Lana Del Rey Wants A ‘Secret Life’ In Serene New Bleachers Song

Lana Del Rey is featured on Jack Antonoff’s new Bleachers song “Secret Life,” which was released Wednesday (July 28).

The song is fifth track on Bleachers’s upcoming album, Take the Sadness Out of Saturday Night, which will be released on July 30. On this pensive guitar ballad, Antonoff sings  that he wants to have “a secret life where they can get bored out of their minds,” away from chaos, with help from Lana.

“I just wanna have you in a secret life / ‘Cause I’m sick of chasing all these holy ghosts / Been tryna tell you I want you the most,” he sings on the chorus.

Del Rey brings her captivating voice for the second-verse lyric “Don’t I know that you think I think I’m better than I am.” She brings harmony later in the chorus.

This is not the first time Antonoff and Del Rey have collaborated together. In addition to their “Secret Life” duet, Del Rey is credited as a writer for the track “Don’t Go” on the upcoming album. Antonoff also co-produced and co-wrote the majority of the tracks for Del Rey’s previous two albums, Chemtrails over the Country Club early this year and Norman Fucking Rockwell! in 2019.

Chemtrails over the Country Club debuted at No. 2 on the Billboard 200, ranking as Lana Del Rey’s seventh top-10 album in the U.S. Norman Fucking Rockwell! debuted at No. 3 on the same chart as Del Rey’s sixth U.S. top-10 album.

Take the Sadness Out of Saturday Night will be Bleachers’s third studio album and the first one in four years since the release of Gone Now in 2017. Lana Del Rey is expected to release another album later this year titled Blue Bannisters but an exact date is yet to be announced.

Blackpink’s Rosé Beautifully Covers Alicia Keys’s ‘If I Ain’t Got You’ With Some Help

Blackpink member Rosé performed a beautiful cover of Alicia Keys’s 2003 hit “If I Ain’t Got You” with Shinee’s Onew and AKMU’s Lee Suhyun on Tuesday (July 27).

The cover can be seen in the latest episode of South Korean variety show The Sea of Hope. It’s a true collaboration: Suhyun begins the performance while Onew provides backing vox on the chorus. Rosé kicks off the second verse with her dreamy vocals and high notes as she sings the lyrics off her phone.

“Some people search for a fountain / That promises forever young,” she sings. “Some people need three dozen roses / And that’s the only way to prove you love them.”

Rosé joins with Suhyun on the pre-chorus, and next, the Blackpink member continues the chorus with Onew. The SHINee member then concludes the cover by singing  the outro.

Later in the episode, Rose and Onew also performed together on another heartwarming cover of Jason Mraz and Colbie Caillat’s 2019 hit “Lucky.” Their voices accompany each other in harmony, providing a quite playful charm for the audience to sway with. “Lucky I’m in love with my best friend / Lucky to have been where I have been / Lucky to be coming home again,” they sing.

Rosé has been doing covers as of late on The Sea of Hope. Two weeks ago, she sang Paramore’s 2009 hit “The Only Exception.” On the first episode of the variety show in June, she also dove into John Mayer’s “Slow Dancing in a Burning Room,” which the rock singer praised as “gorgeous.”

Rosé debuted her first solo single album R in March 2021. The lead single “On the Ground” peaked at No. 70 on the Billboard Hot 100, becoming the highest-charting song by a Korean female soloist in the U.S. The song also debuted and peaked at No. 1 on both the Global 200 and Global Exclusive U.S. charts, making history for both charts as the first song by a Korean solo artist to achieve as such.

30 Years Ago, The First Lollapalooza Felt Like One Wild ‘House Party’

By Nicole Briese

It’s been 23 months since the chain-link gates of Lollapalooza last opened to concert-goers in Chicago’s Grant Park, and festival cofounder Perry Farrell is feeling just like the rest of us about the return of live music: cautiously excited. “I want to party, to put it simply,” Farrell tells MTV News on a July afternoon. “We’re getting through this together, but it’s been very difficult.”

His remarks follow the world’s worst pandemic in more than 100 years, which turned the live-music scene upside down in 2020. Farrell’s annual event, which began as a traveling showcase in the 1990s and relaunched in Chicago after partnering with Texas-based company C3 Presents in 2005, was forced to broadcast online. “I want to party, man, I need to,” Farrell laments. “We all need to, we need to celebrate life, because every moment is fleeting. That’s how I’m feeling.”

He’ll soon have his chance. This weekend, Lollapalooza 2021 will open its gates to the public once more with a slew of new safety measures in place. Yet it’s far from business as usual for the festival that garnered 400,000 visitors in 2019 alone. Its reopening on July 29 marks more than the first major multi-genre music gathering to take place in the United States in the wake of COVID-19. There’s another major milestone at play here, as well — the festival’s thirtieth anniversary.

It was never supposed to last three decades. As the story goes, Lollapalooza, the lovechild of Perry Farrell, music executive Marc Geiger, and booking agent Don Muller, actually started out in 1991 as a farewell tour for a band on the brink of implosion — Farrell’s own Jane’s Addiction. “I had no idea what it would become, I just knew that I was having fun,” Farrell, the group’s frontman, says. “I tend to look in front of me. Sometimes I look behind me, [but] very seldom do I look down at my own feet.”

The formula was simple enough: Like Woodstock and other popular music fests that had come before it, Lollapalooza, inspired by the British Reading Festival that Farrell and his bandmates attended, would be headed up by multiple acts on different stages. Unlike other North American festivals, however, which were few and far between at the time, the bands would all travel as a group, with stops in 20 cities along the way.

The largely alternative lineup was a novelty on the music scene at the time. “It wasn’t just a collection of bands, but it also had a mindset, and it had a spirit to it, with activism involved,” explains Nine Inch Nails’s Trent Reznor, who played on the event’s first bill. “It felt like it had a purpose to it.”

The request to join the now-iconic group of initial headlining acts, which also consisted of Rollins Band, Butthole Surfers, Siouxsie and the Banshees, Ice-T, Living Colour, Violent Femmes, Fishbone, and of course, Jane’s Addiction, proved irresistible to the future Oscar winner. “Jane’s Addiction was one of our favorite bands, and at that time, probably the favorite band,” Reznor tells us. “When we got the call to say that Perry had leveraged the success that he had to put on an alternative traveling festival, you know, we didn’t have to think at all for that.”

The experience marked his first foray into previously uncharted territory. “Lollapalooza would’ve been the first festival I’d ever attended, ‘cause I don’t think there’d ever been one that appealed to me,” Reznor shares. “There weren’t a lot of festivals with Depeche Mode on [them], and bands like that that I cared about. Musically, it felt like, hey, here’s a new home for people that couldn’t do something like this before, ‘cause it didn’t exist.”

Ebet Roberts/Getty Images

Nine Inch Nails performing at Lollapalooza in 1991.

Festival-goers responded in droves. “In those days, people were always interested in the new groups coming up, even if they weren’t even signed yet,” Farrell says.

The first show kicked off in Tempe, Arizona, on July 18, 1991, and its diverse roster of talent brought an energy to the stage that couldn’t be replicated by the arena tours of the era with acts such as Nelson, The Scorpions, and Winger. “I’ll be honest — there was a precognitive at the time, and I’m thinking right now of watching Gibby Haynes [of the Butthole Surfers] blow off his shotgun over the crowd. I just thought, ‘Wow, man,’” Farrell recalls of the infamous 1991 moment when Haynes first fired a series of blank shells over shocked concert-goers’ heads.

Haynes’s onstage antics would be repeated many times throughout the tour. “It was a 12-gauge shotgun, and I discharged it perhaps 12 times per show … for the entire summer,” he clarifies. As the “Pepper” singer explains, the blasts were a way to replace the normal stage effects the band typically incorporated into its shows in the dark. It also served as a metaphor for Butthole Surfers itself: “It’s just loud, threatening, and scary.”

It was also something new and different. At the time, Perry says, record companies aimed for tours dedicated to “like, stadium rock, and it wasn’t quite working out. It was kind of stale, you know? Watching everybody just let loose at Lollapalooza…,” he trails off. “You know when your parents would go off on a vacation, but they wouldn’t take you, so that you were left and you would throw your house party? It felt just like that.”

More than simply disrupting the status quo, though, the experience signified a changing of the guard for the music industry. “It felt like revolution was in the air,” Reznor remembers. “There were a lot of bands doing things that weren’t mainstream. They weren’t really being played on the radio, but there was a lot of music that felt exciting that kind of fell just outside of that.”


The event faced its challenges, to be sure: Fights erupted both onstage and off, namely, as Farrell has said, between him and guitarist Dave Navarro. Unexpected malfunctions also arose. “Our equipment was … duct tape and homemade cases,” Reznor recalls. “It wasn’t pro-level gear we were touring with. And I look, and there’s Living Colour, and they’ve got … shit that looks like Guitar Center racks, put together properly, professional job, stenciled logos on the side of their … they had cases!” he says. “I thought, man, we don’t have our shit together. We didn’t have any money, but we didn’t know any better.”

The band got a fast education when their cables — one gifted to a 16-year-old Reznor by his father — began to melt in the over 100-degree Arizona sun. “You had to laugh, ‘cause what else could you do?” he says. “We blew it the first 10 minutes we were out there! Though it did force us to go out and buy some new cables.”

That wasn’t all that took a beating on the NIN stage. “I never knew you could throw a DX7 synthesizer,” Haynes says with a laugh. “[Trent] would, like, jump on it and throw [it]. Their road crew figured out how you could take pieces from a broken one and assemble another one. They had, like, a Pick-n-Pull for synthesizers there.”

Amid all the chaos, something else was born: an unbridled, feral energy that could no longer be contained — and an unbreakable bond between the headlining acts. “Everybody became friends over the whole summer,” Haynes says. “At the end of it, everybody wanted it to keep going. It was really sad when it was over.”

Steve Eichner/WireImage/Getty Images

Butthole Surfers performing at Lollapalooza in 1991.

There would be many more iconic moments to follow over the years. There was 1992, when Eddie Vedder made his infamous lighting-truss climb before diving into the crowd. 1994, when a newly widowed Courtney Love dove headfirst into the crowd following a set. 2003, when Steve-O was arrested for, as he later recounted, “pulling out [his] penis and peeing on potato chips.” 2015, when Travis Scott instructed fans to storm the stage. Farrell’s own personal favorite was seeing Lady Gaga stage dive twice during her 2010 set with Semi Precious Weapons.

“Lady Gaga showed up in, like, a see-through bodysuit? And went and stage dived in the crowd at one of the small stages, and they were just ripping [at] her limbs,” Farrell says. “She looked like Mary Queen of Scots, [who] was beheaded, right? But she was enjoying herself. We did pull her up, and then she turned around and jumped back in. It’s so fucking cool, and it makes me like her a lot. I thought that was very bold and very big of her.”

Those seemingly once-in-a-lifetime occurrences served as the driving forces for the near-instantaneous commercial success of the festival  and its participants. “I look back at that as a real turning point of Nine Inch Nails breaking through to some degree,” Reznor says. “The level of audience increased significantly after those shows. It was a homemade, low-budget operation, and we got up to Lollapalooza, now we’re playing real, professional venues.”

“Nine Inch Nails blew up so big in the middle of that middle of that tour,” Haynes remembers. “They are the ones that got the crowd started. The crowds went apeshit for them. It was on after that.”


Farrell, for his part, had spent a lifetime priming for success in his new role as a festival producer. Long before he was belting out hits such as “Jane Says” and “Been Caught Stealing,” he was creating experiences for others as a vocalist and hype man for his first band, Psi Com. “We started putting on our own parties, because we didn’t feel like we could fit in at Gazzarri’s,” he recalls of the famous hair-metal joint that reigned on the Sunset Strip through the early ‘90s. “We knew we weren’t welcome, so we put together our own damn party.”

The singer even personally printed up the tickets to his events. “Literally, we would be on the streets like Hare Krishna guys, except we’d be handing out handbills to people to go and see our show.” The more he took on, the more he learned. “Your circle of influence starts to widen and widen and widen, like when you drop a pebble — or an atom bomb — into the water.”

Those early lessons later allowed Farrell to bring the festival back to life after sales began to plummet circa 1997. “At that time, there were probably four or five other festivals, and it diluted our strength,” he explains. With not enough headlining acts to go around, the decision was made to cancel the 1998 event. By 2003, Jane’s Addiction had not only reunited, but released its third studio album, Strays, produced by classic-rock legend Bob Ezrin (Kiss’s Destroyer, Pink Floyd’s The Wall). Farrell was then keeping company with modern rock gods Tom Morello, of Rage Against the Machine,  and late Soundgarden and Audioslave frontman Chris Cornell, when he had an epiphany. “Right now, what’s going on in the world is people are starting to play video games,” he recalls thinking, “and I just kind of saw, oh man, we could do a Lollapalooza, bring in video gaming, and … talk about alternative energy.  I kind of got hot, so I just kinda lit a match. And then, it lit up again.”

Paul Natkin/Getty Images

A reunited Jane’s Addiction performing at Lollapalooza in 2003.

Tapping his bandmates and friends as headliners, Farrell’s Lollapalooza was reborn as a traveling tour for the very last time. 2004 once again saw soft ticket sales, and in 2005, he, along with his partners at the William Morris Agency, made the decision to bring in an outside production company in C3 Presents. Together, they brought the festival back from the grave once more, this time as a destination festival in Chicago. To Farrell, it was the perfect choice for the event’s rebirth. “It reminds me of America a lot. There are good people, and they are different colors, shapes, sizes, sexual proclivities and … studies of theology. They’re just, like, a hodgepodge of interesting people.”

The new, committed location was just the tip of the iceberg. With fresh faces at the helm of the ship, Lollapalooza’s once alternative lineup was quickly expanding into other musical categories, with electronic-heavy acts like M83 and indie darlings like Death Cab for Cutie and Tegan and Sara appearing on the bill. As Farrell shares, however, it had never really been about any one specific genre. “Music is really holy to me. To me, it’s my religion as much as anything else. The sound that you’re bringing to me will either heal me or hurt me.”

The same can be said of the festival scene at large. “I think the work that Perry did here in America, I would imagine that his impact was well-bought by making a tangible festival that’s interesting, that has an identity, that’s also commercially viable, is one of the main reasons in pursuing festivals now,” Reznor says.

From Farrell’s perspective, it’s the melting pot of attendees that makes it all worthwhile. “What is so beautiful is when you see [people] all coming together and enjoying themselves and digging and appreciating each other’s culture, that’s what I get to do. That’s the most that I get out of it. That’s what I love about it.”

Caroline Polachek Dances Away From A Minotaur In ‘Bunny Is A Rider’ Video

Caroline Polachek premiered the music video of her latest single “Bunny Is a Rider,” which is available to watch on Facebook.

The music video, co-directed with frequent collaborator Matt Copson, is set in a dimly lit labyrinth of boxes, with Caroline beginning the song with her whistling. We see her bust into groovy moves and lead the camera towards different sections of the maze. If you look closely, each box contains taped labels of different words like “rocket science,” “geese,” and “dark crystals.”

“‘Bunny Is a Rider’ takes place in the storage facility of my mind,” Polachek said in a statement. “In this labyrinth, the camera is the Minotaur, but I’m the Matador so it’s game on. But like I said before, I can teleport.”

The song, which dropped on July 14, tells about an aloof person who is impossible to get ahold of. “Bunny Is a Rider” follows Polacheck’s 2020 covers of Virginia Astley’s “Some Small Hope,” featuring Lauren Auder, and The Corrs’s “Breathless,” along with the debut of her 2019 solo album, Pang.

In addition to the music video, Polachek released a bunch of new tour dates, which will kick off August 5 in Los Angeles. The Heart Is Unbreaking Tour will be her first solo U.S. tour since the disbandment of her previous band Chairlift. Her shows throughout the rest of 2021  feature a variety of guests: Alex G, Molly Lewis, Oklou, and Arooj Aftab. Polacheck is also expected to perform at the Pitchfork Music Festival, Governors Ball, Hopscotch Festival, and Outside Lands.

Tickets are now available to purchase on her website.

Kanye West’s Donda Listening Party Could’ve Only Happened In Atlanta

By Neima Abdulahi

Kanye West’s decision to host the Donda album listening party in Atlanta, which he did in front of thousands at the city’s massive Mercedes-Benz Stadium on Thursday, July 22, was spiritually symbolic in many ways. As the artist unveiled his first album since 2019’s pair of gospel LPs, the untold story became clear: of Kanye and how the Black Mecca is part of his identity, even though his brand is synonymous with Chicago where he grew up.

The 44-year-old rapper and business mogul was born in Atlanta, home of both Dr. Martin Luther King, Jr. and his late mother, Donda West, during her most transformative years. The city is where she earned a master’s degree from Atlanta University, the historically Black college that was later renamed Clark Atlanta University in 1988. Donda launched her teaching career at Morris Brown College, an HBCU located in the heart of Atlanta in close proximity to the iconic Morehouse and Spelman colleges.

Her lifelong commitment was to increase literacy and decrease the dropout rates of Black youth in marginalized communities. It’s no surprise, then, that her son reserved thousands of tickets for HBCU students to attend the event for free. Kanye’s return to Atlanta is an intentional homecoming to pay homage to his mother’s legacy in the city where his life started.

Mercedes-Benz Stadium has a seating capacity of 71,000. The venue sold out in less than a week for the listening party. It attracted a crowd reflective of hip-hop’s wide reach — fans from all diverse backgrounds and age groups who wanted to get a glimpse into his 10th studio album. During the listening party, Donda’s soothing voice — via audio captured before her 2007 death — played between numerous tracks, intricately woven into the album as a theme of her legacy.

Kanye, often overly extravagant in his artistic vision, left all gimmicks and special appearances out of the main stage, which was left bare and white as snow. He even covered his face throughout the show. This was art in its simplest form, something that everyone in the audience didn’t latch on to. But the die-hard Yeezy fans embraced every track like a sermon. For 48 minutes, he had the stadium’s full attention.

As he played through the album’s runtime, Kanye roamed around the stage, lost in the music and submissive to the melodic tunes. This was about Donda. This was about the therapeutic capabilities of music. He got down on both knees and caressed the ground with his forehead multiple times during the event. Perhaps he was connecting with something bigger than just the music. Perhaps that was his moment with Donda. If heaven had a landline, he would never hang up. And in the last few years, Kanye has launched the Sunday Service series, spiritually displaying how prayer is his greatest wireless plan to connect with his mother.

The first track that played was titled “24.” (Song titles have yet to be officially announced, but a widely circulated tracklist has.) The harmonic chant “we gon’ be OK” repeated over and over again, demanding entrance into the muscle memory of the audience. It seemed like every cell phone had the flashlight turned on, which created a riveting firefly effect throughout the stadium. An audio clip of Donda played after the first song. Her first sentence was, “It feels good to be home.” At this very moment, Atlanta made sense: her beloved home where she tapped into her love for Black Excellence and helped mobilize with the civil rights movement. Donda went on to say, “You know, I am my son’s mother.” This is her way of taking credit for Kanye’s outspoken voice. She raised him to be unapologetically himself and to fearlessly speak his mind with audacity.

Kevin Mazur/Getty Images for Universal Music Group

In order to truly understand what this album represents, one must understand how the absence of Donda drastically impacted Kanye’s life, from mental health to his family life. Throughout his music career, he rapped about his dear mother, mentioning her in almost every album in some capacity:

“Hey mama, I wanna scream so loud for you / ‘Cause I’m so proud of you.” (2005’s “Hey Mama”)

“My mama couldn’t get through to me” (2007’s “Can’t Tell Me Nothing”)

“I told my mama I was on the come-up.” (2011’s “Made In America”)

“My mama was raised in the era when clean water was only served to the fairer skin” (2013’s “New Slaves”)

The Donda album is his way of paying tribute to her in an entire project, beyond just a few bars scattered throughout his entire catalogue.

The song “Junya” featuring Playboi Carti transmitted an electrifying heavy bass into the stadium. The energy of this track was reminiscent of his innovative chapter after the Graduation album in ‘07-’08, when he started to experiment with different sounds that rebranded his creativity beyond the boundaries of what was traditionally considered hip-hop.

In the fourth verse to the song, Kanye rapped about his beloved birth home: “Born in Atlanta, not Montana. Excuse my manners. I got standards.” This was followed by a powerful reading of the iconic poem written by Chicago’s very own Gwendolyn Brooks, which commanded the audience’s full attention: “Say to the down-keepers, the sun-slappers, the self-soilers, the harmony-hushers… ‘Even if you are not ready for the day. It cannot always be night.’”

Kanye blessed the Atlanta crowd with an anticipated Lil Baby feature during the show. The 26-year-old Atlanta rapper kicked off the reflective track rhyming about the scars he inherited from society: “Early morning. Brainstorming. Normally, I can’t sleep in. Sometimes I just want to restart, but it all deepens.” Lil Baby’s feature is the ultimate homage to Atlanta’s hip-hop community, a city that still feels like, as André 3000 said at the 1995 Source Awards, “The South got something to say.”

Kanye went on to play features with Lil Durk, Roddy Ricch, and the late Pop Smoke. The audience responded with back to back cheers of approval. The song “No Child Left Behind,” teased days before the listening party, sends a powerful message of resiliency. Kanye recruited elite track star Sha’Carri Richardson, who was recently disqualified from Olympic competition, for the song’s commercial during the NBA finals. Making her the face of the song shows the intersectionality between both of their personal tribulations, as Richardson’s mother died a week before the Olympic trials.

The biggest surprise of the night came at the very end of the show, when Jay-Z hopped on the last track. Social media and the crowd exploded at this unexpected reunion. HOV addresses this in his verse, which his recording collaborator Young Guru tweeted was recorded just hours before: “This might be the return of The Throne,” a reference to their 2011 collaboration album Watch The Throne. Could this mean a sequel? The moguls have not collaborated on a track since then, following numerous reports of a feud between them, something Jay seems to nod to as well, rapping, “I told him to stop all that red cap, we going home.”

In less than 50 minutes, the show ended with no grand indication that it was over. Kanye didn’t speak directly to the crowd during the listening party. He didn’t bring out anyone to share the space with him. He didn’t hold a microphone to perform the songs. Everything played through the speakers, like a typical listening party — except the venue was the largest one in Atlanta.

If attendees came expecting the kind of typically extravagant Kanye show he’s known for, they would be sadly disappointed. If attendees came to witness his testimony, they would get a glimpse into Kanye’s vulnerability and journey of healing in real time.

“I told my mama I was on the come-up,” Kanye rapped on Watch the Throne’s “Made in America” back in 2011. Life after the come-up hasn’t been easy for Kanye, especially after losing his mother. But with grief, you never truly move on. You just learn to move forward with the pain. Yeezy may be a world-renowned brand, but he only had one birth home — Atlanta. The Donda album is a step forward. It could’ve only been unveiled in the city where Donda herself brought him into the world.

Camila Cabello Throws A Family Fiesta In ‘Don’t Go Yet’ Video

Camila Cabello dropped her new single and music video “Don’t Go Yet” on Friday (July 23) with an announcement of a new album.

The video begins with Cabello driving a vintage convertible. The footage changes into a stop-motion scene of the car continuing along a dirt road accompanied by green hills and palm trees to a grand coral pink house. Upon ringing the doorbell, Camila is greeted by a party of family friends and relatives.

The song begins after the singer greets more guests and the video pans over a wall plate. Although “Don’t Go Yet” is a love song pleading for someone to say, the song and video celebrate Cabello’s Cuban-Mexican heritage with a mix of Spanish lyrics and flamenco guitar strings, maracas, drums, trumpets, and handclapping overlapping as beats. Additional voices in the chorus harmonize with Cabello’s lead vocals, and her relatives and family friends even dance along and bring fiesta vibes with the “Señorita” singer in the video.

Some of her own family members are even featured in the music video, including her dad, sister, and cousin. Cabello also mentioned in a tweet that you hear her grandpa’s voice playing on the radio station in the beginning.

“Don’t Go Yet” is the first single from Cabello’s upcoming new album Familia. “This album was inspired by two things: family and food,” she tweeted. “Your family by blood, but also your chosen family. Who you want to sit at the dinner table, get wine-drunk, and dance in the living room with.”

The singer also showed her gratitude towards her family in a follow-up tweet and wished her fans to celebrate with theirs.

“To me, those are the moments that make me glad to be alive, those moments of collective joy and true vulnerability and connection with other people,” she continued. “I hope you enjoy it, and I hope it inspires many wine drunk kitchen dance parties for you and your familia.”

Her most recent album, Romance, debuted in 2019 and peaked at No. 3 on the Billboard 200 chart, with her single “Señorita,” featuring her boyfriend Shawn Mendes, peaking No. 1 on the U.S. Hot 100. The release date for Familia is yet to be announced.

Lil Nas X Dances Naked And Stages A Jailbreak In Daring ‘Industry Baby’ Video

Lil Nas X doesn’t fail to bring his genius creativity in his iconic new single and music video “Industry Baby,” featuring Jack Harlow and brief cameos from Jason Momoa and Colton Haynes, which is out today (July 23).

The music video is set following the events of the prelude trailer that detailed a fictitious court trial over his infamous Satan shoes. The “Old Town Road” rapper is sentenced to five years in Montero State Prison for being gay, but it doesn’t stop him from working out with Momoa and busting moves naked in the prison showers or in a pink jumpsuit in the prison yard.

In the pre-chorus, Lil Nas X explicitly says this new track is a huge “fuck you” to all his haters. “And this one is for the champions / I ain’t lost since I’ve began, yeah,” he sings. “Funny how you said it was the end, yeah / Then I went and did it again, yeah.”

We see Harlow hand a copy of the Book of Montero with a tiny pickaxe placed discreetly inside, which Lil Nas X uses to break a hole in his cell wall to hatch an escape plan. After creeping through secret tunnels, he smacks a head security officer (Haynes), who was secretly watching the rapper’s “Montero (Call Me By Your Name)” video.

Harlow raps the second verse to poke fun at the scrutiny and notoriety of his career. “It’s too late ’cause I’m here to stay, and these girls know that I’m nasty,” he raps. “I sent her back to her boyfriend with my handprint on her ass cheek.”

We eventually see him strapped to a chair and electrocuted by Lil Nas X in an ironic upending of expectations, since now a straight guy rapping about women is being shocked for his sexuality.

The video continues with the two rappers being photographed for their mugshots and Lil Nas X leading a large-scale choreo routine in the yard. Near the end, Lil Nas X and his fellow inmates escape on a bus as the sun rises before the guards wake up.

Alongside the release of “Industry Baby,” Lil Nas X launched the Bail X Fund for the nonprofit organization The Bail Project, which promotes the abolition of cash bail and to aim in paying bail for people who are not financially capable of doing so themselves.

“Music is the way I fight for liberation. It’s my act of resistance,” he said in a statement. “But I also know that true freedom requires real change in how the criminal justice system works. Starting with cash bail. This isn’t just theoretical for me. It’s personal. I know the pain that incarceration brings to a family. And I know the disproportionate impact that cash bail has on Black Americans.”

Right before “Industry Baby” dropped, Lil Nas X posted a touching personal letter to his 20-year-old self to be proud of all his achievements, like he did ahead of “Montero.” Grab some tissues.

Lil Nas X is expected to debut his full-length album Montero sometime this summer, although a release date is yet to be announced.

Bop Shop: Songs From Normani, Ben Platt, Calicoco, And More

Atlanta’s Girlpuppy, a.k.a. Becca Harvey, makes music that you could comfortably slot next to Snail Mail and Phoebe Bridgers — the latter’s collaborator Marshall Vore even assists on Harvey’s debut EP, Swan, out on August 20. On “Miniature Furniture,” though, there’s a lightness that puts her in her own league. When she sings, “Maybe move to somewhere bigger / Chicago, Pasadena / ‘Cause I still can’t stand the cold,” doubled by her own close-tracked harmonies, it sounds as breezy as her appearance in the video: floating in a pool, unhurried, matching ennui with bright jangle. —Patrick Hosken

Lorde Reflects On Life While ‘Stoned At The Nail Salon’

Lorde has sunk into very deep thoughts right now.

On Tuesday (July 21), the New Zealand singer dropped “Stoned at the Nail Salon,” the second but very self-reflective single for her upcoming album Solar Power.

Unlike her previous single’s bright disposition, “Stoned at the Nail Salon” has a more mellow atmosphere, musing about the concept of how people grow and evolve at different points of their lives. “Well, my hot blood’s been burning for so many summers now / It’s time to cool it down, wherever that leads,” Lorde sings. She reminds us that eventually time wins every battle: “‘Cause all the beautiful girls, they will fade like the roses.”

Lorde also sings about how there comes a time when you move on from reckless activities: “Got a memory of waiting in your bed wearing only my earrings / We’d go dancing all over the landmines under our town / But the sun has to rise.” Along with that growth comes how your personal tastes will change: “’Cause all the music you loved at 16 you’ll grow out of.” Is she referring to the idea that fans might grow out of her old music? She did become famous at 16 when her first album Pure Heroine debuted. Now, she’s musing about how it’s better to “spend all the evenings you can with the people who raised you.”

But there is a wave of uncertainty; is Lorde overthinking? “I don’t know / Maybe I’m just / Maybe I’m just stoned at the nail salon again,” she muses.

Fans reacted to the new single with surprise because they expected “Stoned at the Nail Salon” would bring similar vibes to  “Solar Power.”

“This song is sort of a rumination on getting older, settling into domesticity, and questioning if you’ve made the right decisions,” Lorde said in a statement. “I think lots of people start asking those questions of themselves around my age, and it was super comforting to me writing them down, hoping they’d resonate with others too. I used this song as a dumping ground for so many thoughts.”

Lorde will perform “Stoned at the Nail Salon” for the first time on Late Night With Seth Meyers tonight, while also joining the host for an interview. This will be the first time the show will have a full-production musical performance since March 2020 and marks Lorde’s first appearance on the show since 2017. The performance also follows her rooftop “Solar Power” performance on The Late Show With Stephen Colbert last week.

Solar Power follows her 2017 album Melodrama and is set to be released on August 20.

Jonas Brothers Destroy Iconic Olivia Rodrigo, Harry Styles Songs On The Tonight Show

The Jonas Brothers performed different covers under various comedic voice impressions in Jimmy Fallon’s Sing It Like challenge on Monday (July 20).

On The Tonight Show Starring Jimmy Fallon, the host kicked off the hilarious game by doing a cover of Gotye’s “Somebody That I Used to Know,” but singing it “like you just got the rubber bands on your braces tightened.” Joe performed Harry Styles’s “Watermelon Sugar,” singing like he was walking across hot coals and hitting high notes as if he was in pain. Nick then sang Olivia Rodrigo’s “Good 4 U” but as if he got his tongue pierced, so he was barely comprehensible. Lastly, Kevin sang Creed’s “With Arms Wide Open” as if he was trying to communicate a secret message with his eyes in a really deep voice.

The brothers concluded the challenge with a trio performance of their own hit “Sucker” — but playing as if they were a Chuck E. Cheese animatronic band. Kevin donned a mask while playing a small bass guitar that looks like it’s made for kids; Joe brought out an action figure to the camera while playing his acoustic guitar.

Joe, Kevin, and Nick also appeared on The Tonight Show to promote their upcoming Olympic Dreams Featuring Jonas Brothers special. With the U.S. Olympics team pumped in preparation for the games and opening ceremony in Tokyo, the Jonas Brothers are competing with each other in their own personal games, including in the fields of track, gymnastics, and BMX biking.

“We got the opportunity to pretend we’re Olympic athletes for a week or so and about a day training with incredible athletes and then actually compete [against] each other,” Kevin said. “And they filmed it for the audience at home to laugh at us.”

Nick actually broke a rib during the filming process and confirmed he is doing “a lot better.” “It’s not all that exciting,” he admitted. He detailed that they had real Olympic athletes training them, and the brothers initially felt confident because the coaches claimed the BMX biking was set at the difficulty level for 11-year-olds. However, they were spared from the knowledge the athletes have been training in BMX since they were 3 or 4 years old, thus being experts.

“It couldn’t have been worse timing, because that week following, we shot the music video for our song with Marshmello, ‘Leave Before You Love Me,’ Nick said. “I was hosting the Billboard Music Awards and performing with the brothers, and we had The Voice finale in the same week.”

The Olympic Dreams special will premiere tonight at 8 p.m. ET/PT on NBC and Peacock. The special features Olympic athletes coaching the brothers: Sydney McLaughlin and Sanya Richards-Ross in track, Laurie Hernandez and Nastia Liukin in gymnastics, and Alsie Willoughby in BMX biking.