If you know Rico Nasty, then you know her through EPs Tales Of Tacobella, Sugar Trap 2, Nasty and her latest, Anger Management, as well as singles like "Smack A Bitch." But that's only the beginning. 

Rico Nasty is an experience best felt live. The Maryland rapper had the crowd hyped, rapping and moshing along to her lyrics at Pitchfork Fest in Chicago through a set that showcased her sharp lyricism and hip-hop, punk-inspired music.

The emerging rapper is here to make it, and while she recently released Anger Management, she's been working on her fulll-length debut set to drop before the year is over.

The Recording Academy met up with the Maryland-based rapper after her Pitchfork set, where she opened up about growing up in the DMV (D.C., Maryland, Virginia), what we can expect on her forthcoming full-length, navigating industry double standards and more.

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How did you get your start in music?

By going to the studio, randomly. I don't know, whenever someone was like, "Yeah, I'm going to the studio," I just went with them. And I started recording. When I was in high school, I was like the only girl making music. And so people heard my mixtape, it was kind of like, "Oh sh*t," like, "What the f**k." It was just new, it was refreshing. So they f***ed with it. So then I just kept dropping music, try to stay consistent. I eventually like stopped dropping music when I graduated high school and now I'm here. After I graduated I just wanted to... I don't know. I always had melodies and sh*t in my head. I never wanted to stop making music.

Did you grow up around a lot of music?

My dad made music, but he was in jail, and I guess, yeah, the group of people I was hanging around with, they were making music. But when I stopped hanging out with them, it was still something. 

You recently released your Anger Management EP with Kenny Beats. What was the inspiration behind that?

Well, Kenny's a crazy producer, and I had anger issues, so, I felt like it just came together off of the other sh*t that we've already done.

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How was it working with Kenny?

It was cool, I mean we was in the studio day-in day-out everyday, one after the other. So it's cool. You really get to know a person. You really get to annoy a person, I was annoying the f**k out of him, I'm sure. He was annoying me but it was like in a good way, like, we were pushing each other because we wanted to make something, something different from anything else I had ever made. And that's what it is.

Speaking of anger issues. Pitchfork recently ran a feature about you and the importance of black women's anger in rap. How did that sit with you?

Well, I definitely agree and I think that it's really important to bring light to black women's emotions in general, whether it's anger or anything that's out of the ordinary. Because I feel like it's looked down on when we show any type of emotion, it's always looked like doing too much, being ratchet, or in some cases you're not even doing too much. Some cases you're acting white, you're acting this, you know like sh*t is, it's really f**ked up out here.

But to be a leader that means that I don't give a f**k about that stuff, and when I see my fans, we don't give a f**k about the stuff and you just keep that positivity going. Also while not giving a f**k, also while like, allowing them to get their sh*t off in a respectful way. You come to a show, you f**king mosh, you throw elbows, and then you go home and it's like you're hitting your boss in the mosh pit almost. You gotta let loose eventually. I mean, black women, all women, all people for real. But, I'm really happy that people look at me like a leader of that sh*t because it's super important to me. And I love it. Like today when I saw the mosh pit when it first started and it's just so many girls jumping in it like, fearless. Fearlessness.

People ask me all the time how the f**k do I do it. Fearlessness, bro. Just like how y'all never jump in mosh pits before. Y'all been to so many concerts, and you jumped in one today, for me. I love it, it's amazing, inspirational!

You've been really open about your growth as an artist. How do you feel you've grown in this latest EP?

I feel like I just didn't hold back. I wasn't afraid of looking for a hit, I wasn't afraid of looking for anything. I just wanted to go. But I'm ready for the next music I have coming out, I feel like you guys are going to like it.

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How has it been for you, representing the state of Maryland in hip-hop?

It feels amazing. And because I'm from the DMV [D.C., Maryland, Virginia] I want to shout out some female rappers from the DMV: Chelly the MC, there's this girl I think her name is Pretty Savage, she's from Virginia. They are really f**king fire. I'm not the only girl coming out of the DMV right now. Shout out to Lundy, rest in peace Lundy. 

It's a lot of women that was before me, it's a lot of women that's gonna come after me! Like, don't doubt that sh*t. The DMV got some heat! Shout out to the Guy, shout out to the young guys, shout out to Young Man, shout out to ZanMan, shout out to Cutiful, everybody putting on Free Big Flock.

We're gonna keep this sh*t f**king going. I'm really happy to be a part of us wild-n-out! We're getting our credit, you know?

You were in this year's XXL Freshman Class, how does it feel being a part of that group?

Once again, it's like history. Legendary sh*t, because three girls on it. That's how I feel about it. Love, bro, I love it. It's never-before-seen, just like everything else that we doing.

Do you feel like you have any challenges as an emerging artist right now?

Oh yeah, I mean I hate the f**king— I don't want to say I hate men giving their opinion on it, but it's just like... if you don't listen to it, you don't listen to it. If you don't get it, you don't get it. Just like how, know what I'm saying, you guys rap about the same sh*t all the time, over and over. [It] should be okay for women to rap about whatever the f**k they want. Whatever they have, whatever they're working to get, it shouldn't f**king matter. If it crank, how it crank when you listen to a new song, then it crank.

Like, stop trying to pick apart our f**king music word for word. It's like, you guys don't do that with the guys. And I hate that they do that sh*t with us. It's like every lyric f**king counts. Just have a good time, bro. Just have a good time. Respect it. We are artists, whether or not we want to show our ass—it doesn't fucking matter, like, that's what we do.

And just like I empower women to go the f**k crazy, there's other female artists that empower women in ways that, you know, what if you don't feel sexy? You put a female artist on and she makes you feel that! That's empowering in a way that men will never understand because they're not us. So stop picking apart our f**king music! Just vibe to it, nigga. It's lit.

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So your album is due later out this year. How has that process been making it?

It's been good. I'm getting pieces from my whole experience of music, I'm getting pieces from when I first started. Just ideas from all over the place. Ideas that I might have put in the corner and you know, might change a couple of things, but I'm really f**king excited. I'm really excited for my fans to hear it because once again it's not what you guys expect, and it's a step forward, in my opinion. 

You've also teased U.S. tour dates, when can we expect those to drop?

You guys can expect them to drop later in the year. Not like, super late, but like later in the year. And I can't wait to see you guys. I miss you guys so much. Like, I miss you guys, you guys coming to my shows and bringing me gifts and bringing me flowers and telling me stories and I'm so excited to see fans that I've like already seen. Because, trust me, I be f**king remembering y'all. Don't get mad if I don't remember you, but like I remember certain fans. And I'm excited to see them because, you know, they're going to be like growing up and sh*t. It's kind of weird, it's just being a part of them. Being a part of their journey in life because they cut me on and still coming to the shows. I'm excited.

Before we sign off, what can you tell me about your new clothing line?

The Rico Nasty sh*t. It's about to be super fine. I've been taking my time on it. I've been looking for a cool-ass design that I feel like is versatile for both genders and just versatile as f**k. Something that can go on all colors. I'm not going to say too much because I'm still going through designs. But this is merch but times three. This is the real deal, this is not a drill. Save your coins. [Laughs.]

Pitchfork Fest's Adam Krefman On Lineup Diversity, Reasonable Prices & More

Presented by Mastercard, the 2025 GRAMMY U  Fall Summit in Nashville brought members together for two days of panels, performances, and conversations on self-advocacy and connection - headlined by Maren Morris in conversation with King Princess, and featuring standout voices like Rico Nasty, Tanner Adell, Tayla Parx, Mickey Guyton, and more.

The Summit kicked off at the National Museum of African American Music for an artist-on-artist panel produced in collaboration with the Black Music Collective. Disruptors by Design: Creating New Sounds, where Rico Nasty, Tanner Adell, and Tayla Parx explored what it means to create without limits and advocate for themselves in every space.

A two-part networking experience encouraged attendees to put what they learned from the panelists into action. A Perfect Pitch networking panel shared how to develop long-lasting relationships in the industry, featuring a panel of accomplished professionals across music, business, and creative fields - Latoya Bennett-Johnson, Serena Lloyd, and Ryan Madora, moderated by Jessica Omokheyeke. Afterward, the lobby of the museum buzzed with excitement and inspiration as members connected with industry mentors during a networking mixer, explored photo opps and enjoyed specialty drinks provided by Mastercard. The evening concluded with an intimate performance by Mickey Guyton, preceded by a Q&A moderated by Brittney Spencer.

The next day, attendees gathered at Riverside Revival for the keynote conversation, Finding Your Voice, with Maren Morris, moderated by King Princess. Livestreamed on the GRAMMYs YouTube, the candid conversation explored artistry, identity, and finding your voice. Morris concluded the Summit with a special live performance.

Filled with laughter and honesty, the Fall Summit offered GRAMMY U members more than advice, feeling more like a living room conversation among friends that were deeply real and inspiring. Sony Pro Audio was a participating sponsor at this year’s Fall Summit.

The Summit "felt like food for my soul," said San Francisco Chapter Member Jaiel Mitchell. "It was so wonderful to be able to not only connect with my peers, and meet other folks who are growing and building the next iteration of the industry, but also to get to hear from so many dope women artists and leaders, who have blazed new trails in the industry. As an developing artist, getting to hear their stories and advice first hand was invaluable. I left with so many practical tools and the fire to continue to blaze trails in my own right!"

Read on for five takeaways from this year’s GRAMMY U Fall Summit in Nashville.

Be Your Own Biggest Advocate

In her keynote discussion, GRAMMY-winning singer/songwriter Maren Morris reflected on how self-belief shaped her journey, from her family serving as her first team to GRAMMY Camp, and eventually carving her own path in Nashville. That throughline of independence throughout her career led to the creation of some of her biggest hits.

Reflecting on early career advice, she shared, "Someone once told me making a record and promoting it is basically like playing a million lottery tickets," she shared, reflecting on advice from early in her career. "you say yes to everything… and see what sticks."

Maren Morris and artist-actor King Princess reflected on the importance of determination, especially when showing up fully as queer artists. They spoke about how visibility can inspire young fans seeking connection through music. Morris noted that listeners often revisit her lyrics for meaning, echoing King Princess’ experience of finding belonging in queer art during their own adolescence.

Mickey Guyton and moderator Brittney Spencer similarly reflected on identity and representation. "Don ’t be afraid to open your mouth," she told the audience during her Q&A, reflecting on finding her voice as a Black woman in country music. Guyton closed out the night with performances of "Black Like Me," "Remember Her Name," and more, a set that honored Breonna Taylor and celebrated the power of storytelling in country music.

Belonging Isn’t Given, It’s Created

Tanner Adell, Tayla Parx & Rico Nasty┃Tibrina Hobson/Getty Images

Throughout the Summit, conversations about identity were filled with camaraderie among artists and industry leaders who walk many different paths. Rico Nasty, Tayla Parx and Tanner Adell embodied that energy during the panel Disruptors by Design: Creating New Sounds. . 

Rapper and songwriter Rico Nasty said she often stands alone in her style, and compared her music journey to "creating [her] own island." Rico also shared  the importance of being okay with isolation on her "island" —  and is content to make it the coolest place for when her audience is ready to receive it. 

Singer/songwriter Tanner Adell added that she feels "fatigue" over constant talk of genre because "people come from all different backgrounds and write all different kinds of music." Their message was clear: belonging isn’t given, it’s created. As Nasty encouraged, "Push. You’re going to hit a lot of walls… it’s going to feel alienating… push."

The conversation naturally turned to equity and empowerment. GRAMMY-nominated singer/songwriter Tayla Parx emphasized knowing your worth and demanding fairness in every space.

 "BMI and the splits need to be equal… do not do work for free [because] Black women and women hurt the most in the industry," Parx emphasized. Her point resonated alongside recent milestones for Black women in country music - including fellow artists like Beyoncé, who became the first  Black woman to win a GRAMMY Award for Best Country Album. (Tanner Adell and Brittney Spencer also contributed to the GRAMMY-winning Cowboy Carter.) Parx also recently became one of the few Black women with a No. 1 song on the country charts.

"Being Nervous Means You Care"

Brittney Spencer and Mickey Guyton ┃Tibrina Hobson/Getty Images

GRAMMY-nominated singer/songwriter Mickey Guyton and singer/songwriter Brittney Spencer’s conversation brought magic and joy to the stage. Through inside jokes and giggles, the longtime friends and country music trailblazers spoke about nerves, resilience, and the courage it takes to keep showing up. Guyton shared that even after years of performing, she still gets nervous before shows, reminding the audience that "being nervous means you care." 

She spoke about facing cyberbullying in 2020 and how returning to the stage afterward felt daunting but necessary. The two reflected on their CMA Awards performance back in 2021of "Love My Hair," recalling how Guyton fought to ensure that Spencer and Madeline Edwards — two emerging Black artists in country music — received full support behind the scenes. 

"'You’re not about to put these women on a red carpet without wardrobe, hair, and makeup,'" she recalled telling the show's organizers. The result was a collaborative effort that turned Spencer and Guyton's  performance  into a statement of empowerment for Black women. Their conversation brought the night full circle: Truth and connection can build community through music.

Turn Small Moments Into Lasting Connections

Latoya Bennett-Johnson┃Tibrina Hobson/Getty Images 

The Perfect Pitch panel reminded members that real relationships often start with small, genuine interactions. Rather than focusing on networking for its own sake, panelists encouraged GRAMMY U members to lead with intention and self-awareness. 

"When you’re young, it can be hard to articulate your strengths, but being approachable can open doors," said Serena Lloyd, Vice President of Human Resources at entertainment company Big Loud. She recalled putting her phone down and starting a conversation at an airport bar that led to a five-year professional relationship. 

The panel was moderated by Jess Omokheyeke, Executive Assistant and Project Manager of DEI at the Recording Academy, who added, "Know yourself and be proud of what you do," emphasizing that confidence and clarity build connections. Latoya Bennett-Johnson, Vice President of Global Sponsorship at Mastercard, encouraged members to be intentional in every room, asking, "What do you want people to think, feel, and do?" 

Bassist, author and content creator Ryan Madora reminded attendees that connection doesn’t have to be formal. "Everybody’s standing there awkwardly," she said. "Sometimes you just want to talk to somebody so you’re not awkward." She shared that finding small points of common ground, like a shared city or favorite record, can turn a quick conversation into something lasting. 

The panel left members with one takeaway: meaningful connections come from being present, prepared, and genuine in every interaction. Members then headed to the lobby of the museum for part two of the networking experience, where they were able to try out their learnings in a speed-networking style mixer.

Success Looks Different For Everyone

GRAMMY U Members, Eric Foster White┃Tibrina Hobson/Getty Images

Members carried their energy from the Perfect Pitch panel into the official networking mixer, hosted by the GRAMMY U Mentorship Program Presented by Amazon Music. The room was filled with lively conversations as GRAMMY U members connected with mentors from across the industry, including Cameo Carlson, CEO at MTHEORY; Eric Foster White, CEO at Music Club Enterprises, LLC; Tracy Gershon, Founder of  Shero Entertainment and Consulting; Jen Hubbard, Director of A&R Sync at Concord Music Publishing; Leah Larocco and Kenyon Glenn from the Recording Academy. The curated mixer offered a speed-networking style flow, with rotations every 20 minutes so members felt encouraged to meet new mentors and members.

Throughout the two-hour experience, members had the chance to put their networking advice into practice while learning from professionals and creatives from nearly a dozen areas of the industry. Surrounding the mixer area, Mastercard hosted an interactive photo activation and offered specialty drinks as attendees continued mingling and building new connections.

Across the two days, the 2025 GRAMMY U Fall Summit echoed a resounding theme across panels and experiences - highlighting community, creativity, and a shared belief that success looks different for everyone, but connection is what keeps the music going.

Couldn't make it to Nashville? Catch every panel from the 2025 GRAMMY U Fall Summit on-demand here: https://events.recordingacademy.com/watch2025grammyufallsummit 

To attend next year’s GRAMMY U Fall Summit and join the GRAMMY U community, apply to become a member at www.grammyu.com. 

Abigail Hali Ng contributed to this story

The 2025 GRAMMY U Fall Summit Presented by Mastercard returns to Nashville, Tennessee this October. The two-day event will offer a multitude of opportunities for connection and inspiration, showcasing the many ways young professionals can get involved with and grow in the music industry. 

The 2025 GRAMMY U Fall Summit kicks off on Oct. 23 at the National Museum of African American Music, and will be held in collaboration with the Black Music Collective. GRAMMY U Members will learn from trendsetting artists including Rico Nasty, Mickey Guyton, Tayla Parx, Tanner Adell, and Brittney Spencer. They will also have the opportunity to grow their networking skills and connect with leaders from the Recording Academy, Mastercard, Concord Music Publishing, Big Loud, Amazon Music and more industry organizations. 

Day two of the Summit commences on Oct. 24 at Riverside Revival, where  GRAMMY-winning singer/songwriter Maren Morris will offer a keynote presentation moderated by singer/songwriter and producer King Princess. The Summit will conclude with a closing reception where GRAMMY U members can reflect on two days of career advice and development. This year’s GRAMMY U Fall Summit is Presented by Mastercard with participating sponsor Sony Pro Audio. 

Read on for all the insider details about what to expect at the upcoming 2025 GRAMMY U Fall Summit in Nashville.

Learn To Embrace Your Identity With Rico, Tayla & Tanner

More than ever before, contemporary artists are embracing their sound without the limitations of genres. The "Disruptors by Design: Creating Your Sound" panel, which kicks off the first day of the Summit at 2 p.m. will lean into the experiences of multiple artists who have done just that.

Known for her vocal range, genre fluidity and high-energy performances, rapper and songwriter Rico Nasty innovates her sound through her lived experiences. Singer/songwriter Tanner Adell — who collaborated with Beyoncé on her Cowboy Carter track "BLACKBIRD" — has paved her own way in country music and continues to redefine the spaces she's in.

Alongside the GRAMMY-nominated singer/songwriter and producer Tayla Parx, the three will discuss how artists are openly blending cultures, sounds, and identities during the panel.

Level Up Your Networking Skills

Networking is an integral part of succeeding in the music industry. While there are countless avenues to reach contacts, there's often limited time to create meaningful relationships. 

In GRAMMY U’s first-ever two-part curated networking experience, held on Oct. 23, members will learn advanced networking strategies and advice from valued sources. Industry professionals will share their experience during the "Perfect Pitch: How to Make a Lasting Impression and Build Relationships" panel, which will lead into a networking mixer where attendees can practice their new skills.

The session will feature panelists Latoya Bennett-Johnson, VP of Global Partnerships at Mastercard, Serena Lloyd, VP of Human Services at Big Loud, Ryan Madora, Bassist, Author & Content Creator, and moderator Jess Omokheyeke, Executive Assistant and Project Manager, DEI, Recording Academy. The four will provide insight from varying angles — industry executive, aspiring artist and established musician — and explore  the pathways to making connections as well as strategies to maximize interactions in person and online.

Members will have the chance to put these learnings into action during the networking mixer to follow, hosted by the GRAMMY U Mentorship Program Presented by Amazon Music. This signature GRAMMY U experience gives members the opportunity to connect directly with mentors from music companies like the Recording Academy, Amazon Music, Mastercard, Concord Music Publishing, Jump.Global, mtheory, MusiCares, and more. The curated networking session includes guided prompts that turn introductions into opportunities, helping members feel comfortable and confident as they make professional connections that could shape the next chapter of their careers.

Gets Up Close & Personal With Mickey Guyton

Closing out day one of the Summit, four-time GRAMMY nominee Mickey Guyton will take the stage for a special Q&A moderated by fellow singer/songwriter Brittney Spencer, followed by a performance by Guyton. 

Guyton, who previously delivered a powerful performance during the GRAMMY Salute to Cyndi Lauper, made history as the first Black woman nominated for Best Country Solo Performance with her breakthrough single "Black Like Me." Her fearless storytelling and commitment to representation have redefined the sound and soul of Nashville. Together Guyton and Spencer will reflect on their creative journeys, including Spencer’s collaboration with Tanner Adell on Beyoncé’s "BLACKBIRD" as well as Guyton’s upcoming solo work — and share how they continue to use their musicality and storytelling to inspire others. 

Spend An Evening With Maren Morris

Maren Morris is celebrated for revitalizing modern country music with authenticity and depth. The Texas-born and Nashville-based singer/songwriter will discuss what she's learned throughout her long music career, as well as the many hats she’s had to wear in the industry. 

In a conversation moderated by indie/pop artist and actor King Princess, Morris will share how she began her career as a songwriter, then share how she established herself on stage before thousands. Known for her unapologetic lyrics, with breakout hits like "My Church," Morris has built a career defined by authenticity. In this keynote interview, she'll open up about creativity, growth, and the skill it takes to stand in the spotlight in one's own story. 

Livestreamed on the Recording Academy's YouTube and Twitch at 6:30 p.m. CT on Oct. 24, "Finding Your Voice with Maren Morris" celebrates artistry, self-emergence, and the ongoing transformation of one of Nashville's most influential voices.

Morris will then perform exclusively for the GRAMMY U member audience. 

Celebrate The GRAMMY U Community

Following the keynote conversation and performance by Morris, attendees can join the Fall Summit closing reception — a two-hour celebration of connection and community, with sounds by GRAMMY U member DJ Coleman Christian. 

From GRAMMY U photo activations to mingling with other GRAMMY U members — the reception will provide a fitting end to a Summit designed to empower and connect the future generation of music industry professionals and creatives.

GRAMMY U members can register for the 2025 GRAMMY U Fall Summit taking place in Nashville, Tennessee October 23-24 here by Tuesday October 21. If you’re not a member, learn how to apply at grammyu.com.

For members who can’t attend in person, tune into the keynote conversation on the Recording Academy’s YouTube and Twitch channels from wherever you are. 

May is right around the corner, and it packs more than flowers and sunshine. The month is shaping up to be a highlight of the year, stacked with major releases from Miley Cyrus to Kali Uchis.

For rap fans, Key Glock will return with Glockaveli, while Rico Nasty enters her Lethal era. Country fans can look forward to new albums by Morgan Wallen, Blake Shelton, Maren Morris, Eric Church, and Tyler Braden’s debut, Devil and a Prayer.

In the pop/rock scene, Icelandic band KALEO will drop Mixed Emotions, Garbage will make a long-awaited comeback with Let All That We Imagine Be the Light, and Thom Yorke teams up with Mark Pritchard for Tall Tale. Other releases include new music from Ben Kweller, Counting Crows, and Måneskin’s Damiano David’s solo debut.

For those who like something a little different, Pentatonix's Kevin Olusola offers Dawn of a Misfit, K-pop boy band RIIZE will release their first full album, Odyssey, and PinkPantheress will bring kitsch back on her mixtape Fancy That. 

With so much to listen to, GRAMMY.com has curated 15 must-hear albums to guide you through May 2025.

Isaiah Falls — LVRS Paradise

Release date: May 2

R&B newcomer Isaiah Falls brings more of his velvety voice and Southern-Floridian bounce with LVRS Paradise, out May 2. The album follows July 2024’s Drugs n’ Lullabies, which put Falls on the industry’s radar and featured standout single “Florida Baby.”

The album is led by “Searching,” a smooth, sultry track featuring Afro-fusion artist Odeal. Falls shared in a statement that the collaboration was “effortless,” and that he appreciates it when “I can tell that someone puts the time and effort into their craft.”
LVRS Paradise will also include features by Ambré and Joyce Wrice, with more details yet to be announced.

Eric Church — Evangeline vs. The Machine

Release date: May 2

“An album is a snapshot in time that lasts for all time,” said country star Eric Church in a statement about his new record, Evangeline vs. The Machine. “I believe in that time-tested tradition of making records that live and breathe as one piece of art.”

The album features eight tracks carefully assembled by Church. “I’ve always let creativity be the muse. It’s been a compass for me,” he added. “I never want our fans to get an album and go, ‘Oh, that’s like Chief, or that’s like this.’ Painstakingly, I lose sleep at night to try to make sure that whatever we do creatively, they go, ‘Wow, that’s not what I thought.’ I think that’s my job as an artist.”

The tracklist includes previously-released single “Darkest Hour,” whose publishing royalties have been donated to relief efforts after Hurricane Helene in Church’s home state of North Carolina. Other standouts are “Johnny,” a reinterpretation inspired by “The Devil Went Down to Georgia” and the Covenant School tragedy, and lead single “Hands Of Time.”

Kali Uchis — Sincerely

Release date: May 9

After 2023’s Red Moon in Venus and 2024’s Orquídeas, fans of Kali Uchis will soon rejoice with the release of her fifth studio album, Sincerely, out May 9. The Colombian-American singer announced the project with a mysterious Instagram teaser, whispering: "I dream of a home that even time will lie down and be still for. A place where everything works out the way it should."

In a recent interview with 10 Magazine, Uchis said that the new album was inspired by an unspecified "life-altering event" and the outcomes that came from it. "Listening back to the album after my life-altering event, I was able to hear so many things in the lyricism that fully encapsulate the way that I feel now," she shared. "In a strange way, it’s like my soul and spirit were able to predict what was coming next. I’ve been able to heal myself through this album in a lot of ways. But I never knew that I was creating it for that purpose."

Recently, Uchis shared another teaser video on Instagram unveiling the full 14-song tracklist for the album, which includes the soothing lead single "Sunshine & Rain…" Sincerely will mark Uchis' debut for Capitol Records, following the label’s merger with Interscope last year. 

Maren Morris — D R E A M S I C L E

Release date: May 9

Maren Morris is set to return on May 9 with her highly anticipated fourth LP, D R E A M S I C L E. Produced by Jack Antonoff and Greg Kurstin, it features 14 tracks written by Morris, Julia Michaels and Tobias Jesso Jr., and asserts "a deeply personal exploration of transformation, resilience, and self-discovery," according to a release.

"D R E A M S I C L E takes place in the aftermath of loosening my grip on my personal and professional life," shared the country pop star. "Sweeping through the pits of grief, but never staying too long, and finding the joy in knowing that at my core, I’m still who I am — and that’s pretty f—ing great. D R E A M S I C L E became less about the hard lessons and more about enjoying the bumpy ride and finding people who genuinely want to be on it with you because they love you."

The record features all five tracks in 2024’s Intermission EP, as well as singles "People Still Show Up," "Carry Me Through," and "Bed No Breakfast." It also marks Morris’ first full-length work since her divorce from Ryan Hurd and coming out as bisexual last year.

Cuco —  Ridin’

Release date: May 9

A true Angeleno, American-Mexican singer Cuco drew inspiration from car culture to craft his new album, Ridin’. "Everybody listens to music when they’re driving," he shared. "Music is a part of your commute, whether you’re in a good or bad mood. You’re ridin’ through the motion of your life where nothing is linear."

Ridin’ explores similarly nonlinear themes of love, loss, and memory, embracing highs and lows with a poetic resilience. "All of my songs here are romantic, where that’s in a super-animated way or sad and heartbroken," Cuco added.

To support the announcement, he dropped "My 45" with Jean Carter — a homage to the long gone era of soul music that shaped his taste and artistry — and the upbeat "Phases." Ridin’ was produced by industry veteran Tom Brenneck, and will be available on May 9 via Interscope Records.

PinkPantheress — Fancy That

Release date: May 9

Born Victoria Walker in Bath, England, PinkPantheress took the world by storm in 2021, when her self-produced, dopamine-charged tracks went viral on TikTok. Four years and several hits later, she's gearing up to release what she calls "the most tied together project I’ve applied myself to" — her sophomore mixtape, Fancy That.

Written and produced by Walker, Fancy That features collaborations with aksel arvid, Count Baldor, phil, Oscar Scheller, The Dare, and others, as well as samples and interpolations from Panic! At the Disco, Jessica Simpson, and Basement Jaxx. Thematically rooted in British culture, the nine-track collections marks the singer’s "fun and kitsch-y era" — a mood captured in the single "Tonight." The project also includes the previously teased track "Illegal."

To celebrate the release, PinkPantheress will play two headline shows at London’s O2 Academy Brixton on Sept. 18 and 19.

KALEO — Mixed Emotions

Release date: May 9

"The songs are kind of a mixture between daydreaming and some social matters you can’t help but see," said KALEO frontman, JJ Julius Son, in a statement about the band’s upcoming album."Sometimes you have a bigger need to dive deep, or to speak frankly, about some issues."

Mixed Emotions — described as a "landmark rock album tackling themes from ending gun violence to overcoming despair" — is set to drop on May 9. "The theme of Mixed Emotions is kind of going through the various mood swings of life. For me, both mentally and musically," says JJ. "I don’t like to limit myself to a specific genre and enjoy the freedom to explore where to take my songs sonically." Produced by JJ, Eddie Spear, and Shawn Everett, the record follows 2021’s Surface Sounds, and will include recent singles "Lonely Cowboy," "Rock N Roller," "USA Today," "Sofðu Unga Ástin Mín," and "Back Door."

Along with the album news, the Icelandic blues rock quintet has scheduled a world tour launching May 9 in Aspen, CO, and wrapping up on May 25 in Anaheim, CA.

Damiano David — Funny Little Fears

Release date: May 16

Måneskin frontman Damiano David has been plagued by fears for a long time. "I’ve always been afraid of heights, that any moment the ground breaks apart under my feet and in one second, everything’s gone," he shared. "I’ve been afraid of darkness, an immensity I don’t get to see or understand, that might take me if I don’t watch my steps. I’ve been afraid of myself, asking for too much, chasing something I didn’t even know if I really wanted. And, honestly, sometimes I’m still scared."

Those anxieties inspired Funny Little Fears — David's upcoming debut album, described as a "manual" for handling life’s uncertainties. Due May 16, the LP sees him "break the moulds of expectation, both sonically and lyrically, defy genre boundaries, and bravely journey deep within the confines of his own mind as he confronts his fears." 

The album includes his first single, "Born With A Broken Heart,"the Labrinth-produced "Silverlines," and his latest release, "Next Summer." Soon after the album drops, David will kick off a world tour covering 33 dates across five continents, including major festival appearances at Bonnaroo, Lollapalooza, and Osheaga.

Rico Nasty — Lethal

Release date: May 16

Sugar trap pioneer Rico Nasty is entering a new era. After releasing 2022’s Las Ruinas, the Maryland rapper said she felt like she was “living in character,” she explained in a press release. “And when I first started, that was the whole idea of it — but that gets exhausting.

Seeking a reset, Rico spent the past year reconnecting with herself. "I just completely let life take me: letting myself indulge in things that made me excited, living real life experiences,” she shared. Those experiences formed the heart of Lethal, her fourth studio album — and first under Fueled by Ramen (Atlantic Music Group). Executive produced by Imad Royal, the record presents “a more complex framing of all the angles of Rico — the performer, the mother, the artist.”

"This album is about being confident and saying f— everybody else,” Rico added. “It’s about getting doors slammed in your face and people telling you to try it their way again and again, and you stay true to yourself and it works." Lethal can be previewed through singles "Teethsucker (Yea3x)" and "On the Low."

Morgan Wallen — I’m the Problem

Release date: May 16

Pachyman — Another Place

Release date: May 23

"I was trying to understand who I am as a musician — not just operating in a distinct lineage but how I've metabolized and expanded upon it," explained Pachy Garcia, the artist behind Pachyman, in a press release. "It's a very personal, vulnerable journey. I wanted to build my own world and create these new connections in my brain, incorporating everything: vaporwave, chillwave, soul-jazz,  James Brown, Kosmiche musik and krautrock, the driving repetition of drum n bass."

The result is Another Place, due May 23 via ATO Records. As Pachyman's "most daring project to-date," it marks an artistic breakthrough for the Puerto Rican-born, Los Angeles-based musician. Recorded in his own basement studio 333 House, it blends the various roots of dub reggae with synth-pop, dub techno, and chillwave influences.

Since February, Pachyman has toured across New Zealand, Australia, Europe, and the U.K., recently joining Darkside for select North American dates.

Joe Jonas — Music for People Who Believe In Love

Release date: May 23

Joe Jonas hasn't released a solo album since 2011's Fastlife. "I have so much love for those songs — they actually aged pretty well," Jonas told Billboard. "But it feels like a different person."

Since then, the Jonas Brothers' middle sibling has navigated major life changes: founding DNCE, getting married, becoming a father, reuniting with his brothers, and later, navigating divorce. "I was going through a lot of life changes," he reflected. "This album speaks to the experiences of being a father, being a friend to oneself and others, and the happiness I've found in doing what I love for a living."

Originally slated for October 2024, Music for People Who Believe In Love was delayed so Jonas could add "final touches" after feeling "flooded with inspiration." The 14-track project — now set for release May 23 — includes singles "Heart by Heart," "What This Could Be," and "Work It Out," and features appearances from Domi & JD Beck, Frankie Jonas, Sierra Ferrell, Louane, Tiny Habits, and Luísa Sonza.

Garbage — Let All That We Imagine Be the Light

Release date: May 30

Legacy alt-rock band Garbage return with their eighth studio album, Let All That We Imagine Be the Light, set to release on May 30. Following 2021's No Gods No Masters, the LP was recorded at Los Angeles' Red Razor Sounds, at drummer Butch Vig's home studio, and in singer Shirley Manson's bedroom.

"Going into making this record, I was determined to find a more hopeful, uplifting world to immerse myself in," Manson shared in a press release. "When things feel dark, it feels imperative to seek out forces that are light, positive and beautiful in the world. It almost feels like a matter of life and death. A strategy for survival."

To amplify their message, Garbage announced the Happy Endings Tour, kicking off Sept. 3 in Orlando, FL, and hitting major cities like Nashville, Boston, Seattle, and Vancouver before wrapping Nov. 2 in Phoenix, AZ. The album is led by the single "There's No Future in Optimism."

Miley Cyrus — Something Beautiful

Release date: May 30

Miley Cyrus' next project, Something Beautiful, promises to be one of her most ambitious yet. Slated for release on May 30, the visual album is rooted in the theme of healing, accompanied by a companion film directed by Cyrus, Jacob Bixenman, and Brendan Walter, set to premiere in theaters this June.

"It was important for me that every song has these healing sound properties," Cyrus told Harper's Bazaar. "The songs, whether they're about destruction or heartbreak or death, they're presented in a way that is beautiful, because the nastiest times of our life do have a point of beauty. They are the shadow, they are the charcoal, they are the shading. You can't have a painting without highlights and contrast."

The GRAMMY-winning star also shared that Pink Floyd's The Wall was one of her main inspirations for the record — but with her own glam-pop twist. To heighten the anticipation, Cyrus dropped promotional tracks "Prelude" and "Something Beautiful," along with the sweeping lead single "End of the World."

Mt. Joy — Hope We Have Fun

Release date: May 30

Mt. Joy's upcoming album, Hope We Have Fun, captures the whirlwind journey the band has experienced over the past few years. "We've all worked incredibly hard together and done ridiculous things in sickness and in health," said singer and guitarist Matt Quinn in a statement. "You just kind of look up and you're at Madison Square Garden with these people, and it makes you emotional — it feels like something you never could have dreamed."

Previewed by singles like "Highway Queen" featuring Maren Morris, "She Wants to Go Dancing," and "More More More," the 13-track album was written during what Quinn calls "the most insane three years of our lives." Hope We Have Fun also marks Mt. Joy's first release under their own label, Bloom Field Records, an imprint of Futures.

In support of the album, the band launched a massive North American tour on April 19, with stops in cities like Pittsburgh, Seattle, Indianapolis, San Diego, Toronto, and Boston before wrapping with two hometown shows in Philadelphia on September 26–27.

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.

Editor’s Note: This interview was conducted before the onset of the wildfires in Los Angeles.

Steve Cropper is still "selling energy" — putting forth what a younger generation might call blues rock "vibes" with his pals as if it were still 1970.

This ethos dates back to his time at the legendary Memphis label Stax Records, where Cropper served as a songwriter, producer, engineer and A&R. Crucially, Cropper was the guitarist in Stax's house band, Booker T. & The MGs — they of "Green Onions" fame — and backed artists including Otis Redding, Wilson Pickett, Sam & Dave, and Carla Thomas. Among his many bonafides, Cropper co-wrote Redding's "(Sittin’ On) The Dock Of The Bay."

In his post-Stax years, the two-time GRAMMY winner and nine-time nominee produced and played on sessions with Jeff Beck, Jose Feliciano, John Prine, John Cougar, and Tower Of Power. He later joined Levon Helm’s RCO All-Stars group and was among the original members in Dan Aykroyd and John Belushi's Blues Brothers band. Cropper resumed his solo career in the '80s, releasing several albums, while continuing to collaborate with leading lights like Paul Simon, Ringo Starr, Elton John and Steppenwolf.

Steve Cropper has stayed true to himself for over seven decades, thanks in no small part to advice from Stax founder Jim Stewart. "He said, 'Just play yourself and if they don't like it, they'll tell you,'" Cropper tells GRAMMY.com. "So I've been playing myself all my life and it's worked out. That's pretty cool."

At the 2025 GRAMMYs, Cropper is nominated in the Best Contemporary Blues Album Category for the aptly named Friendlytown, recorded with a mix of long-time collaborators and a few newer faces, together billed as Steve Cropper & the Midnight Hour. Friendlytown's 13 tracks are familiar, digestible and straight-ahead rockin' — the kind of tunes you'd be thrilled to hear in a local dive. Featuring ZZ Top's Billy Gibbons, Queen guitarist Brian May, singer Roger C Reale, and guitarist Tim Montana, Cropper co-wrote and co-produced all of Friendlytown with bassist Jon Tiven.

"Steve's guitar playing on the song 'Hurry Up Sundown' is probably some of his best solo work and rhythm work," Tiven says. "It's amazing that at this point in his career, he could still be creating some of the greatest music of his life. I think that's a wonderful testament to the strength of his talent."

Meet Me At The Friendlytown Trader Joe's

There was very little methodical music-making behind Friendlytown, which partially grew out of sessions Cropper put together for his 2021 album Fire It Up. "This record was just about a bunch of guys getting together and having some fun. It's just like, Let's have a blast and try to make the party come to the record, rather than the record come to the party," Tiven notes.

Cropper and Tiven had been working on songs for years with the hopes of finding friendly musicians to give them life. While some found homes, the duo sat on instrumentals for years — until Tiven ran into Billy Gibbons at Trader Joe's. When Tiven told the sharp-dressed man he was making a record with Steve Cropper, "He just lit up like a firecracker and said he'd like to bring us a song. I said, 'Well, it's only going on the record unless you play on it.' And he said, 'Well, that could be arranged.'"

Gibbons ended up on 11 tracks; Friendlytown marks the first time he and Cropper worked together in many years. The ZZ Top vocalist's influence is audible on the album, particularly the title track and Eliminator-esque "Lay It On Down."

In Session At Stax

While casual may be the name of Cropper's game these days, "it definitely wasn't 35, 40 years ago," he says. Back then (and largely before, as Cropper left the label in 1970), making music was "was very serious, and I don't even think the guys had a good time." With a laugh, Cropper recalls his best friend, the Stax bassist/MG Duck Dunn, pining for a world in which "Jim Stewart would've only smiled every now and then."  

While Cropper calls Stewart "the greatest guy I've ever met," the label head was known to be critical. "He knew if you fought for something, like a song, that it was a good song. And if you didn't fight for it, it wasn't worth nothing," Cropper says, chuckling. "He was right. I think about that all the time, but I don't use it. A songwriter could tell me how good a song they wrote is, but if I don't like it, I don't like it. I'm sorry!. I'm sure I've thrown away some good ones before." 

Read more: 1968: A Year Of Change For The World, Memphis & Stax Records

A young Cropper put up a couple of fights, and for good reason. He recalls stumping for Wilson Pickett's "Ninety-nine and a half": [Jim Stewart said] "You boys was out there woodsheddin’. That song ain't going to make it." Cropper pressed it, and Stewart relented. The track made the cut for Pickett's 1966 album The Exciting Wilson Pickett.

Another big Stax hit stayed on the shelf for nine months while Cropper and co. battled it out with Stax brass. "Finally Al Bell went to Jim and said, 'You got to put this record out. It's called ‘Knock on Wood.' And Jim says, 'Okay, but you got to use your own money,'" Cropper says. "He hated that record until it was a hit."

Reflecting on the hardest song he's ever played, Cropper quickly points to Sam and Dave's "Soul Man." But the 1967 smash isn't difficult for the reasons you might think: the guitarist had to balance a Zippo lighter on his leg during sessions and performances, which he used to mimic the song's opening horn line. "I always had to dance [when recording] with Sam and Dave, because they could hit a groove. A lot of guitar players don't know that I played with a Zippo lighter and I'd slide it," he recalls.

Cropper reportedly hated the sound and feel of new guitar strings — something, he says, is no longer the case in old age — and in a lip-smacking good tidbit of studio lore, explained how he managed his unique sound. "I carry a thing of ChapStick all the time and I would go up and down the strings; [that would] take about three months out of the string so it would sound like the rest of them."

Sittin' On A Legacy

After decades in the business, it seems as if Cropper – though ever a professional – doesn't take himself or the creative process too seriously. He jokingly shares a reccolation from a studio session during his Stax years: Once the session was finished, Cropper told the group "Damn, this sounds like a hit." "And Al Jackson said, 'Steve, they're all hits until they're released.' He's probably right."

One of Stax's reliable hitmakers was a close friend of Cropper's: Otis Redding. The two shared a deep musical bond and some shared history. Both musicians grew up on farms ("By the time I was 14, I was ready to leave the home. By the time I was 16, I was gone in my mind," Cropper notes) yet the guitarist describes Redding as "most streetwise person that I ever met. I think he just had it. It came natural to him."

Redding played guitar with one finger and you "never argued with Otis" — especially because he was never available for sessions for more than a day or two. Most Otis Redding albums, as a result, were compilations from different sessions.

"I remember we cut 'I Can't Turn You Loose' in 10 minutes," Cropper says. "[When we recorded] Otis Blue, we had everybody come back at 1 [a.m.] -- after they did their gig and they went home and had their shower – so we could cut it."

Cropper knew that  "(Sittin' On) The Dock Of The Bay" — arguably Redding's biggest hit, and Cropper's first GRAMMY win —  was a hit. "You know why I knew it was a hit? Because we had Otis the longest I'd had him; for two weeks."

The gentle lull of "Sittin'" was a radical departure from Redding's Southern soul bombast, and perhaps a sign of what was to come if the singer hadn't died tragically in a plane crash. "That one song, we searched for a long time. We call it crossover music; so it could go either way:, R&B, pop, whatever. That was the first one we ever had," Cropper says.

There's Always A Catch

Steve Cropper is still going strong at 83 years old. He reports that he enjoyed HBO's recent Stax Records docuseries, and has an unfinished instrumentals album in the can. He hasn't time for regrets, only dreams, but the name of the one person Cropper wishes he had worked with fires off like lightning: Tina Tuner.

Cropper saw the late legend three times. "I really did admire Tina. She was the closest person to Otis, I think, in the business. It's the yeller, screamer, but everybody loves their music. She was so good, it didn't matter how it was she's yelling and screaming," he says.

Tina Turner's loudest albums still have melody and something "people will walk away humming" — the very thing Cropper loved about  Stax records. "We were selling groove and all, rather than the music," Cropper says of his work with the MGs. "We don't care about the music. We just cared about melody and what's in the simplicity of the song."