Category: Hip Hop

Floetry, the neo-soul duo of Marsha Ambrosius (“the Songstress”) and Natalie Stewart (“the Floacist”), stopped by NPR’s famed Tiny Desk to perform hits from throughout their discography.

The band performed as part of NPR’s celebration of Black Music Month and BET, stopping by the set shortly after wrapping their first tour in a decade. Ambrosius and Stewart ran through six songs, including “Big Ben” from the duo’s 2002 LP Floetic; the Common-assisted “SupaStar” from 2005’s Flo’Ology; “Butterflies,” made famous by Michael Jackson; “Say Yes” from Floetic; “Getting Late,” also from Floetic; and the title track from that LP.

After spending a few years performing in the U.K., Floetry’s career hit new levels when they relocated to Philadelphia in the early 2000s and performed with the Black Lily women’s collective. The duo followed up Floetry with their only other album, Flo’ology, in 2005, and eventually disbanded in 2006. However, the Songstress and the Floacist have reunited a number of times, including this current iteration of the “Say Yes” tour, which wrapped on May 17 in Oakland, California. The run kicked off April 8 in Newark, New Jersey and featured support from Raheem DeVaughn and Tedra Moses.

The tour continued an era of resurgence for Floetry. Last year, Floetic was reissued on vinyl, marking its first ever availability in the format.

Floetic was nominated for four Grammy Awards, including Best Contemporary R&B Album, and individual nominations for the songs “Floetic” and “Say Yes.” Upon their emergence, Floetry dubbed their music as a whole new sound under the neo-soul umbrella. “We were also saying Floetry is more than a name, it’s a genre, it’s a style, it won’t die as long as we remember, it will be kept alive,” Stewart reflected in an interview with You Know I Got Soul marking Floetic’s tenth anniversary.

Buy Floetry’s Floetic on vinyl here.

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Foster Sylvers, a former child singer whose voice helped propel The Sylvers to R&B stardom in the 1970s, has died. Per multiple reports, Sylvers died on May 30 at the age of 64 following a battle with metastatic prostate cancer. His death was confirmed by his brother and longtime collaborator, Leon Sylvers III.

Born in Tennessee, Sylvers’ career began as a solo artist. In 1973, he scored a breakthrough hit with “Misdemeanor,” a track written by Leon that climbed the Billboard R&B charts. The song appeared on his first album, 1973’s Foster Sylvers. Its success led Sylvers to appear on programs including American Bandstand and Soul Train.

By 1975, Sylvers had joined his siblings in The Sylvers, a hugely successful family R&B act. The group released a number of hits, including the chart-topping “Boogie Fever.” The song, which featured Sylvers’ vocals, has been featured in media like The Stand, a Stephen King miniseries from 1994, the 2005 movie Roll Bounce, and Despicable Me in 2010.

The Sylvers released their eponymous debut album in 1972. Their music helped define the sound of 1970s R&B, disco, and soul. They released their final album, Bizarre, in 1984. For many fans, the group occupied a special place in Black music history. The siblings are remembered for their tight harmonies, catchy melodies, and a catalog that would go on to be sampled by generations of hip-hop artists.

Foster’s “Misdemeanor” became a beloved source of inspiration for producers. Samples on The D.O.C.’s 1989 song “It’s Funky Enough” and Shyne’s 2000 track “That’s Gangsta” introduced his music to younger audiences decades after its original release.

Beyond his role as a performer, Sylvers also worked as a songwriter, producer and musician, collaborating on projects throughout the 1980s. He continued to work in music after the group’s commercial peak that same decade.

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British musician Nia Smith has shared her new single “High” and announced her sophomore EP, Payback Is A Dog, due June 26. The Ivor Novello and MOBO-nominated artist released “High” on May 29 as the third song from the project, following her earlier single “Tough.”

“High” centers on leaving behind people, relationships, jobs, and interests that once felt defining. Smith said the song is “about outgrowing things that once made you feel on top of the world,” adding that it is “emotional and soft while also being dreamy and reflective.” The track includes the lyric “like jeans that are fading, lost and frayed, it’s nothing worth saving.”

Payback Is A Dog follows Smith’s debut EP, Give Up The Fear, which arrived last year. The new project is described as a narrative time capsule, with each song marking a make-or-break point in a relationship, whether romantic, familial, or rooted in friendship. Smith also said she recently took time away in Jamaica after releasing her first collection. “I’ve just been living life,” she said. “I think the whole break was just me living life and just gaining life experience to talk about.”

The announcement follows a run of live dates and media attention for the Brixton artist, who signed to Polydor in 2023 and later to Def Jam 0207. Smith attended the Brit School and ELAM, wrote songs as a teenager, and found an early audience on TikTok with cover songs. Smith has performed on Later… With Jools Holland and appeared at All Points East, City Splash, and Glastonbury through BBC Introducing. She was nominated for Rising Star at the Ivor Novello Awards this year and previously received coverage from Billboard, NME, and more. Smith has also performed at Mahalia Presents at the Jazz Cafe, supported Pip Millett at Somerset House, and joined Jordan Rakei and Elmiene on US, UK, and EU tour dates.

Listen to Nia Smith’s “High” here.

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In the decade after leaving The Supremes in 1970, Diana Ross had enormous success. She released ten solo albums, starred in Lady Sings the Blues and The Wiz, and was named the “Female Entertainer of the Century” by Billboard. But by the end of the decade, she knew it was time to turn her sound “upside down.” So, in 1979, she commissioned Nile Rodgers and Bernard Edwards of disco group Chic to create material for what became the album Diana.

“I’m Coming Out,” the second single from Diana, was born in the bathroom of a transgender night club called the Gilded Grape. After observing a group of drag queens dressed as Ross, Rodgers ran to a pay phone and instructed Edwards to write down the lyrics “I’m coming out.” “Because to the gay community, ‘I’m coming out’ is a battle cry,’” Rodgers recalled saying to Edwards. “It means the same thing as James Brown’s ‘Say it loud — I’m black and I’m proud.’” While Ross originally loved “I’m Coming Out,” she later expressed uncertainty about both the song and the album as a whole. Following the 1979 Disco Demolition Night and declarations that the genre was “dead,” she didn’t want her sound to be perceived as outdated. At the last minute, she took Diana to be remixed by Motown engineer Russ Terrana, who sped up many of the tracks and re-recorded Ross’ vocals to make them sound more prominent.

The originally released version of “I’m Coming Out” is shorter and glossier, but it still playfully teases out the beginning. Punchy electric guitar strums, dynamic drum fills, and a peppy horn section play for nearly a minute before settling into a groovy rhythm. “That’s Diana Ross, who we consider the queen of pop R&B,” Rodgers said. “If you listen to that intro, when we tried to explain it, no one got it. We said, ‘She’s the queen, it’s a fanfare.’” Before the final chorus, Meco Monardo also delivers a jazzy trombone solo. The jubilant track is at once polished and unpredictable.

While the song signaled the start of her new musical era, as Rodgers predicted, “I’m Coming Out” was quickly embraced by the LGBTQ+ community. Adding to the myriad meanings, Ross has also consistently used “I’m Coming Out” as the opener for her live performances, marking her “coming out” onto the stage. The beauty of “I’m Coming Out” is that it resonates widely, and that’s certainly reflected in the song’s commercial success. “I’m Coming Out” peaked at number five on the Billboard Hot 100 chart for three weeks. It’s also been a stalwart on Rolling Stone’s list of the “500 Greatest Songs of All Time.”

Listen to Diana Ross’ “I’m Coming Out” now.

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Good Girl Gone Bad opens with Jay Z introducing Rihanna as a “good girl gone bad,” but at this stage in her career, the rising pop star no longer needed a co-sign. With two albums under her belt, she’d already proven her potential, but on Good Girl Gone Bad the Bajan songstress announced her daring transformation from clean-cut pop starlet to “Bad Girl RiRi,” altering the course of her career.

The Umbrella effect

Rihanna had already found chart success with her No.1 hit “SOS,” along with her three Top 10 hits “Pon De Replay,” “Unfaithful” and “Break It Off.” While these were all commercial successes, critics were still sceptical of her artistry, looking for something to distinguish her from the pack – aside from being marketed as “that girl from the islands.” Even Rihanna herself felt the need to make a stark and dramatic change, prompting the May 31, 2007 release of Good Girl Gone Bad.

The night before the album’s cover shoot, the singer defiantly chopped off her hair, later debuted her new rebellious look in the music video for “Umbrella.” It matched the attitude of the song, which was dosed in arena-rock guitars and bass, as well as the undeniable “ella, ella, ay, ay” hook. Seemingly overnight, the song took over the airwaves, soundtracking the summer and becoming the bestselling track of the year.

As the opening track on Good Girl Gone Bad, “Umbrella” became Rihanna’s second No.1 on the Billboard Hot 100 and earned her a Grammy for Best Rap/Sung Collaboration, thanks to Jay Z’s contribution. “Umbrella” also served as the catalyst for turning the songstress into a beauty icon and a sex symbol, propelling her to undeniable “It Girl” status and putting her on the same path as fellow pop diva Madonna. The singer’s bold claim to become “the black Madonna” turned out to be prophecy more than wishful thinking.

While “Umbrella” was clearly the propulsive force behind the commercial success of Good Girl Gone Bad, “Shut Up And Drive” cemented the defiant tone of the album and once again saw the singer turning to New Wave anthems for inspiration. After sampling Soft Cell on “SOS,” this time around she referenced New Order’s “Blue Monday” as the electro-backdrop to “Shut Up And Drive.”

Iconic inspirations

If there are two albums that informed the creation of Good Girl Gone Bad, they would be Michael Jackson’s Thriller and Brandy’s Afrodisiac. In interviews from the era, Rihanna cited both as inspirations for her newly discovered direction. Listening through Good Girl Gone Bad, you can hear their influence in both the aesthetic and attitude of the album.

Following “Umbrella” on the album is the dance-pop ditty “Push Up On Me”; in many ways, the haunting sound effects and 80s vibes are reminiscent of “Beat It.” There’s also an emerging story arc that finds Rihanna inviting her partner from “Umbrella” to come join her at the club.

Continuing the narrative, Rihanna commands “Don’t Stop The Music,” energetically sampling Jackson’s “Wanna Be Startin’ Something.” The single shot to No.3 on the Billboard 100 chart, establishing her as the new queen of club anthems.

One of the most influential R&B albums of the decade

While Good Girl Gone Bad had its rock and dance-pop influences, it’s also one of the most influential R&B records of the decade. During the recording process, Rihanna spoke about the impact that listening to Afrodisiac had on her creative direction. While that album documented a newfound maturity for Brandy in 2004, it also experimented with the genre through its production: two things that Rihanna consciously explored on Good Girl Gone Bad.

After a stretch of angsty, techno-pop-fuelled bops including “Breakin’ Dishes” (in which the singer vows to “fight a man tonight”) and “Shut Up And Drive,” Rihanna delivers her purest R&B moments. Promoted as the album’s third single, “Hate That I Love You” featured Ne-Yo, who co-penned the song, as well as the slow burner “Question Existing” and the closing title cut on the original 12-track release. “Hate That I Love You” reached No.7 on the Billboard Hot 100, becoming one of 2007’s most memorable love duets.

Sonic evolution

The next track, “Say It,” samples the 90s dancehall cruiser “Flex,” by Mad Cobra, and finds Rihanna coyly requesting that her lover “tell me what it is you like.” It’s followed by a sequence of Timbaland-produced tracks. Along with Tricky Stewart, Sean Garrett, and The-Dream, Timbaland played an integral role in Rihanna’s sonic evolution from singles artist to fully-formed pop star.

“Sell Me Candy” found Rihanna refashioning herself as a majorette leading the band for her own pep rally. The hypnotic production brings in both Caribbean and Indian influences which can also be heard on “Lemme Get That,” a swaggering, rhythmic chant on which Rihanna further slips into her man-eater persona.

Jay Z wasn’t the only A-list collaborator on Good Girl Gone Bad. Rihanna’s outsized charisma also impressed Justin Timberlake, another frequent Timbaland partner, and the two teamed up on the ballad single “Rehab.” Couched in an album full of club bangers, “Rehab,” proved that Rihanna had moved beyond earnest love songs and into sensual R&B territory, something she’d later perfect on “Love The Way You Lie.”

Locked and re-loaded

Rihanna’s creative risk-taking paid off, earning her seven Grammy Award nominations, a No.2 album, and six-times-platinum certification. Due to the overwhelming critical and commercial success of Good Girl Gone Bad, the album was reissued as Good Girl Gone Bad: Reloaded the following year, with three new songs, including the No.1 hits “Disturbia,” “Take A Bow” and the rock-fuelled “If I Never See Your Face Again,” her collaboration with Maroon 5.

Good Girl Gone Bad not only laid the foundation for Rihanna to become one of the best-selling artists of the decade, it proved that she was more than just another pop star with singles success. The first major step in establishing her as a singular artist and icon in the making, it set the scene for Rihanna’s further evolution on 2009’s Rated R.

Buy Rihanna’s music on limited edition vinyl now.

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15 years after it was originally released in 2011, Jennifer Lopez and Pitbull’s smash “On The Floor” is having a resurgence thanks to the hit Prime Video series Off Campus.

The show, which premiered on May 13, is based on Elle Kennedy’s popular college hockey romance book series of the same name. The track appears in episode two during a now-viral scene set at a Halloween party, where characters Allie Hayes and Dean Di Laurentis dance together. In a nod to Lopez herself, Allie arrives at the party wearing a replica of J.Lo’s iconic green Versace dress (the one that spawned the creation of Google image search), and a fellow partygoer plays “On the Floor” to set the tone for a charged moment between the two leads that has led viewers to run the track back up the Billboard charts.

Speaking at the Office Romance world premiere in Los Angeles on May 26, Lopez expressed her enthusiasm for the show and her genuine surprise at seeing the song re-ascend the charts. She even connected with Mika Abdalla, the actress who plays Allie, to recreate the scene in a TikTok video that went viral in its own right, further fueling the song’s resurgence.

Elsewhere lately, Lopez has appeared on Jimmy Kimmel and, on a familial note, watched her twin son and daughter graduate high school. Pitbull, in turn, is in the midst of his ongoing I’m Back tour—at a British stop coming up, he plans to attempt to break the Guinness World Record for gathering the most people in bald caps at one location.

Listen to Jennifer Lopez’s “On the Floor” now.

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Jae Stephens has released her new single and video “Attaboy!” via RAEDIO and Def Jam Recordings. The release begins a new phase for the Dallas-born, Los Angeles-based singer and songwriter, who is also set to perform at Lollapalooza in Chicago this July.

“Attaboy!” was produced by Dallas Caton and centers on Stephens turning a self-described bad boy into a plus one. The accompanying video places Stephens at the center of a stylized performance, with choreography and visual scenes built around the song’s direct, playful premise.

Stephens described the track as a signal for what comes next. “Attaboy! sets the tone for the world my album lives in: maximalist and unapologetic,” she said. “This song and video in particular is about me going after whatever or whoever I want.” The release follows Stephens’ SELLLOUT series, including SELLLOUT, SELLLOUT II, and TOTAL SELLOUT THE DELUXE. The first SELLLOUT EP helped lead to a support slot on FLO’s U.S. “AAA Tour,” followed by Stephens’ own SELLLOUT tour in October 2025, when initial dates in Los Angeles, New York, and London sold out within 24 hours.

Stephens first gained attention online as a teenager through vocal covers before breaking through with her 2017 single “24K” and a COLORS performance. She has collaborated with THEY., VanJess, Khamari, and Xavier Omär, and her catalog has surpassed 50 million streams. In 2025, SPIN named SELLLOUT II one of the year’s best EPs, while Reddit awarded Stephens the Popheads 2025 Best New Artist Award. Stephens is scheduled to perform at WeHo Pride Festival in Los Angeles on June 7, Lollapalooza in Chicago in July, and the European leg of Khalid’s “It’s Always Summer Somewhere” tour this October.

Listen to “Attaboy” here.

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For a generation of R&B fans, Forever My Lady is forever. This year Jodeci will celebrate their landmark debut album, released in 1991 at the height of the new jack swing era, with a new expanded vinyl reissue for its 35th anniversary.

The 2LP set will feature the original Forever My Lady tracklist plus five bonus tracks, including “Forever My Lady – Live From Uptown MTV Unplugged/1993,” the Swing Mob radio mix of “I’m Still Waiting” (as heard in the song’s music video), the radio remix of “Come And Talk To Me,” a previously unreleased a cappella version of “Stay,” and the hip hop version of the Fried Green Tomatoes soundtrack favorite “Cherish.”

Forever My Lady established Jodeci as hit-makers on the vanguard of R&B. The group’s pioneering mixture of traditional gospel-rooted vocals and synthetic production—spearheaded by Jodeci member DeVante Swing and young R&B peer Al B. Sure—became a dominating force at R&B radio. The forward-thinking sound was mirrored by the Charlotte quartet’s adoption of hip hop wardrobe and styling, which contributed to their status as game-changers.

Forever My Lady debuted atop the Billboard R&B chart, went 3x Platinum, and sent four singles to the Billboard Hot 100, including “Forever My Lady,” “Stay,” “I’m Still Waiting,” and the album’s biggest hit, “Come And Talk To Me.” In addition to its commercial success, Forever My Lady was a critical sensation. Critics praised the album for its innovative approach and masterful execution, including Entertainment Weekly’s Arion Berger, who called it a “forceful and assured debut,” “sophisticated beyond the band members’ years.”

“I was impressed with the fact that they were so young, but they knew who they were musically,” recording engineer Paul Logus later told Okayplayer. “They were so damn good at what they did. It was just unbelievable. The thing that blew me away instantly about DeVante was how musical he was and what a virtuoso he was with whatever he picked up.”

Listen to the 35th anniversary edition of Jodeci’s Forever My Lady here.

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Jodeci wasn’t the first soul singing R&B group to turn tales of lust and love into music. Their innovation was adding sinewy gospel-tinged harmonies and raunch unlike any R&B previously recorded, and trading in the usual coordinated tailored suits for leather vests, baggy jeans, and combat boots. Their message was clear from the beginning: They were not the typical straight-laced R&B group. While Boyz II Men were careful to be not too hard and not too soft, Jodeci had their shirts off and were ready for anything.

Jodeci, comprising two sets of brothers – Donald “DeVante” DeGrate Jr. and Dalvin “Mr. Dalvin” DeGrate, and Cedric “K-Ci” Hailey, and Joel “JoJo” Hailey” – got their respective starts singing in southern churches and touring on the gospel music circuit. The North Carolina boys eventually found each other and formed Jodeci – an amalgamation of their names – and made their way to New York City to pursue secular music. The rest is history.

Andre Harrell signed them to Uptown Records, where Al B. Sure helped to finesse their songwriting and production, and Sean “Puff Daddy” Combs helped them engineer what became their signature aesthetic – R&B with a hip-hop edge. They released their 1991 debut album, Forever My Lady to critical acclaim. Their sophomore album, Diary of a Mad Band followed in 1993. Their third album, The Show, The After Party, The Hotel came out in 1995, and their fourth album, The Past, The Present, The Future came out in 2015.

They achieved multi-platinum success during their run and established themselves as the fathers of modern R&B. They also inspired generations of groups who followed, including Dru Hill, Jagged Edge, and more. Now, decades later, it’s clear their formula has withstood the test of time.

Here, we celebrate Jodeci in the name of the woo-yeah with a breakdown of 15 of their best songs.

The New R&B

Producer savant DeVante Swing worked with Al B. Sure to craft the sultry, groundbreaking sound of Jodeci’s debut album. On “Come and Talk to Me,” they flipped the beat from EPMD’s “You’re a Customer” to make it more R&B and added lyrics that have become the hallmark of beckoning a crush. The hook, specifically, gave lots of lotharios the courage (and words) they needed to woo potential paramours.

“Stay” begins with DeVante talking in the intro, setting up what was to come as K-Ci and Jojo warbled about resetting a broken love affair. Think of it as a sexy apology in the key of G with lots of oh-ho’s and woo-yeah’s. The album’s title track, meanwhile, found the bad boys of R&B showcasing their softer side. They toned down the raunch to croon about the preciousness of family and bringing new life into the world.

Hot Sex on a Platter

Jodeci was highly skilled at singing about sex and, by their third studio album, they turned it up even more. Their album, The Show, The After Party, The Hotel was about life on the road, and “Freek’N You” was the type of song that could make any steadfast Jodeci fan feel like the group was singing specifically about them. It’s also a good contender for one of the sexiest songs of all time. They come in hot in the beginning of the song with a bold, straight to the point opener: “Every time I close my eyes, I wake up feeling so horny, I can’t get you out of my mind, cuz sexing you is all I see.”

The only thing steamier than the original “Freek’N You” is “Freek’N You (Remix),” which featured Wu-Tang. Raekwon tops the opening line of the original song with a new way to describe a curvy body: “You got stacks like the international house of pancakes.” It’s poetic and erotic, it’s hip-hop and R&B.

“Feenin,” from their sophomore album, took the popular slang at the time and applied it to sex. Colloquially speaking, “feening” typically means to yearn for something intensely or to be addicted to something, and was often used in describing drug addicts. In Jodeci-speak, feenin refers to being addicted to someone sexually. The lyrics make it clear that they’d give up money, houses, and cars for one hit (of her).

The Classics

There’s a popular internet meme that reads, “If the love doesn’t feel like 90s R&B then I don’t want it.” Whoever created that phrase was probably listening to “Love U 4 Life.” It’s another DeVante Swing ballad that still gets lots of play as a wedding song. The robust four-part harmony in the chorus screams passion and makes promises of a love that will last forever.

Most of Jodeci’s works were original compositions but they borrowed “Lately” from Stevie Wonder’s canon and remade it their own image. 90s TV fans may also remember that moment from Martin when Martin Lawrence hilariously crashes Jodeci’s performance of this song on the fictional Varnell Hill Show.

“Cry For You” is some high-powered melodic begging. The title makes it clear that they are pining for a lover who has been gone for way too long. (An hour to be exact.) The ending of the song is capped with one of the most classic lines in R&B – “Baby, I’m begging, baby I”m begging, begging, begging” – sung in four-part harmony. Rivaling that level of epic is the music video set in a desert, which sees most of the group in some variation of a leather jacket, leather vests, and combat boots.

“Gotta Love,” meanwhile, fits into Uptown Records’ signature new jack swing sound. It’s one of Jodeci’s more uptempo songs and proved they could switch up from ballads to a more hip-hop sound. “Alone” almost sounds like a four-minute interlude. It’s all about, you guessed it, sex, but the sound was a blueprint that many male-led 90s R&B groups would follow. Mr. Dalvin even raps at the end, showcasing yet another talent.

“My Heart Belongs to U” opens with DeVante delivering a sexy intro speech, something he did often, before the group kicks into high gear. Here, K-Ci and Jojo pick up the metaphorical mic to profess their love for a special lady. Most of Jodeci’s classic songs are timeless but “Play Thang” is distinctly New Jack Swing. Blending funky singing and rapping, it closely follows the template of the genre to great effect.

Motivational Melodies

“Get On Up” is a rarity in Jodeci’s catalog: It’s a song that’s rated E for everyone, simply celebrating having a good time. Crank up this motivational bop at the next cookout and watch everyone two-step.

“Nobody Wins,” from their 2015 album, not only marked a comeback for Jodeci after years of not putting out new material, it was also an evolution. DeVante’s production was more mature and they ditched sex this go-round to denounce domestic violence. It was still Jodeci, but with all they had been through in their respective personal lives, it made sense that they wanted to release a song on a more positive note.

Listen to the expanded editions of Forever My Lady and Diary of a Mad Band now.

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2BYG have released a new single, “I Want You,” via Waystar Records/Def Jam Recordings. The Texas R&B quartet released the track on May 22, 2026, ahead of the deluxe version of their 2025 debut mixtape, The Yearbook (Extended Version), which is set for release on June 12, 2026. The new recording features a sample from Biz Markie’s “Make the Music With Your Mouth, Biz.”

“I Want You” connects 2BYG’s group vocals with the late rapper’s 1986 single, reworking the source material for a new R&B setting. Tara Hall, widow of Biz Markie, said the recording honors his place in hip-hop culture. “It warms my heart to see 2BYG honor Biz Markie on their new track,” Hall said. “They’re introducing Biz to an entirely new generation, while reinforcing the importance of respect, acknowledgment, and reciprocation in the culture.” The announcement also notes that a music video for “I Want You” is expected to premiere in the near future.

The single follows “Be Mine,” which picked up playlist attention after its release, and arrives as 2BYG continue to build out the world around their debut project. The group also recently released a music video for “Someone Like You,” another song from the set. Earlier tracks from the project include “Oh Yeah” and “Twin,” which helped introduce the quartet’s mix of R&B, soul, hip-hop, pop, and gospel.

Earlier this year, the group performed on Netflix’s Star Search. Their selection was a version of *NSYNC’s “It’s Gonna Be Me” for panelists Jelly Roll, Chrissy Teigen, and Sarah Michelle Gellar. Last year, meanwhile, 2BYG released “One Christmas Wish” and performed the holiday song on FOX 4 News Dallas-Fort Worth. The Dallas-Fort Worth group has more than 1 million followers on TikTok and made its introduction with the single “Karma.”

Listen to “I Want You” here.

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