Forty years after the release of New Order’s seminal album Low-Life, co-founder and bassist Peter Hook calls it “the only true New Order record” – the moment the band truly honed their sound. “We were forming it on Power, Corruption & Lies, we had it for Low-Life, and on Brotherhood it started coming apart,” Hook says over Zoom.
A stunning blend of electronica and rock, Low-Life wasn’t, according to Hook, an attempt to chase the success of New Order’s massive 1983 hit “Blue Monday.” It just felt like the right time to record the next batch of songs they’d written. Still, the album’s lead single, “The Perfect Kiss,” quickly became a hit – though the band wasn’t thinking in those terms. “We didn’t care, to be honest. Once a song was finished, it was gone,” Hook says. “Our manager used to say, ‘The best song is your next one.’”
Yet, he recalls the painstaking nine months it took to finish the song, followed by three exhausting days and nights at the mixing console. “I woke up and had the imprints of all the knobs on my forehead,” he says, laughing.
In the meantime, thanks to touring, “The Perfect Kiss” still feels fresh to Hook. It remains a staple in Peter Hook & The Light’s live shows, as does Low-Life‘s “Love Vigilantes.”
Revisiting the album to relearn the songs, however, evoked difficult feelings tied to his acrimonious 2007 split from the group. “As much as I hate to say this, I can’t fucking stand hearing Barney’s voice,” Hook says of Bernard Sumner, his former bandmate, and co-founder of both New Order and Joy Division. “Everything has been colored by that ending…the spit, bile and hate.”
Photo: Julien Lachaussée
He likens his current relationship with the band to “a nasty divorce,” further complicated by the songs that bind them – “like children that tie us together forever.”
Yet performing the music brings joy amid their painful division. “When we were together, it didn’t make me happy, because the others were always changing things to get away from the sound of New Order,” Hook reflects. “But the wonderful thing about playing the songs now, exactly as they were written and recorded, is that it makes me happy.”
Read this story and more in issue #1 of Hit Parader below:
YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…
With more music coming out than ever before, talent is abundant out there. The issue both artists and listeners face is how to find each other.
We are more than happy to help. At the new Hit Parader, music discovery will be a huge part of what we do because, for me, discovering a new artist to follow throughout their career remains one of the greatest joys of being a music fanatic.
The 13 artists chosen here are our music discoveries we’re most excited about in 2026, spanning Spanish pop and soul, rock and hard rock, singer-songwriter, jazz, and more. In putting together this disparate list, I can promise you there was no thought given to the number of followers on social media or streaming spins. As a sports fanatic as well, numbers matter in sports, not music.
The only things that mattered in this list were talent, creativity, honesty, and most importantly, “it” factor. Every one of the 13 artists here had at least one song that stopped me in the middle of whatever I was doing and caused me to go, “Oh shit, who is that?” That’s what good music does — it draws you in and makes you listen. These 13 artists will make you listen and make you damn glad you did. — Steve Baltin
IZZY ESCOBAR
HP: What new music do you have coming in 2026? IE: I’m really excited to be releasing an acoustic version of my EP on January 23rd, with an added bonus track called “Gangster’s Wife.” That song actually started as an improvised moment online, and it’s been so special getting to develop it fully in the studio. We were able to really lean into my love for jazz and strip everything back so the storytelling and emotion could shine.
HP: What is your biggest musical dream for next year? IE:My biggest musical dream is to go on my first headline tour and also open for a major artist. I’m really looking forward to releasing my first full-length album this year and taking that body of work on the road. And honestly — it’s always been a dream of mine to play Coachella 😉
HP: Is there one song of yours you feel best sums up your sound and ethos as an artist? Why that song? IE:“Sunny in London.” It captures my sound and my spirit — it’s soulful, cinematic, and emotionally honest without being bitter. It’s about finding light in unfamiliar places and learning how to stand on your own again. That balance of vulnerability and strength is really who I am as an artist.
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? IE:Stevie Nicks, without question. She embodies mysticism, femininity, and fearlessness in a way that feels timeless. I’ve always admired how she made softness powerful and vulnerability iconic, while still commanding a room like no one else. I’d love to talk with her about songwriting, intuition, and how she protects her inner world while living a public life.
HP: What would be the biggest compliment you could hear someone say about you after hearing your music? IE:The biggest compliment I’ve ever received actually came after someone watched me sing kirtan, a traditional form of Indian Sanskrit chanting, in Griffith Park. They told me that when I sang, I wore my heart on my sleeve. That’s always stayed with me. Singing is the one place where I feel completely myself and completely vulnerable. If my music can make someone feel less alone, help them find their voice, or feel empowered to keep moving forward in their own story, that would mean everything to me.
HP: What is the most rock-star thing you’ve ever done? IE:Honestly, the life I’m living right now feels like the most rock-star thing I’ve ever done. But if you want a funny story — when I was in college, a close friend and I became completely obsessed with the Red Hot Chili Peppers. We heard on the radio that Amoeba Records in Hollywood was giving out free tickets to the first 60 people in line, so we went the night before and slept on the Hollywood Walk of Fame, even though we had classes the next day. We ended up getting in, and I’ll never forget that performance. Pretty rock-star, I’d say.
DREAH
HP: What new music do you have coming in 2026? D: In 2026, I feel like I’m stepping into my fully confident pop-driven era. I’ll be releasing music that’s not so much about heartbreak, but more about showcasing what I’m currently living through. It’ll be music that makes you want to look in the mirror and really feel yourself.
HP: What is your biggest musical dream for next year? D: My biggest musical dream for this next year would be to receive a nomination for the Latin Grammys! And if I can add another… to perform at a festival.
HP: Is there one song of yours you best feel sums up your sound and ethos as an artist? Why that song? D: I would have to say my latest song, “High,” sums up my sounds and vibe as an artist. It’s dark but sensual. To me, it’s my perfect version of dark femininity
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? D: I’d love to hang out with Ozzy Osbourne for the night. His persona is so interesting to me, hahaha! I feel like I would be entertained throughout the whole night.
HP: What would be the biggest compliment you can hear someone say about you after hearing your music? D: I would say the biggest compliment would be that my music made them feel confident. I remember how I used to feel as a little girl, listening to Britney Spears on the radio or Christina Aguilera in my room. It would bring out this overflowing confidence within me. That is the exact same energy I want to transmit to other people through my music.
HP: What is the most rock star thing you have ever done? D: I think back to the time I attended a motorcycle event in South Florida. I was riding my motorcycle in the middle of hundreds of other motorcyclists. Some were doing wheelies, some going as fast as they could, some doing tandems. And on top of all that craziness, I turned around to see a pack of police cars following behind trying to stop everyone! Biggest adrenaline rush for sure!!
HP: If you could live in and create music in any one book or movie, what would you choose and why? D: If I had to choose any book or movie to create music or live in, I would have to say “Grease”. First of all, the movie is absolutely amazing! Sandy is someone who’s so sweet and soft, but also has that edginess towards the end of the movie. I feel like it’s the perfect representation of who I am as an artist. That combination of sweet and sour!
LOST IN VEGAS
HP: What new music do you have coming in 2026? LIV: I have a lot of great music coming out in 2026. One in particular is called “On My Own,” which I did with my bandmate/ amazing producer John Fox, producer Michael Bono, who has worked with a lot of music greats like John Feldmann and Blink 182, and last but not least, Tosh The Drummer, who has been on a generational run drumming for Lady Gaga. I also might have an amazing feature on it, but I’m going to keep that a surprise.
HP: What is your biggest musical dream for next year? LIV: As an artist, I want to create real relationships with the people who support me. I went on three national tours with my friend/ artist/ mentor Mod Sun, and he showed me the importance of going on tour, doing shows, and meeting the fans in real life. The connection and bond you get to experience with them is unmatched, especially living in this crazy digital age. So, my goal is to do that. Also, I want to challenge myself to be more consistent and fearless when it comes to showing my art to the world.
HP: Is there one song of yours you best feel sums up your sound and ethos as an artist? Why that song? LIV: I would say our song “Dirty Little Freak” and the last song we just released called “Paranoia.” I love these songs because they sound like what a Vegas song would sound like. Very high energy, bass-driven, with crunchy loud guitar and INSANE guitar solo s at the end to really top it all off. I have the privilege to work alongside extremely talented musicians/ band-mates that bring these visions to life, so shout out to John Fox on the production, and Ian David on the guitar.
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? LIV: Oooh, that’s a tough question. I would say Lenny Kravitz. Growing up, I listened to his music nonstop. Plus, his style and aura are through the roof to me; he is the definition of a rock star, and I take a lot of influence from him in the music we make.
HP: What would be the biggest compliment you can hear someone say about you after hearing your music? LIV: The biggest compliment somebody can say to me is how much our music has changed their life and helped them get through a hard time. I make music about my personal experiences, but at the end of the day, as an artist, we are here to serve, have an impact, and be the light for those who are in the dark. The beautiful thing about creating music is watching the evolution of an idea materialize into something that not only helps us with our own dealings, but also watching it take on a life of its own with the people that listen and see how it translates and helps them.
HP: What is the most rock star thing you have ever done? LIV: Hmm. I always forget living in L.A., we’re in our own little bubble, and I have the privilege of experiencing some pretty crazy shit. One experience that I always think about is when Mod Sun brought me out to do our song during his set at the Machine Gun Kelly Est Fest in Ohio. I was super nervous, and it was in front of like 3000 plus people. I also did my first-ever stage dive. I would also say just going on tour and riding a tour bus and getting to perform every night is the most insane high rock star shit I plan on experiencing again soon, one day.
MYND READER
HP: What new music do you have coming in 2026? MR: We are releasing our debut self-titled album MYND READER on January 30th. It’s taken a long life of living to properly write it. It’s a concept album about the human experience. With so much division in the world, we wanted to write about what connects us — love, joy, the promise of a new day. What it means to be fully human.
HP: What is your biggest musical dream for next year? MR: Bringing people together in a live environment to experience our music in community, with a connected energy that will blow the roof off the place. To experience Rock and Roll redemption — a Rock and Roll Concert.
HP: Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? MR: The song “Home.” Musically, it’s incredibly honest, vulnerable, and explosive. The chorus of the song is, “More life, please! Because no matter how hard life can get … the prayer is for more!” Our ethos is always finding the light in the darkness. There is always a chance for redemption. We have a lyric in the song that says, “With the promise of a new day, shapes the diamond of the soul.”
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? MR: John Lennon. He changed the world with his music … having a couple of drinks with John Lennon … to experience him just being human … what was he like? What was his sense of humor … what brought him joy? I would just love to get to know him, even if it was for just one night.
HP: What would be the biggest compliment you can hear someone say about you after hearing your music? MR: I don’t feel so alone with my feelings. We had someone once comment that they were going through very serious health issues, and our music brought them hope and faith … It makes it all worth it!
HP: What is the most rock star thing you have ever done? MR: I just went with Michael Brauer (seven-time Grammy-winning mixer who mixed our new album) to see David Byrne and got to hang out with him and meet him after the show. Such a great night of perfection. His performance was impeccable, and he is such a nice, approachable guy.
TAMZENE
HP: What new music do you have coming in 2026? T: I’ve been working on my debut album! I’ve always wanted to embark on a really in-depth body of work, so 2026 will certainly see some of that coming together. I’m incredibly excited to share it with you all!
HP: What is your biggest musical dream for next year? T: I’d love to bring a show to the States. My last show was in NY in 2020, and I think it’s time I went back! I’ve ticked off so much already, opening for Stevie Wonder, Adele, etc, but every artist dreams about America. I’d also love to visit Nashville for some writing. I’ve always wanted to experience that creative scene. I’ve heard so much about it!
HP: Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? T: It would have to be ‘Something Right’ — which is a bit of a cheat because there are two versions, but it’s a true representation of all the things I love when making music. Lush backing vocals, warm piano, live drums, and heartfelt lyrics. The piano version is the purest form of who and what I am as an artist. If you come to a solo show, this is what you hear. I want to keep capturing and delivering this range and spectrum of music.
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? T: It would have to be Tina Turner. I took my mum recently to see the musical, and I was blown away! Her story really inspires me. She didn’t take no for an answer. I’d love to be in that energy, laugh with her, and learn from her, such a hero.
HP: What would be the biggest compliment you can hear someone say about you after hearing your music? T: Well. It’s not that I enjoy making people cry or anything, but when someone says they’ve been moved to tears, I am always amazed by that. I feel so deeply when I sing, and I think my job is to make others feel deeply too. That level of resonance is the whole point to me.
HP: What is the most rock star thing you have ever done? T: Haha, well I can’t say I’m the most rebellious of artists, but I did play my biggest ever headline show on two hours sleep … Is it still rockstar if the reason was a flat tire and not a crazy party?
STRANGERR
HP: What new music do you have coming in 2026? S: A lot of singles, for sure, and at least one or two EPs.
HP: What is your biggest musical dream for next year? S: My biggest musical dream is to continue building a real community and core audience that connects with honest music and genuine art.
HP: Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? S: I don’t think one song can sum up my sound. If you dive into my catalog, you’ll hear different sounds and genres that all represent pieces of who I am. If one song could define me, my name probably wouldn’t be Strangerr.
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? S: For a night, I’d want to hang out with Jimi Hendrix. Seeing someone who looks like me reach that level of respect and influence means a lot. His legacy is unmatched. I’d want to observe his day-to-day life and learn how he navigated the world as a Black artist.
HP: What would be the biggest compliment you can hear someone say about you after hearing your music? S: That they emotionally connected with it. I try to be as real, authentic, and personal as possible in my music. I believe true artists care about substance and relatability.
HP: What is the most rock star thing you have ever done? S: I’ve never conformed to traditional jobs. Despite doubt from family, friends, and peers, I still managed to manifest a life as a full-time artist. That kind of rebellion feels rock-star in itself.
ERIN LECOUNT
HP: What new music do you have coming in 2026? EL: The most personal stuff I’ve ever made. Songs that kind of make me grit my teeth a little when I play them for people. My New Year’s resolutions are to be braver in saying what I mean!
HP: What is your biggest musical dream for next year? EL: I’m about to do a sold-out tour in the US, which is kind of a dream in itself. I’ve been getting whispers of some dream venues for the rest of the year, so it feels like some of them are already dreams half true. I suppose between shows, my big dream is to escape somewhere new for a while and make something really special that I’ve been planning and formulating in my head for a while. I want to make something not like I’ve ever made before, and that means I have to create a new process for myself. I would like to find a friend or trusted partner to collaborate with, too, like someone to help me bring that to life, a bit of a musical soulmate to do it with.
HP: Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? EL: A song of mine called “Marble Arch” was the proudest I’d ever felt of production and writing. It felt like the first time I’d been able to actualize something that I’d heard in my head exactly in the way I wanted to. I indulged in all my guilty pleasures – huge tom drums, metal snares, it’s like an anti-fairytale song, all these reverb birdsong melodies about how difficult you are to love, soundtracked to this industrial sword fight and warped harp orchestra in the background. “MACHINE GHOST” is a song I feel similarly about, except making that felt like being hit by lightning and having a song in my hands that summed up four years’ worth of feeling, even without lyrics, the instrumental just sounded like somebody breaking down – most of the instrumental is made of my voice and vocoder. I think both are good examples of what I try to do, which is to recreate an emotion or a moment or a thought and create this specific scene around it, like it’s the beginning or the end of the world.
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? EL: Kate Bush is the ultimate rock star to me, so I choose her every time. I don’t think there’s any other artist, alive or dead, that moves me like she does, or provides me as much escapism as she does. I feel so close to her, which sounds slightly silly, but I really don’t play about Kate Bush. I would just want to have dinner and a glass of wine and let her talk and ask questions, I have so many.
HP: What would be the biggest compliment you can hear someone say about you after hearing your music? EL: I like specifics, when people pay attention to one lyric and want to know more about it, or when people pick up on something in the production, and ask what I did with this sound or why I chose it. I like attention to detail, and when that is noticed, that’s very gratifying. I get insecure about drums, so if someone says they like my drums, I feel a bit like a child who’s been given a gold star. The best compliment I can get from a live show, however, is about overall energy, compliments on the crowd, just atmosphere in the room, and how “in it” I was.
HP: What is the most rock star thing you have ever done? EL: You’re asking the wrong girl. I don’t know. Getting my whole head of hair bleached in someone’s kitchen because I’d seen a psychic, argued with a cult member, and cried in a wig shop one night, and then felt like the universe was telling me I had to be blonde.
RED EYE
HP: What new music do you have coming in 2026? RE: We’re releasing our debut EP! It includes re-recorded versions of our first two releases, as well as some new songs that we’re really excited to share. We’ve been in the studio for the last couple of months, and we’re hoping to have everything ready by spring.
HP: What is your biggest musical dream for next year? RE: We’d really like to crack the studio recording process. When we first started a couple of years back, I think we had the idea that writing good songs was the hard part of making music, and getting them recorded was more of an afterthought. But we’ve found out how untrue that is — recording is an art of its own, and there’s a ton of things that need to go right for a demo to be properly transformed into something polished. So, if we can figure this one out in 2026, we’ll be happy.
HP: Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? RE: The song that best represents us as a band is probably “How it Ends,” which we released as a demo over the summer. It has a lot of our favorite musical sensibilities: it’s nostalgic in the verses, euphoric and dance-y in the chorus, and combines indie rock attitude with lots of cool jazzy chords. It’s also one of the songs that we’re re-recording for next year’s EP.
HP: What one rock star, living or dead, would you most want to hang out with for a night and why? RE: Elliott Smith. As a guitar music band, there really isn’t anyone we admire more when it comes to writing beautiful chord progressions and melodies — he’s a constant inspiration. He was also an incredible lyricist who mastered the art of conveying emotion through song. So, chatting about songwriting with him would be a dream, in addition to how cool it would be to hang out with one of our greatest musical idols.
HP: What would be the biggest compliment you can hear someone say about you after hearing your music? RE: Our favorite kind of compliment is one that recognizes the parts of our songs that we personally feel the proudest of. There’s nothing better than someone saying, “Hey, that specific thing you do in that part of that song is so cool,” and being like, “Yeah, that’s our favorite part too!”
HP: What is the most rock star thing you have ever done? RE: Probably dropping everything from my life in California and moving to New York to work as a waiter and make music. It was a scary thing to do, and it introduced a whole lot of uncertainty into my life. But choosing to pursue art in this city is such a time-honored tradition, and there’s something really romantic about following in the footsteps of the greats that came before us. And that feels pretty rock n’ roll.
GEO BADOO
HP: What new music do you have coming in 2026? GB: A lot! In March, I’m releasing a song that’s very close to my heart, and I can’t wait to tell this story in all the ways I have planned. It’s possibly a bit of an unconventional one coming from the UK right now, think country meets R&B. After that, I’ll be releasing music steadily, leading up to a very special project at the end of the year.
HP: What is your biggest musical dream for next year? GB: My musical dream for 2026 is to spend a lot more time on stage and connect with people face-to-face. It’s my favorite thing, and it needs to happen more!
HP: Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? GB: That’s a hard question because I feel like I’m not really in a box, and I like to shape shift and try on different musical hats. It’s probably either “My Turn” or the song I’m releasing in March, “Save Me.” I feel like these songs have a tenderness and subtlety that just feels like me, with messages that really came from my core.
HP:What one rock star, living or dead, would you most want to hang out with for a night and why? GB: It would have to be David Bowie. The man was just the coolest, smoothest, smartest person. I have the utmost respect and a lot of questions for him.
HP:What would be the biggest compliment you can hear someone say about you after hearing your music? GB: The biggest compliment would be on my originality and distinctive qualities. Or that they felt calm and grounded while listening.
HP:If you could live in and create music in any one book or movie, what would it be and why? GB: After Dark by Haruki Murakami. I really like the concept of witnessing multiple lives happening simultaneously over a single night. I imagine a diverse, sensitive, and observant soundtrack, with subtle threads that represent the connections between the people.
SALEM DARLING
HP:What new music do you have coming in 2026? SD: I’m super excited for this year! I’m releasing a new song every month. I write a lot of songs by myself, but I also love to collaborate with my friend Sam Nicholson. These new songs will capture what it’s like to be a teenage/young girl. Some are high-energy pop/rock, ballads, or heartbreak songs.
HP:What is your biggest musical dream for next year? SD: I would love to be recognized for my songwriting and my music. I would love for my music to be heard by a lot more people, hoping to have some sort of break. I also would like to play live shows and open for more well-known musicians.
HP:Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? SD: Yes, “Send my Love.” This was the very first song I released back in August. It is a high-energy, fun, pop/rock song. It is about getting cheated on, but instead of being sad about it, I sort of make fun of the situation. As a side note, there are so many songs that I haven’t released yet that are my favorites.
HP:What one rock star, living or dead, would you most want to hang out with for a night and why? SD: This is a difficult question; there are so many people that I’d love to hang out with. But I would say Billie Eilish because, although she’s different from me, she writes her own songs and collaborates with her brother, which is similar to what I’m trying to do, so I can relate to her. In addition, I would love to meet Taylor Swift because I think she’s a great lyricist and she’s a big inspiration.
HP:What would be the biggest compliment you can hear someone say about you after hearing your music? SD: I love it when people say they can relate to my music. Or just seeing my little community grow and see the same group of people supporting me on everything I do, and welcoming new people as well. I also enjoy when people notice I write songs myself. In my comments, people often say I’m underrated, and that means so much to hear that. I’ve heard several times that people gatekeep and don’t tell their friends about me because they want to keep my songs to themselves, but on the other hand, they want to share my music because they want me to be successful; that always makes me smile.
HP:What is the most rock star thing you have ever done? SD: There have been so many cool things I’ve done: being in bands, playing festivals, being recognized in songwriting competitions, doing promos for Gibson Guitar, and being acknowledged by some talented musicians like Gene Simmons, etc. Probably one of the most unexpected moments was when I played a show in a bar in Long Beach. After the show, my mom pulled me aside and told me that Fergie was in there filming me playing guitar. So, then I looked around, and there she was! I got to meet her, and she was such an amazing person to talk to and told me to never give up on my dream. She then wanted to talk to my mom, and so she grabbed my mom’s hand and was pulling her through the bar. My mom was all like, “Fergie is holding my hand, what is going on?” haha. In that moment, I was so grateful that someone like her recognized how hard I’ve worked to get where I am.
HP:If you could live in and create music in any book or movie what would it be and why? SD: Bohemian Rhapsody. I feel like I can relate to Freddie Mercury because he was familiar with many musical genres like opera, rock, pop, etc., and I grew up learning classical music, then focused on rock, and now I’m writing my own pop songs. He was a songwriting genius, and I aspire to be like that as well. He was relatable, kind, and inspiring, and I would’ve loved to have met him, so that would be the perfect movie for me.
SAINT HARRISON
HP:What new music do you have coming in 2026? SH: Lots coming this year, you’re gonna see pretty much everything I’ve been working on since “Lost a Friend.”
HP:What is your biggest musical dream for this year? SH: Honestly, just to perform as much as possible, I grew up performing and being on stage, so I’m really excited to be able to go out there and fuck some shit up :)))
HP:Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? SH: Yes. But it isn’t out yet — it’s a song coming this year that I really wanted for a long time. It came towards me towards the end of the writing process and is really just about giving grace to someone that has hurt you so much — I felt like this upcoming chapter really needed that perspective, and really sums me up as a person and artist (after I’ve gotten over my crash out lol).
HP:What one rock star, living or dead, would you most want to hang out with for a night and why? SH: Oh my god, can I have a dinner party? Like Bowie, Prince, and Janis Joplin would be a wild time.
HP:What would be the biggest compliment you can hear someone say about you after hearing your music? SH: When people shout at me and make stank faces, biggest compliments (shoutout Atlanta for being my favorite crowd ever).
HP:What is the most rock star thing you have ever done? SH: Shopping in Supreme with Elton John was pretty rockstar.
GABRIELLE CAVASSA
HP:What new music do you have coming in 2026? GC: My debut Blue Note record 🙂
HP:What is your biggest musical dream for 2026? GC: Go deeper, abandon perfectionism, commit.
HP:Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? GC: Not really.
HP:What one rock star, living or dead, would you most want to hang out with for a night and why? GC: Dinner with Jeff Buckley. Dinner and drinks.
HP:What would be the biggest compliment you can hear someone say about you after hearing your music? GC: Ever since I heard the pope blessed Rosalia’s album, I am aiming higher. That would be the biggest. But I also like small compliments.
HP:What is the most rock star thing you have ever done? GC: I’m afraid I can’t say.
LITTLE SON
HP:What new music do you have coming in 2026? LITTLE: I’m working on an album right now that I’m wildly stoked about… It’s called Little Son! & the inconceivable, inexcusable (& quite frankly incomprehensible) plot to destroy the moon. Each track is inspired by one of my favorite films, and the album itself tells a story. “Scarecrow Dreams” and “The Ballad of Sir Bummer the Lame and The Princess of Fort Pillow” are the first two tracks on the album and introduce the world that the story is set in. It’s arguably the most challenging and rewarding series of tracks I’ve ever worked on, but I really feel like the end result is going to hit like a Mack truck and tell this strange story that I’ve had on my mind for a while. It’s also been a lot of fun (for me…) to go back and forth with the musicians and engineers I’m working with because we’ve been playing a lot with how to reach certain sounds with different approaches.
HP:What is your biggest musical dream for next year? LITTLE: Oh man – biggest dream would be to create a visual album release alongside the album… I have a whole script written from start to finish already. I’ve always LOVED music as an audio/visual experience. It’s part of why I love live music… It’s awesome to connect with a song and love the music, but it’s a whole different transcendental experience when you’re watching the person who wrote it rip it out of their chest and leave it on a stage for you. For me, a lot of that comes in the form of super-stylized visual representations of the tracks I’ve worked on.
HP:Is there one song of yours that best sums up your sound and ethos as an artist? Why that song? LITTLE: I’d have to give you two, which I know was not the question… “Scarecrow Dreams” and “Save the World, Get the Girl.” “Scarecrow Dreams” encompasses the sound I love. Big chunky guitars and drums, horns, chanting background vocals… I absolutely adore the symphony of it. Each part is working together to tell this whole cohesive story, and even though it’s fairly lyrically driven it’s still one that I want to mosh to when I hear it. On the flip side of that, “Save the World, Get the Girl” is one that reflects the emotions I try to bring out. Super raw, just a guy telling you a story with his guitar. When we recorded that, I had to go into a bathroom with a mic, sit in the shower, and play it with the door closed… I actually still have trouble playing it when I’m not alone because of how much it feels like people are watching me rip a thorn out of my chest.
HP:What one rock star, living or dead, would you most want to hang out with for a night and why? LITTLE: Matt Maust, the bassist for Cold War Kids, is the one who immediately comes to mind. Not only do I love his work with the band, but his work as a visual artist is one that I find myself going crazy for. I would love to hang out with him for a night and just ask him eighty-seven thousand questions about how they capture their sound, his art, and life in general. I fan girl pretty hard about those artists who are insanely talented in multiple mediums… the Renaissance Man type artists, and I can just about guarantee you he would hate me by the end of the night for playing 20 questions for 6 hours straight.
HP:What would be the biggest compliment you can hear someone say about you after hearing your music? LITTLE: I got an Instagram DM from a guy who thanked me and told me that my songs “feel like poetry about a part of [his] life that [he] feels nostalgic for but also like a part of the life [he] imagined for himself.” and it made me tear up (and by tear up I mean cry). The idea that something I had written had that much of an impact on him was insanely overwhelming and felt like I had finally hit something I didn’t even know I was going for. Super candidly, I’ve always written for myself and because I loved the art of storytelling rather than for it to be heard, and that was probably the first time I ever took a step back and thought to myself, “telling the story means as much, or more, to the crowd than it does to the storyteller.” I have the DM saved on my phone and go back and read it every once in a while, and that type of feedback pushes me to really go beyond what I would do for myself.
HP:What is the most rock star thing you have ever done? LS: Let me tell you, man, you’re not ready for this one. Last night, I stayed up past 9:30. I’m not even talking, just like a few minutes past, I’m talking like a whole half hour.
The Brooklyn shoegaze duo, smush, has revealed their reimagined cover of Norah Jones’ “Don’t Know Why” to announce their upcoming EP.
Photo: Henry Wilson
From Vancouver to Brooklyn
Vocalist/bassist Emily Borrowman originally met guitarist Atley King in Vancouver, BC, before relocating to Brooklyn, NY. There, after some visa hurdles were handled, the married couple fully immersed themselves in the New York underground shoegaze scene. In 2024, they released their debut album, if you were here i’d be home now, which amassed hundreds of thousands of streams and included fan favorites such as “goodnight moon” and “fivefivefive.”
For years, they have captivated listeners with their hazy, dreamy sound, transcendent live show, and lyrics that stay both grounded and elusive, blending rural, urban, and fantasy worlds. Now, they have unveiled their cover of Norah Jones’ acclaimed “Don’t Know Why.”
Don’t Know Why
smush’s rendition of “Don’t Know Why” is a soft, hazy, dreamscape that features electronic drums to set the pace. It showcases smush’s blend of sounds and gravitation toward a DIY sound in a time where polished products are constantly produced.
“’Don’t Know Why’ is a really special song for us because it always reminds us of New York City,” says smush. “When we first started working on our cover of this classic we hadn’t yet moved to NYC and it would always bring to mind thoughts of Norah Jones there at the start of her career. To us it seemed like she had found an indescribable magic in that place and it was very inspirational to us at the time. Since moving here, we have found something similarly special and this is our way of saying ‘thank you.’”
standards EP Cover Artwork
standards
The cover arrives as a taste of the duo’s upcoming EP, standards. It is set to release on February 20 and features six covers from their musical heroes. The duo states in an Instagram post about their “Lawyers In Love” cover that it was an “early taste of our new ep featuring songs that have helped shape us musically and as people.”
standards was completely self-produced and mixed by Sonny Diperri, known for his work with DIIV and Julie. He also worked as an in-house engineer for Trent Reznor, My Bloody Valentine, M83, David Longstreth, and more.
The EP also includes covers from Hotline TNT, Retail Drugs, Field Magic, Big Rig, and Owl City’s chart-topper, “Fireflies.” (View full tracklist below.) Their intentionally imperfect, surreal EP is available for pre-order here!
Mothica returns to Mothicorp with her brand-new single, “Save Your Roses,” and its visually stunning music video. The single, inspired by a conversation with a fan, arrived in anticipation of her upcoming EP, Everything In Between.
Save Your Roses
Following “Evergreen Misery,” “Save Your Roses” catches your attention immediately, with Mothica singing, “I could kill my faith to take you home.” In true Mothica fashion, the lyrics are filled with emotional depth and delivered through a catchy pop vocal underlined by dense, heavy guitars.
“I wanted to write a song that on the surface sounds like it’s about a lover I’m pining after, but is actually about substances,” Mothica explains. “The verses are about how intoxicating it is to lose yourself in drugs, and mirrors my experience with sobriety. The lyric in the chorus ‘Don’t save your roses for my grave’ is inspired by a conversation I had with a fan after one of my shows in Paris. They said ‘I believe we should give people their flowers while they’re here.’ That stuck with me–that we often tell people how much they mean to us only after they’re gone. It was fun to make this explosive, energetic production with Elliot Polokoff but layer that with lyrics that have a darkness to them.”
The music video brings us back to Mothicorp, continuing from “Evergreen Misery.” It is visually stunning and drenched in the iconic twilight blue color Mothica fans have claimed as their own. Mothica herself worked as the creative director while Ryan Joseph directed the video.
“I wanted an energetic and fun performance set in the offices of Mothicorp. I got to feature some incredible musicians, Jayden Hammer on guitar, Brittany Nicole Bowman on drums, and Tay (aka thewitchybassist) on bass. I had a bunch of friends suit up to be employees of Mothicorp and play with this idea of a surreal workplace with messy and bizarre cubicles. Ryan (Joseph) and I planned everything in advance so we could shoot it while on set for the ‘Evergreen Misery’ music video, and approached it with this run and gun energy. You might even see some easter eggs from previous Mothica music videos in the offices.”
Somewhere In Between EP Artwork
Somewhere In Between
“Save Your Roses” arrives as a second taste of Mothica’s upcoming EP, Somewhere In Between. The EP is set to release via Sharptone Records on February 20.
It was written after Mothica’s relapse in 2024. Fueled by her fear of air travel, she fell back into pill addiction. While touring Europe, she realized she needed to get clean before working on her next record. “I made the terrifying decision to cancel my first-ever headline tour and went to rehab,” she recalls. “A lot of intense emotions I had been numbing came up. I thought about quitting music because the anxieties around traveling and the industry is what lead me back to substance abuse. I was mad at myself for letting it go that far. Finally, I thought, ‘Why don’t I channel these feelings into some angry music?’ I’ve always wanted to combine pop songwriting with grittier, heavier guitars.”
“Due to my depression and being a recovering addict, I’m so ‘all or nothing.’ Everything seems fatalistic to me,” she reveals. “How do I exist in the middle? While making the EP, I had just gotten out of rehab, and I was able to be vulnerable. A lot of the words were initially written as poetry on my phone, and the lyrics are the most vulnerable and poetic I’ve ever written. I’m dealing with my struggle to get sober again, my first major breakup, and other significant life events. For so long, I had been numbing out my emotions. I was finally able to process them, and it was freeing.”
“Like a moth to a flame, I’ve been attracted to drugs, alcohol, and self-destruction,” Mothica explains. “As Mothica grows, I’ve asked, ‘How can I make the darkness I’m attracted to be positive and utilize it as a vessel for sharing my story?’ It’s hard not to get lost in the dark sides of life and the music industry; it’s easy to compare yourself to others and feel ‘not good enough,’ but I’ve decided to take everything I’ve been through and to use it in order to inspire.”
Mothica’s powerful upcoming EP continues her streak of pure vulnerability packaged in catchy alt-pop-rock anthems. After getting sober, relapsing, and getting sober again, Mothica is back and bolder than ever.
For two decades, the Gold-certified Scranton, PA, quintet has broadcast its unique sonic artistry to the world, building a massive global fan base and topping charts. Now, the metalcore legends have unleashed their brand-new single, paired with a stunning music video.
Afraid of the Dark
The new single bridges their past, present, and future. “Afraid of the Dark” is composed of the band’s signature emotional intensity, blasting drums, and a huge melodic chorus. Of course, the song wouldn’t be complete without also including Chris Motionless’ classic “BLEIGH!!” over the dissonant breakdown.
“20 years ago, I stepped into a tour van with my best friends, having no idea what was next every mile we drove down the road,” says Chris Motionless, pulling back the curtain on the song’s origin story, which is rooted in the band’s own history. “Funny enough, we broke down two hours later in the AM hours in a snowstorm. We had to sleep on the floor of a rest stop on the side of the Interstate and wait what felt like forever for a tow truck. We were forced to cancel the first few shows of our first tour ever, and to figure out how to scrape up every cent we could to try and get the van fixed and get back on the road. Nothing was ever going to stop us. There was never a doubt that we would find a way to live out our biggest dream and set a precedent for anything standing in our way.”
He continues, “On our 20-year anniversary, that spirit is burning just as hot as it was on that day. We refuse to settle, refuse to let any opposing force stop us from clawing our way up from hell, and we refuse to fear the dark of the unknown. I want the story of MIW to inspire anyone listening to not fear the unknown, but to run head first into it with everything they’ve got. This song is about taking control of your destiny and writing the script of your own future without any doubt or apprehension. For those of you who have been with us for any part of the last 20 years, this one is for you. If you mean it, you will make it.”
On The Road
Motionless In White is joining Bring Me The Horizon on the road for their North American Tour. They will begin on April 28, in Toronto, Ontario, and wrap up on May 16 at Sonic Temple Festival in Columbus, Ohio. Tickets and information are found here!
LØLØ is leaning all the way into the chaos. The Toronto-born pop-rock provocateur has announced her sophomore album, god forbid a girl spits out her feelings, due April 17 via Fearless Records, and unveiled its fierce lead single, “007.” The track signals a sharpened new chapter for an artist who has built her reputation on emotional candor, dark humor, and unapologetic intensity.
Spanning 13 tracks, god forbid a girl spits out her feelings expands the raw, diaristic world LØLØ began sketching on her debut, pushing further into vulnerability without sacrificing bite. The album blends pop immediacy with alt-rock grit, featuring collaborations with Andrew Goldstein (blink-182, Avril Lavigne, Reneé Rapp), DCF (Royal & the Serpent, UPSAHL), and others. Previously released fan favorites — including “the devil wears converse,” “american zombie,” and “me with no shirt on” — round out what she describes as her most cohesive and fearless body of work to date.
“007” arrives built on punchy guitars and commanding vocals, capturing LØLØ at her most confident. Written alongside Brian Dales (The Summer Set), Taylor Acorn, and Danen Reed Rector (Underoath, Charlotte Sands), the song dials up her signature confessional edge while sharpening its cinematic sheen. It’s confrontational, self-aware, and restless — a mission statement for an album that refuses emotional restraint.
Reflecting on the shift from her debut, LØLØ describes the new record as an embrace of feeling rather than avoidance. Where falling for robots and wishing I was one explored emotional numbness, this album documents what happens when she lets everything spill out — the insecurity, the humor, the contradictions, and the fallout. Every song, she says, is pulled straight from her journal, capturing intrusive thoughts and emotional spirals in real time.
The release arrives as LØLØ continues her rapid ascent. With more than 150 million global streams, collaborations with artists like Simple Plan and Maggie Lindemann, and festival appearances ranging from Lollapalooza and Sad Summer to Slam Dunk and Download, she’s carved out a distinct lane as one of pop-rock’s most emotionally transparent voices. Additional overseas headline tour dates are expected to be announced soon.
If the title is any indication, god forbid a girl spits out her feelings isn’t asking for permission. It’s an album about saying the quiet parts out loud — loudly, messily, and without apology — and “007” makes it clear that LØLØ is more than ready for the fallout.
YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…
Moby has announced his 23rd studio album, Future Quiet, set for release February 20th via BMG, marking a contemplative new chapter in the career of one of electronic music’s most enduring figures. Alongside the announcement, he has shared the album’s lead track: a newly reimagined version of his 1995 song “When It’s Cold I’d Like To Die,” featuring Jacob Lusk of Gabriels.
Spanning eleven tracks, Future Quiet leans into piano minimalism, immersive ambient textures, and select vocal collaborations, positioning stillness as both a creative and emotional counterweight to the volume of contemporary life. The album reflects Moby’s ongoing interest in restraint and atmosphere, expanding on the quieter impulses that have threaded through his catalog while sharpening their intent.
“‘Future Quiet’ is, not surprisingly, quiet,” Moby said in a statement, describing the record as a refuge from a world that “screams at us” through constant noise, screens, and demands. Writing and recording the album, he explained, became an act of retreat — one he hopes listeners can share.
The album opens with the orchestral reworking of “When It’s Cold I’d Like To Die,” a song originally released on Everything Is Wrong and recently rediscovered by a new generation through its use in seasons one and four of Stranger Things. Featuring Lusk’s soaring, gospel-inflected vocal, the new version reframes the track with a sense of grandeur and emotional clarity. The original song has surged to become Moby’s most streamed track, fueled by viral attention and renewed interest ahead of the show’s final season.
Lusk’s involvement came after Moby heard Gabriels on KCRW and, by his own account, “spent weeks tracking him down.” The collaboration anchors Future Quiet’s opening moments with a sense of reverence that sets the tone for the album’s inward gaze.
Beyond the studio, 2026 will see Moby embark on his biggest tour in a decade, including a Coachella appearance and a headline performance at On The Beach Festival in Brighton, U.K., on July 26th. Full tour details are expected soon.
More than three decades into his career, Moby remains a singular presence — an artist whose restless curiosity has taken him from punk basements to rave culture to ambient minimalism, all while maintaining a deep commitment to activism and creative access. With Future Quiet, he appears less interested in reinvention than in preservation: carving out space for reflection, silence, and emotional shelter in an increasingly loud world.
Listen to “When It’s Cold I’d Like To Die” (ft. Jacob Lusk) here and pre-save Future Quiet here.
Mitski has announced her eighth studio album, Nothing’s About to Happen to Me, arriving February 27th via Dead Oceans, and shared its lead single and video, the fuzzed-out rock spiral “Where’s My Phone?” The new project continues the creative through line she established on 2023’s The Land Is Inhospitable and So Are We, while pushing deeper into narrative-driven territory.
Album Artwork
Supported by a live band and orchestra, Nothing’s About to Happen to Me centers on a reclusive woman living in an unkempt house — a character who exists as a deviant beyond its walls but finds freedom within them. Mitski wrote all of the album’s songs and performed all of its vocals, working once again with longtime collaborator Patrick Hyland, who produced and engineered the record. The album was mastered by Bob Weston, with orchestral arrangements by Drew Erickson recorded at Sunset Sound and TTG Studios.
“Where’s My Phone?” offers an anxious, distorted entry point into the album’s emotional terrain. Built around a looping refrain — “Where did it go // Where’s my phone // Where’d I go” — the song captures a spiraling sense of displacement, pairing raw urgency with a jagged melodic edge. The track arrives alongside an unhinged, darkly playful video directed by Noel Paul, inspired by Shirley Jackson’s We Have Always Lived in the Castle. In the clip, Mitski plays a paranoid woman defending her sister inside a gothic house as a procession of increasingly absurd intruders sends the story into chaos.
The album features live instrumentation from The Land touring band alongside expanded ensemble arrangements, further blurring the line between intimacy and grandeur. Across its eleven tracks — including “In a Lake,” “Dead Women,” and “Charon’s Obol” — Mitski continues her career-long exploration of isolation, desire, and interior life, now rendered with orchestral weight and theatrical precision.
The announcement arrives amid an already expansive creative era for Mitski. In recent years, she’s seen global success with “My Love Mine All Mine,” collaborated with Florence and the Machine, David Byrne, and Son Lux, and debuted her concert film Mitski: The Land in more than 600 cinemas worldwide. With Nothing’s About to Happen to Me, she appears less interested in escalation than excavation — turning inward to find something stranger, darker, and quietly defiant waiting inside. Pre-order and Pre-Save Nothing’s About to Happen to Me right here.
Genevieve Hannelius is officially stepping into a new creative chapter. The singer-songwriter and actress released her debut EP, Girlhood, today, a six-song project that distills the contradictions, nostalgia, and emotional whiplash of growing up into something soft-edged and sharply felt. Alongside the EP, Hannelius shared a music video for “The Woods,” filmed in her hometown of Maine, where winter landscapes mirror the song’s quiet vulnerability.
Written entirely by Hannelius, Girlhood unfolds like a late-night conversation with a close friend — intimate, conflicted, and self-aware. Across tracks like the dreamy debut single “Reckless,” the pop-rock catharsis of “James,” and the stripped-down title track, she explores the liminal space of her twenties: feeling caught between childhood comfort and adult expectation. The EP draws from influences ranging from early-2000s pop staples to folk and country textures, resulting in a sound that feels both nostalgic and newly personal.
After spending much of her childhood in the public eye, Hannelius took time away from acting to attend college and live more privately — experiences that now anchor her songwriting. That patience pays off on Girlhood, which plays less like a reinvention than a quiet arrival. It’s a debut rooted in lived experience, emotional honesty, and the freedom to be unresolved. Listen to the Girlhood EP here and read along with the truncated interview with G below. The full interview is in Hit Parader #3, now available.
HP: For Girlhood, the title feels very personal. Can you tell us what made the title feel like it represented the EP well? GH: I mean, I think it was a couple of different things. First of all, I am in my mid to late 20s, and I feel like this time period has just been such a huge transition. Just sort of emotionally, and in life in general. And I felt like that was a really relatable concept. I noticed that that’s how my friends were feeling, almost going through like this Saturn Return, and just having a lot of different conflicting emotions come up, you know, realizing that you’re really an adult now, post-college, and also like having this nostalgia for your childhood. I also felt like I played an interesting role in a lot of other people’s childhoods. Like, that’s the biggest thing that people say when they come up to me, is, like, “You’re my childhood! I grew up watching you.” So I think that, like, the girlhood theme showed up in a lot of different ways as I was working on this.
HP: I don’t want to age myself, but I’m one of those kids. I mean, I watched Dog With a Blog before I went to school on the Disney Channel. GH: Well, it’s so funny, because I really feel like the fans watching Disney Channel specifically have a different connection with the actors than I feel like actors that you watch when you’re older in movies, because you do really feel this special, nostalgic connection to them. And I think that’s really cool, because I felt the same way growing up. Even though I was working, I grew up watching, you know, Hannah Montana, or Lizzie McGuire, and I had those same feelings. So I get it.
HP: I want to talk about your kind of growing-up experience. I know that you, as an actor yourself, have had a pretty unique life experience. How do you think that life experience has given you a unique perspective on growing up and girlhood? GH: Well, I definitely spent a lot of my childhood in a, you know, unconventional way, because I was working. So I think, in a lot of ways, that sort of forced me to grow up quicker, and then in other ways, I feel like it actually stunted me socially. I was spending a lot of time with adults on sets, so when I actually ended up, you know, like going to college, I was sort of like, “This is what the kids are doing?” I had to, like, catch up. So, yeah, I think that’s a way that it was unique. But I also really just feel like, no matter what your life circumstances are, everyone goes through those pivotal growing-up moments, and that’s something that we can all kind of relate to.
HP: Absolutely. So, out of all the characters you’ve played, who do you think would most likely relate to Girlhoodand be singing along to the songs on it? GH: [Laughs] That’s a great question. You know, I probably would have to say Avery from Dog With a Blog, because so much of the show, and just the episodes, you know, storyline-wise, were about her growing up. Like, I always have this distinct memory of one of the episodes. She hated being short, and so she was doing everything she could to, like, feel taller. She made this, like, massive haircut, and she was wearing huge heels to school. And obviously, that’s an exaggerated situation, but it is so relatable. I just feel like that concept of feeling insecure about something that, like, you can’t change about yourself, is just such a vulnerable, relatable feeling. So I think she would be singing along, and she would really, she’d really get it. She’d be like, “Yeah, same. I went through that.”
HP: I really like the end of the EP, with “The Woods.” It kind of felt like it wrapped a really nice bow on the EP. What was the thought process when ordering the songs and how each song played in? GH: Yeah, we did think about that a lot. We had some of these more pop kind of songs, and then we had a couple, like “Girlhood” and “The Woods” that are a little bit more stripped down and slower ballads. So I just wanted there to be sort of a balance when you were listening through. So it was like, a more upbeat pop one here, something a little more laid back, something brighter – I almost felt like it’s the roller coaster of girlhood emotions that you go through. You know, one day you’re screaming at the top of your lungs, you’re so in love, and then the next day he ghosted you, and you couldn’t be more depressed. And it’s just like, up and down, or at least that’s how I feel my emotions have been in my 20s, so I wanted it to sort of have that feeling.
HP: What was one influence for this album that you think would surprise your fans? GH: Oh, well, I think we actually were listening to a lot of folksy stuff, like Noah Kahan was really having a huge moment at the times we were listening. I love Casey Musgraves, and actually, like this would probably surprise people. I’m a huge country music fan. Dolly Parton is like one of my all time idols, and I listen to a lot of country music, so surprisingly that folksy sort of country sound we were listening to a lot, even though these songs evolved into something sort of different.
HP: Any last message you want to give the girls who are growing up? GH: Oh! To the girls, I would just say, hang in there. We’re all in this together. We’re not alone. I think connection is our most powerful tool that we have through all the ups and downs of growing up and life. So I mean, really just my hope with making the EP was that it would connect with somebody, and, you know, someone could say, “Oh, my God, I feel that way too.” So I hope it resonates with people in that way. But my biggest takeaway, I think, is not being afraid to, like, make mistakes and take them as, you know, learning experiences and just keep trying. Don’t be afraid to be seen trying.
Read the full interview with Genevieve Hannelius in Hit Parader #3.
In this issue of Hit Parader, Grammy-winning producer Zedd reflects on Telos, his most introspective release to date, and his decision to step away from algorithm-driven expectations to create a record meant for deep listening rather than passive consumption. Made for himself first, Telos emerges as a statement of creative autonomy rooted in vulnerability, balance, and long-term intention, even…
YoungBoy Never Broke Again has released his new album Slime Cry today, adding another staggering chapter to a career that has already bent the modern rap timeline out of shape. The project arrives as the Baton Rouge native quietly cements his place in the history books: with 126 RIAA certifications totaling 140.5 million units, YoungBoy now stands as the most certified rapper of all time, trailing only Elvis Presley across all genres.
The numbers underscore just how compressed his rise has been. In less than a decade, YoungBoy has surpassed certification totals that took legacy superstars decades to accumulate, eclipsing the likes of Drake, Kanye West, Eminem, Beyoncé, Taylor Swift, and Rihanna in the process. The RIAA has also recognized him as the most successful rapper of the past decade, citing his record-setting run of Platinum-certified albums between 2015 and 2025 — all achieved before his mid-20s. That dominance has been fueled by an unusually direct relationship with his audience. Largely sidestepping traditional radio and industry pipelines, YoungBoy has built a catalog that translates into obsessive engagement: more than 30 billion global streams, over 16 billion YouTube views, and the most Gold-certified songs in music history. At comparable ages, peers like Drake and Taylor Swift were operating at a fraction of those certification totals, a disparity that highlights just how singular YoungBoy’s output and consumption have been.
The momentum extends beyond streaming. His Make America Slime Again Tour ranks among the highest-grossing hip-hop tours in U.S. history, selling over half a million tickets across 42 dates and grossing upwards of $75 million. With Slime Cry, YoungBoy Never Broke Again isn’t positioning himself as rap’s next great outlier — he’s reinforcing the reality that he’s already operating on a historic scale, rewriting the benchmarks in real time. Watch the trailer below and then listen to Slime Cryhere .
