If you’ve been following the work of pop girls who make it a priority to work with queer artists, like Charli XCX, Kim Petras, and Rina Sawayama, then you’ve probably already come across the work of Pabllo Vittar. The activist, drag queen, and singer-songwriter has been making and releasing her own music for years now, but recent pop looks from major icons like Charli and even Lady Gaga has put her on the map in a new way. So does this new collaboration with Rina, and the clubby, glitchy track is reminiscent of her own dance bop, “Comme Des Garcon.” For her part, Rina is thrilled to collaborate with Pabllo on both the song and the video itself.
“I have been such an admirer of Pabllo for so long — she is nothing short of an icon and so for us to collaborate on an original, I wanted a moment that felt fitting,” Rina said in a press release. “When she sent me the idea for “Follow Me” I was just in love with it immediately and the process from then has been a dream. From working on the music to the video, I’m honored to be a part of the song and be let into her world — I hope both hers and my gorgeous fans are as obsessed with it as we are.”
Pabllo said pretty much the same thing, calling Rina an “icon” as well and talking about how fun the video was to shoot. “I’m so excited to release this song with Rina — she is such an icon and I’m so pleased we managed to make this song work as it’s the perfect combination of our music styles,” the drag queen said in a statement. “I really hope the fans love it as much as we do. Shooting the video was so much fun as well, wearing iconic outfits, and strutting our stuff on the runway! SERVE!”
Of the 86 Grammy categories being awarded this year, one of the most intriguing is the Best Remixed Recording, Non-Classical. Over the years, eclectic sonics have been a hallmark of the category, which was first awarded in 1998 as the Grammy Award for Remixer Of The Year, Non-Classical. Because these songs are remixes, the source material nominated isn’t limited to genre. In 2022, it’s safe to say Best Remixed Recording, Non-Classical is the only Grammy category to include Papa Roach (nominated due to Spencer Bastin’s “Born For Greatness (Cybek Remix)”), Deftones (“Passenger (Mike Shinoda Remix)”), and Demi Lovato and Ariana Grande (“Met Him Last Night (Dave Audé Remix)”).
Naturally, over the years, the artists who triumphed in this category have been equally intriguing. Here’s the top 10 winners, ranked.
10. Song: Madonna — “I Rise (Tracy Young’s Pride Intro Radio Remix)”
Winner: Tracy Young Year: 2020
Madonna and dance music have gone hand in hand since the ’80s. In fact, Madonna herself has won a Grammy Award for Best Dance Recording (“Ray of Light”) and Best Electronica/Dance Album (Confessions On A Dancefloor). However, in 2020, Tracy Young was the first woman to be nominated, much less win, the Best Remixed Recording, Non-Classical category for an inspired take on Madonna’s pro-gun control anthem “I Rise.” Young’s interpretation amplifies the icon’s empathetic vocals and the song’s resiliency — as well as the voice of Emma González, a survivor of the Marjory Stoneman Douglas High School shooting — with low-key house beats and a chill (but verve-laden) tempo. Consider this remix of a piece with dance music’s long history of political activism.
9. Song: No Doubt — “Hella Good (Roger Sanchez Main Mix)”
Winner: Roger Sanchez Year: 2003
No Doubt‘s hard-left turns to ’80s synth-pop throwbacks on 2001’s Rock Steady were ideal for dance remixes — as evidenced by this no-frills, brisk re-do by global superstar DJ Roger Sanchez full of rollicking percussion and beat drops that emphasizes the lines “You got me feeling hella good, so let’s just keep on dancing.”
8. Song: Cher — “Believe (Club 69 Mixes)”
Winner: Club 69 Year: 2000
Cher‘s Y2K comeback came because of the already-unstoppable dancefloor anthem “Believe.” The Club 69 remixes are peak late-’90s house, with over-the-top beats, blocky stacks of keyboards, and an arrangement that places Cher in the role of vocal diva — something she comes by naturally.
7. Song: MGMT — “Electric Feel (Justice Remix)”
Winner: Justice Year: 2009
It’s a fitting bow on the blogrock era that French electrofunk act Justice won a Grammy for a sophisticated remix of MGMT’s “Electric Feel.” Rich horns, squelching beats and a choppy vibe transform the swank electro of the original into a swaggering mid-’80s synth-rock throwback.
6. Song: Nero — “Promises (Skrillex and Nero Remix)”
Winner: Joseph Ray, Skrillex & Daniel Stephens Year: 2013
This remix is peak dubstep era, with Skrillex (aka Sonny Moore) and two members of Nero teaming up for a re-do of Nero’s “Promises.” There’s a massive beat drop at about a minute in that leads directly to an explosion of grimy zippered beats that alternate with dramatic, piano-driven interludes with caution-heavy vocals from Nero’s Alana Watson. The net effect is a song that’s both unsettling and moving—a fine combination.
5. Song: Public Enemy — “Bring the Noise (S-faction Remix)”
Winner: Benny Benassi Year: 2008
Superstar DJ Benny Benassi deconstructed Public Enemy‘s 1988 hit with surgical precision. At first, he leaves in only select exhortations (“Bring the noise!” and “Bass!”) atop a pulsing, surging bed of techno-house beats, before introducing more of the song’s lyrics — building excitement and tension alike with a natural rhythm.
There’s a long history of classic songs receiving a boost thanks to a modern dance remix — witness how Junkie XL’s re-do of Elvis Presley’s “A Little Less Conversation” breathed new life into the tune. The same thing happened when Louie Vega took a crack at remixing Curtis Mayfield’s already-unimpeachable “Superfly.” Vega added salsa beats and a languid touch to the 1972 soul-funk hit, making it (improbably) even more smooth than it was to begin with.
3. Coldplay — “Talk (Thin White Duke Mix)”
Winner: Jacques Lu Cont Year: 2007
Stuart Price records under many aliases — to name a few, Les Rythmes Digitales, Zoot Woman and Jacques Lu Cont. Under the latter moniker, he’s known for recording retro-tinted synth-pop remixes; in fact, he won a Grammy in 2005 for his take on No Doubt’s “It’s My Life.” He won another Grammy two years later for his spin on Coldplay‘s “Talk,” a song that interpolates Kraftwerk. Lu Cont plays up that association by adding in robotic vocal flourishes and stripping the song down to insistent, Krautrockian rhythms and streamlined synths.
2. Song: SAINt JHN — “Roses (Imanbek Remix)”
Winner: Imanbek Zeikenov Year: 2021
Back in mid-2020, you couldn’t scroll through your TikTok #FYP without running into Imanbek’s remix of “Roses,” by the rapper SAINt JHN. This viral hit was a radical re-work of the original, speeding up the vocals and adding sharp-edged, electro-driven rhythmic contours that doubled as mega earworms. Remixes with Future and J Balvin followed, although Imanbek’s take remains tops for how it took fresh source material and made it sound even cooler.
1. Song: Lana Del Rey — “Summertime Sadness (Cedric Gervais Remix)”
Winner: Cedric Gervais Year: 2014
Lana Del Rey‘s originals are already known for being mesmerizing and hypnotic. However, the Cedric Gervais remix of “Summertime Sadness” elevated the song to a different level entirely, tapping into the melancholy hinted at in the title by plucking out Del Rey’s wistful refrain (“I got that summertime, summertime sadness”) and pairing it with turbulent house beats. “Summertime Sadness (Cedric Gervais Remix)” peaked in the top 10 of the Billboard Hot 100 and No. 2 on the US Hot Dance/Electronic Songs chart — but, more important, became an instant-classic anthem for every type of summer bummer imaginable.
Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
In case you haven’t already fallen victim to some sort of hoax today, here’s a helpful reminder: Today is April 1, aka April Fools’ Day, which means you ought to be especially skeptical when it comes to anything you read online, particularly things that seem too good (or bad) to be true. With that in mind, Lil Nas X made a (probably fake) reveal this afternoon.
Lil Nas X tweeted today, “I am so excited to announce that MONTERO DELUXE (featuring Rihanna, Dua Lipa, Doja Cat, Tyler the Creator, NBA Youngboy, Saucy Santana, and more!) WILL BE YOURS TONIGHT at 7P EST! [wilted flower emoji].” The tweet also includes new cover art, which features multiple versions of Lil Nas X striking various poses and sporting various looks.
I am so excited to announce that MONTERO DELUXE (featuring Rihanna, Dua Lipa, Doja Cat, Tyler the Creator, NBA Youngboy, Saucy Santana, and more!)
While Doja already features on the original version of Montero (on “Scoop”), some of the other added artists seem like unlikely gets here, especially Rihanna, whose last featured appearance was on Kendrick Lamar’s 2017 single “Loyalty.” So, that in combination with the fact that Lil Nas X has one of music’s best senses of humor seems to suggest this deluxe version of Montero probably isn’t a real album you’ll be able to listen to later tonight.
That said, there’s still a chance this is actually happening, so it wouldn’t hurt to at least check in on Lil Nas X’s Twitter later today and see if there’s an update, whether it be the album itself or Lil Nas X revealing it was all a big joke.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Trevor Noah is set to host this weekend’s Grammy Awards (on Sunday, April 3), but the host isn’t the only one who speaks on stage. Others come on to present awards and now the Recording Academy and CBS have revealed who will be on hand to do that. The list includes Dua Lipa, Megan Thee Stallion, Questlove, Avril Lavigne, Ludacris, Anthony Mackie, Billy Porter, Bonnie Raitt, Jared Leto, Joni Mitchell, Keith Urban, Kelsea Ballerini, Lenny Kravitz, and Michaela Jaé Rodriguez.
Drum roll please! Presenting this years #GRAMMYs presenters.
Aside from the presenters, also taking the stage to perform during this year’s show are Lady Gaga, Silk Sonic, Carrie Underwood, J Balvin, John Legend, Maria Becerra, BTS, Billie Eilish, Olivia Rodrigo, Lil Nas X with Jack Harlow, Brandi Carlile, Brothers Osbourne, Nas, HER, Jon Batiste, Chris Stapleton, Ben Platt, Cynthia Erivo, Leslie Odom Jr., and Rachel Zegler. Foo Fighters were previously included, but it was later confirmed they dropped out of the show after scrapping all their upcoming performances in light of Taylor Hawkins’ death.
The presenters have some 2022 Grammy nominations between them: Megan’s “Thot Sh*t” is up for Best Rap Performances, Questlove’s Summer Of Soul is up for Best Music Film, and Joni Mitchell Archives, Vol. 1: The Early Years (1963-1967) is up for Best Historical Album.
Find the full list of 2022 Grammy nominations here.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Keeping track of all the new albums coming out in a given month is a big job, but we’re up for it: Below is a comprehensive list of the major releases you can look forward to in April. If you’re not trying to potentially miss out on anything, it might be a good idea to keep reading.
Friday, April 1
Alabaster DePlume — Gold (International Anthem)
Amine Mesnaoui And Labelle — African Prayers (Lo Recordings)
Battle Ave — I Saw The Egg (Friends Club Records/Totally Real Records)
Beau Diako — Nylon (Juno Records)
Big Cheeko — Block Barry White (Nature)
Blue Wilson — Future Street (Acrophase Records)
Casually Here — Possible Worlds (Algebra Records)
Christian Alexander — I Don’t Like You (Video Store)
Christian Lee Hutson — Quitters (ANTI- Records)
Confidence Man — Tilt (Heavenly Recordings)
Crows — Beware Believers (Bad Vibrations Records)
Daniel Johns — FutureNever (BMG)
Daryl Hall — BeforeAfter (Legacy Recordings)
The Dead Tongues — Dust (Psychic Hotline)
Deathcave — II EP (Satanik Royalty Records)
Desaparecidos — Live At Shea Stadium (Freeman Street Records)
Devon Kay & The Solution — Grieving Expectation (Pure Noise Records)
Erisy Watt — Eyes Like The Ocean (American Standard Time Records)
Fatherson — Normal Fears (Easy Life)
Field Works — Station (Temporary Residence)
Gerald Clayton — Bells On Sand (Blue Note Records)
Graeme James — Seasons (Nettwerk Records)
The Greyboy Allstars — Get A Job: Music from The Original Broadcast Series Soul Dream (Knowledge Room Recordings)
The Hara — We All Wear Black EP (Scuff of The Neck)
Hari Sima — Solo en Occidente (Abstrakce Records)
Horojo Trio — Set The Record (obsessionrecords)
Jon Spencer & The HITmakers — Spencer Gets It Lit! (In the Red Records)
Karima Walker — Demos EP (Keeled Scales)
Lights — PƎP (Fueled By Ramen)
Luaka Bop — I Just Want To Be A Good Man (Luaka Bop)
Melissa Manchester — Live ’77 (Real Gone Music)
Meshuggah — Immutable (Atomic Fire)
Molly Tuttle & Golden Highway — Crooked Tree (Nonesuch Records)
Nakaya — Fire Becomes Me EP (Better Company)
Night Palace — Diving Rings (Park the Van Records)
No Frills — Downward Dog (Big Soup)
Paul Cauthen — Country Coming Down (Velvet Rose Records)
Pillow Queens — Leave The Light On (Royal Mountain Records)
Plastikman & Chilly Gonzales — Consumed In Key (Turbo Recordings)
Well, the real Rihanna was ready to bring it on the night of the Oscars, and though she mostly stayed away from the drama at the ceremony between Will Smith and Chris Rock, her look for one of the many parties later that night was definitely a head-turning moment. Dressed in all black, her sheer gown perfectly highlighted the singer’s growing belly, and a black bandeau top kept some of her other assets from being revealed in the meantime.
Paired with a sequined black skirt and massive, elbow-length black gloves, the look was both entirely classic and absolutely modern, which is the exact balance that most of Rihanna’s looks seem to strike.
At the moment, it really looks like Doja Cat is getting ready to leave the music world behind. After receiving criticism from fans in Paraguay for not mentioning the country enough while she was there, Doja declared on Twitter, “i f*ckin quit i can’t wait to f*cking disappear and i don’t need you to believe in me anymore. Everything is dead to me, music is dead, and i’m a f*cking fool for ever thinking i was made for this this is a f*cking nightmare.”
She’s said a fewmore things since then and in her latest dispatch from today, she explained that while she will be sticking around a bit longer, it’s only to honor her current obligations. Once that’s over with, she does indeed plan on leaving music behind.
This afternoon, Doja wrote in a pair of tweets, “for those who are seeing me at the after hours tour, i’m not bailing. But me not bailing doesn’t mean my ass isn’t gonna disappear right after. i still got sh*t i gotta do. and a lot of y’all think cuz i post a f*ckin picture it means i’m not out. Pic doesn’t = music GOOFY. so yes that still means i got videos to film i got performances to do and I got content to drop so i’m pooping it out and dippin. i ain’t gone yet.” She also added, “piggy dippin.”
for those who are seeing me at the after hours tour, i’m not bailing. But me not bailing doesn’t mean my ass isn’t gonna disappear right after. i still got shit i gotta do. and a lot of y’all think cuz i post a fuckin picture it means i’m not out. Pic doesn’t = music GOOFY
So, unless this is whole saga is an elaborate set-up for an April Fools’ Day reveal tomorrow, fans may only have a limited amount of time remaining to enjoy Doja’s music career.
Presenting this years 
