"13," The Musical That Kicked Off Ariana Grande’s Career, Is Now A Netflix Movie | GRAMMY.com (2024)

Before she was a pop sensation, Ariana Grande made her Broadway debut in "13: The Musical." She was one of thirteen kids in the Broadway show that ran for only a few short months in 2008. The show has since been turned into a movie musical made for Netflix – which begins streaming Aug. 12.

"She was as gifted a singer at 14 years old as she is now," the musical’s composer and three-time Tony Award winner, Jason Robert Brown tells GRAMMY.com. Brown believes Grande was always destined to be a star, but he does feel like he’s been part of the talent development for the many teenagers who’ve starred in the show over the years. "They learn something about how they want to perform from it and it directs them forward," he explains.

The Netflix adaptation stars Eli Golden, as Evan, a Jewish 12-year-old who moves to a small, non-Jewish town in Indiana right as he’s about to become a Bar Mitzvah. He tries to make new friends so they will all come to his party. Debra Messing plays his mother and the pair share a poignant duet called "It Would Be Funny," one of three new songs Brown wrote for the film.

It’s been a busy year for Brown whose new musical, "Mr. Saturday Night" (based on the 1992 Billy Crystal movie of the same name), opened on Broadway also starring Billy Crystal. He is preparing for the highly anticipated New York City production of his musical "Parade" (in which he won a 1999 Tony Award for Best Score) starring Ben Platt ("Dear Evan Hansen") and Micaela Diamond ("The Cher Show"). He’s also written the music for "The Last Five Years" and "Honeymoon in Vegas."

GRAMMY.com spoke with Jason Robert Brown all about bringing 13 to Netflix, writing a new song for the film inspired by Grease and one of his favorite memories of working with Ariana Grande that you can hear on the cast album.

What was it like revisiting the show?

I haven't stopped revisiting the show since [book writer Robert Horn and I] wrote it. We did it originally at the Paper Mill [Playhouse in New Jersey] in 2006. Then we did it at Goodspeed [in Connecticut] in 2007. We did it on Broadway in 2008. I did a new version in London in which I directed. That has been the version that has been out in the world since.

In all of that time, Robert Horn and I were always working on what's a possible idea for how this could be a movie. We had written several versions of a screenplay before Netflix even came to us. 13 was always a show that we always knew we were gonna have to keep coming back to.

You always have to keep your eye on anything that's a contemporary story so it doesn't get dated. There was a lot in the original draft that was of its moment, but does not feel of its moment anymore. Teenagers are different than they were in 2008. It's always fun to come back to the show, because I love these characters and I love this material. But it's always a challenge to find out how to make it say what it has to say in slightly different ways.

Tell me about writing three new songs and why you wrote them.

I wrote new songs for a bunch of different reasons. The story of the movie is different than the story of the [Broadway] show. There were some things that happened in the show that had all these great songs attached to them. When we got to [working on] the movie, those songs don't make any sense anymore.

So when we lost some of those songs, we had to come up with new ones. When Evan first gets to school, we had an opportunity to introduce the kids in the town in a much better way. I got to write this really great song for Brett (the head of the football team played by JD McCrary,) and for Kendra (the head cheerleader played by Lindsey Blackwell), called "I've Been Waiting" and it talks about their dilemma which is how they've been waiting all summer to get together.

It reminded me of "Summer Nights" from Grease.

That was certainly a model in a lot of ways. "Summer Nights" is the two lead characters talking about what they've done all summer to their respective crowds. Without us doing it intentionally, that was exactly the same position that this song was going to be in. Why run away from it?

It was also an opportunity to say, alright, what is the music that these kids sing? The music I wrote for them to sing in 2008 sounded like 2008 music. I thought let's get closer to what they sing now. I got to write what my daughter calls a "bop." When I was working on the movie, [my daughters were] 15 and 11. I showed them everything that was new and got their reactions. I didn't always listen to them, but I did my best to watch their eyes and see how they responded to material.

How did you get Debra Messing, who plays Evan’s mother, to sing in the movie?

The show on Broadway had no adults in it. For the movie, that wouldn't make any sense. So we put in the parents: Evan’s mother, his father and his grandmother. His mother is played by Debra Messing who, on top of being an extraordinary comedian, is a great singer. The whole point of having Debra Messing in the movie is she should have a moment. So I got to write a song for her and her son to sing. I don't think Debra would have been interested in doing the movie musical if she didn't get to sing.

Getting her to sing the song was the easy part. It was really this great give and take about her ideas about being a mother. [In real life] she is a divorced mom [like in the movie] with kids who are almost exactly Evan’s age. So she had a lot to say about what that experience was. Obviously all the other songs are just kids singing. It was just nice to have a second where the grown up had a little perspective to offer.

What stood out to you about Eli Golden, who plays Evan?

For me, it was very important that the Jewish characters be played by Jewish actors. There’s an idea that anyone can play Jewish – it's not a race. I don't think that's true. I've seen a lot of Jewish characters played in ways that feel inauthentic. So much of the movie depends on the fact that there is one Jewish kid in the middle of a town of non-Jewish kids. It is important he feels like an outsider and like he doesn't entirely belong.

To have Debra, Rhea Perlman (Evan’s grandmother), Peter Hermann (Evan’s dad), Josh Peck (Evan’s Rabbi), and Eli all be Jewish centers their experience in a very specific way. I wanted to make sure that the Jewish experience was not being portrayed in a way where it was played for laughs. What was wonderful about Eli is he is a New York Jewish kid and he brings that energy to it. At the same time, there's something that is so charming and approachable about him.

What do you remember about Ariana Grande’s audition and casting her in the show?

She sang Mariah Carey. She opened her mouth and we said "we have cast her." She was always an extraordinarily talented creature. So many of those kids in that original company were. Not only did Ariana bring it, but it happened so many times during the casting of this movie.

I don't take too much credit for Ariana because she was going to be famous no matter what happened. I do feel like we got to give her this little showcase where the world got to see her for the first time.

Any favorite memories from working on the music with her back then in 2008?

If you listen to the opening number in the original cast album there are a series of four solo riffs that each of the kids do at the end of the song. The kids made those up themselves. And the way that it all worked was that I took all 13 kids in the company around the piano and I just kept playing those four measures of music over and over again. I would point to them and I would say sing your riff.

I got to Ariana and she sang this sort of perfect Whitney Houston riff right at the end of the song. It was amazing. What I remember specifically as she sang it was everybody just started laughing because we were all like well we can stop doing this now. We know what one of the riffs is going to be.

Do you stay in touch? I know you did a concert in 2020 with her on Zoom, which I watched. But does she consult with you at all?

She doesn't need to consult with me. We're friends. So every once in a while we text each other and we check in. We usually are talking about our experience doing 13. She's still very close with Liz Gillies, Aaron Simon Gross and Graham Phillips. There are times where, at midnight, suddenly I'll get a group text from all four of them because they're all hanging out together in Los Angeles singing all the songs from the show. That happens much more often than you would imagine.

Now you have a new generation of teens who could become the next Ariana Grande.

What I'm really excited about is that this has the opportunity to inspire this whole other generation of kids. The show was on Broadway 14 years ago; it certainly didn't change the world when it opened. I’m so honored and thrilled that all these years later, it's still making a mark on this generation. It's sort of so weird, but it's really exciting. And I think the movie is designed so well to talk to kids of this generation.

You have "Mr. Saturday Night" on Broadway right now and soon "Parade" at New York City Center.

The real thrill is that Ben Platt really wanted to do it. He has always loved the show and he really wanted to find a way to do the part. For several years now, he's been working with [director] Michael Arden trying to figure out a way to get it up on stage. It's this fantastic opportunity to revisit that piece which I love so much.

One of the tricks of "Parade" is that it's a big show and it was designed to be big. So, it's probably too expensive to do a traditional Broadway revival. The great thing about doing it at City Center is we can do it with the full cast and the full orchestra and really give it its due. It's a piece that means so much to me and to my family. It means so much to be able to remember [its director] Hal [Prince] and memorialize the work that we all did together.

Everyone on Twitter wants to see this back on Broadway so everyone is hoping it transfers like "Into The Woods" just did.

That would be totally fine by me.

"A Strange Loop" Musical Director Rona Siddiqui On Breaking Boundaries In Broadway

Something has changed within me! The first trailer for Wicked: Part 1 premiered during Super Bowl LVIII starring Ariana Grande and Cynthia Erivo.

The teaser gives fans a peek at the first, fortuitous meeting between Grande’s Glinda and Erivo’s Elphaba on their first day at (dear old) Shiz University. Letting out a frightened shriek, the future Good Witch of the North marvels, “Oh! You’re green!” to which Elphie plays along, staring at her hands in awe before agreeing, “I am!”

Elsewhere in the teaser, Elphaba dons her famous black witch’s hat before revealing, “Something just takes over me, and when it does, bad things happen” as Glinda floats into frame in her iconic bubble, all dolled up in a frilly pink gown with matching crown and scepter.

While Wicked lovers don’t get a sneak peek attwo-time GRAMMY winner Grande Grande singing any of Glinda’s songs in the trailer, we do get to hear strains of “Defying Gravity” as the clip introduces Jonathan Bailey as Fiyero, Michelle Yeoh as Madame Morrible and Jeff Goldblum as the Wonderful Wizard of Oz, with the latter ominously promising, “The best way to bring folks together is to give them a real good enemy.”

The trailer ends with Glinda and Elphaba arriving hand-in-hand at the Emerald City to meet the Wizard, with Grande whispering, “Don’t be afraid” and Erivo replying, “I’m not afraid; it’s the Wizard who should be afraid of me.” Cue the Wicked Witch bursting out of a window and taking flight for the first time as she lets roar the beloved final riff at the end of “Defying Gravity.”

Wicked: Part 1 is scheduled to hit theaters nationwide on Thanksgiving Day 2024 and also stars Ethan Slater, Marissa Bode, Bowen Yang, Keala Settle and Adam James. Watch the trailer above.

Post Malone Goes Country for “America The Beautiful” at Super Bowl LVIII

With seven GRAMMY nominations at the 2024 GRAMMYs, Victoria Monét has officially entered her pop star era in epic fashion. But the singer/songwriter is far from an overnight sensation — she's been laying the groundwork for her breakthrough success for over a decade.

With the 2023 release of her debut album, Jaguar II, Monét materialized years of writing blockbuster hits for Ariana Grande, Chloe x Halle, Selena Gomez and more into an acclaimed artist career of her own. Along with her GRAMMY nominations — including Best New Artist — she embarked on her first headlining tour and scored her first No. 1 hit.

It's the kind of success Monét has been working toward her entire life, and particularly since attending a performing arts program during high school in her hometown of Sacramento. Whether writing for herself or others, Monét has a relatability that resonates with any listener; her introspective lyricism touches on everything from love, heartache and sexuality to empowerment and friendship. Her sleek, instrument-driven R&B stylings feel familiar yet fresh, bringing elements of dancehall, old-school slow jams, upbeat pop, reggae, hip-hop, trap, alternative R&B and country into the genre.

"She really puts in the work and she is being rewarded now more than ever for it," producer D'Mile, who has known Monét since the beginning of her career, tells GRAMMY.com. "She grows more and more confident and sure about what she's aiming for as she continues her journey."

D'Mile worked with Monét on her 2020 project, Jaguar, one of six EPs Monét had released before Jaguar II. While she garnered buzz for Jaguar, its sultry and dreamy follow-up took her artistry and acclaim to another level. Along with Jaguar II garnering hundreds of millions of streams, Monét saw legendary artists like Anita Baker and mega producer Jimmy Jam singing her praises, and both Jay-Z and former President Barack Obama included "On My Mama" on their favorite songs of 2023 playlists.

"I'm hoping that people who do find me now are along for the ride for the long run, or stay around until I do a Vegas residency when I'm 70 or something," the Georgia-born singer told Variety in December. "I'm just excited for the journey. I feel like it's definitely uphill right now."

Back in the late 2000s when Myspace reigned supreme, Monét's long-held dreams of becoming a professional singer were finally realized. After sending a friend request to Rodney "Darkchild" Jerkins — the GRAMMY-winning producer behind countless iconic tracks like Monica's "The Boy Is Mine" and Destiny's Child's "Say My Name," and one of Monét's biggest influences — he invited her to audition for a girl group, Purple Reign, he was putting together for Motown Records.

Monét packed her bags and headed to L.A. to join the group, but they were dropped before releasing any music. Stuck in L.A. and needing to make ends meet, the singer turned to songwriting — and little did she know, her backup plan would change everything.

In just a few years, she had helped pen songs for the likes of Diddy Dirty Money, Nas, T.I., and Coco Jones (the latter of whom is now a fellow Best New Artist nominee). Along the way, she met Ariana Grande during the pop star's stint at Nickelodeon, and the two have been close collaborators since. After working together on two songs for Grande's debut, 2013's Yours Truly, Monét has co-written a majority of the superstar's subsequent albums through 2020's Positions and featured on 2019's "Monopoly."

In fact, Monét's first GRAMMY nominations were for her work with Grande. In 2020, her songwriting on Grande's 2019 LP, Thank U, Next, earned a nod for Album Of The Year as well as Record Of The Year for its braggadocious single "7 Rings." (Monét notched her third nomination as a songwriter the following year, for Best R&B Song for Chloe x Halle's "Do It.")

"Victoria is a brilliant collaborator, musician, writer and just as brilliant of a friend. She is a very pure person and I think that's why we connect the way we do," Grande told Billboard in 2019. "She is a timeless writer and vocalist and one of the nicest people I know and truly deserves the world. I'm so proud of the work we've done together and so excited to watch her grow as an artist."

Though her success with Grande was abundant, Monét admitted that there came a point where she felt her songwriting overshadowed her artistry. She had released four EPs from 2014 to 2018, all of which showcased a more exploratory sound than Jaguar II, but remained rooted in R&B. In 2020, she decided it was time to honor, as she put it, "what the little girl in me wanted to do": perform.

The COVID-19 pandemic presented challenges for Monét's fifth EP, 2020's Jaguar; first, a five-month delay of the release, and second, the inability to perform it live. Yet, her star was on the rise: Jaguar became Monét's first charting project, landing in the top 20 of the Hip-Hop/R&B charts in both the U.S. and the UK as well as No. 1 on Billboard's Heatseekers Albums chart in August 2020.

The following February, she welcomed her first child, a daughter, Hazel. After experiencing postpartum depression, she decided to channel her struggles into music — and it resulted in her breakthrough hit.

"On My Mama," the third single from her debut full-length album, Jaguar II, is a brassy throwback to the sultry, head-bopping R&B jams of the late '90s/early '00s, with luscious stacked harmonies and self-affirming lyrics ripe with a mix of sexy innuendos and clever wordplay ("They say, 'Ooh, she smell good'/ That's just 'cause I'm Heaven-sent").

The catchy bop — which samples Chalie Boy's 2009 Dirty South anthem, "I Look Good" — was an instant radio hit and earned the singer her first two No. 1s on Billboard charts (she topped the Mainstream R&B/Hip-Hop Airplay tally for 2 weeks in November 2023 and the R&B/Hip-Hop Airplay list in December). The song's feel-good music video, which has racked up over 33 million views on YouTube as of press time, features Chali Boy, Hazel and, of course, her mom.

The swaggy ode to self-empowerment scored two GRAMMY noms, Record Of The Year and Best R&B Song. Along with those and her Best New Artist nod, Jaguar II helped Monét earn seven nominations in total, including Best R&B Album, Best Engineered Album, Non-Classical, Best R&B Performance ("How Does It Make You Feel") and Best Traditional R&B Performance ("Hollywood").

After a long and winding road, Monét has proven that her artistry is as impactful as her songwriting. As D'Mile notes, a big reason she's now seeing success is because she's done her homework as much as she's laid her groundwork.

"She studies the greats. Janet, Beyoncé..." D'Mile says. "We went to see the 'Renaissance' film. Mind you, she already saw it at the premiere. But this time, I was next to her and I can literally feel her watching the movie with different eyes than probably everyone else in the room."

This dedication is on full display in her music videos and in her live performances. She hit the road for her first-ever headlining tour in 2023, dazzling fans with high-energy choreography and elite vocal control reminiscent of Bey herself — and selling out all 22 shows minutes after tickets went on sale.

Amid the final dates of the tour, the 2024 GRAMMY nominations arrived. And not only did Monét receive her first nominations as an artist in her own right, but she earned perhaps her biggest validation to date: a Best New Artist nomination.

"I had something to prove. It wasn't just handed to me," Monét recently told Variety. "So it's all a part of why I think things are coming to fruition now: It's just time. It's almost like, 'Alright girl — you didn't give up. We're going to give you something.'"

Monét's career trajectory continues to skyrocket as she prepares for Music's Biggest Night. In the weeks leading up to the 66th GRAMMY Awards, Monét has earned nominations from ASCAP and the NAACP Image Awards, and she's set to receive the Rising Star award at the Billboard Women in Music Awards in March. And while she hasn't announced tour plans for 2024, she is on the bill for two massive festivals; Monét is set to make her Coachella debut in April and play Governor's Ball in New York City in June.

And whether or not she scores a golden gramophone on Feb. 4, Monét already feels like a winner.

"I feel now is the time to stand my ground, and be proud of what I am, and who I am," she told CBS News on Jan. 30, days before the 2024 GRAMMYs. "This is one step closer to a really big dream."

Superstar Ariana Grande has officially announced the release of her next studio album — and per usual, she sent the internet ablaze. Fans of the two-time GRAMMY-winning pop singer can mark their calendars for Grande’s official return with eternal sunshine on March 8.

Grande has been topping charts for more than a decade after first breaking into the top 10 of the Billboard Hot 100 with her debut single, "The Way," featuring Mac Miller, from her debut album, 2013’s Yours Truly.

Just days before announcing eternal sunshine — her first album since 2020’s Positions — Grande released the lead single "yes, and?" which teased a new disco-inspired sound that has fans and critics alike abuzz for more.

Ahead of the release, here’s everything GRAMMY.com currently knows about eternal sunshine.

The Album Will Be Released On March 8

On Jan. 17, Grande unveiled the album’s cover art, title and March 8 release date on social media. The singer’s mom took to her daughter’s Instagram post to share her elation about the upcoming release. "woooohoooo!!! here we f—ing go!!!" she wrote. "you're incredible ... the album is perfection!!! so proud.. Xooxxox". We love a proud mom moment.

The Artwork Reflects A New Direction

In a striking departure from her neutral style, Grande dons red lipstick in the cover art for eternal sunshine. A powerful statement, this deliberate and unapologetic choice stands as a potent symbol of confidence, defiance, and courage.

The album’s cover art, featuring a close-up, partially obscured shot of Grande’s face with a soft motion blur, also reflects the tumultuous swirl of media attention surrounding her personal life. It sets the tone for the album, signaling a new era of boldness and artistic maturity. Grande appears to be reclaiming the narrative, transforming a symbol traditionally associated with stigma into one of strength and resilience.

She’s Working With Max Martin Again

Grande’s back to work with GRAMMY-winning producer and songwriter Max Martin, who has co-written and co-produced songs on five of her seven albums. After not collaborating on 2020's Positions, Martin is seemingly back on board for eternal sunshine, as he co-wrote "yes, and?". ( "yes, and?" was co-written and co-produced by another frequent Grande and Martin collaborator, Ilya Salmanzadeh.)

She’s Ready To Clap Back

As Grande released "yes, and?" on Jan. 12, she also sent a message with the music video; it’s a direct response to fans, critics, and commenters judging Grande’s life and career.

The video opens with a skit that features naysayers, making watercooler commentary including, "I mean who cares if she’s happy. I don’t want happy, I want art," and "I think I liked her better when her ponytail was a few centimeters higher." After being ushered and sat in a room full of stone statues, the characters watch astonished as the statues crumble and Grande appears to stomp over the rubble before launching into the disco-inspired dance track.

More pops of red appear throughout the otherwise monochrome video: a red invitation from “Ari” that appears in the first few seconds of the skit and Grande’s own glossy, manicured nails.

Her Fellow Superstars Are Pumped

Momma Grande isn’t the only one excited for eternal sunshine. When Ari posted photos and video clips from the studio on Instagram in December, she had several celebs screaming with joy.

"FINALLY," commented Selena Gomez, with Billie Eilish eagerly demanding, "UN MUTE PLS" and SZA adding, "Oh this bout to eat." But Grande’s frequent co-writer Victoria Monét may have put it best: "She’s HOME!"

She’s Already Back To Topping The Charts

Although Billboard charts were unavailable as of press time, "yes, and?" premiered at the top position on the Spotify Global Chart, marking her most significant streaming debut on Spotify ever. The single also secured the No.1 position on Apple Music Top 100 Global Chart and the official music video for the single "yes, and?" grabbed the top spot on YouTube’s Trending For Music category.

If that success is any indication for what’s to come upon eternal sunshine’s full release in March, Grande’s return may be her most grande yet.

January always marks fresh starts and clean slates as the world collectively turns the page from one year to the next. The world of music is no exception: the second week of 2024 is filled with artists embarking on new eras and album cycles.

On the full-length front, 21 Savage unveiled his third solo LP, american dream, with guest assists from the likes of Summer Walker ("Prove It"), Doja Cat ("N.H.I.E."), Young Thug and Metro Boomin ("Pop Ur S–t") and more while Kali Uchis celebrates her just-announced first pregnancy with longtime boyfriend Don Toliver by delivering her second Spanish-language studio set Orchídeas.

Meanwhile, Reneé Rapp brings the new Mean Girls musical movie to life as Gen Z's Regina George, with a soundtrack that also features Megan Thee Stallion, Auli'i Cravalho, Angourie Rice and more, and K-pop act ITZY makes a statement on their sophom*ore Korean-language album, Born To Be, which gives all five members a chance to shine with individual solo tracks on top of swaggering bangers like "Untouchable" and the title track.

In addition to star-studded album drops, Jan. 12 sees several big single releases too. Press play on hotly anticipated musical resets from Ariana Grande and Lil Nas X, lead singles from Jennifer Lopez and Sheryl Crow, and a monumental collaboration between D'Angelo and Jay-Z for the new movie The Book of Clarence below.

Ariana Grande — "yes, and?"

Ariana Grande is officially back and ready to own everything. For "yes, and?" — her first new musical offering since 2020's Positions — the superstar is doling out heavy-hitting words to live by, disguised as a glossy pop confection that takes an irresistible cue from Madonna's "Vogue."

Both an exercise in self-affirmation and a runway-ready Pride anthem, "yes, and?" finds Grande unapologetically sharing her truth in a way she hasn't since 2018's "thank u, next." Her voice dripping with honey, the soon-to-be Wicked star slyly addresses the recent tabloid fodder surrounding her personal life.

"Now I'm so done with caring/ What you think, no, I won't hide/ Underneath your own projections/ Or change my most authentic life," she vows in between spine-tingling harmonies and plenty of vocal fireworks. Ari only gets more blunt from there, clapping back with her whole chest about the obsession with her body, relationship status, sex life and more. In her words, "Yes…and?"

Jennifer Lopez — "Can't Get Enough"

Jennifer Lopez's ninth studio album, This Is Me… Now, has been a long time coming. But if lead single "Can't Get Enough" is any indication, the sequel to 2002's This Is Me… Then will be well worth the wait when it arrives Feb. 16. The track, which samples the late Alton Ellis' 1967 release "Still in Love," is a fizzy, funky delight that pops like a blast of champagne straight out the bottle.

On the song's chorus, the multi-hyphenate superstar giddily professes just how much she loves being in love (and back in love with now-husband Ben Affleck). And while the accompanying music video pokes fun at her trio of past marriages, fans can rest assured she's singing the lovestruck lyrics to the same Dunkin'-lovin' guy she was serenading 21 years ago on This Is Me… Then.

Jeymes Samuel x D'Angelo x Jay-Z — "I Want You Forever"

A new D'Angelo single would be a major event. So would a new Jay-Z single. After all, it's quickly coming up on 10 years since the neo-soul star released his last album, 2014's Black Messiah and the rap mogul's last solo single was the title track off 2017's 4:44.

However, director Jeymes Samuel managed to coax both men back into the studio to join forces for the soundtrack of his new biblical film The Book of Clarence starring Lakeith Stanfield. On "I Want You Forever," D'Angelo holds court with a hypnotic, repetitive hook before ceding the mic to Hov for the song's lone, pleading verse.

Lil Nas X — "J CHRIST"

Nearly three years after giving the devil a lap dance in the hellish music video for his No. 1 hit "Montero (Call Me By Your Name)," Lil Nas X is flipping the script and ascending to heaven on his new single "J CHRIST." Well, not for too long — turns out a giant stripper pole connects the celestial realm with the fires of purgatory, and Lil Nas X is equally at home in each.

The track's high-concept, cinematic music video has it all: angelic doppelgängers of everyone from Taylor Swift, Mariah Carey and Oprah to Michael Jackson and Barack Obama; Lil Nas cooking up a cauldron filled with human limbs; and yes, even the rapper pinned to a cross in a visual sure to enrage the critics who were already up in arms before the track was even released. But by song's end, as Lil Nas X takes on the role of Noah emerging from a worldwide flood, the GRAMMY winner makes clear the hip-hop banger isn't just religious cosplay — it's a new beginning.

Sheryl Crow — "Evolution"

Sheryl Crow is uncharacteristically on edge on "Evolution," the lead single and title track of her forthcoming 11th studio album. The queen of bright singer/songwriter jams like "All I Wanna Do" and "Soak Up the Sun" (and newly inducted Rock and Roll Hall of Famer) takes aim at the encroaching threat of artificial intelligence to the music industry and creativity at large on the spacey track.

To top it all off, she even recruited Tom Morello of Rage Against the Machine to concoct a supercharged guitar solo that ratchets the uneasiness up to 11 as Crow warns, "Where are we headed in this paradise?/ We are passengers and there's no one at the wheel."