Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.

Dawn Richard, ‘Bussifame’

Dawn Richard gives “Bussifame” four syllables — as in “Bust it for me” — when she chants it in her new single, a preview of her April album “Second Line.” The video, released on Mardi Gras, opens with someone dancing to a (sadly uncredited) New Orleans brass band’s second-line beat. Then the track itself begins, with Richard and her dancers wearing pointy, futuristic costumes outside the giant graffiti on a derelict former Holiday Inn. “Feet move with the beat/Bussifame, second line,” she chants, huskily, in an electronic track that’s closer to house than to second line, but just keeps adding levels of perky syncopation. JON PARELES

Amythyst Kiah, ‘Black Myself’

“Black Myself” starts out as a blunt catalog of stereotyping and discrimination — “You better lock the doors as I walk by/’Cause I’m Black myself — before affirming Black solidarity and self-determination in its final verse. The song was already a bluesy stomp when Amythyst Kiah first recorded it with the folky all-star alliance Our Native Daughters; now she revisits it with a fuller studio production, reinforcing its distorted guitar with more effects, more layers and a bigger beat, adding extra clout. PARELES

Michael Wimberly, featuring Theresa Thomason, ‘Madiba’

Over a stuttering bass line, plinking balafon and wah-wah-drenched guitar, the gospel vocalist Theresa Thomason offers an unflinching tribute to Nelson Mandela, lingering on the struggles he endured and vowing to carry his legacy forward. “Always looking left, always looking right/Always defending the people’s truth/We’ll never forget you,” she sings. The song comes from “Afrofuturism,” the latest album by the percussionist and multi-instrumentalist Michael Wimberly, who recorded it with a diverse group of musicians from across the world. GIOVANNI RUSSONELLO

24kGoldn, ‘3, 2, 1’

24kGoldn’s version of hip-hop is, in essence, pop-punk coated with just the faintest layer of R&B — which is to say, exceedingly pop. His latest single, which arrives while “Mood,” his recent No. 1 with Iann Dior, is still at No. 5 on the Hot 100, is taut, angsty and extremely efficient, a fait accompli of hybrid pop. JON CARAMANICA

Lil Yachty featuring Kodak Black, ‘Hit Bout It’
Lil Yachty, KrispyLife Kidd, RMC Mike, Babyface Ray, Rio Da Yung OG, DC2Trill and Icewear Vezzo, ‘Royal Rumble’

Three or so years ago, you would not have pegged Lil Yachty as destined to be one of hip-hop’s more versatile talents. And yet here he is, fast rapping over a nervous beat on “Hit Bout It,” a strong duet with the fresh-out-of-jail Kodak Black. That comes less than two weeks after “Royal Rumble,” a posse cut of (mostly) great Michigan rappers full of the non sequitur tough talk that’s been defining that scene for the last couple of years, and which Yachty has an affinity (if not quite aptitude) for. Focus instead on great verses from the stalwart Icewear Vezzo and the up-and-comer Babyface Ray. CARAMANICA

Mahalia featuring Rico Nasty, ‘Jealous’

A sample of flamenco guitar curls through the insinuating, two-chord track of “Jealous” as the English singer Mahalia and the Maryland rapper-singer Rico Nasty casually demolish male pride. “Im’a do what I want to baby/I won’t be stuck without you baby,” they nonchalantly explain, as Mahalia flaunts her wardrobe, her car, her “crew” and her indifference. “Unless you got that heart then you can’t come my way,” she sings, staccato and unconcerned. PARELES

Chris Pattishall, ‘Taurus’

For his debut album, the rising pianist Chris Pattishall reached back 75 years to revisit Mary Lou Williams’s 12-part “Zodiac Suite.” The result is neither overly nostalgic nor newfangled and gimmicky. Pattishall’s “Zodiac” is a startling achievement precisely because of how deeply — and personally — this old material seems to resonate with him. Pattishall has said that he is particularly drawn to Williams because of the way she seemed to hopscotch between atmospheres and registers within individual compositions, without sacrificing a sense of narrative. That’s borne out on his album’s very first track, “Taurus” (Williams’s own star sign), which starts with a passage of ruminative piano before a quick acceleration, with Pattishall leading his quintet into a swirling, bluesy refrain. RUSSONELLO