At this year’s Coachella, Japan’s music industry made a statement: out with the old, in with the new. Where previous years hosted legacy acts like Utada Hikaru and Kyary Pamyu Pamyu, up-and-coming hitmakers YOASOBI and cult favorites Atarashii Gakkou! played to sizable crowds in 2024. They represent just the tip of the iceberg for Japanese musicians touring stateside: J-R&B star Fujii Kaze will tour the country this month, and numerous acts have seen exposure abroad thanks to anime soundtrack work and streaming playlists such as Spotify’s Gatcha Pop.

Anime, by far the country’s biggest cultural export, is a major factor in Japan’s music industry, with songs composed for animated films, TV, and streaming projects — and to a lesser extent video games — making up a growing number of the country’s most dominant pop hits. "Anison," or anime songs, have become extremely prestigious commissions for the country’s pop musicians, especially for younger artists who have seen anime gain traction both in Japan and internationally. 

That younger generation is now taking control of the charts, and making inroads into international markets by leaning into what makes their music and culture unique. For musicians like Kenshi Yonezu, vocal synthesizer software Vocaloid allowed them to develop their own musical voice on their own terms. The most famous Vocaloid artist, Hatsune Miku, also played Coachella this year as a video-projected anime avatar. There’s also remarkable freedom to play with genre in J-pop. Acts freely swap between sounds —from alternative rock to funky city pop, or R&B to electro-pop — in the span of a few songs. 

These factors have made Japan’s domestic pop market one of the most interesting to watch in the world. It’s gotten to the point where top English-language artists aren’t seeing the success they used to in the country, largely because the Japanese public has shifted its attention toward Korean and domestic artists. For Westerners, Japan can seem like another world, and this is especially true for its music scene. 

To bridge the gap, GRAMMY.com has created a primer to 10 of Japan’s most interesting new acts. Who knows, you might just see them stateside soon. 

Ado

Japan isn’t exactly a happy country. Social pressure is high, the economy has been stagnant for years even before its current monetary crisis and its brutal work culture is not exactly the envy of the world. Young people often feel as though they have nothing to look forward to but misery, so when someone comes along and says it’s okay to tell the adults in your life to f— off, it resonates.

This is essentially how 22-year-old singer Ado (born 2002) became the voice of Gen Z. Late in 2020 amid the stresses of the COVID-19 pandemic, she burst onto the J-pop scene with "Useewa," a rock-centric track composed by Vocaloid producer Syudou whose title translates, roughly, to "Shut the f— up." Detailing the angst of having to grin and bear the conformity of adulthood and the satisfaction of rejecting it, the song clearly struck a chord with young people in Japan. The song’s brash lyrics also sparked a moral panic from parents and the media over its anti-conformist message.

Ado’s charismatic, fiery vocal delivery, coupled with a nasty anime visual, really sells the whole package, making it a rage-filled counterpart to YOASOBI’s similarly disaffected "Yoru ni Kakeru." 

"Usseewa" topped the Billboard Japan Hot 100, the Oricon Digital Singles and Streaming charts, and the Spotify Viral 50 Japan. The video reached 100 million views on YouTube within 150 days of release. Ado has since earned more hits, furthering her wild persona with the even louder and wilder "Show." She also earned a starring role as a singer in One Piece Film: Red, the most recent theatrical installment of the biggest manga franchise in the world. 

Atarashii Gakko! 

There’s a saying in Japan about the risks of refusing to conform to society’s expectations: "The nail that sticks out gets hammered down." When it comes to finding success on the international music market, however, the opposite seems to be true. The world loves Japan when it’s at its zaniest and most distinctive, and artists that lean into this are often able to build a following abroad.

Case in point: A rapping girl group wearing vintage-inspired sailor-suit school uniforms called Atarashii Gakko! (translation: New School). The group just played Coachella and, prior, performed on "Jimmy Kimmel Live." To be sure, a lot of the foursome’s appeal is in the visual department. The group’s wild, Beastie Boys-esque video for "Tokyo Calling" pairs their sukeban girl gang-style outfits with a plethora of retro visual references: kaiju films like Godzilla, Super Sentai, even Bollywood-style dance. Musically, they’re just as mixed up, having taken on ‘80s city pop in "Otonablue" as well as adding to Japan’s legacy of unique hip-hop on "NAI NAI NAI." 

The group’s ethos since forming in 2015 has been to shine a new path for Japan’s youth by embracing individuality and nonconformity, and it’s paid dividends so far. Their new album, AG! Calling, is set for release June 7.

Creepy Nuts

There’s a lot of bizarre, potentially conflicting elements in Creepy Nuts’ hit song "Bling-Bang-Bang-Born." There’s the sound-effect-bubble title, the anarchic rapping of vocalist R-Shitei, and producer DJ Matsunaga’s use of a Jersey Club beat (a trend with forward-thinking East Asian pop acts). There’s also the fact that it was composed for an anime about…wizards with muscles? 

In any case, the theme song for the TV anime "Mashle: Magic and Muscles" has pulled some chart magic of its own, topping the Billboard Japan Hot 100 for eight weeks straight earlier this year, largely thanks to the viral "BBBB dance" challenge. The duo have also taken the song worldwide, reaching No. 8 on Billboard U.S.’s Global 200 and performing the song on Global Spin. If you want to find the biggest J-Pop hit of this exact moment, look no further. 

Fujii Kaze

Raised in small-town Okayama prefecture in the western reaches of Japan, Fujii Kaze is being positioned as the next big artist to emerge from the country. He toured Asia in 2023 and will come to America this May; he also launched the Japanese version of Tiny Desk Concerts earlier this year. He’s also been working with international talent, such as Kendrick Lamar and 21 Savage producer DJ Dahi on the piano-driven hip-hop track "Workin’ Hard."

The video for "Matsuri," in which Fujii (the artist lists his surname first) traipses around a Japanese garden and parties with foreigners at a traditional mansion, feels almost like a tourist advertisement for the country, projecting an image of refined, effortless Japanese cool. Recent song "Hana," produced by Charli XCX and Utada Hikaru collaborator A. G. Cook, feels even more like a play for the international market with a ‘70s California soft rock backing track and a visual that puts Fujii on a journey through the desert.

Herein lies the secret to Fujii Kaze’s appeal: he’s hot and cool at the same time. His success is predicated not just on good looks and buttery croon, but on a smooth, easygoing persona that feels native and international at the same time. "Matsuri," with its chill yet glamorous R&B production and can’t-be-bothered lyrics ("there’s no reason to suffer / no need to be disappointed / I really couldn’t care less") exemplifies his laid-back mentality. He’s also, notably, shunned the anime market, preferring to put his songs in basketball promos and telecoms commercials – anime is cool enough for Megan Thee Stallion but not for Fujii, it seems. 

Hitsujibungaku

Just as grunge reignited America’s love of rock music in the ‘90s, Japan also embraced guitar-oriented, pop-rock in the same decade thanks to bands like B’z, Number Girl, Southern All-Stars, Asian Kung-Fu Generation, and Visual Kei groups like L’Arc-en-Ciel and X Japan. As the U.S. began to embrace hip-hop and dance-pop in the 2000s, rock and metal persisted in the Japanese mainstream. New bands continue to perform at "live house" venues in hip areas like Tokyo’s Shimokitazawa neighborhood, while groups playing niche styles like math rock, shoegaze, and metalcore have found support. CHAI, tricot, Alexandros, Otoboke Beaver, and Official Hige Dandism are just a few bands that have emerged from this milieu in recent years to success at home and abroad.

Tokyo-based trio Hitsujibungaku offers a good starting point of where Japan’s rock scene is going. The majority-female group found success on the anime song circuit last year, delivering the end credits track for mega-popular TV anime "Jujutsu Kaisen." "More than words" which became the lead single for their recent album 12 hugs like butterflies, immediately stuck out for its shuffling, nostalgic melody, and evocative, fuzzy layering of guitar tone influenced by shoegaze. 

Kenshi Yonezu

More than most mega-successful J-pop artists, Kenshi Yonezu owes his success to the Vocaloid and internet music communities in which he forged his artistry. Raised in rural Tokushima, he began his career as a teenager in the late 2000s, uploading music to the video site Nico Nico Douga under the name Hachi, and soon found his most successful tracks were the ones that used Vocaloids like Hatsune Miku. Like many artists in the digital age, Yonezu’s early work was entirely DIY, as thanks to Vocaloid he was able to produce, write, and even design artwork for his music all on his own.

Eventually, Yonezu signed to a major label and began to split time between his Vocaloid tracks as Hachi and music made under his own name. His album Bootleg won Album Of THe Year at the Japan Record Awards in 2018, and he became known for tender, uptempo ballads like "Uchiage Hanabi" and "Lemon" (the latter of which still reigns as the most-viewed video by a Japanese musician on YouTube with over 800 million views). 

Two high profile anime commissions have driven Yonezu’s star beyond Japan. In 2022, he produced the opening theme for the highly-anticipated adaptation of Tatsuki Fujimoto’s acclaimed manga Chainsaw Man. "Kick Back" departed from Yonezu’s biggest hits by leaning into the show’s action premise with drum and bass beats and an aggressive guitar melody. Buoyed by the anime’s success, "Kick Back" topped the Oricon and Billboard Japan singles charts and even charted in the U.K., Canada, and the U.S., where it became the first Japanese-language song to be certified gold by the RIAA. 

Then in 2023, he produced and sang "Spinning Globe," the end credits theme for Hayao Miyazaki’s first film in a decade, The Boy and the Heron. It was the first time the anime auteur, who usually uses older pop music or score from usual composer Joe Hisaishi, had chosen a contemporary pop artist to write for him. 

King Gnu

King Gnu aren’t afraid to mix it up. They gained acclaim in Japan by pursuing a pop rock sound that’s one part city pop, one part hip-hop. Tracks like "Hakujutsu" and "Kasa" pair sick riffs and boogie basslines with turntable scratching and delicate, yet powerful vocals from Daiki Tsuneta and Satoru Iguchi.

Last year they scored a major hit with "Specialz," which was used as an opening theme for popular anime "Jujutsu Kaisen." Setting the mood for the show’s bleak second season with metallic techno drums and brawny guitar riffs, the menacing song peaked at No. 2 on the Billboard Japan Hot 100 and currently has over 166 million Spotify streams. Tsuneta also leads the collective millennium parade, who lean toward electronic music and scored a hit with "U," from the Mamoru Hosoda musical anime BELLE. 

MAISONdes

Conceptual projects are much more common in the Japanese pop landscape than one might expect. Case in point: MAISONdes. While not a band or a collective, MAISONdes is an imaginary apartment building where lonely hearts find solace in song. The virtual building is accessible through a website, and each song produced for the project is assigned a room number and created by a randomly-paired team of producers and vocalists that changes with each track. Participants have included chart star Aimer and VTubers such as KAF and Hoshimachi Suisei. 

Too complicated? Too weird? At least the music is good, focused on high-energy electro pop reminiscent of Kyary Pamyu Pamyu, idol pop, and the Vocaloid, anisong, and netlabel acts of recent decades. As such, the most high-profile MAISONdes tracks have been those produced for anime and promotional campaigns. They’ve done all the opening and ending themes for the recent TV anime reboot of classic comedy manga "Urusei Yatsura," and their most recent track, "Popcorn" was a collab with Sanrio celebrating the 50th anniversary of Hello Kitty, one of the original kawaii culture icons. The hyperactive song gained a million views on YouTube within three days of being posted. 

Vaundy

City pop — the ‘70s and ‘80s musical movement that blended American funk and AOR with disco and synthpop — looms large in the J-pop landscape. Although its revival has somewhat peaked following the pandemic, that hasn’t stopped guys like Vaundy from channeling the sound into their own music.

His breakout hit "Tokyo Flash" paired the grooves of the city pop era with a more down-to-earth arrangement with simpler production. Further attempts to modernize the sound have also found success: "Todome no Ichigeki," written for the popular anime "Spy x Family," featured a grand, orchestral instrumental and a guest verse from rapper Cory Wong. With romantic lyrics reminiscent of City Pop king Tatsuro Yamashita, it’s a true return to the retro style. 

Of course, like most J-pop musicians, Vaundy isn’t a stylistic purist. He’s also applied his confident vocal style to several brisk rock tracks, resulting in chart success. His heavy metal jam for the Chainsaw Man TV anime soundtrack, "CHAINSAW BLOOD," peaked at 13 on the Billboard Japan Hot 100, while the poppier "Kaijuu no Hana Uta" went to No. 2 after he performed the song on the "2022 Kohaku Uta Gassen" New Year’s Eve show. 

YOASOBI

Inarguably the focal point of contemporary J-pop, no other act has defined the current era in Japan more than YOASOBI. The duo of Ayase and Ikura burst onto the scene in 2019 with the song "Yoru ni Kakeru," based on a short story posted on the site Monogatary. Pairing an upbeat instrumental with bleak, literary lyrics about death and suicide, it’s the most unlikely of pop hits. Released in late 2019, just as the COVID-19 pandemic began to grip Japan a few months before the rest of the world. "Yoru ni Kakeru" became a massive, award-winning smash. Billboard Japan named it the first song in its chart history to pass 1 billion streams, and Oricon named it the most-streamed song of the Reiwa era just last month. 

Read more: From Tokyo To Coachella: YOASOBI's Journey To Validate J-Pop And Vocaloid As Art Forms

Since then the band have become major hitmakers and fixtures of the anison production line, writing theme tracks for hit anime like "Mobile Suit Gundam: The Witch from Mercury" and "Frieren: Journey’s End." They scored another era-defining hit with "Idol," their opening song for the controversial 2023 showbiz satire "Oshi no Ko." Responding to the anime’s twisted tale of a mysterious J-pop idol with dark secrets, the duo paired a bombastic instrumental with lyrics that perfectly capture the cardinal rule of stardom: tell all and reveal nothing. 

The song became such a cultural phenomenon in Japan that YOASOBI performed it at last year’s "Kohaku Uta Gassen" New Year’s TV special flanked by dozens of J-Pop and K-Pop idols, including members of NewJeans, LE SSERAFIM, and Nogizaka46. 

A Guide To Cantopop: From Beyond And Sam Hui To Anita Mui

It's almost too easy for people to find new music, from curated playlists on Spotify to fan recommendations on Reddit. With streams, views, and followers regularly touted in press releases, it seems unlikely for an artist to be popular without a digital portfolio. Or so one would think. 

Snow Man — arguably one of, if not the biggest group in Japan — officially "debuted" on Spotify in October 2024 with their single "One," which serves as the ending theme for the massively popular anime series "Blue Lock." Until then, the only way to listen to Snow Man’s music was through their official YouTube channel (which only uploads limited content) or via CD. This new presence on Spotify, however, doesn’t necessarily mean that Snow Man's larger discography will be available on the platform; "One" is the only track from their new album RAYS with a digital release. 

The nine-piece group exemplifies Japan’s unique preference for physical releases over everything else — in spite of the industry’s efforts turning over a new leaf in the past few years. The lack of digital access hasn’t put a dent in Snow Man's massive success. All of Snow Man’s studio albums and singles have hit No. 1 on Japan’s Oricon Charts — their 2020 debut "D.D." remains one of the best-selling debuts in Asian music history, selling a staggering 1.8 million physical copies. Their 2021 debut album, Snow Mania S1, sold 618K copies on the first day alone, marking the highest release-day sales for any act that year and surpassing BTS’ The Best. The following year, when their single "Grandeur" hit one million copies – the only release by any Japanese act to do so that year – they became the first male Japanese act in more than 20 years with a best-selling release two years in a row. 

Fittingly, RAYS opens with "Empire," a track hailing the group as the "light that leads to the future" but with a healthy "reverence to the past" over a mix of orchestral and pop/dance instrumentation. The music video features the group among a series of grand old structures in a subtle nod to the group’s staying power — despite industry changes, Snow Man’s dominance on the charts has been near uninterrupted. As Snow Man expands their empire with sleek moves and confident tunes, here are five songs to get to know the act. 

Read more: 10 Neo J-Pop Artists Breaking The Mold In 2024: Fujii Kaze, Kenshi Yonezu & Others

While the group has long since established their own sound and identity, Snow Man debuted as a "brother" act to label-mates SixTONES, who dropped "Imitation Rain" on the same day. It was the first time in the label’s history that two acts had debuted on the same day with complimentary tracks meant to showcase their respective groups’ strengths. "D.D." — which stood for Dancing Dynamite — was an apt culmination of Snow Man’s roots in theater. 

Six members of the act — Tatsuya Fukazawa, Daisuke Sakuma, Shota Watanabe, Ryota Miyadate, Hikaru Iwamoto, and Ryohei Abe — debuted in 2009 as part of the trainee idol unit Mis Snow Man. The group became a staple on the stage play series "Takizawa Kabuki," which put modern spin on traditional Japanese theater and was devised by Hideaki Takizawa, a singer/actor/producer who is largely credited with the Snow Man's genesis. Beginning in 2012, the sextet made a name for themselves in dance and acrobatics, and even appeared as backup dancers for their seniors at their label. In 2019, Ren Meguro, Maito Raul Murakami, and Koji Mukai joined Snow Man as its final three members. 

By the time "D.D." was released in 2020, Snow Man were rookies in name and technicalities only. The futuristic electro-pop track clearly focused on Snow Man’s performative chops, rooted in agile physicality accentuated by frantic beats. They’ve long since expanded their musical landscape, but it’s easy to spot the theatricality that makes the cornerstone of their artistry even in their present work. 

For fans of anime and manga, "Tapestry" is an easy gateway into the world of Snow Man. The song was used as the main theme for the live-action movie My Happy Marriage, starring Snow Man member Ren Meguro in the titular role of Kiyoka Kudo. 

Over an easy dance beat, the song ties in directly with the themes of the Cinderella-esque story, where meek and submissive noblewoman Miyo Saimori — broken down by years of abuse at the hands of her family — finds herself in an arranged marriage with the infamous Kiyoka Kudo, played by Ren. To her surprise, the man is far from a cruel and callous army man, and the pair strike up a romance that eventually brings Miyo out of her shell. 

"The sky is clear, but the rain is tapping my shoulders/ It must have been showing my sorrow, looking for a place to belong," Ren croons on the track, describing the hesitancy of falling in love after being burnt emotionally. The stretched out notes on the pre-chorus are a tempting invitation, while the pause before the chorus rings out is clearly the promise of a story coming to an uplifting close.

The internet may be divided about the animation on "Blue Lock" this season, but it’s certainly united in its love for the ending theme — the inspiring, spiriting "One" by Snow Man. The anthemic track about perseverance and persistence doesn’t build so much as soar as the group flex their vocal chops more than their physical performances. It also feels suitable for "One" to be the song that marks their foray into streaming. 

The single’s release on Spotify is an example of the tectonic shift happening in the Japanese music industry in the past few years, during which more and more acts have pivoted to digital mediums. With the song talking about leaving behind the past and moving forward to achieve one’s dreams, "One" might show that the group isn’t stubbornly resistant to change despite their success — even established acts are dipping their toes into uncharted waters. 

The theme song for the show "Trillion Game" (once again starring Ren Meguro), "Dangerholic" takes the high-stakes, high-rewards thrill of the story and infuses it into a casino-inspired rock and roll extravaganza. The group intermittently performed bits of the song onstage in the days leading up to the release, all smooth shoulder movements and vibrant wide-lapel blazers reminiscent of Hong Kong spy movies. The full version took it a notch higher, combining the high-octane progression with rap, giving the song a modern and bombastic spin.

The lyrics to "Dangerholic" are deceptively simple, looping in cries of "shout it out" and "break it down" in between proclamations of a single-minded drive to achieve their goals. The infectious foot-tapping and head-bobbing track secured them their eighth consecutive No. 1 on the Oricon Singles Chart, selling more than 800,000 copies in the first week. It also soared to the No. 1 spot on the Billboard Japan Hot 100 chart, beating out contenders like YOASOBI’s "Idol" and King Gnu’s "SPECIALZ," which accompanied the massively successful second season of the anime "Jujustu Kaisen." 

Despite the title, "slow…" has anything but the desired effect. Wrapped in synth loops and a stripped down chorus, "slow…" steeps in jealousy and desperation as the group grows increasingly tired of mind games. 

Clocking in at just under three minutes, the song hits the sweet spot of keeping things interesting while never getting too overpowering. Part of this credit goes to the push and pull progression, where the pre-chorus slowly grinds things to a halt before the chorus kicks in with a dance break. "slow…" was clearly the group’s chance to experiment with something darker and mature, and Snow Man lapped it up with gusto. 

August has given way to September, and while the leaves may not be ready to start changing quite yet, the fall release schedule promises to be filled with music as colorful and diverse as the soon-to-be autumn leaves.

New albums released this week include Paris Hilton's long-awaited sophomore effort Infinite Icon, Danielle Bradbery's self-titled Danielle and Jackson Dean's On The Back Of My Dreams, while blink-182 and Camila Cabello drop deluxe editions of their latest LPs, ONE MORE TIME…PART-2 and C,XOXO - Magic City Edition, respectively. 

Meanwhile, on the new song front, Post Malone teams up with Dwight Yoakam for their first official recording together, "I Don't Know How To Say Goodbye (Bang Bang Boom Boom)"; Tanner Adell unveils "Silverado"; Toosii gets an all-star assist from Gunna on "Champs Eleysee"; and Above & Beyond reunite with Richard Bedford for "Heart of Stone."

Below, GRAMMY.com details 11 other new releases worth parsing through this weekend, including the surprise reforming of Linkin Park, a full-length 10 years in the making for LL Cool J and a pulsating collaboration between Alesso and David Guetta that will give you one last reason to hit the dance floor before summer is officially through.

Seven years after the devastating passing of Chester Bennington, his bandmates announced on Thursday (Sept. 6) that Linkin Park would be making music again — complete with new co-vocalist Emily Armstrong of Dead Sara and drummer Colin Brittain.

"The Emptiness Machine" serves as not only the two-time GRAMMY winners' first original release since 2017, but it's also the lead single of the band's forthcoming eighth album, FROM ZERO, which is slated to drop Nov. 15 via Warner Records. Armstrong's voice adds a dynamic new counterpoint to Mike Shinoda's vocals as she snarls, "Going around like a revolver/ It's been decided how we lose/ 'Cause there's a fire under the altar/ I keep lying to" before launching into the hard-charging chorus.

It's been more than a decade since LL Cool J last graced the world with a full-length studio set, and he's assembled quite the impressive entourage to help usher in his latest body of work, The FORCE.

In addition to previously released singles with Rick Ross and Fat Joe ("Saturday Night Special") and Saweetie ("Proclivities"), the five-time GRAMMY Awards host's 14th album features a star-studded track list that includes everyone from Snoop Dogg (opener "Spirit of Cyrus") and Eminem ("Murdergram Deux") to Nas ("Praise Him"), Busta Rhymes ("Huey in Da Chair") and trio of hip-hop upstarts Mad Squablz, J-S.A.N.D. and Don Pablito ("The Vow").

"I really thought this album might be the last one I ever made," Halsey confessed just last week in the trailer for her studio set The Great Impersonator. And the mood on "Ego" — which the singer released 24 hours after officially announcing the album's Oct. 25 release date — is just as dire.

On the track, the nonbinary pop savant leans into both '90s alt-rock and 2000s emo as she wails, "I think that I should try to kill my ego/ 'Cause if I don't, my ego might kill me/ I'm all grown up and somehow lately/ I'm actin' like a f—in' baby/ I'm really not as happy as I seem." "Ego" is the latest taste of the decade-jumping concept album, following Britney Spears homage "Lucky" and the hard-rocking "Lonely Is the Muse."

George Strait's 31st studio album — and first since 2019's Honky Tonk Time Machine — is a testament to life and loss.

Dedicated to the memory of his longtime manager Erv Woolsey, fiddle player Gene Elders and road manager Tom Foote, all of whom passed away within a few weeks of each other in the spring of 2024. The LP features the last studio recordings by Elders, who played fiddle on four of its tracks. 

The heartfelt studio set was preceded by singles "MIA Down in MIA," "The Little Things" and "Three Drinks Behind," and includes three songs Strait co-wrote with his son, Bubba. Perhaps the album's most poignant track is its closer, "The Journey of Your Life," which is full of life lessons and a fitting message in the chorus: "You'll need a angel flyin' by your side/ On thе journey of your life."

Queen Naija drapes her silken voice in a dreamy soundscape reminiscent of classic R&B on latest single "Good Girls Finish Last."

Over gorgeous strings and vintage production, the Capitol Records signee laments, "No matter what I change/ It's clear I can never change your mind and/ I thought it'd get better with the time, but/ It's finally time to say goodbye" as she walks away from a relationship that's not working despite her best efforts. 

The single marks the one-time "American Idol" competitor's first release since her 2023 YoungBoy Never Broke Again collaboration, "No Fake Love," and should certainly whet fans' appetites as they wait for a full-length follow-up to her 2020 debut album, Misunderstood.

Just days after first teasing another collab with RM, Megan Thee Stallion has reunited with the BTS star for "Neva Play," a chant-ready back-and forth that finds both rappers racking up points in a digital video game and anime-inspired soundscape in the accompanying music video.

"One, two, three, fo'/ Five, six, seven, eight/ Let 'em know we on the way/ Countin' zeros every day/ You know dat we neva play," Meg brags before the K-pop idol steps in to deliver icy, final boss-level flow with his verse: "You know that we neva play/ Yeah, we gon' forever slay/ Me and Megan on the way/ For Asia, man, we paved the way." Consider it a T.K.O. — and for a 2x combo this Friday, check out "BBA," the Queen of the Hotties' brand new song with Paris Hilton on Infinite Icon, too.

Read More: How Paris Hilton Reclaimed Her Narrative With 'Infinite Icon'

Earlier this summer, Alesso and David Guetta each remixed Shaboozey's breakout hit "A Bar Song (Tipsy)" before it began its ongoing reign atop the Billboard Hot 100, and now the two DJs have joined forces on new single "Never Going Home Tonight."

The emotive track features vocals from Madison Love, who recently helped Kesha pen her comeback single "Joyride" and declares early in the first verse, "DJ, play that sad song one more time." From there, the two EDM titans build tension over an undulating piano line before the beat drops and whips the chorus into a whirlwind of hypnotic ecstasy — complete with Love's repetitive refrain of the song's escapist title.

The Alexander Technique , Rex Orange County's fifth studio album, finds the artist born Alexander O'Connor stripped down to his most vulnerable parts. From the very first line of lead single (and album opener) "Alexander," the English troubadour lays bare his innermost thoughts on jealousy, chronic pain, wanderlust, the unrelenting passage of time and much more over understated, introspective soundscapes filled with gentle guitar, plaintive keys and — on the track list's lone collaboration — chill-inducing harmonies with James Blake.

Rex Orange County will bring The Alexander Technique to life in major U.S. cities and London, FINALLY: A Theatre Tour by Rex OrangeCounty. The trek will kick off with two shows in Chicago on Oct. 4 and 5.

With the release of her new album Willson, Ashe completes the personal triptych she began with 2021's Ashlyn and continued on 2022's Rae — with the trio of titles making up the full name behind her stage persona. (Ashlyn Rae Willson…get it?)

However, Willson also marks the beginning of an exciting new chapter in the indie pop darling's career as her first full-length as an entirely independent artist. It's also the first for Ashe to appear entirely on her own across its 12 gauzy, confessional tracks, with past collaborators like FINNEAS, Niall Horan and Diane Keaton nowhere to be found.

G Herbo's latest mixtape, Big Swerv, may take its title from one of his many alter egos, but the rapper born Herbert Randall Wright III is exploring all kinds of fresh new ground on the 14-track project.

Rather than revisit some of the darker, more tumultuous themes on past albums like 2020's PTSD, 2021's 25 and 2022's Survivor's Remorse, the Chicago MC shifts into party mode with help from collaborators like 21 Savage ("In the A"), Sexyy Red ("Ten") and Chief Keef ("No Pics").

Joss Stone — "Loving You" featuring Shaggy

Fresh off celebrating the 20th anniversary of her 2003 debut album The Soul Sessions, Joss Stone reinvents her latest single "Loving You" with a little help from Shaggy.

On the remix, the two GRAMMY winners ride a sultry groove as the slow jam unfolds into a heartfelt letter full of unrequited love. "Won't you come back to me?/ I'm the girl of your dreams/ I sure try to be/ 'Cause I be loving you," Stone yearns in between Shaggy's spoken word adlibs before tossing the mic to the reggae artist for his own laidback verse.

When J-pop group ME:I debuted their balmy anthem "Hi-Five" at KCON L.A. 2024, their contagious energy captivated a stadium of fans and soon-to-be devotees. The song's euphoric vocal climax electrified the audience, asserting that "it's going to be a special season."

The 11-member group harnessed the spark of "Hi-Five" as they segued into "Click," the lead single off their debut EP, MIRAI. The magic of Momona, Rinon, Cocoro, Ran, Miu, Kokona, Shizuku, Ayane, Suzu, Keiko, and Tsuzumi (who is currently on a health-related hiatus) placed the audience at the Crypto.com Arena under a spell — their stage presence characterized by a vivid intensity and an endless allure.

But arriving at this moment involved traversing an arduous path. Before their debut, the 11 members appeared on the third season of "Produce 101 Japan" — the same survival show that previously brought boy groups JO1 and INI to life — and a global audience watched the trainees attempt to break into the music industry. 

After overcoming the show's tests and hurdles, ME:I was born at the tail end of 2023, and MIRAI was unveiled in April. The record achieved remarkable success, reaching heights on the Billboard Japan and Oricon Charts with over 250,000 copies sold to date. Crucially, MIRAI showcased the group's artistic core, with music infused with a radiant temperament and complemented by intricate choreography.

Now, ME:I are building on that growth with their sophomore extended play, Hi-Five, out on Aug. 28. "This second [release] sounds much fresher, and since it's a summer concept, it feels very joyous," Cocoro tells GRAMMY.com over a video call from Tokyo. "It's definitely a step forward because…We are like a chameleon and can shift in different colors and forms as a group, so with Hi-Five, I think we've been able to expand our [artistry]."

ME:I are disarmingly genuine about their collective desire to keep growing while remaining down to earth about their success. "I want us to be role models and be a group where people can look at us and say, Okay, I want to do that one day and give them dreams," says Suzu.

Ahead of their EP release, ME:I detailed their journey so far, their experience at KCON, and how they're adjusting to their present while getting ready for tomorrow.

This interview has been edited and condensed.

How much does your present self differ from the artist you aspired to be before debuting? Perhaps your view of what it meant to be an idol has evolved since then, especially in light of your experiences during "Produce 101 Japan The Girls."

Cocoro: When I was in the audition process, I only had a vague idea of what kind of idol I wanted to be. However, when we formed ME:I and it [became a reality] that we were going to debut, that's when I realized there was a lot of attention and interest in our group — more than I expected. I felt that we were receiving love from not only people in Japan but also from around the world. Especially among the young people.

Momona: During my time at ["Produce 101 Japan The Girls"], I was able to meet a lot of people, I discovered new music, and I performed on different stages. I found that [those experiences were] quite different from what I originally imagined myself to become, and there wasn't any clear goal of what this team would be or a defined concept, so I was just focusing on whatever was in front of me during that process.

Our debut song, "Click," was something we didn't expect. It was a challenge for us because it was different from your typical K-pop, J-pop, or the "girl crush" movement that's happening right now. That song signifies that we are challengers and are here to bring a fresh breath of air into the industry. We are focusing on achieving the same or even more success with our new release.

Looking back, is there anything you would have done differently during "Produce 101 Japan The Girls"? 

Miu: When we were in the middle of [the competition], we were in a very closed environment, rehearsing and trying to perform in teams. But, it was very difficult to find individual growth. I was only able to achieve that at the final performance of "Souzou Ijou," and now I feel I could have invested more in myself much earlier. 

That was the first time I knew about how, as a performer, to reflect on yourself and see what you're missing. I didn't know how to find those places of improvement, but now I know how to learn, grow, and absorb from experience. 

Shizuku: It was important for me to deliver the right performance, or what I consider the right performance. If I didn't reach that level, I would be very negative about myself. I was very focused on [doing] well and couldn't enjoy the performance on some stages. I paid too much attention to perfection, so now, looking back, I feel I should have enjoyed the music and the performance itself a little bit more.

At what instant did you grasp the new course of your life as members of ME:I?

Keiko: For me, it was when we performed as 11 at the Tokyo Girls Collection [fashion festival]. When the introduction video was shown and we stepped onto the stage, there was a huge light shining upon us. There was so much positivity. It felt like we were looking at the future, and I was really, really proud to be with these 11 girls on stage. In that spotlight, it felt like we could go anywhere together.

Rinon: I will never forget when they called out my name [in the final episode]. From there, we debuted, and we went to a lot of variety shows and did all of these photo shoots. I come from a smaller town [called Misaki-chō, located in the Okayama Prefecture], and I would hear that our fans visit [my hometown]. I would also hear the hairdresser say, "A fan of yours came to our hair salon and asked to have the same hairstyle as Rinon." These small stories of fans reacting and being so much into our work are the moments where I feel that I'm a part of this big thing.

How are you embracing all of these new experiences, and what is the biggest takeaway from all of them?

Ran: I have been in other groups because I was in the industry from a very young age. I feel that with ME:I, the volume of attention we are getting is very different from anything that I've done previously. I wasn't sure if I wanted to do the audition [for "Produce 101 Japan"] because I know how tough it is to make it in this industry. By having received a lot of love and support from the people around me with ME:I, I realized it's always important to challenge yourself to do something big.

It's a very positive experience, but we need to continue working hard and not waste this momentum we're having right now. We must do our best and grow as a group to meet people's expectations.

Suzu: There have been many changes in our lives, but what's important to me is to stay present and treasure every moment, regardless of the challenges we face. It's also important to be thankful, to appreciate the things around us, and to work hard. These are the things I keep in mind.

How are you striving to make the most of this chapter of your career and enjoy it to the fullest?

Kokona: When we first got together, there were some members I hadn't interacted with much during the audition, so I wasn't sure what was going to happen with this group. However, through all the work we have been doing, I got to know all of them, and now I can confidently say that I really enjoy what we do. There are obviously big challenges ahead, but I feel that all 11 of us can support each other.

Ayane: Even after our debut, we have been able to perform on big stages like KCON L.A. We also have these opportunities to meet our fans. Later this month, we have another concert happening, and for fans who are not usually able to see us, we can go to them and meet them. These opportunities are precious, so I hope we will do our best and give our all because we are in such a blessed environment.

The J-pop industry is quick-paced, and you're always on the move, so I want to ask how you try to incorporate self-care in this whirlwind.

Momona: The music and entertainment industry is very fast-paced, and every day, there's always someone new emerging, whether it's a group or an idol, so we want to make sure that we are ourselves and reflect that [authenticity] in our work. To do that, I think teamwork is key, and when you mention self-care, I believe it's the same thing. 

We support each other as a team, making sure to take care of each other's mental well-being when needed. Even on our days off, we connect and go out together. We are a very close-knit group, and I think only we truly understand what we go through in our line of work.

KCON L.A. 2024 was the group's first official performance in the United States. How did you navigate the preparation phase, given that this would serve as your introduction to the world?

Ran: Leading up to KCON L.A., our schedule was really tight and we had our individual jobs as well, so it was hard for all of us to come together and rehearse properly. There was a bit of anticipation, and we might have been nervous, but the most important thing on stage was the energy we brought. So, whether practicing individually or as a group, we put in double the effort. I hope we were able to convey that passionate energy.

As for the show itself, it felt like many were seeing us for the first time, and what stood out to me was that the overseas audience seemed to be purely music fans. They love K-pop, but they also appreciate music in general, so you can tell that they were enjoying our performance, and that made us really, really happy.

And what was going through your mind in the moments before stepping onto the stage and the feelings afterward?

Ayane: We've experienced other stages, but the stage at KCON LA was something totally different. Even though it was their first time seeing us, [the audience was] truly enjoying the moment, and it was a very warm welcome. 

But at the same time, it was very overwhelming too, and after we got off the stage, the adrenaline rush was something we'd never [felt] before, possibly due to the 360° stage setting. You were surrounded by the audience, and you could hear and feel their presence even more, so you had to really focus and deliver the best performance possible. Another thing different from Japan was that everybody had their smartphones out recording our performance. That also sort of brought up the focus under the notch, right? After everything was done, it was kind of a mixture of, you know, it's still being very nervous and exhausted, but we were able to cherish the moment.

Shizuku: It was also our first time performing our second single, "Hi-Five." So there was a lot of focus, and it was an important performance for us in that sense, too. When we went on stage, we thought, Okay, let's go out there and turn the audience into our fans. 

**I’m glad that you brought up "Hi-Five," because this vibrant composition is a fitting continuation of your group's musicality. What significance does this new song and project hold in your career, and what do you hope to achieve during this era that you couldn't while promoting MIRAI?**

Miu: We learned many things from that experience [of releasing MIRAI], so [for Hi-Five], we made sure to discuss the performance aspect but also how we can improve as a team and further our teamwork. We ensured that our mindset going into the practices was aligned, and while we don't believe we have perfected it just yet, we feel that we are heading in the right direction. I think looking at some of the dance practice videos, we can see how much we've improved from "Click" and MIRAI.

Rinon: It’s our first summer song as a group so it’s very special, but it’s also a song where [listeners] can always celebrate summer with ME:I. We'll continue to put out music throughout our career, but each summer, we'll be able to look back and think of "Hi-Five" as our quintessential song for this season.

Living through summer means welcoming new beginnings and a celebration of joy, both of which "Hi-Five" captures perfectly. How do you think this reflects on ME:I's artistic identity?

Ran: When we recorded "Click," we didn't know what kind of group we were, and we weren't sure about the concept or the [creative] direction, but it was really well put together, with the dance breaks and the outfits we wore. I feel that, both visually and musically, "Hi-Five" captures the personalities of each member more than "Click." Even in the video, you could see different facial expressions and our personalities [captured] through our clothes. This song gives another new twist to ME:I.

What does it mean for you to know that people — not just your fans — can perceive and enjoy everything you create while on stage? And what’s the overall emotion you aim to convey through your music to create a lasting impact on listeners?

Keiko: We all have unique voices — that's what I love about this group because there aren't two members with the same voice. Especially when we harmonize, and I think that comes out very well in "Hi-Five." So, when we perform, the audience can enjoy our vocal colors, almost like a 3D sound system, and immerse themselves in that.

Kokona: We are a large group and I believe that's our strength in giving power to our performance, and the audience can perceive it. This comes out through not just the singing but also our choreography. We create big formations, and each of our moves [reflects] the essence of each member, so it transforms into this powerful energy we want to convey.**

Last month, ME:I celebrated 100 days since debuting. In a video commemorating this milestone, Momona said, "I think my love for the group grows, and I don't know what the future holds, but I hope it's a place I can have fun. ME:I will create the best place you can go." How are you pursuing the creation of this future? Are you envisioning it step-by-step or focusing on a long-term goal?

Momona: We do a lot of different jobs, but at the end of the day, we are artists and idols. Music is at the core of what we do as a group, and we should not forget that. We hope one day we can perform in a venue big enough to bring many fans and watch us, somewhere like a dome, perhaps. That's our long-term goal. We also want to have more and more songs so people who may not know us yet will get to do it and we want to make sure that our fans can enjoy them as well.**

Ultimately, we hope to become a group loved by many people and also have enough songs to perform a full concert. We will continue focusing on the musical side and aim to expand our discography.**

And what’s ME:I’s next dream?

All of them: We want to win the New Artist of Year Award at the Japan Record Awards! [Laughs.]

Miu: When we discussed our goals, we came up with participating in big television programs that we have here [in Japan] at the end of the year. We want to perform on those, or maybe we would like to go on a world tour. Personally, I would really like to come together with our pets, so we'll have a pet party as a group. [Laughs.] Also, it would be nice to visit someone's parents' house and hang out. 

This year’s Lollapalooza in Chicago may have been a particularly humid one, but that didn’t deter perspiring attendees from making the most of the four-day event. Held Aug. 1-4, the international festival’s flagship midwest iteration showcased a variety of talent — both revered and rising.

Among Lolla 2024's highlights, Chappell Roan drew an expectedly enormous crowd to Grant Park on Thursday, while GRAMMY winner Tyla captivated audiences with a lighthearted and entertaining anglicism. Friday offered a diversity of artists, from K-pop boy group Stray Kids, to electronic vet Zedd and GRAMMY-winning Icelandic jazz singer Laufey, who performed with the Chicago Philharmonic. J-pop stars YOASOBI and the Killers closed the festival on Saturday, and Blink-182 brought their ‘90s humor and hits to the main stage on Sunday.

Lollapalooza founder Perry Farrell was onhand in a rare sighting to partake in the weekend’s festivities, which in addition to various stages featured Toyota Music Den’s retro summer camp vibes, Coke Studio’s roller rink, House of Dunkin’s newly renovated setup and Kidzapalooza for the festival’s youngest attendees.

Though thunderstorms threatened throughout the weekend, it only materialized as light rain and was a welcome reprieve from the balmy temperatures. As Lollapalooza attendees recuperate from one of the summer's biggest parties, relive seven of the most exhilarating sets from Lollapalooza 2024.

Kesha has never been someone to shy away from controversy, and the GRAMMY-nominated singer made some interesting choices during her Lolla set on Thursday. The singer delivered some of her biggest hits — from "Cannibal" and "Die Young," to "Take It Off," and "Your Love Is My Drug" — in front of her most loyal fans at Lolla. While performing "Backstabber" from 2010's Animal, Kesha and her scantily-clad male dancers doused themselves in fake blood while the star herself brandished a knife as a prop. Kesha later revealed on X that the knife shockingly turned out to be real.

In addition to her theatrical dramatics, Kesha also played a clip of Vice President Kamala Harris saying "You think you just fell out of a coconut tree?" as she began "Blow" (Kesha brought out a marching band for the song as well).  "Women do run this country," Kesha told the crowd, proudly standing in her power.

When she wasn’t waving pride flags and encouraging onlookers to "support local drag, Kesha paused to thank her fans for "standing by me through the hardest time of my entire life."

Read more: Kesha Reveals The 10 Most Important Songs Of Her Career, From "Tik Tok" To "Eat The Acid"

Megan Thee Stallion Got The Hotties In Formation

Three-time GRAMMY winner Megan Thee Stallion was tapped by the festival as one of the headliner’s after Tyler, The Creator pulled out of his slot earlier this year. The rapper, however, proved she was no "second best."

Fresh off of her performance at Vice President Kamala Harris’ Atlanta campaign rally, Megan Thee Stallion feverishly got her fans in formation with a spectacular performance. Donning a sexy, sequined pink ensemble, the Houston rapper plowed through a bevy of hits including: "Freak Nasty," "Cobra," "Big Ole Freak," "Mamushi" and "WAP."

She also addressed haters who were upset about her supporting Harris last month. "They was fake mad that I was popping it for Kamala. I don’t think they heard what she said," Meg explained. "Kamala said she wants a ceasefire. Kamala said she supports women’s rights. Kamala said y’all tired of high gas prices. Kamala said ‘I’m for the people.’" She shouted out "Hotties for Harris" before being surprised by Chicago Sky star Angel Reese onstage who took a selfie with the "Savage" artist.

Read more: 6 Takeaways From Megan Thee Stallion's 'Megan': Snakes, Shots & Self-Assurance

Deftones — the GRAMMY-winning rock facet from Sacramento, California — have For spent three decades perfecting their gnarly guitar riffs, airy vocals and thunderous percussion. Their most recent project, 2020's Ohms, served as a sauntering exploration of frontman Chino Moreno’s inner workings. This energy was on full display at Lollapalooza 2024.

The band’s electrifying energy was gleefully absorbed by the crowd, who moshed through heavier tracks such as "Lotion" and "My Own Summer (Shove It)." The audience was slightly more still but visibly bubbling over for slower, more sensual tunes like "Digital Bath" and "Change (In The House of Flies)."

Moreno — who said onstage he chipped his tooth during "Needles and Pins," from the band's self-titled 2003 LP — proved his performer prowess again and again. Even beyond the T-Mobile, Lolla attendees could feel the infectiousness of Deftones’ stellar set.

Learn more: 5 Essential Nu-Metal Albums: How Slipknot, Korn, Deftones & Others Showcased Adolescent Rage With A Dramatic Flair

Despite being 45 minutes late to their headlining set on Saturday, Future and Metro Boomin delivered a vigorous performance that celebrated their collaborative albums We Don’t Trust You (released in March) and We Still Don’t Trust You (which dropped a month later).

The pair ferociously fed off of each other’s energy, while simultaneously injecting that same enthusiasm into the crowd. From "Luv Bad Bitches" to "Type S—," "F— Up Some Commas" to "Low Life," there were no shortage of hits to feed the insatiable musical appetite of the packed crowd at the Bud Light stage.

Fans eagerly threw up two fingers in honor of Future's Dirty Sprite 2, per instructions from the duo, and Future x Metro Boomin Young Thug when "Relationship" played. "Like That" lost its potency when it was started for a second time as an attempt to reinvigorate the audience — but remained a thrilling track from beginning to end. The chemistry between Future x Metro Boomin was off the charts and seamlessly translated onstage.

Read more: Metro Boomin's Essential Songs: 10 Must-Know Tracks, From "Creepin" To "Like That"

SiR Savors "Summer" With Sensual R&B Set

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The Inglewood, California-based R&B singer used his time at Lollapalooza to reconnect with a city he hasn't performed in for nearly five years. On Sunday, the R&B crooner glided through his discography, performing "Karma" (from his March 2024 album Heavy) to "John Redcorn" — a track from his 2020 release Chasing Summer.

SiR, who was dripping in sweat from the intense Chicago heat, slowed things down a bit to celebrate his collaborators. First, he gleefully welcomed singer Zacari for "Mood" followed by his brother Davion Farris for "The Recipe." SiR’s bravado shined brightly on "Hair Down" where he felt his most confident, his most rambunctious, his most seen. He appeased fans’ requests for "D’Evils" and got emotional when reflecting on his struggles.

SiR has been candid about his journey to sobriety — a major theme on Heavy — and thanked his fans for their support throughout his set. When SiR performed "Life Is Good," he reminded attendees that nothing is sweeter than a well-earned victory lap.

Read more: On 'Heavy,' SiR Wants People To See The Weight Of His Humanity

Carmen DeLeon Basked In Being A Total Ray Of Sunshine

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The 23-year-old Venezuelan singer smiled from ear to ear as she enthusiastically gave her all during a short but powerful performance on Sunday at the BMI stage. She kicked off things with two of her most notable tracks: 2022’s "Mala Memoria" and "Mariposas" (which was released the year prior).  DeLeon was effervescent during "Wonderful," with its catchy chorus being as bright and brilliant as she was.

DeLeon became visibly emotional while paying  homage to Lady Gaga and her BMI stage legacy by covering "Always Remember Us This Way" from the A Star is Born soundtrack. She attached her native flag to the mic stand and emphasized the importance of speaking up against injustice, which hit especially close to home for her given the unrest following recent elections in Venezuela.

DeLeon quickly switched gears and tackled the complex nature of love with "El Vecino." Though the singer is longing to be noticed on the track, its live rendition feels more empowering than dejected. One of the show’s most heartwarming moments came when the singer brought her clearly proud dad onstage.

Moments after viral TikTok sensation Benson Boone took the stage at Lolla, he shared that this was the first U.S. music festival he has ever performed at. The former "American Idol" contestant used his performance on the IHG Resorts & Resorts stage to sing — and backflip — his way into the hearts of fans.

Boone's performance ranged in both sound and emotion. The singer basked in the sweetness of "Coffee Cake" from his 2023 album PULSE, then dug deeper with a formidable performance of "What Was." Before going into "My Greatest Fear," the singer shared that he is terrified of being alone and was devastated by the passing of his grandmother.

He used "Friend" as a springboard to talk about the importance of camaraderie and, before launching into "Beautiful Things," shared amazement at how one song dramatically changed his life.

Read more: Benson Boone Declares "Beautiful Things" Is No Fluke: "I've Tapped Into How I'll Write For The Rest Of My Life"