logo
Tyler, the Creator, Drake, Lola Young, and All the Songs You Need to Know This Week

Tyler, the Creator, Drake, Lola Young, and All the Songs You Need to Know This Week

Yahoo28-07-2025
Welcome to our weekly rundown of the best new music — featuring big singles, key tracks from our favorite albums, and more. This week, Tyler, the Creator surprise releases a dance-forward LP, Drake teams up with Central Cee for a hypnotic club banger, and Lola Young delivers some sunny escapism. Plus, new music from Luke Combs, Tyler Childers, and a highlight from the upcoming reissue of Stevie Nicks and Lindsay Buckingham's pre-Fleetwood Mac album from 1973.
Drake feat. Central Cee, 'Which One' (YouTube)
More from Rolling Stone
Drake Cancels Manchester Show Due to 'Travel Logistics'
Drake Enlists Central Cee for 'Which One' Single
Lola Young Wants to Escape on 'D£aler'
Tyler, the Creator, 'Stop Playing with Me' (YouTube)
Lola Young, 'D£aler' (YouTube)
Buckingham Nicks, 'Crying in the Night' (YouTube)
Luke Combs, 'Back in the Saddle' (YouTube)
Tyler Childers, 'Eatin' Big Time' (YouTube)
Tame Impala, 'End of Summer' (YouTube)
Paramore, 'O Star' (YouTube)
Tyla feat. Wizkid, 'Dynamite' (YouTube)
Amaarae, 'Girlie-Pop' (YouTube)
Marina, 'I'm Not Hungry Anymore' (YouTube)
Kim Petras, 'Freak It' (YouTube)
Sombr, '12 to 12' (YouTube)
Maren Morris, 'Be a Bitch' (YouTube)
Guitarricadelafuente feat. Troye Sivan, 'Midsummer Pipe Dream' (YouTube)
Latin Mafia feat. Omar Apollo, 'Hecho Para Ti' (YouTube)
Elena Rose & Justin Quiles, 'Cosita Linda' (YouTube)
Felsmann + Tiley, 'Open Fields' (YouTube)
Hanumankind, 'Reckless' (YouTube)
Abenezer, 'I Was Lost' (YouTube)
Jonah Kagen, 'You Again' (YouTube)
Remy Bond, 'No One' (YouTube)
El Bogueto, 'Cartier' (YouTube)
INJI, 'Boys Ain't Shit' (YouTube)
Alexander Stewart, 'Blame On You' (YouTube)
Sasha Keable feat. Leon Thomas, 'Move it Along' (YouTube)
Bia, 'One Thing' (YouTube)
LØLØ, 'The Devil Wears Converse' (YouTube)
Tommy Genesis, 'Genesis' (YouTube)
Best of Rolling Stone
Sly and the Family Stone: 20 Essential Songs
The 50 Greatest Eminem Songs
All 274 of Taylor Swift's Songs, Ranked
Solve the daily Crossword
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Clipse Had the Most Traditional Album Rollout in Years — And It Worked
Clipse Had the Most Traditional Album Rollout in Years — And It Worked

Yahoo

time27 minutes ago

  • Yahoo

Clipse Had the Most Traditional Album Rollout in Years — And It Worked

In its first week, Clipse's Let God Sort Em Out album accrued 118,000 first-week sales, earning a spot at Number Four on the Billboard 200 — their highest chart debut. Along with its sharp rhymes, the album was praised for its extensive and holistic media rollout, which appeased blog-era rap fans accustomed to the rollouts of the aughts, which often included a great deal of press. They created multiple editorial profiles and conducted a Hot 97 radio premiere for 'So Be It,' which led to a scavenger hunt for its MP3 file — it felt like a return to 2008 in a way that diverged from our current recession and housing crisis. Their press run has been a salvo for rap purists who miss artists talking to actual journalists, not athletes, fellow artists, or streamers who claim to be such while flouting journalistic ethics. Clipse did speak with some content creators and podcasters, but they also connected with trained journalists, exemplifying the ideal balance of casual conversation and thorough interviews. We know Clipse for giving people their fix, and that's what they did for those who miss traditional rap media. It was the most intentional, impeccable rollout that may never happen again: Will we have a story as engrossing as Clipse's, from artists who realize the importance of telling it to journalists? Additionally, it's worth wondering how that kind of access affects people's willingness to be critical. More from Rolling Stone Raekwon Chefs Up Some Raw Classic New York Rap On 'The Emperor's New Clothes' Travis Scott's 'Jackboys 2' Tops Albums Chart Travis Scott Hangs Out With His Amazing Friends on 'Jackboys 2' The leadup started last year, with a conversation with Vulture and a profile in the September 2024 issue of Rolling Stone. They offered two days of access in their hometown of Norfolk, where I got to talk to them for almost five hours over three interviews. Unpublished interview nuggets still periodically pop in my head: talking with them for 20 minutes about Virginia's rich music history, and Pusha telling me that Malice sending him the video for the 2012 Loaded Lux vs. Calicoe rap battle made him realize he was still tapped into the culture. The duo was candid and insightful, understanding the assignment. Malice has dropped two albums since pausing Clipse in 2009, but there's a perception that he's been absent from the rap game since then. People wanted to know what he's been up to, as well as the what and why of his comeback. Years ago, editorial would have been the no-brainer format to explore such a winding saga, but a decline in the popularity (and existence) of traditional media outlets dovetailed with the rise of new media options. Now, an artist can tell their story on a podcast, talk to a streamer, another entertainer, or, in the case of Cam'ron in 2017, simply do an Instagram Live session telling all themselves. Stan culture helps artists on the status of the so-called Big 3 avoid all media, knowing their fans will tap in from their social media pages. Kendrick Lamar does sparse interviews, J. Cole's last print cover was about basketball, and Drake lampooned traditional media with his Her Loss promotion. But those options pale in comparison to talking to a (good) journalist who knows how to ask the right follow-up questions, refrain from previously asked questions, and, when necessary, ask the tough questions. The written feature also contextualizes artists and their legacies in a way that a conversation can't always do. Clipse's story is history. Despite what conservatives think, history is still worth reading. Their story was told in print via Rolling Stone, GQ, and The New York Times, as well as a range of video interviews in the past month. From Complex and Spotify to Jadakiss and Fat Joe, Clipse covered the gamut of popular media, prioritizing fellow hip-hop heads. And the people they didn't talk to got plenty of aggregation material: They delved into their perception of whatever happened with UMG and Def Jam behind Kendrick's verse. Pusha revealed why he dissed Travis Scott, and both talked about their devotion to high-quality hip-hop. But no matter how many Instagram slides we make about the effectiveness of their rollout, it's not a one-size-fits-all approach. This wasn't just about intention, but timing. The gap between finishing the album and releasing it allowed them months to plan promotion. The duo's manager, Steven Victor, was a publicist at Interscope Records before pivoting careers; it's worth wondering how much he helped craft the press run. It helps him that there aren't many acts like them. Clipse are grown men with a lot to talk about: Pusha T has long been one of the most engaging interview subjects in music, and Malice is reminding us that he's one of the most thoughtful. Not many acts can keep fans' interest over a dozen interviews, or carry the respect to have outlets wanting to interview them after they've previously covered so much ground with prior interviews. Clipse are a canonical rap group with two amazing, if not classic, albums in their catalog. They've also been away since the first Obama administration, while Pusha T became an established solo star. Their comeback single, 'Birds Don't Sing,' was one of the most poignant songs they've ever done, and before the album dropped, their other singles showed that they hadn't lost a step. There just aren't many hip-hop stories with the impact and circumstances to capture the rap world's attention in the same way, or artists willing and able to communicate like Clipse can. That's not to say publicists shouldn't look to Clipse's rollout for pointers, but they can't expect their results. What happened this summer, with talented lyricists and talented journalists coming together to strangle hip-hop discourse, feels like a hat tip to a bygone day, when Jay-Z was name-checking 'hottest interviews' as part of the criteria for best rapper, and the road to platinum went through promotion in a print magazine. Since then, the lyricist, like the journalist, is fighting for their life against the lowest common denominator spectacle. The modern rap icon doesn't need to be a lyricist to be a star, nor do they need traditional media. The codes of rhyming that Clipse speak of are as precious as the ethics of journalism, clasped tightly by their advocates, and unappreciated by the unaccustomed. Clipse, intentionally or not, reached an olive branch to a fellow medium besieged by layoffs, streamers, and virtue signalers who don't consume the work they claim they want; it felt like solidarity. We learned, with this rollout, that people don't realize how much they've missed lyricism or journalism until they're reacquainted with them on the highest level. The Clipse rollout has felt like a homecoming party; therefore, anyone who's not festive is perceived as a party pooper. A Pitchfork review ranked the album a 6.5 out of 10, surmising that the album was sharp lyrically but faltered because of Pharrell's presence. Perhaps it was the review's cutting tone that had it roundly condemned online, even though it expressed that the reviewer generally enjoyed the album. It's impossible to know, but it felt like part of the backlash was that a critic had the gall to offer a dissenting opinion on an album that had enjoyed a purely celebratory album cycle; it's worth wondering whether the Clipse's meticulous rollout anticipated engineering the kind of goodwill that would deter people from calling out what they may have disliked on the project. Even during an album credited for reviving traditional media, there was a moment that expressed how much people fundamentally misunderstand the function of music criticism. Despite that hiccup, Clipse's album cycle has shown that traditional hip-hop media can still aid in helping an act properly promote their work, provided the story and timing are right. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword

Drake Blocked From A New No. 1 By Kendrick Lamar
Drake Blocked From A New No. 1 By Kendrick Lamar

Forbes

time35 minutes ago

  • Forbes

Drake Blocked From A New No. 1 By Kendrick Lamar

Drake is working toward releasing a new album titled Iceman, which may be arriving very soon. Just months after he dropped a collaborative project, Some Sexy Songs 4 U with PartyNextDoor, he's hard at work on his next solo collection. He's already delivered two singles from the forthcoming effort, and the latest of the pair nearly gives him another No. 1 on the most important rap chart in America — but he's blocked by a familiar foe. "Which One" Debuts Just Behind Kendrick Lamar Drake's latest tune "Which One," a collaboration with Central Cee, starts at No. 2 on Billboard's Hot Rap Songs chart. The tally measures the most consumed rap tracks in the U.S. by combining sales, streaming, and radio data. The single launches just behind "Luther" by Kendrick Lamar and SZA, which is still at No. 1. Drake Adds to His Record-Breaking Chart Totals Drake remains untouchable when it comes to long-term performance on the Hot Rap Songs chart. "Which One" becomes his one-hundred-and-forty-third top 10 and two-hundred-and-fifty-sixth career entry on the list. He already holds the record in both categories, and the gap between him and everyone else just keeps widening. 'Luther' Continues to Outperform Drake Drake and Lamar's rivalry dominated headlines in 2024, with the two trading pointed diss tracks that turned into hits. "Not Like Us" ultimately became the defining win of the battle, ruling the Hot 100 and emerging as one of the most commercially successful rap cuts of the decade. With "Luther" still ruling, Lamar again keeps Drake from adding to his total of No. 1s. "Which One" Reaches No. 1 on Several Other Rankings While "Which One" doesn't reach No. 1 on the main rap tally, it does launch atop three other genre-specific Billboard charts. The track rules R&B/Hip-Hop Streaming Songs, Rap Streaming Songs, and Rap Digital Song Sales rankings this frame. "Which One" Starts Strong Across Multiple Charts The Drake single also opens inside the top 10 on several other charts. "Which One" launches at No. 3 on both the Hot R&B/Hip-Hop Songs and R&B/Hip-Hop Digital Song Sales tallies. It enters at No. 8 on Streaming Songs and hits No. 14 on the Billboard Global 200. Drake already leads all artists in top 10 appearances on each of those rosters, and now he adds another smash to his catalog. Drake Controls Three of the Top Five Rap Tracks Even as he's blocked from another No. 1, Drake still dominates the Hot Rap Songs chart. "What Did I Miss?," his recent solo cut, drops to No. 4 after previously ruling. "Nokia," a highlight from Some Sexy Songs 4 U, slips to No. 5. That gives Drake control of three of the top five spots this frame.

‘He Was Rock Royalty': Ozzy Osbourne Fans Gather for Emotional Farewell at Funeral
‘He Was Rock Royalty': Ozzy Osbourne Fans Gather for Emotional Farewell at Funeral

Yahoo

timean hour ago

  • Yahoo

‘He Was Rock Royalty': Ozzy Osbourne Fans Gather for Emotional Farewell at Funeral

With a deafening cheer of 'Ozzy Ozzy Ozzy! Oi oi oi!,' Birmingham, England, said a fond farewell today to its favorite son, Ozzy Osbourne, during a citywide celebration. Thousands of fans gathered in the city center, congregating along Broad Street and near the Black Sabbath Bridge. The mood was mostly upbeat — a fitting tribute to a man who once said he didn't want his funeral to be depressing. Officially, the community came together for a cortège procession in honor of Osbourne, who died at age 76 on July 22. But afterward, the musician's fans transformed a typically morose event into a lively commemoration of life and music that stretched across Osbourne's hometown. Many dressed in Black Sabbath gear and walked with canes — a nod to the Prince of Darkness' style. An unending catalog of Black Sabbath tracks blared from pubs and trucks, and fans of all ages delivered notes, flowers, and even a Star Wars VHS box set to monuments around town, including the now-shuttered Crown pub where Black Sabbath got their start. More from Rolling Stone Carrie Underwood Revealed Her Ozzy Osbourne Fandom With This Stunning Cover Metallica's Robert Trujillo Thanks Ozzy Osbourne for His 'Heart and Soul' Zakk Wylde Honors 'Older Brother' Ozzy Osbourne: 'He Was So Easy to Get Along With' 'There were a couple of weepy moments because everybody loves him, but everybody came here as a celebration of life,' says 36-year-old Mikee Smith, who traveled from Worcester and visited the Crown for a photo. 'It was an uplifting experience.' 'Whatever sorrow I felt on the train ride here was gone as soon as I was part of the crowd waiting for the cortège to go past,' adds Mark Dubanowski, 34, a member of Worcester death metal band Desecrator. 'The atmosphere flipped everything upside down.' The funeral cortège, paid for by the musician's family, trailed through the city with Osbourne's casket in a black hearse. Local band Bostin' Brass provided the soundtrack, evoking both the spirit of New Orleans and the culture of Birmingham in an effort to keep the tears at bay. The group offered rousing takes on Black Sabbath and Osbourne classics like 'Iron Man' and 'Crazy Train,' which they previously learned for the unveiling of the Ozzy the Bull monument during the Birmingham Commonwealth Games opening ceremonies in 2022. If there was a somber moment, it was when Osbourne's family, including widow Sharon, momentarily exited their cars on Black Sabbath Bridge. The rocker's children and grandchildren took in the overflowing pile of flowers and letters, reading a few of the heartfelt notes. The family hugged and shed tears, but fans quickly attempted to uplift spirits by shouting 'Ozzy forever!' and 'Sharon, we love you' before joining their voices in a rousing chant of the musician's name. The family stayed for only a few minutes before moving on and allowing the barricades holding the fans back to be cleared. It was a conscious choice, many said, to give Osbourne the revelatory celebration he always wanted. After paying their respects at the mural, the museum, and on the bridge, many gathered outside the pubs along the canal, pints in hand and cheers to the fallen legend, who returned to Birmingham in the later part of his life — a full-circle moment for the city. Osbourne hailed from a working-class family in Birmingham, a former industrial city that has only recently seen a revitalization. Aaron Diaz, trumpeter and bandleader for Bostin' Brass, points to Osbourne's eventual rise from Aston youth to globally-renowned musician as a mirror of the city's own evolution. 'Ozzy is such an indelible part of Birmingham's music scene. He represents so much about the city's pride and humility and humbleness and sense of humor,' Diaz says. 'He's really become a totem for the city. His regeneration as a cult figure and metal God reflects Birmingham's journey as well.' For many fans, Osbourne was a beacon of hope for a city that has often been overshadowed by London. Many revelers waited in long queues to snap a quick photo on Black Sabbath Bridge or sign the commemorative book at the Birmingham Museum & Art Gallery. Following the procession, the wait time to sign the book, which will be gifted to Osbourne's family, was over an hour. Justin Reeves, a Visitor Experience Assistant at the museum, estimated that at least 1,000 fans had come to sign the book by early afternoon on the day of the parade and at least 11,000 had signed it since Osbourne's death. Although he has seen some tears and shared a few emotional moments with visitors, Reeves said he has been heartened by the galvanizing response from around the world. 'I've never experienced anything like this in my life,' says Reeves. 'We've had people come in from London and as far as Argentina and São Paulo. They've all been saying, 'Birmingham is so nice. Everyone here is so lovely.' Someone said to us, 'The way you guys celebrate your local heroes is like nowhere else.' It's been very enriching to the soul to witness it.' One of the fans waiting in line to sign the book was Birmingham local Hayden Worton, 31, who recently attended Osbourne's final performance, Back to the Beginning, a charity concert held at nearby Villa Park. 'I've been to many, many gigs, and it's the best one I've ever been to,' Worton said. 'When he played 'Mama, I'm Coming Home,' there wasn't a dry eye in the place. It was a great send-off. He meant everything to Birmingham. He put Birmingham on the map.' Another local, Sarah Edwards, 45, has regularly been visiting the memorials around Birmingham and leaving flowers and tributes since the musician's death. Edwards was born in the same hospital as Osbourne, and her father was friends with him when he was younger. She said she's never seen the community come together over a Birmingham legend like this in her lifetime. 'This is a first,' she said after visiting the recently unveiled Black Sabbath mural created by artist Mr Murals, where many fans were laying flowers. 'We are the second biggest city in England, and we've never come across anything like this before. It's been very nice because I've met some fantastic people, and everyone is here for the same reason. It's nice that everyone is happy here together.' 'Birmingham has shaped me because that's where I'm from,' Osbourne once told the Huffington Post. 'I had no other choice than to be a Brummie — it's great.' Although many British musicians and artists have died in recent years, some fans could only point to the death of Queen Elizabeth II in 2022 as being as momentous in U.K. culture. 'She was royalty,' Dubanowski said. 'But so was Ozzy. He was rock royalty.' But even as fans said goodbye to a favorite musician, it was clear Osbourne would never truly be gone. 'When someone that you have followed all your life and you love dies and all of a sudden that person's gone, it's sad,' Edwards said. 'But I know that Ozzy Osbourne will always be here.' Launch Gallery: Ozzy Osbourne Honored With Funeral Procession in Birmingham Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store