Tyla has taken home the golden gramophone for Best African Music Performance — an all-new category — at the 2024 GRAMMYs, for "Water."

The South African starlet came ahead of ASAKE & Olamide ("Amapiano"); Burna Boy ("City BoysMiracle"); Davido Featuring Musa Keys ("UNAVAILABLE"); and Ayra Starr ("Rush"). 

The 22-year-old singer was taken aback upon winning the trophy, which was awarded by Jimmy Jam during the GRAMMYs Premiere Ceremony. 

"What the heck?!" she declared once on stage. "This is crazy, I never thought I’d say I won a GRAMMY at 22 years old."

Although coming up against stiff competition, including massive Afrobeats stars Burna Boy and Davido, the massive appeal of Tyla's hit song "Water" proved undeniable for GRAMMY voters. The amapiano-based pop song entered the Billboard Hot 100 last year, the first for an South African solo artist since Hugh Masekala in 1968. It later peaked at No. 7, making her the highest-charting African female solo musician in Billboard history. The song also went to No. 1 on the Billboard U.S. Afrobeats Songs and Hip-Hop/R&B charts. 

Tyla shouted out her family during her acceptance speech, saying "I know my mother’s crying somewhere in here." 

Tyla makes history as the first-ever Best African Music performance winner. The category was created in order for the Academy to honor music from the continent, according to Academy President Harvey Mason Jr. 

"I'd love to see us be able to honor even more music from Africa and other areas of the world," Mason said in an interview with GRAMMY.com. "The future of the Recording Academy is going to build on equity. We're not just honoring music breaking in our country — we're celebrating music from around the world." 

Keep checking this space for more updates from Music’s Biggest Night!

2024 GRAMMY Nominations: See The Full Winners & Nominees List (Updating Live)

Apparently fall is actually a time of renewal because this week's batch of new music is filled with plenty of unexpected comebacks, surprise singles and welcome collaborations.

Lily Allen makes a surprise return with West End Girl, BOYNEXTDOOR delivers THE ACTION, Odunsi (The Engine) shushes the crowd with SHHH and Taylor Acorn makes her claim as the Poster Child for the ongoing pop-punk revival. Plus, Natalie Jane faces the world I didn't want, Adam Mac puts on a Southern Spectacle and Sigrid promises There's Always More That I Could Say.

Elsewhere, Imogen Heap unveils the title track for her forthcoming album I AM___, Tainy and Feid reunite for "MONSTRUO," Polo G looks for "Quality Over Quantity," Foo Fighters are "Asking For A Friend," The Chainsmokers offer "The Cure," Chet Faker drops "This Time For Real," and Edgehill spends "17 Hours" on their new single. Other new songs out this week include Tigerlily Gold's "Mess Out of Me," Kashus Culpepper's "Mean To Me" and Vincent Mason's "Little Miss."

Meanwhile, mgk has spent the week dropping bonus tracks from his 2020 album, Tickets to My Downfall, and The Click Five take fans back to the Y2K glory days of mix CDs and "TRL" with "Throwback," their first new single in 14 years. 

Below, press play on 10 other new releases worth checking out, including new singles from Selena Gomez, LE SSERAFIM and j-hope and Megan Thee Stallion.  

Selena Gomez — "In The Dark"

On Oct. 23, Selena Gomez dropped a surprise on her millions of fans in the form of "In The Dark," her first solo single since the infectious 2024 one-off "Love On." The dance floor-ready jam features on the official soundtrack for Season 2 of Netflix's "Nobody Wants This," and the accompanying music video gives the superstar a welcome opportunity to revisit shades of her 2015 album Revival with its visual aesthetic.

LE SSERAFIM — SPAGHETTI

Eat it up! LE SSERAFIM are feasting on "SPAGHETTI" thanks to their brand-new collaboration with j-hope of BTS. The track's music video finds the K-pop girl group nailing their choreography on, that's right, a giant plate of pasta before Hobi takes over for a deliciously swaggering rap interlude.

On the accompanying single album, the quintet serve up the single in many different forms, including the original version, an English-language version and a solo version featuring just the five members sans j-hope, as well as bonus B-side "Pearlies (My oyster is the world)."

Watch:LE SSERAFIM Spends A "Perfect Night" With Fans On The GRAMMY Museum Stage | Global Spin Live

Megan Thee Stallion — "Lover Girl"

Attention Hotties, Megan Thee Stallion is in love! On her new single, the three-time GRAMMY-winning rapper is a bonafide "Lover Girl" and not afraid to show it off. Likely inspired by her budding relationship with NBA star Klay Thompson — who featured in teasers for the song posted to Megan's social media — the self-described "freaky girl" gets gleefully raunchy about her newfound romance over a pitch-perfect sample of Total's 1996 hit "Kissin' You."

Read More:Black Sounds Beautiful: How Megan Thee Stallion Turned Viral Fame Into A GRAMMY-Winning Rap Career

Mumford & Sons feat. Hozier — "Rubber Band Man"

For their new single, "Rubber Band Man," Mumford & Sons teamed up with none other than Hozier for a growling, folk rock duet of epic proportions. In the song's music video, the British GRAMMY winners and the Irish troubadour perform together in moody grayscale, wailing, "You're a world away, but you're still the same/ I know you by your heart and I will call you by your name/ And it's a long way from the crack to the break/ You know that I remember everything."

Brandi Carlile — Returning to Myself

Brandi Carlile's acclaimed career comes full circle on her eighth album, Returning to Myself. The project marks the 11-time GRAMMY winner's first solo project since 2021's In These Silent Days, which took home the golden gramophone for Best Americana Album in 2023.

Across the studio set's taut 10-song tracklist, the singer/songwriter does a whole lot of self-reflecting on the title track, turns up the amps on "Church and State" and pays loving tribute to the great Joni Mitchell on the titular "Joni."

Queen Naija — 30.

Queen Naija enters a new decade as well as a new musical era on her EP 30. The R&B songstress was determined to showcase her growth across the eight-track project. "I feel like 30. is just me walking into my thirties," she said in a press statement about the release. "I've felt my brain make this switch that I never thought—or I never knew — could happen. I've grown so much, and I've learned so many different things."

Read More: 10 R&B Artists On The Rise: Destin Conrad, Leon Thomas III, Dijon, Laila!, SAILORR & More

Alexandra Kay — Second Wind

Alexandra Kay's quickly rising career continues to gain momentum with the release of her sophomore album, Second Wind. Arriving two years after her post-divorce debut, 2023's All I've Ever Known, the new studio set finds the country singer in a happier, more peaceful place through standout singles like "Feminine Energy," "Cupid's A Cowgirl" and "The Last." Meanwhile, Kay takes a cheater to task on "Big Boy Boots" and proudly asserts her reinvention on "Old Me."

Read More:14 Rising Country Stars To Know Now: Hudson Westbrook, Elizabeth Nichols, Ole 60 & More

The Neighbourhood — "Private" / "OMG" / "Lovebomb"

Nearly four years since The Neighbourhood announced they were taking an indefinite hiatus in early 2022, the band is primed and ready to kick off a new era. They're tripling down on their comeback by releasing a trio of singles: the pulsating "Private," the fuzzed out "OMG" and midtempo confession "Lovebomb." The three singles also arrive alongside an announcement sure to thrill fans of the West Coast alt rockers even more — Jesse Rutherford and co. will be unveiling their long-awaited fifth album, titled (((((ultraSOUND))))), on Nov. 14.  

Tyla — "CHANEL"

Tyla wants to be dripping in "CHANEL" on her latest single of 2025. In the song's accompanying video, the groundbreaking, first-ever GRAMMY winner for Best African Music Performance wields a tiny, gold-plated pistol straight at the camera as she demands, "How you say you love me?/ You ain't put me in Chanel." Referring to herself as a "flawless diamond piece," the African singer later adds, "I'm a big dog, baby, underdog, baby/ Self-made b—h, yeah, you can upgrade me/ Waistline crazy, mandem chase me/ Say you wan' see me, where you gon' take me?"

Read More:South African Singer Tyla Won The Inaugural Best African Music Performance Category At The 2024 GRAMMYs. What Does It Mean For African Music On The Global Stage?

Mac Miller — GO:OD AM (10th Anniversary)

It's been seven years since Mac Miller's tragic passing, and fans have one more way to honor the late rapper's legacy thanks to the 10-year anniversary rerelease of his major label debut, 2015's GO:OD AM. Along with singles "100 Grandkids" and "Weekend," the reissue features three new, previously unreleased tracks including Vinny Radio collab "Royal Flush," "Cable Box" and "Carpe Diem."

As Ghana’s foremost R&B voice and a loyal steward of her roots, it makes sense that Gyakie’s first release after months of quiet was a heart-on-sleeve track.

Partly delivered in her native Twi, its "Sankofa" — which translates to "go back and get it" in English — can be read as a metaphor for what Gyakie intends with her debut album, After Midnight.

Gyakie believes that a "true" debut album is a monument to an artist's growth — one that can only be built when the foundation is solid. Hence, After Midnight is the culmination of years of meticulous work and reflection. Once the clock struck midnight on Aug. 29, listeners can similarly reflect on everything Gyakie has been and promised to be: true, tender and transcendent.

The daughter of revered highlife musician Nana Acheampong, Gyakie clearly has her own uniquely magnetic appeal within the rising vanguard of Afropop. Her discography, though relatively slim, is weighted with purpose and has garnered a steady swell of listeners across Ghana, Nigeria, and beyond. 

The 2020 Seed EP announced her as a voice of power, led by the runaway success of "Forever," which landed an even bigger remix with Nigerian artist Omah Lay. Two years later came My Diary, a compact but vivid collection that expanded her range, featuring a collaboration with Davido. Now, after a patient, three-year gestation, and an almost preternatural sense of timing, the "Song Bird" — as she’s fondly called — stands at the precipice of her next great chapter.

Ahead of the album’s release, Gyakie spoke with GRAMMY.com about making a record that carries the potential for healing and her hope that it will become a legendary one.

What made this the right moment for your debut album? 

I’ve always said that everything around this work, aside from being very deliberate and carefully planned, is also guided by feeling. Sometimes you just sense when it’s the right time to do something. 

I always wanted to make an album, but I knew it would only happen when the moment truly felt right. The idea [for After Midnight] came about three years ago, and that’s when we began working on it. But it’s taken three years because every time we were ready to release it, something didn’t feel quite right. We would always go back and make a few adjustments. Here we are in 2025, and it finally feels like the perfect time for it to come out.

What is the central thesis of the album, as suggested by its title, After Midnight?

Everything that happened in my creative process — from the beginning of the album until it was finalised — took place within those late hours. Time is really the main theme I wanted to focus on because the majority of the tracks were created in studio sessions that started after midnight. 

Most of these sessions happened when I was in a particular mood or a specific headspace, and because of that, many of the songs have distinct backstories. I went back to the 2019 version of myself, the Gyakie that people first connected with and the sound that many listeners fell in love with. It covers love. It covers life. I really targeted the soul with this project. 

There are two songs on the album meant to motivate anyone who may be feeling less than themselves, and that too is rooted in emotion. There is also a gospel track that draws from the same emotional depth. Even the party songs touch on people’s feelings in a way that connects with their souls.

You went back to the 2019 Gyakie, to the sounds you had established and your fans love. But did you aim to push the needle by exploring new genres?

Yes, absolutely. The album contains Afrobeats, as well as R&B, dancehall, hip-hop, Afroswing, and gospel. 

This album made me realize that I have an interest in production because I co-produced some tracks. Last year I thought the project was complete, but when I listened to all the songs again, I knew there were tiny missing pieces in the production. We went back to the drawing board, dissected every track, and decided what needed to be adjusted. 

There’s a track called "Y2K Luv" that took us a long time to finish. It’s an old-school hip-hop track, and although I’ve made hip-hop songs before, I hadn’t released anything with that particular sound till now. Over the years, I’ve grown and matured as regards to how I create and write music, and how I approach production. I’ve learned so much, and I’m glad I’ve been able to put that growth into this work. 

When it comes to lyrical dexterity and depth, how exactly have you grown? Do we hear it on this album?

In the past, when I wrote about my personal experiences, I tended to hold back. But at this point in my career, I’m extremely real about what I say. I’m having direct and honest conversations. There are things I might never feel comfortable saying in an interview or in public, but in a song, I can say them. It’s quite glaring on the record. 

After Midnight helped me to stop hiding. I know my fans pay attention to the lyrics, so that’s where I get to have the most vulnerable conversations with them. I speak about love, pain, reconciliation, basically all the stuff I used to try to shroud. 

You’ve brought some interesting names onto this project: 6lack, Headie One, Young Jonn, Shatta Wale who’s a legend in Ghana. How cool was it to finally work with him?

In Ghana, when it comes to dancehall and reggae, Shatta Wale is one of the first names people mention. He’s done so much for the industry. After I recorded "Harmattan," I felt it needed someone else, and his was the first voice I imagined on it. We sent the track to him, and I could tell that he loved it because he put so much effort into his verse. I remember speaking with him on the phone, and he told me how much he enjoyed recording it and how good he thought the song was. I’m really grateful he gave his best.

What I love about this album is that every collaboration came from a genuine need to connect, so it all felt natural — you can hear that these are people who really wanted to make music together. Sometimes with collaborations, it can be strictly about doing your part. But on this project, it was different. These are friends who respect my music and I respect theirs. They loved the songs so the process was easy and it made the music even sweeter.

Looking at how big these artists are in the industry, it means a lot that they chose to be part of my music. It’s never easy to send a track to someone at that level and have them agree, no matter how good you are. The fact that they believed in the songs and wanted to contribute tells me I’m doing something right.

With Ghana at the centre of a cultural and musical renaissance, where does After Midnight sit?

The moment you hit play on the album, the intro begins with traditional drums from my hometown, Kumasi, in the Ashanti Region of Ghana. My father, Nana Acheampong, has a record that is still doing incredibly well, and I sampled it in the intro of the project. In the album trailer, we included cultural dances and images of artists I grew up listening to, both from Ghana and beyond. Those details are intentional, because I wanted this project to reflect where I come from and the sounds that shaped me. 

At the same time, After Midnight is my debut, and because it took three years to finish, I was able to pour in everything I’d learned during that time. I did a lot of research, listened widely, and studied performances and visuals, which pushed me to experiment and bring different influences into the music. I wanted the album to live across several sonics and aesthetics. So for me, After Midnight is rooted deeply in Ghana but also versatile enough to sit in global conversations. 

A debut album is the first major pillar of an artist’s legacy. What is your biggest hope for yours?

As an artist, no matter how many albums you release, people will always trace your journey back to your first. My biggest hope is for After Midnight to do really well. I want this to be a legendary project, one that people will still talk about decades from now. I truly believe I put in a lot of work and made these songs with great care so this project deserves to succeed and open bigger doors for me. 

The album holds everything — musically, visually, and culturally — across its 17 tracks. In any space where these are mentioned, at least one or two tracks from After Midnight will find their place. 

Two years after his GRAMMY-nominated album I Told Them…, Burna Boy is back with his eighth studio effort, No Sign of Weakness. It’s a tightly constructed record that builds on the zest of its predecessor, but shifts away the overt braggadocio for a steely resolve without letting go of Burna Boy’s commanding presence.

No Sign of Weakness follows a whirlwind two years for the artist — years set in motion by the impact of I Told Them…. That album was Burna Boy’s shot across the bow, one that affirmed that his position at the top was no fluke. And in the time since, he’s made good on that claim. In 2024, the African giant broke precedent as the first African artist to perform on the 2024 GRAMMYs stage, sharing the spotlight with Brandy and 21 Savage. 

That same year, he headlined the Stade de France, the first non–Francophone Afrobeats artist to do so. His bonafides continued to grow with a 2025 GRAMMY nomination for "Higher" in the Best African Music Performance Category.

But even in the face of all this prosperity, it’s clear Burna Boy isn’t done addressing those who question his place and has more to get off his chest. Here are five takeaways from No Sign of Weakness.

He Widens His International Collaborator Circle

Burna Boy’s trajectory has been marked by an increasingly global outlook and fearless artistic ambition. His discography bursts with purposeful partnerships with artists from every corner of the world, including Beyoncé, Lily Allen, Rita Ora, Vybz Kartel, Dadju, M.anifest, J. Hus, Sam Smith,  and Joé Dwèt Filé. I Told Them… was a guest-heavy sprawl featuring the likes of J. Cole, Dave, 21 Savage, and Wu-Tang Clan legends GZA and RZA. 

On No Sign of Weakness, Burna refines his collab-heavy approach. The new album features a more curated, but arguably more audacious, set of collaborators that pushes the boundaries of his sound into startling new territories. He bridges a generational and stylistic gap with the inclusion of legendary Rolling Stones frontman Mick Jagger ("Empty Chairs"), connects with Belgian pop innovator Stromae, taps the red-hot Nigerian American Shaboozey ("Change Your Mind"), and teams up with hip-hop hotshot Travis Scott for "TaTaTa."

It's Another Full-Circle Moment For The Afro-Fusion Argument

Leading up to the release of I Told Them..., Burna Boy drew ire by seemingly renouncing the "Afrobeats" label, insisting that his music is more accurately described as "Afro-fusion." This pronouncement sparked a firestorm as many saw it as a jab at the very identity that elevated him. 

Burna doubles down on that claim with No Sign of Weakness, making a strong sonic case for Afro-fusion. As one of Nigeria’s most agile pop shape-shifters, he has always proven his unparalleled ability to manipulate disparate genres into something uniquely his own. Across the 16 tracks on No Sign Of Weakness, Burna Boy dips into a kaleidoscope of genres. The militant opener, "No Panic" is powered by the dance-heavy core of soukous. "TaTaTa" rides a twitchy baile funk rhythm that mirrors Afrobeats' ongoing flirtation with the genre. "Come Gimme" coasts on Afroswing’s breezy cadence, while "Sweet Love" and "28 Grams" lean into his fundamental affection for reggae. Palmwine Highlife makes an appearance on "Buy You Life," and "Dem Dey" closes with the gángan (Yoruba talking drum), folding in some cultural texture. 

Burna also taps into the surging influence of electronic sonics on Nigeria's mainstream, delivering an iteration of tech-house on "Kabiyesi." On "Update," he engages '90s hip-hop, featuring elements of Soul II Soul's "Back to Life" as the precursor before the track explodes into one of the album’s most bouncy Afrobeats jams. He dabbles with rock with Jagger on "Empty Chairs," and leans on Shaboozey for the country-inflected "Change Your Mind."

Per Usual, He Has Words For His Critics

Burna Boy's relationship with critics, particularly within Nigerian circles, has always been a complicated, almost adversarial dance; No Sign Of Weakness is another chapter in this ongoing dialogue. Since his global fame, his album titles have always told a story of self-assertion: African Giant was a decisive claim to his status; Twice As Tall reinforced his amplified reach and impact. But with great power and a notoriously opinionated, controversial public persona, came an inevitable torrent of critique, something Burna Boy has struggled to reconcile with.  

His opinions, his stage presence, even his sense of nationalism have all sparked contention. He’s cultivated a pan-African image that occasionally buckles under the weight of his own contradictions. I Told Them…, received with mixed reviews, was his direct, almost petulant jab at his doubters, his chest-puffed "I told you so" to those who supposedly underestimated him. No Sign Of Weakness continues this counter-narrative, presenting a more entrenched defiance. 

Here, he reiterates his belief that critics seek to dismantle him, asserting that they cannot, he is flyer and richer than them all, and he reserves his affection only for those who genuinely reciprocate it. His defensiveness curdles more on "No Panic," where he spits, "Use timberland match all of them,"a barely-veiled reference to the infamous concert incident where he allegedly kicked a fan.

Burna Boy Remains A Reliable Hitmaker

Say what you will about Burna Boy, but his knack for churning out hits remains ironclad. The African giant’s most fascinating sleight of hand is glaring in how his prickly persona never impedes his instinctive grasp of what makes a global hit.

Learn more: 10 Afrobeats Songs Turning 10 In 2025: Wizkid’s "Ojuelegba," Olamide’s "Bobo" & More

In the past decade, it’s rare to find a major Afropop hit that hasn’t carried Burna Boy’s voice, either solo or as a feature. His rise to the "big three" of Nigerian music and Afrobeats — alongside Wizkid and Davido — was built painstakingly on a consistent, almost relentless stream of classics. Grooves like "Like to Party," "Tonight," "Ye," "Killin Dem," and "Last Last" prove the sheer, unadulterated talent that not only propelled him to the top tier but has sustained him there. That understanding carries into this album, one that is stacked with club-ready cuts including "Kabiyesi," "No Panic," and "Ta Ta Ta.". Hence for all its auteurist ambition, No Sign of Weakness, does not forgo the imperative of the dancefloor. 

He Still Has Love To Give

No Sign of Weakness is a record about endurance, ego, and existential grit. Burna Boy forces the listener to contend with him directly while proving that he’s more than capable of holding his own. But amidst the self-aggrandizement and grandstanding, No Sign of Weakness is also a record about love. 

In these moments, he gives us access to the vulnerable side of him. On the languorous, mid-tempo groove of "Come Gimme," he slips into the mode of a honey-tongued suitor. He trades his crown for the posture of a man in desperate appeal on the gentle "Change Your Mind" and the beseeching "Pardon." However, even his expressions of love can be filtered through the album’s overarching theme of self-preservation. On "Love," he takes an emotionally defensive stance, singing about a love that is reciprocal, one that he is only willing to give to those who give it to him first. 

From major comebacks to bold debuts, July is shaping up to be an exciting month in an already stellar 2025 in music. Two-time GRAMMY nominee Kesha kicks the month off with . (PERIOD), her first album after departing RCA and Kemosabe Records. Mid-month, Backstreet Boys will revisit their legacy on Millennium 2.0. and rising phenomenon Alex Warren will release his debut LP, You’ll Be Alright, Kid. The original Alice Cooper Group will round out July with their first album in 50 years, The Revenge of Alice Cooper. 

Elsewhere in the month, several artists will bravely share deep, vulnerable feelings on new releases. Those include Jessie Murph’s Sex Hysteria, Jackson Wang’s MAGIC MAN II, Indigo De Souza’s Precipice, Dean Lewis’ The Epilogue, and FLETCHER’s poignant Would You Still Love Me If You Really Knew Me?

Others will embrace fantasy and fun, such as Wet Leg’s sophomore LP Moisturizer, GWAR’s chaotic The Return of Gor Gor, Laura Jane Grace in the Trauma Tropes’ Adventure Club, Paul Weller’s Find El Dorado, and Fitz and the Tantrums’Man on the Moon. What’s more, July might be the month where rapper Roddy Ricch finally shares The Navy Album with the world.

To guide you through these fruitful upcoming four weeks, GRAMMY.com put together a list with the 15 Must-Hear Albums of July.

Kesha — . (Period) (July 4)

This year, Independence Day will mark another celebration for pop icon Kesha. Her upcoming album, . (PERIOD), will arrive on July 4 through her own Kesha Records under exclusive licensing to ADA Warner Music. It also marks her first record since departing RCA and Kemosabe Records in 2023.

The 11-song tracklist will include 2024’s hit "Joyride," "Yippee Ki-Yay" with T-Pain, "Delusional," "Boy Crazy," and the recent Slayyyter and Rose Gray collaboration, "Attention!" In a press release, the album is described as "a defiant act of self-expression that refuses to adhere to expectations or play it safe." Kesha is "at her most powerful best, turning her experiences into vibrant, audacious art with a spiked heel at the neck of pop culture," the release continued.

In support of the album, Kesha announced TITS OUT, a co-headline tour with Scissor Sisters starting on July 1. "I’m going TITS OUT this summer to bring as much safety, fun, acceptance, love, connection, and celebration to this country because we are just as much the fabric of this FREE nation as anyone else," she shared in a statement. "We will not be quiet, and we will fight through joy!"

Learn more:Kesha Reveals The 10 Most Important Songs Of Her Career, From "Tik Tok" To "Eat The Acid"

Burna Boy — No Sign Of Weakness (July 11)

Nigerian Afrobeats star Burna Boy is also making a return in July with No Sign of Weakness, has been teased since last year, and was preceded by singles "Bundle by Bundle," "Update," "Sweet Love," and "TaTaTa" featuring Travis Scott.

A follow-up to 2023’s I Told Them…., No Sign of Weakness promises a fresh take on the artist’s Afro-fusion sounds, solidifying his presence as one of the world’s most exciting and influential artists. In order to commemorate the release, Burna Boy has announced a historic 16-city North American headline run. Beginning on Nov. 12 at Colorado’s iconic Red Rocks Amphitheatre, Burna will become the first Nigerian artist to ever headline the venue, and will continue through cities like Seattle, Oakland, Houston, and Los Angeles. 

With the exception of the Red Rocks show, all performances will feature a custom-designed 360-degree stage in the middle of the arena floor, creating an immersive and intimate experience for fans.

Backstreet Boys — Millennium 2.0 (July 11)

As unbelievable as it sounds, Backstreet Boys’ chart-topping, GRAMMY-nominated, and signature album Millennium has turned 25 this year. To celebrate this milestone in true "Larger Than Life" fashion, the eternal boy band announced a deluxe version titled Millennium 2.0.

Read more:How Pop Ushered In Y2K: Revisiting Songs & Performances By Prince, Jennifer Lopez, Backstreet Boys & More

Millennium 2.0 will fittingly comprise 25 tracks, including all 12 remastered originals, live recordings from their 1999-2000 tour, demos, B-sides, and their latest single, "HEY," which can be heard upon pre-saving the album. "Thank you for still loving this album more than 25 years later and we can’t wait to make a ton of new Millennium Memories with you!" the band shared on Instagram. "It’s time for (us) to go to work y’all…"

The album drops just as BSB kick off their Into The Millennium residency at Las Vegas’ The Sphere. Totalling 21 shows — with three extra dates due to overwhelming demand — they will become the first pop act to perform at the venue.

Learn more: 25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More

Wet Leg — Moisturizer (July 11)

The Isle of Wight five-piece Wet Leg, founded by Rhian Teasdale and Hester Chambers, will heat up the summer with their sophomore record, Moisturizer. Following their GRAMMY-winning 2022 self-titled debut, the album was also produced by Dan Carey, and is spearheaded by singles "Catch These Fists," "CPR," and "Davina McCall."

The new LP was written while the band lived together in the remote English town of Southwold. There, they would work by day, and watch horror movies by night. "We were just kind of having fun and exploring," Chambers said in press materials, while Teasdale concurred: "We focused on: Is this going to be fun to play live? It was very natural that we would write the second record together."

Joined by musicians Ellis Durand, Henry Holmes, and Joshua Mobaraki, Wet Leg spent the greater part of the past few years touring, "evolving into a feral, electrifying live force." Moisturizer is said to capture that energy, "delivering a sound that’s tighter, bolder, and more self-assured, yet still brimming with the same quick wit and raw, unrefined energy." The band will kick off a 19-stop North American tour starting Sept. 1 in Seattle.

Jackson Wang — MAGIC MAN II (July 18)

"I created MAGIC MAN to figure out my pain, as a mask representing my darkest emotions, my internal emotions," said Hong Kong-born musician Jackson Wang in a statement. That 2022 sophomore record plunged him into experiencing "nothing but the crucial reality of what humanity is."

"I was in a very dark place mentally and physically. I thought I could never recover," he added, explaining that this was the reason he took a year-long break to figure himself out. The result of his time off is MAGIC MAN II, an album about "being true to myself, listening to my heart and accepting all the good and the bad."

The album is structured in four chapters that explore different stages of grief — from manic highs, to losing one’s identity, to ultimately finding acceptance. For a preview of those sounds, Wang has released a handful of singles, including "High Alone," "GBAD," and "BUCK" featuring Indian singer Diljit Dosanjh. 

Jessie Murph — Sex Hysteria (July 18)

Jessie Murph is set to give this summer some Sex Hysteria. According to a statement, the 20-year-old singer goes through "a bold departure" from her first record, 2024’s That Ain't No Man That's The Devil, and opens up for the first time about "themes of sexuality, generational trauma and self-discovery with a vulnerability and honesty that marks a new chapter in her artistic evolution."

The 15-track LP is said to be "both a provocation and a reclamation," with Murph confronting family wounds and reclaiming her body and her desires. The sophomore record pushes back "against the shame and stigma that often silence women who dare to be loud, sexual, or emotionally honest."

Sex Hysteria will include Murph’s trap country hit "Blue Strips," as well as "Gucci Mane" and "Touch Me Like a Gangster." Starting July 27, she will embark on a worldwide tour, crossing North America, Europe, and Australia and New Zealand throughout the rest of the year.

Laura Jane Grace in the Trauma Tropes — Adventure Club (July 18)

The upcoming album by Against Me!'s Laura Jane Grace and her new band, Laura Jane Grace in the Trauma Tropes, is a retelling of the quartet’s experiences in a life-changing songwriting retreat in Greece. Made possible by a grant through the Onassis Air Program, Adventure Club was recorded in Athens, and features Grace’s wife Paris Campbell Grace on vocals, as well as Athens-based musicians Jacopo "Jack" Fokas (bass) and Orestis Lagadinos (drums).

Read more: For Laura Jane Grace, Record Cycles Can Be A 'Hole In My Head' — And She's OK With That

The 12-song collection is "a record about learning to take up space, about feeling free to be yourself as the bullshit of our ahistoric moment mounts," per a release. "Protest songs and personal tunes have never been a binary for Grace, and she delivers some of her most profound — and, yes, playful — work ever at that particular intersection here. But the most prominent thread through Adventure Club’s dozen tracks is one of evolution, of letting yourself become something new."

Adventure Club follows Grace’s 2024 Hole in My Head. In August, she and the Trauma Tropes will hit the road for a string of concerts across North America alongside Trapper Schoepp, Team Nonexistent, and Murder by Death.

FLETCHER — Would You Still Love Me If You Really Knew Me? (July 18)

Queer icon FLETCHER poses a poignant question on her new album: Would You Still Love Me If You Really Knew Me? The LP is her most intimate and honest work so far, as she shared on a handwritten note: "this is my heart split open on record" and is "both an open wound and an act of liberation."

The singer born Cari Elise Fletcher built her career on sexual fluidity and singing about relationships had exclusively with women. However, things took a turn in her personal life last year, when she found herself falling for a man instead. The result was the single "Boy," one of the biggest, rawest revelations she makes on Would You Still Love Me If You Really Knew Me? "I kissed a boy," she sings. "And I know it’s not what you wanted to hear/ And it wasn’t on your bingo card this year/ Well it wasn’t on mine/ I fell in love."

Learn more:FLETCHER Is "F—ing Unhinged" & Proud Of It On 'In Search Of The Antidote'

In a recent interview with Rolling Stone, FLETCHER acknowledged that "There will be people that feel disappointed and feel confused and have questions. Girl, I had questions and I was confused too. It shocked me just as much as anybody else." But by staying true to her feelings and fully sharing her journey, FLETCHER welcomes a stronger, truer version of herself to the world.

Alex Warren — You’ll Be Alright, Kid (July 18)

Alex Warren’s much-anticipated debut studio album is just around the corner. You’ll Be Alright, Kid arrives via Atlantic Records, and adds 10 new tracks to his 2024 EP of the same name.

The 21-song record will also include Warren’s recent viral hits "Ordinary" and "Bloodline" with Jelly Roll, as well as new single "On My Mind" featuring BLACKPINK’s Rosé. And while You’ll Be Alright, Kid (Chapter 1) focused on dealing with grief, the LP expands upon themes of healing and resilience. Most of the album was co-written by Warren in partnership with Cal Shapiro and Mags Duval, and produced by Adam Yaron.

Throughout the summer, Warren will play sets at several festivals around the world, including Lollapalooza Paris and Chicago, Norway’s Slottsfjell, and Canada’s Osheaga. The singer will also perform live in a string of North American cities during September and October.

Roddy Ricch — The Navy Album (July 18)

After several delays, Roddy Ricch was set to drop his much-awaited third LP, The Navy Album, on April 25, but the release was postponed once again. Two months later and it finally seems like the album will come out on July 18, as pre-save links on his Instagram note.

In December 2024, after announcing another postponement, the Compton rapper shared second single "Lonely Road," featuring Terrace Martin on the saxophone. The track joins 2024’s "Survivor’s Remorse" — which samples Kelly Clarkson’s 2023 song, "Me" — as the sole previews of the album so far. According to Apple Music, Ricch’s other 2024 single, "911," didn’t make the final tracklist.

Following 2021's Live Life Fast and 2022's mixtape Feed Tha Streets III, the upcoming album was produced by Terrace Martin, Turbo, Omar Grand, Evrgrn, and others, and will be released via Atlantic Records and Bird Vision Entertainment. Most recently, Ricch shared "Underdog" as a part of the star-studded F1: The Movie soundtrack.

Bush — I Beat Loneliness (July 18)

Rock band Bush are gearing up to release their tenth studio album, I Beat Loneliness. In advance, they shared "60 Ways to Forget People," an impactful track that explores  "the complexities of heartbreak, personal transformation, and the painful process of letting go," per the band’s press release.

"What I feel about this record is it addresses the common struggles we all have," said frontman Gavin Rossdale. "‘60 Ways to Forget People’ is an ode to sacrifice and a dedication to the focus it takes to be better. All the time and in all things." Produced by Rossdale and Erik Ron, the record includes 12 tracks that deepen the band’s post-grunge sound into more mature, sleek productions, as can heard on lead single "The Land Of Milk And Honey."

Following the release, Bush will tour North America until the end of August, and then head over to Europe for a series of shows from September through November.

Indigo De Souza — Precipice (July 25)

In 2024, Hurricane Helene flooded Indigo De Souza’s home and destroyed many of her belongings. Forced to cancel events and launch a fundraiser to help with the costs, it was a liminal experience in her life  — one of the many that shaped her upcoming fourth studio album, Precipice.

"I feel constantly on the precipice, of something horrible, or something beautiful — something that will change my life for better or for worse," De Souza said in a statement. "Music gives me ways to harness that feeling. Ways to push forward in new directions." To harness that spirit, she tried blind studio sessions in Los Angeles and found a seamless connection with producer Elliott Kozel.

"I’d been wanting to work on more pop-leaning music for a while, so when I came out to L.A. I made sure to meet with people that could help bring that to life," she said. "I wanted to make music that could fill your heart with euphoria while you dance along." A preview of those sounds can be heard on pre-releases "Crying Over Nothing" and "Heartthrob." De Souza will also tour 10 U.S. cities in October, with support from alt artist mothé.

GWAR — The Return of Gor Gor (July 25)

Legendary shock rockers GWAR are celebrating their 40th anniversary with The Return of Gor Gor. The multi-format album and 32-page comic book chronicles the comeback of Gor Gor, GWAR’s long-lost Tyrannosaurus Rex pet, who mysteriously disappeared following the death of their former frontman, Oderus Urungus.

Current vocalist Blöthar The Berserker commented on the album: "The last time I saw Gor Gor, he was just a wee fart dragon. He had crawled on the hood of my Kia Soul and was holding on for dear life while I drove to the store to buy Clamato. I bathed him in wiper fluid and used my wipers to knock him off my sweet ride. Next thing I know, he's a 20-foot tall trans-species prostitute working a pickle park. Apparently, he's all grown up and looking for revenge. This record chronicles his struggles as a young Dino-American trying to make his way in a cruel world."

In support of Gor Gor and the new release, GWAR will headline a North American tour kicking off Oct. 18 in Salt Lake City and wrapping up Nov. 22 in Norfolk, Virginia.

Fitz and the Tantrums — Man On The Moon (July 25)

Pop-rock group Fitz and the Tantrums' sixth studio album, Man On The Moon, arrives July 25. The follow-up to 2022’s Let Yourself Free is described as the band’s "most daring" yet in press materials, a "no-nonsense collection of soulful, pop-inflected masterpieces" that reflect "a band that’s confident in their signature style, yet unafraid to venture into bold new territory."

"I decided I was simply going to write for my heart and for my soul and nobody else," explained frontman Michael "Fitz" Fitzpatrick. "At this point in our career, myself and the band feel we have complete creative license. Because, c’mon, nobody knows what the rules are anymore. So I’m not going to chase some vapor in the wind. I’m going to just do what I want."

"We’ve never wanted to be stuck in a box. We refused to do that," added co-lead vocalist Noelle Scaggs. "With this project, we’re daring to be different." A taste of this new sound can be heard on the title track and lead single, as well as March’s "Ruin the Night."

Fitz and The Tantrums will embark on a summer tour right before the album drops and hitting 31 North American cities. The tour will feature Aloe Blacc and Neal Francis as special guests on select dates, and Ax and the Hatchetman, SNACKTIME and Gable Price and Friends as openers.

Alice Cooper — The Revenge of Alice Cooper (July 25)

It’s not every band that has the luxury of reuniting five decades after their rise to fame. The original Alice Cooper Group understands this privilege, and is making sure to come back in the most chaotic, boisterous way. The Revenge of Alice Cooper channels "a high-voltage journey into vintage horror and classic '70s shock rock, capturing the sound, energy, and mischief" that made the band legendary, according to a press statement.

Comprising 14 tracks, including singles "Black Mamba" and "Wild Ones," the LP also features a posthumous appearance by Glen Buxton, the band's original guitarist who passed away in 1997, on "What Happened To You." Furthermore, the box set and limited smart formats of the album include two exclusive new tracks: a long-lost 1970 version of "Return of The Spiders," and the vintage blend "Titanic Overunderture."

The Revenge of Alice Cooper is said to be "a celebration of friendship, nostalgia, and the timeless sound that solidified Alice Cooper as a rock icon," and fan can expect a "powerful and nostalgic experience that bridges the gap between the band's storied past and their vibrant present."