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    The Weeknd, FKA twigs, Soccer Mommy and More New Music

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    Hear tracks by Soccer Mommy, FKA twigs, Reyna Tropical and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.The Weeknd, ‘Dancing in the Flames’It’s back to the mid-1980s synth-pop of Lionel Richie, Michael Jackson and Eurythmics in the new song by the Weeknd, abetted by the symmetry-loving production of two more producers, Max Martin and Oscar Holter. Pointillistic keyboard notes bounce in stereo over programmed drums, full of major-key optimism, as the Weeknd sings about a romance that’s like fast, reckless driving: “I can’t wait to see your face/crash when we’re switching lanes,” he sings in his sweetest falsetto. A tolling keyboard coda suggests an unfortunate outcome — made explicit in the video — no matter how catchy things were. JON PARELESSoccer Mommy, ‘Driver’The grungy chug of Sophie Allison’s guitar brushes up against a lilting vocal melody on “Driver,” the third single from “Evergreen,” the upcoming album from the singer-songwriter who records as Soccer Mommy. “I’m a test of his patience with all that I do,” Allison sings of a lover who calms her clanging neuroses. “’Cause I’m hot and he stays cool, I don’t know why.” LINDSAY ZOLADZFKA twigs, ‘Eusexua’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Best Songs of 2023

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      Seventy-one tracks that asked big questions, found new kinship between genres and helped us see the good in Ken.Jon Pareles | Jon Caramanica | Lindsay ZoladzJon ParelesFumbling Toward EcstasyThe album may be imperiled; people have been saying so for decades, even though the form has resisted extinction. Meanwhile, songs flourish, whether or not they’re destined for albums, and are ever more flexible. Some maintain the pop conventions of verse-chorus-verse; others distill themselves down to TikTok-ready hooks or sprawl across digital time frames. Here are 30 of my favorite songs from 2023 — less a ranking than a playlist, a tribute to creative abundance.1. Allison Russell, ‘Eve Was Black’The tune could be a toe-tapping Appalachian hoedown. But the title’s blunt, irrefutable statement carries Allison Russell toward harsh thoughts about racism, slavery, exploitation, lynching and sin — and then to an unexpected coda.2. Peter Gabriel, ‘Road to Joy (Bright-Side Mix)’Like many Peter Gabriel songs, this one has a scenario. The narrator is waking from a coma into an overload of sensory experiences, getting “back in the world”; the music is a funk carnival that keeps adding euphoric layers.3. 100 gecs, ‘Dumbest Girl Alive’No band walks Spinal Tap’s “fine line between clever and stupid” like the duo 100 gecs. “Dumbest Girl Alive” has a primal stomp for a beat, an up-and-down guitar riff that whimsically hops around instruments, and filtered hyperpop vocals with 21st-century lines like “put emojis on my grave” — just the thing for an utterly knowing, utterly meta bash.4. Sampha, ‘Suspended’Sampha’s “Lahai” was brighter and more expansive than his previous LPs.Ayesha Kazim for The New York TimesSampha gathers ideas from R&B, classical Minimalism, twitchy hyperpop and more around the androgynous melancholy of his voice. He conjures a rapturous infatuation and the need it leaves behind in “Suspended,” three minutes of vertigo from his album “Lahai.”5. The Rolling Stones featuring Lady Gaga and Stevie Wonder, ‘Sweet Sounds of Heaven’The peak of the Rolling Stones’ resurgent album “Hackney Diamonds” is an all-star concoction that sounds like a raw studio jam. Mick Jagger extols the glories of music and the song climbs to a big, gospelly finish, with Jagger and Lady Gaga goading each other to belt more. When it winds up, they catch their breath but they don’t want to quit — and the song builds even higher.6. Yahritza y Su Esencia and Grupo Frontera, ‘Frágil’Two Mexican American groups — from Washington state and Texas — unite for “Frágil,” a cumbia complaint about a heartless partner. While the men in Grupo Frontera sound mildly apologetic, Yahritza Martinez sings as if her heart might burst at any moment.7. Baby Rose, ‘Stop the Bleeding’With her low, tremulous, gripping voice, Baby Rose sings about love as self-sabotage, trying to break free while an orchestra underlines her despair.8. Shakira, ‘BZRP Music Sessions #53’In one of Shakira’s canny 2023 collaborations — others were with Karol G and the regional Mexican band Fuerza Regida — she enlisted the hitmaking Argentine electro producer Bizarrap to take revenge on her ex, with pointed wordplay and an airborne hook denouncing “guys like you.”9. Killer Mike featuring Future, André 3000 and Eryn Allen Kane, ‘Scientists & Engineers’In a track that roves from electro to guitar ballad to bursts of gospel, Killer Mike convenes fellow Atlanta rappers — the prolific Future and the elusive André 3000 — to address art, ambition, luxury, tenacity and paying dues, culminating in a marathon verse from Killer Mike himself.10. Brittany Howard, ‘What Now’Choppy, distorted, splintered hard funk pulses around Brittany Howard as she sorts through all the conflicting impulses of a breakup: taking blame and lashing out, feeling regret and relief, wanting to stay and knowing she needs to go.11. Jorja Smith, ‘Try Me’Jorja Smith used vocal nuance instead of volume to stir things up on her second studio album.Jose Sena Goulao/EPA, via ShutterstockA wounded, defensive Jorja Smith confronts someone who had put her down, in a track that evolves from pinging, percussive defiance to orchestral contemplation.12. Caroline Polachek, ‘Dang’One percussive syllable — “dang” — inspires an entire brittle production apparatus around Caroline Polachek’s deadpan voice. She sings about irreversible events, like shipwrecks and spilled milk, amid plinks, clangs, crashes, swooping strings and sampled screams, nonchalant amid the non sequiturs.13. aespa, ‘Better Things’Cowbells, handclaps and piano chords drive “Better Things,” a K-pop kiss-off with ingeniously cascading vocal harmonies and absolutely no regrets.14. Janelle Monáe featuring Doechii, ‘Phenomenal’Janelle Monáe’s 2023 album, “The Age of Pleasure,” exults in carnality while segueing through R&B, jazz and Caribbean styles. “Phenomenal” is a raunchy acclamation of lust and self-love, rapped and sung over springy, changeable Latin jazz grooves.15. Noname, ‘Namesake’Noname reels off brisk, matter-of-fact rhymes over a jazzy bass line as she strives to reconcile her personal comfort with all the world’s problems. She worries about complacency, complicity and hypocrisy; she doesn’t spare herself.16. Irreversible Entanglements, ‘Root Branch’Irreversible Entanglements is a fiercely riffing jazz band fronted by the low-voiced spoken-word poet Moor Mother. “We can be free — let’s fly,” she intones over the six-beat vamp of “Root Branch,” demanding something basic and essential.17. Jaimie Branch, ‘Take Over the World’The trumpeter and bandleader Jaimie Branch sets up a pummeling beat behind an environmental battle chant in “Take Over the World,” veers into a swirl of psychedelia, then whoops it up even harder.18. Dolly Parton, ‘World on Fire’Dolly Parton, of all people, delivers a full-fledged power ballad and stadium stomp to consider the dire state of the world. She counsels love, healing and kindness, but at the end she’s still wondering: “Whatcha gonna do when it all burns down?”19. Kylie Minogue, ‘Padam Padam’Kylie Minogue’s “Padam Padam” had a moment — during Pride celebrations and beyond — in 2023.Maggie Shannon for The New York TimesFor Kylie Minogue, “Padam Padam” is the sound of a heartbeat during a mutual flirtation at a club. The beat — a TikTok favorite — is a cheerful club thump, and a hint of Bollywood perks up the melody for three minutes of computerized bliss20. L’Rain, ‘I Killed Your Dog’L’Rain — the songwriter and performer Taja Cheek — ponders vengeful, destructive impulses in a near-lullaby that wanders through a chromatic chord progression, building ambivalence into the harmonies.21. Jamila Woods featuring duendita, ‘Tiny Garden’Jamila Woods sings about love as an accumulation of small connections and growing trust, a work in progress: “It’s not butterflies or fireworks.” The arc of the music, from isolated percussion and keyboards to multilayered, gospel-tinged vocals, radiates optimism.22. Olivia Dean featuring Leon Bridges, ‘The Hardest Part’With vintage soul chords and modern electronic subtleties, the English songwriter Olivia Dean and her American duet partner, Leon Bridges, sing about growing apart and moving on, grappling with second thoughts.23. Nkosazana Daughter, Master KG and Lowsheen featuring Murumba, ‘Ring Ring Ring’In an amapiano track full of echoey, lonely spaces, the South African singer Nkosazana Daughter and guests lament the uncertainty and sorrow of an unanswered phone call.24. Margo Price, ‘Lydia’Margo Price turned her lens outward to characters other than herself on her album “Strays.”Sara Messinger for The New York TimesIn this unblinking character study, a woman named Lydia, with “an ex-husband and a midlife crisis,” smokes a cigarette outside a clinic, thinking back through a life of hard luck and rough decisions and trying to decide whether to end her pregnancy. Margo Price sets the story to simple guitar chords and an understated string arrangement, pondering the choices.25. Mitski, ‘Bug Like an Angel’A squashed bug on the bottom of a cocktail glass leads Mitski to fragmentary epiphanies about addiction, trust and sex, with a choir bursting in to affirm each cryptic insight.26. Margaret Glaspy, ‘Memories’Over a waltz of simple guitar chords, Margaret Glaspy blurts out unvarnished grief in a torn voice, bereft yet struggling to go on.27. The Smile, ‘Bending Hectic’A guitar meditation melts into an ecstatic death wish during the eight minutes of “Bending Hectic.” Thom Yorke sings about driving along a curvy Italian mountain road with a sheer drop, and “letting go of the wheel”; Jonny Greenwood’s string arrangement envisions the plunge, and then electric guitars careen to a finish.28. Lankum, ‘Go Dig My Grave’The Irish band Lankum connects the fatalistic, death-haunted side of Celtic tradition to something like black metal in this nine-minute dirge about dying for love. It’s an inexorable crescendo from a solo a cappella vocal to a tolling, clanging drone topped by a howling fiddle, haunted and bleak.29. Caroline Rose, ‘Love/Lover/Friend’In a flurry of plucked and orchestral strings, Caroline Rose affirms her love by ruling out other possibilities, then basks in wordless choral ecstasy.30. André 3000, ‘That Night in Hawaii When I Turned Into a Panther and Started Making These Low Register Purring Tones That I Couldn’t Control … Sh¥t Was Wild’In a 10-minute instrumental for muffled drums, percussion and prowling parallel flute lines, André 3000 maintains an aura of calm vigilance, contemplative but still on edge.Jon CaramanicaAnything GoesIt was a year in which the best pop music truly made it up as it went along. Off-the-cuff collaborations? Sure. Songs by fictional characters? Why not. A guy filmed singing in a field by a West Virginia public radio outlet? Absolutely. Microscene classics that clock in at 75 seconds and might be forgotten tomorrow? Always. (In the interest of avoiding redundancy, I’ve only included songs that aren’t on albums that made my best of the year list.)1. Central Cee & Dave, ‘Sprinter’This British rap tag team is about improbable wealth, bounteous opportunities, living so fast that what’s slipping by is almost as good as what you manage to grab hold of. As celebrations go, this is a controlled, pensive one — a relaxed ramble for the moments when the money’s so new, it sparkles.2. Jocelyn (Lily-Rose Depp), ‘World Class Sinner/I’m a Freak’A paean to emotional vacancy sung with emotional vacancy from a television show rife with emotional vacancy ends up … positively glistening. A cause for surrender.3. Oliver Anthony Music, ‘Rich Men North of Richmond’A great song, sure. More than that, though, a sense of great exasperation. The quick and strong embrace of this song suggests an ocean of frustration that pop music leaves largely untapped and unvoiced, and a grass-roots resistance that it has almost no hope of replicating.4. Mustafa, ‘Name of God’Few artists conjure a richness of sorrow the way the Canadian folk singer Mustafa does. Here, his singing is beautiful and a little distant, as if flinching ever so slightly from a pain that will never be anything but raw.5. PinkPantheress featuring Ice Spice, ‘Boy’s a Liar Pt. 2’PinkPantheress took her songs from her bedroom to bigger stages after a viral hit.Adama Jalloh for The New York TimesA glimpse at how pop might — should? — sound in the coming few years. Two stars of the internet of 12 to 24 months ago who found themselves at the vanguards of their respective scenes come together for a collaboration in which neither has to concede an inch.6. Jelly Roll with Lainey Wilson, ‘Save Me’What makes Jelly Roll so effective is the way the intensity of his howl only amplifies the potency of his scars. It’s perhaps most pointed on this duet with Lainey Wilson, whose crisp and clear tone initially seems like an antidote, but is quickly revealed as equally bruised.7. That Mexican OT featuring Paul Wall and Drodi, ‘Johnny Dang’An effortless blend of Texas rap generations, fusing the tongue-twisting with the slow-rolling.8. Cody Johnson, ‘The Painter’When someone is effusive, it might not mean as much when they gush. But when a stoic drops his guard, it can feel seismic.9. Ken (Ryan Gosling), ‘I’m Just Ken’When this stridently sad song from the “Barbie” movie hits its apogee, it’s channeling Dashboard Confessional, Meat Loaf, the Phantom (of the Opera) and maybe even Scott Stapp. Slash plays guitar, salting the melodrama hard.10. Gunna, ‘Fukumean’The Atlanta rapper Gunna quickly returned to work after accepting a plea deal in a wide-sweeping ongoing case.Craig Barritt/Getty Images For GunnaA year ago, Gunna accepted a plea deal that untethered him from the RICO trial that has ensnared his mentor, Young Thug. Relatively quickly, he returned to his familiar slippery garble with a hit so ubiquitous it felt like a memory of how things once were.11. YoungBoy Never Broke Again, ‘Dirty Thug’The best of another slew of lonely anthems from the most important and least publicly visible hip-hop star of the past few years.12. Kylie Minogue, ‘Padam Padam’A cool blast of not-quite-exuberance, this club-pop anthem is a continuation of Kylie Minogue’s sometime-diva legacy, a relentless queer anthem, a cheeky flirtation and a thump that just won’t quit.13. Doja Cat, ‘Agora Hills’It has been 11 and a half years since Kitty Pryde released “Okay Cupid,” plenty of time for a re-embrace.14. Chino Pacas, ‘El Gordo Trae el Mando’A meaty, beatifically meandering boast by one of the rising stars of corridos tumbados.15. Lil Uzi Vert, ‘Just Wanna Rock’Grandfathered in from late 2022, this song broke TikTok, broke dancing, broke the Grammys and maybe even broke hip-hop.And 10 More:Corpse, “Disdain”Miley Cyrus, “Used to be Young”Emilia, “GTA.mp3”evvls, “Belikeme?”Jack Harlow, “Lovin on Me”Sam Hunt, “Walmart”Byron Messia, “Talibans”Militarie Gun, “Very High”Nettspend, “Shine N Peace”Odetari, “Good Loyal Thots”Lindsay ZoladzBeautiful DisastersSo many of my favorite tracks of the year flipped scripts, turned tables and reimagined weaknesses as strengths. By no means a complete list of the songs I enjoyed the past 12 months, these are 20 I couldn’t stop listening to — most of them reminders of music’s ability to turn mess into meaning, anxiety into energy and heartache into a great song.1. Olivia Rodrigo, ‘Vampire’Olivia Rodrigo confronts a new class of villain on “Vampire,” the incisive first single that heralded her second album, “Guts,” but she also proves she has learned new ways to slay. “Vampire” is wrenching and formally restless, at first masquerading as a piano ballad, only to ramp up into a miniature rock opera complete with a showstopping high note worthy of a tragic heroine. But don’t cry for Rodrigo — she doesn’t need protection. Her words, her observations and her stylistic flair all have plenty of bite.2. PinkPantheress featuring Ice Spice, ‘Boy’s a Liar Pt. 2’In a previous millennium, two of pop’s main young girlies joined forces to each assert that “The Boy Is Mine,” but PinkPantheress (b. 2001) and Ice Spice (b. 2000) were not alive when that song was released. On their bubbly and utterly infectious collaboration, they sidestep any hint of rivalry and turn against the guy, deciding he’s not worth the drama. “What’s the point of crying?” they shrug blithely. “It was never even love.”3. Lana Del Rey, ‘A&W’The year’s best song about telling an ex-boyfriend’s mom that her son is a disaster (runner-up: Rodrigo’s “Get Him Back!”), the sprawling, portentous seven-minute “A&W” is an unfiltered look into Lana Del Rey’s stream of consciousness: misremembered movie titles, sexually frank admissions, inside jokes about Californian geography (“I say I live in Rosemead, really, I’m at the Ramada”) and all manner of other oddly juxtaposed American flotsam. “Maybe,” she reasons with a weary sigh, arriving at some self-knowledge, “I’m just kinda like this.”4. boygenius, ‘Not Strong Enough’Everyone’s favorite musical besties — Julien Baker, Phoebe Bridgers and Lucy Dacus — riff on pop clichés and gender roles in this highlight from their breakout year, succinctly summing up their individual songwriting personalities and demonstrating the magic that happens when they combine their powers.5. Romy, ‘Enjoy Your Life’Romy Madley Croft was the final member of the xx to release a solo album.Charlotte Hadden for The New York TimesThe xx’s Romy Madley Croft finds a solution for anxiety and self-doubt on this thumping, compassionate club banger: What if she looked at her life through the eyes of a benevolent mother? A luminous sample from the synth pioneer Beverly Glenn-Copeland — “my mother says to me, enjoy your life” — guides the way.6. Mitski, ‘My Love Mine All Mine’TikTok’s reluctant darling Mitski has released her share of songs that sound destined for pop crossover — last year’s sleek, synthy “Laurel Hell” was full of them — but, unexpectedly, she became a fixture on this year’s Hot 100 for the first time ever with this slow, moony ballad that sounds unlike anything else on the charts. Oblique, poetic and sumptuously sung, it’s a welcome moment of Zen.7. Zach Bryan featuring Kacey Musgraves, ‘I Remember Everything’An old-fashioned he-said/she-said country duet cut through with a chill of bleak finality. Zach Bryan and Kacey Musgraves are both at their emotive best on this bruised-hearted crossover hit.8. Doja Cat, ‘Agora Hills’An arsenic-laced confection that shows off Doja Cat’s multiple personalities — a romantic and an ironist, an angel and a devil, a singer fluent in dreamy hooks and a rapper with razor-sharp teeth.9. Jess Williamson, ‘Hunter’The indie singer-songwriter Jess Williamson chronicles both the promise and fatigue of looking for love in this bittersweet, poetically rendered reflection, her twangy voice brimming with a weary hope.10. Olivia Rodrigo, ‘Bad Idea, Right?’Olivia Rodrigo sings about mistakes in serious and humorous ways on her second album, “Guts.”Chantal Anderson for The New York TimesWith the possession of a driver’s license comes the ability to drive to an ex’s house in the middle of the night for an ill-advised hookup. That’s the trade-off. At least such circumstances gave us one of Rodrigo’s spunkiest, funniest and most irresistible singles yet.11. Palehound, ‘Independence Day’El Kempner has a keen eye for tragicomic detail on this ramshackle rocker about regret, denial and long-simmering incompatibility that results in a July 4 breakup. “I’m living life like writing my first draft,” they sing. Aren’t we all.12. Water From Your Eyes, ‘Barley’All year I have been describing this zany, looping song from the Brooklyn art-rockers Water From Your Eyes as “what it would sound like if Sonic Youth had made an appearance on ‘Sesame Street,’” and I’m not going to stop now.13. Noname, ‘Namesake’The Chicago rapper Noname says the quiet part loud — and oh so dexterously — on this refreshingly honest track, an incisive examination of pop-cultural ethics unafraid to name names, including (in addition to Beyoncé, Rihanna and Kendrick Lamar) her own.14. Wednesday, ‘Chosen to Deserve’In her cracked wail, the Southern rock band Wednesday’s Karly Hartzman — “the girl that you’ve chosen to deserve” — paints an achingly vivid portrait of suburban boredom and young adult malaise, finding just the right surface details to express something deep: “I was out late, sneaking into the neighborhood pool,” she sings. “Then I woke up early and taught at the Sunday school.”15. Mandy, Indiana, ‘Pinking Shears’Comment dit-on “hypnotic, endlessly loopable industrial banger”?16. Jenn Champion, ‘Jessica’There’s no right or wrong way to grieve, Jenn Champion reminds us on this icy, arresting piano ballad, as she rages against a friend’s overdose in lacerating detail.17. Jamila Woods featuring duendita, ‘Tiny Garden’Jamila Woods’s album “Water Made Us” achieves the musician’s greatest synthesis yet between her voices as a poet and as a songwriter.Bennett Raglin/Getty Images For Slow FactoryA warm, wise ode to incremental progress and tiny, beautiful things from R&B’s resident poet laureate.18. Yo La Tengo, ‘Fallout’Still knitting aural autumn sweaters, after all these years.19. Sufjan Stevens, ‘So You Are Tired’What state is he on now? Alaska? Disrepair? Grace? Regardless, this song is a quiet doozy that watches a long-term love unravel in slow motion like a spool of ribbon underwater.20. Drake featuring Sexyy Red and SZA, ‘Rich Baby Daddy’Exhibit Z that Drake is at his best not when he tsk-tsks grown women, but when he risks being outshone by inviting them on the track. More

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      Miley Cyrus, Selena Gomez and 9 More New Songs

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      Hear tracks by Selena Gomez, Al Green, L’Rain and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. 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, and The Amplifier, a twice-weekly guide to new and old songs.Miley Cyrus, ‘Used to Be Young’“You say I used to be wild, I say I used to be young,” Miley Cyrus sings on the muted, introspective new ballad “Used to Be Young.” The timing of the single’s release is canny: Cyrus gave her infamous, twerk-seen-’round-the-world MTV Video Music Awards performance 10 years ago on Friday. Cyrus, now 30, isn’t chiding her younger self or expressing regrets here, though — “I know I used to be crazy, messed up, but God was it fun,” she sings with an audible grin — so much as she is asserting her right to grow and change. Though “Used to Be Young” starts out quiet, it gradually builds in intensity, culminating in a finale that allows Cyrus to showcase the full power of her grainy drawl. LINDSAY ZOLADZAl Green, ‘Perfect Day’The magnificently idiosyncratic soul singer Al Green has re-emerged singing “Perfect Day,” a song from 1972 by — of all people — Lou Reed. Reed’s original had a disquieting undertone, warning “You’re going to reap just what you sow.” But Green’s remake — backed by musicians from his 1970s Hi Rhythm Section — trades any misgivings for romance, and the same line becomes a promise of mutual bliss. JON PARELESZach Bryan featuring Kacey Musgraves, ‘I Remember Everything’This wrenching highlight from Zach Bryan’s new self-titled album is a he-said/she-said account of a failed, whiskey-soaked romance, set to a forlorn chord progression. “A cold shoulder at closing time, you were begging me to stay ’til the sun rose,” Bryan sings in his aching croak, before Kacey Musgraves enters with a pointed question: “You’re drinking everything to ease your mind, but when the hell are you gonna ease mine?” ZOLADZL’Rain, ‘Pet Rock’“Why would you go without me?” L’Rain — the songwriter and musician Taja Cheek — wonders in “Pet Rock,” a turbulent song about unwanted solitude. Cascading guitars and shifty-meter drumbeats give the music an unpredictable, almost tidal motion that ebbs and flows with all the lyrics’ unanswered questions. PARELESSelena Gomez, ‘Single Soon’“I know he’ll be a mess when I break the news/but I’ll be single soon,” Selena Gomez exults in the ultra-smiley “Single Soon.” It’s a triumphal march about all the prerogatives of moving on — “I’m gonna do what I wanna do” — with giggles in the backup track as she decides it’s “Time to try another one.” Like Taylor Swift’s “Blank Space,” it celebrates the choices ahead. PARELESPrince, ‘Alice Through the Looking Glass’The teaser for the next much-expanded Prince reissue — “Diamonds and Pearls,” due Oct. 27 — is a falsetto funk tune about a woman with a mysterious but alluring occupation. “Some call it a curse, some call it sweet salvation/No one can deny the stimulation,” Prince sings over a skulking synth-bass line. The lyrics stay ambiguous, but the groove tells its own sensual story. PARELESMargo Price, ‘Strays’Margo Price released her album “Strays” in January, but its title track arrives this week in the rollout of “Strays II,” a sequel she’s releasing a few songs at a time. In “Strays,” she sings about being young, broke and ferally in love back in January 2003, with a galloping beat and pounding piano chords that suggests the E Street Band visiting Nashville. The memories sound victorious. PARELESMon Laferte, ‘Tenochtitlán’The Chilean songwriter Mon Laferte sings about a woman shamed for her pregnancy in “Tenochtitlán,” comparing her to the Virgin Mary. In a track that melds the retro and futuristic, she overlays a trip-hop bass undertow with lushly dramatic strings, a flamenco-tinged guitar solo and a passage of pitch-shifted vocals, while she urges, “Beautiful one, cry no more.” PARELESLuciana Souza & Trio Corrente, ‘Bem Que Te Avisei’The new album from Luciana Souza and Trio Corrente, “Cometa” is a celebration of Brazil’s classic songbook, with covers of songs by Dorival Caymmi and Antonio Carlos Jobim alongside lively originals written in the spirit of tradition. Souza contributes a composition, “Bem Que Te Avisei” (“Well, I Warned You”), an up-tempo samba in which she admonishes a suitor not to chase someone unless he’s interested in committing. The piece comes fully alive midway through, when she sings a verse accompanied by just Paulo Paulelli’s bass and Edu Ribeiro’s light percussion, and achieves elevation at the end, as Souza’s wordless vocals double with the piano of Fabio Torres, briefly bringing to mind Flora Purim’s synergy with Chick Corea in Return to Forever. GIOVANNI RUSSONELLOTitanic, ‘Anónima’The Guatemalan songwriter Mabe Fratti and the Venezuelan composer Hector Tosta, who bills himself as I la Católica, have collaborated as Titanic, with an album due in October. In “Anónima” (“Anonymous”), Fratti’s cello grunts rhythmic double-stops as she sings about persistent, troubling thoughts, surrounded by clusters of piano notes and increasingly brutal percussion. Her voice maintains its equanimity, but her distorted cello finally lashes out. PARELESAbiodun Oyewole, ‘Somebody Else’s Idea’In 1968, the poet-activists Larry Neal and Amiri Baraka released “Black Fire: An Anthology of Afro-American Writing,” a collection that would help to define the Black Arts Movement. The poet with the most works featured in its pages was Sun Ra: Although mostly known as the bandleader of the Arkestra, Ra was a philosopher and poet as much as he was a musician. That same year, a group of young poets came together in Harlem, dubbing themselves the Last Poets and helping to lay the groundwork for what would soon become hip-hop; Abiodun Oyewole was one of them. Those histories collide on “My Words Are Music: A Celebration of Sun Ra’s Poetry,” a new album on which various artists read Ra’s poems between spacey synthesizer interludes from Marshall Allen, the Arkestra’s current leader. On “Somebody Else’s Idea,” Oyewole delivers verses that Ra first recorded in the early 1970s, when the Last Poets were in their prime: “Somebody else’s idea of things to come/need not be the only way to vision the future,” he declares. RUSSONELLO More

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      The Unstoppable, Unsinkable, Uninhibited Margo Price

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      Country songs are often filled with tragedy and hard times. Price has detailed her own catalog of traumas in a memoir and her music, but also turns her lens outward on a new LP, “Strays.”NASHVILLE — The alt-country musician Margo Price has a contrarian streak, and a wild one. When she was preparing to write her fourth album, “Strays,” in 2020, she and her husband and musical partner, Jeremy Ivey, decamped from their cozy family home in the suburbs here, and rented an Airbnb in Charleston, S.C. They brought guitars and notebooks, and a pile of hallucinogenic mushrooms.Tripping together in the backyard at a Live-Laugh-Love kind of cottage, listening to Tom Petty, Patti Smith and Bob Dylan, the couple reconnected and tried to “generate new sounds, new rhythms, new styles,” Price said, after a tumultuous period when her husband was gravely ill with the coronavirus. “It was, you know, big emotions and laughing hysterically in the kitchen, and then the next moment, I’m like, ‘I love you so much, don’t ever die,’” she said in an interview at her neo-Tudor home near Nashville.They wrote 20 songs, including the first two singles on “Strays,” which is out Jan. 13 and struts through big-hearted indie country, honky-tonk stomp and ’70s guitar-explosion psychedelia. “A lot of times, with the country world, they’re like, ‘Get in this box, and stay here,’” Price said. “So it was good to be able to paint outside of the lines. The mushrooms definitely helped.”Since her breakthrough studio debut, “Midwest Farmer’s Daughter,” in 2016, Price, 39, has tunneled her own path through the music industry, sometimes indignantly. She has always had ambition to spare and faith in herself as an artist, even in the face of repeated rejections, as she describes in her memoir, “Maybe We’ll Make It,” out last October.“I admire Margo tremendously for her fierceness,” said her friend Brittany Howard, the guitarist and singer. “She doesn’t back down and she won’t become the kind of artist that the industry wants her to be. She is the kind of artist that cannot be manufactured.”Despite the friendship and cheerleading of legends like Willie Nelson, who duetted with her on her second album, Price has never felt welcome in the country establishment, she said. (She has yet to be invited to the genre’s flagship honors, the Country Music Awards.) Even a Grammy nomination for best new artist at the 2019 ceremony left her feeling like an outsider, when she wasn’t invited to perform or present (she was also pregnant at the time).She fretted about seeming irrelevant and losing the career momentum that she had worked to accrue over decades in Nashville if she stayed home with her daughter, Ramona, who was born in 2019.“I think it was actually only four and a half weeks after my C-section that I had opening dates with Chris Stapleton,” she said. So she got back on the tour bus. “Just put the Spanx on, and had my breast pump out, just rolling down the road with a baby and a 9-year-old” — her son Judah — “and a crew, and a band.”“When I wrote ‘Midwest Farmer’s Daughter,’ and when I put that album out, I was tortured,” Price said of her 2016 breakthrough.Scott Dudelson/Getty ImagesThe pandemic stopped that trajectory. But Price found another outlet in writing her memoir, which chronicles her hardscrabble, super-broke but resolute early years in Nashville; meeting Ivey, who is her co-songwriter and guitarist; getting pregnant as newlyweds while living under the poverty line; and the devastating loss of their child. Judah’s twin brother, Ezra, died two weeks after their birth in 2010, following surgery for a genetic heart condition. She had only been able to hold him once.His death sent her into an emotional spiral — for three years, she had a recurring nightmare about not being able to save a drowning infant. She was unfaithful to her husband, and he followed suit, as she writes in the book, and she descended further into alcohol abuse. And then there was “Midwest Farmer’s Daughter,” a deeply autobiographical album about her family (she was born and raised in tiny Aledo, Ill.) and her flaws. “Hurtin’ (On the Bottle),” a barroom wallop, became one of her signature tunes.To help pay for the recording, at Sun Studios in Memphis, Price pawned her engagement ring. Ivey got it back, but sold their car instead. “It was the most romantic thing he had ever done for me,” she wrote.On her book tour last fall, Price met fans and heard other stories of profound loss, doling out hugs and speaking to audience members for sometimes two hours after a reading.“As a musician and a writer, you think, ‘I’m doing this because it brings me joy,’” she said. “But when somebody else is like, hey, you got me through my divorce; you got me through this really tough time — I lost my mom to cancer, and I just listened to your record a lot. I’m like, yes, tell me about that, I need to hear that.”Price stopped drinking after she wrote her memoir. “I’m feeling my emotions more deeply than I have in a really long time, even though I thought, back then, that there was some kind of magic to feeling like garbage,” she said.Sara Messinger for The New York TimesShe started therapy only after she finished writing the book. When she turned in the final draft, “I started having all these, almost like panic attacks,” she said. “I was worried about people judging me.” She also quit drinking; her book editor had observed that “whiskey was like a character” in the pages, she said. (She still smokes weed and savors her mushroom trips, both substances she feels help clarify her vision — though even that, she worried, might make her seem like a bad mother. Do musician fathers get that rap?).Sitting cross-legged on a black leather couch in an airy living room furnished with vintage furniture and musical mementos, Price reflected on a life that would buckle many people.“When I wrote ‘Midwest Farmer’s Daughter,’ and when I put that album out, I was tortured,” she said. Her two dogs slept with their heads on her lap, and her two cats prowled inside and out (the Price-Ivey home covers six acres, leading up to woods and surrounded by moonshine stills).That songwriting was also “my first practice of being vulnerable,” she continued, adding that until that point, she had focused on being “tough” to avoid revealing her weaknesses.“But as the book and everything has evolved, I think that has grown as one of my strengths, and I’ve learned not to be embarrassed by it.”Especially now that she’s (mostly) sober, “I feel really creatively in a good place,” she said. “I’m feeling my emotions more deeply than I have in a really long time, even though I thought, back then, that there was some kind of magic to feeling like garbage.”As Ivey went to pick up Judah, now 12, Price gave me a tour of their home — the wood-paneled studio, with her drum kit and a prized guitar autographed by the likes of Dolly Parton and Emmylou Harris; her custom closet, with a neat rainbow of cowboy boots and a typewriter she often used for developing songs. “Jeremy can create in front of all sorts of people,” she said of her husband, also a solo artist. “But I feel exposed, like I don’t want anyone to hear all the bad notes and dumb ideas. So, I come hide in here.”Howard met her a decade ago, singing background vocals together in Nashville, she said. Their friendship came naturally: “She is so welcoming, genuine and fun to be around,” Howard wrote in an email. “We’d stay out all night laughing and sharing music and philosophy and just encouraging each other that we were on the right track.”She often ended the night crashing on Price and Ivey’s couch. These days, the women like to go fishing together — catching bass and feasting on Howard’s peanut butter and raw garlic sandwiches. “She’s just like, don’t knock it until you try it,” Price said.A pregnant Price and her husband and collaborator, Jeremy Ivey, at the 2019 Grammys in Los Angeles.They were bonded by their perseverance, Howard said. “I was told ‘no’ a lot very early on in my life. Mostly because of the way I looked,” she said. “When people don’t give you the space, you have to absolutely carve it out for yourself.”“That practice creates a resilience inside of us,” she added. “It’s a great power to be able to fall to pieces and put yourself back together bigger, better and stronger”Part of Price’s stability comes from Ivey, to whom she’s been married 14 years, and writing and touring with even longer. Songwriting “definitely draws us together when other things are pushing us apart,” she said.They’ve earned their industry savvy, too: In her early years, as she writes in the book, she invented a manager, “John Sirota” — complete with a fake Myspace page and booking site — to give her more cred and send cajoling (or demanding) messages to club owners and bookers. (It worked — the band got more gigs with John running the show than when Price signed the emails herself.)Recently, when her label, Loma Vista, wanted her to bring in collaborators, “I tricked them into thinking that I was writing with one of Taylor Swift’s co-writers,” she said. Using an industry pal’s connection, she sent over some demos — “‘Check them out, see if you like these more than the ones that me and Jeremy wrote.’ Well, meanwhile, it was just a song that I wrote.” The track, the boppy “Radio,” made the album, withSharon Van Etten filling it out.They are “mother musician friends,” Price said — a rare breed that make it seem possible, if still enormously complicated, to tour while being a mom. (To make Price’s two-musician-parent household work, her mother lives with them.) Along with Mimi Parker from Low, Price “was one of the first moms I talked to, that I look up to,” Van Etten said. “They always just said, ‘you figure it out.’”“A lot of times, with the country world, they’re like, ‘Get in this box, and stay here,’” Price said. “So it was good to be able to paint outside of the lines. The mushrooms definitely helped.”Sara Messinger for The New York Times“Radio” could be the lament of a working mother during the pandemic, with lines about being exhausted and pleading to be left alone. But Van Etten said the magic of Price’s songwriting was that anybody can find themselves reflected in it. “Radio” is “how we feel as moms trying to find our own space,” she said. “But it can be anyone trying to have a moment, and that feeling of when you’re listening to a song, that’s all you can hear.”Van Etten said Price’s skill at using the vernacular of traditional country — “the double-entendres and the turnarounds” — to talk about issues like the gender wage gap, offered a blueprint for other left-of-center artists. Especially watching her in an early, career turning-point performance on “Saturday Night Live” in 2016, she said, “I just felt like she was a role model that actually had something to say.”“Of course her range is insane,” she added. “As much as her delivery — she can be sweet as much as sassy. She has an edge to her vocals that you don’t hear much in country music right now.” (In her memoir, Price writes about how self-doubt had her up partying all night before the “S.N.L.” performance; she was also diagnosed with strep throat hours beforehand.)Lately, Price has made her songwriting more narrative and less personal. The single “Lydia,” on “Strays,” tells the story of an unsettled woman in an abortion clinic. It’s conversational and spare, with Price on acoustic guitar. Her producer, Jonathan Wilson, had the idea to juxtapose her live take “with some really weird, atonal strings,” he said. Written before the overturning of Roe v. Wade, the six-minute track was well-received and hailed as prescient.Price is thrilled about any accolades, of course. But where once she was anxious about achieving them, now she wants to let all that go. “I’m trying to just be really happy with all that I’ve accomplished,” she said.That doesn’t mean she’s lifted her boot off the gas. “I have actually been writing more songs than I have in a very long time,” she noted. She hikes around her property, she listens to the birds; inspiration strikes. “I wake up feeling good every day,” she said, adding: “I just feel this urgency. I want to create.” More

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      Best Songs of 2022

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      Seventy-two tracks that identify, grapple with or simply dance away from the anxieties of yet another uncertain year.Jon Pareles’s Top 25Full disclosure: There can’t be a definitive list of best songs — only a sampling of what any one listener, no matter how determined, can find the time to hear in the course of a year. For discovery’s sake, my list rules out the (excellent) songs on my favorite albums of the year, and it’s designed more like a playlist than a countdown or a ranking. Feel free to switch to shuffle.1. Residente featuring Ibeyi, ‘This Is Not America’Backed by implacable Afro-Caribbean drumming and Ibeyi’s vocal harmonies, the Puerto Rican rapper Residente defines America as the entire hemisphere, while he furiously denounces historical and ongoing abuses.2. The Smile, ‘The Opposite’Thom Yorke of Radiohead — in a side project, the Smile — wonders, “What will become of us?” Prodded by a funky beat and pelted by staggered, syncopated guitar and bass notes, he can’t expect good news.3. Wilco, ‘Bird Without a Tail/Base of My Skull’With Wilco picking and strumming like a string band, Jeff Tweedy spins a free-associative fable about elemental forces of life and death, leading into a brief but probing jam that reunites country and psychedelia.4. Rema featuring Selena Gomez, ‘Calm Down’The crisply flirtatious “Calm Down,” by the Nigerian singer Rema, was already a major African hit when Selena Gomez added her voice for a remix. He’s confident, she’s inviting — at least for the moment — and the Afrobeats syncopation promises a good time.5. Emiliana Torrini and the Colorist Orchestra, ‘Right Here’A plinking Minimalist pulse and a deft chamber-pop arrangement carry the Icelandic songwriter Emiliana Torrini through fond thoughts of hard-won but durable domestic stability.Thom Yorke, left, and Jonny Greenwood of the Smile performing at Usher Hall in Edinburgh in June. The band also includes the drummer Tom Skinner.Roberto Ricciuti/Redferns, via Getty Images6. Lucrecia Dalt, ‘Atemporal’“Atemporal” (“Timeless”) is from “Ay!,” Lucrecia Dalt’s heady concept album about time, physicality and love. It’s a lurching bolero that dovetails lo-fi nostalgia with vaudeville horns and an electronically skewed sense of space.7. Burna Boy, ‘Last Last’The Nigerian superstar Burna Boy juggles regrets, justifications and resentments as he sings about a romance wrecked by career pressures, drawing nervous momentum out of a strumming, fluttering sample from Toni Braxton.8. Aldous Harding, ‘Lawn’The tone is airy: unassuming piano chords; a high, naïve voice; a singsong melody. But in one of Aldous Harding’s least cryptic lyrics, she is trying to put the best face on a confusing breakup.9. Madison Cunningham, ‘Our Rebellion’Madison Cunningham sings, wryly and fondly, about an opposites-attract relationship in a tricky, virtuosic tangle of guitar lines.10. Big Thief, ‘Simulation Swarm’Adrianne Lenker’s wispy voice belies the visionary ambition — and ambiguity — of her lyrics. So does the way the band, not always in tune, cycles through four understated folk-rock chords, swerving occasionally into a bridge. It’s a love song with a backdrop of war and transformation, delivered like a momentary glimpse into something much vaster.11. Margo Price, ‘Lydia’Somewhere between folk-rock plaint and short story, Margo Price sings about a pregnant woman at a clinic, with a hard-luck past and a tough decision to make.12. Ice Spice, ‘Munch (Feelin’ U)’Cool, fast, precise and merciless, the Bronx rapper Ice Spice dispatches a hapless suitor by designating him as a new slang word: “munch.”13. Jamila Woods, ‘Boundaries’Mixing a suave bossa nova with a tapping, stubbornly resistant cross-rhythm, Jamila Woods neatly underlines the ambivalence she sings about, as she ponders just how close she wants someone to get.14. Stromae featuring Camila Cabello, ‘Mon Amour’The cheerful lilt of Stromae’s “Mon Amour” is camouflage for the increasingly threadbare rationalizations of a compulsive cheater; he gets his comeuppance when Camila Cabello asserts her own freedom to fool around.15. Giveon, ‘Lie Again’Giveon floats in a jealous limbo, hoping not to be exposed to hard truths. His voice is a baritone croon with an electronic penumbra, in a track that hints at old soul translated into ghostly electronics.16. Tyler ICU featuring Nkosazana Daughter, Kabza De Small and DJ Maphorisa, ‘Inhliziyo’No fewer than three leading producers of amapiano, the patient, midtempo South African club style, collaborated on “Inhliziyo” (“Heart”), creating haunted open spaces for the South African singer and songwriter Nkosazana Daughter to quietly lament a heartbreak.The Nigerian star Burna Boy addresses the challenges of balancing a relationship with his growing career on “Last Last.”Ferdy Damman/EPA, via Shutterstock17. Tinashe, ‘Something Like a Heartbreak’Nothing feels entirely solid in this song: not Tinashe’s breathy vocals, not the beat that flickers in and out of the mix, not the hovering tones that only sketch the chords. But in the haze, she realizes, “You don’t deserve my love,” and she moves on.18. Jessie Reyez, ‘Mutual Friend’Revenge arrives with cool fury over elegant, vintage-soul strings as Jessie Reyez makes clear that someone is definitely not getting a second chance.19. 070 Shake, ‘Web’Danielle Balbuena — the songwriter and producer who records as 070 Shake — overdubbed herself as a full-scale choir in “Web,” a pandemic-era reaction to the gap between onscreen and physical interaction. She wants carnality in real time, insisting, “Let’s be here in person.”20. Holly Humberstone, ‘Can You Afford to Lose Me?’In an ultimatum carried by a stately crescendo of keyboards, Holly Humberstone reminds a partner who’s threatening to leave just how much she has already put up with.21. Brian Eno, ‘There Were Bells’“There Were Bells” contemplates the slow-motion cataclysm of global warming as an elegy and a warning, with edgeless, tolling sounds and a mournful melody as Brian Eno sings about the destruction no one will escape.22. Caroline Polachek, ‘Billions’Is it love or capitalism? Caroline Polachek sings with awe-struck sweetness — and touches of hyperpop processing — against an otherworldly backdrop that incorporates electronics, tabla drumming and string sections, at once intimate and abstract.23. Stormzy, ‘Firebabe’In a wedding-ready, hymnlike ballad, Stormzy sings modestly and adoringly about a love at first sight that he intends to last forever.24. Hagop Tchaparian, ‘Right to Riot’A blunt four-on-the-floor thump might just be the least aggressive part of “Right to Riot” from the British Armenian musician Hagop Tchaparian, which also brandishes traditional sounds — six-beat drumming and the snarl of the double-reed zurna — and zapping, woofer-rattling electronics as it builds.25. Oren Ambarchi, ‘I’The first section of an album-length piece, “Shebang,” by the composer Oren Ambarchi, is a consonant hailstorm of staccato guitar notes, picked and looped, manipulated and layered, emerging as melodies and rejoining the ever-more-convoluted mesh.Jon Caramanica’s Top 22There are plenty of ways to try out something new — fooling around with your friends, tossing off a casual but not careless experiment, disappearing so deeply into a feeling that you forget form altogether.1. GloRilla featuring Cardi B, ‘Tomorrow 2’Kay Flock featuring Cardi B, Dougie B and Bory300, ‘Shake It’It was a great year for the Cardi B booster plan. Like Drake before her, she is an attentive listener and a seven-figure trend forecaster, as captured in these two cousin-like feature appearances. “Shake It” is as credible a drill song as a non-drill performer has yet made — Cardi’s verse is pugnacious and tart. And “Tomorrow 2,” with its big BFF energy, helps continue construction of a new pathway for female allyship in hip-hop.2. Ice Spice, ‘Munch (Feelin’ U)’Ice Spice is a gleefully patient rapper. On “Munch,” she pulls off a perfectly balanced tug of war between neg-heavy seduction and the affect of being utterly unbothered.3. Bailey Zimmerman, ‘Rock and a Hard Place’The trick of this catalog of a couple’s catastrophic collapse is that the arrangement never lets on that the circumstances are dire, but atop it, Bailey Zimmerman sings like he’s narrating a boxing match.4. Lil Yachty, ‘Poland’A non-song. A koan. A cry from beneath the ravenous eddies. A memory bubbling up from repression. A tractor beam. A stunt. A hopeful warble. A promise of infinite tomorrows.5. The Dare, ‘Girls’Epically silly and epically debauched, “Girls” marks a return(?) of quasi(?)-electroclash(?), but, more pointedly, is a reminder of the perennial power of lust, sweat and arch eroticism.Cardi B didn’t put out a lot of her own music in 2022, but she showed up in a savvy selection of features.Mario Anzuoni/Reuters6. Sadie Jean, ‘WYD Now? (10 Minute Version) [Open Verse Mashup]’The logical endpoint of the TikTok duet trend: one extended posse-cut version aggregating everyone’s labor into a lofi-beats-to-study-to forever loop. The wooden spoon provides.7. Lil Kee, ‘Catch a Murder’From his arresting debut mixtape “Letter 2 My Brother,” a caustic and bleak pledge of revenge from the Lil Baby affiliate Lil Kee, who sing-raps as if in a trance of menace.8. Cam’ron, Funk Flex #Freestyle171Another year, another casual calisthenics lesson from Cam’ron, the last avatar of the intricately economical style that dominated Harlem rap in the ’90s and remains staggering to observe.9. Yahritza y Su Esencia, ‘Soy El Unico’The first song Yahritza Martinez wrote — at age 13 — was “Soy El Unico,” a defiantly sad retort from a discarded partner to the discarder that pairs the groundedness of Mexican folk music with a vocal delivery inflected with hip-hop and R&B.10. Kate Gregson-MacLeod, ‘Complex (Demo)’This song began life as viral melancholy on TikTok, a brief portrait of someone stuck in the gravitational pull of a person who doesn’t deserve their care. The finished song is desolate but resilient, a hell of a plaint.11. NewJeans, ‘Cookie’Most striking about “Cookie,” the best song from the debut EP by the impressive young K-pop girl group NewJeans, is its ease — no maximalism, no theater. Simply a cheerful extended metaphor over an updated take on the club-oriented R&B of a couple of decades ago, finished off with a tasteful Jersey club breakdown.12. Jack Harlow featuring Drake, ‘Churchill Downs’The student befriends the teacher. Both drop out for a life of partying, followed by self-reflection, followed by more partying.13. Ethel Cain, ‘American Teenager’Midwest emo as refracted through Southeastern parchedness under a filter of radio pop-rock, delivering devastating sentiment about the emptiness of the American dream and the hopelessness of those subject to its whims.Ethel Cain turns a critical eye on the American dream with her debut album, “Preacher’s Daughter.”Irina Rozovsky for The New York Times14. Joji, ‘Glimpse of Us’You OK, bro?15. Delaney Bailey, ‘J’s Lullaby (Darlin’ I’d Wait for You)’One long ache about the one who’s slipping away: “Darlin’, I wish that you could give me some more time/To herd the whole sky in my arms/And release it when you’re mine.”16. Muni Long, ‘Another’Luscious, indignant, scolding.17. Romeo Santos featuring Rosalía, ‘El Pañuelo’Two traditionalists at heart, each feeling out the outer boundaries of their appetite for risk while still honoring what the other can’t quite do.18. Hitkidd featuring Aleza, Gloss Up, Slimeroni and K Carbon, ‘Shabooya’Roll-call rap that bridges the early ’80s to the early ’20s, with a cadre of Memphis women reveling in filth and sass.19. Kidd G featuring YNW BSlime, ‘Left Me’Lil Durk featuring Morgan Wallen, ‘Broadway Girls’What is hip-hop to country music these days? A source of vocal inspiration? A place for experimentation? Close kin? Safe harbor?20. Fireboy DML and Ed Sheeran, ‘Peru’The globe-dominating update of the Fireboy DML solo hit features bright seduction delivered with jaunty rhythm from Ed Sheeran.Lindsay Zoladz’s Top 25Anxiety abounds in this modern world, and music is one surefire way to process it — or maybe, for a few minutes at a time, to escape from it. The songs on this list consider both options.1. Hurray for the Riff Raff, ‘Life on Earth’Conventional wisdom tells us that life is short, time flies and there are never enough hours in the day. But Alynda Segarra takes the long view on this elegiac, piano-driven hymn: “Rivers and lakes/And floods and earthquakes/Life on Earth is long.” As it progresses at its own unhurried tempo, the song, remarkably, seems to slow down time, or at least zoom out until it becomes something geological rather than selfishly human-centric. The thick haze of climate grief certainly hangs over the track (“And though I might not meet you there, leaving it beyond repair”) but its lingering effect is one of generosity and spaciousness, inspiring a fresh appreciation for the interconnectedness of all things.2. The 1975, ‘Happiness’Matty Healy, the gregarious leader of the British pop group the 1975, is rarely at a loss for words, but on the supremely catchy “Happiness,” infatuation leaves him tongue-tied: “My, my, my, oh/My, my, my, you.” Ultimately, though, the song becomes an ode to giving oneself over to forces beyond control: like love, the unknown or maybe just the groove — particularly the loose, sparkling atmosphere the band taps into here.3. Beyoncé, ‘Alien Superstar’The moon is a disco ball and it orbits around Beyoncé on this commanding dance-floor banger, a studied but lived-in ode to ball culture and Afrofuturism. Like the rest of the remarkable “Renaissance,” the song’s focus flickers constantly from the individual to the collective, as Beyoncé’s braggadocious boasts of being No. 1, the only one, share space with her exhortations to find that unicorn energy within: “Unique, that’s what you are,” she intones regally, before a transcendent finale in which the song takes flight on a Funkadelic spaceship of its own making.4. Amanda Shires, ‘Take It Like a Man’The melody keeps ascending to nervy, dangerous heights, like a high-wire walk without a net: “I know the cost of flight is landing,” Amanda Shires sings on this imagistic torch song, trilling like some newly discovered species of bird. The title is playfully provocative, but it takes a twist in the song’s final lyric, when Shires proclaims, “I know I can take it like … Amanda” — a fitting finale for such a singular song of self.Amanda Shires makes a strong statement on “Take It Like a Man,” also the name of her latest album.Eric Ryan Anderson for The New York Times5. Taylor Swift, ‘Anti-Hero’Rejoice, you who have suffered through “Look What You Made Me Do,”“Me!” and even “Cardigan”: For the first time in nearly a decade, Taylor Swift has picked the correct lead single. “Anti-Hero” is one of the high points of Swift’s ongoing collaboration with the producer Jack Antonoff: The phrasing is chatty but not overstuffed, the synthesizers underline Swift’s emotions rather than obscuring them and the insecurities feel like genuine transmissions from Swift’s somnambulant psyche. Prospective daughters-in-law, you’ve been warned.6. Rosalía, ‘Despechá’Rosalía, smacking her gum, eyebrows raised, one hand on an exaggeratedly cocked hip: That’s the attitude, and this is its soundtrack. “Despechá” — abbreviated slang for spiteful — is a lighter-than-air, mambo-nodding dance-floor anthem, and an invitation to join the ranks of the Motomamis. As always, she makes pop perfection sound as easy as A-B-C.7. Pusha T, ‘Diet Coke’Pusha T, is, as ever, part rap-poet and part insult comic on the razor-sharp “Diet Coke,” bending language to his will and laughing his enemies right out of the V.I.P. room: “You ordered Diet Coke — that’s a joke, right?”8. Chloe Moriondo, ‘Fruity’“Fruity,” like the best hyperpop, is an anarchic affront to refinement and restraint, an ever-escalating blast of melodic delirium and warped excess. It’s a sugar rush, it’s brain-freeze-inducing, it’s recommended by zero out of 10 dentists. Turn it up loud.9. Yeah Yeah Yeahs featuring Perfume Genius, ‘Spitting off the Edge of the World’Yeah Yeah Yeahs grow elegantly into their role as art-rock elders here, not just by slowing to a tempo as confidently glacial as the Cure’s “Plainsong,” but by placing a spotlight on the existential dread of the next generation. “Mama, what have you done?” Karen O sings, channeling the voice of a frightened child. “I trace your steps in the darkness of one/Am I what’s left?”10. Grace Ives, ‘Lullaby’Grace Ives makes music of interiority, chronicling the liminal moments of her day when she’s by herself, daydreaming: “I hear the neighbors sing ‘Love Galore,’ I do a split on the kitchen floor,” goes the charming “Lullaby,” a passionately sung, welcoming invitation into her world.11. Weyes Blood, ‘It’s Not Just Me, It’s Everybody’The pandemic left many people isolated in their own heads, questioning their perceptions, feeling disconnected from a larger whole. The clarion-voiced Natalie Mering has written a soothing anthem for all those lost souls in the emotionally generous “It’s Not Just Me, It’s Everybody”; its title alone is an offering of solace and sanity.12. Florence + the Machine, ‘Free’A bass line buzzes like a live wire, snaking continuously through this exorcism of anxiety. “The feeling comes so fast, and I cannot control it,” Florence Welch wails as if possessed, but she eventually finds her catharsis in the music itself: “For a moment, when I’m dancing, I am free.”13. Ice Spice, ‘Munch (Feelin’ U)’“I’m walking past him, he sniffing my breeze,” the rising star Ice Spice spits expeditiously on this unbothered anthem; before he can even process the insult, she’s gone.14. Drake, ‘Down Hill’A sparse palette from 40 — finger snaps, moody synth washes, light Afrobeats vibes — gives Drake plenty of room to explore his melancholy on this standout from the welcome left turn “Honestly, Nevermind.”15. Alex G, ‘Miracles’An aching, bittersweet meditation on the holiness of the everyday, and an expression of intimacy from one of indie rock’s most mysterious, and best, songwriters.16. Carly Rae Jepsen, ‘Western Wind’The one-time “Call Me Maybe” ingénue shows off a breezier and more mature side, as impressionistic production from Rostam Batmanglij helps her conjure California sunshine.17. Mitski, ‘Stay Soft’“You stay soft, get eaten — only natural to harden up,” Mitski sings on this sleek but deceptively vulnerable pop song, as her voice, fittingly, oscillates between icy cool and wrenching ardor.Drake takes a refreshing swerve into dance music with the songs on “Honestly, Nevermind.”Prince Williams/Wireimage, via Getty Images18. Miranda Lambert, ‘Strange’Down is up and wrong is right in this topsy-turvy, tumbleweed-blown country rocker, on which a wizened Miranda Lambert sings like a woman who’s seen it all: “Pick a string, sing the blues, dance a hole in your shoes, do anything to keep you sane.”19. Plains, ‘Problem With It’Katie Crutchfield, better known as Waxahatchee, embraces her twang and her Alabama upbringing on this collaboration with the Texas-born singer-songwriter Jess Williamson; the result is a feisty, ’90s-nodding country-pop gem.20. Charli XCX, ‘Constant Repeat’“I’m cute and I’m rude with kinda rare attitude,” she boasts on the best song from her aerodynamic “Crash” — a top-tier lyric befitting some next-level Charli.21. Alvvays, ‘Belinda Says’As in Belinda Carlisle, whom the Alvvays frontwoman Molly Rankin addresses at the climactic moment of this blissfully moody song: “Heaven is a place on Earth, well so is hell.” Towering waves of shoegaze-y guitars accentuate her melancholy and give the song an emotional pull as elemental as a tide.22. Jessie Ware, ‘Free Yourself’A thumping, glittery one-off single from the British musician finds her continuing in the vein of her 2020 disco reinvention “What’s Your Pleasure?” and proving that she’s still finding fresh inspiration from that sound.23. Koffee, ‘Pull Up’The Jamaican upstart Koffee has a contagious positivity about her, and this reggae-pop earworm is an effortless encapsulation of her spirit.24. Anaïs Mitchell, ‘Little Big Girl’“No one ever told you it would be like this: You keep on getting older, but you feel just like a little kid,” the folk musician Anaïs Mitchell sings on this moving standout from her first solo album in a decade, which poignantly chronicles the emotions of a demographic drastically underexplored in popular music: women at midlife.25. The Weather Station, ‘Endless Time’“It’s only the end of an endless time,” Tamara Lindeman sings in a mirror-fogging exhale, eulogizing a whole host of things taken for granted — love, happiness, the inhabitability of Earth — expressing a fragile, and very human, disbelief that they won’t last forever. More

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      Red Hot Chili Peppers Honor Eddie Van Halen, and 10 More New Songs

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      Hear tracks by Margo Price, Jamie xx, the Comet Is Coming and others.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.Red Hot Chili Peppers, ‘Eddie’Red Hot Chili Peppers memorialize Eddie Van Halen and 1980s Los Angeles with what sounds like an old-fashioned, real-time studio jam in “Eddie.” Anthony Kiedis sings biographical snippets — “My brother’s a keeper/I married a TV wife” — while Flea’s bass and John Frusciante’s guitar chase each other all the way through the song, in an ever-changing counterpoint of hopping bass lines and teasing, wailing, shredding, overdriven guitar — the sound of a band in a room, still pushing one another. PARELESKelsea Ballerini, ‘Muscle Memory’In “Muscle Memory,” Kelsea Ballerini orchestrates an instinctive reunion with an old flame — “my body won’t forget our history” — with classic tools: two chords, a backbeat, a lead guitar with wordless caresses. “How long will you be back in town?” she asks, concealing her eagerness. PARELESMargo Price, ‘Change of Heart’Margo Price reaches toward the 1960s and the confrontational side of psychedelia with “Change of Heart.” A wiry blues guitar riff and jabs of organ hint at the Doors as Price delivers a breaking-away song that toys with paradoxes: “You run from danger/straight into trouble,” she sings, adding, “Way down deep you’re as shallow as me.” Just to keep things off- balance, every now and then the band adds an extra beat, while a long, gradual fade-out suggests she’s still a little reluctant to move on. PARELESJamie xx, ‘Kill Dem’It’s now been seven long years since the D.J., producer, and longtime xx member Jamie xx released his beloved solo album “In Colour,” but this year he’s put out two rousing new singles: first the ecstatic “Let’s Do It Again” and now the elastic “Kill Dem.” Built around a sample of the dancehall great Cutty Ranks’ “Limb by Limb,” Jamie minces his source material into barely discernible syllables and launches it into hyperspace, leaving its component parts to ping off one another with a bouncy, exuberant energy. ZOLADZThe Comet Is Coming, ‘Pyramids’The British jazz saxophonist Shabaka Hutchings, who lived in Barbados from ages 6 to 16, is at the core of multiple groups with different lineups. In the Comet Is Coming, he works with the synthesizer player Dan Leavers, or Danalogue, and the drummer Maxwell Hallett, a.k.a. Betamax, in a zone where electronic dance music and jazz collide. “Pyramids” is from the trio’s new album, “Hyper-Dimensional Expansion Beam”; the title of this track might allude to “Pyramid Song” by Radiohead, which shares some of the same ascending yet foreboding chords. Danalogue uses 1980s synthesizers for plump bass tones and upward swoops; Betamax mixes drums and drum machines, constantly accenting different offbeats. And with his meaty tone on tenor saxophone, Hutchings plays a jumpy, dissonant line that’s equally mocking and party-hearty, a bent Carnival shout. PARELESWitch, ‘Waile’In the 1970s, the Zambian rock band Witch — an acronym for We Intend to Cause Havoc — fused garage-rock, psychedelia and funk with African rhythms, spurring a movement called Zamrock. The wider world discovered them with the release of a 2011 collection, and surviving members of the band — the singer Emmanuel (Jagari) Chanda and the keyboardist Patrick Mwondela — returned to the studio in 2021 backed by international musicians, including the Dutch neo-psychedelic songwriter Jacco Gardner. “Waile,” written in 1978 but not previously recorded, addresses “sorrow and suffering” and the separation of a family. It moves through a percolating xylophone-and-guitar riff, blasts of fuzztone, some brisk African funk and, midway through, a slower lament carried by women’s voices before the beat picks up again and hard-nosed guitar riffs push ahead — undaunted. PARELESFlo, ‘Not My Job’On “Not My Job,” the British girl group Flo update the glittering sound of Y2K pop-R&B with a little modern-day therapy-speak: “It’s not my job to make you feel comfortable,” the trio asserts on the chorus. “If you ain’t being vulnerable, that says it all.” The blingy sheen, skittering beat and synthesized strings all conjure an aesthetic you may have not even realized you were nostalgic for — it’s giving “Case of the X”; it’s giving “The Writing’s on the Wall” — albeit enlivened with a fresh, contemporary twist. ZOLADZLil Nas X, ‘Star Walkin’If Lil Nas X continues to play jester, expertly, on social media — this week, he posted impishly hilarious videos of himself sending pizzas to protesters outside of one of his concerts, and of his newly minted wax figure FaceTiming his confused friends — his new single “Star Walkin’” suggests that he is still interested in using his music as an outlet for feelings that complicate that persona, like anxiety, light melancholy and self-doubt. “They said I wouldn’t make it out alive,” he sings defiantly on this gleaming, synth-driven track, which serves as the theme song for this year’s League of Legends World Championship. The one-off certainly doesn’t rank among his most memorable singles, but it’s further proof that he’s figured out a reliable sonic formula to turn personal apprehension into steely braggadocio; by the end of the song, he asks, “Why worship legends when you know that you can join them?” ZOLADZEmiliana Torrini & the Colorist Orchestra, ‘Right Here’Emiliana Torrini attests to the reassurance of a lasting relationship in “Right Here”: “Here’s to all the roads that we’ve been down,” she sings with a smile. “I’m right here by your side.” She’s backed by the Colorist Orchestra, a happily quirky Belgian chamber-pop ensemble that mixes standard instruments with homemade ones — including, for this song, the sound of stone scraping stone. Torrini and the Colorist Orchestra rearranged some of her older songs on an album they shared in 2018, while “Right Here” previews an LP of new collaborations due early next year. There’s pointillistic syncopation from marimba, glockenspiel and pizzicato strings, with a backdrop of sustained chords: the ticktock of everyday minutiae held together by the promise of constancy. PARELESShannen Moser, ‘Oh My God’Shannen Moser recreates a community sing and a hometown band concert in “Oh My God,” from an album arriving next week. In “The Sun Still Seems to Move,” Moser offers theological and existential musings — “I know that life’s not one linear seamless destination” — over fingerpicking and woodwinds, muscles and hands and breath. The music is thoughtful but determinedly physical. PARELESAnna B Savage, ‘The Ghost’The London-based artist Anna B Savage’s devastating new single, “The Ghost,” derives its power from a gradual accumulation of small, intimate details. “We used to notice the same things: His toenails, that little bug,” she sings to an old flame in a trembling low register. “But that changed, you couldn’t see the grave we dug.” Long after the breakup, though, the memory of her ex still lingers. “Stop haunting me, please,” she begs on the chorus, as the austere, piano-driven arrangement suddenly fills up with an eerie atmosphere. It sounds like an exorcism — or at least a yearning, last-ditch attempt at one, in desperate hope that it works. ZOLADZ More

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      Britney Spears and Elton John’s Mash-up, and 8 More New Songs

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      Hear tracks by Margo Price, Julia Jacklin and Michael Kiwanuka.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.Elton John & Britney Spears, ‘Hold Me Closer’By presenting Britney Spears’s first new music since the end of her conservatorship, Elton John adds newsiness to his already canny late-career playbook. As he did last year with Dua Lipa in “Cold Heart,” he has reclaimed hooks from his old songs over a plush disco track, then enlisted a headlining duet partner. “Hold Me Closer” — with choruses from “Tiny Dancer” and verses from “The One” — is produced by Andrew Watt with an echoey, nostalgic haze, floating into earshot and eventually dissolving like a mirage. In between, Spears and John mostly sing in unison, but she grabs just enough melismatic flourishes — and a distinctive “baby” — to make her presence known. JON PARELESRema & Selena Gomez, ‘Calm Down’Exposure to new audiences, or colonialism? Let’s hope the lawyers worked it out. “Calm Down,” by the Nigerian singer Rema, has been an international hit — more than 100 million plays on Spotify — since February. It’s carried by a cunningly syncopated track that uses acoustic guitar and a synthesizer blip alongside Afrobeats drum programming. Now, Selena Gomez has wisely latched on to it, and she coos boasts — “My hips make you cry when I’m moving around you” — to Rema’s own seductions. The rhythm leads; the voices affirm. PARELESMargo Price, ‘Been to the Mountain’Margo Price contains multitudes on her rollicking new single “Been to the Mountain”: “I’ve been a dancer, a saint, an assassin,” she sings with a hard-living swagger atop a chugging guitar riff. Perhaps representing a new sonic chapter for the Nashville singer-songwriter, “Mountain” hews closer to straight-ahead rock than her usual alt-country sound — there’s even a punky freakout in the middle of the song that allows her to show off the more guttural side of her voice. The striking, desert-hued music video finds Price exploring and embodying the many different aspects of her identity during a particularly potent ayahuasca trip. Embracing psychedelia may have allowed Kacey Musgraves to get spacier than ever, but here, Price sees it as an invitation to unleash her wildest side yet. LINDSAY ZOLADZJulia Jacklin, ‘Be Careful With Yourself’The Australian singer-songwriter Julia Jacklin implores a loved one to take care on the sweetly cautious “Be Careful With Yourself,” the latest single from her third album, “Pre Pleasure,” which comes out Friday. In her conversational delivery, Jacklin offers a font of healthy and practical advice: Quit smoking, drive the speed limit and put away some money in case of an emergency because, as she admits, “I’m making plans for my future and I plan on you being in it.” It’s a tender sentiment, but the song crackles with an undercurrent of jangly, distorted guitar and palpable anxiety, as Jacklin frets that a love so pure is doomed to be lost. ZOLADZThe National featuring Bon Iver, ‘Weird Goodbyes’The National and Bon Iver — a.k.a. Justin Vernon — have long been close. Aaron Dessner has worked with both as songwriter, musician and producer. Their overlap is in stately songs with hymnlike chords, and that’s what “Weird Goodbyes” is: Matt Berninger of the National and Vernon sharing harmonies in lyrics about self-doubt. It’s glum and thoughtful and neatly crafted for both; it’s not particularly new, but it is substantial. PARELESMichael Kiwanuka, ‘Beautiful Life’A love song could hardly sound more desperate than “Beautiful Life,” a song Michael Kiwanuka first released in 2021 for the Covid documentary “Convergence: Courage in a Crisis.” With mournful vocals over descending chords, eventually joined by full orchestra and choir Kiwanuka sings about how love “rescued me from a nightmare.” Now he has re-upped the song with a grim video by Phillip Youmans that envisions a game of Russian roulette and makes life seem even more precious. PARELESNoah Cyrus and Benjamin Gibbard, ‘Every Beginning Ends’Here’s an unexpected collaboration that works: Noah Cyrus with, of all people, Benjamin Gibbard of Death Cab for Cutie. “Every Beginning Ends” is a bleak folk-rock waltz about lovers growing estranged: “I can’t remember the last time you touched me,” he sings, in his plaintive high tenor, and she answers, “I can’t recall you making the move.” It’s matter-of-factly heartsick. PARELESNosaj Thing featuring Julianna Barwick, ‘Blue Hour’Nosaj Thing — the electronic musician Jason Chung — conjures nothing less than rapture with the multilayered “Blue Hour.” Julianna Barwick sings forgiveness and “flying into bliss” in a track that swathes a brisk, double-time beat in edgeless, reverberating synthesizer chords, her voice answered by the raw tone of a viola, balancing the ethereal and the earthy. PARELESBitchin Bajas, ‘Amorpha’Bitchin Bajas is the jokey name of a serious instrumental trio from Chicago that explores the possibilities of repetition where minimalism, psychedelia, jazz, dub and electronica overlap. “Amorpha” starts with plinking mallet percussion patterns that recall Steve Reich’s “Music for 18 Musicians,” but the 10-minute piece soon takes its own dizzying path, with undulating synthesizers, flickers of hyperspeed and slyly shifting meters behind its steady pulse. PARELES More

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      A New Generation Pushes Nashville to Address Racism in Its Ranks

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyA New Generation Pushes Nashville to Address Racism in Its RanksA small contingent of country artists and industry players have been speaking up in a business that likes to shut down dissent.Mickey Guyton, the only Black female country singer signed to a major label, quickly tweeted a challenge to Nashville after the star Morgan Wallen was caught on video using a racial slur.Credit…Mark Humphrey/Associated PressFeb. 12, 2021Less than 30 minutes after TMZ posted a video of the country star Morgan Wallen using a racial slur on Feb. 2, Mickey Guyton, the only Black female country singer signed to a major label, tweeted her reaction: “The hate runs deep.”She added, “How many passes will you continue to give?” and “So what exactly are y’all going to do about it. Crickets won’t work this time.”A few other mainstream country artists commented about the incident on social media, but many figured Nashville would do as it has almost always done when one of its stars is under fire: circle the wagons and shut up. “It’s been the norm for country artists to stay silent and not use their platform for controversy,” said Leslie Fram, CMT’s senior vice president of music strategy.By the following day though, radio conglomerates including iHeartMedia, Cumulus and Entercom pulled Wallen’s songs from rotation at hundreds of stations, and major streaming services removed him from playlists. CMT stopped running his videos. The Academy of Country Music declared him ineligible for its upcoming awards. All this while Wallen’s second album, “Dangerous: The Double Album,” topped the Billboard 200 chart for the third straight week.While Guyton’s tweets alone weren’t responsible for the swift rebuke, she is one of a small contingent of mostly female artists — among them Cam, Maren Morris, Margo Price and Amanda Shires — and industry players whose advocacy has pushed the country music business to begin confronting issues of racism and diversity that go beyond one artist’s misdeeds.“I was really encouraged by how fast every group in the industry showed up,” said Cam, a Grammy-nominated singer and songwriter. “But I don’t think aha moments to call someone on something so ingrained in everyone is going to be the tide changer.”“I’d assume a lot of males aren’t speaking out because they’re comfortable in their places of power and money,” said Amanda Shires.Credit…Mark Zaleski/Associated PressThe work these women do isn’t easy to quantify. Much of it is about deliberately nudging the public conversation in Nashville toward uncomfortable questions about racial equity. That can mean using social media to trumpet a book like Layla F. Saad’s “Me and White Supremacy” or excoriate the band formerly known as Lady Antebellum for tangling with a Black artist over the name Lady A. Other times, it’s participating in diversity and inclusion task forces. In November, when Morris was named female vocalist of the year at the Country Music Association Awards, she used her acceptance speech to highlight the struggle of Black women in country music, including Guyton, Rissi Palmer, Yola and Brittney Spencer.That it’s often been a group of women who speak the loudest is perhaps unsurprising. Female artists have faced huge barriers in the industry themselves, from sexual harassment and objectification to unwritten rules limiting airplay for women.“In the female experience, you understand what it is to be the underdog, to come into a situation that’s mostly white-male-driven and try to assert yourself,” said Palmer, who hosts an Apple Music radio show called Color Me Country that spotlights the genre’s Black, Indigenous and Latino roots.Shires, a singer-songwriter who also performs alongside Morris in the Highwomen, put it bluntly: “I’d assume a lot of males aren’t speaking out because they’re comfortable in their places of power and money. Why would they want it to change?”The story of male artists’ dominance in country music is a long-running one. Between 2014 and 2018, 84 percent of artists on Billboard’s year-end country charts were men, according to a study by the Annenberg Inclusion Initiative at the University of Southern California.The relative silence of many of country’s biggest stars, male and female, is partly habit but also partly economics. Whether stars and gatekeepers are indifferent to racism or not, they fear fans are.“If they’re worried they’re going to financially take a fall, they keep their mouths shut,” said Price. “They’d rather keep that rebel dollar.”“For three days, I was threatened, called a racist, a bigot, a nobody,” Rissi Palmer said of the consequences of speaking up online after Charley Pride’s death.Credit… Chip Somodevilla/Getty ImagesBut crediting these mostly white women for being country’s social conscience is itself indicative of the larger problem. “White women speaking up is a result of we don’t let Black women speak up,” said Cam. With a few frequently noted exceptions, in Nashville, she said, “Black people aren’t even allowed in the door, cannot be in writing rooms, cannot get signed, don’t have a Twitter following, so you never hear them.”Part of this work is amplifying those marginalized voices. Shires and Morris have worked with both Spencer and Yola. Morris, Cam and Guyton are part of a group text with Palmer and Andrea Williams, a Black journalist and author based in Nashville, where they share reading suggestions, relay personal experiences and strategize.“How is it that two white women even partially understand what the experience is like for Black people in country?” asked Cam. “It’s because we’re learning from Black women. We watched what’s going on with Mickey and talked to her.” Cam said she and Morris use their platforms to share what they’re learning more widely.Williams, a lively Twitter presence, hasn’t shied from needling the ideologically like-minded — including Morris, and Shires’ husband, Jason Isbell — when she feels they’ve fallen short in bids to be good allies. “I’d rather people not say anything than say the wrong thing,” she said. “Sometimes, you need to listen and learn.” She pointed out that two of the first artists to respond to the Wallen incident, Kelsea Ballerini and Cassadee Pope, posted that his behavior “does not represent” country music.“That’s more hurtful than people who didn’t say anything because you’re diminishing the very real experiences of people who know for a fact this is actually indicative of the way this entire industry works,” she said.Cam stressed the importance of white artists listening to and learning from Black people before speaking out: “We watched what’s going on with Mickey and talked to her.”Credit…Frank Hoensch/Redfern, via Getty ImagesAccording to Williams, focusing on gender obscures country music’s “original sin”: “Country was created with the sole intent of marketing to a particular racial demographic. We divided Southern music into white hillbilly records and Black race records. This dividing line is as stark now as in the 1920s,” she said.This current reckoning traces to last summer’s nationwide Black Lives Matter protests. Just days after George Floyd’s killing at the hands of Minneapolis police, Guyton released the startlingly personal “Black Like Me” and country’s only mainstream male artists of color — Darius Rucker, Kane Brown and Jimmie Allen — spoke forthrightly about their own experiences, while the rest of the country music industry largely struggled to meet the moment. Other artists and executives were quick to share supportive hashtags but in a genre where mainstream Black performers can be counted on one hand and Black faces are hardly any more common behind the scenes, their efforts felt insubstantial.Lorie Liebig, a Nashville-based publicist and journalist, began compiling a Google Doc tracking what country artists had posted — or not posted — in support of Black Lives Matter. Shires was among the first to share the spreadsheet widely, but as it was disseminated, the harshest reactions often were aimed at Liebig herself.“There was a day when it first hit, my Twitter was just cascading with negative responses,” she said. “A lot were saying I was racist toward white people. I ended up being doxxed. They posted my parents’ address.”Many of these women have faced similar bile. “I’ve been called pretty much every name in the book,” said Price. “I’ve had people send me threatening DMs. I’m sure it’s cost me album and ticket sales.”After the Black country pioneer Charley Pride’s death in December, Palmer criticized eulogies that whitewashed his legacy. “For three days, I was threatened, called a racist, a bigot, a nobody,” she said. “I’ve been called a Nazi propagandist, which was my favorite.”But the steady pressure these women have been exerting seems to be starting to shift the conversation. While it remains to be seen whether the consequences Wallen has faced signal any enduring appetite for change — he returned for a fourth week at No. 1 after the incident, and was not roundly condemned by Nashville, where defenders and sympathetic voices spoke up on his behalf — there are signs the ground is moving. Four of the 10 acts chosen for CMT’s “Next Women of Country” this year are Black. The National Museum of African American Music recently opened in downtown Nashville — across the street from country music’s symbolic home, the Ryman Auditorium.“We’re a long way from seeing sweeping changes but every time the light bulb goes on for somebody else, we’re closer,” said Williams. “Because as we all come together, and we’re all firing texts back and forth at midnight in these group chats, we’re more powerful than any of us as individuals. All we need is more people to join the fight.”AdvertisementContinue reading the main story More