Category: Hip Hop

Tierra Whack has announced a new mixtape, WHACK’S MUSEUM, due June 19 via Interscope Records. The project follows the release of her new single “WAX PAPER,” which also arrives with an official music video shot in Whack’s native Philadelphia.

The new track is the first offering from WHACK’S MUSEUM. Ahead of the mixtape, Whack used social media to address doubters and invite them to text her with an apology, writing, “I never stopped believing in myself when you stopped believing in me.” The single centers on Whack’s sharp delivery and wordplay as she addresses critics while moving into the next phase of her catalog.

The “WAX PAPER” video was directed by Child and frames Philadelphia in black and white. Child said the team looked to older hip-hop videos while shaping the clip’s visual approach. “Philadelphia isn’t polished,” Child said. “It’s a living museum held together by grit, community, and memory.” The director added that every frame was meant to reflect “the soul of the culture there.”

Whack’s new mixtape follows her 2024 debut album, WORLD WIDE WHACK. In May 2026, she appeared at Amazon’s Upfront series and discussed Twitch’s social reach during a presentation that also included Oprah Winfrey. In 2024, she made her voice-acting debut in the Invincible VS fighting game, connected to the Amazon Prime Video series Invincible. She also appeared as Adrienne in the Marlon Wayans-led film HIM.

Listen to “WAX PAPER” here.

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Infinity Song is almost ready to share their fourth album, Infinity Song. After teasing the album with new music in the first few months of 2026, the group confirms that their new self-titled album is due out on June 12. It is available for preorder on CD and vinyl now.

The album Infinity Song comes on the heels of two new singles. “One Foot Out” sees the band performing their signature blend of nearly-choral harmonies combined with sundrenched guitar strumming and a danceable beat. “Hurricane” gets into funkier territory, with a disco-influenced bassline, guitar, and string harmonies. The latter track also comes with a stylish music video, shot mostly in black and white with a few pops of color.

Infinity Song consists of siblings Abraham Boyd, Angel Boyd, Israel Boyd, and Momo Boyd, who have been performing together for nearly their whole lives. “We’ve been singing since we were little kids, and music is truly our family’s way of life. It’s been an outlet for development, for processing life – we come together around music. We made it official in 2014 or something, I don’t know the exact date. But really, it was a formality more than anything,” Abraham told Euphoria magazine in 2024. After the group made it official, they released their debut album, Infinity’s Song, in 2015. That was followed by 2020’s Mad Love and 2024’s Metamorphosis Complete. The return to an album bearing the group’s name feels momentous, like a full circle moment more than a decade in progress.

Of course, like so many musicians in the 2020s, Infinity Song was able to reach a new audience thanks in part to TikTok, which made their track “Hater’s Anthem” go viral in 2023. The group also frequently performs live, with dates scheduled this summer in U.S. cities like New York, Chicago, Philadelphia, and San Francisco before they’ll embark on a tour of Australia and New Zealand, stopping in Melbourne, Auckland, and more. Later in 2026, Infinity Song will also tour Europe, performing in London, Berlin, Istanbul, Brussels, and more cities.

Shop INFINITY SONG here.

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Swedish-born Neneh Cherry’s critically-acclaimed and award-winning debut album, Raw Like Sushi, was a massive international success in 1989. Following its release, on June 5 that year, she turned up everywhere – including pinned to countless bedroom walls. The album’s collaborative outlook and mixture of atmospheres also presaged many of the most creative electronica albums of the 90s and 00s, signaling the end of the 80s as Cherry called out the “money men” in favor of urban sweetness.

A rich musical heritage

Neneh Cherry is part of a lineage of music royalty. The daughter of Sierra Leonean drummer Ahmadu Jarr, and step-daughter of jazz legend Don Cherry, her siblings include Eagle-Eye Cherry and Titiyo, both of whom followed Neneh into the charts. She married her regular collaborator Booga Bear, aka Cameron McVey, and her musical offspring include recent pop sensation Mabel.

This rich musical heritage shows through in Cherry’s work, from her initial records with post-punk groups The Slits and Rip Rig + Panic, through sessions with a bewildering array of artists as diverse as Cher, Eric Clapton, Bob Dylan, Peter Gabriel, The The, Steve Beresford, R.E.M.’s Michael Stipe, Chrissie Hynde, Pulp, Portishead’s Geoff Barrow, Gang Starr, The Notorious BIG, Timo Maas, and Loco Dice. There have been collaborations with Bernard Butler (on her hit “Woman”) and Senegalese singer Youssou N’Dour (on their famous duet “7 Seconds”), her Dreem Teem-produced garage hit “Buddy X 99,” and recordings with Scandinavian jazzers The Thing, electronica maverick Four Tet, and Swedish pop legend Robyn.

A career springboard

Cherry’s career springboard, Raw Like Sushi, however, contains some of her best-loved music. She put together the Madonna-esque sass of the go-go influenced rap opener and smash lead single “Buffalo Stance” with Bomb The Bass’ Tim Simenon and Mark Saunders. It’s based on – and successfully commercialized – her appearance with her future husband McVey, the singer Jamie J Morgan and Bristol’s The Wild Bunch on Morgan/McVey’s choppy 1987 B-side “Looking Good Diving With The Wild Bunch.” Single remixes for “Buffalo Stance” included one from American dance legend Arthur Baker, who pushed the Madonna comparison to the max, as well as one from DJ Mushroom of The Wild Bunch (which was then morphing into Massive Attack). Massive Attack clearly learned a lot from Cherry about how to get their ideas across to a wider audience.

Listen to Raw Like Sushi now.

Nellee Hooper from Soul II Soul helped his Wild Bunch colleague 3D on the massive, strings-led “Manchild,” 3D writing, and Hooper arranging. Focusing on male immaturities gave an indication of the music to come from 3D, almost a decade ahead of his inward-looking work on Massive Attack’s classic 1998 album Mezzanine, while Cherry channeled New York’s iconic Roxanne Shanté on the rap. “Manchild” is one example of the prescient third-wave feminism that percolates throughout Raw Like Sushi, from the anti-prostitution lines of “Buffalo Stance” onwards. This time the remixes came from Massive Attack themselves (thickening up the bass and sounding like Portishead several years early, with rave stabs limply slurring in musical metaphors), as well as from their collaborators Smith & Mighty.

The uptempo, poppy, multilingual coming-of-age single “Kisses On The Wind” features lively scratching from Mushroom, with remixes coming from Latin dance figureheads David Morales and The Latin Rascals. Low-slung single “Inna City Mamma” follows. Its title is a perfect moniker for Cherry, but the track opens out to reveal the “shattered dreams” of city life, with the city personified as a pimp. “The Next Generation” was produced by Mushroom, and it shows: block-rocking breakbeats, jazzy samples, and scratches underscoring Cherry’s call for the 90s generation to embrace multiculturalism and to raise their children correctly.

Predicting the future

The second half of the album keeps up the diversity. The skittery, feisty love triangle of single “Heart” introduced Cherry’s brother Eagle-Eye to the world (while some editions of the album also feature the rawer demo version of the song). The synth-poppy “Phoney Ladies” pleads for female unity, while the lustful “Outré Risqué Locomotive” is a James Brown-sampling swingbeat piece. School-days tale “So Here I Come” features production from hip-hop stalwart Bryan “Chuck” New, plus turntable work from Mushroom, and some versions of the album finish with “My Bitch,” a two-hander with rapper Gilly G in which he inevitably comes off worse.

Raw Like Sushi predicted work by Cherry collaborators such as Bomb The Bass, Soul II Soul, Massive Attack, Smith & Mighty, Portishead, Groove Armada, and Gorillaz, but, for some reason, isn’t often spoken of in the same breath. It’s time the album was fully re-appreciated, taking its place beside those acts’ most vaunted collections as a progressive modern classic.

Raw Like Sushi can be bought here.

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FLO is already having a hot year. It just got even hotter. Later this month, the British R&B girl group will be honored with the Vanguard Award by the American Society of Composers, Authors, and Publishers (ASCAP) at a private ceremony in London. The group will be honored on June 16 ahead of the debut of their sophomore album, Therapy At The Club, which is due out on July 24.

Composed of members Stella Quaresma, Jorja Douglas, and Renée Downer, FLO will join the ranks of acts like Dua Lipa, Victoria Monet, Billie Eilish, and St Vincent when they receive the award. The Vanguard Award is presented to an artist or act who are breaking through and shaping the future of music. The award was first presented in 1996 and honored Björk in its inaugural year, with other honorees including Kendrick Lamar, Jess Glynne, and Chris Stapleton.

“FLO are redefining R&B with incredible chops and style,” says ASCAP chairman of the board and president Paul Williams in a press statement. “As they continue to build on their remarkable creative achievements, we’re proud to honor FLO with the Vanguard Award.”

FLO has already been having a busy year. Ahead of the upcoming release of their second album, the group shared tracks “Leak It” and “Therapy At The Club.” The latter track, of course, shares a name with the album. “It’s a body of work that feels super personal to us, it’s been a labour of love. For us, the club is more than just a night out, it’s like therapy,” the group said when announcing the album last month. “I mean, where else do you feel more understood than in a girls bathroom on a night out…that’s the vibe!” The group has also popped up everywhere from the MusiCares Person of the Year gala, where they honored Mariah Carey with a performance of her track “Dreamlover,” to NPR’s Tiny Desk, where they treated lucky fans to an early performance of “Therapy At The Club” and the still-unreleased track “HaterBooth.”

Order Flo’s Therapy at the Club now.

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Peabo Bryson, the celebrated vocalist known for his solo oeuvre and work in Disney movies like Beauty and the Beast and Pocahontas, has died. The news was shared via a statement from his family.

“With broken hearts and profound sadness, the family of two-time Grammy Award-winning singer, songwriter and balladeer, Peabo Bryson, announces his passing,” the statement begins. “He transitioned peacefully at 5:00 p.m. ET on the evening of Tuesday, June 2, 2026, surrounded by the love of his family and those closest to him.”

The note continues: “For more than five decades, Peabo’s extraordinary voice served as the soundtrack to some of life’s most cherished moments. His music carried generations through joyful celebrations, great love stories and enduring moments of comfort and inspiration, creating a legacy that will forever live in the hearts of those who loved him and the countless lives he touched through song.”

Bryson was celebrated for songs from Disney films like “Beauty and the Beast” and “Whole New World” with Celine Dion and Regina Belle, respectively. He was also known for his work as a solo artist, particularly his 1977 solo debut smash, “Reaching For The Sky,” which amplified the era of Black achievement and excellence. Despite his success, Bryson’s humble beginnings informed his work ethic.

A native of South Carolina, Bryson spent his youth in Greenville, living with no running hot water. As he once put it, “some people try to put a greater distance between the early part of their lives and the point of success they’ve reached. I grew up a country boy and my grandfather’s farm of 100 acres was the country. I plowed with a mule, picked cotton, and planted everything that grows. I even washed toilets bowls for a living.”

He began his career as a member of the group Moses Dillard and the Tex-Town Display before he inked a deal with Bang Records as a solo artist. He released his first album in 1976, and signed with Capitol Records in 1977. Among solo standouts is We’re The Best Of Friends, a duet album he made with Natalie Cole, the daughter of Nat King Cole. He also recorded an album of duets with Roberta Flack. In an interview, Bryson once spoke of his reason for songwriting, which rings true as strongly today as ever: “…people need to hear [my songs] to know that they’re still alive.”

Listen to the best Peabo Bryson songs on Apple Music or Spotify.

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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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