sparkle when they’re talking about their favorite Broadway musicals.

“You have to be able to see past the pain, and I got to do that. Music has always been that for me. I was just so thankful to be doing what I love to do, to be performing. That makes me continue to have this smile on my face.”

To hear about Tiffany Young’s career journey in her own words, watch her episode of the MTV News series, Homecoming.

Tierra Whack Is All About Gaining And Showing Off Power On ‘Unemployed’

Behold, the fifth release of #whackhistorymonth, a period of time designated by Tierra Whack as when to submerge the stream-o-sphere with a myriad of new releases. She released “Only Child” on February 19 and, exactly a month later, “Unemployed” is here. Again, it divulges another of Whack’s musical personalities and shows that there’s so much of her to explore that it may take the length of her career to learn everything there is about her. For the moment, let us enjoy how much this slaps, though.

Whack spoke to Zane Lowe of Beats 1 Radio earlier today and revealed that her mother was instrumental in the creative process for “Unemployed.” “My mom is never in the studio with me, but she was in the studio that day and she like basically helped me with the hook. It’s crazy,” she said. Without listening to it, this conjures a loving image, that “Unemployed” will be an ode to the struggles of being without a job. That’s what it would be if Whack wasn’t, well, Whack. “Unemployed” explodes with creativity in its sinister beat and snarling subject matter. It’s a track of verbal attacks and braggadocio, something that would make a parent gasp with surprise at its harsh nature. But Whack delivers her furious lines with a softness that makes her words float off her tongue. The chorus that her mom helped with – “Got a driver, gotta do/I get down and dirty, too/What it is, what it do/Same shit, nothing new” – is unapologetic and telling. Whack is in charge here and that isn’t going to change. If she doesn’t have all of the power yet, she’s coming for it now.

“Only Child” was the first. Then followed “Clones,” “Gloria,” “Wasteland,” and now “Unemployed,” exactly five Tuesdays later (each track was released on a Tuesday). With the month now over, what’ll be next for the fiery rapstress? Could the follow-up to 2018’s Whack World be around the corner? For now, keep your eyes and ears peeled.

Check out the hard-hitting, shit-talking song up above.

J. Cole’s Dreamville Festival Lineup Is A Literal Dream: 21 Savage, SZA, Big Sean, Teyana Taylor, And More

J. Cole‘s Dreamville Festival was originally supposed to happen on September 15 but ended up being delayed because of Hurricane Florence. What was put on the back-burner is finally coming to fruition as the rapper has announced the lineup of the inaugural fest that takes place on April 6 at Dorothea Dix Park in Raleigh, North Carolina. Its star-studded list of performers proves that this is the real deal – the stuff that dreams are made of.

Somehow, someway, J. Cole has managed to get some of rap and R&B’s most prominent faces together in North Carolina for a day of stunning performances. J. Cole himself is the headliner and the lineup includes 21 Savage, SZA, 6LACK, Nelly, Teyana Taylor, Davido, King Mez and Rapsody. Of course, the entire Dreamville roster – consisting of J.I.D., Ari Lennox, Bas, Omen, EarthGang, and Lute will be storming the stage as well. Tickets are currently available on the festival’s dedicated website.

J. Cole recently hinted that his next solo effort could have features on it because fans love to bring up, in conversation, that he keeps going platinum without them. He released “Middle Child” in January that could appear on Dreamville Records’ upcoming compilation album Revenge of the Dreamers III.