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February marks the official kick-off to new music this year. Headlining this month’s most anticipated album drops are Roddy Ricch’s “THE NAVY ALBUM,” Tate McRae’s “So Close To What,” and Lisa of Blacpink’s “Alter Egos.” Ricch, who hasn’t released an album in nearly three years, has kept his “next in rap” crown intact through star-studded collaborations with Kendrick Lamar, Gunna, and Future. Meanwhile, McRae’s new era is a bit more possessive of her previous bodacious and bratty radio juggernauts first seen on 2023’s “THINK LATER.” For her solo debut, Blackpink’s Lisa polishes her Korean hip-hop swagger and killer choreography for a more Western pop appeal, perfectly executed on her Tokyo Drift-esque single “Rockstar.”

February also welcomes long-awaited comebacks from a diverse roster of talent. Oklou, the French avant-garde visionary, returns with the icy pop textures of “choke hold” after five years. Mallrat delivers touching hyperpop-tinged indie with “Light hit my face like a straight right,” and The Lumineers embrace a more outward expression of their Americana-inspired alternative sound with “Automatic.” Other notable releases include Inhaler’s daring “Open Wide,” The War and Treaty’s heartfelt “Plus One,” and Sam Fender’s reflective indie-rock offering “People Watching.”

On the horizon, Blackpink’s Jisoo will release her solo mini-album, “Amortage,” on February 14. The news coincides with her starring role in Prime Video’s “Newtopia” series, set to premiere a week prior on February 7. Fans can also look forward to a powerhouse collaboration between Blackpink’s Lisa, Doja Cat, and Raye, dropping February 6. Meanwhile, Lady Gaga is expected to surprise her Little Monsters with an official announcement of LG7 later this month, currently championed by the masterful electroclash single “Disease.”

Ahead, check out the most anticipated music releases of February.

“Open Wide” by Inhaler

Releases on February 7

“‘Open Wide’ was originally a short electronic house demo that was lying around in our graveyard. We loved the bass line and the ‘four-to-the-floor’ kick on it,” vocalist-guitarist Elijah Hewson says about the eponymous album track, an excerpt from the Irish quartet’s daring new era– a driving indie-rock epic mixing yearning hooks, expansive guitar lines, and Balearic-style percussion. “Open Wide” was largely produced by the legendary Kid Harpoon, who’s worked with Harry Styles, Florence & The Machine, Shakira, HAIM, Shawn Mendes and more.

“choke enough” by Oklou

Releases on February 7

PC Music disciple Oklou returns after five years with another trance-heavy tale.“‘Choke enough’ is a very intense album for me,” the French artist reveals. “It’s filled with directions, tentatives, and irregularities, reflecting on my last years on this planet as my heart and conscience have really decentered from myself.” Past singles like “family and friends,” “obvious” and the Bladee-guested “take my hand” feather Oklou’s new soundscape in dreamy minimalism with pockets of electronic-powered futuristic ambiance.

“Love & Hyperbole” by Alessia Cara

Releases on February 14

“I’m so happy to finally share this with you, and I can’t wait for you to hear the rest of what I feel is my best work to date—or at least my personal favourite,” the Grammy winner shared on Instagram, announcing her fourth studio album under Def Jam Recordings. From the crisp trumpets of “Dead Man,” painting an already-over relationship to the sunny, jazz-influenced meditation of “Slow Motion,” all the singles hint at a back-to-basics pop-R&B, blending the ingenuity of 2016’s “Know-It-All” with notes of heartache and resilience, and musical maturity.

“Automatic” by The Lumineers

Releases on February 14

In celebration of founding members Wesley Schultz and Jeremiah Fraites’s 20-year partnership, the alternative Colorado-based band will release their fifth album, which “explores some of the absurdities of the modern world,” according to their official announcement. Featuring standout tracks like “Same Old Song” and “Asshole,” the album merges personal struggles, humor, and a hearty, radio-friendly Americana sound– a decade-old signature of The Lumineers. “People who think they have our number, they’ll be surprised,” says Fraites, hinting at the band’s ongoing artistic evolution.

“Light hit my face like a straight right” by Mallrat

Releases on February 14

The princess of Brisbane is back with her sophomore album, a glowing salute to indie pop and dewy hyperpop tendencies, following star-making performances alongside Post Malone, Maggie Rogers, and Conan Gray. While her whimsical ballad “Horses” reflects on tender memories with her younger sister, the album’s release was ultimately delayed due to her sudden passing. The 26-year-old told The Guardian that her music always “possessed unprecedented wisdom” like “a scrapbook of life, [it’s] about everything and nothing.” Seven months later, the completed project, including poignant singles like “Ray of Light” and “Pavement,” now take on a new resonance.

“Plus One” by The War and Treaty

Releases on February 14

After a year of touring with Chris Stapleton and Zach Bryan, the Grammy-nominated country duo is releasing 18 life-affirming tracks that highlight the married couple’s staple togetherness while embracing themes of hope, healing, and joy. “One of our main intentions with this album is to inspire people to share themselves with others and open themselves up to the possibility of being loved,” Michael Trotter Jr. shares. The album’s nexus points include “Love Like Whiskey,” a soul-soothing portrait of a love strong enough to overcome any obstacle, co-written by the Trotters and Miranda Lambert, and the wildly ecstatic “Called You By Your Name,” a breakneck-paced rallying cry influenced by the Black gospel tradition of shout music.

“THE NAVY ALBUM” by Roddy Ricch

Releases on February 21

“[Fans] They’re gonna get a real experience, almost like a soundtrack [or] movie experience of what my life is like,” the Compton rapper told Apple Music about his upcoming project. Following the milestone of hit single, “The Box,” finally surpassing 2 billion streams on Spotify and a highly-coveted collaboration with Kendrick Lamar on his critically acclaimed album, “GNX,” Ricch is ready to set new records with “THE NAVY ALBUM.” Blending melodic drill-trap and his signature groggy autotune, Ricch enlists producer Terrace Martin to lay some jazz influences on his latest single “Lonely Road” as he is set to deliver his most honest record yet.

“So Close To What” by Tate McRae

Releases on February 21

Ever since “greedy,” an aura of star power has washed over Tate McRae–from her glossy hairography and smoldering smizes to her baby-drooled voice and “love ‘em and leave ‘em” pop anthems. McRae isn’t quite Britney Spears level, but the sultry whisperings of “Sports car” are proof of another music supreme on the rise.

The first glimpses of her junior effort are heel-crushing perfection. Plunging deep into Hollywood’s music iconography of today, McRae enlists Grammy-winning producer Ryan Tedder and nominee IYLA to whip up modern-day classics that shed her “good girl” image even more– starting with the strip-teased, trip-hop-inspired “it’s ok i’m ok” to the sizzling R&B-pop of “2 hands.”

“People Watching” by Sam Fender

Releases on February 21

Still riding the high from his 2024 Noah Kahan collaboration folk-pop on “Homesick,” the English singer-songwriter readies for his first album in three years. The eponymous title track foreshadows the acoustic-driven rock direction of “People Watching,” as the lead single reflects his inner thoughts while watching a mother figure pass away.

In a press release, Fender promises the record will provide “colourful stories and observations of everyday characters living their everyday, but often extraordinary, lives.” Describing this latest single, “Arm’s Length,” Fender shares that the track “originally came from one of those magic moments where you’re just messing around, and a song literally falls out of the sky. It’s about being avoidant and flighty. But also, just a simple pop song, which I love.”

“Alter Ego” by LISA

Releases on February 28

The ex-Blackpink member first made solo headlines when the Rihanna-interpolated “Rockstar”’ dominated YouTube with an astounding 32.4 million views within a day, marking the biggest 24-hour debut for a K-pop soloist on the platform. Following this success, the Rosalía-assisted “New Woman” and the Sixpence None the Richer-sampled “Moonlit Floor (Kiss Me)” shattered similar records of their own. Now, the “MONEY” singer unveiled her highly anticipated solo project, inspired by her five alter egos– Roxi, Kiki, Vixi, Sunni, and Speedi– whose tracks are said to channel the eclectic energy of M.I.A. and “Loose”-era Nelly Furtado.

“Club Shy Room 2” EP by Shygirl

Releases on February 28

For the surprise installment to last year’s club-ready extended play, the English DJ-producer enlists higher-caliber talent, including Saweetie (“Immaculate”), French rocker Yseult (“F*Me”) and PinkPantheress and Isabella Lovestory (“True Religion”), to outdo last year’s deep-house foray. Think of “Club Shy Room 2” as within the same timeline as Charli XCX’s “Brat” and the strobe-like “365” remix, but with an electronic sound that’s light years ahead.

February is here, and this month’s cinematic lineup is ready to heat up the winter chill. Whether you’re craving romance, a heart-pounding Stephen King adaptation, Marvel’s latest superhero blockbuster, or another Barry Keoghan-led feature, February has something for every moviegoer.

Leading the charge are gripping thrillers like “Bring Them Down,” featuring Keoghan and Christopher Abbott in a bloody generational feud, and “Heart Eyes,” a Valentine’s Day slasher that pits Olivia Holt against a lovesick killer. For fans of action and spectacle, Marvel’s “Captain America: Brave New World” and the high-stakes survival drama “the Gorge” offer end-of-your-seat excitement with standout performances from Harrison Ford, Anthony Mackie, Anya Taylor-Joy, and Miles Teller.

Of course, February is for lovers, too. Renée Zellweger makes a charming return in “Bridget Jones: Mad About the Boy,” while “The Unbreakable Boy” offers an emotional journey of love, resilience, and family. On the horror front, “The Monkey” checks all the boxes– a Stephen King adaptation starring Theo James, directed by Osgood Perkins, who is riding a career-high with last year’s critically acclaimed film, “Longlegs.”

Ahead, take a closer look at February’s most anticipated movie releases.

Bring Them Down

Releases on February 7

MUBI is cementing its status as a premium destination following the success of its Oscar-winning body horror, “The Substance.” Next up, Barry Keoghan (“Saltburn”) and Christopher Abbot (“Poor Things”) star as members of rivaling shepherding families in this sharp, generation-spanning revenge thriller set against the rugged landscapes of Ireland.

Love Hurts

Releases on February 7

Academy Award winners Key Huy Quan (“Everything Everywhere All at Once”) and Ariana DeBose (“Karven the Hunter”) are reunited partners-in-crime as Quan’s now-perfect realtor life is abruptly thrown into chaos as his crime-lord brother seeks revenge for a past mistake.

Heart Eyes

Releases on February 7

From the producers of “Happy Death Day,” is Olivia Holt (“Cruel Summer”) horror’s newest scream queen? Up against the mysterious “Heart Eyes Killer” who wreaks havoc every February by stalking and murdering romantic couples, Holt and Mason Gooding (2022’s “Scream”) plan to be the pair that kills those odds once and for all.

Bridget Jones: Mad About the Boy

Releases on February 13

Renée Zellweger returns as the rowdy sweetheart Bridget Jones for the final installment of the beloved British saga. Now a middle-aged widow navigating life with young kids, Bridget dives into dating apps, where she rediscovers her youthful spark and signature wit. Hugh Grant (“Notting Hill”) returns as “Uncle” Daniel Cleaver while new faces like Ilsa Fisher (“Wedding Crashers”), Leo Woodall (“The White Lotus”), and Chiwetel Ejiofor (“12 Years a Slave”) join the cast in this Peacock release that promises fresh laughs, romantic twists, and classic Bridget charm.

Captain America: Brave New World

Releases on February 14

“You may be Captain America, but you’re not Steve Rogers,” declares Thaddeus “Thunderbolt” Ross (Harrison Ford) to the new shield-wielding hero Sam Wilson (Anthony Mackie). In Marvel’s latest hero-kickin’ installment, Wilson must navigate the weight of his new mantle while proving his Captain America chops to President-elect Ross amidst a brewing international crisis.

The Gorge

Releases on February 14

Anya Taylor-Joy (“Furiosa”) and Miles Teller (“Top Gun: Maverick”) star as star-crossed special ops agents stationed on opposite sides of the infamous “Door to Hell,” a shrouded and deadly gorge. Each bound by a strict year-long no-contact contract, their mission is simple: defeat whatever lurks within the clouds. But as their silent isolation blossoms into an unexpected notepad romance, they face an unearthly evil, forcing them into a relentless fight for survival.

The Unbreakable Boy

Releases on February 21

From the producers of 2017’s “Wonder” comes “The Unbreakable Boy,” the inspiring true story of Austin LeRette (Jacob Laval), a young boy with both brittle bone disease and autism. The film explores LeRette’s unwavering optimism amid life’s hardships while highlighting the heartfelt struggles and triumphs of parenting a disabled child, portrayed by Zachary Levi (“Shazam!”) and Meghann Fahy (“The White Lotus”).

The Monkey

Releases on February 21

Filmmaker Osgood Perkins (“Longlegs,” “Nope”) brings Stephen King’s chilling 1980 short story to life, headed by Theo James (“The White Lotus”) as one of the twin brothers, Hal and Bill, who decide to finally discard their father’s sinister monkey toy– a decades-old harbinger of mysterious and deadly misfortunes.

Concluding 2024, we experienced another whirlwind of fashion’s game of musical chairs – when creative directors are rotated around various fashion companies – at legacy houses such as Maison Margiela, Bottega Veneta, Helmut Lang, and Chanel. While we anticipate new interpretations and debut collections, the fashion cycle continues as Men’s Fashion Week kicks off the Fall/Winter 2025 season in Milan and Paris.

As menswear continues to evolve, there are core elements that remain foundational. We can always expect to see refined tailoring and new innovations centered around suiting. Legacy houses and new designers distinguish their brands with different cuts, silhouettes, seams, yokes, pleats, and fabrics. There’s a lot that can be said about a man based on the type of suit he wears.

Beyond tailoring and eveningwear, the latest runway collections showcase takes on casual attire and streetwear for men. At a glance, it appears that androgyny is gradually phasing out of new collections. However, there are still feminine touches worked into the cuts of necklines, fabric choices, and color palettes that bring a great balance to forming a fashion-forward man. Regarding textiles, the most consistently spotted materials across all collections, unsurprisingly for fall/winter, were fur, suede, and leather.

Ahead, we dive deeper into a number of our favorite menswear collections from this season.

Louis Vuitton

Pharrell adds another collection under his belt as the Creative Director of Menswear at Louis Vuitton. This time, he draws inspiration from his longtime collaboration with Nigo, the creator of Bape and Artistic Director at Kenzo. Within the collection, key elements honor their shared roots in streetwear, such as reinterpreting the iconic Bathing Ape pattern and showcasing their love for color, highlighted by pink as a primary hue in several silhouettes and the historical Damier print. In addition to refreshing takes on suiting, there was also a prominent presence of workwear as a nod to Nigo. Accessories were clearly not an afterthought, staying true to the house’s legacy of specializing in leather goods. Standouts included speedy bags in new colors, a sculptural lobster-shaped bag, and a campy take on a Louis Vuitton shopping bag.

Prada

Fashion often mirrors the state of the world, and this collection seems to reflect Raf Simons’ and Miuccia Prada’s depiction of it. There’s a sense of curated chaos through various patterns and color pairings, paired with a conservative approach to men’s silhouettes. Nonetheless, the innovative spirit was present as models wore necklaces and earrings shaped like basketballs and baseballs. The Prada man walked the runway in cowboy attire, silk pajamas, traditional suiting, and outerwear, all styled with slim-fitted pants over wider cowboy-like boots inspired by Raf’s archives. Fur trims and vests added a sensual, armor-like quality. Even through the chaos, the collection reads cohesive and exudes an acquired taste.

Dolce & Gabbana

The Italian luxury house leaned into its signature glitz and glamour, naming the collection “Paparazzi” as a nod to its celebrity clientele and timeless stylistic language. Luxurious knits and outerwear were paired with slouchy trousers and slightly wrinkled denim for an effortless look. Tank tops styled with signature caps and unconventional belt placements added a distinct character. Eveningwear consisted of black suits, trousers, and vests designed in silk and satin, accessorized with eye-catching brooches and necklaces—a modern choice that remains timeless.

Wales Bonner

Grace Wales Bonner always interweaves a romantic dance with design while honoring Black culture. This collection highlighted Black women shaping global culture through a collaboration with Chicago-based artist Theaster Gates. Images from Ebony and Jet magazine archives were printed on denim jacquard and a cobalt blue buttoned shirt, exuding Black excellence. The collection also featured reinterpreted fireman’s jackets, artisanal knitwear, and chic footwear. Bonner continued her collaboration with Adidas Originals, introducing new sportswear and a leather track jacket stamped with signature logos. The collection’s effortlessness and elegance were undeniable.

Willy Chavarria

Fresh off his second CFDA American Menswear Designer of the Year win, Willy Chavarria made his Paris Fashion Week debut with Tarantula. Staged at The American Cathedral in Paris, the collection opened with oversized suits and exaggerated collared shirts, followed by reimagined workwear and crushed velour. Chavarria also unveiled a new Adidas capsule featuring bomber jackets, tracksuits, and satin shorts. Closing the show wearing a shirt that read, “How we love is who we are,” Chavarria reaffirmed his commitment to empowering minority communities.

Dior

Kim Jones leaned into subdued luxury with his new men’s collection. Satin blindfolds, muted Dior tones, and coats styled backward created a balance between masculinity and femininity. Luxurious textiles like satin and leather were emphasized through understated designs. Collared shirts, opera coats, and footwear adorned with satin bows complemented asymmetrical hemlines on knits and leather sweaters. This collection epitomized quiet luxury.

Amiri

Mike Amiri brought Hollywood to Paris with Club Amiri. The runway, reminiscent of members’ clubs, focused on exotic leather trenches and statement dinner coats. Sparkling textiles, embroidered jackets, and rose-decorated suits paid homage to Los Angeles. For those seeking a red carpet alternative to traditional tuxedos, Amiri’s collection offered relaxed yet striking options.

Acne Studios

Creative director Jonny Johansson explored the modern man’s boundlessness with metrosexual energy. Fitted cropped tops, boxer shorts paired with loafers, and bold outerwear defined the collection. Acne introduced fresh iterations of beloved denim and new leather bags. The FW25 Acne man is bold and self-assured.

David Koma

In his second menswear collection, David Koma elevated loungewear by pairing leather loafers and oversized fur trims with sweatsuits. Shrunken polos and sleeveless knits maintained a sophisticated presence, while stadium scarves were reinterpreted as eveningwear accessories. The Koma man is effortless, sophisticated, and intriguing.

The world is evolving faster than ever, with new voices rising from every corner of the globe. After last year’s pop star predictions skyrocketed in fame, Beyond The Pines is back to forecast the next wave of music juggernauts.

From hyper-pop provocateurs 2hollis and The Dare to genre-defying talents like Ivan Cornejo and Ravyn Lenae, 2025 promises an exhilarating mix of artists who challenge genres, break conventions, and define culture. Already carving out respectable niches within the cultural zeitgeist, these artists are not just making music—they’re making bold statements and building deep, lasting connections with fans.

Whether it’s the electric charisma of Little Mix’s JADE, the infectious dynamic of K-pop girl group KATSEYE, the experimental energy of drill rapper Ceechynaa, or the R&B-influenced rap of Lexa Gates, the future of music is already here.

However, this list isn’t just about the next big thing—it’s about the moment. Artists like Nettspend and his TikTok-certified rage rap, and heartache queens Rachel Chinouriri and Mimi Webb, are reshaping how we listen, feel, and connect with music—all while accompanying everyone’s favorite artists on tour. Their unforgettable stage presence and ever-growing fan bases will make them not just part of the conversation—they’ll be leading it by year’s end.

Ahead is your industry preview of the rising music talent everyone’s talking about in 2025.

KATSEYE

When Daniela, Laura, Manon, Megan, Sophia, and Yoonchae auditioned to be HYBE’s first US-based girl group—perfectly captured in Netflix’s docu-series Popstar Academy—the six girls unknowingly spotlighted the K-pop industry’s thirst for unbeatable stage charisma.

Enter KATSEYE: a group that shattered international boundaries with their magnetic personalities and irresistible yet TikTok-friendly choreography coating their saccharine breakout singles “Touch” and “Debut.”

Nettspend

At just 17, Nettspend has emerged as a defining figure within the hyper-online, avant-garde rap scene, provoking equal parts love and hate with his polarizing persona.

In a rare interview with i-D, the publication dubbed the Virginian teen sensation as “the unholy lovechild of Bladee, Playboi Carti, and Justin Bieber,” known for his zillions of animalistic ad-libs, crunchy autotune, and a fashion sense that Lil Uzi Vert would approve.

His debut album, BAD ASS FCKING KID*, is not just a TikTok-generation rage rap manifesto but a timestamp of his youth—a glitchy cultural pulse of his in-between stage of teenagehood and stardom.

JADE

Hailing from the English multi-platinum-selling girl group Little Mix, Jade Thirlwall carved out a solo pop path unlike any of her peers—one rooted in underground house-dance beats and soaked in LGBT+ acclaim.

While her come-up has been a slow burn, her previous singles—like the earworm “Angel of My Dreams,” the David LaChapelle-directed, disco-inspired “Fantasy,” and the fiery anthem “IT Girl”—have sparked viral firestorms, with every major outlet from NYLON to Vogue singing her praises.

The Dare

Charli XCX might be the queen of indie sleaze, but The Dare—with his bratty Men in Black aesthetic—is her unofficial partner-in-crime and ultimate PARTYGIRL sidekick at every late-night club cameo.

Picture LMFAO’s cheeky brother, but cooler, edgier, and even more unapologetically electronic, with a cigarette hanging from his lips.

Oh, and he’s not just about the party—The Dare co-produced Charli XCX and Billie Eilish’s hot electroclash collaboration, “Guess,” which is now vying for the “Best Pop Duo” category win at the 2025 Grammy Awards.

Ravyn Lenae

When SZA names your sophomore album one of her favorite lessons of 2024, it’s clear your decade-long glow-up has reached its pinnacle.

On 2024’s Bird’s Eye, Ravyn Lenae doesn’t just take R&B for what it is; she prophesies its greatness. The Chicago-born songstress weaves past lessons from KAYTRANADA and Steve Lacy into a psychedelic-tinged, genre-bending masterpiece, especially on tracks “One Wish” featuring Childish Gambino and the aching “Love Me Not.”

A bold evolution, Bird’s Eye cements Lenae as a new-gen R&B visionary, paving the way for a breakout year of well-earned industry attention.

KISS OF LIFE

“‘KISS OF LIFE’ refers to the mouth-to-mouth artificial respiration method,” the four-member girl group once explained. “Like the name, we plan on revitalizing and bringing fresh life to the K-pop scene.”

Fueled by anthems like the electropop gem “Midas Touch” and the Afrobeat-inspired “Sticky”—both effortlessly surpassing 100 million Spotify streams—KoF’s members Julie, Natty, Belle, and Haneul are ready to take their mature girl crush concept beyond borders and onto the international stage.

Eddie Benjamin

“Eddie is the future… he’s going to crush the world,” Justin Bieber once proclaimed about the Australian artist whose sun-soaked pop anthems have already captured the attention of LA’s elite, including the “Sorry” singer, Sia, The Kid LAROI, and even Alessia Cara, with whom he collaborated on 2022’s “Only You.”

He further cemented his rising star status with an unforgettable stint on Shawn Mendes’ tour, capped by a captivating duet of “Nobody Knows” at the 2024 VMAs. Now, Eddie is gearing up to release his highly anticipated debut album, with its lead single out this January.

Mimi Webb

Fresh off her opening slot on The Jonas Brothers’ European tour, even more eyes are on the British singer-songwriter Mimi Webb and her viral confessional pop songs.
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Starting the decade strong with 2021’s Seven Shades of Heartbreak EP and its breakout track “Good Without,” she continues her brokenheartedness on her debut album, Amelia, released in 2023.

Previously named a rising talent by Billboard and Cosmopolitan, Webb is working her praise with her 2024 single, the bubbly self-love anthem “Eyes Wide Open,” which she’ll take on the road this year while opening for Benson Boone on his international headlining tour.

Rachel Chinouriri

Gaining widespread attention as Sabrina Carpenter’s opening act on the 2025 Short n’ Sweet European tour, London-born singer-songwriter Rachel Chinouriri is taking her lush vocals and diary-like lyricism onto her first arena stage.

But it was a fangirl message from Midsommar actress Florence Pugh that sparked Chinouriri’s breakout moment, leading to their on-screen friendship in the now-iconic “Never Need Me” music video.

Her sparkling debut album, A Devastating Turn of Events, reflects her vibrant yet disciplined upbringing as the daughter of Zimbabwean immigrants, blending raw emotion with electronic-infused alternative production to craft an angsty, relatable soundtrack for the tumultuous road of early twenties.

Ceechynaa

Born Chelsea Odosamamwen Ode, independent English drill rapper Ceechynaa made a very late but impactful entry into the music scene when her XXX-rated track “Peggy” went viral on TikTok in December 2024, debuting at No. 79 on the UK Singles Chart.

The unapologetic anthem’s unfiltered promiscuity attracted celebrity fans like Ellie Goulding and Cardi B. Ceechynaa’s fearless, micro bikini-clad self-expression has already earned her a British Vogue interview and widespread industry acclaim, as Billboard declared that “few go as far as Ceechynaa” in regard to “proudly waving the sexual liberation flag.”

2hollis

Many 2hollis stans have hailed the elusive 20-year-old as the new Playboi Carti, a Chicago-born sonic mastermind seamlessly blending rap, pop, and electronic influences.

His latest single, the deliciously bass-heavy and pyrotechnic “gold,” underlines what he does best as a boundary-pushing innovator. Following a turbulent 39-date tour with “rage rapper” Ken Carson, 2hollis eventually surpassed the booing crowd to prove his mosh pit-ready sound is in high demand, seen with his sold-out headlining shows across North America.

Lexa Gates

Ten hours before the release day of her major-label debut, Elite Vessel, the Queens rapper locked herself in a fishbowl box in the middle of Union Square with no source of entertainment, staring off bored and offering a few spare headphones for people to listen to her music.

The stunt garnered nearly 100 million TikTok views and caught the attention of SZA. Gates tells Rolling Stone, “[The album] is just me conforming to the industry and being this character of value in my field.”

Under the influence of Mac Miller and Amy Winehouse, the cat-eyed Gates wields a vibey nonchalance—a result of years of wild-child behavior that her devoted 400,000 monthly Spotify listeners equally supported in her pre-Capitol Records days as they do now.

Ivan Cornejo

With over 2 billion streams to date, Ivan Cornejo continues his Latin music reign by becoming the second most-consumed música mexicana artist in the U.S.

His dreamy fusion of sierreño roots and alt-rock, à la Arctic Monkeys, resonates deeply with Gen Z, biracial listeners. His third album, MIRANDA, debuted at No. 1 on Billboard’s Top Latin Albums and captures his soulful, folk-influenced corridos rooted in his Mexican heritage.

Coupled with Cornejo’s record-breaking performance at the Houston Rodeo and sold-out arena tour, he’s undoubtedly the next leading voice in Latin music.

Fashion and cinema have always enjoyed a symbiotic relationship— the right costume can elevate a movie from good to fantastic. Some of the most iconic collaborations between designers and filmmakers have not only enhanced the storytelling but kickstarted cultural movements whose influence extends beyond both industries. From haute couture to avant-garde creations, designers like Balmain, Givenchy, and Prada have lent their distinct visions to the silver screen, leaving an indelible mark on the characters, the narrative, and the audience. This fusion of fashion and cinema showcases how style can tell its own story, shaping themes and capturing entire eras in history through moving pictures that continue to inspire, year after year and decade after decade.

Here are some of the most iconic collaborations between designers and filmmakers:

French New Wave and the Birth of a Sex Symbol

In 1965, Roger Vadim’s And God Created Woman tapped Pierre Balmain to dress the female lead. Wildly renowned for launching both Brigitte Bardot’s stardom and the French New Wave, Balmain’s designs emphasized the sensual yet refined look that defined Bardot’s character. The story’s sultry style affirmed Balmain’s reputation as a designer who could balance elegance with allure. His sexy, form-fitting silhouettes made Bardot a global “sex symbol,” embodying both the rebellious spirit and glamor of the era—an influence that endures today.

Crafting Darkness and Spinning Light

Rodarte’s designer sisters, Kate and Laura Mulleavy, crafted ethereal yet haunting ballet costumes that mirrored the psychological transformation of Natalie Portman’s character in 2010’s Black Swan. The delicate, flouncing tutus, embellished with feathers and crystals, underscore the dark, dual nature of the plot, folding menace into innocence. The sisters’ work on Black Swan was lauded for elevating the film’s cerebral intensity through fashion.

American Power and Prestige Defined

Giorgio Armani revolutionized the way Hollywood viewed fashion with the 1980 film American Gigolo. Richard Gere, outfitted in minimalist, luxurious suits, embodied the upcoming decade’s power-dressing aesthetic. Armani’s designs also appeared in Miami Vice (1986), The Untouchables (1987), and later in The Wolf of Wall Street (2013), where his updated suits symbolized wealth, success, and extravagance in Martin Scorsese’s tale of financial excess.

The Thrill of the Game

Earlier this year, Jonathan Anderson brought his experimental designs to Challengers, a Luca Guadagnino-directed drama about love and tennis. Anderson’s blend of sport and prep fleshed out the characters’ personalities while adding a distinct realism. From slogan tees to Loewe shift dresses paired with espadrilles, Anderson’s work brought an edge to the film’s style and narrative.

Partners in Creation Forever and Beyond

Hubert de Givenchy’s collaboration with Audrey Hepburn is among the most famous in fashion history. In 1961, Hepburn’s little black dress in Breakfast at Tiffany’s became the epitome of chic. The dress, combined with her pearls and oversized sunglasses, created an iconic image that continues to define elegance today.

Surrealism and Quintessential Chanel

In 1961’s Last Year at Marienbad, Coco Chanel’s designs played a crucial role in creating the haunting, dreamlike atmosphere of this avant-garde French New Wave classic. Her clean lines and refined aesthetic brought timelessness to the mysterious characters, enhancing the film’s psychological complexity.

A Deconstructed Cinematic Universe

Yohji Yamamoto’s distinct, tonal designs fit seamlessly into the emotional landscapes of Takeshi Kitano’s Brother (2000) and Dolls (2002). Beginning with The Blind Swordsman (1991), Yamamoto’s ability to craft garments as an extension of the storyline highlighted his deep connection to cinematic storytelling.

A Look at the New Look

Christian Dior brought his post-war elegance to Alfred Hitchcock’s Stage Fright (1950), designing glamorous costumes worn by Marlene Dietrich. Known for dramatic silhouettes, Dior’s work embodied mid-century sophistication and the “New Look” aesthetic.

A Different Breed of Bond Girl

Azzedine Alaïa dressed Grace Jones as May Day in 1985’s A View to a Kill. Alaïa’s structured, form-fitting outfits highlighted Jones’s powerful presence, blending strength and feminine appeal to create one of the most memorable intersections of high fashion and cinema.

The Galactic Avant-Garde Uniform

Jean Paul Gaultier’s futuristic and flamboyant designs in 1997’s The Fifth Element became instantly iconic. His exaggerated silhouettes and bold colors perfectly complemented the sci-fi narrative, making the costumes as prominent as the plot itself.

A Severe Bond, James Bond

Tom Ford dressed Daniel Craig in sleek, sharp suits for Spectre (2015). Ford’s tailoring added an air of elegance and danger to the iconic spy, cementing his designs as a symbol of contemporary luxury in the Bond universe.

Resonance, Unspoken and Effervescent

Raf Simons brought divine minimalism to I Am Love (2009) and A Bigger Splash (2015). Simons’ understated designs for Tilda Swinton reflected themes of repression and liberation, perfectly aligning with the films’ emotional depth.

A Feast for the Eyes

Miuccia Prada’s dynamic period designs graced The Great Gatsby (2013), Elvis (2022), and more. Her luxurious creations blended historical indulgence with contemporary flair, adding layers of refinement to larger-than-life characters.

The Perfect Shoes to Rule a Country

Manolo Blahnik’s exquisite footwear defined Sofia Coppola’s Marie Antoinette (2006). Each pair captured the opulence and decadence of the French court, making them as integral to the film as its pastel-hued visuals.

Beauty of the Day

Yves Saint Laurent’s designs for Belle de Jour (1967) enhanced the film’s exploration of hidden desires. His classic-yet-rebellious outfits for Catherine Deneuve balanced elegance and modernity, cementing both as style icons.

Dominance, Leather, and Mr. Lagerfeld

Karl Lagerfeld’s bold designs for Maitresse (1975) elevated the film’s exploration of taboo themes. His daring costumes added sophistication to the narrative’s dark, erotic undertones.

Being a self-proclaimed “sad girl” takes a lot of work, and it’s not about crying your eyes out to Harry Styles’ “Sign of the Times” on an endless loop anymore. It’s about putting on Muni Long’s “Made For Me” to watch the autumn leaves wither from green to golden brown—a slow-moving but steady downtempo time of reflection. Like nature, sadness is dynamic; it’s an array of blues, from Taylor Swift’s soul-searching “loml” during brisk sunrise walks to finding late-night honesty in the stars above with Coleman.X’s “I Miss When You Would Hold Me.”

It happens that too often, being a “sad girl” is equated to being heartbroken, which would elicit the oh-so-inappropriate response of playing The Marías’ lush instrumentals of “Echo” and similarly the chamber pop-ification of Clairo, particularly on the trumpet-influenced “Slow Dance,” to inquisitively ruminate on life’s mistakes.

Other times, being a “sad girl” is feeling the wind and doing nothing about it, much like the surf-rock loneliness in Beabadoobee’s “Beaches” and the gritty digital detachment in Caroline Polachek’s “Starburned and Unkissed.” Sad girls also hate the future, either twiddling their thumbs to Oklou’s eerie prophecy on “family & friends” or Hailey Knox’s nostalgic R&B tell-all “Work In Progress” to clear their conscience before sitting in nail-biting silence with their therapists.
There are still many qualifiers to being a “sad girl” and, perhaps, a non-negotiable: dancing away a crying episode before it happens, just shaking it out to Ariana Grande’s pop perfection “we can’t be friends (wait for your love).” But don’t leave out Afrobeat, though, because Tems’ “Free Fall” deserves major “sad girl” points for writing a song about being afraid of being burnt out by love.

And finally, the most essential quality of a true “sad girl” is the ability to be blue to the point it chills your bones. If that’s not possible, Griff’s space-lost ballad “Astronaut” and the intense blossom of Billie Eilish’s “WILDFLOWER” capture the total annihilation of the heart.

With these rules in mind, here are 25 of the saddest songs from 2024 (so far) that will make you weep like an official “sad girl”:

1. “Nice To Meet You” by A.G. Cook

Britpop has never sounded better than in the hands of A.G. Cook. A true visionary of what music can be, the PC Music founder stews in regret and demure longing in this deconstructed deep synth cut.

2. “Beaches” by Beabadoobee

The Filipino-British singer’s new album, This Is How Tomorrow Moves, is an unexpected delight. The dedicated cozy music crooner is now equipped with surf-rock angst that’s constantly flirting from one beach to another in search of company and belonging… and ends up blissfully alone.

3. “Dispose of Me” by Omar Apollo

One of many sobering moments from the Mexican-American singer’s latest album, God Said No, yet this promo single has that extra pang over its contemporaries. “It don’t matter if it was 25 days, it was real love,” he sings over doo-wop strings and manipulated echoes, all painting a bluesy portrait of a broken-hearted guy.

4. “Echo” by The Marías

The triumphant-sounding track is quite ironic to the thesis of their Submarine record, which chronicles the romantic breakup of the band’s frontwoman María Zardoya and drummer-producer Josh Conway. On the third track, María knows that the “situation” is that she cannot let go of her massively flawed relationship. Instead, the track sinks further with every razor-sharp lyric.

5. “B.O.A.T.” by Camila Cabello

“Trying again, too jealous to just be friends,” Cabello sings on the synth ballad, like stumbling out of a Miami nightclub at 7 a.m. Whether it’s the dramatized autotune, lasering Pitbull sample, or reflection-styled lyrics, this pre-C, XOXO teaser is the best of all time for new-age heartbreak.

6. “Free Fall” (feat. J. Cole) by Tems

Don’t know how to set boundaries? Scared of getting burnt out? Tems has been there and done that: ending a relationship is the worst when neither person is the problem—just best for all parties. In true Tems fashion, she unravels this defeat in a lush display of R&B-influenced Afrobeat, with J. Cole offering a male perspective to this young love ordeal.

7. “Dream Sequence” by Jane Remover

When life doesn’t go as planned, Jane Remover creates a guitar rock anthem to pass the time, cranking up the speaker volumes as each minute passes. “Dream Sequence” isn’t a traditional sadness; the longing slowly burns until the post-punk chaos consumes the soul.

8. “Comedown” by Maude Latour

The New York transplant laments her teenage glory days in tribute to a “first love” high school friend who passed away. Latour fuels colorful licks of not-so-innocent happenings like being 16 and not getting carded through a mixture of Marina Diamandis-esque pop sensibilities and a Lorde growl.

9. “Work In Progress” by Hailey Knox

The introductory track to Knox’s For The Best EP is a spider web of anxiety, one from which she attempts to free herself through an impressively intellectual layering of wispy melismas, nostalgic piano, R&B snares, an unshy bassline, and pure vulnerability. It’s a tender confessional up the sleeve of TLC, but completely made for the 21st-century girl.

10. “Astronaut” by Griff

It’s true: boys love to play astronauts, finding that operating from afar gives them emotion-free clarity. Sometimes, though, distance doesn’t make the heart grow fonder, if anything at all. In Griff’s case, the rising English star is having difficulty not feeling defeated by the “space” her partner demands for reinvention. This grandiose piano ballad is the perfect way to vent those frustrations… and wipe a few tears away in the process.

11. “Starburned and Unkissed” by Caroline Polachek

Made for A24’s coming-of-age thriller, I Saw The TV Glow, Caroline Polachek takes an all-too-well stab at digitized love via a “straight-up grunge track” about the feelings of fear and crushing that long-distance relationships often harbor. Polachek, known for her angelic vocal flips, generates an angsty, mournful performance with a rare full-belt vocal delivery.

12. “family and friends” by Oklou

After a three-year wait, the French ambient perfectionist is back with an elusive single. Full of contradictions, methodological ramblings, and purposeful intention, Oklou rests her existential insecurities with family and friends. The manipulated production, a mix of haunting echoes and dotting synthesized percussion, hovers like a looming cloud over her lyrical epiphany, fueling enough mystery to label the track “ominous” rather than “hopeful.”

13. “Tears” (feat. Omah Lay) by Kehlani

Like any feisty R&B songstress, Kehlani will call out any hint of dishonesty and make a banger out of it—“Tears” is no exception. Kehlani isn’t the biggest fan of soft-spoken ballads; she always presses play on zesty deep cuts. This time, she questions her man about club outings over house-influenced Afrobeat. Nigerian singer Omah Lay rides the beat as the male counterpart, spewing nonreassuring rhymes that perpetuate her fears.

14. “I Miss When You Would Hold Me” by Coleman.X

If Troye Sivan’s Blue Neighbourhood and Kim Petras’s Clarity had a baby, it would be Coleman.X’s self-produced record Boy On Ur Mind—a chronicle of their first adolescent heartbreak and its residual painful questionings. “I Miss When You Would Hold Me” is the showpony of his grief, cloaked in an addictive, industrial hyperpop-meets-R&B sound.

15. “WILDFLOWER” by Billie Eilish

“I know you didn’t mean to hurt me, so I kept it to myself” is one of many nuclear lyrics Billie sets off during what could be her best ballad yet. Her wordplay is a samurai sword slicing through insecurities as she ruminates on comforting a girl after a difficult breakup. Over four minutes, the track blossoms from soft-spoken introspection to a cathartic belting episode that just feels right.

16. “Made For Me” by Muni Long

There’s no heartbreak without love, and Muni Long imbues a Mariah Carey-level penmanship where even the most joyous love feels out of reach. Technically, the piano-driven powerhouse single was released in 2023. Yet, its acclaim has steamrolled into 2024 with a feature from The Songbird Supreme, award show performances, and a top placement on her fourth studio album, Revenge.

17. “FIREFLIES” by Doechii

On Alligator Bites Never Heal, the Tampa-born MC proves she isn’t a one-flow pony and etches “wordsmith” next to every out-of-pocket bar delivered. “FIREFLIES” also proves her punchlines are bedroom-approved as she asks the lightning bug to keep shining all night until the “love drug” gives both participants closure.

18. “Robbed” by Rachel Chinouriri

“There was a baby in our family who passed away, and I felt like I was robbed of them,” the South London singer told Apple Music. This entry is perhaps her most poetically damaged indie ballad among the 14 tracks on her sophomore album, What A Devastating Turn of Events—an unforsaken postcard of coming-of-age and hardcore adulting. “We were perfect strangers, one life torn into two. […] You were robbed of summer; I was robbed of you,” she chimes atop a bluesy shoo-doo-wop, composed almost acoustically.

19. “Slow Dance” by Clairo

Clairo and 70s chamber pop are a match made in heaven. The symphony components of her junior effort, Charm, utterly blur the line between love and loss. However, the enamored woodwinds of “Slow Dance” bring forth a melancholic torch song about an unfaithful lover laced with pungent trumpets and dreadful confrontations.

20. “Keep That To Yourself” by Tristan

Olivia Rodrigo is raising a whole new generation of singer-songwriters, and Tristan is the latest superstar byproduct of sapphic lyrics with a pop-rock itch. “If your feelings come back the minute you see me, hope it hurts […] hope you finally grieve me,” she softly lashes at her ex, destined to one-up the tormentor till the end of time.

21. “Sharpest Tool” by Sabrina Carpenter

According to Short n’ Sweet producer Jack Antonoff, “Sharpest Tool” is his favorite track from pop music’s newest magnum opus. What Carpenter describes as an “interesting corner of the album” is a long-lost sister to “Tornado Warnings” and rich in storyboarding the second-guessing stage of post-romance. The sweet “we never talk about it” refrain alone dusts the track in a wondrous shimmer.

22. “Bored” by Laufey

On the Goddess Edition of the Icelandic crooner’s highly acclaimed sophomore album, Bewitched, her vocal jazz incantations—partly influenced by Billie Holiday and Chet Baker—flavor every track with a smoky sense of impending doom, particularly on “Bored,” which calls out a narcissistic lover. “And maybe you’re just way too vain to be interesting,” she muses. “Baby, keep talkin’, but nobody’s listening. Don’t mean to walk out the door, but, baby, I’m bored.”

23. “loml” by Taylor Swift

Taylor Swift loves to play with people’s feelings. This time, the pop titan rebrands the “love” of a well-known romantic IM acronym to read “loss of my life” by dragging her ex-boyfriend (supposedly Joe Alwyn) through a muddy ballad with once rose-colored imagery that’s now “engulfed in fire.”

24. “I Love You, I’m Sorry” by Gracie Abrams

Nobody is the perfect communicator, and Gracie Abrams hits a lyrical sweet spot in voicing her own shortcomings on “I Love You, I’m Sorry.” Sure, her acoustics are top-tier, and calling herself a “d*ck” was even better, but her raw honesty is a refreshing testament that we can mess up and still mean well.

25. “we can’t be friends (wait for our love)” by Ariana Grande

Ariana Grande is no stranger to dancing through heartbreak. Still, she went deep in her music references, presumably reminiscent of Robyn’s “Call Your Girlfriend,” to create this Europop-influenced ballad about the blissful ignorance of forbidden love. The music video displayed the same tear-jerking magic of an Eternal Sunshine of the Spotless Mind-inspired character struggling to let go of the good memories.

Clothing made for the runway has always been a vibrant canvas where designers use their talent to tell stories through a vision, much in the same way fine artists do. The relationship between art and style has always been substantial, but in recent years it has intensified. Designers like Elsa Schiaparelli, who collaborated with Salvador Dalí in the 1930s, set the foundation for the integration of surrealism into the sartorial. Saint Laurent’s unforgettable Mondrian dress and Takashi Murakami’s iconic rainbow Louis Vuitton monogram, which still resonates today, are prime examples of this bond. This relationship between the fine arts world and the fashion sphere has grown more prominent than ever, as designers experiment with textiles, forms, and themes to communicate their ideas. Whether through textile innovation, performance pieces on the runway, or garments as canvases for social messages, contemporary fashion tells stories that resonate with the human experience, much like a painting or sculpture in a gallery.

This season, both Jun Takahashi and Kim Jones have showcased a lively dialogue between art and fashion that transcends mere aesthetics. For Undercover Spring/Summer 2025, Takahashi embraced the surrealist aesthetic of Robert Bosisio’s ethereal paintings, creating a dreamlike narrative on the runway. Bosisio’s nebulous, haunting scenes were transformed into discernible landscapes that evoked a vast limbo. Takahashi used these visuals as a metaphor for a borderless world, connecting clothing design to themes of unity and universality during a time of division. This collaboration highlighted Takahashi’s talent for transforming clothing into a canvas for deeper reflection, intertwining imagery and everyday wear into poetic, wearable art.

Similarly, Kim Jones for Dior’s Spring/Summer 2025 Menswear turned to the whimsical world of South African ceramicist Hylton Nel for inspiration. Nel’s playful, hand-crafted statues of cats were incorporated into the show as towering sculptures and adorned collars and hats throughout the collection. The scenography added a distinct surrealist charm to Jones’ modern interpretation of Dior’s classic tailoring, while the garments themselves celebrated whimsicality. These collaborations reveal a trend where designers blend their personal tastes in fine art with their craft of clothing to challenge perceptions, connect cultures, and provoke thought—testament to style as a powerful medium for expression.

A meditation on textiles is also taking on new meanings today. In the past, designers like Issey Miyake and Rei Kawakubo used their labels as platforms for sculptural expression. Now, younger designers are taking textile experimentation even further. Marine Serre’s Spring/Summer Menswear 2024 collection exemplifies how fabric is being manipulated to challenge silhouettes and convey messages. Serre’s extensive use of recycled materials—turning deadstock textiles into intricate, meaningful garments while preserving their found-object quality—delivers a strong commentary on sustainability and the future of fashion. For F/W 2023 in Paris, Coperni used spray-on fabric technology in a performance that reflected society’s growing concern with the environment, innovation, and the intersection of fashion with science and technology. This act served as both an homage to Alexander McQueen’s iconic 1999 “No. 13” spray-paint dress and a bold statement on sustainability.

Designers like Jonathan Anderson push the boundaries of what traditional fabrics can do. His exaggerated, sculptural manipulation of materials blurs the lines between contemporary art and fashion. For Loewe’s Spring/Summer 2023 Ready-to-Wear, Anderson crafted a dress shaped like a giant anthurium flower, and for S/S 2025, a fluted jacket from scalloped mother-of-pearl sheets. Surreal yet grounded, Anderson’s experimentation with leather mirrors an artist’s relationship with their primary medium, where the material itself becomes a storyteller, reshaping the human form into something both familiar and fantastical.

Designers today also use fashion as a form of visual activism. In the 1960s, designers like Yves Saint Laurent and Paco Rabanne drew inspiration from cultural shifts, but their commentary remained subtle. Today, activism is no longer a subtext—it’s the main narrative. Designers are using their collections to address pressing social and political issues, pushing beyond aesthetics to tackle topics like sustainability, gender fluidity, and racial injustice. Maria Grazia Chiuri at Dior regularly infuses feminist messages into her designs, from her iconic “We Should All Be Feminists” T-shirts to collections inspired by historical female figures. Similarly, Stella McCartney remains a trailblazer for sustainability, both in her choice of materials and in the way her shows highlight environmental consciousness.

Fashion has also evolved into a deeply personal yet universal storytelling medium. Simone Rocha’s Fall/Winter 2023 collection, for example, explored themes of heritage and female identity. Through delicate lace, embroidery, and tulle, Rocha blended traditional femininity with modern narratives, creating garments that resemble museum pieces layered with meaning.

Fleeting trends and flattering silhouettes are no longer enough to captivate consumers. This shift toward storytelling and experimentation reflects a broader change in how we view clothes. Designers act as modern-day artists, using fabric, form, and technique to create pieces that transcend wearability. From Jonathan Anderson’s sculptural explorations to Marine Serre’s sustainable storytelling and the pioneering activism of Maria Grazia Chiuri and Stella McCartney, contemporary fashion is rich with examples of how fabric, form, and narrative are used to tell stories. Fashion today is about more than just looking good—it’s about celebrating meaningful storytelling through wearable art that speaks to the present moment.

At 20 years old, Riovaz is a walking enigma perfectly primed for Hollywood speculation: a self-made New Jersey innovator ushering in a new wave of electropop called Riorave—a sound that turns vulnerability into anthems and heartbreak into energy. His meteoric rise from viral TikTok success to festival stages like Governors Ball and Lollapalooza is impressive, but even more so when considering his defiant mindset from the jump. He didn’t wait for permission, college credentials, or industry handshakes to make a name for himself in music. In fact, he bet everything on making it in music.

“I never wanted to go to college. I would tell my mom that, and she’d get so mad at me,” Riovaz tells Beyond the Pines in a Zoom call from his ambiently purple-lit home studio. Music, as he puts it, was his get-out-of-college-free card, especially after his bedroom pop hit “Prom Night” blew up on TikTok with over 100k video creates. “‘Prom Night’ went viral at the perfect time—I was a junior in high school and used that song as leverage to get my other music heard. Obviously, it worked.”

Flash forward a few years, Riovaz is now celebrating the almost two-month anniversary of his self-titled debut album, a project that reflects that same high school audacity: raw, self-assured, and just chaotic enough to feel alive. With over one million Spotify streams and a top-five placement on Apple Music within its first week of release, the album cemented his rise from adolescent experimenter to genre-defining trailblazer. Alongside this milestone, Riovaz unveiled the music video for the album’s centerfold track, the heart-racing “327BPM,” directed by @noahsocold, where he sets off fireworks in an abandoned field in Atlanta while revving silver cars in parking lots.

Yet despite these triumphs, Riovaz hadn’t soaked in the debut’s acclaim yet. “Usually, when I release music, it’s [like I experience] a post-release depression. It’s like, ‘Damn, I released everything I made.’ It’s such a weird feeling.” Riovaz isn’t lying, either: he hardly has music lying around post-release, revealing he only records songs “with the intention of releasing” them and only has four leftover tracks that didn’t make the final cut.

Signing off on a self-titled debut is no small feat—it’s putting your name on the line, bold and center, with no choice but to face criticism head-on. Fortunately, “Riovaz” (the debut album) lives up to its promise of being the life of the party, even at times when it locks eyes with the New Jersey-born’s heart and soul. Without his usual entourage of collaborator-friends skaiwater, Nimstarr, and Kanii, the album positions Riovaz as both the night’s ringleader and the emotional core of his self-coined Riorave movement. Described as a “natural progression,” the sonic journey begins with three light, cyber-like introductory tracks that gradually erupt into an electroclash catharsis—a sound reminiscent of the gothic, lo-fi stylings of Lil Peep with glaive’s hyperpop maximalism.

This genre-bending chaos isn’t accidental, though. That techno touchstone was, more or less, in tune with Riovaz’s own listening history during the album’s genesis, coining the early 2010s’ dirty pop aesthetic (a la the UK series Skins) as a major influencer: “Last year, all I was listening to was The Dare and Snow Strippers. The Indie Sleaze revival was super my vibe.”

While the album’s versatility offers plenty of standalone, party-starting moments like “clockwork” and “327BPM,” Riovaz emphasizes that anti-chronological listeners miss half the story when jumping to their favorite track. “You could sing the most distraught lyrics over the happiest-sounding beat ever. It’s insane,” he explains, pointing to the opening tracks “radiolove” and “skin” as a duo that thematically “go hand in hand” and sonically share similar glitch pop melodies.

Both “radiolove” and “skin” push a compelling mix of bedroom pop, liquid DnB, and bombastic synths steeped in heartbreak, which he hints “my ex probably inspired [that].” The feathery electronic production of “radiolove” revolves around a singular tension point, where Riovaz sings, “It’s hard to say; just tell me I’m your only one. It’s something I’m never used to.” The story seamlessly blends into “skin,” where the bubbly landscape grows with crunchy adlibs and a more biting realization: “Baby, I can’t love you like I used to.”

You could say that “brush it off!!!,” one of Riovaz’s favorite tracks, acts as the unsung third installment of an unofficial trilogy as it transitions from the beginning track’s introspective grit into a more club-ready affair, all while retaining the residual romantic turbulence that inspired the record. “‘Bro… I’ve never had a chorus like ‘brush it off!!!’ before! The words are completely different from how the beats feel,” Riovaz admits. “I get that from The Smiths; Morrissey’s writing is like that—happy-sounding beats with distraught lyrics.” With its vibrant bass and emotional undercurrent, “brush it off!!!” is the perfect turning point towards the album’s more buzzworthy “oh snap” moments.

Building on that momentum, the album’s emotional arc crescendos into its more high-energy centerpieces, namely “327BPM” and “2004,” which make heartbreak shimmer on the dancefloor while simultaneously embracing the Riorave ethos. While the beats are frenetic and designed to move bodies, the lyrics never lose their emotional edge. This juxtaposition—loveless journalings wrapped in a club melodrama—defines much of Riovaz’s sound.

Still, the record’s emotional (and fist-pumping) gravity doesn’t dissipate as it closes. Riovaz’s two self-produced outro tracks, “warm face” and “in the end it’ll mean nothing,” reclaim the introduction’s energy, acting as a sobering reflection on the themes spanning the album’s 27-minute runtime. “Those [tracks] are special because they’re the first songs I’ve ever produced on. They’re more stripped down, and I like how they cushion the album.” Much like how the unofficial trilogy introduces a gritty, almost itch for escape, the self-produced outros flirt with the early hours after an unforgettable night and the consequences of untreated heartache.

Although no promotional tour dates have been announced for his self-titled debut, that doesn’t stop him from dreaming about taking his Riorave sound to new, unconventional spaces. “I want to perform somewhere really weird, like Russia or Iceland—it’d be crazy to host a rave under the Northern Lights. If I went to a rave like that, I’d never forget it.” Anywhere else? “Berlin seems cool, too.” For now, music videos like the club-ridden “brush it off!!!” and the recently released “327BPM” are Riovaz’s way of looking forward to reuniting with his fans soon. Whether they’re throwing monogrammed candy bracelets onstage at Irving Plaza or sending questionable beats to his burner email, Riovaz cannot wait to resume the shenanigans. “I’m just grateful for all my fans. They go hard, and I’m super thankful for them still being here with me,” Riovaz says. “Coming up from TikTok is weird. It’s super hard to convince those fans to stay around, but a lot of them grew up with me as I was growing up.”

Even as he’s busy dreaming about hosting Northern Lights raves, Riovaz has already begun planning his next record. And unlike many artists, who shy away from bold predictions, he can’t help but feel the adrenaline. “My next stuff is going to be my best music yet. I’m super confident in that,” he says. Riovaz also has his sights set on dream collaborations, citing Vic Fuentes from Pierce the Veil as someone he’d love to create with: “I feel like we’d make some cool shit together.”

They often say youth is wasted on the young, but Riovaz proves that sentiment doesn’t apply to him. His debut album isn’t just a showcase of sheer drive—it’s a reflection of what today’s generation is craving. Instead of imitating the MySpace and Tumblr crusaders of indie sleaze, Riovaz reinvents their influence with a new-age electroclash flair—something he likes to call Riorave. Even industry-grade “deep cuts” can’t touch the bombastic unraveling of “skinlove” and “warm face”; where most artists prefer a stripped-down production, Riovaz packs on the defeat and vocal effects.

Lush, eargasmic production usually comes at the cost of half-baked lyricism; however, Riovaz also sidesteps this beginner trap with ease. His tracks chronicle heartache while maintaining a dynamic, pulsating energy—where even sadness can’t stop the party. Whether he’s wrestling with closure on the mind-tingling “skin,” dancing away insecurities on “brush it off!!!,” or (maybe) moving on with “it’ll mean nothing in the end,” Riovaz’s self-perfected Riorave proves that growing pains aren’t just endured—they’re celebrated. With “Riovaz,” he not only crafted an unforgettable debut but also set the stage for a must-see career defined by unapologetic ambition and sound all his own.

Romance isn’t the only thing in the air this January. The new year offers an exciting lineup of cinema, ranging from mile-high thrillers to double-trouble comedies, emotional dramas, and can’t-watch horrors. Among the standout releases, Pamela Anderson makes a triumphant return to the big screen in The Last Showgirl, a dazzling exploration of reinvention and resilience set against the neon lights of Sin City.

Although Anyone But You resurrected traditional romantic comedies, Alice Lowe’s Timestalker is perhaps the most adventurous in nostalgia, as she charms as Agnes, a woman doomed to repeat her biggest mistake—falling for the wrong man—across history’s most notable eras. However, for psychological horror lovers interested in a twisted love story, Sophie Thatcher and Jack Quaid lead Companion, which makes romance the ultimate death.

Comedy is an unexpected big-name sport in early 2025. Starting with R&B icon SZA, who makes her film debut alongside industry veteran Keke Palmer in One of Them Days, a young adult escapade about navigating wild predicaments as broke roommates. Meanwhile, laugh masters Will Ferrell and Reese Witherspoon play frenemies in You’re Cordially Invited, where the duo vies for control of a double-booked wedding venue. For action-comedy fans, Cameron Diaz reunites with Jamie Foxx in Back in Action, breaking her 10-year hiatus from film with a high-octane romp where spies-turned-suburban-parents rediscover their edge.

Ahead, January’s cinematic offerings promise unforgettable escapes—whether you’re ready to love, laugh, or white-knuckle your way through the new year’s premier films.

The Last Showgirl
Releases on January 10

The Gia Coppola-directed drama showcases a career-defining performance from Pamela Anderson (Baywatch) as Shelley, a veteran Las Vegas entertainer facing a late-stage career change when her 30-year Razzle Dazzle show closes, forcing her to reevaluate her life in a new age of glitz. The film also stars Brenda Song (Dollface), Kiernan Shipka (Twisters), Billie Lourd (American Horror Story), and Jamie Lee Curtis (Halloween).

Timestalker
Releases on January 10

How many times can one person make the same mistake? Just ask Agnes, the time-traveling heroine who reincarnates in a new iconic historical era every time she repeats her ultimate sin: falling in love with the wrong man. English filmmaker-actress Alice Lowe delivers a delightfully chaotic rom-com that channels the charm of Renée Zellweger in Bridget Jones’s Diary, making love and heartbreak hilariously timeless.

One Of Them Days
Releases on January 17

Heralded as Grammy-winning R&B singer SZA’s first feature film, she teams up with Keke Palmer (Nope) to play on-screen best friends and roommates in a comedic escapade. When SZA’s boyfriend squanders the pair’s rent money on a dubious “business investment,” the duo scrambles across LA’s eclectic residences for a quick solution, only to end up in more out-of-pocket trouble.

Wish You Were Here
Releases on January 17

Who knew Orphan horror prodigy Isabelle Fuhrman could shine in romance? In Julia Stiles’s junior directorial effort, she brings Renée Carlino’s best-selling novel to life in a whirlwind love story. It becomes a for-better-or-for-worse tale as the couple faces the final days of her newfound lover’s secret terminal illness.

Back In Action
Releases on January 17

Cameron Diaz makes her long-awaited return to the screen, reuniting with Jamie Foxx (Django Unchained) in Netflix’s latest action-comedy. The pair star as former CIA spies-turned-suburban-parents who rediscover their butt-kicking spark when their secret identities are revealed, thrusting them back into the world of espionage.

Wolf Man
Releases on January 17

“What if somebody you loved became something else?” Blumhouse’s chilling werewolf horror asks in its eerie trailer. Emmy-winning actress Julia Garner (Inventing Anna) and Poor Things actor Christopher Abbott play a married couple seeking refuge in a remote farmhouse after an attack by an unseen creature. However, as the night grows, the husband’s deteriorating condition reveals a sinister truth.

Flight Risk
Releases on January 24

Oscar-winning Mel Gibson directs Mark Wahlberg (Boogie Nights) in a high-stakes thriller set 10,000 feet in the sky. As a pilot transporting an Air Marshal (Michelle Dockery) and a fugitive (Topher Grace) across the Alaskan wilderness, tensions rise mid-flight as true identities unravel. Could their secrets cause more turbulence than the flight itself?

You’re Cordially Invited
Releases on January 30

Comedic powerhouses Will Ferrell (Blades of Glory) and Reese Witherspoon (Legally Blonde) play frenemies in Prime’s newest comedy about a wedding planner who accidentally double-books a venue for two parties on the same day. Rather than rescheduling, Witherspoon and Ferrell agree to share the space to make both parties’ dreams come true—until it spirals into a laugh-out-loud nightmare.

Companion
Releases on January 31

Sophie Thatcher (Yellowjackets) adds another psychological thriller to her résumé with Drew Hancock’s Companion, a twisted love story originally conceived by Zach Cregger as a follow-up to Barbarian. Starring Oppenheimer actor Jack Quaid, the film follows his charming yet psychotic character as he traps Thatcher’s victim in a toxic relationship, leaving her running for her life—bloody and literally on fire—in a shocking descent into chaos.

Valiant One
Releases on January 31

When a U.S. helicopter crashes in North Korea, Chase Stokes (Outer Banks) and Lana Condor (To All the Boys I’ve Loved Before) are among the surviving soldiers who must work together to protect a civilian tech specialist and find their way to South Korea—all without the help of U.S. military support.

This January, it’s time to live out your “Brat” New Year’s resolutions and party hard as the unexpected powerhouse music releasing this month is already setting a standard for the decade, even catering to the most left-field listener.

Hip-hop heavyweights are taking center stage this month, led by Lil Baby’s explosive “WHAM (Who Hard As Me),” proving once again who hypes the pre-game. Meanwhile, Lil Durk’s “Deep Thoughts” opts for a more raw and introspective look at his chaotic year and a journey toward transformation. Across the Atlantic, UK rising star Central Cee may have guested on every pop star’s signature hit, but it’s time for him to have a solo hit under his belt, and “CAN’T RUSH GREATNESS” may solve that issue.

Fans of indie, pop, and alternative can dive into flipturn’s Burnout Days, Rebecca Black’s hyperpop-infused SALVATION EP, and Ethel Cain’s long-awaited gothic manifestation on PERVERTS EP. Also, Kane Brown’s genre-bending country and Teddy Swims’s raspy soul-pop are undeniable earworms, ready to reach new heights with their respective records and star-studded collaborations.
Iconic boundary-pushers FKA twigs and The Weeknd return with career-defining projects. Twigs sets the dance floor ablaze with her rave-ready EUSEXUA, while the Canadian sensation hints at a farewell to his Grammy-winning moniker with Hurry Up Tomorrow. As a bittersweet finale, fans are treated to the long-awaited release of Mac Miller’s now-posthumous Balloonerism—a 2014 gem finally seeing the light of day.

Looking ahead, January is already shaping into an unforgettable music milestone, packed with hip-hop anthems and licks of pop. From resurfaced projects to fresh eargasmic production, it’s the perfect time to ring in the New Year with your favorite artists and their hot releases.

“WHAM (Who Hard As Me)” by Lil Baby
Releases on January 3

After taking a brief hiatus, the Young Thug protégé returned to the music scene in late 2024 with three singles that won’t be featured on his upcoming album. After unveiling A-list features, including Rod Wave, Glorilla, Travis Scott, and 21 Savage, the Atlanta rapper took to Instagram to warn opps that WHAM will reset culture: “Ain’t It Crazy How They Tryna Play Me Like I Ain’t The One!!! It’s That Time!” Lil Baby also revealed plans for his next album, the more personal and eponymous Dominique, to shortly follow WHAM in February, though nothing is confirmed yet.

“Perverts EP” by Ethel Cain
Releases on January 8

Clocking in at 90 minutes across nine tracks, Hayden Anhedönia, better known as Ethel Cain, redefines the concept of an “extended play.” This release marks her first significant departure from the haunting narrative of Preacher’s Daughter, venturing further into Cain’s signature Southern Gothic universe. With “The 12 Pillars of Simulacrum”—a self-created philosophy inspired partly by Jean Baudrillard’s Simulacra and Simulation—Cain delves deeper into the love and fear of human existence. On the November single “Punish,” she mourns, “Only God would believe that I was an angel, but they made me leave,” her words emphasized by rock-infused electric guitars that haunt the ambient soundscape.

“Balloonerism” by Mac Miller
Releases on January 17

The estate of the late Pittsburgh rapper surprised fans with the announcement of Balloonerism, a highly speculated album recorded during the same time as 2014’s Faces. Ultimately shelved in favor of other projects, the record now resurfaces as Miller’s second posthumous release following 2020’s Circles. While no promotional singles have been released, rumors suggest SZA, Hodgy, and Delusional Thomas are featured.

“SALVATION EP” by Rebecca Black
Releases on January 17

Long gone is the “Friday” teeny bopper. Over a decade later, Rebecca Black commands Boiler Room DJ sets, determined to cement her “Party Girl God” status, a title she boldly proclaimed in her controversial single. SALVATION, her third EP and follow-up to 2023’s Let Her Burn, promises early hyperpop bangers with experimental, industrial stems and pitched-up, distorted vocals, as seen in the Trojan horse single “Sugar Water Cyanide.”

“CAN’T RUSH GREATNESS” by Central Cee
Releases on January 24

Since signing a reported $25 million USD deal with Columbia Records last year, UK’s Central Cee now holds up a heavy gold chain on the artwork for his debut album. Featuring 17 tracks, including the new-age romance anthem “gen z luv,” the album solidifies his ascent from mixtapes and sold-out shows to global stardom.

“Burnout Days” by flipturn
Releases on January 24

Florida indie rockers flipturn channel ethereal melodies and gripping guitar work in their sophomore album, Burnout Days. With their cathartic lead single “Sunlight,” the five-member band reflects on themes of family, addiction, and recovery, featuring Dillon Basse’s most personal lyrics to date: “Like a bonsai tree’s branches needing to be cut in order to grow, human beings also need to be pruned.”

“EUSEXUA” by FKA twigs
Releases on January 24

“EUSEXUA IS A PRACTICE. EUSEXUA IS A STATE OF BEING. EUSEXUA IS THE PINNACLE OF HUMAN EXPERIENCE,” the British singer shared on Discord, describing her self-made term as “momentary transcendence.” Twigs’s third album era transforms underground Eastern European rave production into cataclysmic showdowns, as heard in singles “Eusexua,” “Drums of Death,” and “Perfect Stranger.”

“Hurry Up Tomorrow” by The Weeknd
Releases on January 24

“A new path awaits. When today ends, I’ll discover who I am,” wrote Abel Tesfaye, hinting this may be his final album as The Weeknd. Securing a Top 3 Billboard hit with “Timeless” featuring Playboi Carti, and accompanied by a psychological thriller film of the same name starring Jenna Ortega, Barry Keoghan, and himself, Tesfaye’s swan song promises to leave a lasting legacy.

“Deep Thoughts” by Lil Durk
Releases on January 31

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With most of his legal battles behind him, Lil Durk’s ninth studio album takes a reflective turn, addressing themes of drug use on “Optimist” and chronicling his artistic evolution on “Late Checkout” featuring Huxcho.

“NGL EP” by JoJo
Releases on January 24

After her New York Times best-selling memoir, “Over The Influence,” the platinum Grammy-winning R&B sensation continues her story with an upcoming extended play. Its lead singles, “Too Much To Say” and “Porcelain,” seamlessly blend pop production with lyrical resilience.

“The High Road” by Kane Brown
Releases on January 24

The Chattanooga-born country singer has made headlines with genre-bending collaborations alongside Swae Lee, John Legend, and Blake Shelton. “The High Road” plans on extending that trailblazing notoriety with Brown enlisting DJ Marshmello for his lead single, “Miles On It,” while locking in other high-profile collaborations with Jelly Roll, Brad Paisley, Katelyn Brown, and Khalid for the record’s other 17 tracks.

“I’ve Tried Everything But Therapy (Part 2)” by Teddy Swims
Releases on January 24

Who needs therapy when the “Lose Control” hitmaker can release another project? “Part 2” follows last year’s “Part 1.5,” a deluxe edition with four new bonus tracks from his sophomore album. Now, with heartfelt singles “Bad Dreams” and “Funeral,” his junior effort embraces a more radio-friendly, Adele-esque pop sound while still showcasing his raspy powerhouse vocals.