Singer Truth Hurts marks her triumphant return to music with the brand new single called “Cheated”. The song is set to appear on her upcoming EP called “Revelations,” which will be released later in 2022. When we last heard from Truth Hurts, she appeared on the EP “Kaleidoscopes” from producer James Worthy. She’s also released singles here and there over the past years. In addition to music, Truth Hurts has also branched off into acting and compiled quite a few roles in her filmography. Truth Hurts launched the music scene grandly with her debut album “Truthfully Speaking” on Dr. Dre’s Aftermath label. Her first single, appropriately titled “Addictive,” topped the 2002 music charts in 14 countries and garnered 2 Grammy nominations. With heavy rotation on radio and music television, she toured with Dr. Dre and Snoop Dogg on the Up in Smoke Tour. Shortly after, another tour with Lauryn Hill, Outkast and more was called "The Smokin’ Grooves Tour." In 2004, Truth Hurts released her sophomore album “Ready Now” on Raphael Saadiq’s label, Pookie Entertainment. She continued performing and touring and, in 2007, returned to film, appearing in “Marigold,” for which she also contributed as a composer for the film score. She appeared in the musical revue “I Can’t Stop Loving You: Genius of Ray Charles as the member “Maryanne” of the Raylettes, Charles’ famed backup vocalists.

It only seems like yesterday when the the-artist-formerly-known-as-Baby served up the first of her four studio albums to date – "A Girl Like Me," Released in April 2001, it went straight to the top of the charts. It stayed there for two weeks, making Emma the fourth solo Spice Girl to achieve a no.1 single. Sessions for the project commenced at least two years before the reveal. They ran parallel to the pre-scheduled "Forever" —the third and final album from the Spice Girls—a testament to Bunton’s “nose to the grindstone” labour principle that she juggled both her Spice Girls commitments and solo aspirations. Three of her Spice sisters—Geri Horner, Melanie C and Melanie B—had already put recordings forward between 1999 and 2000; this left Bunton and Victoria Beckham as the last two Spice Girls to step out with their albums. Bunton knew that she had one shot at making a declarative statement of artistic intent with her debut—she was not about to waste it. The coterie of talent enlisted by Bunton to pen and craft material with her for "A Girl Like Me" spoke to the stakes. The experienced crew included Julian Gallagher, Andrew Frampton, John Themis, Martin Harrington, Carl Sturken, Steve Mac, Chris Braide, Rhett Lawrence, Richard Stannard, Darren Stokes and Lindsay Edwards. Bunton guested with fellow English vocalists Shelly Nelson and Wendy Page (of Skin Games renown) on "Eleven to Fly" (1999), the conclusive Tin Tin Out set on VC Records, a subsidiary arm of Virgin Records. Appearing on that long-player was a punchy but ultimately reverent cover of the Edie Brickell & New Bohemians 1988 smash “What I Am”—Bunton’s sweet, soulful performance powered the track. They sent it hurtling into the upper reaches of the British charts. Unintentionally, Bunton usurped “What I Am” as her own de facto inaugural solo single within the eyes of the music press and the public; its eventual inclusion on "A Girl Like" Me did little to disprove this notion. That rich, album-oriented-rock sound that Bunton couched herself in on “What I Am” was gorgeously replicated on four of the sides contained on "A Girl Like Me:" “What Took You So Long?,” “Take My Breath Away,” “High on Love,” and “Sunshine on a Rainy Day.” Three of these songs are Bunton originals that saw her exercise her songwriting skills alongside the creatives she elected to collaborate with—only “Sunshine on a Rainy Day,” a lush rendering of English indie darling Zoë’s 1991 chestnut, did not belong to her. Concurrent to those guitar-pop vibes abounding on "A Girl Like" are also the adult contemporary, modern R&B, throwback soul, and Latin flourishes heard via “A World Without You,” “Spell It O-U-T,” “Better Be Careful,” and “We’re Not Gonna Sleep Tonight”—all of them fine canvases for Bunton’s uncanny vocal instrument. But, in addition to illustrating her keen abilities as a singer, these entries signposted the album’s central theme: Bunton’s unostentatious transition from girl to woman. Up to that point, the congeniality that suffused the “Baby Spice profile” was, on occasion, crowded out by the personalities of Bunton’s fellow Spice Girls—either within the group dynamic or as they began branching out separately. Yet, on the flip side of that, Bunton was ever affable. That natural magnetism shines brightly in each of the scripts found on A Girl Like Me, but with a freshly minted adult sophistication that comes through best on two of its pluckiest deep cuts: the title piece and “Been There, Done That.” This is to say nothing of the outtakes left off of the LP—“Let Your Baby Show You How to Move,” “Close Encounter,” “Invincible,” “Merry-Go-Round,” “(Hey You) Free Up Your Mind”—that further advanced Bunton’s newfound confidence and clarity. Thankfully, all these non-album tracks were assigned as the B-sides for all three singles "A Girl Like Me" spun off during its commercial lifespan. With the completed product under her belt, Bunton knew that these songs—appetizingly presented in a diverse pop style—about life, love, and all the general particulars in between were universal in their appeal. She was sure to enamour not only her established bloc of Spice Girls fans but prospective listeners divorced from the Spice phenomenon. Fourteen days before "A Girl Like Me" was impacted, courtesy of Bunton’s longtime label Virgin, its first single, “What Took You So Long?” went out to radio and retail. It was an instant smash that brought Bunton her first number-one single. Listening to ‘A Girl Like Me’ some 20 years on it conjures up a great time in pop when solo spice girls sat alongside Kylie, Destiny’s Child and Hear’Say on the charts. It has perhaps dated a bit, especially on the more r&b pop tracks, but still a solid effort.

John Legend is back as he debuted his new song “Free” at the ceremony Sunday, even though he wasn’t nominated for a Grammy Award. Legend honoured Ukraine with the performance, appearing onstage at the piano following a statement from Volodymyr Zelensky. He kicked off the touching “Free,” a song he dropped earlier on Sunday, joined by Ukrainian singer Mika Newtown and poet Lyuba Yakimchuk. A statement was calling for donations read across the screen following the performance. A 12-time Grammy winner, Legend most recently received the Best R&B Album Award in 2021 for "Bigger Love," the third time the singer won in that category. This year’s Grammys marks the first time since 2018 show that Legend wasn’t up for at least one award. Taking the stage at the MGM Grand Garden Arena, the Grammy performance was a preview of sorts for Legend’s upcoming Love in Las Vegas residency, scheduled to begin at Zappos Theater at Planet Hollywood Resort & Casino later this month. The singer has scheduled 24 gigs at the venue, spanning from April 22 to October 29. On the night before the Grammys, Legend was also honored at a pre-gala Black Music Collective event. “I’m proud to celebrate and honour and cultivate our music,” Legend said at the event. “Black music is and has been the rhythm, the root, the inspiration, the innovation behind so much of the world’s popular music. It doesn’t exist without us.”

Norwegian singer-songwriter AURORA premiered a new song entitled “The Woman I Am,” which appears on her third studio album, “The Gods We Can Touch” vinyl edition. The original version of the album was released back in January and comprised of 15-tracks featuring two new songs, “The Woman I Am” and “The Devil Is Human.” “This is an ode to feminine divinity,” AURORA said of the release. “It’s not always easy to find your place in this world made for men as a woman. To find yourself. To learn that you are a source of life, of power, craft, thought, and love. Not only a vessel. You do not exist for the pleasure of others; you exist for yourself. “Even beyond your body, your beauty, your intellect, and your accomplishments, there is a woman who is worthy of this world; believe in her. And know her worth with every breath you take. And then maybe one day the world will be in harmony. And balance. But only in the arms of equality.” Upon its release, the original version of "The Gods We Can Touch" became the third most-streamed album in the world on Spotify and landed at No.8 on the Official UK Album Chart, marking the singer’s first Top 10 LP in the country. Awarding the album four stars, NME called it “a record that seizes the opportunity to take the world on and fight with all her power.” Under The Radar added that, on it, AURORA was “elegant, undeviating, and simultaneously in eight places at once.” In January, the star shared a video for her single “Temporary High,” She stood under a spotlight in a sea of people searching for a connection.

Acclaimed L.A.-based dance producer Gryffin teams up Grammy-nominated OneRepublic for the euphoric “You Were Loved” via Darkroom / Interscope Records / Universal Music Canada. Nostalgic and heartfelt, the shimmering anthem finds the collaborators reflecting on the one that got away. In “You Were Loved,” Gryffin confirms his ability to mesh with any artist. From a stroll laid with introspective guitar plucks, “You Were Loved” builds into a burst of emotional string synths, transcendent vocal harmonies, and punctuating drums. OneRepublic frontman Ryan Tedder tugs at the heartstrings with raw vocals that hold regret but, more importantly, optimism and hope that their paths will cross again: “Someday when the future meets the past, that’s when we’ll make up for all of the years we went so fast.” Fans can hear these songs (and more) in Gryffin’s stellar live set as he hits the road in 2022. “I’m extremely excited to release You Were Loved, as this record kicks off a new era for my music,” says Gryffin on today’s release. “Working with One Republic has been an incredible experience, and we’re really happy to have created a song that really aligns with both of our projects sonically and lyrically. We feel the record is a euphoric, summer anthem that has a strong emotive core to it. We hope everyone enjoys it as much as we did making it.” The release arrives alongside the announcement of Gryffin’s return to the famed Red Rocks Amphitheater for a headlining performance on Friday, October 21. He will be joined by Joel Corry, Surf Mesa, and Dot.

R&B singer-songwriter Col3trane drops his new single “Logan Paul” along with a music video. This latest release follows “Plus Minus,” featuring Erick the Architect, continuing the build-up for Col3trane’s upcoming album “Lush Life.” The visuals for this feel-good track were directed by Tom Emmerson, who also brought us “Californication.” Deriving inspiration from a night back in 2019 when a young Col3trane ended up at a party at the one and only Logan Paul‘s house, the music video follows a story that people can be inauthentic, plastic, and fake. “Logan Paul is written about a time in 2019 I went to a party at Logan Paul’s house. Or maybe his brother’s house. I’m still not sure. It talks about the insane things that you see at parties in LA. The plasticity of the environment and that nothing feels real at all,” says Col3trane. “There was everything that you could have ever wanted at a party. Free food, drinks, dancers, DJs (even though the music was awful). But the environment was so uncomfortable. People walking around their own party with shades on and a camera crew following them, everyone pretending that they’re cooler than everybody else. All for what? To make a video to post online,” Col3trane adds. “It was really strange, so I wrote a song about it. Embellishing the actual party, of course, but the lyrics really describe what it felt like. I went to Barcelona to shoot the video and tried to recreate what the party really felt like. The boxing aspect of the video and the party. It felt like I was completely lost. Hope the song and video reflect that.”

Christian Lalama has shared his most emotionally charged single to date, the vulnerable “Nobody Ain’t You.“ After teasing the new song with a viral performance on TikTok that has earned over 2M views and comes alongside an accompanying music video. The song is a laid-back summer jam about reconciling a relationship he doesn't want to end. “I’m very excited for the release of "Nobody Ain’t You,” says Christian. “The lyrics show a much more vulnerable side to my music, and I can’t wait for you guys to hear it!” “Nobody Ain’t You” follows the release of Christian’s first new single in nearly two years, “Girlfriend,” which is a feel-good track – which interpolates Fabolous, P. Diddy & Jagged Edge’s “Trade It All (Part 2),” originally found on the blockbuster 2002 soundtrack to Barbershop – is joined by an official music video. Christian Lalama, the YouTuber and TikTok star, gained fame for his original and cover songs on TikTok and YouTube. He started showing off his talent for music at the very young age of 10 when he participated in and won the Q107.1 radio contest. Simultaneously, he started to focus on his TikTok account and YouTube channel. His singing and piano skills have gained him a fan following of millions, making him one of the rising stars of the Canadian kid pop industry. "Shape Of You" by Ed Sheeran and "We Don’t Talk Anymore by Selena Gomez & Charlie Puth are two of his most popular covers. Consequently, the young musician has also ventured into creating original music. "Tic – Toc," "Helicopter," and "Beautiful" are some of his best original compositions.

Barbadian pop/R&B star Shontelle Layne released her latest single, “Boomerang,” from her forthcoming EP "Boomerang," due later this spring. This serves as the follow-up to "Be The One," a happy and energetic pop/R&B track produced by Norwegian producers Henrik the Artist and Kim Ofstad. In "Boomerang," she sings of being hopelessly in love with someone and unable to stay away from them. Its tropical vibe and island pop sound make it the perfect pre-summer track. “Boomerang” was co-written by Shontelle, Jaicko Lawrence, and Demetri James. Shontelle returned to music in 2020 with her single “Remember Me” and has since released several songs. She made history in 2021 with her single “House Party” when she released it as an NFT; she is the first major, Black female musician to do so. Shontelle is the voice behind the mega-hits, “Impossible” and “T-shirt.” The eldest of three sisters, Shontelle still speaks with an intoxicating West Indian lilt. In high school, she became friends with Rihanna, who also had similar dreams of making it big. Later, Shontelle’s first written song, “Roll It Gal,” made its way to Alison Hinds, another prominent singer in Barbados, where the song became a hit. Shontelle was brought to the world stage by the same company that discovered Rihanna in Barbados. She went on to co-write “Man Down,” the sixth single from Rihanna’s fifth studio album, "Loud." Also, Shontelle’s role in “Man Down” awarded her the title of a Grammy-nominated songwriter.

We run down the colossal and breathtaking works by the genuinely excellent artist Elton John as he is our Artist Of The Month. Collaborating with lyricist Bernie Taupin since 1967, John is one of the most successful artists of all time, having sold over 300 million records in a six-decade career in music. We will run down four albums every post and go through his incredible catalogue. Enjoy! Honky Chateau (1972) Considerably lighter than "Madman Across the Water," "Honky Chateau" is an exuberant collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send "Honky Chateau" to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think I'm Gonna Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupin's lyrics aren't much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes "Honky Chateau" a classic is the songcraft and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop -- it's one of the finest collections of mainstream singer-songwriter pop of the early 70s. Don't Shoot Me I'm The Only Piano Player (1973) Elton had established himself as a true pop star with 1972's "Honky Chateau;" he not only proved that he was capable of channelling his jazz and blues influences into being a classic rock artist but also one capable of dominating the pop charts as he would in the following years. With 1973's "Don't Shoot Me I'm Only the Piano Player," Elton followed his winning formula and built upon the aspects that had made that effort a pop one. Designed as a pastiche of classic and contemporary pop styles, the album almost sounds like an attempt to demonstrate the diversity of Elton and Bernie's songwriting partnership. Despite the inherent unevenness of the album, there is no denying that the hits are remarkable as always, in particular, the moving ballad "Daniel" and the delightfully sly take on 50's rock and roll "Crocodile Rock," but also the other strong, and underrated songs would be the knowing "I'm Gonna Be a Teenage Idol," and the rocking statements "Elderberry Wine," "Teacher I Need You," and the grand closer "High Flying Bird." A delightful piece of well-crafted pop-rock and definitely one of his best albums. Goodbye Yellow Brick Road (1973) 1973's "Goodbye Yellow Brick Road" was designed to be the blockbuster that broke Elton out of the realm of the cult star and established him as a household name in pop music, and it was. Before what many deem as his best album, the spotlight on Elton was on the hit singles that sprang from each of his albums, but with "Goodbye Yellow Brick Road," it pushed itself further than just a collection of songs but a statement of purpose that spilled over two-sides, which was all the better to showcase every element of Elton's spangled personality. Listeners are greeted with a more determined Elton when exposed to the opening track, an extended melodramatic exercise "Funeral for a Friend/Love Lies Bleeding"; perhaps as prog as Elton ever got, embracing excess, experimentation, a little pomposity, but tunefulness all the way through. This is emphasized further when Elton immediately switches to two of his best and most powerful ballads, the title track and the ode to Marilyn's "Candle in the Wind." This was truly the debut of Elton John, the entertainer, the pro who knows how to satisfy every segment of his audience, and this eagerness to please means the record is giddy but also overwhelming, a rush of too much muchness. Still, taken aside at a time, or even a song at a time, it is a thing of wonder, serving up such perfectly sculpted pop songs as "Grey Seal," full-bore rockers as "Saturday Night's Alright for Fighting" and "Your Sister Can't Twist (But She Can Rock & Roll)," cinematic ballads like "I've Seen That Movie Too," throwbacks to the dusty conceptual sweep of Tumbleweed Connection in the form of "The Ballad of Danny Bailey (1909-34)," and preposterous glam novelties, like "Jamaica Jerk-Off." Caribou (1974) 1974's "Caribou" marks the point in Elton's career where he began to tone down the image of the young, ambitious rocker and drift towards the bombastic, glamorous showman that would characterize the music of his late 70s - early 80's output and beyond. This can be argued as being evident within the music itself; the standard rock arrangements are infiltrated by the flourishes of new wave technology such as Moog synths and keyboards, with more substantial reliance on horn sections. Anyone would tell Elton not to mess with a winning formula, considering how successful each of his albums throughout the early 70s had been. Still, the experimentation is felt here and perfectly executed. Many of the tracks on Caribou arguably rank amongst his greatest hits; "The Bitch is Back," "Pinky," "Grimsby," "Don't Let The Sun Go Down On Me," even if Elton's approach to the music this time around does not best his other albums. Still, "Caribou" is a classic.

Nashville-based alt-pop singer-songwriter Ryman Wooten, aka RYMAN has released a new song “Sober” with an accompanying music video. The song is taken from his upcoming second EP “Change”, which follows “Immature”. Speaking on the release, the artist said, “Blake Ruby sent me the song, and I was instantly addicted (no pun intended). I went over to Blake’s house and we wrote the bridge to the track. I’ve never cut a song that I didn’t write the bulk of, so this was a first for me.” Keeping the production aspect simplistic yet effective, the artist puts all the focus on his silky smooth vocals as he rides a pop-inspired guitar melody. Accompanying the release with a vibrant video that sees the artist got through the trials and tribulations of high school, the artist brings the song to life as he tries to impress the girl of his dreams. The video was directed by Mason Mecartea, who also directed his previous video for “Sober” and the song was written by Ryman Wooten, Blake Ruby, Jacob Blacker and Callie Rose Mechelke. Produced by Cleve and Baby. 2022 is shaping up to be a breakout year for the wunderkind as he stepped into the arena with his first proper release. Classic in structure while remaining sonically and viscerally forward-thinking, "Rewind," the debut five-track EP released via Cinematic Music Group, helped place RYMAN as a contemporary force among modern singer-songwriters, while “Space” and “Pushover” helped continue the momentum. RYMAN will be releasing his second EP, "Change," on July 8th, 2022.

The 64th annual Grammy Awards took place at the MGM Grand Arena in Las Vegas on April 3, 2022. The ceremony was originally scheduled for January 31, 2022, at the Crypto.com Arena in Los Angeles; however, on January 5, 2022, the Recording Academy postponed the ceremony indefinitely due to health and safety concerns related to the COVID-19 Omicron variant. Jon Batiste earned the most nominations this year with 11 total, followed by Doja Cat, Justin Bieber, H.E.R., Billie Eilish, and Olivia Rodrigo. Trevor Noah hosted the ceremony. Olivia Rodrigo won Best New Artist, Best Pop Solo Performance with “drivers license” and Best Pop Vocal Album with “SOUR”. Silk Sonic won Record Of The Year, Song Of The Year, Best R&B Song, and Best R&B Performance with “Leave The Door Open”. Jon Batiste won Album Of The Year with “We Are”. Foo Fighters won Best Rock Performance with “Making A Fire”, Best Rock Song with “Waiting On A War”, and Best Rock Album with “Medicine At Midnight”. The show remembered Taylor Hawkins, the drummer for the Foo Fighters who died in late March, during the in memoriam segment, which also featured songs by Stephen Sondheim performed by Cynthia Erivo, Leslie Odom Jr., Ben Platt and Rachel Zegler. 2022 Grammy Awards Winners List Record Of The Year “Leave The Door Open” Silk Sonic Album Of The Year “We Are” Jon Batiste Song Of The Year “Leave The Door Open” Brandon Anderson, Christopher Brody Brown, Dernst Emile II & Bruno Mars, songwriters (Silk Sonic) Best New Artist Olivia Rodrigo Best Pop Solo Performance “drivers license” Olivia Rodrigo Best Pop Duo/Group Performance “Kiss Me More” Doja Cat feat. SZA Best Traditional Pop Vocal Album “Love For Sale” Tony Bennett & Lady Gaga Best Pop Vocal Album “SOUR” Olivia Rodrigo Best Dance/Electronic Recording “Alive” Rüfüs Du Sol Best Dance/Electronic Music Album “Subconsciously” Black Coffee Best Contemporary Instrumental Album “Tree Falls” Taylor Eigsti Best Rock Performance “Making A Fire” Foo Fighters Best Metal Performance “The Alien” Dream Theater Best Rock Song “Waiting On A War” Dave Grohl, Taylor Hawkins, Rami Jaffee, Nate Mendel, Chris Shiflett & Pat Smear, songwriters (Foo Fighters) Best Rock Album “Medicine At Midnight” Foo Fighters Best Alternative Music Album “Daddy's Home” St. Vincent Best R&B Performance (tie) “Leave The Door Open” Silk Sonic (tie) “Pick Up Your Feelings” Jazmine Sullivan (tie) Best Traditional R&B Performance “Fight For You” H.E.R. Best R&B Song “Leave The Door Open” Brandon Anderson, Christopher Brody Brown, Dernst Emile II & Bruno Mars, songwriters (Silk Sonic) Best Progressive R&B Album “Table For Two” Lucky Daye Best R&B Album “Heaux Tales” Jazmine Sullivan Best Rap Performance “Family Ties” Baby Keem Feat. Kendrick Lamar Best Melodic Rap Performance “Hurricane” Kanye West feat. The Weeknd & Lil Baby Best Rap Song “Jail” Dwayne Abernathy, Jr., Shawn Carter, Raul Cubina, Michael Dean, Charles M. Njapa, Sean Solymar, Brian Hugh Warner, Kanye West & Mark Williams, Songwriters (Kanye West Featuring Jay-Z) Best Rap Album “Call Me If You Get Lost” Tyler, The Creator Best Country Solo Performance “You Should Probably Leave” Chris Stapleton Best Country Duo/Group Performance “Younger Me” Brothers Osborne Best Country Song “Cold” Dave Cobb, J.T. Cure, Derek Mixon & Chris Stapleton, songwriters (Chris Stapleton) Best Country Album “Starting Over” Chris Stapleton Best New Age Album “Divine Tides” Stewart Copeland & Ricky Kej Best Improvised Jazz Solo “Humpty Dumpty (Set 2)” Chick Corea, soloist Best Jazz Vocal Album “Songwrights Apothecary Lab” Esperanza Spalding Best Jazz Instrumental Album “Skyline” Ron Carter, Jack DeJohnette & Gonzalo Rubalcaba Best Large Jazz Ensemble Album “For Jimmy, Wes And Oliver” Christian McBride Big Band Best Latin Jazz Album “Mirror Mirror” Eliane Elias With Chick Corea and Chucho Valdés Best Gospel Performance/Song “Never Lost” CeCe Winans Best Contemporary Christian Music Performance/Song “Believe For It” CeCe Winans; Dwan Hill, Kyle Lee, CeCe Winans & Mitch Wong, songwriters Best Gospel Album “Believe For It” CeCe Winans Best Contemporary Christian Music Album “Old Church Basement” Elevation Worship & Maverick City Music Best Roots Gospel Album “My Savior” Carrie Underwood Best Latin Pop Album “Mendó” Alex Cuba Best Música Urbana Album “El Último Tour Del Mundo” Bad Bunny Best Latin Rock or Alternative Album “Origen” Juanes Best Regional Mexican Music Album (Including Tejano) “A Mis 80's” Vicente Fernández Best Tropical Latin Album “Salswing!” Rubén Blades y Roberto Delgado & Orquesta Best American Roots Performance “Cry” Jon Batiste Best American Roots Song “Cry” Jon Batiste & Steve McEwan, songwriters (Jon Batiste) Best Americana Album “Native Sons” Los Lobos Best Bluegrass Album “My Bluegrass Heart” Béla Fleck Best Traditional Blues Album “I Be Trying” Cedric Burnside Best Contemporary Blues Album “662” Christone “Kingfish” Ingram Best Folk Album “They're Calling Me Home” Rhiannon Giddens With Francesco Turrisi Best Regional Roots Music Album “Kau Ka Pe'a” Kalani Pe'a Best Reggae Album “Beauty In The Silence” Soja Best Global Music Performance “Mohabbat” Arooj Aftab Best Global Music Album “Mother Nature” Angelique Kidjo Best Children's Music Album “A Colorful World” Falu Best Spoken Word Album “Carry On: Reflections For A New Generation From John Lewis” Don Cheadle Best Comedy Album “Sincerely Louis CK” Louis C.K. Best Musical Theater Album “The Unofficial Bridgerton Musical” Emily Bear, producer; Abigail Barlow & Emily Bear, composers/lyricists (Barlow & Bear) Best Compilation Soundtrack For Visual Media “The United States Vs. Billie Holiday” Andra Day Best Score Soundtrack For Visual Media (TIE) “The Queen's Gambit” Carlos Rafael Rivera, composer (tie) “Soul” Jon Batiste, Trent Reznor & Atticus Ross, composers (tie) Best Song Written For Visual Media “All Eyes On Me” [From Inside] Bo Burnham, songwriter (Bo Burnham) Best Instrumental Composition “Eberhard” Lyle Mays, composer (Lyle Mays) Best Arrangement, Instrumental or A Cappella “Meta Knight's Revenge (From "Kirby Superstar")” Charlie Rosen & Jake Silverman, arrangers (The 8-Bit Big Band Featuring Button Masher) Best Arrangement, Instruments and Vocals “To The Edge Of Longing (Edit Version)” Vince Mendoza, arranger (Vince Mendoza, Czech National Symphony Orchestra & Julia Bullock) Best Recording Package “Pakelang” Li Jheng Han & Yu, Wei, art directors (2nd Generation Falangao Singing Group & The Chairman Crossover Big Band) Best Boxed Or Special Limited Edition Package “All Things Must Pass: 50th Anniversary Edition” Darren Evans, Dhani Harrison & Olivia Harrison, art directors (George Harrison) Best Album Notes “The Complete Louis Armstrong Columbia And RCA Victor Studio Sessions 1946-1966” Ricky Riccardi, album notes writer (Louis Armstrong) Best Historical Album “Joni Mitchell Archives, Vol. 1: The Early Years (1963-1967)” Patrick Milligan & Joni Mitchell, compilation producers; Bernie Grundman, mastering engineer (Joni Mitchell) Best Engineered Album, Non-Classical “Love For Sal” Dae Bennett, Josh Coleman & Billy Cumella, Engineers; Greg Calbi & Steve Fallone, Mastering Engineers (Tony Bennett & Lady Gaga) Producer Of The Year, Non-Classical Jack Antonoff Best Remixed Recording “Passenger (Mike Shinoda Remix)” Mike Shinoda, Remixer (Deftones) Best Immersive Audio Album “ALICIA” George Massenburg & Eric Schilling, Immersive Mix Engineers; Michael Romanowski, Immersive Mastering Engineer; Ann Mincieli, Immersive Producer (Alicia Keys) Best Engineered Album, Classical “Chanticleer Sings Christmas” Leslie Ann Jones, engineer (Chanticleer) Producer Of The Year, Classical Judith Sherman Best Orchestral Performance “Price: Symphonies Nos. 1 & 3” Yannick Nézet-Séguin, conductor (Philadelphia Orchestra) Best Opera Recording “Glass: Akhnaten” Karen Kamensek, conductor; J'Nai Bridges, Anthony Roth Costanzo, Zachary James & Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus) Best Choral Performance “Mahler: Symphony No. 8, 'Symphony Of A Thousand'” Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz & Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O'Neill, Morris Robinson & Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children's Chorus, Los Angeles Master Chorale, National Children's Chorus & Pacific Chorale) Best Chamber Music/Small Ensemble Performance “Beethoven: Cello Sonatas - Hope Amid Tears” Yo-Yo Ma & Emanuel Ax Best Classical Instrumental Solo “Alone Together” Jennifer Koh Best Classical Solo Vocal Album “Mythologies” Sangeeta Kaur & Hila Plitmann (Virginie D'Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto & Emilio D. Miler) Best Classical Compendium “Women Warriors The Voices Of Change” Amy Andersson, conductor; Amy Andersson, Mark Mattson & Lolita Ritmanis, producers Best Contemporary Classical Composition “Shaw: Narrow Sea” Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish & Sō Percussion) Best Music Video “Freedom” Jon Batiste; Alan Ferguson, video director; Alex P. Willson, video producer Best Music Film Summer Of Soul, Ahmir “Questlove” Thompson, video director; David Dinerstein, Robert Fyvolent & Joseph Patel, video producers (Various Artists)

Every week, we highlight the cream of the crop in music through our best music of the week column. Here's our round-up of the best tracks and music videos across our desks. This week, we're bringing you the best new music that popular culture offers. Genres mean nothing to us, so be prepared to take a vision quest down many different avenues. GAVIN JAMES | CIRCLES Irish singer-songwriter Gavin James, whose song-craft has been the key to unlocking 1.8 billion streams, 6 million monthly listeners at Spotify, 1 Diamond and 45 Platinum & Gold records across the globe, kicked off 2022 by embarking on a UK tour with James Blunt, and now releases his brand new single "Circles." Produced by Patrick Pyke Salmy and multi-Platinum awarded Richard Muñoz (Zoe Wees) with additional production by Ollie Green (Freya Ridings, Lewis Capaldi), and written with Jimbo Barry (The Script), the new single "Circles" has all the credentials to match Gavin’s previous success, which has earned himself arena level notoriety. Gavin comments on his latest single, “I wrote Circles about a desperate one-sided relationship about a person playing games on the other. “If you’re going pull the covers over me” kind of sums up how one person can be fooled into heartbreak by choosing not to believe anything bad is happening.” Following his UK tour with James Blunt, which started February 3rd, 2022, Gavin James will also embark on his Irish headline tour later this year. PABLLO VITTAR & RINA SAWAYAMA | FOLLOW ME Pabllo Vittar is a Brazilian drag queen, musician, and activist who’s collaborated with Charli XCX a couple of times and gearing up for a world tour that includes stops at festivals like Primavera Sound, the Chile, Argentina, and Brazil editions of Lollapalooza. Now, Vittar has teamed up with Rina Sawayama, another recent-vintage Charli collaborator, on a thumping, euphoric dance-pop track called “Follow Me.” the club-ready pop number boasts a wild guitar riff and fierce vocals from both artists as well as a vibrant music video to match the track’s carefree yet exotic direction. Speaking on the track in a press release, Vittar – who is a noted activist – called Sawayama “an icon,” adding that the merging of their musical styles in ‘Follow Me’ is “perfect.” In the coming months, Pabllo will embark on a massive tour of North and South America and Europe, performing at iconic venues such as Los Angeles’ The Fonda Theater, London’s The Electric and Terminal 5 in New York City, as well as festival appearances at Lollapalooza, Coachella and more. MATOMA & A R I Z O N A | HEART SO BIG Inspirational Norwegian DJ and producer Matoma released a new single entitled “Heart So Big,” which is a collaboration with electronic dance-pop trio A R I Z O N A. The track was written with A R I Z O N A’s longtime collaborator PJ Bianco as a love letter to his son with autism. April is National Autism Awareness Month in the U.S., and the song seeks to celebrate each one of us for the unique gifts we bring to the world. The official music video features video footage of fans from all over the world sharing some of their fondest memories. Beyond this, content network FlightHouse is spearheading the #HeartSoBig charity campaign that encourages people to share videos celebrating the person with the biggest heart they know. To accompany the release, Matoma and A R I Z O N A has partnered with Quincy Jones-backed, environmentally friendly NFT platform OneOf to create three unique heart NFTs where the proceeds are going to Doug Flutie Jr. Foundation for Autism. They will also be gifting NFTs to select users who participate in the #HeartSoBig social campaign. LLOYISO | SPEAK Gearing up for a massive 2022, South African singer and songwriter Lloyiso returns with his brand new single “Speak” via Universal Music Group South Africa/Republic Records. In this ballad, bold piano introduces the track as his unmistakable voice immediately captivates. The vocals stretch from vulnerable verses into a soulfully striking refrain as he pleads, “Speak, don’t let this love hold you down.“ It exudes raw and real emotion in between each breath. Regarding the single, he commented, “I co-wrote "Speak" with Molly Irvine and Dennis Neuer. I loved working with them, and they brought all the amazing flavours and colours that this song needed. "Speak" is about that moment when you realize that you’re honestly not sure whether your presence is wanted or not. Personally, it took me a while to come to terms with the doubt that comes from that realization. "Speak" is the song that made me realize that if I’m honest with myself and the way that I feel, I can get relief from the pain!” Last year, he made his international debut for Republic Records with the single “Seasons.“ Right out of the gate, it tallied 16 million streams and garnered a ton of buzz. FRANCIS KAREL | LIKE ALL MY FRIENDS Viral singer-songwriter Francis Karel has released his striking new single, “Like All My Friends.” Karel spoke of the track, saying, “Over the past few years, I’ve prioritized so many things above a romantic relationship… school, my career, moving to a new country,” says Karel. “Whenever my friends have asked if I have anything going on in my love life, I’ve always just had a mentality of ‘maybe someday,’ but I think this song represents me being surrounded by so many people I care about who are in love, and wondering what that feels like for the first time.” What started as a mission to bring joy to people in the most unexpected place ended up being the catalyst for Karel’s breakthrough moment. During COVID, the unassuming singer/songwriter began sharing countless Omegle reaction videos in which he reduces unsuspecting strangers to instant tears with his mesmerizing voice and soulful guitar. Recorded alone at home, Karel’s jaw-dropping, impromptu performances have taken the internet by storm, earning him more than 2.3 million followers on TikTok, 159k YouTube subscribers, and high-profile Instagram fans like Meghan Trainor, Zedd, Tori Kelly, and Bebe Rexha. CHLOE LILAC | HOW DOES YOUR GIRLFRIEND FEEL ABOUT IT Singer-songwriter Chloe Lilac has released a new single titled "how does your girlfriend feel about it." The song is the latest arrival from Chloe's forthcoming new mixtape, due for release on April 29. Showcasing Chloe's gritty take on pop-punk, blending biting vocal runs with soaring earworm melodies set against a backdrop of crunching guitars, the song further defines the latest era of Chloe's artistry as she leads into her next mixtape release. Speaking on the new single, Chloe notes, "how does your girlfriend feel about it is about when someone I was involved with was dishonest. I wanted to write a silly song about it to shed light on a disappointing situation." Her new single follows Chloe's previous release, "last week," the first taste of her upcoming mixtape project. An understated, guitar-driven ode to the complexities of grief and loss, the song has seen critical praise, including looks from Dork and Guitar Girl Magazine and streaming support on playlists such as Spotify's New Music Friday and Apple Music's New In Alternative. Chloe will join Pom Pom Squad as direct support on their forthcoming U.S. / Canada tour, which will kick off on April 14. MORE NOTEWORTHY NEW MUSIC JOHNNY STIMSON | ALL I WANT IS YOU KIIARA | MICRODOSE ALEXANDER 23 | CRASH NIGHTLY | HATE MY FAVORITE BAND ELIO | VITAMINS

Swedish pop duo Jubël shared their rendition of Ne-Yo‘s “So Sick.” via Warner Records. On “So Sick,” the duo stays true to the original’s smooth R&B while adding their trademark sound of organic guitars and breezy summer feel-good vibes. The Swedish duo has been performing “So Sick” live and at radio shows for years, as Ne-Yo’s “So Sick” was a personal favourite of the duo growing up. After being requested by fans, Jubël is finally releasing it as a single along with a behind-the-scenes making of the track. Watch the BTS footage. The release follows the massive success of Jubël’s breakthrough track “Dancing In The Moonlight” ft NEIMY, which received multi-platinum certifications across Europe and a remix from Tiësto while landing #1 on the UK radio play chart and Top 10 on the UK airplay year-end chart. “We’re like a live band with electronic elements and influences,” Jubël says. “We have songs with pop structures, but it’s all very danceable, four-on-the-floor music.” That winning formula has garnered the chart-topping, platinum-selling group millions of cross-platform streams—all within a couple of short years. Consisting of Sebastian Atas as the primary producer and lead vocalist and Victor Sjöström as the key songwriter and player of all instruments, both artists started off in their local EDM scene with Victor DJing and Sebastian producing.

With her music, Heather Sommer gains strength and confidence from experiences with past friendships, creating boundaries for herself while navigating societal expectations and cultural borders of the Millennial and Gen Z generations. Today, she shares her new single "On Demand" via Repost, SoundCloud's artist services division. "On Demand" was written as a way for her to express her frustration at being overlooked and underestimated by people she once considered close friends. In January, the singer, songwriter, artist, producer and visual artist released "CHAMELEON" from "One Size Fits All," her upcoming second EP due later this year. This next wave of music is a fiery combination of alt-pop that pulls in fresh and modern production elements while seamlessly merging them with the sonics of nostalgic early 2000s pop-rock. To date, she has accumulated 60 million+ streams on Spotify alone and released her debut EP "nocturnal" in February 2021. Heather is heavily involved in creating her original music and loves to embrace her passion for visual art by designing, illustrating, and animating her album art, lyric videos, merch and promo graphics. As an independent artist, she has proven to be a highly noticeable force in today's new wave of rising talent. All while securing significant cuts in electronic music, her chameleon-like vocals and unique writing style give her the capability to jump seamlessly between genres.

Alanis Morissette partnered with Netflix to perform a special version of her 1995 hit song "You Oughta Know," which appeared in series "Bridgerton's" second season. The streaming service released a music video of Morissette's elevated version on Friday alongside clips of Anthony Bridgerton and Kate Sharma falling in love in the series. In the video, Morissette, 47, sings next to a magnolia tree — reminiscent of the "Bridgerton" title sequence — in an indoor garden. She's surrounded by a string section that plays a haunting, stripped-down version of her hit song featuring Duomo and Kroma Strings. The instrumental version of "You Oughta Know" was featured in the fifth episode of "Bridgerton" season 2. Viewers may remember it as the song playing while Anthony sits in a bathtub, contemplating his future marriage. Meanwhile, Kate grabs rides her horse to clear her head and figure out her feelings for Anthony. Lyrics were removed from the episode, as "Bridgerton's" contemporary music selections are exclusively instrumental. But in the new video featuring Morissette, her lyrics echo Kate and Anthony's love. "And I'm here to remind you of the mess you left when you went away," she sings. "It's not fair to deny me/ Of the cross I bear that you gave me. You, you, you oughta know." The track "You Oughta Know" won the 1996 Grammy for best rock song and best female rock vocal performance. Season 2 of "Bridgerton" is now streaming on Netflix. The series has been renewed for the third and fourth seasons.

Former Oasis lead singer Liam Gallagher released the second single and title track from his upcoming third solo album, "C'mon You Know," which is out on May 27 via Warner. The song is an uplifting rock anthem built on the musician's Britpop legacy, and it features Vampire Weekend's Ezra Koenig on saxophone. The new release follows "C'mon You Know's" introductory single, the Dave Grohl-assisted "Everything's Electric," which emerged in February. "C'mon You Know" takes its name from one of Gallagher's cheeky Twitter sign-offs, just like his first solo LP, 2017's "As You Were." Gallagher was one of many who paid tribute to Foo Fighters' Taylor Hawkins after the drummer's unexpected death last week. Before that, the Oasis alum opined that most rock stars are useless and "live a very boring fucking life" in an interview with "Loudwire Nights." Earlier this year, Gallagher defended Taylor Swift after the pop star shot down Damon Albarn, the lead singer of Blur and Gorillaz, for saying that Swift didn't write her songs herself. Blur and Oasis were big Britpop rivals back in the 1990s. But there doesn't seem to be an Oasis reunion on the horizon, although Gallagher has hinted at it. Last month, Gallagher took home the Music Moment Of The Year gong at the BandLab NME Awards 2022. He was honoured for the free concert he played for NHS workers at London’s O2 Arena last summer. Liam Gallagher will also release a new live album, "Down By The River Thames," on May 27. The show was recorded on a barge for a special live stream in December 2020.

Danish-Australian singer-songwriter Dean Lewis has laid the foundations for his second album over the last 12 months. The Sydney songwriter’s new single "Hurtless" is the latest preview of the follow-up to his 2019 debut, "A Place We Knew." "Hurtless" follows Lewis’ two 2021 singles, "Falling Up" and "Looks Like Me," the former of which gained ARIA Platinum accreditation earlier this year. Lewis wears his heart on his sleeve in the quasi-confessional ‘Hurtless.’ “You know when you plan your entire life out with someone, you see your future with that person, then all of a sudden one night, they do something, and from that point on, you realize they are not the person you thought they were?” Lewis said in a statement. “All your plans for the future aren’t going to happen, and you’re back to just being with yourself.” James Fitzgerald directed the narrative ‘Hurtless’ music video, which was shot in Ireland and featured the actors Frank Blake and Stephanie Dufresne. Lewis makes a cameo just before the clip’s conclusion. "A Place We Knew" came out in March 2019 and immediately rose to the top of the ARIA charts. Lewis is best known for his 2016 single "Waves," certified 7× Platinum in Australia in 2019. His 2018 single "Be Alright" reached number one in Australia and was certified platinum within four weeks of release, eventually going 11× Platinum in Australia and multi-platinum worldwide, including double platinum in the United States.

Jackson Wang returns with a new single and video for "Blow" via TEAM WANG Records/88rising Records/Warner Records. The highly-anticipated "Blow" unveils an explosive new sonic direction - blending punchy guitar riffs with anthemic pop - and heralds Jackson's artistic evolution. "Blow" is accompanied by a music video directed by longtime collaborator Daniel Cloud Campos (Jackson Wang's "100 Ways", Panic! At The Disco, Zedd), which perfectly complements the song's fiery energy. The video is brimming with theatrical suspense, choreography, and fashion; the video highlights his masterful showmanship. It introduces fans to the first look at Jackson's Magic Man persona (which inspired the creation and direction of his forthcoming album of the same name). "Blow" is Jackson's first English single release of 2022 and hints at what's to come from the rest of the year. It follows the successful release of 2021's "Drive You Home" and "LMLY," which have garnered over 40 million and 90 million streams. Both singles charted on the Mediabase U.S. Pop Top 40 chart. In the Fall of 2019, Jackson released his critically acclaimed debut solo album, MIRRORS, which debuted at #32 on the Billboard 200. With MIRRORS, Jackson became the highest-charting solo artist debut in China. In addition to being a singer and producer, Jackson is also a fashion designer, creative director, founder of TEAM WANG, and member of the hugely successful K-Pop group, Got7.

Harry Styles is back and has shared a new song called “As It Was” from his next album, "Harry’s House." It’s the first single released from the pop artist’s third solo album. The track arrives with a vivid music video directed by Ukrainian filmmaker Tanu Muino. This is the first music he’s released since his 2019 blockbuster, "Fine Line," and It’s one of the most emotionally powerful songs he’s ever done. According to a press release, "Harry’s House" will include 13 tracks. The album was recorded in multiple locations across the UK, Los Angeles, and Tokyo between 2020 and 2021. Styles wrote the LP alongside frequent collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland. "Harry’s House" follows Styles’ 2019 album "Fine Line" and the former One Direction singer’s 2017 full-length solo debut "Harry Styles." He announced the new LP in March and revealed the cover art with the news. The title could allude to Joni Mitchell’s song “Harry’s House / Centerpiece” from her 1975 album "The Hissing of Summer Lawns;" Styles has long professed himself as a major fan of the singer-songwriter, covering her hit “Big Yellow Taxi” in 2020 and later during his NPR “Tiny Desk Concert.” Styles is set to headline the return of Coachella in April, alongside Kanye West, Billie Eilish, and more. He’ll follow that with a UK tour in June, where Mitski will join him as an opener at select concerts.

27-year-old singer-songwriter Winona Oak raised in Sollerön, Sweden, just dropped the music video for her new track “Baby Blue,” which is featured on her upcoming debut album "Island of the Island Sun," due out later this year. In the song, she remembers a past lover who didn’t love her like they should’ve. Here’s what she had to say about the track: “I wish I knew earlier in my life that your self-worth has nothing to do with how other people treat you. When you exhaust yourself trying to save them from themselves, lying to protect them, sacrificing your own needs and getting your heart broken over and over again – you may realize that sometimes you have no other choice than to leave to stay alive. It’s a tough lesson to learn that someone you love doesn’t care about you, maybe they wish they could, but they just aren’t capable, and there’s absolutely nothing you can do to change that. And maybe one day you will learn that your happiness isn’t reliant upon the happiness of others and that you deserve to feel loved, no matter what.” The upcoming record was penned in Los Angeles when Winona was homesick and going through a tough time, and the island is a metaphor for a place where everything’s peaceful and simple, representing a happy place in ourselves or a relationship; a bittersweet yearning for a place we ache to go again. Since releasing her "SHE" EP in 2020, she’s already racked up millions of monthly listeners on streaming, with massive hits like “Hope,” “World We Used to Know,” and “Piano in the Sky."