Alicia Keys has been a strong presence in pop culture for the last two decades, and deserves all the recognition she’s getting for her most recent album, Keys. And given her close relationship to the hip-hop world, it’s not surprising that she’s celebrating the release of the album in standard rapper fashion — with a massive new chain. And who better to marvel over the custom Elliot Eliante chain than her rapper/producer husband, Swizz Beatz, and one of her most high-profile collaborators, Jay-Z himself.
“Empire State Of Mind” might just be the best-known mainstream hit for both of them, and given that strong connection, Jay isn’t shy about heaping praise on Alicia’s new bling. “When we create these things, when AK comes out with Keys chain, I mean come on man, it’s just super hard first of all,” Jay-Z said in a clip about the bling. “The chain is just super hard. It comes from a different place, it’s beyond a show of wealth. People tend to identify it as [that] today, this thing comes back to… all the great kings from Ethiopia to Africa.”
That’s actually a fantastic way of identifying the piece as a celebration, and Alicia definitely deserves to be recognized as the royalty she is.
Last year, Alicia Keys rolled out the 18-track album Alicia, which featured unexpected collaborations with musicians like Brandi Carlile, Tierra Whack, and Khalid. Earlier this month, the prolific singer followed up with the 26-track effort Keys, which featured another Khalid collaboration, the sultry track “Come For Me” with a verse from Lucky Daye. After showing some behind-the-scenes of the making of her album with a short film, Keys has now shared a cozy and intimate video for her Khalid and Daye collaboration.
Keys’ “Come For Me” video gives her fans an inside look at the making of the song. While the three musicians put in a lot of studio time, which can be seen in the visual, they also made sure to make time for having fun. That includes spending some time around the table drinking wine and bonding over board games.
Along with her new album, a video, and a short film, Keys has also been cooking up another project lately. This past week, the singer revealed that her graphic novel Girl On Fire will hit bookshelves soon. Keys said the novel was a long time in the making — five years to be exact — and follows the story of a young girl from Brooklyn who discovers she has superpowers.
Watch Keys’ “Come For Me” video with Khalid and Lucky Daye above.
Keys is out now via AK Worldwide Productions/RCA. Get it here.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Last week, Alicia Keys released her eighth album Keys complete with 26 songs for listeners to enjoy. The project also flaunted guest appearances from Pusha T, Lil Wayne, Swae Lee, Lucky Daye, Brandi Carlile, and Khalid. Now that people have been able to spend time with the project, Alicia Keys returns with a new short film to accompany the album. Clocking in just shy of 13 minutes, the film follows her career as a musician from her young days as a child to today as an undeniable star. Snoop Dogg, Swae Lee, Lucky Daye, and her husband and producer Swizz Beatz also make appearances in the film.
Keys arrives a little over a year after Alicia dropped her seventh album Alicia. Her eighth album is divided into two parts — side A, which features stripped-down music produced entirely by Keys herself, and side B, which leans towards a hip-hop-friendly sound thanks to production from Mike Will Made-It. It’s a solid follow-up to 2020’s Alicia, which featured appearances from Jill Scott, Khalid, Miguel, Sampha, Snoh Aalegra, and Tierra Whack. Keys also serves as somewhat of a sequel to Alicia with both bodies of work do a good job of showing the full range of the singer’s artistry.
You can watch the short film for Keys in the video above.
Tierra Whack is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Usually, your best bet to see a bunch of well-known artists performing on TV in rapid succession is to catch an awards show like the Grammys. Well, the next Grammy ceremony is set for late January, but ahead of then, last night offered a different kind of opportunity to watch a ton of musical firepower taking the stage on the same broadcast: The Voice aired the live finale episode of its 21st season last night and pretty much every musician you’ve ever heard of took the stage.
Aside from the show’s contestants, artists who performed included Coldplay and BTS; Walker Hayes; Tori Kelly, Keke Palmer, and some contestants; Ed Sheeran; Jennifer Lopez and Lukas Nelson; Carrie Underwood and John Legend; Alicia Keys; Ariana Grande and Kid Cudi; Kelly Clarkson; Blake Shelton; and John Legend.
Of particular note was Kid Cudi and Ariana Grande giving their Don’t Look Up single “Just Look Up” its live debut. Meanwhile, Coldplay opened the show with “My Universe,” and while BTS couldn’t be there in person, they did show up on stage as holograms. Later, Ed Sheeran, who was a Mega Mentor on the show this season, stopped by to play “Shivers.”
Usually, your best bet to see a bunch of well-known artists performing on TV in rapid succession is to catch an awards show like the Grammys. Well, the next Grammy ceremony is set for late January, but ahead of then, last night offered a different kind of opportunity to watch a ton of musical firepower taking the stage on the same broadcast: The Voice aired the live finale episode of its 21st season last night and pretty much every musician you’ve ever heard of took the stage.
Aside from the show’s contestants, artists who performed included Coldplay and BTS; Walker Hayes; Tori Kelly, Keke Palmer, and some contestants; Ed Sheeran; Jennifer Lopez and Lukas Nelson; Carrie Underwood and John Legend; Alicia Keys; Ariana Grande and Kid Cudi; Kelly Clarkson; Blake Shelton; and John Legend.
Of particular note was Kid Cudi and Ariana Grande giving their Don’t Look Up single “Just Look Up” its live debut. Meanwhile, Coldplay opened the show with “My Universe,” and while BTS couldn’t be there in person, they did show up on stage as holograms. Later, Ed Sheeran, who was a Mega Mentor on the show this season, stopped by to play “Shivers.”
When Khalid announced his new project Scenic Drive, and distinctly noted that it was a “tape” he was excited to deliver to fans, one thing came to mind. A little over three months ago, the Texas native offloaded a series of tweets that amounted to an honest admission of writer’s block and struggles with the “overwhelming” balance to meet expectations, remain authentic, and grow into something new and different as an artist. It’s truthfully something most, if not all artists, are forced to grapple with around their second and third albums. Sophomore slumps are already pressure-inducing enough, but even when they’re overcome, the pressure to do it a third time is just as high, if not even higher.
Khalid is a star in his own right. Both of his albums, 2017’s American Teen and 2019’s Free Spirit, are multi-platinum bodies of work with the latter serving as his first No. 1 album. Plenty of awards feature Khalid’s name and his work, and it all contributes to the pressures he feels going into his third album, which he already revealed is titled Everything Is Changing. As a musician, there are practically three options when a mental roadblock is hit while crafting art: trudge through it, wait for it to go away, or divert onto a new and hopefully uninterrupted path. Khalid’s Scenic Drive is the result of his decision to do the last option.
On Scenic Drive, Khalid seeks to overcome his self-doubts by just letting things be. The intention behind this project is to seemingly just do it, to just release music, get back into the swing of things, and even self-supply a boost in confidence. The music on Scenic Drive is simple and appetizing at most as Khalid plays things safely while remaining in a comfortable pocket. It’s the kind of easygoing bass-heavy R&B music that’s romantic, lovelorn, and everything in the middle. It falls on the complete opposite end of the spectrum from what he said Everything Is Changing will present. He previously noted that the songs on the album center “around trying to find a purpose and a sense of self in a world where everything is digitally connected but emotionally disconnected.” All in all, a sharp contrast from what we hear on Scenic Drive.
For what it’s worth, Khalid’s latest project is simply an observant journey through one’s love life, whether it be his own or someone else. It touches on all areas, including the shy moments in the early stages where the respective parties are scared to admit their feelings as “Brand New” and “Open” detail. On the flip side, Khalid keeps things honest and straight to the point about a woman who fails to hold her end of the bargain in a relationship on “Retrograde” and “All Is Bad.” There’s also the hesitance to acknowledge that love is fading away on “Voicemail.” However, if there are tracks that are no doubt made from Khalid’s first-person point of view, it’s “Backseat” and “Scenic Drive.” These see the singer relishing in the natural beauty and existence of what surrounds him while appreciating the fact that he’s able to enjoy it all together.
Scenic Drive unwinds a tense mind through effortless music. It’s something that’s apparent from the moment that Alicia Keys’ free-floating harmonies fall from our speakers. Only Khalid himself knows what he sought through creating this project. Maybe it’s a creative dump in the name of clarity or a moment to refine his skills and return to form. Whatever it is, a sigh of relief as Scenic Drive concludes can be felt as Khalid lets go and allows things to be in their most natural sense. Aligning himself with talented artists like Lucky Daye, 6lack, Kiana Lede, JID, Majid Jordan, and more only add to the appeal of the whole project which is filled with good and enjoyable music. Hopefully, this makes things easier and less weighted for Khalid as he returns to working on Everything Is Changing.
Scenic Drive is out now via Right Hand Music/RCA. Get it here.
Majid Jordan is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Alicia Keys is a lot of things: A singer, a songwriter, a Grammy Award-winner, an on-the-nose Netflix romcom producer, a wife, a mother, and now, apparently, a true agent of chaos. Considering the absolute deluge of drama that comes out of any attempt to force Lil Wayne and Pusha T into reconciliation, her decision to put them both on her upcoming album KEYS is like the rap game equivalent of throwing rocks at a wasp’s nest. She shared a tracklist for the 26-track double album featuring both names and set rap fans buzzing about the possibility of renewed hostilities.
Granted, unlike prior attempts to force collaboration, she didn’t put them on the same track — in fact, she didn’t even put them on the same “disc,” as KEYS has a unique twist meant to show off the duality of the singer’s classical training as juxtaposed with her deep roots in hip-hop. But the move does read a lot like playing with fire, especially if Pusha T’s younger brother instincts take over and have him tossing darts at Lil Wayne across the gulf. The two don’t even have to be on the same track to spark resentment, with Pusha’s verse on Pop Smoke’s album taking shots at Wayne’s longtime labelmate Drake and prompting Young Thug to speak out against him.
Pusha will appear on Side One, dropping bars on the intro track “Plentiful,” and Wayne will pop up on “Nat King Cole,” produced by Mike Will Made-It. Hopefully, the two can resist their urge to butt heads without being on the same track, as Rick Ross attempted to do in 2019 before Pusha torpedoed that plan with his “Maybach Music VI” verse, which ultimately had to be cut to keep the peace. If they can keep things civil, it’ll be one more step toward reconciliation after Wayne admitted he has no idea why Pusha has been sniping at him for the last 15 years.
Meanwhile, Alicia’s other guests are way more likely to keep things cool; as Khalid, Lucky Daye, and Swae Lee all seem unlikely to start throwing reckless haymakers at each other — although stranger things have happened in the world of hip-hop.
In the video for “Best Of Me,” Alicia Keys’ new single and loving ode to her husband Swizz Beatz, the singer spends time cuddling, dancing, and posing with Swizz, as clips from various home movies featuring their whole family appear throughout. The single is the first from Alicia’s upcoming double album Keys, which will play on the two sides of the singer’s career — the laid-back, piano-driven Originals side, which will be produced by Alicia herself, and the hip-hop-friendly, upbeat Unlocked side produced by Mike Will Made-It.
In that spirit, two versions of “Best Of Me” hit Alicia’s YouTube. While the video uses the stripped-down “side A” version produced by Keys herself, the “unlocked” version adds extra instrumentation, including drums and synth. Keys’ excitement for the new project is palpable in her social media posts leading up to its release, saying the track gives her chills. The project will around just over a year removed from the singer’s last full-length album, Alicia, which contained features from Jill Scott, Khalid, Miguel, Sampha, Snoh Aalegra, and Tierra Whack. Keys is due on December 10 via RCA Records. You can pre-save it here. Check out the cover below.
Watch the “Best Of Me” video above and listen to the alternate “unlocked” version below.
It’s been a little over a year since Alicia Keys released her seventh album, Alicia, which featured appearances from Sampha, Sir, Tierra Whack, Miguel, Khalid, Snoh Aalegra, and more. That album’s release was delayed due to the pandemic, but the singer is hoping the same doesn’t happen to her next album, Keys, which will be a sequel-of-sorts to her other 2020 release.
Keys noted that the upcoming project would be a double album, with Side A featuring “laidback piano vibes” that she produced herself and Side B featuring an “upbeat, drums & level Up” sound produced by Mike Will Made-It. She did not share a release date for the album, but the hope is that it arrives much sooner than later.
News of another Alicia Keys album comes after Resort To Love, a Netflix film she produced. It starred fellow 2000s pop fixture Christina Milian and it tells the story of a singer who gets booked for her ex’s wedding, only to end up falling in love and stealing him away from his soon-to-be wife.
You can view Alicia Keys’ announcement about her upcoming album in the post above.
Tierra Whack is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Janelle Monáe has long used her art to bring attention to issues the world faces, and that’s just what she does on her latest, the 17-minute “Say Her Name (Hell You Talmbout).” The song, released to coincide with International Daughter’s Day on September 26, features the names of women who died at the hands of police brutality: Rekia Boyd, Latasha Walton, Atatiana Jefferson, Kendra James, Priscilla Slater, and many others, over 60 in total.
Monáe recruited a healthy roster of artists to help out with the track: Featured on it are Beyonce, Alicia Keys, Chloe X Halle, Tierra Whack, Brittany Howard, Zoë Kravitz, Prof. Kimberlé Crenshaw, Isis V., Asiahn, Mj Rodriguez, Jovian Zayne, Angela Rye, Nikole Hannah-Jones, Brittany Packnett-Cunningham, and Alicia Garza.
Monáe wrote on Instagram of the song, “We will never forget our SISTERS who have lost their lives to police brutality. Join me, @AAPolicyForum + my sisters this Friday, September 24th in this rally cry as we #SayHerName in honor of #InternationalDaughtersDay.”
As the title suggests, the track is a follow-up to her 2015 single “Hell You Talmbout,” a similarly spirited protest anthem.
Proceeds from the new song will go to The African American Policy Forum (AAPF) and their #SayHerName campaign. On their website, AAPF describes the campaign, “The #SayHerName Campaign is so much more than a hashtag. It is a multi-dimensional campaign centered around the experiences and demonstrated needs of the #SayHerName Mothers Network — mothers, sisters, and families who have lost daughters to police violence.”
Listen to “Say Her Name (Hell You Talmbout)” above.
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