Music

Chloe Bailey And Gunna Were Spotted At A Recent NBA Game And Fans Are Disgusted By Her Beverage Choice

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One of the more amusing/annoying things about Twitter is the preponderance of food opinions and the rigor with which users debate such weighty and controversial topics as pineapple on pizza, whether hot dogs are sandwiches, and drumettes vs. flats. It generally tips further into annoying, though, when folks get snooty about things like bottled water brands as indicators of wealth (it’s a whole thing; you can read about it here). Unfortunately, it seems no one is immune from the judgment of the Twitter peanut gallery — not even young artists as universally beloved as Chloe Bailey.

The 23-year-old singer recently attended the NBA’s Atlanta Hawks vs. Dallas Mavericks game, drawing attention for two major reasons. One was her immediate neighbor on the courtside seats: Atlanta rapper Gunna, whose reaction to Chloe’s recent VMA’s performance of her debut solo single “Have Mercy” went viral. And the other was her choice of beverage — a bottle of water. As photos of the couple(?) began circulating on Twitter, the water began drawing even more attention, mainly due to the name on the label: Dasani, which according to some Twitter users is an inferior brand (the ingredients are H2O, people, it shouldn’t be this serious).

Meanwhile, as some more astute folks observed, the brand of water being served is controlled by the venue, not the guest, and they were rightly amused at the water snobbery on display.

I guess it just goes to show that you can’t do anything right as far as social media is concerned. Also, y’all need to drink more water, I promise it’s better for you than whatever sweet drinks you’re guzzling — no matter what brand it is.

Majid Jordan Are Living The ‘Wildest Dreams’ They Could’ve Imagined And They’re Far From Finished

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After nearly four long years, Majid Jordan has returned with their third album Wildest Dreams. In normal circumstances, it’s longer than fans would’ve liked to wait in between projects, but if the last 20 months have taught us anything, we’re not at all dealing with normal circumstances. A once-in-a-lifetime pandemic brought the world to a standstill for the better part of a year. With that being said, it still leaves the following question unanswered: Where has Majid Jordan been these past few years?

“I think we almost played like 100 shows in a year in 2018 right after The Space Between came out. We were constantly on the road, living out of suitcases for about a year,” Jordan Ullman, the producer half of Majid Jordan tells me during a Zoom call. “It was a tense time of constantly thinking that we had to keep this music going. It’s like you released a project and people are like, ‘That’s cool, but like what’s next?’” He adds, “I think we’ve always tried to slow that process down and I think releasing this album and just being more in the moment of like engaging with people is the whole idea of where we want to take it next.”

The answer is Wildest Dreams, which arrives this week with eleven songs and guest appearances from Drake, Swae Lee, and Diddy. For Majid Jordan, there’s nothing but gratitude for the fans who, despite their thinning patience, stuck around with them over the past few years. “We wouldn’t be here without you,” Majid says earnestly. “We won’t let you down. You are not forgotten.” Jordan echos the same message and adds “there’s a lot more” on the way that their supporters will be able to enjoy in the coming months.

A key figure in helping Majid Jordan live out this dream is Drake and his OVO Sound label, which signed the duo back in 2013 and brought them to the national spotlight through tracks with the rapper like “Hold On We’re Going Home” and “My Love.” Contrary to social media theories that the Drake and Noah “40” Shebib-led imprint restricts their artists, Majid Jordan says exactly the opposite happens at OVO headquarters. “There’s no one who can say like, you can’t go and make music today,” Majid points out. “There’s no one who can tell us that. We can do everything on our own.” He adds, “The thing is, when you’re dealing, on a global scale, with a team that’s like that, it’s gonna just take a little bit longer than having 100-150 people behind you pushing everything all at the same time.”

The duo released two singles in both 2018 and 2019 before seemingly fading into the background. It was a well-needed and intentional break to slow down their creative process, as Jordan mentioned. Majid Al Maskati, the voice behind Majid Jordan, noted that last year’s pandemic further postponed their return as they were unsure of the health risks behind reuniting to create music. It’s here that Jordan shares how else the pandemic altered their plans. “We were very close to putting out an album, I would say we were wrapping it up end of 2019, early 2020,” he says. “We had a whole body of work under a whole different name, it was kind of like a fragment of an album.”

It’s a roadblock that many artists faced throughout 2020: share their art without being able to present it the way they’d like or hold off for an unknown amount of time. For Majid Jordan, the decision was easy. As their music is so attached to a live experience that amplifies and provides a completely new experience to the music fans heard in the comfort of their own home. It makes sense the duo placed a lot of focus on live performances and touring. Sonically, Majid Jordan is extremely diverse. The duo thrives in a pop world that keeps a foot in the R&B lane, allowing their work to be stretched and pulled into several sonic directions. Evidence of this lives on their 2014 EP A Place Like This and their two albums, Majid Jordan and The Space Between. Majid Jordan has grown in more ways than one and displays that growth on Wildest Dreams.

“There’s definitely an experimentation outside of the sound we’re usually known for [on this album], which I think is great for us,” Majid notes. “I think it’s being proactive in that sense of not being afraid to put the first foot forward into unfamiliar territory and just feeling it out, not even in private, but under the watchful eye of an entire world.” This is evident on tracks like “Forget About The Party,” a stripped-down, guitar-driven ballad that calls for “divine intervention” to redirect a lover from a party to their arms instead. It’s a song that Jordan believes is “at the center of who we are as musicians.” He adds, “I think it makes people remind themselves of a time in their lives. Anytime I listen to that, it really makes me go into a world of myself and memories.”

For Majid, the song that fits that category is “Sweet,” the album’s closer, pointing to a string of lyrics from it to explain why. “Be about me and I’ll be about you / Sing a song from your heart for me,” he sings on the track. “Leave a space in your heart for me / We’re not so different, but we’re moving differently / I feel it every time you leave / I never knew that love could be so sweet.” In short, “It’s that eye-opening feeling where it’s like we aren’t really different,” Majid says. “We’re just doing things differently to get to the same place the same end goal, that same dream we have for ourselves.”

Majid Jordan is unique as the duo is comprised of a singer and a producer, although there are similar acts including DVSN and They. It allows for Majid Jordan to create with just each other rather than relying on the availability and interest of another party. It’s a quality that the duo admitted may have contributed to their longevity. “When you start working on a project it can go many different ways, but I think we as two people are coming together in a way that the stuff we’re able to accomplish musically man?” Jordan says. “I couldn’t even dream of really doing it you know 10 years ago so I think in that way it’s getting easier.” However, that doesn’t mean that they won’t call on other artists when the occasion calls for it.

“We have a collaboration with Diddy, he’s featured on a song called ‘Sway,’” Majid notes. “He FaceTimed us like, ‘Yo wassup, I just wanted you to see the reaction to the song in real-time,’ and he’s dancing on FaceTime with his family. They’re all enjoying the song.” Another too-good-to-be-true moment came on “Dancing On A Dream,” the album’s opener which features Swae Lee. After multiple failed attempts to get the Rae Sremmurd rapper on the song, Majid Jordan submitted the album without the feature and returned to their everyday lives with Majid deciding to fly back to Bahrain, his birthplace, to spend time with family.

Days into his trip, he noticed an Instagram Story post from Swae Lee of him notifying his followers that he was on his way to Dubai, a city just an hour flight away from where he was staying in Bahrain. The singer knew he had to chase down the rapper to secure his vocals for “Dancing on A Dream.” “I have this duffel bag with just a mic, my laptop in it, whatever and I’m like I’m going to go find Swae Lee,” he says with a laugh. “I get there and I’m staying at a place that’s four minutes from his hotel. I find a way to reach out to them and he’s like, ‘Yo come through.’ I play him the music and he’s like, ‘I’m gonna destroy this.’ We basically party for three days, and on the third day, I get them to lay down a verse.”

From the young college students with a dream to the well-established duo that signed to Drake, made music with Diddy, and chased down Swae Lee in a foreign country, you can say that Majid and Jordan are living out their wildest dreams. However, what’s next? For Jordan, it’s opening doors for a marginalized community in the music industry. “I definitely want to make a concrete actual studio in Toronto, and I want this studio to be run by women,” he reveals, adding that his younger sister aspires to be a producer just like him. “Two percent of women are producers. It’s something that as soon you really put it into reality and understand that, it’s pretty ridiculous that it’s still like that.”

Majid also has noble aspirations that will hopefully make careers in the fine arts world more attainable and realistic for people in his home country of Bahrain. “A dream for me is to be able to give people where I’m from access to just arts programs — music, visual arts, drama, anything — and bring them over to this side,” he reveals. “Also, take people who are experts and connections that we’ve made, artists that we know, [and] bring them over to that side to give people that exposure and that connection.”

The duo’s unlikely success due to their unique beginnings contributes to their desire to help those who have the odds against them. It also serves as another point of inspiration behind Wildest Dreams. “When I left home, I left there with the dream of building a sustainable career — creating myself from nothing in another place,” Majid says. “So that dream, we’re still in the process, we’re on the cusp of it and now we’re putting out this album, we’re still kind of feeling it out. The struggle is knowing that it’s not a guarantee, and yet, pursuing it and persevering through the most difficult times.” Jordan emulates a similar thought from a broader point of view. “‘Dream’ in the initial can be such a blissful, built identity that isn’t in reach,” he says. “It’s just this idea, like [a] utopia. Then there’s also the reality of what do you dream of from other human beings and from yourself? I think the duality of that is found on [the album].”

Wildest Dreams is out now via OVO Sound/Warner Records. Get it here.

Majid Jordan is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Jack Harlow Tries To Explain Kanye West’s Latest Stunts: ‘He Sees Himself As Mozart Or Beethoven’

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With the artist formerly known as Kanye West running around in spooky masks weeks before Halloween and pulling other attention-grabbing stunts like renting a room at the stadium in which he held the listening events for his latest album, it’s getting harder and harder to understand where the once-relatable artist is coming from. However, if anyone were to have a shot at coming close, it would be one of the two artists who most recently worked with West to secure a No. 1 hit record.

In a new interview with British GQ, Jack Harlow — who worked with Kanye West and Lil Nas X on the hit single “Industry Baby” — takes a stab at explaining Ye’s oddball behavior of late. “I think he sees himself as Mozart or Beethoven,” he guesses. “I think he’s worried, not about what it looks like now but what it will look like in 100 years. Take what happened with the Taylor Swift situation: at the time it was all pitchforks, but now people treat that as iconic. I am always fascinated to see what he does next. This Donda roll-out, people are going to remember that for years.”

People may remember the rollout, but the music itself received a lukewarm reception from both critics and fans. You can read Uproxx’s review here. Elsewhere in Jack’s interview, he addresses his often fraught relationship with race as a white hip-hop artist. “I think what has worked for me is that my music has never been about the fact that I am white,” he hypothesizes. “I don’t try to lean into the, ‘Hey, I’m the white boy.’ I try not to make it a novelty. I rap from the heart, rather than trying to do a white version of the art form.”

You can read the full interview here.

Lute Centers Growth And Mental Health On His Gorgeous New Album, ‘Gold Mouf’

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Dreamville

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow and signals the most important music being released throughout the year. The RX is the music you need, right now.

Over the past year, the pandemic utterly upended any number of artists’ plans, forcing many to push back their projects, change them, or abandon them altogether. The latter almost happened to North Carolinian Dreamville artist Lute, who was in the midst of his rollout for his new album Gold Mouf when quarantines and lockdowns forced the shutdown of most of the music industry.

For Lute, it was also the beginning of a months-long depression that had him questioning his place in the game. Sure, he’s signed to Dreamville, the label project founded by fellow North Carolinian J. Cole and modern equivalent to one of the Big Three rap labels back in the day — you know, Roc-A-Fella, Murder Inc., Ruff Ryders — alongside Top Dawg Entertainment and Quality Control. Dreamville is where emerging superstars like Bas, JID, and Ari Lennox have honed their craft over the past several years.

It’s also where Lute released his own debut album, West1996, back in 2017. But in today’s modern rap landscape, four years is a long time for a new artist to have to wait for a follow-up — even with a standout performance on the Revenge Of The Dreamers III compilation alongside label head J. Cole and another then-burgeoning NC standout, DaBaby. In the meantime, many of his labelmates have released projects and generated buzz for themselves, threatening to turn him into an afterthought of the roster, lost in the wash.

Fortunately, for Lute, Gold Mouf is more than worth it and proves equal to any project from his compatriots, including last year’s Spilligion, which featured Dreamville standouts JID and Earthgang. A vulnerable, confessional, relatable jaunt through the past four years, the project is not just a paean to his personal growth, it’s a beautifully produced, well-sequenced call for us all to check in on our mental health. Songs like “Birdsong” with JID and Chicago rapper Saba unearth lyrical gems from the muck of the past year, while “Changes” featuring BJ The Chicago Kid diagrams survival through myriad struggles.

The secret sauce is sequencing from yet another North Carolina native: Phonte Coleman of Little Brother and Foreign Exchange, who stepped in and offered to help sequence the album and make it the heartstring-pulling affair that it became in preparation of its delayed release. On a Zoom call with Lute, the rapper details the origins of his Gold Mouf< character; discusses the importance of self-care; and reveals his most wild remembrance of the legendary Revenge sessions.

So I guess, what’s been going on with you in those four years? Because you started out in one place, and now you’re in a different place. How have things changed since West1996?

I mean, honestly, it’s just life. Life changed, and life had been the… Just dealing with shit and anxiety and depression, and just everyday life stuff, bro. But at some point, I had to realize that in order for me to move forward with my life, in order for me to move forward with myself just as a man and as a human being, I got to get control of the things that keep me from blocking my blessings, like my anxiety and depression and stuff.

So just trying to figure out what’s the next step. Once I figured out what it was that I was going through and what I was dealing with, it’s like, “What’s the next step to kind of conquer those things?” And I went through all the steps, to be real with you, every last, even the bad steps. So just living and learning, man. That’s all. That’s all this album is really about is living and learning and holding yourself accountable.

Yes, sir. No, I certainly do hear that all over the album, especially on the joint with BJ and the joint with JID and Saba. Those were very beautiful songs. I want to talk about where this Gold Mouf character comes from because I don’t think that I’ve really been able to find a lot about the origin of it, why this was your-

Well, for me, I’ll put it to you like this. How can I explain it? Have you ever seen Nutty Professor?

Yes, sir.

So Gold Mouf is, to me, what Buddy Love is to Professor Klump. I deal with anxiety and depression and shit like that. So for me, Gold Mouf is like my highest level of confidence. I wouldn’t necessarily say it’s a mask, but another persona of myself that’s like top tier. And then on Instagram, I’ll be messing around sometimes. I call myself “Big Ugly.” So Big Ugly is like my low self-esteem type sh*t, and Gold Mouf is like me at my highest. So when I feel like my best, I feel like I take on the role of Gold Mouf, kind of like how Clark goes in the booth, and he turns into Superman.

Absolutely. One of the things that, I guess, struck me was this album had a very interesting release, right? Because you started the rollout in March last year (with “Getting Every Dollar“), and I was gearing up. I was like, “Yo.” I was talking to the people like, “Yo, let me get on the phone with Lute.” And then just, nothing happened, because everything shut down.

And that was also the beginning of me going through my depression, so that kind of slowed everything down. The pandemic hit, then I went through my depression. So everything really slowed down for me. And I realized that I was so used to moving that by the time the pandemic hit and it slowed everything down, all my traumas and everything that I was running from, or everything that I didn’t heal from, caught up to me.

It was easy to go through something and be like, “Well, I ain’t got to worry about it right now, because I got to go on tour.” Or, “I ain’t got to worry about that, because I got this show.” Or, “I ain’t going to worry about that, because I got to be at the studio.” But when all that shit shut down and you ain’t got nothing to do, now, you got to figure all that out. And then I lost my cousin during the pandemic, not to COVID though, due to gun violence. And I lost a childhood friend of mine. I almost lost my dad as well.

So a couple of other things happened that kind of set me down in a little spiral, and I just had to pick myself back up. I had to find a way to get back in the game. But for a minute, I was kind of tapped out. I didn’t think I was even going to finish the project. I thought that was just about to be the end for me. “I think I’m done. I think I did what I could. I did the best I could. And now, I think I’m just going to gracefully bow out.” But I felt like that was like me being defeated talking, and I kind of had to get that out of my head and just get my ass back up. I had to get back up. I had to get back in the game.

Well, I’m glad you’re still here, man. I’m glad you stood up because it was worth the wait. One of my parts of the early rollout was when you were doing the “Gold Mouf Chronicles” videos, which I thought were hilarious and very on point with the Wish Sandwich and the Lute Ross ones. What was the origin of this funny thing? In the process of doing it, did it reveal anything about your creative process to you?

I’m a very introverted person. But when you get to know me, I can be a super funny guy. I’m easy to talk to when I’m comfortable and I’m around people that I’m comfortable being around. So the “Gold Mouf Chronicles” was a way just to show my personality outside of my anxiety and me being or seeming very introverted. We felt like that was a good way to showcase my personality.

As far as the actual album is concerned, I know that as a North Carolina native, it meant a lot to you that it was executive produced and sequenced by members of Little Brother.

Oh no, for sure. Well, see Pooh is my manager.

I didn’t know that.

Yeah. Pooh’s my manager, and it was just a blessing for them to put a verse on. Because I chopped it up with Phonte a few times but when it came to album time, it was a blessing that they were able to put a verse on there for me. And the fact that Phonte wanted to sequence it, … If Phonte asks to sequence some shit, hell yeah. I’m not going to say no to that.

It definitely passed the car test.

You know, when Phonte passed it to Pooh, and Pooh gave it to me to listen to, to see what I liked or didn’t like about it, man, I almost shed a tear, because I worked on most of the project out here in LA. But I finished the rest of the half of it back home in Carolina. So when I was out here in LA, we were working in a studio almost every day. I had no idea what I had. I was just going into the studio, venting about the sh*t that I was going through and what I was dealing with. But when Phonte sequenced it, I had no idea. I didn’t even realize that I was building a story the whole time.

And the way he sequenced it, it’s like, “Man, this sh*t is beautiful as hell.” Because the way it’s sequenced is the way my life went. It’s like, I started off very optimistic about shit. Then you go through life, and you start dealing with shit. And then towards the end and coming out of my depression and shit, I realized that I love who I am. I love the person that I am. I love what I’m doing, and I love the direction that I’m going.

People don’t really realize how important sequencing is to how good albums are.

But that’s why I was very, very appreciative that Phonte wanted to sequence the album, because me, I’m the type of person when I drop bodies of work or projects, they tell a story, and that’s on purpose. I don’t want to have an album where you go through, and you’re just shuffling through this sh*t. I want you to listen to it from top to bottom. And sometimes, granted, you just still do, but at least you get the storyline. I want you to feel some sh*t after you listen to my album. I want you to experience something. I want you to have an experience. That’s why I love Kendrick’s albums, because they gave you a little story, and it just makes you experience sh*t.

What’s crazy to me is you have Cozz, you have Saba, you have JID, you have Boogie. On Dreamville you rapped alongside J. Cole and DaBaby. You’re surrounded by massive, massive lyricists. Do you find yourself challenging yourself to push harder when you are around these guys?

I don’t feel pressured at all. Only because I write from experience and being myself. I’m not an artist that writes every day or goes to the studio every day. And I sharpen my pen, but I sharpen my pen by living and experiencing and being present in my life. My inspiration comes from my day-to-day life. I was telling somebody the other day, even when I’m having a bad day, that sh*t sucks, but at the same time, when I really look at it, it’s going to make for a good song later.

I feel like at the end of the day, the only person I’m trying to be better than is myself. I’m trying to grow, I’m trying to learn and figure out all my quirks and stuff like that. So, as far as pressure… It’s definitely a friendly competition.

I think I’ve actually asked everybody, whoever was at the Dreamville Sessions if they have one good story to tell about the Dreamville sessions.

So much sh*t happened in that span. It’s not a blur, but everything is all jumbled in one. But I will say that the most shocking thing that I’ve seen… coming around the corner, looking over, and Chris Bosh is in the corner making beats and they were f*cking fire. The beats were hard.

So, I like to ask everybody, what’s the ideal outcome of your album rollout because I know everybody’s got different expectations and everybody has different gauges for success.

Just everybody being more self-aware about their mental health and taking more self-care and taking more time for themselves to grow and learn and hold themselves accountable so that we can progress and we can move forward. That’s literally all I wanted out of this album.

I was actually nervous to put this album out because I felt so vulnerable and exposed. But I realized when I was making these songs if I could be more vulnerable and more transparent or myself, then if that could help somebody else and also help me, then everything else out of it is just a blessing. That’s my goal, is just to help people be more aware of mental health.

I’ve made mistakes and I’ve held myself accountable on those things too. I’ve done things the wrong way and I also done things the right way. So, just holding myself accountable and just trying to move forward and grow. That’s really the whole synopsis of everything, man, just trying to f*cking grow and progress.

Gold Mouf is out now via Dreamville and Interscope Records. Get it here.

Cozz Is Grateful To Be Alive In His Moody ‘Fortunate’ Video

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Inglewood-bred Dreamville rapper Cozz returns with a moody video for his new single, “Fortunate,” after having a relatively quiet couple of years since his last album. The video finds Cozz sitting in a wrecked car, having apparently survived a harrowing front-end collision. Throughout the video, Cozz expresses his gratitude and grapples with his vices, a struggle represented by haunting religious imagery and his pained crooning on the song’s confessional chorus.

When we last heard from Cozz, he was cutting up on the Dreamville compilation Revenge Of The Dreamers III, threatening to rob his own label boss alongside fellow West Coaster Reason on “Lambo Truck” and dismissing pushy groupies on “Don’t Hit Me Right Now” alongside Bas, Buddy, Guapdad 4000, and Yung Baby Tate. Before that, he established himself as a lyrical force with his debut album, Effected which featured both his Dreamville boss J. Cole and King of LA, Kendrick Lamar.

More recently, Cozz could be heard assisting his Dreamville compatriot Lute on his new album Gold Mouf and Uproxx regulars may recognize him making a few appearances in our music video show React Like You Know, joining our panel of 20-somethings to give his impressions on videos like Fabolous’ “So Into You.”

Watch Cozz’s “Fortunate” video above and stay tuned.

Quavo And Yung Miami’s Debauched ‘Strub Tha Ground’ Video Resurrects Freaknik

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Now that Migos have gotten their Culture III rollout out of the way, it appears the Atlanta trio is again working on solo albums. At least, Quavo is, and today, he released the high-energy lead single, “Strub Tha Ground” featuring City Girls’ Yung Miami. Built on a sample of Miami bass trio Splack Pack’s 1993 single “Scrub Da Ground,” the song encourages the ladies at the club to drop it down low for both entertainment and profit. The video concept finds the pair resurrecting the legendary Atlanta street party Freaknik, with Quavo walking around filming the festivities.

Quavo announced his upcoming solo album on Complex‘s Hiking With Rappers series earlier this week, explaining that he’s aiming for release in 2022. “Probably like next year, the Huncho solo project will come back out,” he said. That’ll make it around four years since his 2018 solo debut, Quavo Huncho, which reached No. 2 on the Billboard 200, sold gold within a year of its release, and contained the singles “How Bout That” and “Workin Me.”

Yung Miami, who delivers a standout verse on the new track, was recently linked romantically to Diddy. Meanwhile, she’s not the only member of her Miami duo to fly solo lately; JT popped up with a verse on Summer Walker’s new single “Ex For A Reason.”

Watch Quavo’s “Strub Tha Ground” video featuring Yung Miami above.

Lil Tjay Sticks To The Script On ‘Not In The Mood’ With Fivio Foreign And Kay Flock

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The grind never stops for Lil Tjay. The New York rapper is just a few months removed from sharing his second album, Destined 2 Win, with the world. The project debuted at No. 5 on the album charts, which tied a personal record for the highest position. Destined 2 Win also gave him his highest-charting song thanks to “Calling My Phone” with 6lack. After basking in the success of the album for some time, Lil Tjay is back in action with new music and it comes in the form of his new single “Not In The Mood” featuring Fivio Foreign and Kay Flock.

The new track finds the trio of rappers pushing as hard as they can to overcome life’s obstacles. “I almost gave up every other day / We made a way,” Tjay raps on the song. “We never relate, it’s big food for the plate / It’s time to go drill, I never do dates.” The tunnel-visioned approach to consistent success is emulated by Fivio Foreign and Kay Flock, who provide verses of their own on “Not In The Mood.”

Lil Tjay drops off the new song after teaming up with Joyner Lucas for a raunchy video to their collaboration, “Untold Stories.” Prior to that, he teamed with Bas and J. Cole for “The Jackie” and appeared on G Herbo’s fourth album, 25, on a track titled “Cry No More” that also featured Polo G.

Watch the “Not In The Mood” video above.

Pink Sweats Praises His Lover And Their Romance On The Grateful ‘Nothing Feels Better’

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Pink Sweats is slowly making a return to the spotlight just months after he released his debut album, Pink Planet. It’s a project that delivered 18 songs, with a lone guest appearance from Kehlani, to fans. It’s also an effort that arrived after three EPs: Volume 1, Volume 2, and The Prelude. Fast-forward to the present and the Philly singer is back with his second song in as many weeks with “Nothing Feels Better.” The singer’s near-acoustic sound serves as the landscape for a romantic message to a partner he’s head over heels for as their love helped him “realize I’m right where I should be.”

Prior to “Nothing Feels Better,” Pink Sweats touched down with “I Feel Good,” a track that found him appreciating the world around him and how great life is to him nowadays. It all comes amid a spike in activity for him. He recently made an appearance on The Eye, a new series that allows up-and-coming artists to their breakout songs in beautiful and minimalistic environments. There he performed “At My Worst,” “Heaven,” and “Paradise” and also spoke about his debut Pink Planet.

He described the project as “an album about one of the most timeless emotions… love. I wanted to express my love about someone I truly love and document that.”

Listen to “Nothing Feels Better” above.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Elton John, Young Thug, And Nicki Minaj Commit To A Lifelong Partnership On ‘Always Love You’

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Just like a lot of artists around the world in a number of genres, Elton John spent his time in quarantine working on a plethora of new music. As a result, the legendary singer decided to create a project out of the songs he made during that time, one he titled The Lockdown Sessions. He announced the project at the beginning of September, and today, it’s available for fans to listen to. Across the project’s sixteen songs, a highlight appears on “Always Love You” with Young Thug and Nicki Minaj. The track sees the trio committing to a lifelong partnership with individuals they’ve deemed perfect to spend a lifetime with.

Prior to releasing The Lockdown Sessions, Elton John shared a number of singles to build up anticipation for the project. They include “Finish Line, “After All,” and a remix of “Cold Heart.” Altogether, the project also sees appearances from Dua Lipa, Surfaces, Charlie Puth, Rina Sawayama, Gorillaz, 6lack, Miley Cyrus, SG Lewis, Brandi Carlile, Jimmie Allen, Stevie Wonder, Eddie Vedder, Stevie Nicks, and more.

While “Always Love You” marks the first song between Elton and Minaj, it’s the second record between him and Young Thug following their 2018 track “High,” which sampled the singer’s hit song “Rocket Man.”

Watch the “Always Love You” video above.

The Lockdown Sessions is out now via Mercury Records Limited/EMI. Get it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.