To some, the cool of the Rocky Mountains and its cowboy-populated plains might seem like the setting of an old Hollywood Western. But to Ian Munsick, it's real life — and he wants you to come along for the ride.

The Wyoming native's second album, White Buffalo, doubles down on the Western roots sprinkled across his debut set, 2021's Coyote Cry. Its 18 tracks take listeners straight to the vast and mountainous landscape of Munsick's home state, but also help shine light on the hard-working mentality of those within it.

It's a project that Munsick has always wanted to make, but never really believed he could upon moving to Nashville at 19 years old — in part because he wasn't sure if the artist path was his calling, but more so because he wasn't sure if the stories he wanted to tell would resonate. Yet Munsick's first song, "Horses Are Faster," caught on regionally before he even moved to Nashville, and Coyote Cry was excitedly received. The singer realized his future might not be so uncertain, and he releases White Buffalo with mountain-high confidence.

"Coyote Cry, the tracks on there that people resonated with the most were all about the land and the lifestyle and what makes the Rocky Mountains unique," Munsick recalls to GRAMMY.com. "I think that people are just hungry for the real deal of the West. And if they can't go there, then hopefully they can just press play on my music and be there. That's always the main goal with my music — I want my listeners to be able to close their eyes and be in Wyoming."

Within the first few strokes of fiddle on White Buffalo opener, "From the Horse's Mouth," it's clear that Munsick has aced his mission. The track's scampering melody accents his region's raw, no-bull mindset ("I won't say it behind your back what I won't tell you to your face/ That's just the cowboy way," he declares in the second verse); the song's swirling production carries through the album, too, whether over a mandolin-driven melody in "Bluegrass" or the echoing nostalgia of the title track. 

White Buffalo's song titles alone are transportive, from "Ranch Hand" and "Long Live Cowgirls," to "Field of Dreams" and "Indian Paintbrush" — the latter of which is the state flower of Wyoming. One of the more jarring (yet fitting) titles is "Cows— in the Morning," which is a clever take on a breakup song. And though the overtly positive, madly in love Munsick admits he's not great at writing those, he found the perfect breakup metaphor within his cowboy lifestyle: "I'd rather smell cows— in the morning/ Than put up with her bulls— every night."

While he echoes that scorn on "Barn Burner" ("She broke my heart then her barn burned down/ Like one thing led to the other," he sings on the chorus), White Buffalo mostly carries the humility, heart and gratefulness that Wyoming has instilled within Munsick. On "Little Man," he delivers a touching tribute to his 3-year-old son, Crawford; "More Than Me" blends faith with the love for his wife, Caroline. And even when he finds himself in heartbreak on tracks like "River Run," Munsick brings himself back to the peace of the plains: "We just settle like the dust when the day is done/ Her and the river run."

Munsick's ability to turn his Western upbringing into relatable sentiments is the epitome of what makes him special. There's never a moment that feels disingenuous on White Buffalo, and his passion for his homeland — from the culture to the people — rings through in both the lyrics and the musicality. 

Yet somehow, his twangy vocals and knack for an infectious melody make White Buffalo feel like it belongs alongside Munsick's radio-friendly country contemporaries — even if he's not singing about beer and trucks. "We don't need any more of those," he says with a smile.

As he continues to dive deeper into the ways of the West, Munsick also recognizes the responsibility that comes with being one of the few current country stars from that region. While he largely aims to debunk beliefs that cowboys and Native Americans are enemies ("people think that it's the 1800s," he quips), Munsick also wants people to know how much both communities respect their land and their traditions.

The singer highlights where he grew up and the people he grew up with, including members of the Crow and Blackfoot Tribes, in the video for "White Buffalo." Between his music and the visuals, Munsick is hoping to shed more light on what he calls a "hidden lifestyle" — and to show that it's not as different as it may seem.

"People living in the Smoky Mountains and people living in the heartland, they're good people that work hard every day, and are just grateful for what they have," he says. "There's nobody more country than the people that live out there."

With nearly 400 million global streams to his name before White Buffalo even arrived, there's no denying that Munsick is reaching audiences outside of his part of the country. But as for those who are in it — whether it's members of the Crow Tribe or fans from the area — they're proud to see their culture presented on a wider scale. Even if the commercial success wanes, Munsick can already rest assured he's done his upbringing justice.

"At the end of the day, if they're the only people that listen to my music, that'll be fine, because those people are who I make my music for," he says. "And I just feel very honored to be able to represent them in country music."

Meet Levi Platero, A Formidable Guitarist Bringing Blues-Rock To The Navajo Nation

As soon as Knox heard an Ed Sheeran song, something clicked.

"When Multiply came out [in 2014]," he recalls, "I was like, 'Dude, I swear, if I learned how to play acoustic guitar, I feel like I could write songs like this."

Within the next few years, the pop singer/songwriter was following in Sheeran's footsteps, honing his songwriting skills and performing anywhere around his college town that would let him ("I played in a Jimmy John's, like, 15 times," he says with a laugh). But while the redheaded Ohioan struck an uncanny resemblance to the English superstar, Knox knew he was more than an Ed Sheeran impersonator — so he dropped out of school, and later moved to Nashville in 2019.

Ironically, the sound Knox would soon shape sounded nothing like his fellow ginger-haired singer. Growing up on the music of Fall Out Boy, Green Day and the All-American Rejects, Knox (whose birth name is Knox Morris) merged his pop-punk roots with the clever songwriting that first inspired him to pursue music. And now, he's a star in his own right.

Knox's knack for wordplay and catchy hooks has helped his career take shape in a way he never expected, from TikTok stardom to a deal with Atlantic Records — which happens to be home to Sheeran. Like his labelmate, Knox's humility and hard work has propelled him, but it's his upbeat pop-rock anthems that have kept fans coming back for more.

Knox's debut album, Going, Going, Gone, perfectly captures the essence of his artistry. Its 16 tracks are full of playful lyricism with relatable sentiments and touches of self-deprecating humor, topped off with bouncy melodies and soaring guitar riffs. No matter if he's talking about an ex who tainted all of his favorite things ("You Happened") or a girl who's "probably gonna ruin my life" ("The DJ"), he does so with an infectious energy and a smile.

With lyrics so personal, perhaps the most surprising part of Knox's story is that he didn't move to Music City to become an artist; he was ready to devote himself to the art of songwriting. But after he penned a song called "Sneakers" in 2022, he began to realize that the best person to sing his songs was himself.

Not only did "Sneakers" make the rounds on TikTok — with one video garnering nearly two million views overnight — but it caught the attention of one of Knox's favorite bands, pop-rock trio the Band Camino. Within two months of his first TikTok post, Knox was opening their sold-out shows of over 1,000 people.

"I was getting on stage being like, 'Hey, I'm Knox. I have one song out. None of you know who I am, but all of these songs come out in January. I hope you like them,'" he remembers, also noting alt-pop act Bilmuri's early support. "I know so many people that have had way bigger TikTok moments than I have ever had, but they can sell, like, 10 percent of the tickets that I can… That's where I got a real-life fan base."

By the summer of 2023, Knox was in full-fledged artist mode. He released his debut EP, How To Lose A Girl in 7 Songs, in February, and followed up with two pivotal releases: an acoustic version of his objective breakup track "Love Letter" and chant-along single "Not the 1975." While he still believes the former is the "best song I've ever written," the latter became his mainstream breakthrough.

Along with reaching No. 17 on Top 40 radio and racking up more than 32 million global streams to date, "Not The 1975" helped Knox check off more milestones throughout 2024, including his first headline tours and festival slots. But as his fan base continued to grow both in the live space and online, Knox slowly realized that the music he was making began to suffer.

"All of the songs that I put out last year… those were all supposed to be songs that were on the album," he admits. "I'm not saying those are bad songs. They're still a part of my live set, they are a part of me… But I just felt like, I'm making this hoping it goes viral." 

A turning point came with a racing track called "Pick Your Poison," which became the first release from Going, Going, Gone in January. "One of the videos did, like, 700,000 views, which is the most I've done in a year and a half," he says. "It's so crazy how that works, when you just focus on music you love."

The rest of the album is a mix of the themes Knox has always brought into his music — whether it's cheeky takes on love gone wrong ("Happy Ever After All"; "Going, Going, Gone"), vulnerable tales of heartbreak ("50/50"; "A Heart Still Breaks") or anthemic self-reflections ("Head First"; "Win Some, Lose Somebody"). And while Going, Going, Gone is an extension of what he's done from the start, Knox asserts that the album helped him truly find his groove.

"I'm confident in what they are… and I don't think I was capable of making anything better than what I made," he says. "I've already been working on some new stuff, and I'm like, s—, this is better," he adds with a laugh, "but I'm focused on Going, Going, Gone right now, so I'm gonna stay in the moment."

With his upcoming headlining tour plotted and his next project already in the works, Knox is excited to continue growing the success and the following he's built. At the same time, though, the 27-year-old is already envisioning life as a dad ("If I wasn't an artist, I would have a kid right now," he says), and his future as an artist — which may be a little more short-lived than his fans would hope.

"I'm not going to be 36 with kids singing 'Sneakers' on stage. It ain't happening," he quips. "So I'm going to enjoy this while I can. Then I'm going to go back to making music for others… I want to take everything that I've learned from this, and I want to teach people how to do it even better.

"I hope in the next six, seven years, however long it is, I can live out every dream that I've ever wanted," he continues. "But at the end of the day, with the exception of a stadium show, I've pretty much done all the things that I never even thought I would do."

Of all the mind-blowing moments thus far, some of the most meaningful have come from those who Knox admires most — from a DM from Fall Out Boy's Pete Wentz to recognition by the lead singer of Hawthorne Heights. He's even met the man who helped start it all, Mr. Sheeran ("Him and I just talked about the Boston Celtics for 30 minutes," Knox recalls).

Whatever feats Going, Going, Gone brings, the singer/songwriter insists that he will always remember the starry-eyed kid that moved to Nashville hoping to make it in the music industry. And while it's not where he expected to be six years after his leap of faith, he's happily settled into being Knox the artist.

"It took a while, but it definitely is set in [that I'm an artist]. And honestly, it's the coolest s— ever," he says. "I swear, from the bottom of my heart, I did not see this coming. I feel like the universe has kind of gifted me this, and because of that, I take it so seriously... I'm never gonna take it for granted."

Coachella is just around the corner and even if festivals aren’t your scene, it’s hard to deny that the 24th Coachella Valley Music and Arts Festival has a little something for everyone. The 2025 edition of the fest will be held in Indio, California at the Empire Polo Fields over two weekends (April 11-13 and 18-20) and promises to be an event for the ages — for a multitude of reasons. 

To begin, fest organizers nailed it with the headliner formula. Among the landmark performances is Lady Gaga, who kicks off a run of dates behind just-released album Mayhem on Friday night, providing a preview of what’s to come for her legions of Little Monsters. Her performance holds even more significance as it will be her first fully realized Coachella headline set; her 2017 stand-in for then pregnant Beyoncé was relatively last-minute while this one arrives with months of planning, sure to be spectacular. 

Read more: 2025 Music Festivals Guide: Lineups & Dates For Coachella, Bonnaroo, Lollapalooza & More

As with the past two years, West Coast rock legends will grace the main stage. It happened by accident in 2023 when Blink-182 stepped up to fill Frank Ocean’s shoes on the final Sunday, satisfying both nostalgia and a burning thirst for the return of rock headliners. No Doubt (technically not a headliner, but practically one given the audience they drew) reaffirmed the strategy in 2024. And this year it’ll be Green Day, who reliably draw rabid fans from every generation. To boot, the band is currently on a victory lap celebrating 30 years of Dookie and 20 years of American Idiot, which they’ve played in full. 

While Green Day sits atop Saturday’s lineup on the poster, the night will be closed by Travis Scott. The rapper conceived an installation near the Sonora tent, which will “curate a Cactus Jack takeover as part of ‘a fully immersive and experiential world within the desert’,” according to a representative who talked to Complex.

Post Malone will close out both Sunday nights — a grand finale that's likely to be peppered with enough starpower to spark a supernova. Post has so many hits and collabs (see his work with Future and the surviving members of Nirvana, backup vocals for Taylor Swift and crooning twangy tunes with Jelly Roll) and previously brought out Ty Dolla $ign and 21 Savage when he closed out the Sahara tent in 2018. Who knows what he’ll bring to the Chella main stage Sunday night.

And that's just the big text. Skip to the second line and Coachella's lineup just gets better and more diverse: you’ve got the First Lady of Rap, Missy Elliott on Friday, the queen Brat herself, Charli xcx, plus punk rock progenitors the (original) Misfits on Saturday, and head honcho hot girl Megan Thee Stallion on Sunday. 

Learn more: Meet The Coachella Die-Hards: 5 Super Fans You'll Find In The Desert

And of course, so much more amongst the lineup’s undercard. That realm is often where some of the weekend’s biggest moments occur: with the up-and-comers, the scrappy garage bands in Sonora, the underground EDM wizards and international breakouts ready to make their first mark in the States. Read on for a rundown of 11 must-see acts embedded in the Coachella lineup’s smaller print.

Lisa and Jennie

Two years after making history as the first K-pop group to headline Coachella, BLACKPINK is, once again, in your area. At least, half of the fearsome foursome — Lisa and Jennie — will return to Indio for respective solo sets on Friday and Sunday of both weekends. The former released her first solo album, Alter Ego, on Feb. 28, and Jennie’s full-length, Ruby, arrived precisely one week later, both debuting at No. 7 on the Billboard 200. 

True to their styles within the framework of BLACKPINK, the albums lean heavily on hip-hop and feature a slew of guests: Rosalía, Raye, Doja Cat, Future and Megan Thee Stallion on Alter Ego; and Childish Gambino, Kali Uchis, Dominic Fike, Doechii, Dua Lipa and FKJ on Ruby. As most of those artists are Coachella alumni, it stands to reason that both sets could be loaded with killer cameos.

Learn more: Breaking Down Every Solo Act From BLACKPINK: From LISA's "Money" To JENNIE's 'Ruby'

Gustavo Dudamel and the Los Angeles Philharmonic

GRAMMY-winning conductor Gustavo Dudamel is poised to make history by bringing the LA Phil to Coachella on April 12 and 19, marking the first time an orchestra will perform its own set at the desert fest. While past performers like Hans Zimmer featured an orchestra, this will be the first appearance by a fully insular organization.

As there’s no precedent and few details announced, speculation abounds for what the performance might entail. Dudamel’s resumé — which spans his 15-plus years as music director for the renowned orchestra — also includes collaborations with the likes of Billie Eilish, Ricky Martin and Christina Aguilera, suggesting that the set may transcend a merely classical configuration.

Pete Tong x Ahmed Spins

What happens when one of the world’s most iconic DJs joins forces with a rising star nearly four decades his junior? It’s anybody’s guess, but Coachellans will be the first to find out on April 11 and 18 when Pete Tong links up with Ahmed Spins. The former is a fixture of the Ibiza and Miami DJ scenes, and an instrumental figure in cementing the EDM as a cornerstone of BBC Radio 1 since becoming host of multiple shows on the station in the early ‘90s. Meanwhile, the 26-year-old Moroccan (real name Ahmed Akhannouch) is a newcomer, whose 2022 Anchor Point EP has surpassed 100 million streams on Spotify. That release, which leans heavily on deep and Afrohouse music, drew the attention of Tong, who included Ahmed on his best of 2023 Hot Mix.

The upcoming live collaboration suggests Tong has taken Akhannouch under his wing, perhaps positioning the young DJ/producer as a new global ambassador for contemporary EDM that retains a classic vibe. Whether the set takes place in the massive Sahara tent or within the intimate confines of the Yuma tent, this spotlight on a veteran paired with a veritable prodigy at one of the world’s most prestigious festivals is an essential addition to your schedule.

Darkside

When Darkside — the brainchild of Chilean American composer and musician Nicolas Jaar and his multi-instrumentalist touring mate Dave Harrington — first emerged in 2011, there was no indication that the band would become more than a side project. Jaar was already considered an enigmatic experimental electro fixture for his landmark debut Space Is Only Noise and well on his way to forge a robust solo career. Indeed, their stint proved short-lived – the group announced an indefinite hiatus three years later with one full-length album, Psychic, under their belt.

To the delight of fans who’d experienced the psychedelic splendor of their live shows — which often featured mind-bending optical elements like a circular mirror that at once absorbed and reflected light akin to some portal to a heavenly plane — Darkside unexpectedly returned to the limelight with new music in 2020. The following year, they released sophomore album Spiral. 

Though they’ve played overseas since, their Coachella performance is Darkside's first Stateside tour in 11 years. Their Saturday sets come hot on the heels of third album Nothing (released Feb. 28), which added drummer Tlacael Esparza to the mix. The trio’s Soundcloud describes the record as "nine transmissions of negative space, telepathic seance, and spectral improvisation … a search for form borne out of spontaneous elliptical jams, acoustic riffing, and digital levitations [featuring] serpentine guitars, extraterrestrial static, and cavernous drums." In short, the ideal desert trip.

The Dare

Under the guise of the Dare, singer and musician Harrison Patrick Smith produces music that is simultaneously playful and polished, groovy and goofy, and overall guaranteed to start a party. The infectious vibes shine through on 2024 debut album What’s Wrong With New York?, particularly on lead single "Girls," a 2-minute banger that echoes the styles of LCD Soundsystem and other distinctly NYC-bred dance rock outfits.

Smith’s rise over the past year has been meteoric. He joined Charli xcx as opening act for several dates of her Brat tour and produced the album’s deluxe edition track "Guess," plus a remix of the song featuring Billie Eilish. It bodes well that the Dare and Charli are both scheduled for Chella performances on April 12 and 19, and Eilish has a penchant for making surprise appearances at the fest. 

Glass Beams

Counter to the wave of rock-oriented Australian artists currently crashing into U.S. shores, Glass Beams arrived as a gentle, meditative tide. Conceived by Indian Australian multi-instrumentalist and producer Rajan Silva (who plays drums in the three-piece band), Glass Beams offers hypnotizing, psychedelic grooves. Their songs are purely instrumental save for softly sung, wordless melodies and bewitching chants (think Khruangbin with more distinctly Eastern overtones).

Of the three live musicians, only Silva’s identity is known, and all of them wear ornate masks woven of what look like gold and diamond jewels, adding another layer of mystique to the already enthralling sonics. Glass Beams have become a staple at festivals since releasing their debut EP Mirage (2021) and full-length Mahal (2024), but it’s hard to imagine a more perfect setting than the desert landscape of Coachella. Here’s hoping they score a golden hour time slot to complete the dazzling display when they arrive April 12 and 19 for their debut at the fest.

Beth Gibbons

It’s been nearly two decades since Beth Gibbons has graced a Coachella stage. The last time was with Portishead in 2008, a performance that is among the festival's most legendary, both for its rarity (one of a tiny handful of U.S. fest appearances the band ever did) and larger-than-life presentation.

Gibbons returns April 12 and 19 to perform selections from her debut solo album Lives Outgrown, a hauntingly beautiful tapestry of grief-stricken yet life-affirming songs released last year. It feels unlikely that the production will match the epic heights of the storied Portishead set, but why should it? This is Gibbons in her most vulnerable and evolved form, an occasion that calls for the intimacy of something more stripped down. Added to that, it’s one of only a baker’s dozen of U.S. shows (and the final tour dates to boot), so there’s no argument against its making an historic impact. 

Clairo

If you’ve caught one of Clairo’s shows supporting her GRAMMY-nominated album Charm, you know that she’s having a huge moment. Fans emphatically sing back every word of each song, and her stage presence is overflowing with a captivating confidence that makes her somewhat timid demeanor of past tours seem like a distant dream. 

If you haven’t witnessed this pivotal shift, Clairo's return to Coachella on April 12 and 19 will be the ideal opportunity. It’s hard to imagine she won’t graduate from her Mojave tent placement in 2018 to at least the Outdoor Theatre – one of her biggest fest appearances yet and a fitting platform for an emerging queen of boldly soulful and jazz-imbued indie-pop. These are also two of the final eight dates on this jaunt, so whether you’re a diehard fan or merely a curious live music lover looking for a surefire stunner, attendance is critical.    

Amyl & the Sniffers

Coachella isn’t sleeping on one of Australia’s most ferocious punk rock exports. After a 2022 showing in the Sonora tent (rescheduled from the canceled 2020 edition), Amyl and the Sniffers are already headed back to Indio for appearances on April 13 and 20. It’s no wonder considering their momentum: three albums released since 2019 (the latest, Cartoon Darkness, dropped last October) and relentless touring, including opening slots for Green Day, Weezer, Smashing Pumpkins and Jane’s Addiction.

The band’s onstage antics are as unyielding as their work ethic, and they’re every bit authentic – as snotty, raw and rowdy as punk rockers come (they don’t hold back in their songwriting either … see latest single "Jerkin’"). Namesake Amyl Taylor is a certified wild woman; the type to get a bloody nose mid-show and continue to snarl, thrash and crowdsurf while her mullet-headed band mates beat and shred the hell out of their instruments without skipping a beat. Any venue they touch transforms into a garage show riot. So, regardless of which stage they land on, Coachella should be no different.

Rema

Nigerian singer and rapper Rema has released just two albums – 2022’s Rave & Roses and last year’s GRAMMY-nominated Heis — and is already being heralded as one of the chief innovators and global ambassadors of Afrobeats. Part of his exposure to the world stage came from a collaboration with Selena Gomez on a remix of his 2022 single "Calm Down," but since then he’s single handedly carved out a space among popular music for himself and his Afrobeat peers.

Rema will make his Coachella debut on April 13 and attendees need only look to his appearance at the 2024 BRIT awards for an indication of what he plans to bring to the desert. During a performance of "Calm Down," Rema was backdropped by an elaborate stage setup, and flanked by a full band and highly choreographed and costumed backup dancers. It was the type of meticulously thought-out visionary production you might see on an even larger scale at some of Coachella’s most memorable tailormade sets. The bar is set, and odds are Rema will raise it higher.

Consider spring officially sprung: March has given way to April, and the first week of the new month is jam-packed with albums, EPs, singles, and surprises of all kinds.

Among the new album drops, Grace Vanderwaal proves she's all grown up on her sophomore full-length CHILDSTAR; Black Country, New Road unveil their first LP sans former frontman Isaac Wood with Forever Howlong; DUCKWRTH proudly declares himself to be an All American F*ckboy, Knox releases his debut with Going, Going, Gone and Sleigh Bells reclaim their noise-pop throne with Bunky Becky Birthday Boy.

Meanwhile, the week's plethora of new tracks includes PinkPantheress' clubby "Tonight," Lainey Wilson's rollicking "Bell Bottoms Up" and G-Eazy's NSFW "Fight & F—." Plus, HAIM follows "Relationships" up with "Everybody's trying to figure me out," Rod Wave drops "Sinners," Sexyy Red gets braggadocious on "Hoochie Coochie" and Wet Leg is ready for a fight on "catch these fists."

Below, press play on 10 other releases perfect for soundtracking your weekend, including the start of new musical eras for Miley Cyrus, Ed Sheeran and Laufey, a live cut Gracie Abrams fans have been begging for, a collaborative album between Elton John and Brandi Carlile, and more. 

Read More: 15 Must-Hear Albums In April 2025: Wu-Tang & Mathematics, Roddy Ricch, Grace VanderWaal And Others

Something Beautiful is on its way from Miley Cyrus. After dropping album cuts "Prelude" and the title track earlier in the week, the superstar has released "End of the World" as the first official single from her upcoming ninth studio set.

The trailer for Something Beautiful — which is scheduled to arrive in full on May 30 via Columbia Records — heralds the project as a "one of a kind pop opera" from the mind of the three-time GRAMMY winner. To that end, the music video for "End of the World" is a gauzy, dream-like fantasia that finds Cyrus strutting around a soundstage in a gorgeous emerald mini-dress as she convinces a lover to "pretend it's not the end of the world" in between references to Paul McCartney, Picasso and Malibu sunsets.

Watch: Miley Cyrus' Evolution From Teen Idol To Boundary-Breaking Superstar | Run The World

Just in time for their upcoming set at Coachella, The Marías have dropped their new single "Back To Me" as well as a surprise B-side, "Nobody New."

The former is a haunting torch song aimed at a lover who's moved on to the next girl, with frontwoman María Zardoya coolly intoning, "Maybe it's over/ It's hard to accept/ As I'm getting older/ Full of regrets" before questioning, "Is she all that you want?/ Is she all that you need?/ I'd be there in a hurry/ Baby, come back to me."

Meanwhile, the latter acts as a wistful counterpoint, with Zardoya vowing her devotion in both English and Spanish as she sings, "Baby, I promise there's nobody new/ I'm being honest/ There's no one like you" over quavering synths and a downcast beat.

Ed Sheeran kicks off a new chapter of his record-breaking career with "Azizam," the lead single off his recently announced eighth album, Play.

The title of the song is taken from the Persian word meaning "my dear" or "my beloved," and the superstar practically radiates joy as he melds together Persian and Irish folk influences. "Azizam/ Meet me on the floor tonight/ Show me how to move like the water/ In between the dancin' lights/ Be mine, be mine, azizam," the four-time GRAMMY winner sings on the chorus.

The accompanying music video documents Sheeran's recent travels building buzz for the carefree single, including stops at "The Tonight Show Starring Jimmy Fallon," a New York City bodega and the Ipswich Town Football Club stadium in his U.K. hometown — all with a pink, heart-shaped balloon as his trusty companion.

On her new single "Silver Lining," Laufey admits to "staring into the abyss" of an intoxicating love. But rather than get scared off, she's ready to dive in headfirst. 

The jazz-pop sensation is all in no matter the consequences on the dreamy waltz, confessing, "So I propose, it's long overdue/ When you go to hell, I'll go there with you too/ And when we're punished for being so cruel/ The silver lining's I'll be there with you."

The deliciously devilish track comes complete with a music video that finds the Icelandic GRAMMY winner attending an old-fashioned dance, surrounded by masked party goers as she twirls through the room in her iridescent party dress. Frankly, purgatory never looked — or sounded — so inviting.

Nearly a month after debuting "Death Wish" at her headlining show at London's famous O2 Arena, Gracie Abrams has gifted fans with a live recording of the performance.

"But how will it end?/ How long will you give me?/ 'Til you twist the knife with a smile while you kill me/ And you ask me to dance if there's someone around/ You don't look the same when I look at you now," the two-time GRAMMY nominee sings over spare piano chords on the ballad. 

Abrams will continue The Secret Of Us Tour through Aug. 27, stopping through Asia, Australia, New Zealand, and the Europe festival circuit before returning to North America to headline iconic venues like New York City's Madison Square Garden and Red Rocks Amphitheatre in Colorado.

Read More: The Psychology Of "Sad Girl" Pop: Why Music By Billie Eilish, Gracie Abrams, Olivia Rodrigo & More Is Resonating So Widely

K-pop act xikers continue their HOUSE OF TRICKY series — which began in 2023 with the release of their debut EP, HOUSE OF TRICKY: DOORBELL RINGING — with HOUSE OF TRICKY: SPUR, the K-pop boy band's fifth mini-album in two years.

The five-track project contains songs like frenetic single "BREATHE," opener "You Hide We Skee" and the shout-ready "HIGHWAY," and is the first release by the group to feature member Junghoon since the vocalist was sidelined in May 2023 due to a ligament injury and subsequent surgery. 

Read More: 8 Rookie K-Pop Acts To Watch In 2025: ARTMS, NEXZ, MEOVV & More

Skrillex — 'F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3'

This is not an April Fool's joke! Skrillex surprised fans by leaking his new album, the cheekily titled F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3, to his entire mailing list a full 14 hours before it was officially released on April 1.

The album marks an exciting return to the nine-time GRAMMY winner's dubstep roots and, unlike his previous studio albums like 2023's Quest For Fire and Don't Get Too Close, is presented as one continuous mix hosted by producer Dj Smokey. In addition to narration by Shadoe Haze, the rapid-fire full-length features a litany of collaborators like HAWAII SLIM (early highlight "SPITFIRE"), Boys Noize and Dylan Brady ("ZEET NOISE") and Jónsi ("LOOK AT YOU") on a collection of previously unreleased tracks dating back to 2010. 

Read More: How Skrillex & Fred Again.. Became Dance Music's Favorite Friendship: A Timeline

Eladio Carrión's last album, 2024's Sol María, earned the Latin trap star his very first No. 1 on the Latin Pop Airplay chart thanks to hit single "TQMQA" — not to mention his third Latin GRAMMY nomination for Best Urban Music Album. Now, just over a year later, he's back with his sixth studio set, DON KBRN.

Preceded by swaggering lead single "H.I.M," the 22-track LP is filled with a wide array of diverse guests, from Myke Towers ("Vetements") and Jessie Reyez ("Call My Line") to Peso Pluma ("Tiffany"), Big Sean ("Branzino"), Neutro Shorty ("Broly") and more. 

Watch: Eladio Carrión, Quevedo & Myke Towers Perform At The 2024 Latin GRAMMYs

BigxThaPlug and Bailey Zimmerman join forces for a genre-busting collaboration in the form of new single "All the Way."

The Texas rapper calls a relationship quits on the song's verses over a plucky guitar line before tossing the mic to the country chart-topper to deliver the kerosene-fueled hook: "Burn all the bridges/ Don't ask forgiveness/ Walk away like I'm someone you hate/ Don't let me down easy/ If you're gonna leave me/ Baby, go and leave me all the way."

Fresh off debuting several tracks during a special night at The London Palladium, Elton John and Brandi Carlile have unveiled their collaborative album, Who Believes In Angels?.

The LP is a true back-and-forth between the two close friends, who crafted the unique project with help from producer and co-writer Andrew Watt and Sir Elton's longtime creative partner Bernie Taupin. Recorded in just 20 days at Los Angeles' Sunset Studios, the double LP also features backing from an all-star band that includes the likes of Red Hot Chili Peppers' Chad Smith, Nine Inch Nails' Pino Palladino and Pearl Jam's Josh Klinghoffer. 

Who Believes In Angels? will also be accompanied by the short film "Who Believes In Angels? Stories From the Edge of Creation," which is set to premiere via YouTube on April 5 at 3 p.m. ET/12 p.m. PT.

For 50 years and counting, Randy Travis has been a force in country music and beyond. A seven-time GRAMMY winner and Country Music Hall of Fame inductee, the singer/songwriter has delivered some of the genre's most timeless hits, including No. 1s  "Forever and Ever, Amen" and "I Told You So," and inspired countless stars from Josh Turner to Carrie Underwood.

Outside of his impact on country music, Travis — who suffered a life-altering stroke and the onset of aphasia in 2013 — has also dedicated his platform to protecting artists' rights, fair compensation and the ethical use of AI in music. And on April 8, Travis will be honored for his efforts at the 2025 GRAMMYs on the Hill Awards in Washington, D.C.

"At this point in my life, I am fully focused on living and giving back," Travis said in a statement to the Recording Academy. "I've been part of the music community my whole life, professionally for 40 years. I am passionate about advocating to keep music an honest pursuit of art and human expression. While I remain excited about new, cutting-edge technologies, we must protect, and fairly compensate, the creative minds that give us the music — and art — that feeds our souls."

Following the awards ceremony, Music's Biggest Week in Washington D.C. will continue with GRAMMYs on the Hill Advocacy Day on April 9 followed by GRAMMYs on the Hill Future Forum on April 10.

This year, GRAMMYs on the Hill will unite congressional leaders and music makers to champion creators' rights and advocate for the key legislative priorities impacting the music community — like the bipartisan Help Independent Tracks Succeed (HITS) Act and the NO FAKES Act — and the preservation of continued federal support for the arts. 

Below, dive into four ways Travis has been an advocate for change in the music industry over his long and inspirational career, from political advocacy on Capitol Hill to giving back through his own charitable foundation and more. 

Ahead of GRAMMYs On The Hill 2025, join us in advocating for a future that prioritizes human artistry. Contact your representatives and urge them to support the HITS Act, the NO FAKES Act, and increased arts funding. Download our official GRAMMYs On The Hill social media toolkit and join the conversation online.

Read More: What To Know About GRAMMYs On The Hill 2025: Key Bills, Honorees & How You Can Support Music Creators

Advocating For Fair Artist Compensation Before Congress

Music's Biggest Week in Washington, D.C., isn't the first time Travis has headed to the nation's capital. In the summer of 2024, he testified on Capitol Hill in support of the American Music Fairness Act (H.R. 791), which seeks to protect artists by requiring AM/FM radio stations to compensate both songwriters and performers with royalties any time their songs are played on the air.

With his wife Mary speaking on his behalf, Travis testified before the House Judiciary Committee's Subcommittee on Courts, Intellectual Property and the Internet. "What would sheet music sound like without a voice, and what would radio sound like without a song," Travis' wife said in their testimony. "This piece of legislation is essential to correct a 100-year-old issue regarding artists and nonpayment for their work performed on the most prominent music platform in America — one of which they helped to build and sustain."

Following Travis and his wife's testimony, a new version of the bill (H.R. 861) was introduced into Congress on Jan. 31. 

Responsibly And Ethically Harnessing The Power Of AI For Good

Eleven years after suffering the stroke that rendered him virtually speechless, Travis used advances in AI technology to bring back his famous voice on the 2024 single "Where That Came From." 

Using a proprietary AI model, producer Kyle Lehning utilized vocal stems recorded by Travis from 1985 to 2013 to recreate the singer's one-of-a-kind voice. Then, he overlaid the AI-rendered vocal onto a demo of "Where That Came From," recorded by Travis' longtime touring partner James Dupré, to create the final product.

Debuting at No. 33 on Billboard's Hot Country Songs tally last May, "Where That Came From" served as the country star's first release in more than a decade and, according to Mary Travis, marked "the first song ever recorded and released with full artist consent and involvement in a studio setting" using artificial intelligence.

Travis and his wife have since spoken out about the importance of ethical use of AI in the music industry, telling “Good Morning America” in June 2024, "This is good AI, but there is bad — no, there's terrible — AI out there, and it's increasing exponentially daily."

Supporting The Troops Through Music

Travis has been a longtime supporter of the brave men and women of the U.S. military, embarking on five different USO tours throughout his long career. In 1992, the singer was officially recognized by the USO for his dedication to the troops and was honored with the Bob Hope Award for Entertainment, which is presented by the Congressional Medal of Honor Society to artists who "through their life's work in the entertainment industry, have distinguished themselves by outstanding service to or positive portrayal of the United States Military."

Providing At-Risk Kids With Music Education

Travis launched the Randy Travis Foundation in the wake of his life-changing stroke in 2013. According to its official mission statement, the country singer's namesake nonprofit organization champions two causes close to the country singer's heart: "finding a cure for viral cardiomyopathy along with providing opportunities for at-risk children to participate in arts and music programs." 

In a 2023 interview with Digital Journal, the star spoke about the crucial role music can play in a child's life: "I think of where we would be without the music of so many great artists, and that's how they learn…through music and through art.

"We want to make sure that every child that wants to learn music can learn music, and we can start in our community and then grow from there," he added. "Whatever we can do to help matters."