The 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, will air live on CBS and Paramount+ on Sunday, Feb. 2. Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast will be reimagined to raise funds to support wildfire relief efforts and aid music professionals impacted by the wildfires in Los Angeles. Donate to the Recording Academy's and MusiCares' Los Angeles Fire Relief Effort To Support Music Professionals.

Every year, the GRAMMYs' Best New Artist category acknowledges rising stars who are shaping the future of music through their own artistry. 

Little does it matter if they have just a few singles or 10 studio albums under their belts. The Best New Artist Category is all about highlighting how an act pushes creative boundaries and challenges a saturated industry with outstanding — and sometimes surprising — music.

The Best New Artist nominees for the 2025 GRAMMYs are Benson Boone, Sabrina Carpenter, Doechii, Khruangbin, RAYE, Chappell Roan, Shaboozey, and Teddy Swims. Though only one of them will claim the golden gramophone on Feb. 2, 2025, each of these artists are forging bold, inspiring careers ahead. With this well-deserved nomination, the Recording Academy recognizes their efforts and celebrates their success.

Check out the nominees below and read the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025. 

Benson Boone

"I feel like things have taken off for me like a firework tied to a rollerblade, all very quickly," Benson Boone told GRAMMY.com upon releasing his debut LP, aptly titled Fireworks & Rollerblades, in April. While it may be a metaphor for his career in 2024, Boone's swift ascent is the result of a promising last few years.

Hailing from Monroe, Washington, he first caught the public's attention during a short stint on season 19 of "American Idol" in 2021. As the 22-year-old built momentum via TikTok, Imagine Dragons' Dan Reynolds also saw his potential, and promptly signed Benson to his label, Night Street Records, in partnership with Warner Records.

Boone's first hit single, 2021's "Ghost Town," foreshadowed his talent for vulnerable songwriting and catchy piano lines, followed by the release of two EPs in 2022 and 2023. However, his bonafide breakthrough came only in January of this year, with the soaring "Beautiful Things" — a global smash that peaked at No. 2 on the Billboard Hot 100, and surpassed 1.5 billion streams on Spotify as of press time. Second single "Slow It Down" went similarly viral in March, followed by a sold-out global tour and opening for Taylor Swift's Eras Tour in London.

Hence, the release of Fireworks & Rollerblades only cemented what many already knew: Boone is one 2024's definite stars. 

Read more: Benson Boone Declares "Beautiful Things" Is No Fluke: "I've Tapped Into How I'll Write For The Rest Of My Life"

Sabrina Carpenter

"I never had the plan B, and it wasn't even a thought in my mind that it wouldn't work out," Sabrina Carpenter told Rolling Stone back in June. "I just always knew it was about not if it would happen but when it would happen."

The 25-year-old singer was right. 2024 was the year that took Carpenter to the superstardom stratosphere, with three chart-smashing, defining hits — "Espresso," "Please, Please, Please," and "Taste" — a dazzling debut at Coachella, and a tenure opening Taylor Swift's Eras Tour in Latin America, Australia and Asia.

But Carpenter's success is hard-earned. A former Disney star, she spent the last decade relentlessly developing her singing and songwriting style. It wasn't until her fifth studio album, 2022's emails i can't send, that she took full creative control over her work and, in turn, found her own artistry; with standout singles "Nonsense" and "Feather," she displayed the witty lyricism and catchy hooks that would become her signature.

When Carpenter's sixth LP, Short n' Sweet, arrived in August, she solidified her status as pop's newest queen. Co-produced by pop savant Jack Antonoff, the album bursts with confidence and charisma, channeling her sassy persona and velvety vocals into timeless earworms.

The album went on to become Carpenter's first No. 1 project in the U.S., and also earned her first Platinum certification. And now, she adds her first GRAMMY nominations to her 2024 feats, and seven at that — hinting that her pop reign will be anything but short n' sweet.

Read more: How Sabrina Carpenter Became A Pop Queen: Tracing Her Journey To 'Short N' Sweet'

Doechii

"Overly cocky, I'm hyper-ambitious/ Me, me, me, me, bitch I'm narcin-assistic/ I am a Black girl who beat the statistics," says Doechii on her first viral single, 2020's "Yucky Blucky Fruitcake." It's a banging introduction to the rapper, who has since signed with Top Dawg Entertainment (home to Isaiah Rashad, SZA and more), released two EPs and three mixtapes, collaborated with the likes of Kodak Black and Katy Perry, supported Doja Cat on tour, and has now earned her first GRAMMY nominations.

Born Jaylah Hickmon in Tampa, Florida, Doechii was a theater kid who wrote poetry before adding beats to her bars. Her music is confessional, irreverent and unapologetic, sourcing her experiences as a Black woman and transmuting them into provocative, empowering anthems — see 2022's "Crazy," whose music video was banned from trending on YouTube due to its violence and nudity content.

But it didn't faze her. The scenes were not for shock value, but to express the hardships that women go through, and to challenge the sexualized gaze over them. After all, as she said in a since-deleted Instagram post, "'Crazy' is about uncontained power, creativity and confidence. People call you crazy when they fear you or they don't understand you. So when I use it in the song, I'm reflecting that energy back on them to show them themselves." 

Doechii has yet to release a debut studio album, but her latest mixtape, August's Alligator Bites Never Heal, is a strong display of her brilliant storytelling and quirky uniqueness. Coupled with the success of her previous releases, Alligator Bites's critical acclaim suggests that the "Swamp Princess" is bound to fly even higher.

Read more: 5 Emerging Artists Pushing Electronic Music Forward: Moore Kismet, TSHA, Doechii & Others

Khruangbin

Khruangbin means airplane in Thai, and there couldn't be a better word to describe the Texan trio. From Middle Eastern scales to Peruvian cumbia, the intercontinental influences within their sound transport listeners around the world. 

Formed by bassist Laura Lee Ochoa, guitarist Mark Speer, and drummer Donald "DJ" Johnson Jr., they first took inspiration in Thai funk from the '60s and '70s, and in 2015 released their debut LP, The Universe Smiles Upon You. Now four albums in, the band has crafted a lush soundscape that can be both nostalgic and avant-garde, familiar and strange. They've entranced fans from Barack Obama to Jay-Z, played at festivals like Coachella and sold out several tours (including two nights at New York's Radio City Music Hall), and collaborated with icons such as Paul McCartney.

For the past four years, Khruangbin focused on their aggregating nature: they put out two EPs with soul singer Leon Bridges (2020's Texas Sun and 2022's Texas Moon), 2022's Ali with Vieux Farka Touré, and a series of 2023 live recordings in partnership with Toro y Moi, Nubya Garcia, and Men I Trust. It was time the trio turned down outside noise, and focused on their own synergy. Khruangbin's latest album, A La Sala ("to the room," in Spanish), arrived in April as a core example of their essence — for the first time, they had no additional collaborators, resulting in a rebirth of their original magic. 

With this return to their roots and their rising popularity, a GRAMMY nomination for Best New Artist stands as an invite for even more people to dive into their ethereal, exceptional work.

Read more: 5 Songs To Get Into Khruangbin Ahead Of Their New Album 'A La Sala'

RAYE

For seven years, South London singer/songwriter RAYE was kept in the talent basement of Polydor Records, unable to release her debut LP. During that time, she co-penned songs for acts like Beyoncé and Rihanna, released five EPs and a handful of singles, including collaborations with David Guetta and Martin Solveig, but she knew it wasn't half of what she had to offer.

"Imagine this pain. I have been signed to a major label since 2014...and I have had albums on albums of music sat in folders collecting dust," she shared on Twitter back in 2021, reflecting on her situation. "Songs I am now giving away to A-list artists because I am still awaiting confirmation that I am good enough to release an album."

Shortly after that confession, RAYE (whose birth name is Rachel Keen) parted ways with Polydor and became an independent artist. Slowly, she pieced together the riveting songs that formed her hard-fought 2023 debut, My 21st Century Blues. Her resonant voice and raw lyricism earned raving reviews, and the album's lead single, "Escapism" took off — going viral on TikTok, topping the UK Singles Chart, and becoming her first Billboard Hot 100 entry. 

It was a pivotal moment for the now 27-year-old, proving that her intuition and belief in herself paid off. Since then, RAYE has continued to flourish as an artist in her own right, supporting world tours by SZA, Kali Uchis, and Lewis Capaldi, opening for Taylor Swift's Eras Tour, and performing at Coachella and Lollapalooza. In March 2024, she made history at the BRIT Awards by securing six trophies — the most for any artist in a single year.

RAYE's latest single, June's "Genesis.," is a seven-minute epic that she described in a statement as "a prayer and a plea and a cry for help." Its three-act structure and straightforward, relatable lyrics suggest a newfound confidence — and with RAYE's first GRAMMY nomination for Best New Artist in tow, the sky's the limit for her next chapter.

Read more: Watch RAYE Open Up About Her Prized Songwriting Notebook | It Goes To 11

Chappell Roan

Credited by many for infusing pop music with a much-needed dose of fun, Missouri-born singer Chappell Roan laced 2024 with her enthusiasm, flair and unabashed sexuality. However, the path to this moment wasn't easy — and is reflected in her 2023 debut album's title, The Rise and Fall of a Midwest Princess.

Roan first signed with Atlantic Records in 2015 at just 17, but the label didn't find her profitable enough; by 2020, she was dropped from their roster. Coupled with the breakup of a four-year relationship and a brief return to her parents' house, Roan found herself in a slump. Yet, she pulled herself up, moved to Los Angeles, and finally started working independently on music that she was proud of.

Born Kayleigh Amstutz, the singer describes Chappell Roan as a "larger-than-life, drag queen version of myself," who allows her to embrace her queer identity and sexuality, as well as dealing with the hardships of being a woman. Her glittery, campy world is DIY by design, all-inclusive and genuine, prompting a devoted cult fan base that was eager to spread her truth to the mainstream.

It was only a matter of time until that happened. She signed with Island and Amusement Records in early 2023 to release the effervescent Midwest Princess, but refused to compromise her artistic vision or creative control — and her commitment to authenticity resonated.

After starting 2024 by opening for Olivia Rodrigo on the sold-out GUTS World Tour, Roan went on to draw mind-blowing (if not record-breaking) crowds at Coachella, Governors Ball, Lollapalooza, and Austin City Limits festivals thanks to her rapidly increasing allure. Roan's follow-up single, "Good Luck, Babe!," bolstered her to even greater heights (including 2025 GRAMMY nods for Record Of The Year, Song Of The Year and Best Pop Solo Performance) and helped Midwest Princess reach its biggest sales week a full year after its release — ultimately securing her place as one of pop's most promising stars.

Read more: Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon"

Shaboozey

"They say it takes 10 years to have an overnight success, and it's true," Shaboozey told GRAMMY.com in May. The 29-year-old Nigerian-American born Collins Chibueze knows it firsthand: his first single, "Jeff Gordon," came out in 2014, but he's only now seeing the fruits of his hard work a full decade later.

It all started in March, with Beyoncé's trailblazing COWBOY CARTER, where Shaboozey's two guest features — "SPAGHETTII" and "SWEET HONEY BUCKIIN" — left listeners craving for more. Fortunately, there was plenty to discover. Since "Jeff Gordon," Shaboozey signed to Republic Records and released his 2018 debut, Lady Wrangler, followed by 2022's Cowboys Live Forever, Outlaws Never Die, via EMPIRE. (According to Spotify, Shaboozey's catalog streams increased by 1,350 percent after the release of COWBOY CARTER.)

Just six weeks later, Shaboozey had another breakthrough moment. His single "A Bar Song (Tipsy)" dethroned Beyoncé's "TEXAS HOLD 'EM" for the No. 1 spot on Billboard's Hot Country chart. But that was far from where the song's success stopped. Along with topping charts around the world and helping Shaboozey become the first male Black artist to be No. 1 on Billboard's Hot Country Songs and Country Airplay charts simultaneously, "A Bar Song" has notched 16 weeks atop the Billboard Hot 100 as of press time — just one week away from breaking the record for the longest run this decade.

Though "A Bar Song" undoubtedly put Shaboozey on the map as an artist in his own right, his third album Where I've Been, Isn't Where I'm Going showed he's more than a smash hit. With his distinctive mix of country, Americana, and hip-hop, as well as lyrics that lay bare a journey through heartbreak and depression, he snagged a No. 5 debut on the Billboard 200 album chart. Now, with a GRAMMY nomination for Best New Artist, Shaboozey is poised to reach even wider audiences.

Read more: Shaboozey On His New Album, Beyoncé & Why He'll Never Be A "Stereotypical" Artist

Teddy Swims

"I don't want to swallow my insecurities. I don't have to wait until I feel like I'm worthy of love to put myself out there," Teddy Swims told GRAMMY.com upon the release of his 2023 debut, I've Tried Everything But Therapy (Part 1). It's rare to find a man so emotionally open, but that's one of the factors that makes the Georgia native so special — that, and his arrestingly powerful, soulful voice.

After starting out on YouTube in 2019, Swims (born Jaten Dimsdale) signed with Warner Records and put out four EPs, gradually emerging as one of the most compelling vocalists of his generation. His true breakthrough came in June 2023 with the bellowing hit "Lose Control," which earned him a first entry on the Billboard Hot 100 and a swarm of new fans who were entranced by his music.

The track featured on I've Tried Everything but Therapy (Part 1), which expanded on the lyrical vulnerability and stirring sounds of "Lose Control" and spawned another pop hit with "The Door." Keeping his promise of a Part 2, Swims dropped a sneak peek with I've Tried Everything But Therapy (Part 1.5) in April, and just announced that Part 2 will arrive on Jan. 24, 2025.

Will Teddy Swims be celebrating a GRAMMY win just after celebrating his next album release? Tune into the 2025 GRAMMYs on Feb. 2 to find out!

Read more: Teddy Swims Is Letting Himself Be Brutally Honest On 'I've Tried Everything But Therapy'

Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast was reimagined to raise funds to support those impacted by the wildfires in the greater Los Angeles area. The Recording Academy and MusiCares launched a dedicated campaign to support affected music professionals, and we need your help. Donate now.

Canadian metal quartet Spiritbox have become the metal band of the moment.  Long known for their collision of blistering metalcore and djent influences against melodic new wave and ethereal goth undercurrents, the quartet are ready to level up to headliner status.

The band's dreamy dissonance made it all the way to Music's Biggest Night, where they received their second nod in the Best Metal Performance Category, this time for "Cellar Door." Now, Spiritbox plan to make even more waves with their second full-length album, Tsunami Sea. 

Tsunami Sea finds them unleashing some of their heaviest music while blending in atmospheric tracks like "Deep End" and the drum ‘n bass-inflected "Crystal Roses." The music feels apropos for a band that has overcome adversity, including the recent death of a former band member and their bassist losing his home in the L.A. wildfires.

Formed by singer Courtney LaPlante and guitarist Michael Stringer in 2015 after they left the band Iwrestledabearonce, Spiritbox released two independent EPs before making their big splash in 2021. Their full-length debut album, Eternal Blue hit No. 13 on the Billboard 200 albums chart and generated significant buzz. Despite a series of touring setbacks due to the pandemic, Spiritbox began converting the masses with their heavy, high energy shows in late 2021. Two more EPs followed: the industrial-laced Rotoscope and the more melodic, twice GRAMMY-nominated The Fear Of Fear.

This is set to be a big year for Spiritbox. The group will embark on a nearly six-week North American tour in April, followed by European festival dates and three shows supporting Linkin Park including one at Wembley Stadium. Ahead of their album release, LaPlante spoke with GRAMMY.com about the band’s recent upheavals, the rising power of women in metal, and a funny case of mistaken identity.

This interview has been edited for brevity.

Women rule pop music, but here are so many women in rock and metal doing cool things. I don't feel like the mainstream media gives them as much love. Do you wonder why that is?

Yeah. There's not a lot of women that get to something other than niche success if they don't have a more traditionally pleasant voice. There isn't really an equivalent, like, Tom Waits in the women's world — someone [whose] singing is more about the character and storytelling, versus technical or pleasing proficiency. 

I wonder if hearing a male or female voice singing over the same passage of music, someone might interpret the heaviness factor differently. It's obviously an experiment that I will never conduct, but I always wonder, Is my male counterpart considered more metal than me if we are doing similar stuff?

Learn more: 5 Women Essential To Punk: Exene Cervenka, Poly Styrene, Alice Bag, Kathleen Hanna & The Linda Lindas

You've previously discussed how there are a lot of women in metal now, but there could be more.

After a certain point, [women and girls] don't really care to get into a party that no one invited them to. I look at it like a cool nightclub — I'm not going to stand outside waiting in line trying to see if the bouncer is going to let me in. I'll go find my own club. If you don't want me there, I'll find somewhere where people want to see me. 

It also comes from when you're a young girl, not really feeling welcome. Like going to a small metal show and having people question why you're there. Things are getting better, but we just have to a higher standard and not care that some bread crumbs were thrown at us. We're trying to eat the steak.

There are some lyrics in Tsunami Sea that really sync up for me. In "Crystal Roses," you sing, "You're an echo of an echo flowing nowhere, buried in a message somewhere out there." Then in "Ride The Wave," you sing, "Ride the wave like a message in a bottle." Is there a connection for you between those songs?

Everything that we've ever made — lyrically and sonically — we think of as a concept album. This album, every song, has to do with each other. The final song is the culmination of everything that I talked about. Instrumentally, every weird 808 sound is actually a sound from the ocean. It's a show don't tell thing. I hope that subtly comes across to whoever is listening.

Lyrically, the album is like an autobiography of what it is to be me, but in my head. I think the environment in which you were raised is so imprinted on how you see the world. When I was 15, I moved to Vancouver Island; that's where I met my husband Michael who’s in my band. Living on an island that was very remote and hard to leave made me feel very isolated due to the career that I hoped to have. It just really shaped a lot of who I am, but I miss it as well. I romanticize this place where I'm from, that when I was there it was holding me back. Then when I'm gone, I romanticize being there because I miss it and I miss my family.

It’s fun watching the "Soft Spine" video – you're doing pop dance moves against these heavy guitars and grooves.

It's just how I am on stage. That's how I express myself when I'm doing that song. I love dancing, and that's how I emote. 

It's also very funny when you think about [how] most of the songs are about me being depressed, then I'm just having fun and dancing on stage. When I'm on stage, I'm playing a character and a lot more relatable. That came through in this video. I was also wearing sensible shoes so I could dance.

Megan Thee Stallion enlisted you guys for the rock remix of her song "Cobra."

I love her. She's someone that I've supported as a fan of her music for a long time now. I got in relatively on the ground floor with her. She's one of the only artists that I've ever stumbled upon and watched them rise up in the industry.

I love seeing and being curious about what other types of music fans think about what we do. Her fans loved it. They are so open-minded because she has such eclectic music tastes. Our fans, and the fans of our genre of metal, thought it was awesome.

You had to cancel two tours that were underway during the COVID pandemic and lost significant money. Brent Smith from Shinedown and the band We Came as Romans offered Spiritbox financial help. I imagine that was pretty vital for you at that point.

These are people that did not know us and just wanted to help somebody because they wanted to pay it forward. The Europe tour was just us taking time off work and knowing it was going to be rough. The [tour supporting] Limp Bizkit was a different level of touring. We went from never having any musical gear to investing in all of that gear, and paying [a space] to rehearse. 

[At that point], we hadn't been together in a year and a half. We played music together like 10 times and never played together again, so we invested so much time and money into that. That was a disaster when that got canceled after three shows.

I was really depressed, then my manager called me and [said], "You know the band Shinedown? Their singer just sent you guys $10,000 from his business manager." We're like, Is this a scam or something? He went out of his way, and he said, "Don't worry about telling anyone. Don't feel like you have to thank me or anything. I just know what that's like to have your investment mess up." I was like, consider this an advance on us opening for you. It was nice that a couple of years later we got to finally work with them and meet them.

We were renting our light package from [We Came as Romans]; that's thousands of dollars for that month. They were just like, "Don't worry about it, you don’t need to pay us." It was just very nice to see such positive people wanting to help out a stranger.

Your bassist Josh Gilbert has had a rough year. He lost his house in the Altadena fire, and then the band went on tour. How has he managed to cope through all of this?

I think that's how he coped. We were like, we gotta cancel all of this. We gotta push our album back. All that other stuff feels so insignificant and selfish. We gave him some time, banded together, and helped each other. We were like, "What do you want to do? We'll do whatever you want."

Josh is very wise. He really knows himself and what he wants. He was like, "I need to do this. I need to go to rehearsal every day. I need to shoot music videos. This is my identity, and I need to not be Josh who lost his house. I need to be Josh, bass player in Spiritbox."

That's what he wanted to do, and we're really grateful. But it's crazy. If you talk to anyone else that's happened to, it feels like a death [to them].

Your former bassist Bill Crook died last year which shocked people.

It was horrible. It was very sudden, and we were on tour. We're so thankful his mom wanted all of his friends to be at his memorial. She moved it to when we were back from tour so that we could go. 

We dedicated our [new] album to him and him alone in the thank you section. This album really is for him, because he grew up in the same place as us and had the same experiences. A lot of what I'm talking about in the album – of the things I deal with and try to overcome mentally – he and I are very similar [there]. 

We wrote all this before he passed, but I wish I could have showed it to him. Every day I miss him so much. This last couple months have been hard for everybody, but we're going to be okay. I think we're going to have a really good year.

On the 2025 GRAMMYs red carpet, another outlet mistook you for Poppy, who was nominated in the same Category. You played along — with a lot of poise and humor.

I don't take anything like that personally. It’s the same if someone asks me a really misogynistic question — I find it so much more valuable to make it a learning experience, or at least have someone else that's about to watch it find some fun humor in it. That person didn't know who I was. They had no reason to know who I was.

I just found that whole process very fascinating and extremely funny, and I was immediately smirking while doing it. I texted [Poppy] right away: I just did an interview as you. I hope that I said all my knowledge correctly.

If the past 12 months were any indication, it has been a celebratory and transformative time for women in music. Women swept at the 2025 GRAMMYs, with some Categories (Best Pop Solo Performance, Best Pop Vocal Album) exclusively recognizing female nominees. Amy Allen became the first woman to win Songwriter Of The Year, Non-Classical. Meanwhile, Beyoncé extended her record as the most decorated GRAMMY artist. Women artists won Album Of The Year and Best New Artist for the third time in five years. 

Beyond chart achievements and awards, women stepped up to advocate for their right to take up space in the industry — and called for safer, more inclusive spaces. Chappell Roan, for example, took the GRAMMY stage for her Best New Artist win to challenge executives: "I told myself if I ever won a GRAMMY, and I got to stand up here in front of the most powerful people in music, I would demand that labels and the industry profiting millions of dollars off of artists would offer a livable wage and health care, especially to developing artists."

Her acceptance speech caused a rippling effect, prompting Universal Music Group and the Music Health Alliance to launch a music industry health fund. Shortly after, first-time GRAMMY winners Sabrina Carpenter and Charli xcx joined Roan's campaign with a $25,000 donation to support rising musicians.

Read more: 13 Times Women Made GRAMMY History: Beyoncé, Taylor Swift & More

While the Recording Academy has made meaningful progress in increasing women's representation within its Membership, there is still more work to be done industry-wide. In honor of Women’s History Month and International Women’s Day, GRAMMY.com celebrates the women in music who have broken barriers and paved the way for a more inclusive industry. When there’s more women, there’s more music. Together as advocates and allies, we encourage the music industry to unite in uplifting, supporting, and creating more opportunities for women. 

Press play on female empowerment anthems that can sum up the past year of taking charge in music history, from the joyous declarations of unapologetic femininity on Megan Thee Stallion's "HISS" and Ariana Grande's "yes, and?," to the odes to sisterhood on Tori Kelly's "Spruce" and Camila Cabello's "DREAM-GIRLS."

It's the very last day of February, and the wintry month is going out with a bang thanks to new music from Halsey, Lizzo, Natalia Lafourcade, and more.

When it comes to new albums, BLACKPINK's LISA makes her solo debut with Alter Ego, while Kip Moore delivers a whopping 23 songs on Solitary Tracks. And indie rock veterans The Head and The Heart kick off the rollout for their newly announced LP, Aperture, with "After the Setting Sun."

This week's plethora of new songs also includes Nathaniel Rateliff and Gregory Alan Isakov pairing up for the thoughtful "Flowers," Damiano David continuing to build anticipation for his forthcoming debut solo album with third single "Next Summer," and The Ting Tings harkening back to the '70s with "Good People Do Bad Things." Plus, CA7RIEL and Paco Amoroso unveil "#TETAS" and XANDRA keeps the party going with "Feel Good."

Below, press play on 10 exciting new releases worth diving into, including high-profile singles by Lizzo, Benson Boone and Halsey, BINI's latest mini album, full-lengths from Fridayy and Architects and more.

Two years after taking home the GRAMMY for Record Of The Year with her hit song "About Damn Time," Lizzo's on the tequila-soaked rebound and searching for "Love in Real Life" on the lead single — and title track — for her upcoming fifth studio album.

The danceable song marks an evolution from the self-love anthems that made the mononymous singer famous, with swinging retro melodies bumping up against playfully modern lyrics like, "Flashing lights, I'm so high/ This is better than I thought/ Am I dancing like a THOT?/ I needed this." Ultimately, whether or not Lizzo finds the love and catharsis she's looking for on the dance floor is an open question — and one fans will certainly be eager to find answers to once she drops the studio set that's set to arrive this summer.

Fresh off his viral performance at the 2025 GRAMMYs, Benson Boone delighted fans by dropping his new single "Sorry I'm Here For Someone Else" on Thursday afternoon, one day earlier than its planned release date.

The Jason Evigan-produced track sends the Best New Artist nominee spiraling through a lush, '80s-inspired soundscape dripping with synths after an unexpected run-in with a former flame (and her order of fries). "Benny, don't do it/ Benny, don't do it," the rising star warns himself, but he already knows it's a lost cause and by the final stanza, he's running through the diner to chase after the one that got away.

Enter the BINIverse! BINI's new era, which began last summer when the eight-piece Filipino girl group launched their Biniverse Tour, now has an infectious soundtrack in the form of their latest six-track mini album.

In addition to fun and flirty singles "Blink Twice" and last summer's "Cherry on Top," the P-pop stars' first English language project includes aspirational anthem "Zero Pressure," the ebullient "Out Of My Head," eaJ collaboration "Secrets" and a bonus remix of "Cherry On Top" by Indonesian star AGNEZ MO.

Halsey is all tied up on her new single, "safeword." The BDSM banger — which serves as a surprise follow-up to their 2024 album The Great Impersonator — starts at 100 and doesn't slow down as the nonbinary pop star wails, "Yes, sir, no, sir, on all fours/ Are you ready to get what you've been waiting for?/ I'm not a criminal, I'm just a wild child/ I'm not a bad girl, I just like it wild style!"

The "safeword" music video is equally uninhibited, with Halsey wearing plenty of leather and latex as she dons a wide variety of fetish gear, including her own leather muzzle and a pair of very NSFW nipple clamps connected by a chain. She leaves little to the imagination as she leads a playmate dressed in a gimp suit around on a leash, rides another like a horse, and simulates self-pleasure on top of a ceiling-facing mirror.

Just three weeks after joining forces with Israel Fernández and Diego del Morao on "Amor Clandestino (Acústica)," Natalia Lafourcade is back with "Cancionera," her first solo single since 2022's "Mi manera de querer."

The four-time GRAMMY winner — and record holder for most Latin GRAMMY wins by a female artist at 18 and counting — opened up about the track, which translates to "Songbook" in English, on social media ahead of its release. "Sometimes I don't know where I'm going. No destination yet, I choose to keep flying," she wrote in her native Spanish. "I still choose myself. Let the singing fly!...Let the song we all carry inside fly!"

Fridayy shows off the full breadth of his talent on Some Days I'm Good, Some Days I'm Not — the jam-packed sophomore studio set that follows his 2023 self-titled debut. Across 20 tracks, the double album features collaborations with the likes of Kehlani (dreamy highlight "Saving My Love," which happens to be his first duet on an album with a female artist), Wale (previously released single "Shotgun"), Chris Brown ("One Call Away"), Meek Mill (side 2 opener "Proud of Me") and more.

"There's no lane I can't touch at a high level. I'll give you a life record, an uplifting record, a R&B love song, a rap song or a pop song," the Haitian-American artist said in a statement about his vision for the album's diverse sound. "I feel like I can do anything."

NEEDTOBREATHE joins forces with Tori Kelly for their new collaboration "I've Got a Story." On the uplifting hymnal, the Christian rock band's frontman, Bear Rineheart, trades jubilant hallelujahs with a gospel choir before ceding the spotlight to the three-time GRAMMY winner, as she testifies with her once-in-a-generation voice, "There's a beauty in the ashes, there's redemption in the fall/ There's no way that we can rise until we're brave enough to crawl."

The powerful duet anchors the soundtrack to Amazon Prime Video's new biblical drama series House of David, which also includes contributions from Christian music heavyweights like for KING & COUNTRY ("40"), Lecrae & Jamie MacDonald ("Unbreakable"), Chris Tomlin ("After Your Heart"), Tasha Cobbs Leonard ("Help") and more.

Architects set a high bar as the goal when it came to recording The Sky, The Earth & All Between. "It wasn't about just putting out another Architects record. It had to be the record — the one people talk about when they talk about our band," said frontman Sam Carter in a statement, while drummer Dan Searle added, "We had to make the quintessential Architects album — bringing together all our best qualities and everything we excel at."

To do so, the UK rockers returned to their metalcore roots with a clean slate, summoning songs like lead single "Seeing Red" and hard-charging follow-ups "Curse," "Whiplash," "Blackhole" and "Everything Ends" in the lead-up to unveiling the entire body of work. Elsewhere, the band enlists rock newcomers like indie duo House of Protection for the pop-punk-flecked "Brain Dead," and Amira Elfeky, whose sing-song vocals provide a spectral counterbalance on album cut "Judgement Day."

Forrest Frank and Thomas Rhett first found musical chemistry back in 2021 on Surfaces' Pacifico-era single "C'est La Vie." Now, the recent first-time GRAMMY nominee and country crooner are back with more good vibes on "NOTHING ELSE."

Frank's cup is filled to the brim as he warbles, "'Cause I woke up with a good thing layin' by my side/ I woke up to some birds singin,' 'Hey look I'm alive!'" on the sunny track before tossing the mic to Rhett, who doubles down on the song's message that all the pals really need in life are family, Jesus and health. After all, if they don't have those, what else is there?

BANKS — 'Off With Her Head'

BANKS returns with her fifth album, Off With Her Head. The indie pop darling kicked off the era back in October with the gleefully petty lead single "I Hate Your Ex-Girlfriend" featuring Doechii, which was followed by fellow singles "Best Friends" and "Love Is Unkind."

In an interview with Zack Sang just days before the release, BANKS explained her optimistic interpretation of the album's title, and why it doesn't mean what fans might assume. "It sounds really heavy and dark, obviously, but it's actually a really positive sentiment… Living in the past, going over things from the past, rehashing things in your head: sometimes it's really hard to just shut that down," she said. "Even negative voices, it's really hard to think your way out of those. You can't think your way around negative, toxic cycles in your head. You have to just cut it off."

Temperatures may still be cold, but the music industry is red hot! Superstars and rising artists alike are unveiling anticipated albums, dropping incredible songs and launching thrilling new musical eras.

Fans can dive into new studio sets like Sam Fender's People Watching, Mike Posner's The Beginning, BlocBoy JB's The Purple M&M 2, Kameron Marlowe's Sad Songs For the Soul, and Dave East & Ransom's The Final Call. There's also plenty of exciting new tracks to put on repeat, including Coco Jones' "Taste," Russell Dickerson's "Happen To Me" and Burna Boy's "Update," as well as cool collabs like Ashley Cooke and Joe Jonas' "All I Forgot" and Don Tolliver, Speedy, j-hope, and Pharrell Williams' "LV Bag."

Elsewhere, Mt. Joy, KALEO and Tucker Wetmore each delivered the first tastes of their respective new albums arriving later this spring; Carly Pearce announced a deluxe version of her latest album, hummingbird, with a powerful song called "no rain"; and the Yellowjackets commemorated more than 4 decades as a group with their twenty-eighth album, Fasten Up.

Below, press play on other major releases to warm up your winter from the likes of JENNIE & Doechii, Tate McRae, Selena Gomez and benny blanco with Gracie Abrams, MARINA, Imagine Dragons and more.

Over the last four months, JENNIE's rollout for her forthcoming debut solo album, Ruby, has been a nonstop showcase of swaggering versatility — and girl power anthem "ExtraL" shows off yet another side of the K-pop idol's multifaceted vision.

JENNIE kicks off the track by hyping up her girl squad and declaring, "Said, 'F— your rules' is the mood, damn right/ Walk in a room and I set the vibe." Naturally, the song kicks into another gear when Doechii gleefully announces her arrival to the party at the 1:15 mark, and proceeds to demand, "Gimme chi, gimme purr, gimme meow, gimme her/ Gimme funds, gimme fight, gimme nerve/ Gimme c—, let me serve."

The Swamp Princess' unforgettable performance at the 2025 GRAMMYs was a potent reminder — or introduction for new fans — that she hardly needs permission to serve. But the banger turns into much more than a well-deserved victory lap as she and the BLACKPINK idol play off one another and prove once again that, yes, ladies do in fact run this.

Tate McRae shot to It Girl status in late 2023 thanks to hits like "greedy" and "exes," both of which anchored her hit sophomore album THINK LATER. Now, less than 18 months later, the Canadian pop starlet is striking while the iron's hot by dropping her third studio album, So Close To What.

The hotly anticipated LP has already come complete with a trio of sultry, dance-ready singles (and scintillating music video treatments) in the form of "It's ok I'm ok," "2 hands" and "Sports car," but McRae further earns her Gen Z pop star bonafides with standout album cuts like unapologetically territorial opener "Miss possessive," "Revolving door" and the Flo Milli-assisted "bloodonmyhands." The singer also puts her personal life front and center by recruiting boyfriend The Kid LAROI for the flirtatious, at times explicit duet "I know love," which is practically guaranteed to send fans of the couple into a frenzy.

Just days after claiming on her press tour for the Oscar-nominated Emilia Perez that it would "be very hard for me to ever go back to music," Selena Gomez did precisely that by announcing I Said I Love You First, a collaborative album with her new fiancé, benny blanco. The first taste of the project arrived upon the album announcement ("Scared Of Loving You"), and just one week later, the couple already delivered another — this time, with the help of Gracie Abrams.

"Call Me When You Break Up" finds the two raven-haired pop stars biding their sweet time as they wait for a paramour to finally see the light and move on from the wrong relationship. At just 2:08, the winking track — built on blanco's bouncing production — may feel more like a sonic apéritif than a lead single, but it'll certainly have Selenators' mouths watering for what else is in store.

Mumford & Sons frontload their forthcoming fifth studio album, RUSHMERE, with another dose of folksy vulnerability in the form of second single "Malibu."

Whereas lead single "Rushmere" was propulsive and virtually crackling with anticipation, its rousing follow-up offers the band — now a trio following the 2021 departure of banjo player Winston Marshall — a moment of much-needed catharsis as road-weary frontman Marcus Mumford wails, "You are all I want/ You're all I need/ And I'll find peace beneath the shadow of your wings" in his trademark growl.

MARINA is finally ready to emerge from her self-imposed chrysalis with a new era of music. Four years after 2021's superb Ancient Dreams in a Modern Land, the Welsh pop chanteuse (and newly published author of the poetry collection Eat the World) is on a journey of transformation, as evidenced by lead single "BUTTERFLY."

Channeling the radical self-assurance and piercing lyricism of fan-favorite projects like 2009's The Family Jewels and 2012's Electra Heart, the song takes flight as MARINA vows, "No longer a baby, yeah, I been around/ I can see how people like to move in this town/ Trust no b—, even people that you love/ I can flip a switch quicker than a blade does."

It may not be festival season just yet, but SAINt JHN transports listeners from the depths of winter onto their favorite festival grounds with his fourth full-length, FESTIVAL SEASON.

Preceded by singles "Glitching," "Body On Me" and "Poppin," the 18-track album turns the Guyanese-American rapper's bombastic rhymes and emotions up to eleven — whether he's wilding out on "Guyanese Moshpit," name-dropping designer brands on "Pay For Pucci," or searching for a distraction on "Whose Ex-Wife Is This." But it's when SAINt JHN drops the party-ready persona on moving cuts like opener "Never Met Superman" and highlight "Fvck being SAD" where his humanity shines through to maximum impact.

Imagine Dragons are celebrating the 10th anniversary of their smash 2015 sophomore album, Smoke + Mirrors. But rather than drop a typical commemorative re-release, the GRAMMY-winning rockers reached deep into the vault to put together Reflections, a 14-track companion album filled with previously unreleased demos from the Smoke + Mirrors sessions.

Not only does the celebratory project give fans a new album of never-before-heard music, it provides an even deeper look into frontman Dan Reynolds' prolific songwriting prowess and willingness to experiment — whether he's chasing the unattainable on the skittering "The Ghost Intervention," crafting sunny surf rock onto a Western motif on the blissed out "Cowboy," or diving into the groove of French-tinged disco on standout "Monica." Naturally, the LP ends with a demo version of "I Bet My Life," transforming Smoke + Mirrors' biggest hit into a stripped-down folk anthem.

Last year saw Nate Smith team up with Avril Lavigne for not one, but two songs, "Can You Die From a Broken Heart" and "Bulletproof." So it was only fitting for the chart-topping country singer to kick off his 2025 releases with a big-time collaboration: the HARDY-assisted "Nobody Likes Your Girlfriend."

The two country stars are out to save a pal (played by "The King of Queens" star Kevin James in the track's music video) from the clutches of a terrible girlfriend. She may be controlling and she can't be trusted, but she makes for an awfully fun musical intervention as Smith and HARDY lay down some hard truths: "I know she's got you in a love drunk whirlwind/ But man to man, nobody likes your girlfriend."

Ana Tijoux offers up dual singles "Serpiente de madera" and "Muévelo" for a one-two punch of rhythm and lyrics. The songs, which translate to "Wooden Serpent" and "Move It" in English, are sonic opposites — with the former nearly approaching spoken word territory as the French-Chilean political activist raps over a simplistic soundscape of synths before urging listeners to feel the groove on the latter's jaunty flute symphony.

As Tijoux teased on Instagram, the songs are part of an upcoming EP titled Serpiente de madera, which will be released in April. Though she hasn't revealed any other details, it seems she's eager for what's to come: "2025 te recibo," she wrote in a post, which translates to "2025 I receive you."