Troye Sivan didn't tell anyone about his alarm. But at 3 a.m. on Nov. 10, the pop star woke up to not just his alarm, but to dozens of notifications — he woke up a GRAMMY nominee.

"Normally with accolades, it doesn't actually make you feel any different. But this did," Sivan tells GRAMMY.com. "I was sort of floating for a few days and still kind of am… it's something that I've wanted in my entire life."

It's not every day that your love of partying earns you a GRAMMY nomination, but Sivan's passionate, party-starting single "Rush" scored him not one but two nods. At the 2024 GRAMMYs, the track is nominated in the new Best Pop Dance Recording Category, and its equally unapologetic music video is up for Best Music Video.

But despite its thumping beat and chanting chorus, "Rush" is more than an ode to late nights in Melbourne and acting on impulse; it's reverence for real connection. A euphoric representation of its parent album Something To Give Each Other, "Rush" is a catalyst as much as it is a release.

In its music video, striking choreography animates beautifully sweaty corners; "Rush" holds nothing back, spiritedly soundtracking everything from keg stands to glory holes. It ends with Sivan walking home on a bridge, with dawn as the backdrop of his widening, quiet smile to himself. As Berlin warmly unravels below Sivan, the video leaves viewers with the aftertaste of ecstasy — and reminds them of the gift of time and connection.

"Rush" marks a new era for Sivan, who has become dance-pop royalty since first building his fan base as a popular YouTube creator in the early 2010s. But while his latest music is a culmination of years of experimentation — from the darker indie pop of his 2015 debut album, Blue Neighborhood, to the crushing electropop of his 2020 EP In A Dream — the bliss of "Rush" unlocks a fearless part of Sivan's artistry that not only flaunts his creative genius, but his true self.

From his Melbourne home, Sivan sat down for a Zoom chat with GRAMMY.com about the thrill of his first-time GRAMMY nominations, the electricity that inspired "Rush," and how his art has unlocked a new sense of freedom.

This interview has been edited and condensed for clarity.

Congrats on your nominations! How did you celebrate after hearing the news?

I didn't go back to sleep because I was too excited. I felt like I had taken this massive international flight and that the whole world was just sort of a big dream, and I just floated around Melbourne with my best friend, and we got our nails done, and I went for a walk, got food. It was a really, really surreal day for sure.

Let's talk about "Rush." Tell me about a moment when you were making that song and you knew you had something special.

I knew that there was a feeling that I had felt a lot over the last couple of years that I hadn't yet captured for the album. It was this feeling of electricity. It's this really kind of turbo feeling of being so hot and so sweaty — drenched in sweat on a dance floor — with hundreds of people that you don't know. 

When I close my eyes and really focus on the music, you can kind of feel the lights going by on your skin — that moment, it's so much more than just a party. It can actually be like a spiritual experience, and quite a meaningful one, especially coming out of these really intense COVID lockdowns. That feeling meant so much to me, and I just felt so connected to myself and to other people and to music and to sex and to dance music.

So I knew that I needed to capture that moment, and we tried so many times and never got that. Then finally, when "Rush" came, I sort of knew that that was it — when I listened to it, it felt like the feeling. It was one of the last songs that came together for the album, and then basically completed the album.

Who was the first person you showed "Rush" to?

I went away for the weekend with some friends… and I played it for my sister in the car. She was like, "Will you please, please, please play that song?" We had all been drinking and we were playing games and stuff like that, and they had a really good sound system, so I was like, "Okay, fine. Yes."

I played the song, which is really out of my character — I was definitely a few drinks in because I don't like listening to my own music. I remember I started playing it and everyone stood up and started dancing. We were already having a good time, so I didn't know what to make of that.

But by the end of the song, they were all kind of singing along with the chorus and it just created a feeling in the air in that room that I was like, Oh my God, I think maybe this is something really, really special. As soon as I got back to Melbourne, I went back like the next day and finished everything.

What was the first time you heard "Rush" in a club or at a party?

When it came out, we went out in West Hollywood and went for a walk down Santa Monica Boulevard where all the gay bars are. And I remember hearing it coming out of, like, four clubs as we were walking down the street. So that was also [when] I was like, I think this is working.

The first time I heard "Rush" at the club, I was in the Castro. Everyone was immediately up when it came on.

Really? I mean, really, it's written for the Castro, so I'm really glad to hear.

Your song captures a sense of liberation. When do you feel the most creatively free?

I think I feel the most creatively free when I am bored. I don't know if that's, like, the weirdest answer ever, sorry. [Laughs.]

But I just feel like I get reminded that I'm doing exactly what I'm supposed to be doing when I have more than, like, three days off. Immediately I'll start tinkering with a music video concept or graphic design project or working on music or editing a video or whatever. 

I think my baseline when I have some time on my hands is to be creating something, and it's the thing that I love most in the world. Simultaneously it feels like a holiday when I'm doing it, and that's crazy because it's my job, you know?

Creative freedom can also come from playing with genre. "Rush" is nominated for Best Pop Dance Recording, which is one of the three new award Categories this year. How do you feel that pop dance has evolved in the last few years?

Oh, my gosh, I mean pop dance is such an important Category to me, and especially with this album because that's really what I wanted exactly to make. I love pop dance and I have grown up on pop dance. 

Also, to be nominated alongside someone like Kylie Minogue — just thinking about a song like "Can't Get You Out Of My Head" or these songs that really shaped me as not just a songwriter but as like a human being — it's really important to me, and I also think, in general, to queer people. Because dance music has been so unbelievably important to queer people, and so has pop. So this combination of the two, it's really like it's for us.

Exactly. I think my connection with music helped me realize that I was queer, even.

Yeah, it's definitely a queer-coded Category.

Going back to "Rush," I wanted to talk about the nominated music video. What did the vision board for the video look like?

It started with me and Gordon von Steiner, the director of the video, working together and me explaining to him that "Rush" is this daytime hot sweaty party. We started with so many references of just, like, sweaty skin that was shot on 35 millimeter film, and it was like this sort of deep grimy green. But then also, this warm orange that was really important to me. The clothing was like this burgundy and yellow.

The more we spoke about it, it was super clear to us exactly what this video needed to look like, but more importantly, what the video needed to feel like. And Gordon loves Berlin and partying, and I love partying and I love Berlin… [but] this was sort of more serious than just like a party video. It needed to have that element of rawness and vulnerability that I think comes with those moments. It had to be real.

We went to Berlin and we shot it across two days. Honestly, once we got there, it was like just having a party and filming it… Once the camera was rolling, whatever was happening was happening, and it was such an incredible couple days. 

The cast all knew each other from being queer and cool in Berlin and from partying together. They welcomed me with open arms, and we ended up going out together for real afterwards. It was just a really beautiful couple of days. I feel like you can feel all of that in the video.

Absolutely. What was it like to learn the choreography for the video? And how do you think Timothée's "SNL" choreo stacked up against yours?

I think he slayed it. [Laughs.] It's not easy, so I think he did a good job.

But for me, choreo was something that I have been terrified of my entire life. It was a really big deal for me because growing up in the closet, I used to sort of like make these changes to myself or my desires or the way that I kind of carried myself throughout the world to kind of protect myself. And one thing that I never allowed myself was dancing.

For me to finally allow myself to express myself in that way, it felt just like a big moment for me personally — and really scary, but something that I wanted to do my entire life. So I had the best time.

It was one of the greatest gifts that this album has given me, to find a new sort of expression at 28 that I really, really, really enjoy has been a beautiful thing. It's something that I want to keep doing probably for the rest of my life. It feels incredible, and it kind of gave me the confidence to keep going and dance. Choreography ended up becoming such an important part of the visual identity of the whole album.

You mentioned earlier that the music video's warm orange was important to you. That made me think of the album cover. What was the process like for actualizing the cover?

The album cover is one of my favorite photos ever. I had been at a record store in L.A. and I found this really old record that I haven't been able to even find on Google or Spotify. I took a picture of it, of this guy smiling really big, and I thought that that was the coolest thing in the world. I don't know why. 

I think it was because, normally, vanity is such an important part of what influences these decisions that we make as pop artists — you know, Do I look hot or not? And I thought that there was something so badass about being like, No, that is the least of my priorities. I'm trying to convey a feeling here. I'm trying to convey something real and meaningful. I've been making this album that was all about this like unbridled joy and liberation.

So I knew that I wanted to smile on the album cover, and then I loved the idea of sitting between someone's legs. It just felt so intimate to me and kind of like this implied sexuality. But another thing that I love is that you don't see who it is [behind me], and you just see me and you realize that this moment is about connection with someone, but it's really about connection with yourself and allowing yourself to enjoy life and your body and your sexuality.

When it came time to shoot it — I'm really bad at smiling for photos, and I think you can always tell when a smile is real and when it's not. We spent the whole day shooting and I didn't smile once. Then for this one frame, the guy who was sitting behind me kneeled down, and he tickled my ribs, and I threw my head back and I laughed and it was one frame. And that was the album cover, and I love it so, so, so much.

View this post on Instagram

A post shared by troye sivan (@troyesivan)

**It's also very different from the blurriness of In A Dream, or on Bloom, where you can't see your face. How does this latest cover represent the evolution of your music or yourself?**

This album was really about communication with the world. I feel like I wanted to scream from the rooftops about the message of this album. I wanted it to be in every single layer of it, whether it's the album cover or one of the videos or one of the songs. I wanted to show people exactly how I was feeling.

In the past, I've felt comfortable being a bit more mysterious, or making people intrigued and then having them listen to the album and take what they want from there. Whereas this time, I just felt so loudly proud of myself and the experiences that I was having and everything that I really just wanted to be a little bit more bold with it.

You've had such a loyal fan base from a relatively early age. How does it feel to have a lot of your supporters grow up alongside you and still be connecting to your music now?

I really do feel like the luckiest guy when it comes to the people that listen to my music. I think a really important part of us connecting is that it feels like these are people that I would want to be friends with if I knew them in real life. They're really funny, they're really smart. Nothing gets past them if it's not genuine — like, they know when something is real, when it's not. It's like I'm speaking to a friend.

[Albums are] kind of like these time capsules for me in my life of different chapters of my life. But it's also kind of like an update to everyone being like, "Oh, hey guys, what's up? This is what's been going on for the last couple years." It's just a very special relationship and I'm so thankful for them.

That makes me very excited to tour, to go out and see some familiar faces… I started making YouTube videos when I was 12 and I still meet people on the street or whatever that will be like, "I remember when you made this video" and it's, like, from literally 14 years ago.

Not too long ago, I was reading this interview with boygenius where they said that queerness is inherently creative, and it also involves creating a different future for yourself. That really stuck with me. What are your thoughts on that, and what do you want your future to look like in terms of that?

I definitely think that my queerness and my creativity are inextricably linked. I think that me being closeted, not 100 percent feeling like the real world was somewhere where I felt completely comfortable or seen, made me retreat to my bedroom and to my creativity in a way that was sort of my education on how to do everything. It's where I learned what I liked creatively, and I don't think I would have felt that way if I was, like, the sort of cool sports star at my school or whatever. I would have been too busy doing other things.

I'm really grateful for that time of introspection, and sometimes kind of loneliness, and just all those big feelings — and that sensitivity that I think came from being a queer kid. I think that really informs who I am today and everything that I do. That's really beautiful, and something that we can be really proud of.

Troye Sivan's Road To 'Something To Give Each Other': How Transparency & Exploration Led To His Most Euphoric Album Yet

Hundreds of GRAMMY U members excitedly gathered at Riverside Revival in Nashville for the annual GRAMMY U Fall Summit. Presented by Mastercard, the two-night summit offered networking and educational opportunities, as well as several performances.

The 2024 Fall Summit kicked off on Sept. 30 with a networking mixer and performance showcase featuring Nashville-based artists Bekah and Josh of Girl Named Tom, as well as Keearah and Mille Manny, the latter of whom are GRAMMY U members from Tennessee State University. Following the performances, attendees participated in a curated networking mixer with notable mentors from the Recording Academy, Mastercard, Amazon Music, and other organizations. This colorful evening also included a Y2K-themed photo activation and a Mastercard sensory experience that left attendees excited to return for the next night.

The second day of the Summit began with the #Trendsetters panel, a conversation in which industry marketing professionals discussed the past, present, and future of album marketing. 

Afterward, GRAMMY-nominated artists Charli XCX and Troye Sivan took the stage to kick off "From Concept To Culture," the keynote panel. In collaboration with the Recording Academy’s Songwriters & Composers Wing, Charli XCX and Troye Sivan discussed how their pop culture disruption connects with their commitment to authenticity through songwriting and collaboration.

Read on for five takeaways from this year’s GRAMMY U Fall Summit in Nashville, presented by Mastercard and in collaboration with participating sponsor Amazon Music.

All photos by Danielle Del Valle/Getty Images

Embrace Your Individuality To Create Successful Collaborations

Troye Sivan (L) and Charli XCX (R) speaking at the 2024 GRAMMY U Fall Summit

During their joint SWEAT Tour, Charli XCX and Troye Sivan discussed how they embrace their individuality as solo artists in the midst of artist collaboration and touring.

Sivan and Charli said their songwriting journeys have grown exponentially. For his part, Sivan has continued to trust his gut when it comes to songwriting, embracing both individuality and feeling. "Make what you love," Charli echoed Troye’s sentiment, adding that they no longer write music in a "commercial style."

Sivan said his and Charli’s individual "manifest[ations of] different versions of pop music" are exciting individually, but become even more so as they intertwine during their national joint tour. Sivan described this collaboration as "the collision of worlds," recounting how their individual sounds complement each other when brought together on tracks like "Talk Talk."

The key to staying open-minded in any collaboration is "letting yourself be moved and really zoning in on something magical," Sivan said. That ability to hear and trust new ideas has led to fruitful collaborations with touring partner Charli.

Change The Narrative By Being Authentic

Charli XCX

The second day of the GRAMMY U Fall Summit, held simultaneously as Music Advocacy Day 2024, highlighted the importance of authenticity, a prominent topic amid the rise of AI’s role in music creation.

"[I’m] all for new tools, but there will always be people who exploit new tools," Charli XCX said. Both she and Sivan described AI as a potential musical instrument, rather than something to fear. Artificial intelligence and other digital tools can lower barriers in music, empowering anyone to create and express themselves.

Moving beyond AI’s use in music production, the pair also discussed the importance of authenticity in songwriting. Both GRAMMY-nominated artists’ originality and honesty has not only transformed pop culture, but also made safe spaces for fellow songwriters.

To Be A #Trendsetter, Define The Artist’s Vision

Erich Buchi, Fred Rubenstein, Bri Small and Nathan Pyle during #Trendsetters panel

The GRAMMY U Fall Summit kicked off with an insightful marketing panel featuring industry executives reflecting on how to create impactful music marketing campaigns.

During the #Trendsetters panel, esteemed marketing experts Erica Buchi, VP of Marketing Partners at mtheory LLC; Fred Rubenstein, VP of Digital Marketing at Sony Music Nashville; and Bri Small, Director of Digital Content Strategy & Partnerships at Warner Music Nashville discussed how to create innovative music marketing strategies that captivate audiences and disrupt the pop culture landscape. Moderated by Nathan Pyle, Director of Operations at Songfluencer, the panel also included discussion about influencers, experiential marketing and fan engagement.

The panelists discussed their experiences working with artists to ignite their creative personality. Buchi described her position at mtheory LLC as being "very artist-centric," keeping the artists’ creative visions in mind as campaigns are curated.

"We get to help steward along these artists' great work, and there's a load of responsibility with that, but there's also the lean-in that we can provide to help realize their vision," Sony Music Nashville’s Rubenstein said.

Network With A Purpose

Bekah and Josh of Girl Named Tom

Following the success of the curated speed networking session at the 2024 GRAMMY U Conference in New York, the Fall Summit in Nashville curated a similar networking opportunity. Attendees gathered at various mentor stations to meet and learn from esteemed professionals including Todd Dupler (Chief Advocacy & Public Policy Officer, Recording Academy), Latoya Bennett-Johnson (Vice President of Global Sponsorships, Mastercard), Sarah DeMarco (Label Relations, Country, Christian & Gospel at Amazon Music), and Jon Blass (Mixing Engineer and Recording Academy Board Member). 

"It was incredible to see GRAMMY U members so driven to get to know the mentors and each other," said Della Anderson, GRAMMY U National Membership Representative, who led the networking mixer. "It can be intimidating to network with people you don’t know, but respect so much. I thought this type of experience, where members have a limited time to connect and had to move on to the next mentor, was valuable because it allowed them to discover different types of people in the industry and network with a purpose."

After the networking session, members stayed and mingled in between performance acts and returned the following night eager to continue connecting with their new industry contacts.

Immerse Yourself For A Rewarding Experience

GRAMMY U Reps Ily Aguilar, Samantha Kopec and Jim Slife at the Mastercard Photo Activation┃Photo Courtesy of GRAMMY U

Summit attendees explored various activations throughout the venue. These immersive and "Instagrammable" activations allowed attendees to experience the moment from many perspectives.

Mastercard's red-and-orange infinity photo booth and ambient candle-ladden courtyard setup enabled attendees to activate all their senses. GRAMMY U members could also try some of Mastercard’s signature cocktails — the Passion and the Optimism — and enjoy these refreshing tastes as they mingled with other attendees. The setup of the event also included an immersive stage, which had an otherworldly look set with neon pink and green pieces; the Y2K photo corner featured a bright pink inflatable couch, tying into the SWEAT Tour Y2K style.

GRAMMY U members were also interviewed on GRAMMY U Live!, which allowed members tuning in virtually to hear another perspective of what was happening in real time and gave attendees their own moment in the spotlight. 

The GRAMMY U Fall Summit was jam-packed with as much excitement as there were learning and networking opportunities. Rewatch the #Trendsetters marketing-focused panel HERE and the keynote panel with Charli XCX and Troye Sivan HERE.

The annual GRAMMY Awards voting process this year kicks off Friday, Oct. 4, with First Round Voting for the 2025 GRAMMYs, a process that determines the nominees at the GRAMMY Awards each year. 

Voting Members of the Recording Academy, the organization behind the annual GRAMMY Awards, are able to cast their ballots for a variety of GRAMMY Categories to be awarded on Music's Biggest Night. The 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, will be held Sunday, Feb. 2, at Crypto.com Arena in Los Angeles. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8, 2024, so it's essential to get involved from the beginning. 

Before First Round Voting for the 2025 GRAMMYs gets underway, hear from some of music’s leading artists and Recording Academy Voting Members, including Troye Sivan, Coco Jones, Will Smith, John Legend, and others, speak about the importance of GRAMMY voting this year and every year.

Learn more about the Recording Academy's membership process and requirements.

For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process; read our First Round Voting guide for the 2025 GRAMMYs; read about the key updates happening at the 2025 GRAMMYs; read our FAQ (Frequently Asked Questions) section; view the official GRAMMY Awards Rules and Guidelines; and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.

Read More: The Recording Academy Adds More Than 3,000 Women GRAMMY Voters Since 2019, Surpassing Its 2025 Membership Goal

GRAMMY U is headed to Nashville for its second annual Fall Summit. The two-day Summit will feature a dynamic lineup of performers and speakers, including a keynote from GRAMMY-nominated artists Charli XCX and Troye Sivan. 

A cornerstone of the GRAMMY U program, Summit attendees will participate in a curated networking session followed by a live showcase featuring performances from a GRAMMY U member and a surprise closing artist. The feature program, held on day two of the Summit, will dive into the ins and outs of marketing an album, with a conversation between Charli XCX and Troye Sivan about their influence on pop culture.  

Kicking off the Summit on Monday, Sept. 30, the GRAMMY U Showcase will feature Nashville-based artist Soccer Mommy as the headliner, with supporting sets from GRAMMY U member performers Keearah and Mille Manny from Tennessee State University. After the show concludes, attendees will have the opportunity to network with industry professionals from the Recording Academy, Amazon Music, Mastercard, and elsewhere. 

On Tuesday, Oct. 1, the GRAMMY U Fall Summit will feature two exciting livestreamed panels. The first panel, titled #Trendsetters, will highlight industry professionals in discussion about innovative album marketing strategies. The closing keynote conversation will be moderated by Leland, a songwriter and frequent collaborator of Charli XCX and Troye Sivan. 

While the showcase is only open to GRAMMY U members and will not be available digitally, the panels will be streamed on YouTube and Twitch on Oct. 1 at 6 p.m. CT. Read on for more details on what to expect from the GRAMMY U Fall Summit — whether you're attending in person or online.

Learn Pop Star Essentials From Charli XCX & Troye Sivan

Troye Sivan has been keeping busy. With the release of his third studio album, Something To Give Each Other, in October 2023, the singer firmly established himself as an icon in the worlds of pop music, fashion, and LGBTQIA+ representation. He recently completed the European leg of his Something To Give Each Other Tour, and kicked off his SWEAT Tour on Sept. 14 with close friend and collaborator, Charli XCX. 

Learn more: Meet The First-Time GRAMMY Nominee: Troye Sivan On "Rush," The Importance Of Dance-Pop & The Spirituality Of Partying

Troye Sivan, 2024 GRAMMY nominee for Best Pop Dance Recording and Best Music Video, Sivan has amassed over 26 billion streams and sold 10 million adjusted albums globally. His hit single "Rush," earned global accolades and praise, including GRAMMY nominations Best Pop Dance Recording and Best Music Video. The "One of Your Girls" music video features Troye transforming into his feminine energy and strutting some sassy choreography, which GRAMMY U Reps emulate below:

Avant-pop and electronic superstar Charli XCX released her sixth studio album BRAT in June to much acclaim. The two-time GRAMMY nominee shattered norms and took risks on BRAT, sharing new lyrical themes and stylistic influences. The album also made its mark on the cultural zeitgeist as "brat summer" flooded social media feeds. 

Read more: Charli XCX's Road To 'Brat': How Her New Album Celebrates Unabashed Confidence & Eccentricity

A dance to Charli's song "Apple" has gone viral on TikTok and though it may just seem catchy, the lyrics are embedded with a deeper meaning related to generational trauma. Check out the GRAMMY U Representatives dancing along below:

In partnership with the Recording Academy’s Songwriters and Composer's Wing, the keynote panel will feature Charli XCX and Troye Sivan discussing their co-headlining SWEAT tour and how they became pop culture phenomena as trendsetters, or as Charli puts it,"[I’m] your favorite reference."

Charli and Sivan will be in conversation during a keynote panel moderated by GRAMMY U alumni Leland, a Golden Globe-nominated songwriter, executive producer, and DJ. Leland is Troye Sivan’s main collaborative partner, having co-written all previous albums with Troye (including nine out of 10 songs on Something to Give Each Other). Notably, Leland co-wrote the two-time GRAMMY-nominated lead single, "Rush."

At the keynote, GRAMMY U members will discover Charli XCX and Troye Sivan's approach to songwriting, blending genres, and pushing boundaries as a means for reshaping pop culture. 

Learn To Create Impactful Music Marketing Campaigns

Have you ever wondered what makes a music release successful? On Oct. 1, #Trendsetters will feature a host of esteemed industry professionals who will offer insight into crafting a unique, memorable campaign. Bri Small, Director of Digital Content Strategy & Partnerships at Warner Music Nashville, Fred Rubenstein, VP of Digital Marketing at Sony Music Nashville, and Erica Buchi, VP Marketing Partners at mtheory LLC will be in conversation, discussing how innovative album marketing strategies can garner audiences and reshape pop culture.

Moderated by Nathan Pyle, Director of Operations at Songfluencer, in this panel session, attendees will learn how to captivate attention through the public relations and digital marketing strategies behind trendsetting albums. Panelists will share how artists, producers and marketers can not only stand out, but position themselves as leaders in the music industry.

Don’t miss your chance to be part of this unforgettable event. Reserve your spot at the 2024 GRAMMY U Fall Summit taking place in Nashville, TN on Monday, September 30, and Tuesday, October 1. Space is limited and RSVPs will be confirmed on a first-come, first-served basis, so RSVP now. A special thank you to our presenting sponsor, Mastercard, and participating sponsor, Amazon Music, for supporting the development of emerging music industry professionals.  

RSVP: Space is limited and RSVPs will be confirmed on a first-come, first-served basis. RSVPs do not guarantee admission, and confirmations will be emailed within 5 days of RSVP.  RSVP is required to attend in-person in Nashville, TN. You must be in Nashville for the event and travel will not be provided.

As summer slips away into September, the soundtrack to the fall is beginning to emerge with major releases from A-list stars across genres, along with promising rising talents from the worlds of pop, pop-punk, R&B, and international music scenes.

This week's new full-lengths include Miranda Lambert’s Postcards from Texas, The Wild Things’ concept album Afterglow (produced by Pete Townshend of The Who), COIN’s I’m Not Afraid of Music Anymore and Babyface Ray’s The Kid That Did.

Also out this week, Maddie & Tae drop their new EP What A Woman Can Do, BOYNEXTDOOR share the 7-track mini-album 19.99 and The All-American Rejects deliver a cover of Harvey Danger’s classic 1998 debut single “Flagpole Sitta.” Kendrick Lamar surprised fans with an exclusive release on Instagram following last weekend's announcement that he will headline the 2025 Super Bowl halftime show. Eminem and 2Chainz pay tribute to Kyrie Irving and Luka Dančić of the Dallas Mavericks with the single "Kyrie & Luka," while FKA Twigs dropped the single "Eusexua" alongside the announcement of her new album of the same name arriving January 2025. FINNEAS also released his second single, "Cleats" from his upcoming album, For Cryin' Out Loud. 

Below, dive into 10 more releases worth checking out for New Music Friday, including new singles by Charli XCX and Troye Sivan, The Weeknd, Tate McRae, as1one and more.

Read more:15 Must-Hear Albums In September: Paris Hilton, Katy Perry, Luke Bryan & More

“Talk talk” and it’s completely different but also still “Talk talk.” Charli XCX puts an earworm of a period on "Brat summer" by tapping bestie Troye Sivan to help totally reinvent the Brat fan favorite.

The new version is a tale of two flirtations, with Charli teasing a new fling to “talk to me in French/ Talk to me in Spanish/ Talk to me in your own made-up language” while Troye offers up an extravagant — and rather explicit — invitation to someone who’s about to have quite a good time with him in an Amsterdam hotel room.

Following Charli’s recent buzzy collabs with Lorde (“The girl, so confusing version with lorde”) and Billie Eilish (“Guess”), the latest remix off the pop star’s smash, zeitgeist-defining LP is a pitch-perfect amuse-bouche to her and Troye’s upcoming Sweat Tour, which kicks off Sept. 14 in Detroit. 

GRAMMY U Members will have an exclusive opportunity to catch Charli XCX and Troye Sivan together at the 2024 GRAMMY U Fall Summit on Sept. 30 and Oct. 1 in Nashville, sponsored by Mastercard and Amazon Music. 

Read More: Charli XCX's Road To Brat: How Her New Album Celebrates Unabashed Confidence & Eccentricity

View this post on Instagram

A post shared by GRAMMY U (@grammyu)

Just days after revealing the title of his highly anticipated sixth studio album, Hurry Up Tomorrow, The Weeknd offers the first taste of it with the lead single, “Dancing In The Flames.”

The pulsating track lands right in the 4-time GRAMMY winner’s sweet spot of synth-drenched, blissed out R&B while revving up the tempo as he catapults toward loves destruction, singing, “I can’t wait to see your face / Crash when we’re switching lanes / My love’s beyond the pain/ But if I miss the brake / We’re dancing in the flames / It’s indescribable.”

The cinematic music video sends the singer into a kinetic, head-on collision, and the entire rain-soaked, colorful saga was shot on the new iPhone 16 Pro.

Still riding high off the success of her 2023 sophomore album Think Later, Tate McRae enters a new era with her latest single, “it’s ok i’m ok.” Building on the momentum of hits like “Greedy” and “Exes,” the song (released on Sept. 12) finds the Canadian pop star's ability to balance an unbothered attitude in the spoken word chorus with floaty, sensual falsetto verses.

The music video is a risqué romp through the chaos of New York City, complete with showstopping choreography from the 21-year-old Calgary native. The visuals pay homage to Britney Spears — a style McRae also referenced at Wednesday night’s MTV Video Music Awards, where she wore a sheer lace dress reminiscent of Spears’ iconic look from the 2001 VMAs. 

Read More: How Tate McRae Turned A "Full Identity Crisis" Into Her Debut Album, I Used To Think I Could Fly

Brantley Gilbert inks another portrait of small-town country life on his seventh album, Tattoos. Lead single “Over When We’re Sober,” featuring Ashley Cooke, is among several collaborations on the LP. Other stand out duets include the whistling opener “Dirty Money” with Justin Moore; the patriotic country-rap hybrid  “Me and My House” featuring Struggle Jennings and Demun Jones; and the soaring “God Isn’t Country” with Rascal Flatts' Gary LeVox. 

Taylor Acorn gets bright and brash on her debut album Survival In Motion. The rising pop-punk singer confronts a range of personal struggles, from battling mental illness and imposter syndrome on the energetic title track to brushing off the haters in “High Horse” and escaping a controlling relationship in “Greener.” All of this unfolds against a backdrop of hard-charging guitars, crashing drums and refreshingly candid songwriting. 

Read more: ​​11 Pop-Punk Artists To Watch: Taylor Acorn, American Teeth & More

Nearly four years after her last full-length, 2020’s holiday-themed Cider & Hennessy, Jordin Sparks returns with her new album, No Restrictions. 

The "American Idol" champ remains true to her R&B roots on her fifth studio album. Tracks like the surprise pre-release single “Remember,” along with standouts like “Forever” featuring T-Pain, “Where There’s Smoke…,” the Stonebwoy-assisted “No Cry” and the bumping “YCFWM,” show off her luminous voice with a surprising amount of swagger.

Related: How Many "American Idol" Winners Have Won GRAMMYs? A Rundown Of Wins And Nominations For Kelly Clarkson, Carrie Underwood & More

JVKE and Nick Jonas have been teasing their new collaboration to eager fans for what feels like forever, but the wait was well worth it for the swooningly romantic track. Each singer takes a turn daydreaming about a love that will stand the test of time, lasting “until [they’re] 70.”

After JVKE, the “golden hour” crooner, recounts his first heartbreak at 17, Jonas steps in with a sweet and sultry verse that’s clearly dedicated to his wife of nearly six years, Priyanka Chopra, singing, “Baby, I’m so into you / I’ve lived a thousand lives/ can’t go a single night / Without you.”

Related: Inside Jonas Brothers' The Album: How Leaning Into Joy, Fatherhood & Dad Rock Spawned Their Most Definitive Music Yet

Fresh off walking the red carpet at the MTV VMAs, multicultural boy band as1one launch their bid for pop stardom with debut single, “All Eyes On Us.” The Israeli-Jewish and Palestinian-Arab sextet get an assist from Nile Rodgers on the funky dance floor anthem, which finds the group soaking up the spotlight as they sing, “It’s like the whole world’s watching / We gonna dance like we’re all on an mission / All eyes on us!”

Later this year, prospective fans will get a deeper look into as1one's formation, artistry, and message of unity through a four-episode docuseries on Paramount+. 

“This isn’t Fashion Week!” an enraged director screams early in the music video for Suki Waterhouse’s latest single, “Model, Actress, Whatever.” From that moment on, the English It Girl and indie pop darling proves yet again that walking the runway is just one of her many talents as she sings, “All of my dreams came true / The bigger the ocean, the deeper the blue / Call me a model, an actress, whatever / Other half of my baby, we stay together.”

The deeply personal track arrived just days before Waterhouse unveiled her sophomore studio album, Memoir of a Sparklemuffin, which also includes previously released singles “To Love,” “OMG,” “My Fun,” “Faded,” “Supersad,” and “Blackout Drunk.”

Ronnie Dunn and Ira Dean assemble an all-star cast of collaborators for their new single “Tele-Man” featuring Vince Gill, John Osborne and Brent Mason. Together, the five musicians create a modern-day homage to The Traveling Wilburys as they unravel an ode to one of country music’s most iconic instruments: the Telecaster guitar. 

With Mason playing the titular role of “Tele-Man” on the instrument, his collaborators string out an energetic, deliriously tongue-twisting yarn that name drops everyone from Merle Haggard, Willie Nelson and Waylon Jennings to Johnny Cash, Jerry Reed and Patsy Cline before giving illustrious credit to the “finger-lickin’, chicken pickin’ Tele-Man” behind all the greats.