Ariana Grande And 2 Chainz Performed Together For The First Time And ‘It Was Lit!!!’

Ariana Grande and 2 Chainz are really making the most out of their newfound friendship.

The two first joined forces on a remix of her swaggering chart-topper “7 Rings” back in February. That was followed by “Rule The World,” a shimmery, loved-up jam from 2 Chainz’s Rap Or Go To The League album that features a feel-good hook from Ari. The latter single is gaining traction at radio — partially because of its luxurious new video — and now it’s gotten an extra boost thanks to the pair’s first joint live performance.

On Wednesday night (March 21), Grande’s Sweetener World Tour landed in Boston for its second show, and she surprised the crowd by bringing her pal 2 Chainz out. Together, they tore through “Rule The World” for the first time, bathed in pink and purple stage lights as fans went crazy. As 2 Chainz noted alongside a clip from the performance, “the show was lit!!!”

After the show, Grande shared a pic of them posing on top of the “7 Rings” car and thanked 2 Chainz for swinging through.

That wasn’t the only surprise up Ari’s sleeve at her Boston show. Earlier in the night, her manager, Scooter Braun, made a sneaky and hilarious cameo during her Last Supper-inspired performance of “God Is A Woman.” The Sweetener World Tour, apparently, is just full of surprises.

Tierra Whack’s #WhackHistoryMonth Was About Growth And Bold Exploration

When It Dropped: February 26

How It Sounds: Heavy, like you need an antacid after scarfing down five cheeseburgers

Standout Lines: “Whack, Whack, damn she killer / Why she got holes in her denim?”

Like a cat tangled in a mess of yarn, Whack World‘s playfulness was its defining characteristic. “CLONES,” meanwhile, is a zoo lion that’s been let out of its cage. Whack immediately makes that clear, demanding her engineer leave a recorded sneeze on the track, twice. Then the bass crashes like colliding trains, a devastating growl left in the aftermath. As the gigantic 808s continuously rumble, Whack digs into another facet of her personality: the straight-faced spitter with something to prove. Her raps here don’t contain any amount of melody. Instead, she opts for a rattling, low-volume dice roll with each word, her voice bouncing off the walls of the track with each curse, comparison, and humblebrag. These aren’t your typical bust-down watches and “Dripping Patek” bars. They’re earthier and emotional, with the true flex being her creative voice control.

Schoolboy Q Debuts Sexy New Song ‘Chopstix’ On Fallon

Schoolboy Q took the stage on The Tonight Show Starring Jimmy Fallon last night for a lively performance of “Numb Numb Juice,” but that wasn’t the only thing that he performed. The rapper also unveiled to the world the first look at a new song, “Chopstix,” which looks to be a sexual take on the eating utensil that’s much softer than what we’re used to from Schoolboy Q. It was a smooth premiere that gave viewers a glimpse of his subject range. Think of it as an appetizer as to what could be coming next – the album that the rapper hints is on the way at the end of the performance.

The show was simple, relying on Schoolboy Q’s energy to carry it – and that it did. The rapper pranced around the stage with the energy of a bouncing ball trapped beneath the ceiling and the floor. As he performed “Numb Numb Juice,” an enormous screen behind him gave the song’s lyrics new life; some of the images that were presented on screen were of a person testifying in court, an antique BMW driving on the road, and a close-up of a statue. Without warning, the rapper then goes into “Chopstix” and starts talking a little friskier than normal. HipHopNMore reported that the song originally leaked back in September and featured Kendrick Lamar. In this version, however, it sounds like Travis Scott will croon on it with his signature robotic yelps. Schoolboy Q lets the song play at the end after his verse finishes, dances, and tells the audience that the album is coming “very, very, very, very, very, very, soon.”

Schoolboy Q released “Numb Numb Juice” and an accompanying, cinematic video last week. His last album was 2016’s Blank Face LPIt’ll be exciting to see what kind of cartoonish, dangerous flair will exist on his upcoming project. It’ll, no doubt, be very, very, very, very, very, very, intriguing.

Take a look at the performance medley up above.

Daddy Yankee Makes History On Corden With Exhilarating ‘Con Calma’ Performance

Daddy Yankee made history last night as the first Spanish language performer on The Late Late Show With James Corden. He set an extremely high standard with his thrilling performance of “Con Calma,” his electrifying nightclub anthem that recently topped Billboard’s Latin Airplay Songs chart. Yankee, along with his crew of support dancers with seemingly endless amounts of energy, brought experience to the stage unlike any other.

It becomes immediately clear that, from the opening seconds, Daddy Yankee understand theatrically like few else. His dancers, clad in blinding blue tracksuits have intense faces as they whisk to and fro in a complex beginning routine, only to flee to the sides as Yankee takes the beautifully lit stage. There are Daddy Yankee masks on the performer’s left and right sides, bleeding pink goo out of their virtual sunshades. The pink spills onto the neon-stained stage and covers the floor. From there, the scene changes, with blinding, rapidly flickering colors giving way to more pink good that turns pink. Dancers retake the stage to continue their intricate routine and pack it with harsh faces, purposely stiff movements, then follow them with sexy body rolls before repeating, only slightly different each time.

This makes up the first half of the performance. Daddy Yankee’s backup dancers come out in gigantic masks and begin another routine that’s equally energetic and makes use of the vibrant stage’s constantly changing backdrop. There’s blue goo, an exaggerated depiction of Daddy Yankee performing, and those flashing lights in a collective rotation. It simulates the energy of a nightclub perfectly. The music takes us there while the performance itself creates that atmosphere and ambiance.

Daddy Yankee’s “Con Calma” isn’t the only enormous hit that he’s had recently. In 2017, his collaboration with Luis Fonsi, “Despacito,” became the second fastest YouTube video in history to reach one billion views (it took 97 days).

Take a gander at the electrifying performance up above after putting on your dancing shoes.

Logic Announces New Album Confessions Of A Dangerous Mind By Drenching Himself In Blood

In a surprise announcement on Twitter today, Logic unveiled that his new album will be coming soon. The release date wasn’t specified. But, it is called Confessions of a Dangerous Mind, the words unveiled in crimson ink in an admittedly sinister looking font. How these unveils came was…scary – disturbing at the least. Logic bloodied himself up in a stomach-turning video unveil that’s darkly mystifying in its startling intensity.

The video in question is four minutes long. Logic captioned the video, “I wrote this one in Blood.” He made his Twitter avatar a picture of his face in this human ketchup, smiling like a madman. But enough about this, turn the video on to see the message in action. Logic stands in complete darkness, rapping new material with an enormous gash on his neck. Over time, the intensity in his performance doesn’t change while the amount of blood on his body does. His shirt grows redder, his neck grows slicker, his eyes grow wider. By the end of the performance, he’s been doused in the blood like it’s a marinade for a chicken wing. This is Logic’s mind, dark and violent. And it looks like the stories housed in this chamber of torture are about to be unveiled.

Logic’s last studio album was YSIV that came out in September. Earlier this week, he shared a collaboration with 21 musicians from Joseph Gordon-Levitt‘s HITRECORD creative platform, “Do What You Love.”

Check out the creepy trailer up above.

Lizzo and Missy Elliott’s ‘Tempo’ Is Already The Song of the Summer, You’re Welcome

What happens when you take Lizzo, one of hip-hop and R &B’s most energetic vixens in the modern day and age, and mix her energy with that of Missy Elliott, an equally energetic siren of the 1990s and 2000s?” The answer is “Tempo,” a fast and furious, bellowing record stuffed with the kind of swagger that makes those unsure of themselves uncomfortable. The pair dropped the record today and through its hi-hats and dominating lyrics, overtook the internet in a flurry of hip thrusts and flashed tongues.

Lizzo’s already proven that when it comes to vocal chops, she’s top tier. “Juice” enables her shimmering voice to shine and her funkiness has made her a household name because of it. But “Tempo” is completely different, almost as if it’s from a different voice entirely. Lizzo raps here with a snarl and a wink, exclaiming her preference for beats that have some gruff in them. Songs with tempo are meant for those with fuller thighs and blooming personalities. The beat is tailor-made for all kinds of twerking and hip gyration thanks to the rapid clapping and lush electro energy that makes the entire thing feel like one, extremely long, frenzy. Elliott brings a softer electricity to the mix, but don’t mistake it for hesitancy. On the contrary, she embraces the absurdity by being soft, yet delightfully arrogant about her dangerous curves. The two are a match made in hyper-charged heaven because they bounce off each other so organically.

Lizzo’s currently preparing for the release of her new album Cuz I Love You that’s set to drop in April. So far, she’s released captivating, big budget videos for “Juice” and, most recently, the LP’s title track. She’ll be heading out on a tour in support of Cuz I Love You next month as well, so if you want to bear witness to her endless energy live, it’s time to prepare accordingly.

Listen to the raging track up above.

Post Malone Releases A Music Video, But Not Really A Music Video, For ‘Wow’

For “Wow,” Post Malone‘s most stripped-down single thus far, he’s released an accompanying video that’s equally as bare, but totally authentic. It’s a music video, but not quite. It’s an interesting discussion, actually. What makes a music video? Is it reciting the lyrics to a B-movie storyline with plenty of celebrity friend cosigns? Or is any accompanying film that’s designated a music video, in actuality a music video?

“Wow” isn’t interested in answering these questions, but it does, however, present itself as the latter. It starts with a telling quote from former English Parliament member Charles Buxton: “You will never find time for anything. If you want time, you must make it.” Malone follows this by not showing a music video but, instead, a mix of random footage. It’s beautiful, dancing, laughing Malone. There’s DJ Khaled showing face here and we see a little bit of Red Hot Chili Peppers rehearsing ahead of the 61st Grammys Awards. The best part about it all is the extended scene of the viral dancing man, Mike Alancourt, getting his groove on while the energetic song plays in the background. It all adds up to a captivating video that, by avoiding the conventions of modern music videos, creates something intriguing.

“Wow” could be the first taste of something new from Malone following his 2018 album Beerbongs & Bentleys. Since then, he collaborated with Swae Lee for “Sunflower” and performed at the 61st Grammy Awards with the Red Hot Chili Peppers.

Check out this music video, that’s not really a music video, above.

Gunna Is Moving On From The Drip, But His Wave Is Just Starting

Gunna scored his first No. 1 on the Billboard Top R&B/Hip-Hop Albums chart earlier this month with his new album, Drip or Drown 2. His previous peak was No. 2 for Drip Harder, his 2018 collaboration with Lil Baby. Before that? Drip Season at No. 25 in February 2017. “I’m just honored and happy,” the 25-year-old rapper, born Sergio Giavanni Kitchens, told MTV News recently about this chart success. “I’m glad that all of my fans are being supportive and I’m just excited for the album going ahead.” To say that the Atlanta rapper is having a moment is an understatement. He is the moment.

It started in 2018 when his Drip Season 3 mixtape helped him ascend to the top of the scene in Atlanta, rap’s current epicenter, and solidified the hip-hop obsession with the term “drip.” Gunna’s silky, slightly robotic flow was fresh, similar to Young Thug’s excited trilling but more toned down and rich with commercial possibilities. The rest of his year was huge, as he joined with fellow local rapper Lil Baby for Drip Harder and the massive hit “Drip Too Hard” (which peaked at No. 4 on the Hot 100), and revealed how smooth his voice could be without its metallic edge in a freestyle video with 11 million views.

He spent the rest of the year becoming rap’s most loaned-out voice, appearing on songs by Tory Lanez (“Miami”), Travis Scott (“Yosemite”), and Mariah Carey (“Stay Long Love You”) — one of his career favorites so far. (His mom loves listening to her.) Now, Gunna’s hard work has paid off. His debut studio album, Drip or Drown 2, is the second in a series, the first of which came out in 2017. “Drip or Drown 2 is more me, more songs,” he said when comparing the two installments. “I enhanced it more, even with the cover itself. It’s more provocative, and this promotion scheme was super original.” He had an aquatic motif for the album seen through the album artwork itself — one of the hardest of all time — that captures him standing underwater with an umbrella. Gunna also threw a listening party at the Georgia Aquarium.

To find his best self, he sought out help from Atlanta production stalwarts Turbo and Wheezy, responsible for his songs “Drip Too Hard” and “Pedestrian,” respectively. “After two months of Drip Season 3 being out, me, Turbo, and Wheezy buckled down to focus on the new album,” he said of the LP’s creation. “It was extremely important to have them for this. We were already used to working together, but we weren’t working as a trio. This time, we were all in a room together.” Recording took place across a number of states including Atlanta, California, and Florida — Miami, specifically. “We just caught vibes in studios.”

Wisely, Drip or Drown 2, isn’t some big, bold reimagination or expansion of the rapper’s aesthetic. Instead, it takes what we know about his sound and cranks it up past the recommended level. “I’ve learned since Drip or Drown that no one should care what people think,” he said. “I learned that after years of comments, it really doesn’t matter. In making music, that’s really something that you have to know to move forward.” He’s wise not to let anyone interfere with his winning formula. He believes it “comes from being in the right spot and space of mind.”

Looking at the tracklist for Drip or Drown 2 reveals only three features, which makes it largely a vehicle for Gunna alone. The additional names, by extension then, are meaningful; of course, there’s Young Thug and Lil Baby, but there’s also Playboi Carti. They make for a thrilling combination – Gunna’s futuristic warbling, Carti’s pinky-up sniveling – that’s worked previously on “No Time” (from Carti’s 2018 album Die Lit, on which they turn up the personality to 11). On Gunna’s latest, they return with “Same Yung N—a.” “Me and Carti are both from the Southside of Atlanta,” he said of their chemistry. “That’s one of the main reasons that we clicked so well. Before I got on, we were already cool because we went to high school together.” That connection can be heard in how effortless their voices play off each other and they build upon the other rapper’s foundations.

But enjoy Drip or Drown 2 because, according to Gunna, the reign of the “drip” is coming to an end. “Drip Season 4 is going to be the last in the series and I’m going to come with something else,” he said. Since he began “dripping” in 2016 with the series’s first installment, the term “dripping” has become so commonplace that water, by association, has been absorbed into the rap canon. Offset and 21 Savage dropped “Ric Flair Drip” in 2017. One of Cardi B’s biggest records on her 2018 debut album Invasion of Privacy is the Migos-assisted “Drip.” Tory Lanez one-upped her by releasing a tune called “Drip Drip Drip” months later. The rapper’s influence is clear when looking at rap in 2019. It may feel like a quick journey to the top, but in actuality, it’s been a couple of years: “I just work hard and when you work hard, a lot of stuff just starts happening for you.”

Nilüfer Yanya Is Ready To Become Miss Universe

When Nilüfer Yanya sings, her face stays steely. She holds a constellation of emotion in her brow as she delivers the big questions like, “Do you like pain?” Her hands, meanwhile, rhythmically widen and stretch, evolving into chord shapes that keep her songs grounded, yet aspirational. It’s how each of the young London-based singer-songwriter’s tunes begins, with six strings and an idea.

Yanya, who started off on piano as a child but picked up the guitar at 12, has spent the past few years winning over fans with her sonic palette of alt-rock with jazzy corners. Her debut album, Miss Universe, out Friday (March 22), goes even deeper: the guitar lines slice harder, the percussion bulks up, and Yanya’s smoky voice fortifies the whole operation. Oh, there’s also the health-service hotline interludes that give the album a whisper of dystopia. Miss Universe contains multitudes.

Yet the star at its center remains completely unostentatious. “I’m not a natural — what’s the word — performer,” Yanya told MTV News. After positive experiences with a music instructor in school, she applied to study pop music in college, though she said she didn’t really want to go. When she didn’t get in, that was fine; she kept working on her own. “The first time I played I had such a big buzz off the playing that lasted a day, so it’s definitely addictive. Your songs are different when you’re playing them live. But it’s definitely not easy to do, for me anyway.”

You wouldn’t know it. At a recent show on a small basement stage at New York City’s Berlin, she breezed through selections from Miss Universe with help from her band, including creative collaborator/saxophonist Jazzi Bobbi, completely owning the room. She channeled her early guitar inspirations The Strokes and The Libertines on the rollicking “In Your Head,” a fantastic entry point into her vibrant catalogue. In the song’s video, Yanya oozes star power; one particularly IG-ready moment finds her posing with an Arby’s soft drink in a pink dress, bejeweled and fierce — it’s unsurprisingly become a go-to image for outlets covering her music. Her actual Instagram page is full of such defining moments. She can tell you who she is with a simple look. Or an indelible hook.

Nothing is quite like “In Your Head,” a lyrical doubt spiral that sounds like the most fun night out you’ve ever had. It began with a demo based around a muddy guitar part and a drum machine and with help from producer John Congleton (who’s worked with everyone from Earl Sweatshirt to St. Vincent to Marilyn Manson), ended up “bigger and better.” “It was kind of refreshing to be able to work like that, I think, because a lot of the time, from your demo to a finished song, you do a lot of refining. But here it was like, let’s just do it again but make it sound better,” Yanya said.

The song plays off the album’s overarching specter, a futuristic health hotline called We Worry About Your Health (WWAY Health) — “a kind of slogan” she found stuck in her mind — that manifests in five interludes dryly narrated by Yanya herself. “We are here for you. We care for you. We worry about you, so you don’t have to,” she intones to open the album. A minute later, on “In Your Head,” she’s questioning everything: “I can think what I want, I can feel what I feel / Until you say it out loud, how will I know if it’s real?” It’s entirely possible to experience Miss Universe solely through its wiggly grooves and midnight-purple guitar tones while not paying much attention to its higher conceptual aims. But if you listen, you might start pondering the unknowingly vast cosmos of your own brain.

“How much control do you want to give away?” Yanya said. “For everything you get, you give something away. And I think my conclusion is that your mind is the last safe space, really, and if you can’t look after your mind and you can’t keep it safe, if you have to open it up to everything, then you have no control. It’s kind of a scary thought, really.”

One place it’s nearly impossible to have total control, of course, is the internet. But it’s also capable of intense community-building, especially as it applies to musicians. Yanya’s already amassed some loyal fans who record themselves playing her songs on guitar and post the videos online. One particularly handy one offers a tutorial for her eerie and mournful “Keep On Calling,” a godsend for fans of artists whose work perhaps hasn’t made it onto guitar-tab sites yet. Yanya said a friend showed her one such cover. “I was like, wow this is so weird. But they were playing it kind of wrong,” she said with a hearty laugh. “It made me feel a bit better about myself, I don’t know why.”

One of the final sounds Yanya allows us to hear on Miss Universe comes as closer “Heavyweight Champion of the Year” winds itself up to a hypnotic, cathartic conclusion. Over a blast of squelching guitar noise, she lets out one of the most human cries found anywhere on the album: “Game over, I’m / Heartbroken / I gave you up.” It’s a powerful song even upon first listen. But in closing, it sheds new light on the entire preceding enterprise. All the spooky WWAY Health outsourcing and funky explorations of self become part of a larger ecosystem within the album’s framework. “Music is weird,” she said. “Like, whatever you’re kind of thinking, you write into a song, and then if you sing the song, it’s kind of like you’re making things happen by singing that song out loud and putting that message out there.”

Grimes’ New Album Miss_Anthropocene Is About A Space-Dwelling, Apocalypse-Fetishizing Demon

Grimes has a new album coming soon, she just hasn’t revealed a release date yet. It’s called Miss_Anthropocene and it’s “a concept album about the anthropomorphic goddess of climate Change.” The singer revealed this information, and so much more, on Instagram yesterday with an extremely long and detailed post. Not only do we know what her new album will be about, but we also know about what it entails and her plans leading up to its release. Forget detailed, lavish rollouts; Grimes may have just revolutionized the way that artists open up to fans completely. No more drip-feeding.

Grimes’ post wasn’t an album cover or anything, just a selfie. An innocent, quickly shot, selfie. The caption, however, was anything but. Right after announcing that her new album is called Miss_Anthropocene, Grimes delves into the meanings of each word; misanthrope being “a person who dislikes humankind and avoids human society,” and Anthropocene being “a proposed epoch dating from the commencement of significant human impact on the Earth’s Geology and ecosystems including, but not limited to, anthropogenic climate change.” It’s deep, interesting stuff. Later on, she adds more color to Anthropocene, writing that she’s “a psychedelic, space-dwelling demon/beauty-Queen who relishes the end of the world. She’s composed of Ivory and Oil.”

In addition to describing a little bit about the album’s title and subject matter, Grimes also discusses the content of the songs’ themselves. “Each song will be a different embodiment of human extinction as depicted through a Pop star demonology,” she writes. “The first song ‘we appreciate power,’ introduced the pro-AI-propaganda girl group who embody our potential enslavement/destruction at the hands of Artificial General intelligence.” If anyone deserves an awesome conspiracy theory show on Netflix, it’s Grimes.

After divulging these details about the LP, the singer also gives something of a roadmap for the upcoming album’s release. “It’s possible I will drop an EP or a few more singles of synth-based stuff b4 the album because it’s mostly ethereal nu metal (ish), and I know a lot of ppl miss the synths and whatnot.” There’s no word if the musical that she’s working on, which features “Pretty Dark” that she released last week, will be released before the LP.

It’s definitely time for a new album. Grimes’ last LP was 2015’s Art Angel. Last November, she released “We Appreciate Power” with HANA, leading to whispers and early expectations that a new project would finally be arriving soon. Grimes’ upcoming album has been delayed on a few occasions but now it’s time for the waiting game again, only, this time, we have more details to hold us over.

Check out Grimes’ lengthy Instagram post up above.