Meet Emotional Oranges, the Ascendent R&B Duo Hiding in Plain Sight

You don’t know who Emotional Oranges is — but for the emerging pop-R&B duo that’s steadily built buzz since releasing “Motion” in the summer of 2018, this is exactly as they planned. Formed in 2016, they dropped their debut EP, The Juice, Vol. 1, this past month, and embarked on a seven-date tour that saw them sell out shows in Brooklyn, London, Los Angeles, San Francisco, Amsterdam, and Toronto. But the pair’s identity has remained an undefined but conspicuous silhouette.

“Music should be about music, man,” the male half of the group, who we’re calling A., explains to MTV News. “I remember in the ’90s, I’d be watching shit — whether it was Prince or Janet [Jackson] — like there would be fans genuinely fainting in the audience because there wasn’t the access of being able to see what the fuck the moves were on Instagram. You’d rock with the music; you’d rock with the creative.”

Indeed, aside from recent concert photography, the duo’s Instagram strategy has seemingly been one of concealment and misdirection; at times, the group has taken a pop art approach to pop-star marketing, grafting their merch and logo onto images of stars like Marilyn Monroe, Daft Punk, and Angelina Jolie. Their reticence is a familiar music industry trope, but no one can tell you it isn’t working: Their distinct visuals have eclipsed millions of views on YouTube; their sold-out stop at New York’s 650-cap Music Hall of Williamsburg has landed them a headlining gig at Brooklyn Steel in October; and Forever 21 has even been accused of, in so many words, rocking too hard with the duo’s creative.

Run through The Juice, and it’s easy to hear why so many listeners have been so charmed by the duo. They cite Sade, Janet Jackson, Aaliyah, Lauryn Hill, and Erykah Badu as their influences, but the bass-driven disco on “Motion,” complemented by tightly pitched guitars, may remind you of other artists currently inhabiting the liminal space between pop and R&B: dvsn, The Weeknd, Drake. Produced by Azad Nacify and William Leong, the song finds you at the blissful end of a too-long night, or the beginning of a party, as it’s slowly heating up.

That chemistry is, in part, facilitated by the nuanced interplay between A. and B., the duo’s female vocalist. “Hold You Back,” for example, presents a love triangle we don’t often observe in pop music: a man, jealous of a woman who’s stolen his ex-girlfriend’s heart. A. says the song took its distinctive shape when B. re-worked the track he’d began writing.

“I started that song writing about my ex-girl, and then [B.] came over and she had heard the hook, and was like, ‘No, we should flip this,’” A. explains.

“We weren’t thinking about what anyone thought,” B. says of their songwriting process. “We weren’t like, ‘Oh, let’s not say that lyric because it won’t connect with this girl, or that kind of guy.’”

The desire and heartache that colors these moments isn’t unfamiliar to the two, who actually met through a mutual acquaintance: A.’s best friend, who was dating B. at the time. However, as that relationship began to dissolve last year, the two found themselves in a surprising state: inspiration.

“I had a pretty big breakup, and A. was kind of in the middle of it,” B. says. “But we used it. I think he got inspired off of it; he came with all these records of all the topics that covered our relationship.”

“It was tough,” A. says. “I mean, he’s really my best friend still, right? He knew as I was doing it. I would keep him updated.”

From there, they began recording the follow-ups to “Personal” and “Motion,” blocking out 10 days to lay down “Corners of My Mind,” “Someone Else,” “Built That Way,” “Good To Me,” and more.

In the lead-up to The Juice, the pair landed on a larger narrative to represent “Personal,” “Motion,” and “Hold You Back” on video, using the former two to set the stage for the latter’s aforementioned female love affair. But the “Good To Me” clip, which premiered on mtvU and MTV Live today, relies on their vocal dynamic to visually tell its story, shifting perspectives between the video’s male and female protagonists in sync with the song. (As well as one Ghost-like moment, where the woman finds herself daydreaming of a shared ceramics experience with her former lover.)

“This video deals with the haunting feeling of losing someone you’re truly connected to,” the group says. “When an intimate relationship between two people is very strong, they begin to solidify together. And when that type of tight bond is psychically separated, the spirit is still there and continues to be connected. Pottery and the idea of building something with your hands felt like the perfect visual representation of our message.”

Now, with the latest video out, and their brief tour wrapped, the duo can shift their focus toward The Juice’s anticipated Vol. 2, which they hope will be out by October, in time for their return to New York.

“A lot of influences on this one are ’80s-inspired, so far,” A. says of the forthcoming follow-up. “It’s like, plucky rhythmic guitars, you can hear a lot more of that. The auxiliary percussion elements you hear in our songs are going to be heightened, so more bounce, even. More 3/4 rhythms. I think we’re going to get better as writers, too.”

But will they ever reveal their identities? For now, the group is content to hide in plain sight; at their recent shows, there were no gimmicks to conceal their faces. Instead, as they hoped, they’ve simply enjoyed the opportunity to play for crowds more interested in savoring the music than unmasking them.

“I love this group because it’s the songwriting that connects to the people, you know what I mean?” B. says. “It’s not about the artist — it’s about the perspective, it’s about the story, it’s about the music, it’s about the vocal, and then it’s the experience.”

Hatchie Is A Keeper

By Michael Tedder

Whether we’re an adult with a full-time career, a busy student, or a buzzed-about indie pop artist, we can all get in a rut. Read an advice columnist or listen to a life coach and they’ll suggest a variety of ways to get unstuck, from journaling to diet changes to simply going on a walk. But for Harriette Pilbeam, the songwriter behind ascendent dream machine Hatchie, the key to moving forward was, as for many of us, turning to Kylie Minogue.

Last year, Hatchie’s EP Sugar & Spice earned international attention for its five songs of waved-out and crushed-out pop, and the band embarked on a brief stateside tour afterwards. Pilbeam was working hard on the follow-up, and had made headway on what she knew was an anticipated debut. Her first session in Melbourne with producer John Castle, an Australian knob-twiddler who helmed Sugar & Spice and has also worked with songwriter Vance Joy, had gone great. Then she hit a wall.

“I was feeling a bit bummed out in October, because I really liked the first five songs I did on the album, but I was kind of stuck,” she tells MTV News. “I didn’t like anything that I’d since written since. I didn’t think that they matched those. I was feeling a bit lost, and the clock was ticking.”

Over a bowl of vegan ramen a few hours before she opens for Girlpool at New York’s Bowery Ballroom, Pilbeam remembers that things began to turn when she heard a snippet of music that her live-in boyfriend and collaborator Joe Agius was working on, a danceable track that didn’t really fit in with the music she’d made before but which captured her attention nonetheless. “I was like, I love that song, let’s try and finish it,” she remembers. “I couldn’t figure out what direction it should go in, because it didn’t sound like a Hatchie song. We were like, ‘Let’s just pretend we’re writing this like Kylie Minogue.’ That’s how it became what is.”

The end result of the Minogue cosplay was “Stay With Me,” a highlight of her upcoming debut album Keepsake, out June 21 via Double Double Whammy. “Stay With Me” is a shimmering, upbeat pop song that retains the essential head-in-the-clouds reverie Hatchie established with the Sugar & Spice EP, while adding a bounce that might get even the deepest introverts onto the dance floor. “We sent it to a couple of friends because we were so excited about it, and they were like, ‘This is going to be on the album, right?'” Pilbeam says. “I was like, no. I’m not doing dance music or something like that. But then I realized I can do whatever I want on my album. If I love the song, I’ll put it on.”

Hatchie has been labeled dream-pop since the beginning (Sugar & Spice’s “Try” eventually got a remix from Cocteau Twins’s guitarist Robin Guthrie). Many of the dream-pop and shoegaze bands she cites as main influences, including not just the Cocteau Twins, but The Sundays, Mazzy Star, and My Bloody Valentine, were in their heyday a few decades before she was born. She says she discovered them through playlists (she first heard the Cocteau’s immortal single “Lorelei” on a mix Agius made her) and the sort-of-best-of-decade lists your friends in the music journalism-industrial complex provide you with. (You’re welcome.) “I got into it a kind of late, because a lot of people get obsessed with that in their teen years,” she says. Shoegaze and dream-pop is music built for the listener to hide out in. But on Keepsake, Hatchie also pulls influence from contemporary favorites like quirky pop stars Charli XCX and Carly Rae Jepsen; she’s now making music for people that like to get lost, but maybe wouldn’t mind being just a bit more outgoing. “I just want the melodies to really stand out. I think that’s the main difference.”

And once she got over the idea of making music that had to sound exactly like she was known for, her songwriting started to open up. “This is my opportunity to skewer a bit,” she realized. “Because I’ve always loved albums that cover a bunch of different sounds. There’s nothing wrong with an album that’s super-cohesive, but I really liked that first Wolf Alice album, where every song is different.”

Before she was working on her debut album, the 26-year-old Pilbeam grew up in sleepy Brisbane, Australia. “The city is tiny. There’s one or two zones where people play live music, and there is one area with clubs, and there’s a couple areas with bars, but other than that it’s pretty much just suburbia,” she says. “It’s really vast and quiet. International acts didn’t come to Brisbane, they just go to Sydney and Melbourne. It makes us even more isolated than even a normal small town.”

After graduating high school and auditioning for a music conservatory, she joined some of her friends in the “slacker rock” group Babaganouj. They did pretty well for themselves in their home continent, even as she notes that “an Australian tour can be two cities,” but the band eventually ran its course and broke up. The group stopped playing about two years ago, freeing Pilbeam up to pursue her own creative vision.

“I remember I got an electric guitar and I’d just been feeling really, really down about wanting to be a musician and feeling like I wasn’t really doing anything,” she says. “I felt like with Babaganouj… I had a say in everything, it was very much an equal footing band, but I felt like I wasn’t making the music that I really wanted to make.”

The first song she wrote on her own, with help from Agius, was “Try,” a slice of lovelorn, daydream pop about urging your crush to make a move already. She uploaded the single to Unearthed, the music discovery portal of Triple J, Australia’s national radio. “It’s guaranteed that someone there listens to it. That’s the rule, which is awesome. If they listen to it and they like it, they will play it on the radio,” she says. “They played it immediately. Within a few weeks, I had a manager, and I had label interest and was booking shows. I had only written three songs. It was very full on, exciting and surreal.”

The sudden success has even been a little dizzying, Pilbeam admits.

“I still have moments where I’m like, this is so weird,” she says. “Even yesterday, I was doing a photoshoot in New York and I thought it was just over a year ago when I quit my job. I was a barista and I was like, it’s probably time I quit my job, because I have to go on tour. A couple years ago I didn’t think this would be happening.”

“Try,” like every song on Sugar & Spice, was inspired by falling in love with Agius, her first real adult relationship. She first met Agius when he directed a video for Babaganouj. Today, they live and work together, as he makes her videos, sometimes helps with co-writing and production, and plays guitar in her live band. “It can be weird spending every minute of every day together. Most couples don’t do that,” she says.

But just as she wanted to open up her sound a bit on her Keepsake, she also wanted to broaden her subject matter. “Kiss the Stars,” for example, still brings the swoon, while “Secret” is a song inspired by her friend confiding in her about their mental-health struggles. “It’s something that we all deal with, and I have a lot of close friends who deal with dark, deep-seated issues.” Current single “Obsessed” is also about her friends, and her not-always-healthy relationships with some of them.

“When I was younger, I had a tendency to always have a best friend, and that best friend was always smarter than me, prettier than me, did everything better than me. It got to a point where I would just constantly compare myself to them, to the point where I would ruin their friendship. I would use it as a reflection of myself, I would end up hating myself,” she says. “It’s a habit I’m really trying to break as an adult.”

Ultimately, by moving past her own ideas of what a Hatchie song could sound like or talk about, Pilbeam was able to tap into her deeper artistic vision, crafting an album full of the sweet melodies and heady atmosphere that won her attention, but also finds new ways to be herself. She’s boldly assertive and perhaps ready to dance on synth-soaked opener “Not That Kind of Girl,” and “Unwanted Guest” is glistening industrial rock for people too polite to enter a mosh pit. Hatchie still sounds lost in the clouds throughout Keepsake, but now she’s got both her feet firmly on the ground.

But while she’s glad she opened up enough to allow “Stay With Me” on Keepsake, there’s times she’ll work on a song that doesn’t feel right for her. Though her debut album still hasn’t yet hit shelves, Pilbeam’s already starting to think about penning songs for other people.

“I don’t really feel good about writing a heartbroken ballad, that’s not me. But I can write it for someone else,” she says. “Its early days, but a genuine dream of mine would be to write a song for Kylie Minogue.”

P!nk’s Smile Is A Mask For A Broken Relationship In ’90 Days’ Video

P!nk‘s going through tough times in a relationship in “90 Days,” a look at the mentality behind fake happiness and real gloom in the faulty foundation of a relationship well past its demolition date. The song also follows her partner, the part sung by Wrabel, who also feels growing space between them. It’s a sad situation for everyone around. Yesterday (June 18), P!nk released a video for “90 Days” and it stars her husband, Carey Hart, who enters into this downing dance with her for four minutes. It’s like watching a relationship decay slowly.

The video starts with a barrage of frowns from P!nk shown alongside clips of her on The Ellen DeGeneres Show smiling and laughing in conversation. When she’s away from the camera, P!nk’s not happy, she’s down and it comes from her relationship. She sits in a tub and lets the water run as she mopes, her husband, Carey, equally as dejected. Over the course of the video, we follow the two in sadness, the glint of hope in their eyes like they’re living in memories when the relationship was better.

“90 Days” appears on P!nk’s eighth studio album Hurts 2B Human that came out in April. It follows the previous singles, “Can We Pretend,” “Walk Me Home,” “Hustle,” and the title track.

Watch P!nk and her husband deal with relationship distress up above.

Stray Kids Warn Of ‘Side Effects’ On Their Dark, Disorienting New Single

For Stray Kids, and their fans, the phrase “nine or none” is sacred. It’s a vow leader Bang Chan made on “Mixtape #4” — to move forward together, to approach obstacles as a team. But what happens when the path ahead diverges?

On their latest album Cle 2: Yellow Wood, Stray Kids find themselves at a crossroads, both lyrically and sonically. The boastful adolescent confidence of Miroh is nowhere to be found on lead single “Side Effects,” an industrial EDM track that, true to its name, unpacks the effects of such willful bravado. Self-doubt seeps over a heavy, thumping bass line, while the members confront the side effects of growing up — pain, anger, confusion, and anxiety, to name a few.

“I threw myself with trust in me,” vocalist Seungmin sings. “But why am I just being hurt?”

Like “Miroh” before it, “Side Effects” — produced by members Bang Chan, Han, and Changbin, otherwise known as 3racha — is a bold choice for a single. In fact, it’s the group’s darkest, weirdest track yet. It doesn’t follow any kind of familiar structure — there’s no real melody either — but it does take the more experimental elements of “Miroh” and amplify them: growls, chants, and electrifying spoken-word bits. In many ways, “Side Effects” is less of a song and more of an auditory experience. And the visual is equally disorienting.

Marketed as a “special album” with only two-and-a-half new songs, Cle 2: Yellow Wood feels like experiment, a place for 3racha to try different things with relatively low stakes. “TMT” is more palatable to mainstream ears, a healthy balance of hip-hop and playful EDM — with a bit of Autotune thrown in for good, stylistic measure. Meanwhile, the woefully short intro track “Road Not Taken” showcases Stray Kids’ relentless energy and boundless potential over another pulsing EDM beat. Fittingly, it’s also a song about following your own path. (Stray Kids are many things but subtle is not one of them.)

In addition to three new songs, Yellow Wood also includes the group’s four previously released mixtape tracks, featuring lyrics from all nine members. These special tracks speak to the members’ doubts and adolescent uncertainty on a more intimate level.

Overall, Yellow Wood is disjointed, but I wouldn’t be surprised if that was the intent. True growth comes from taking risks, from facing  obstacles head on — no matter how insurmountable or disorienting they appear, or how scary the path ahead looks. With “Side Effects,” Stray Kids continue to evolve as artists and creators. And in doing so, they’ve avoided the worst side effect of them all: complacency.

MTV Push Live Announces Summer Concert Series Lineup

Earlier this month, MTV kicked off its new Push Live campaign with an intimate concert in New York City featuring rising acts Jack Harlow, Phony Ppl, and NanaBcool. It was just the first entry in a series that finds MTV partnering with Live Nation for shows that highlight the next wave of artists breaking through and seizing their time in the spotlight.

Just as MTV’s monthly Push campaign has given some shine to innovating artists like Billie Eilish, CNCO, Juice WRLD and more, Push Live aims to do the same — and this summer, you’ve got two chances to be part of the action.

The next MTV Push Live showcase will go down Wednesday, July 31 with Maggie Lindemann, Willa Amai, Delacey, and Brynn Elliott. A few weeks later, Kevin George, Souly Had, and Snowsa will storm the stage on Thursday, August 15. Both all-ages shows are set to take place at Chelsea Music Hall in New York with doors at 7 p.m. and sets beginning at 8. Find all the ticket info you need here for July and here for August, and get to know the performers below.


  • Maggie Lindemann

    The deal: “Now I’m all by myself,” this L.A.-based rising singer and songwriter declares on “Friends Go,” before asking the ultimate question: “Where did all my friends go?” With a penchant for heartfelt introspection mixed with bouncy backbeats, it almost seems like a rhetorical question — just look at her 3.6 million Instagram followers.

  • Willa Amai

    The deal: You might not know her name, but you likely know Willa Amai’s sound, especially if you’ve seen Netflix’s Dumplin’. Her cover of Dolly Parton’s “Here You Come Again” so impressed Dolly herself (and the film’s soundtrack co-producer Linda Perry) that Dolly invited Willa, who’s still a teen, to sing it with her. Their duet version is gorgeous — as is Willa’s thunderous latest single “Trampled Flowers.”

  • Delacey

    The deal: The gauzy embrace of Delacey’s “My Man” is indicative of her songwriting prowess — it’s a huge mood to get lost in — but so is Halsey’s primal, lovelorn “Without Me,” which she also had a hand in writing. Delacey cut her teeth in New York, singing at open mics and getting a taste of grit before moving on to greener pastures — namely, penning a No. 1 song and forging a career as her own artist.

  • Brynn Elliott

    The deal: Though she wrote her debut EP Time of Our Lives while attending Harvard, Brynn first channeled her songwriting impulses long before that — picking up a family guitar to take a study break in high school. “I got into songwriting and production and that, and I think I just became more of myself,” she told MTV News earlier this year.


  • Kevin George

    The deal: Connecticut’s Kevin George has spent the past few years honing a nocturnal sound marked by his romantic falsetto gliding over glitchy, snap-enriched beats. His 2018 EPs, Hopeless Romantic and Fortina, put him on further down the moody path he chases — and collaborations with Gunna and Chandler Elyse help cement this rising rapper-producer’s late-night R&B vibes.

  • Souly Had

    The deal: Raised on rock radio in Upstate New York and eventually drawn to hip-hop because of Mac Miller, Souly Had’s songs fizz and twist with peppy production until they don’t. And when they don’t, they tend toward the subterraneanly extroverted — fitting for a dude who made his first tape, Snow Day, when he was literally snowed inside his house in high school.

  • Snowsa

    The deal: On the first few seconds of Lykke Li’s “Sex Money Feelings Die” remix, you can hear just what makes Connecticut rapper Snowsa unique: a detached smoky croon, dangling in its own blurry realm. The seemingly hard-to-Google rapper has also performed under the names Snowprah and Snow LaFlurr, but now she’s Snowsa — and though the monikers have shifted, her otherworldly sound has remained a constant.

Mac Miller’s Filmography Is A Bittersweet Portrait Of Struggle and Success

Earlier this month, Canadian filmmaker C.J. Wallis announced plans to make a documentary about late rapper Mac Miller, complete with animated segments and told through, as he later revealed to Variety, “vignette-ed stories.” However, soon after his public announcement, Miller’s estate requested that Wallis not move forward with it at this time, a plea Wallis quickly agreed to honor. “We immediately [complied] as the last thing we’d want is to negatively impact anyone involved,” he tweeted of the plans. “Quite the opposite.”

While it would have been cool to see a cartoon Mac gliding through his life stories — and as we continue to hear his voice on record even after his death — the rapper already left a portrait of himself and his tribulations through two important pieces of film: his 2013 reality MTV2 show, Mac Miller and the Most Dope Family, and his 2016 documentary about drug use, Stopped Making Excuses. Through these, he provides nearly unfiltered access to his own life and also conveys an understanding of his past actions — such as past drug use and his continued struggles with substance abuse — in his own words. Both stories help illustrate the man he was and paint a picture of the man he was becoming.

Most Dope Family kicked off on in 2013 when he moved from Pittsburgh, his hometown, to Los Angeles to record his album Watching Movies With the Sound Off. It begins memorably; in its first episode, Miller wakes up on a keyboard, vomiting. His first words after recovering: “I guess we’re starting this TV show.” Most Dope Family wasn’t focused on storylines or dramatic situations. Miller and his friends worked to further his career while dealing with the craziness of L.A. as kids from Pittsburgh. It went big, of course, showing him buying expensive cars as rappers often do, but it also zoomed in for more intimate moments. In a bonus clip from Season 1, Miller surprises his mom at her house for a cup of tea, sitting at her kitchen table, laughing at absolutely nothing at all.

Most Dope Family was as close to authentic, unfiltered celebrity access as one could hope to get and it ran for two complete seasons before Miller decided to end it, saying the demands of reality television were “too much” to balance with a busy tour schedule. It covered a number of important moments in Miller’s story: from the development of his jazz alter-ego Larry Lovestein, who released an EP in 2012, to Pittsburgh’s first Mac Miller Day, on September 20, 2013, when he was given a key to the city. But it also contained hints of his darker story. In the fourth episode of Season 1, he flippantly tells his mother in the middle of an everyday conversation that he might end up going to get some cocaine. It’s a joke, but by this point, Miller’s relationship with drugs was well known, thanks to the introspective Macadelic, where he confessed to using them to cope with his lightning-fast lifestyle. In the second season, Miller buys two dogs, an otherwise heartwarming moment punctured by his team banding together to designate godparents for them in the event of Miller’s untimely death.

Mac could be serious, too. In 2016, The Fader released Stopped Making Excuses, a documentary about his rise that probed even deeper into his insecurities and misgivings about his own career. He muses as to whether he should or shouldn’t rap because he’s white and how him doing it gives hope for white kids like him to pursue the career. It also finds Mac at his most candid when discussing his relationship to drugs, which intensified when he moved to Los Angeles: “It started with me sitting inside all day, and then you get bored, then you’re like, ‘I can just be high and have a whole adventure in this room.’”

Miller is raw in these moments, explaining that he tried drugs just because they were passed to him; that weed made him paranoid so he searched for other drugs — he says in the documentary that he “went through about everything” — to make him more relaxed; that he hated being sober. But he also chronicles the journey out of his dependency, pushed by his fear of overdosing. “There’s no legendary romance. You don’t go down in history because you overdose – you just die,” he says at one point. Though the video’s conclusion seems to find Mac in a state of better control over his habits, he also acknowledges that he does “still get fucked up all the time.” He insists, now tragically, that he knows what he’s doing.

Most Dope Family and Stopped Making Excuses are documentaries in their own right. In the absence of a “definitive,” all-encompassing Mac Miller story, we have these moments that enable us to celebrate his achievements and monitor his growth, all while recognizing the struggles he reckoned with for his entire life. They’re a welcome counterpart to his music, which sought meaning in his demons and worked to facilitate healing. Most Dope Family is a series of home movies chronicling a kid just having fun at the high of life; Stopped Making Excuses explores the darkness that came with his success. We don’t need to wait for another filmmaker to piece together the narrative of Mac Miller. His own filmography tells it for him.

Ed Sheeran’s Upcoming Album Features An Impressive Roster Of Artists — Here’s Who Made The Cut

Fans of Ed Sheeran have already been gifted with two tracks from his upcoming fourth studio album, No.6 Collaborations Project, set to drop on July 12. Among them is his single with Justin Bieber, titled “I Don’t Care,” as well as “Cross Me,” a collaboration with Chance the Rapper and PnB Rock.

But while it’s true that devoted fans of Sheeran can’t seem to get enough of these two tracks, they also know that there are several more epic collaborations on the way, and the singer just revealed what else — or rather, who else — he has up his sleeve via Instagram earlier today (June 18).

In a clip from his Instagram Story, Ed held up the tracklist, which was previously teased with most of the collaborators’ names crossed out. Now, the named have all officially been revealed, and they’re big: Cardi B, Camila Cabello, Travis Scott, Bruno Mars, Khalid, and many more. The LP will include 15 tracks from artists across several different genres, which means that if there’s ever going to be an album that has something on it for everyone, it’s likely going to be this one.

Like us, Sheeran can’t wait for the album to see the light of day. On May 23, he took to social media to share the title of the album, its release date, and the fact that he’s tapped some of the industry’s top talent to be a part of it. “Before I was signed in 2011, I made an EP called No.5 Collaborations Project,” he wrote. “Since then, I’ve always wanted to do another, so I started No.6 on my laptop when I was on tour last year. I’m a huge fan of all the artists I’ve collaborated with and it’s been a lot of fun to make. No.6 Collaborations Project will be out everywhere on 12 July.”

No.6 Collaborations Project tracklist:

1. Beautiful People feat. Khalid

2. South of the Border feat. Camila Cabello and Cardi B

3. Cross Me feat. Chance the Rapper and PnB Rock

4. Take Me Back to London feat. Stormzy

5. Best Part of Me feat. Yebba

6. I Don’t Care feat. Justin Bieber

7. Antisocial feat. Travis Scott

8. Remember the Name feat. Eminem and 50 Cent

9. Feels feat. Young Thug and J Hus

10. Put It All on Me feat. Ella Mai

11. Nothing on You feat. Paulo Londra and Dave

12. I Don’t Want Your Money feat. H.E.R.

13. 1000 Nights feat. Meek Mill & A Boogie Wit Da Hoodie

14. Way to Break My Heart feat. Skrillex

15. Blow feat. Bruno Mars and Chris Stapleton

Meek Mill, Future, And Megan Thee Stallion Will Make Summer Nights Legendary On New Tour

Summertime is when the fun usually starts, when the weather is warm and inviting, and there’s so much to do, so many faces to see. This summer, a new tour is coming to take over these hot evenings and it involves some of rap music’s biggest faces. Be on the lookout for the Legendary Nights Tour by Meek Mill and Future, featuring Megan Thee Stallion, YG, and Mustard.

Meek Mill and Future announced the tour today (June 18) in a surprise that has everyone preparing to clear their schedules. The tour starts in St. Louis on August 28 and wraps up in October in Las Vegas. There are 24 stops in total, with YG, Mustard, and Megan Thee Stallion joining for certain dates and missing others. General admission tickets go on sale on June 21 so there’s still time to prepare for the adventure.

There’s so much new music out between all of the aforementioned artists that there’s no shortage of new material to be performed. Meek released his fourth studio album Championships in 2018 and Future just released the Save Me EP earlier this month. Both YG and Megan Thee Stallion shared new projects in May. 

Mark Ronson And King Princess Make Breaking Up Sound Like A Good Time

Mark Ronson and King Princess have brought a new dimension to heartbreak in “Pieces Of Us,” their new collaboration from Ronson’s forthcoming album Late Night FeelingsIt’s dreamy, glossy, and, most importantly, optimistic. It’s not your typical down-in-the-dumps music to shred up old handwritten love-notes. But then again, when has Ronson’s music ever sounded typical?

Break out your fanny packs and roller skates, we’re taking it old school. “Pieces Of Us” sounds like it’s pieced together from the zombified parts of 80’s pop and then injected with sharp jolts of electricity. For a song about a breakup, it’s decidedly uplifting. Synths rage on like a fresh fire in the woods, fingers snap and figurative heads, adorned with those God-forsaken 80s’ mullets, smile, and nod to the dreamy soundscape. Ronson provides quite the sonic feast for a voracious King Princess to tackle. The singer’s wounded words about the scraps of a relationship left after a split cut deep. The pair together show that although breakup sucks, it doesn’t have to sound like it does too.

Late Night Feelings hits shelves on June 21. The album of breakup hits will feature the previously released songs, “Find U Again” with Camila Cabello, the title track which features Lykke Li, and “Nothing Breaks Like A Heart” with Miley Cyrus. The LP follows his 2015 album Uptown Special. 

Listen to the wonderfully funky sounds of heartbreak in “Pieces Of Us” above.

Future Rides Monster Trucks And Spins Around In Old Cars In ‘St. Lucia’ Video

Future‘s is out to crush cars in his new video for “St. Lucia.” Against the nighttime sky, Future is using his metallic voice to offset the angry crunch of monster truck wheels on cars for one of the year’s most interesting, and unique, videos. It’s the latest taste of his recently released album Save Me that sees the rapper in a deeper and darker mood than perhaps ever before. We’ve seen him do a lot, but driving a monster truck? This is new territory.

Future must have just finished watching The Outsiders before shooting this video because his zippered leather jacket makes him look like he’s about to become best friends with Ponyboy Curtis. The film opens by showing a vast assortment of trophies, he’s a decorated racer. And a small crowd gathers in the stands to watch him work his vehicular magic. A truck is driven over car roofs and old cars spin around and fling up red, martian-like dirt in the air. It’s a fierce scene, one that Future, of course, navigates with his icy cool and plain face hidden behind sunglasses.

The video for “St. Lucia” follows the visuals for “Government Official,” “Love Thy Enemies,” and “Xanax Damage” that all came out on the same dayHe dropped Save Me on June 7 after teasing it on Instagram a couple of days before.

Watch Future become a professional monster truck driver in the video for “St. Lucia” up above.