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      Gracie Abrams and Taylor Swift’s Duet, and 8 More New Songs

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      Hear tracks by Mavis Staples, Jamie xx featuring Robyn, Rakim 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.Gracie Abrams featuring Taylor Swift, ‘Us.’The title of the singer-songwriter Gracie Abrams’s second album, “The Secret of Us,” comes from this feverish duet with her friend and onetime tour mate Taylor Swift. “If history’s clear, someone always ends up in ruins,” Abrams, 24, sings breathily through a thicket of fingerpicked notes, the signature sound of her and Swift’s mutual collaborator Aaron Dessner, who co-produced the track with Jack Antonoff. (Dessner’s band the National gets a shout out toward the end of the song, when Abrams sings of being “mistaken for strangers.”) Midway through, the wise elder Swift swoops in to put Abrams’s youthful heartbreak in perspective. “If history’s clear, the flames always end up in ashes,” she sings. “And what seemed like fate, give it 10 months and you’ll be past it.” LINDSAY ZOLADZJamie xx featuring Robyn, ‘Life’The latest single from Jamie xx’s long-awaited second album “In Waves” pairs playful and effortlessly cool vocals from Robyn with a thumping, skittish beat intercut with lively horn samples. Her personality shines brightest on the bridge, when she throws out some vampy non-sequiturs and dissolves into giggles at one of them: “You’re giving me strong torso.” Whatever you say, Robyn! ZOLADZMavis Staples, ‘Worthy’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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      Travis Scott Arrested in Miami Beach for Intoxication and Trespassing

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      The rapper, who was charged with trespassing and disorderly intoxication, later admitted he had been drinking alcohol and stated, “It’s Miami.”The star rapper Travis Scott was arrested early Thursday in Miami Beach, Fla., after causing a disturbance on a yacht docked at a marina, according to a police report. He was later released on bond after paying a total of $650 on both charges, local news reported.Mr. Scott, 33, whose real name is Jacques Bermon Webster II, was arrested at 1:44 a.m. on charges of trespassing and disorderly intoxication after the police were called to the marina and told that “people were fighting on the vessel,” according to the report.Once there, officers found Mr. Scott yelling at passengers on the ship. The officers “could sense a strong smell of alcohol coming from the defendant’s breath,” the report said; they led him down a dock and toward a boardwalk, with Mr. Scott walking backward and yelling obscenities along the way.Mr. Scott got into a vehicle that was waiting for him but soon began walking back to the yacht, the report said, in defiance of the officers’ warning to leave the premises. He was then taken into custody.According to the report, Mr. Scott later admitted he had been drinking alcohol “and stated, ‘It’s Miami.’”On Thursday, Mr. Scott posted on social media what appeared to be a doctored image of his mug shot, with sunglasses and earphones added. In a statement, Bradford Cohen, a lawyer for the rapper, said: “Mr. Scott was briefly detained due to a misunderstanding. There was absolutely no physical altercation involved, and we thank the authorities for working with us towards a swift and amicable resolution.”Mr. Scott is one of the most popular rappers in music today, with three No. 1 albums and a recent arena tour. His shows have a reputation for an extremely high-energy response from crowds, and in late 2021, 10 fans died as a result of a crowd crush at Mr. Scott’s Astroworld festival in Houston, his hometown.Last year, a grand jury declined to criminally indict Mr. Scott and others involved in putting on the festival. But he and others, including Live Nation, the festival’s promoter, and Apple, which livestreamed the show, have faced civil suits over those deaths. Of those 10 civil suits, all but one have been settled.Kitty Bennett More

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      The 40 Best Songs of 2024 (So Far)

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      Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs. After six months of listening, here’s what they have on repeat. (Note: It’s not a ranking, it’s a playlist.) Listen on Spotify and Apple Music.Sabrina Carpenter, ‘Espresso’Atop a mid-tempo beat that recalls the muffled retro-funk of Doja Cat’s smash “Say So,” Sabrina Carpenter plays the unbothered temptress with winking humor: “Say you can’t sleep, baby I know, that’s that me, espresso.” Make it a double — you’ve surely heard this one everywhere. LINDSAY ZOLADZTyla, ‘Safer’Following her worldwide 2023 hit “Water,” Tyla pulls away from temptation in “Safer,” harnessing the log-drum beat and sparse, subterranean bass lines of amapiano. Her choral call-and-response vocals carry South African tradition into the electronic wilderness of 21st-century romance. JON PARELESOne We MissedAriana Grande, ‘We Can’t Be Friends (Wait for Your Love)’At once strobe-lit and silky, Ariana Grande appropriately channels Robyn — the patron saint of crying in the club — on this nimbly sung, melancholic pop hit, a highlight from her bittersweet seventh album, “Eternal Sunshine.” ZOLADZOne We MissedBillie Eilish, ‘The Greatest’Billie Eilish extols her own composure and skill at dissembling — holding back her unrequited love — in “The Greatest” from “Hit Me Hard and Soft.” Delicate picking accompanies her as she sings about how she “made it all look painless.” Then she shatters that composure, opening her voice from breathy to belting while the production goes widescreen with drums and choir. When the music quiets again, her furious restraint is as palpable as her regret. PARELESMdou MoctarKadar Small for The New York TimesWe 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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      Kendrick Lamar’s Drake Victory Lap Unites Los Angeles

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      Kendrick Lamar’s sold-out homecoming at the Kia Forum, an arena just outside Los Angeles, promised pyrotechnics with its name alone: “The Pop Out: Ken & Friends.”The “Pop Out” ensured drama — it’s from a line in Lamar’s “Not Like Us,” his recent No. 1 song, and a scathing salvo in his war of words with Drake.The “& Friends” guaranteed surprise appearances from high-profile names: ultimately Dr. Dre, YG, Tyler, the Creator, Roddy Rich, Schoolboy Q and Steve Lacy, among many others. The whole thing would go down on Juneteenth, the annual celebration of Black emancipation in America, after a battle in which Lamar questioned Drake’s status within the Black community.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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      Jay-Z’s Big Tonys Duet With Alicia Keys Was Pretaped

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      The two stars brought down the house with “Empire State of Mind,” their 2009 love song to New York City, which they had recorded earlier on a grand marble staircase outside the auditorium.It drew one of the biggest roars of the night at the Tony Awards: Alicia Keys was performing a medley from her Broadway musical “Hell’s Kitchen” on Sunday when she walked out of the auditorium and was shown joining Jay-Z on a marble staircase for “Empire State of Mind,” their 2009 love song to New York City.“Had to do something crazy — it’s my hometown!” Keys said as the cameras followed her walking out of the auditorium at the David H. Koch Theater in Lincoln Center. A video screen onstage cut to Jay-Z, the Brooklyn-born rapper and mogul, as he performed from the curved marble staircase just outside the auditorium. Keys was seen joining him.There was a reason Jay-Z never appeared on the Tonys stage except in video form, though. In a savvy trick of the production, the reunion between two of music’s biggest stars was pretaped and carefully edited to seamlessly make it appear part of the live performance on Sunday night’s Tonys telecast, according to two people with knowledge of the telecast preparations who were not authorized to speak publicly about them. (New York Magazine reported earlier that the segment had been pretaped.)Live or taped, the duet became one of the biggest moments of the night. The Broadway crowd went wild as Jay-Z closed with, “Brooklyn, New York City in the Tonys tonight!”Some in the audience — who were gathered to celebrate an art form where eight live performances each week is the norm — seemed to think that the performance was unfolding live just outside the auditorium.But those outside the auditorium quickly realized what was going on. CJay Philip, who won an excellence in theater education award at the ceremony, was watching the performance on a screen in the lobby, not far from the marble staircase where Keys and Jay-Z were being shown performing in front of a sculpture by Yasuhide Kobashi.“Maybe for a second I was like, ‘Oh, Jay-Z is here?,’” she said, before realizing it had been a theatrical sleight of hand. When she got back to her seat, her mother exclaimed, “That was amazing!”“I was like, ‘Well, I’m glad mom enjoyed it,’” Philip said.Another member of the audience, Wendall K. Harrington, a Broadway projection designer who received a special Tony for her work, said that while some people around her seemed confused about whether the performance was live, she wasn’t.“I was not fooled,” she explained. “I’m in the projection business.” More

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      A Hungarian Rapper’s Bandwagon Gets an Unlikely New Rider

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      Azahriah, who has rapped about the joy of cannabis, has shot to fame in Hungary. That may explain why he has been applauded by the country’s conservative leader, Viktor Orban.The 22-year-old rapper is so popular — he recently held three sold-out concerts at Hungary’s largest stadium — that even Prime Minister Viktor Orban, a stodgy champion of traditional values not known for being in tune with youth or its culture, claims he is a fan.Mr. Orban has said he particularly likes the song “Rampapapam,” a reggae-flavored ode to the joys of cannabis. It’s a surprising choice given the prime minister’s conservative views and one that raised questions about whether he has actually listened to it or just watched its video showing the musician playing soccer, the leader’s favorite sport.But Attila Bauko, a Hungarian superstar better known as Azahriah, has won so many passionate fans in Hungary that Mr. Orban, who has had 14 years in power, appears to want some of the rapper’s energy and stardust.“Since they see that a lot of people like me, it seems they want to be friendly,” Azahriah said in an interview backstage before a concert last month at the Puskas Arena, a sports stadium in Budapest, that attracted nearly 50,000 people for each of the three nights he performed.Official favor “should be flattering,” Azahriah said, “but feels strange and uncomfortable” when so many of his young fans loathe the governing Fidesz party.Fans singing along at Azahriah’s concert last month in Budapest.Akos Stiller for The New York TimesWe 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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      Jelly Roll’s Anthem of Perseverance, and 9 More New Songs

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      Hear tracks by Zsela, the Decemberists, Khalid 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.Jelly Roll, ‘I Am Not Okay’The title of “I Am Not Okay” — a song Jelly Roll unveiled last month on “The Voice” — only tells half the story. It’s the kind of bruised, long-suffering, self-doubting, painfully open and high-drama testimonial that has turned Jelly Roll into a country star. He sings about sleepless nights and “voices in my head,” with production that rises from acoustic picking into stolid Southern rock behind his grainy voice. But soon Jelly Roll invokes a community — “I know I can’t be the only one who’s holding on for dear life” — and the promise of salvation: “The pain’ll wash away in a holy water tide.” Whether it’s in this life or beyond it, he declares, “It’s not OK, but we’re all gonna be all right.” It’s an arena-scale homily.NxWorries featuring Earl Sweatshirt and Rae Khalil, ‘WalkOnBy’NxWorries — the partnership of the producer Knxwledge and the rapper and singer Anderson .Paak — ponders the deeply mixed emotions of enjoying success while knowing how hard former peers are still striving. “When you walk on by, you’ve got shades to hide your eyes,” the chorus chides. The track is a relaxed, quiet-storm groove with tickling lead-guitar lines, but it provides contrast, not comfort. “No one has a clue what we had to do to survive,” Anderson .Paak raps, and adds, “When they ask me how I’m doing, I feel guilty inside.” Earl Sweatshirt admits he’s “lived too many lives removed from the strife.” But before the song ends, Rae Khalil sings for those left behind: “I feel like ain’t nobody caring/Everybody’s scared,” she laments.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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      Pay $1 to Hear Wu-Tang Clan’s Secret Album (Eventually)

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      An online art collective that spent $4 million on “Once Upon a Time in Shaolin” is telling fans their purchases will accelerate the one-of-a-kind album’s 2103 release date.Ten years ago, the most mysterious and expensive album of all time was announced by the Wu-Tang Clan as a protest against the devaluation of creativity in the age of the internet. “Once Upon a Time in Shaolin,” limited to one hyperdeluxe physical copy, was bought for a reported $2 million by the “pharma bro” Martin Shkreli and later acquired by an online art collective for $4 million.Now it can be yours for a dollar. Sort of.Pleasr, the online collective, began selling access to “Once Upon a Time in Shaolin” on Thursday, charging fans $1 (plus fees) to be part of what it called an experiment to test a simple question: “Do people still value music in a digital era?” As befitting an album that has been wrapped in legal and public controversy for a decade, however, the transaction is anything but simple.For $1, fans will gain access to an encrypted digital version of “Once Upon a Time in Shaolin.” But only a five-minute sampler of the album will be available now, Pleasr says.The Wu-Tang Clan’s original sale contract with Shkreli in 2015 said that “Once Upon a Time in Shaolin” could not be released to the public for 88 years — until Oct. 8, 2103 — although the agreement allowed for private viewings and listening sessions.“Once Upon a Time in Shaolin” was originally bought by Martin Shkreli, a pharmaceutical executive. When he was convicted of securities fraud, the federal government seized the album.Richard Drew/Associated PressFor each $1 that Pleasr takes in, the group says it will reduce the waiting period for the full album’s release by 88 seconds. By a rough calculation, it would take about 28 million contributions of $1 apiece to eliminate that delay entirely.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