Many years we have waited for a gift like Wicked to appear on the silver screen.

The Broadway show and its iconic songs like "Popular" and "Defying Gravity" might not exist without the persuasion of Stephen Schwartz. The four-time GRAMMY-winning composer was instrumental in transforming Gregory Maguire’s 1995 novel about the Wicked Witch of the West’s pre-Dorothy life into a musical, before a movie. 

A prequel to 1939’s The Wizard of Oz, "Wicked" the musical flew onto Broadway in 2003 starring Idina Menzel as Elphaba (the Wicked Witch) and Kristin Chenoweth as Glinda (the Good Witch). It earned a GRAMMY Award for Best Musical Theater Album and has become a mega juggernaut in pop culture. Twenty-one years later, Wicked: Part I arrives in movie theaters on Nov.22 starring GRAMMY Award winners Cynthia Erivo as Elphaba and Ariana Grande as Glinda. The soundtrack will also be released on the same day. 

Schwartz, who wrote the music and lyrics for Wicked, was part of the creative team who helped bring this beloved story to new audiences. "I am so thrilled with this album for many reasons. Not obviously just the performances of Cynthia and Ariana, but the sound of the orchestra, that incredibly gorgeous, giant orchestra," Schwartz tells GRAMMY.com of the 85 musicians who recorded the songs and score at AIR Studios and Abbey Road in London.

The musical has spent over two decades on Broadway, and the film fittingly brings together many Glindas and Elphabas from the stage. Several Broadway actors are background vocalists on the album, which was recorded in part in New York City. 

Wicked: Part II is expected to debut in theaters on Nov. 21, 2025, with two new songs written by Schwartz — one for each leading lady. Ahead of part one, GRAMMY.com spoke with Schwartz all about revisiting his songs for film, working with Grande and Erivo on their vocal tracks, and the musical differences between the stage and film adaptations of Wicked.

What do you think of the film after waiting all these years?

I was really happy with the movie. They were originally trying to make a movie, before I talked them out of that in 1997 and into doing a stage musical. I first heard about the book Wicked [The Life and Times of the Wicked Witch of the West] from a friend, she basically told me the title and the idea. I thought it was a genius inspiration of [author] Gregory Maguire's to have the idea to make the Wicked Witch of the West the protagonist of a story. I was immediately interested in that concept for a musical. 

I discovered that the rights had been sold to Universal who were in the process of developing it as a non-musical movie. I worked my way up the Universal food chain to get to Mark Platt, who was running Universal Pictures at the time, and persuaded him not to do it as a movie — at least not right away. I felt it was likely to meet the same fate as the other Oz movie sequels had. I felt it should be a musical, and if it worked as a musical, then someday it could be a musical movie, and here we are, many decades later.

I was very lucky because I think it would have been quite unlikely for most heads of a studio to abandon a movie that they were working on and had a bit of an investment in at that point. But when I walked into the office, Mark Platt sang "Corner of the Sky" to me. So, I happened to luck into a receptive audience to my idea. 

What, if any, was your input into casting Ariana Grande and Cynthia Erivo?

We’ve been lucky with our director, Jon Chu, because he is extremely collaborative. Very often, I think, if you sell your show to the movies, they say, "Thank you very much. Go away. Maybe we'll invite you to the premiere." Here we were very actively involved and part of that was being consulted on casting. 

Jon Chu obviously narrowed down his choices, but sent us some screen tests, which included both Cynthia and Ariana. I was familiar with Cynthia from her stage work, and I knew that she had a world-class voice. Obviously I knew who Ariana was, but I was kind of unprepared for how great and appropriate both of them seemed in their screen tests.

Here's a fun fact about Ariana singing. Several years ago, the pop singer Mika released a single that was sort of a spin off of "Popular," called "Popular Song." He had a singer with him on that record, and that was Ariana Grande, before she was Ariana Grande. 

Read more: Ariana Grande's Road To 'Wicked': How The Pop Star Manifested Her Theater Kid Dreams In The Most Full-Circle Way Possible

Over the years, you had heard both of them sing your songs: Cynthia sang "Thank Goodness" in a PBS special in 2021 and Ariana sang "The Wizard and I" for the 15th anniversary of the musical on NBC. There’s this story of how Jon M. Chu first got both of them in the room together, you sat at the piano and played "For Good." What do you remember about that night?

The whole night was so amazing because they were meeting for the first time. Cynthia and Ariana had such instant chemistry; when they sang at the piano, their voices blended so beautifully together. As the composer, the fact that their voices blend so well was obviously a lucky asset. That chemistry shows up in the movie and it's a key to why I think people find the movie so emotionally satisfying. 

Did you know you were going to sit at the piano and play that song?

They were like, "Let's all go inside. And Stephen, why don't you play? Ladies, if you know the words, sing along." It was extremely impromptu. Everybody cried, so it was very emotional and exhilarating.

Of all the Elphaba and Glindas you've worked with over the years, what was special about working with Ariana and Cynthia?

Both bring enormous recording skills with them. They can kind of do anything vocally in a recording studio, and they're both extremely game to try things. We would experiment and Cynthia would try various riffs that came out of the performance. Ariana, at first, was a little tentative about her soprano — which she absolutely has and always had — but had never basically shown in public before. Those sessions were really fun, because as they went on and she could hear how well she was doing, it was exciting and fun for her. They both can listen quite objectively to their performances and comment on how to tweak them. 

The great advantage of both of them is that, because they are real singers and have sung on a Broadway stage, they could do live performances when filming as well. We were able to inter-cut the live performances with where we had to use pre-record because someone was flying on a broom or floating in a bubble or doing something that didn't allow them to sing live. 

The way their voices sounded in the recording studio needed to match how they sounded when they were on a soundstage, and that was tricky. We had a strong technical team and we were very aware going in that we were going to mix and match.

Read more: A Life, A Spirit, A Name: 'Pocahontas' Songwriters Reflect On The Disney Animated Classic 25 Years After Its Release

What advice did you give them?

Just what I always do, which is to talk about storytelling and to remind them what's happening: [Glinda] trying to convince [Elphaba in "Popular"] to let her make her over — or with [Elphaba in "Defying Gravity"] — this is the moment where you demand your power.  

With singers like Ariana and Cynthia, who have such great instruments and such virtuosic control of their instruments, I don't have to say things like, "You're flat" or "Sing lighter here," or give any kind of technical notes, because they just bring that. It's always about the acting and the storytelling.

How might the songs sound different in the movie versus the Broadway show? Some of them are much longer.

The word cinematic keeps coming to mind. There's this huge, magical world that Jon Chu has created and the music needed to have the size to occupy that world. 

Eighty-five musicians [working in a recording studio] is different from the 23 or so that you can have on Broadway. Songs needed to be adjusted based on the action we’re seeing on the screen. In some cases, things were expanded.

What was the thought behind expanding Elphaba and Glinda’s first visit to Emerald City in the song "One Short Day?"

We wanted to show more of how the Wizard [Jeff Goldblum] was using propaganda to create a fake image and false history for himself. We had the idea [to add it] to this show they play [for Glinda and Elphaba] in Emerald City called "Wizomania," which is briefly done in the Broadway show and kind of a send up to Funny Girl and Jule Styne-type rhymes. "Wizomania" is basically perpetuating the myth that there were ancient magical, wise ones in Oz, who set down all their magic in a book, but they put it in a secret language. That book is The Grimmerie. 

We knew that book was very important to the story of the movie, and so we wanted to go into more depth about it. There was a prophecy that when Oz fell into difficult times, someone would come who would be able to read The Grimmerie and restore Oz to merriment. They're looking for someone who could actually read this book and actually do some magic to help the Wizard stay in power.

You also make a cameo at the end of the song as they approach the gates to see the Wizard!

Jon Chu said to [screenwriter and the musical’s book writer] Winnie [Holzman] and me that we should be in the movie. So we wrote ourselves in. We were just going to be people in the crowd. 

When we first did "One Short Day," I had cut that last line "The Wizard will see you now!" — I thought we don't need to do that in the movie, because we'll just see them right there at the palace. And Ariana said, "If you cut that line, I'm quitting the movie. You have to have ‘The Wizard will see you now!’"

It wound up being my line. I will say that when I went in for costume and makeup, they gave me two choices of mustaches. I said they had to give me the big mustache because I have to be like Frank Morgan. I have to be the guy [from the 1939 film] who says, "Who rang that bell?"

I think fans would be devastated if that line wasn’t in it. 

One of the things that was so good about this team — particularly Jon Chu and Ariana, because she knows the show so well — was that they protected Winnie and me. We said we’ll change whatever we need to change and Jon would say, "No, you can't change that. You have to keep that." 

Greg Wells, our producer, wanted to refresh the rhythmic feel of "Popular" and make it a little more contemporary. Greg came up with something which was really fun, and we played for Ariana. And she said, "Absolutely not. I want to be Glinda. I don't want people to think that I'm Ariana Grande playing Glinda. If they hear this kind of different rhythm, they're going to think you changed it because of me, and I don't want to do that." So then we went back to the original. 

Do you think we'll ever see Ariana and Cynthia on Broadway again?

You might. I don't think right away because they're going to be doing another year of promoting [the new film]. I could see the circumstances where years from now they're doing Gypsy or somebody writes a musical built for one of them. I could definitely see it.**

Leon Thomas III has had a big year. Following a Best R&B Song win at the 2024 GRAMMYs for "Snooze" and a three-month stint in Florence, Italy to produce Ye and Ty Dolla $ign’s Vultures series, the R&B singer and songwriter is ready to see his own name atop the marquee. 

When he’s not penning chart-topping songs or producing for the likes of Ariana Grande, Post Malone, Drake or Chris Brown, the former child actor is adding notches to his own musical utility belt. Since joining Ty Dolla $ign’s EZMNY Records as the imprint’s first artist in 2022, Thomas has evolved into a R&B fixture. His debut album, 2023's Electric Dusk, showcased his slick lyrics, free-flowing melodies, and anthem-made ballets in full form.

Now, the Brooklyn-born artist is set to build on his newfound momentum with his sophomore release, Mutt. While the project may seem carefully curated, Thomas says the album and his artistic journey is loosely-tailored by design. 

"There are parts of this that people may think are calculated, but I’m just flowing," he tells GRAMMY.com. "I’m just glad people are resonating with everything I’m doing naturally. It’s a journey."  

Mutt unites Thomas' love of jazz icons like Art Blakey and Miles Davis with neo-soul and rock acts like Black Sabbath and Led Zeppelin to forge sleek jams with a contemporary edge. Album cuts "Vibes Don’t Lie" and "Yes It Is" are a baptism in neo-soul vocals, evoking  innovators such as D’Angelo, Musiq Soulchild, and Maxwell. 

The album is as lyrically rich as it is sonically expansive. On the sultry "I Use To," Thomas recounts the sorrow of a lost love that once enriched his soul; "I Do" is a piano-laden tale of the hard-fought lessons that ushered in a new romantic endeavor. Throughout, the singer/songwriter is intensely vulnerable. "God and losing you is the only two things I fear," Thomas sings. 

The rock-inspired "Dancing With Demons" is a foot inside the deep end of fame while "How Fast" offers a flash of braggadocio. "Hold on, I’m a visionary. This s– getting kind of scary/ So addicted to the top, it’s always missionary." And "Answer Your Phone" is a crowd-swaying tune set to enliven fans on Thomas’s first solo tour.

Like Thomas’ life, the album shows the "Socialite" artist embark on a one-way ticket to the top of the musical landscape. He’s no longer satisfied with playing the background. Thomas has embraced the weight of being a headlining act on Mutt, and he’s prepared to weather the uncertain storms and visible weeds he’s set to experience on his broader musical pursuits. 

Thomas spoke with GRAMMY.com about his studio sessions with Ty Dolla $ign and Ye, the new generation of R&B crooners pushing the genre forward, and how his dog Terry inspired the album title. 

This interview has been lightly edited for length and clarity. 

How does it feel to release your second album?

It feels special, but I was super nervous. Dropping music in 2024 is an interesting process because you’re fighting the waves of so many social media moments and distractions. But it’s great to see my music cut through and for people to hear me. It feels like some of my best work, and I’m just excited for people to see all of the different ways I’m putting music together. This is going to be a journey. 

What inspired the album title?

I got a dog three years ago. His name is Terry and he’s a German Shepherd and Husky mix. He’s such a sweetheart, but he’s always getting into stuff. I recognize the face he makes when he’s in trouble. I make the same face when I’m about to go through a breakup or something. 

I felt like that correlation was an interesting process. I wanted to talk about the element of control between men and women when you’re trying to get your partner to act right. It seems to be a common theme in this generation, so I wanted to talk about it. 

What sound were you trying to capture on Mutt?

For me, jazz is the root of who I am. My grandfather was really cool with Art Blakey back in the day, and he always played Miles Davis and John Coltrane. I try to find ways to implement some of the chord progressions that I hear in my head into my music. That will always be adjacent to neo soul, but I don’t necessarily want to do a whole live jazz album as a 30-year-old right now. 

A lot of decisions that I made are also rock influenced as well. I was listening to a lot of Black Sabbath, the Rolling Stones, and Led Zeppelin during the making of the album. I’m finding ways to sneak in my influences, even though I know I’ll lock in on these R&B charts. 

How did the production come together? Did you handle most of it?

I outsourced. There were a bunch of different guys that worked on the production. I think being around Ye and Ty Dolla $ign for the Vultures I album helped. I spent three months in Florence, Italy before I finished [Mutt]. I came back with a different taste level for how an album can play from top to bottom and how tricky we can get with the production. I started adding little pieces here and there to really elevate the sound of it. It’s definitely my symphony, and I’m trying to put it all together.  

How is it working with artists like Ty Dolla $ign, Ye, Chris Brown, and SZA? Are you inspired by their work or studio sessions?

I think I’m inspired by osmosis. I don’t feel like there’s any specific style that I’m using that’s theirs. I’m just putting my neck out there and daring to be different. I’m not doing basic concepts or attacking basic instrumentals. I feel like I’m doing my best to push the genre by taking chances and experimenting. I’m just hoping that it’s received because I genuinely love the R&B genre. I want to see it grow and evolve, and I want to be a part of that process. 

Read more: How 'SOS' Transformed SZA Into A Superstar & Solidified Her As The Vulnerability Queen

What’s your views on the current state of R&B?

I think we’re in a really amazing place. There are singers that fill that craving for the golden era of the 1990s. There are others with really solid vibes that feel like the '60s. And then there are people like myself who are blending genres and time periods while having fun, not giving a s— about the rules. 

I think that’s a positive thing, but it’s abrasive to people who only see R&B as a linear thing. There’s a broad range in what it can be in its true definition, and I’m excited to see where we go in the future. There are so many artists playing instruments and singing their ass off without a lick of autotune. I’m definitely a fan of the genre, and the next generation is going to be nuts. 

Read more: R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

Do you feel this album will fill any perceived holes in the genre?

I’ll be honest, I create selfishly. I’m just going into the studio to chase some chills. I don’t really care about the holes in the R&B genre. I just feel like that’s a big boulder to carry on your shoulders. I’m just trying to tell my story. I’m doing my best to put these records together, to get them mixed on time, and to shoot these music videos. 

When penning music for artists like SZA, Chris Brown, and other greats, was there a point where you were like, I got to do this for me?

Yes. It’s hard to be selfish, but the more reading I did and the more I learned about myself, it just felt like it was time to prioritize something that means so much to me. 

Writing these records and working with these big artists is such a blessing, but I want to hit stages and see the world through my music. I want to collect furniture from all the different countries. I feel like the best way to do that is through my music, so this is me putting my music and my dreams first. And I’m just really excited about it all. 

Did you ever have a moment of hesitancy, especially with you starting out as a child actor?

Yes, it wasn’t always easy. I think internally, I know who I am. I know who God made. I don’t need outside people to validate what I know to be true. Sometimes you have to be patient to allow people to grow with you. 

It’s like being a Coca-Cola or a Pepsi. They met me as an actor and they know I make music, but they saw me in a certain light and as a certain brand. It takes time to transfer over and introduce new flavors to the consumer. I’m being patient with my fans, and I’m being patient with myself. I’m working harder to make a product that’s going to be acceptable and will allow me to continue making music I want to make. 

You’re a multi-hyphenate. An artist, actor, producer, and songwriter. Do you ever get overwhelmed by it all? 

When it comes to scheduling, I get overwhelmed. But I’m doing more to prioritize my mental and physical health without taking anything away from myself or my art. That balance is something I will continue to perfect over time. It’s like a muscle, and I’m still figuring it out. I want to do everything, and I know I can. I just think certain industries I’m involved in are a three-month season, rather than all 12. 

How did it feel to win a GRAMMY for SZA’s "Snooze"?

It’s really surreal. I’ve never been one to put too much energy into awards, but that GRAMMY felt different. That was a special thing. I don’t have a college degree or anything, but this is the closest thing I can say to my pops that, "Hey, I’m validated here." He obviously sees the work I do with all these big artists, but him coming to my house and holding my GRAMMY was an interesting moment. Seeing someone who’s always believed in me hold something that validated his belief was such a beautiful moment.

Do you feel like you’ve found your voice, or is something you’re still exploring? 

I feel like an artist’s work is never done. There’s always something to explore. I sat in a studio session with Babyface. He’s still exploring new things and he’s a lot older than me. The fact he’s still writing new songs and experiencing the world through his music lets me know it never ends. And I’m cool with that because this is a really awesome job. I feel like my voice is present and my voice is formed. It’s just all about packaging it so people can help me better. 

Are there future collaborations or goals you have in mind down the road? 

I definitely want to continue to make music, and I want to be rich enough to give back as well. I have a lot of initiatives and nonprofits I want to put together when I hit that $100 million mark, and I think it’s all possible through music. That’s why I fight so hard for my artistic journey because the brand itself can really uplift my own community. 

When will your day-one fans see you go back to acting?  

I’ve been ignoring self audition tapes for three years because it’s been insane trying to produce big albus and build these albums out in preparation for tours. But I’m looking forward to the release of this album and my tour to get back into acting class. I’m really a fan of the artform, so I want to shake off the cobwebs and really get back into the acting gym. I want to give [my fans] a performance that’s an elevation from everything they have seen from me before.

Between album anniversaries, surprise announcements and exciting new tracks, this week's New Music Friday (Aug. 23) is a full-blown celebration of tunes past and present.

On the album front, high-profile new releases include Sabrina Carpenter's Short n' Sweet, Thomas Rhett's About a Woman, Lainey Wilson's Whirlwind and All Time Low's The Forever Sessions Vol. 1. Plus, Warren Zeiders serves up his sophomore album, Relapse, and Randy Rogers Band celebrate the 20th anniversary of their 2004 LP Rollercoaster with a remastered re-release.

Meanwhile, Travis Scott and Ariana Grande each commemorate major anniversaries by dusting off vault tracks from some of their earliest works, blink-182 tease the second part of their latest album, Jessie Reyez links up with Lil Wayne and more.

Below, dive into some of this week's most exciting new releases, including samplings of electronic, rap and country.

Travis Scott — 'Days Before Rodeo' (Tenth Anniversary Edition)

Released on August 18, 2014, Days Before Rodeo served as the buzzy prequel for Travis Scott's debut album, Rodeo, which would arrive the following year and officially crown the Houston MC as one of rap's fastest-rising stars.

A full decade later, Scott is revisiting Days Before Rodeo for a new 10th anniversary edition complete with — as the rapper revealed when announcing the release earlier this week —"COUPLE DBR SONGS FROM THAT ERA FROM THE VAULT." If the all-caps pronouncement didn't give away Scott's palpable excitement at revisiting his seminal mixtape, he added a string of giddy gibberish followed by "IM FCKING JUMPING THRU WALLS AHHHH" for good measure. 

The number of tracks Scott tacked onto the end of his 2014 mixtape — which is now available for the very first time on all streaming platforms, in its original form — actually ended up being more than just a couple, including "Mo City Flexologist," "Too Many Chances," Young Thug's "Yea Yeah" featuring Scott as a guest artist, "Serenade" and "Whole Lots Changed" featuring Yung Mazi. (As of press time, it appears the Days Before Rodeo deluxe edition is only available for purchase via Scott's official website.)

Ariana Grande — 'My Everything (Tenth Anniversary Edition)'

Also celebrating a seminal 10th anniversary, Ariana Grande honored her sophomore album, My Everything, on Aug. 22 — the exact day it was released in 2014. The fan-favorite LP catapulted Grande from promising young starlet to bonafide pop sensation, so it was only right that she celebrated it with a 10th anniversary edition.

Along with smash hits like "Break Free," "Bang Bang" and "Problem" and OG bonus cuts "Only 1" and "You Don't Know Me," Ari reached into her vault to finally gift fans with the official studio versions of "Cadillac Song" and "Too Close."

Co-written by Victoria Monét, the former finds the soon-to-be Wicked star caught up in a breezy, doo-wop-inflected daydream as she hits the road in her titular Caddy over a sample of the 1972 deep cut "How Love Hurts" by R&B family act the Sylvers. The latter, meanwhile, revisits the early magic a young Ari captured with producer Harmony Samuels as she teases, "Baby, tell me, do you feel it like I do?/ 'Cause we both know what could go down/ If we get too close" over a bouncing, elastic beat.

We're still more than a full lunar cycle away from the release of Coldplay's Moon Music, but that didn't keep Chris Martin and co. from sharing a second taste of their forthcoming 10th album in the form of "WE PRAY."

The British rockers first debuted the single live during their headlining set at Glastonbury 2024 this summer, and the official studio version features guest turns by Lil Simz, Burna Boy, Elyanna and TINI. The special 12" vinyl and EcoCD formats — also out now — include five different versions of the song, including the live debut recorded from the Pyramid Stage at Worthy Farm.

Months after dropping her single "SHUT UP" featuring Big Sean, Jessie Reyez is back with "RIDIN," another high-profile collab — this time with Lil Wayne.

The mid-tempo jam is equal parts romantic and eyebrow-raising as the Canadian songstress warbles, "Hold me/ Since love always hurt me baby/ I'mma need you to choke me/ Since love always let me jump/ I'mma need you to hold me/ Let me deep inside" on the chorus.

Reyez then cedes the floor to Weezy, who gets the entire second verse to deliver a sexually charged stanza that officially adds "legs like a Twizzler" and "drive me like a Nissan" to the Kama Sutra of modern come-ons.

On Aug. 19, blink-182 surprised fans with the news that they were doubling down on their 2023 album ONE MORE TIME… — their first in nearly a decade to feature OG member Tom DeLonge — by adding eight more songs to the track list.

While the rest of ONE MORE TIME… Part 2 drops Sept. 6, the first two songs of the new batch are "ALL IN MY HEAD," a galloping banger that sees the pop-punk trailblazers questioning existence, touring and the relentless march of time, and "NO FUN," a slice of end-of-summer punk rock that blends equal doses of nostalgia and paranoia.

Mura Masa may already have three full-lengths under his belt, but the British producer's new album, Curve 1, marks his first studio set on his own Pond Recordings imprint as a fully independent artist.

Led by previously released singles like "Whenever I Want" and "Drugs" featuring Daniela Lalita, Curve 1 also features the GRAMMY winner collaborating with the likes of Singaporean synth-pop artist Yeule on "We Are Making Out" and 2000s R&B girl group Cherish, whose 2007 single "Killa" is sampled prominently on highlight "Fly."

Offering up a second taste of her forthcoming mixtape Alligator Bites Never Heal, Doechii attacks the mic with her trademark combination of ferocity and humor on "Boom Bap," a blistering freestyle that follows the deliciously braggadocious "Nissan Altima."

Also arriving in the wake of "Alter Ego," Doechii's recent collab with JT of City Girls, the Swamp Princess looks back at her journey to becoming one of hip-hop's most inventive wordsmiths on "Boom Bap" as she spits, "I gave my soul to this s—, ate lumps of coal for this s—/ Went on the road for this s—, played humble for this s—" in between name-checking the likes of J.Cole and producer Camper and blowing raspberries in the direction of her haters.

As Nate Smith sits atop Billboard's Country Airplay chart with "Bulletproof," he reaches for the rafters on his anthemic new single "Fix What You Didn't Break." A fitting follow-up to the recent duet version of "Bulletproof" with Avril Lavigne, the country upstart looked to the sounds that defined the early millennium for his latest release.

"I've always been a huge fan of big, epic pop rock songs of the 2000s — bands like Lifehouse, Goo Goo Dolls, 3 Doors Down were all influences in my early teens," Smith tells GRAMMY.com, describing his new single as "the perfect blend of 2000s rock and heartfelt country…This is easily one of my favorites I've released."

"Fix What You Didn’t Break" will be one of 16 tracks on Smith's forthcoming sophomore album, California Gold, which will be released Oct. 4.

Every June, Pride Month offers a time for the LGBTQIA+ community to reflect and raise awareness — but also, to party it up. While there were plenty of Pride anthems to pack playlists prior to this year, the past 12 months have seen some flawless new additions from a mix of fresh talent and long-standing stalwart artists that the queer community happily embraces.

While there's no set template on how to create an undeniable Pride anthem, there are major hallmarks: high-energy tempo, candid lyrics, delicious camp, and an undeniable groove. Between pop bops and dance floor jams, no Pride party is complete without at least a couple of the songs listed below. Cheers to the cathartic power of music to usher in another season of acceptance and equality. 

You play it when you wake up. It's on the radio on the way to the club. It's playing at the club. Heck, it's even blasting at the gym the next day. 2024's newly crowned pop princess, Sabrina Carpenter, released an instant classic when she unfurled "Espresso" in April — more than enough time to learn the lyrics by Pride Month.

With an infectious melody targeting your ears like a jolt of morning caffeine, its steaming dose of memorable lines ("I'm working late/ 'cause I'm a singer") are the handiwork of Carpenter along with three veteran lyricists, including close collaborator Steph Jones, Amy Allen (Harry Styles, Selena Gomez) and Julian Bunetta, who is perhaps best known for his plethora of work with One Direction. "Espresso" marks further proof that if there's one thing Carpenter knows it's how to command an audience, whether through her captivating stage shows or viral, story-telling music videos that link together (including for recent single "Please, Please, Please").

Read More: Sabrina Carpenter Releases New Single "Please Please Please": Everything We Know About Her New Album 'Short N' Sweet'

Charli XCX — "360"

It's safe to say that Charli XCX is experiencing a new phase of her decade-long career as a critically acclaimed starlet. Her sixth studio album, BRAT, marks an evolution of her sound into a batch of adult tracks tailor-made for the club. As a result, it's spawned a number of viral memes among her legions of LGBTQIA+ fans, who have also boasted lime green avatars on social media in honor of what's being dubbed "brat summer."

It's no coincidence then that she'd release the project in the midst of Pride Month, led by the relentlessly pulsating single "360." With lyrics that have quickly already found itselves queer canon — "Drop down, yeah, Put the camera flash on" — the album boasts a hyperpoop energy and unapologetic individuality, making her recent spate of shows some of the hottest tickets in town.

Read More: Charli XCX's Road To 'Brat': How Her New Album Celebrates Unabashed Confidence & Eccentricity

Giddy up! One of the brightest out stars in the LGBTQIA+ musical universe, the ever-masked Orville Peck has made a name for himself as a queer outlier in the country music scene. So it stands to reason that he'd partner up with none other than Kylie Minogue — who had the defining song of Pride '23 in the form of "Padam Padam" — for their own anthem for 2024. The result is "Midnight Ride," a whistle-powered, Diplo-produced earworm that's perfect for a rainbow-tinted hoedown.

The team-up is part of Peck's forthcoming duets project, for which he recruited a cavalcade of singing partners for queer-themed country-tinged tracks in a unique two-volume album dubbed Stampede (which drops in full Aug. 2). The collaborators include Willie Nelson, who croons with Peck on the eye-raising ditty "Cowboys Are Frequently Secretly Fond of Each Other."

Dua Lipa — "Houdini"

When Dua Lipa released Future Nostalgia in 2020, it became an instant classic in the pop world and LGBTQIA+ lexicon alike, cementing Lipa (and songs like "Don't Start Now" and "Physical") into the grand pantheon of queer playlist magic. The pressure was on, then, for her follow-up to live up to its commercial success and fandom.

Cue "Houdini," from this year's Radical Optimism, a cathartic dance floor anthem by one of the gay community's newer idols. Aside from setting the perfect tone for Pride Month with its delicious hook and refreshing confident lyrics "(Prove you got the right to please me"), in an interview with  SiriusXM Hits 1, Lipa said the production of the track set the tone for the new project: "I was like, "Okay, I feel like now I know exactly what this album's gonna be and what it's gonna sound like."

Read More: Dua Lipa's Road To 'Radical Optimism': How Finding The Joy In Every Moment Helped Her Become Pop's Dance Floor Queen

The Challengers soundtrack

Who knew that a soundtrack to a tense and sultry tennis drama would yield an album fit for the dance floor? The thumping array of tunes that Trent Reznor and Atticus Ross churned out for Luca Guadagnino's Challengers has proved to be a hit beyond the film, with its synth-propelled soundtrack proving to be a unique and wild tracks, including the driving "I Know." 

Its embrace in the LGBTQIA+ community should come as no surprise considering the single note the director gave Ross before he started work. "The way he described 'Challengers' was in a one-sentence email," Ross told Variety earlier this year. "Do you want to be on my next film? It's going to be super sexxy.' Two x's."

Ariana Grande — "yes, and"

Ariana Grande is no stranger to gay-friendly anthems; in fact, she delivered one of 2020's most iconic Pride moments with her Lady Gaga duet, "Rain On Me." When her album eternal sunshine dropped earlier this year, it was no surprise that she'd offer a few more bops for a Pride playlist.

Among them is "yes, and," a Max Martin-produced hit that can get even your stiffest friend moving on the dance floor. Perhaps it's no coincidence, then, that the creative team took the sonic elements of ballroom culture — a uniquely queer LGBTQIA+ experience — and fused them with lyrics perfect for a personal Pride anthem. "Say that s— with your chest," she croons. We will, Ari!

Read More: Listen To GRAMMY.com's 2024 Pride Month Playlist Of Rising LGBTQIA+ Artists

If you've been on a dance floor in the recent past, odds are you've grooved to nostalgic beats courtesy the South Korean producer Peggy Gou. The breakout star is known for her unique brand of throwback dance jams, which carry a distinct '90s-era flavor that has led her to be embraced in queer spaces from Fire Island to West Hollywood. The most infectious, "(It Goes Like) Nanana").... samples the German artist ATB's 1998 track "9 PM (Till I Come)," no doubt a reaction to the recent revitalization of 90s-era culture popular in the LGBTQIA+ community, which provides a thumping link to queer culture past.

"For me,  the DJ is someone who teaches people the value of music and educates them," Gou told L'Official of her musical mission. "It is someone who transmits a beautiful memory and is somehow responsible for it."

Chappell Roan — "Casual"

While Roan has been a bubbling-under singer/songwriter for a handful of years, 2024 has proved to be decidedly her time to shine. Ever since the release of her debut album, 2023's The Rise and Fall of a Midwest Princess, her back catalog has logged impressive streaming numbers, and she's commanded massive crowds at the likes of Governor's Ball and Bonnaroo.

Part of her appeal comes from her unabashed candidness about her sexuality (Roan identifies as a lesbian) and resilience. Both are exemplified by her single "Casual," which is about a relationship that doesn't seem to get all that serious, for better or worse.

However, Roan told the Associated Press last year that normally she isn't so sexually candid.  "The songs kind of give me the opportunity to act like that, and say that, and dress like that," she explained. "It's mainly to piss off — it's all a rebellion. That's what it is. It is very empowering, I think, for a lot of people. ... It's just not as empowering to me as it is living out a fantasy."

Read More: Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon"

By now, we've all heard Troye Sivan's infectious hit "Rush" or seen its viral music video — both of which earned the singer his first GRAMMY nominations this year. In the interim, his 2023 album, Something to Give Each Other, is filled with plenty of other tracks that speak intimately and eloquently about the queer experience.

Take, for example, the luscious "One Of Your Girls," a meditation on when a gay man has a transactional fling with an otherwise straight person. It subsequently has turned into yet another queer definitive anthem for the Australian star.

As a result, Sivan has turned into one of the musical heroes of the community: not only unabashedly talented, but an eloquent chronicler of the gay experience. Even better, as he told  NPR last year, his queer-focused projects are as cathartic for him as they may be for listeners. "There's a big element of pride in the fact that I am now so comfortably, openly gay."

The first New Music Friday of the summer delivers us fresh jams packed with exciting collaborations and debuts.

This week features releases from big name, genre-crossing collaborations, including Ariana Grande's remix of "the boy is mine" with Brandy and Monica, and Post Malone teaming up with Blake Shelton on their new track "Pour Me a Drink." As you build your new summer playlist, make sure you don't miss out on these ten must-hear tunes.  

After a massive year with the release of her EP Like..? and four nominations at the 2024 GRAMMYs, Ice Spice is ready to level up once again with her newest single, "Phat Butt." With self-assured lyricism on top of a classic drill beat that is true to her sound, the track serves as the second single to be released from her debut album, Y2K!. "Phat Butt" comes as both a message to those who lacked belief in Ice Spice’s music career, but also as a quintessential summer anthem.

In the self-directed music video, the rapper is shown performing in front of a wall of graffiti with grainy video filters, emphasizing the Y2K feel. Ice Spice is set to take on her Y2K World Tour next month and it's no doubt that this "Phat Butt" will be a highlight on her setlist.

Explore More: The Rise Of Ice Spice: How The "Barbie World" Rapper Turned Viral Moments Into A Full-On Franchise 

When asking different groups who sings the song "the boy is mine," you're likely to get two answers. Some will say pop star Ariana Grande, while others will think of the original 1998 R&B hit by Brandy and Monica, which won the GRAMMY for Best R&B Performance By A Duo Or Group With Vocal in 1999. Doubling down on the shared name of the track and bridging the generational gap among music lovers, Grande, Brandy, and Monica have come together for a fresh remix of "the boy is mine," and the internet couldn't be more ecstatic. 

"My deepest and sincerest thank you to Brandy and Monica, not only for joining me for this moment, but for your generosity, your kindness, and for the countless ways in which you have inspired me," said Grande in an Instagram post announcing the collaboration. "This is in celebration of you both and the impact that you have had on every vocalist, vocal producer, musician, artist that is creating today."

Read More: 5 Takeaways From Ariana Grande's New Album Eternal Sunshine 

Post Malone has been dipping his toes into the country genre for some time now and fans have been anxiously awaiting his promised western era post Cowboy Carter.

Malone and Shelton first ignited excitement with a sneak peek of their song, "Pour Me a Drink" at the CMA Fest earlier this month. Since Posty announced the official release on Instagram, fans have eagerly awaited its arrival on streaming services. The track serves as a tantalizing preview of Post Malone's upcoming country album, F-1 Trillion, coming August 16. 

Read More: Post Malone's Country Roots: 8 Key Moments In Covers and Collaborations 

Coldplay has been generating excitement as they embark on their next chapter, with the release of their latest single, "feelslikeimfallinginlove." Over the past few weeks, they've been feeding fans with sneak peeks on social media and performing the song live on their world tour.

The track sets the stage for the release of Coldplay's highly anticipated tenth studio album, Moon Music, set to land in early October. True to their brand, this song is geared to uplift your spirits, making it the perfect anthem for carefree summer car rides with the windows down.

Read More: How Coldplay's Parachutes Ushered In A New Wave Of Mild-Mannered Guitar Bands 

Ten years into his career, Norwegian DJ Kygo is dropping his self-titled album, Kygo, which he teased last week with the single "Me Before You" featuring Plested. The song, backed by a thumping mid-tempo instrumental, vividly narrates the transformative experience of being deeply influenced by someone in a relationship and not wanting to return to who you were before. The 18-track project features diverse and vibrant collaborations with unexpected guests like the Jonas Brothers and Ava Max.

Maren Morris and Julia Michaels, GRAMMY-winners both independently renowned for their iconic music collaborations, are now joining forces to release their electrifying new track, "cut!" The duo has been working together for a few years, with Michaels' co-writing Morris' "Circles Around Town," which received a nomination for Best Country Song at the 2023 GRAMMYs. So, while this collaboration might not come as a surprise, it is still certainly a welcomed one. 

After a two-year hiatus from releasing music, pop enthusiasts have been eagerly anticipating Morris' return to the spotlight. "Can't wait to cathartically scream f*ck at the top of our lungs together," Morris said in an Instagram post announcing the track.

Learn More: Behind Julia Michaels' Hits: From Working With Britney & Bieber To Writing For Wish 

Building on the success of her debut album, Good Riddance, and the skyrocketing momentum of her career after opening The Eras Tour, California-native Gracie Abrams has unveiled her much-anticipated sophomore album, The Secret of Us.

The album includes the track, "Close to You," which was released ahead of the album drop as the full realization of a 20-second snippet that Abrams posted on Instagram back in 2018. After sitting on the track for six years and relentless pleas from fans, the pop artist finally delivered the full song — a mesmerizing blend of Abrams’ vocal prowess and heartfelt lyricism.  

Learn More: How Making Good Riddance Helped Gracie Abrams Surrender To Change And Lean Into The Present 

6LACK is rebranding himself and making sure everyone knows. The release of his newest track, "F**k The Rap Game" addresses the phenomenon of getting caught up in the glitz and glamor of the entertainment business, tying in the importance of staying true to one's roots. The Atlanta-raised artist is currently on tour with rapper Russ, with whom he recently released the single "Workin On Me,” another nod to 6LACK's ongoing mission of self-reflection and deep introspection.

“A better me equals a better you equals a better us. That’s been the formula of my life. I can’t thrive unless I’m around people who are constantly trying to better themselves as individuals,” 6LACK said in an interview with GRAMMY.com last year. “It took a second of me really looking at myself in the mirror, being honest and saying: I am not doing as much work on myself as I claim to be doing and want to be doing on myself.”

Read More: 6lack On His Comeback Album SIHAL: "I’m Playing A Different Game" 

Months after their buzzworthy performance with Doja Cat at Coachella, South African quintet The Joy has released their self-titled album through Transgressive Records. The album was recorded live, in real time, at Church Studios in London and features no instruments or overdubs — just pure, raw vocals that capture the group's authentic sound.

The Joy came together through a serendipitous twist of fate. Years back, five boys arrived early to their school choir practice and decided to have an impromptu jam session. Realizing their undeniable musical chemistry, The Joy was born, quickly garnering global acclaim. "They are, like, my favorite group," Jennifer Hudson exclaimed on her talk show. 

Known for their feel-good tunes that took over TikTok in 2019, Surfaces presents their sixth album, Good Morning. In tracks like, “Real Estate,” the band chronicles the idea of exploring one’s mind and thoughts, above all other features, backed by a tropical lo-fi instrumental, as well as a steady thump of a bass, and trilling trumpets. 

“’Real Estate’ is about the infatuation with that place in someone’s mind that you can’t get enough of,” Surfaces explained in a press statement. “It’s a familiar place to call home that feels safe and deserves all the love in the world. We wanted to capture the bliss of finding that space and reveling in it.” 

Lauren Watkins has a packed summer schedule, which includes opening for country artist Morgan Wallen and releasing her second studio album, The Heartbroken Record. This project draws inspiration from music industry veterans like Willie Nelson and Waylon Jennings, while also infusing influences from contemporary artists like Kacey Musgraves and Miranda Lambert. Each track from the album underscores stories of love and loss, woven together by the overarching theme of heartbreak. 

"I didn't want to just put an album out — I wanted it to be purposeful," Watkins said in a press statement. "It's the past several years of my life, and that was just so much heartbreak and dramatic girl-feelings, but I think in a really deep and relatable way… and it just needs to get off my chest."

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