Kali Uchis Essentials: 9 Songs That Flaunt Her Soulful Magnetism | GRAMMY.com (2024)

Kali Uchis knows how to make her fantasies a reality. Pushing aside others' skepticism early in her career, the singer/songwriter blithely traverses progressive R&B, neo soul, and Latin pop with allure. Following a mixtape and handful of EPs, Uchis' breakthrough debut album Isolation showcased her spectacular dynamism and embrace of risk, charting within the Billboard Top 40 in 2018.

Since, Uchis has continued to connect with her audiences on even grander scales. Her genre-bending music, especially on her 2020 album Sin Miedo (del Amor y Otros Demonios), champions the importance of staying true to oneself. She's remained refreshingly lucid and intentional with her artistry — and her most recent project takes the shape of divine freedom.

On her recently released Red Moon In Venus, Uchis invites us into her secret garden. Inside, femininity reigns supreme, its potency and power concealed by an irresistible pearly glamor.

In honor of the GRAMMY-winning musician's latest lush record and upcoming tour — which begins in Austin, Texas in April — tune into these nine Kali Uchis essentials, and soak up her divine style and versatility.

"Melting," Por Vida (2015)

Although the song's title refers to ice cream, Uchis laces "Melting" with a sweet, mellow warmth. It paints the honeymoon stages of a relationship in pink shades; you can picture blushing cheeks, fawning eyes, and shared smiles between lovers.

The track comes from Uchis' debut EP, exemplary of the power of the singer's reflective, rosy whimsy at an early point in her career. The EP melds R&B, soul and dream pop, and "Melting" twirls with affection and comfort — encapsulating the soft serenity that Uchis continues to embrace today.

"El Ratico" with Juanes, Mis Planes Son Amarte (2017)

"Se acabó el ratico, aquí está el anillo," Juanes and Uchis sing on "El Ratico," which translates to "Time's up, here's the ring."

The high-profile duet, which was also nominated for a Latin GRAMMY for Record Of The Year, is an ode to the lost time in a relationship. The Colombian singers are in harmony as they detail sleepless nights filled with tossing and turning, blue skies turning gray. The song's use of popular Colombian rhythms serve Uchis well, further showcasing her effortless versatility.

"Your Teeth In My Neck," Isolation (2018)

Based on its title, one might anticipate "Your Teeth In My Neck" to be a twisted love song of sorts. The track, however, sees Uchis aim frustration at wealthy corporations for exploiting immigrants and working class families. From an immigrant family from Pereira, Colombia, Uchis understands the dangers of hustle culture and prioritizing productivity above all else.

"Rich man keeps getting richer, taking from the poor," she sings. "You gotta get right, 'cause you know better…" She repeats the last clause nonchalantly, pleasantly in theme with Isolation's groovy serenity, but its repetition reminds listeners of the song's rightfully accusatory nature.

"After The Storm" ​​feat. Tyler, The Creator and Bootsy Collins, Isolation (2018)

Optimism looks good on Uchis. "Someday we'll find the love, 'cause after the storm's when the flowers bloom," she sings, reminding listeners there's always love to be found. Aided by a clean-cut rap verse from Tyler, the Creator, the track also gets a funky boost from Bootsy Collins' satisfying karma-themed ad libs.

Longing pulses through the song's breezy psychedelia, and its desire-filled serenity will have you listening on repeat. "After The Storm" is exemplary for the way Uchis naturally fuses funk and R&B with her own contemporary twist — a trademark of Isolation's fluidly experimental soundscape.

"10%" with KAYTRANADA, BUBBA (2019)

A year before dropping Sin Miedo, Uchis joined forces with Canadian electronic producer KAYTRANADA on their song "10%," which was released as the lead single off his GRAMMY-winning album BUBBA.

A thematic parallel to "Your Teeth In My Neck," Uchis questions, "You keep on takin' from me, but where's my ten percent?" KAYTRANADA's adventurous beat propels Uchis' voice forward without distracting from her, and the shiny, club-ready collaboration won Best Dance Recording at the 2021 GRAMMYs.

"Dead To Me," Isolation (2018)

With striking trumpeting horns opening this track, Uchis wants all eyes on her for a very important announcement.

"You're dead to me," she drawls, then quickening her flow for a demand: "You're obsessed, just let me go." You can almost imagine her rolling her eyes in someone's face, then turning and clicking away in heels.

One of Uchis' signature tracks, "Dead To Me" is the perfect encapsulation of indifference toward the past. Even though it's from 2018, the song's contemporary sheen and cherished brashness proved that Uchis isn't just ahead of her time — she's timeless.

"Fue Mejor" feat. SZA, Sin Miedo (Deluxe) (2020)

"Fue Mejor" begins with the rev of a car engine, and it's clear that Uchis is in the driver's seat. On this remixed track from her sophomore's deluxe, she hits the gas pedal with steamy, smoke-ring R&B. "Take a little sip, take a little puff," Uchis invites without hesitation.

SZA rides shotgun for the collaboration (well, in the music video, she's on top of a moving car, but beside that). The singer fits into the track like a missing puzzle piece, her vocals brilliantly matching Uchis' soulful, sultry tone.

"telepatía," Sin Miedo (del Amor y Otros Demonios) (2020)

One of Uchis' biggest hits for good reason, "telepatía" is a lucid dream come true. It dissolves into your consciousness like sugar, enamoring with a controlled, intense passion. Singing in Spanish and English, Uchis flutters over a groovy but placid synth with ease — and when Uchis sings "I can read your mind," you believe her without a second thought.

The song comes off of Sin Miedo, which is Uchis' first album predominantly in Spanish and was nominated for Best Música Urbana Album at the 2022 GRAMMYs. The track also made Uchis the first female soloist to hit No. 1 on Billboard's Hot Latin Songs Chart in nearly a decade, defeating the 27-week top-spot reign of Bad Bunny and Jhay Cortez’s global hit “Dákiti."

"I Wish you Roses,"Red Moon In Venus (2023)

Tapping into an especially bewitching atmosphere, "I Wish you Roses" is one of Uchis' most infatuating songs and the first single from her 2023 release.

While album opener "in My Garden" whispers and whirs, bristling with hopeful suspense, "I Wish you Roses" meets the anticipation with perfect extravagance. Romance flourishes amid sleek instrumentals, crafting a luxurious and beautifully overgrown fantasy.

Uchis wishes an ex-lover roses with earnestness, and you can feel her ecstasy in letting go — though, in true Kali fashion, she reminds them that "You're gonna want me back" casually in the outro.

Kali Uchis On What It Means To Be A Latin "Crossover" Star In The 21st Century

Tinashe is riding high on creative freedom. Since stepping away from the major label system in 2019, the 31-year-old artist has been thriving independently, allowing her to drop new music as often as she pleases.

"It's given me a newfound sense of belief in myself and my agency," she tells GRAMMY.com.

Her seventh studio album, Quantum Baby, released on August 16, fully embraces this autonomy —evidenced by its catchy, sultry lead single "Nasty," which went viral in May and quickly became an inescapable summer hit.

She channels this momentum into Quantum Baby, part two of the ANGEL/BB trilogy. The breezy eight-track album explores the duality of confidence and vulnerability while showcasing Tinashe's vocal chops…and waits until the very end to unleash "Nasty."

"Nasty" not only showcases Tinashe's ability to create infectious music but also her savvy in capitalizing on its success. The song climbed to No. 61 on the Billboard Hot 100 — her second-highest charting single to-date —and spurred the release of the Match My Freak EP in June. The project features six remixes that include spins from UNIIQU3 with her signature Jersey club bounce and a jittery-yet-smooth take from swaggy beatmaster Kaytranada, with two new versions featuring Tyga and Chlöe as special guests. The original Nasty queen Ms. Janet Jackson even jumped in on the action, mixing Tinashe's tune into her 1986 classic of the same name during her Together Again world tour.

This isn't Tinashe's first rodeo. Since her 2014 breakout with the debut single "2 On," featuring ScHoolboy Q and its infectious trap beat laced with a Sean Paul sample, she has consistently pushed her musical boundaries. Her fourth album, Songs For You, marked her first release as an independent artist, featuring hits "Hopscotch" and "Die A Little Bit" with UK rapper Ms Banks. Tinashe is also a sought-after collaborator, having been tapped by Shygirl, Britney Spears, and a plethora of electronic music producers including Gryffin, Snakehips, TOKIMONSTA and Calvin Harris.

Ahead of her tour and the release of Quantum Baby, Tinashe spoke with GRAMMY.com just before boarding a flight to China, where "Nasty" first caught fire. She discussed her new music, the phenomenal success of "Nasty," embracing her creative independence, and shared valuable advice for emerging artists.

Quantum Baby, your seventh studio album is almost here. What does this album mean to you and what emotions were you processing or experiencing while working on it?

This album is kind of a representation of where I am right now in my life, and the feelings that I'm going through, of sometimes teetering on this hyper-confident, in-your-face persona, and then something that feels a little bit more vulnerable underneath, and how that paradox exists within me. That was the mind state I was in when it came to the concept for this album.

What are you hoping fans experience or feel when they listen to it?

I just hope that it continues to push the narrative of what I've been creating and move it forward into a slightly new territory. I love evolving with every project and getting deeper and even taking it down different lanes that maybe people wouldn't necessarily expect. I'm excited for people to take that journey with me.

"Nasty" is one of your biggest songs to date and has had a huge impact on pop culture — I'm not mad that it's one of the inescapable songs this summer. When you finished it, did you think that you had a hit on your hands?

No, not necessarily. The last few years, I have been focused on making music that inspires me or that I like, and using that as the barometer for if I want to put it out, not considering if I think it's a "hit" or not. In the past, in my experience, there were times where chasing things or trying to create things that felt like hits led me to a not-as-pure creative place. I think it sometimes does a disservice to the art. I guess I could have created it and then realized that it sounded like a hit, but I think a lot of my songs sound like hits, so you never know.

Why do you think "Nasty" resonated so strongly in this particular moment?

It's summertime, I think people are ready to get out there and just feel free and have fun. There's so much heaviness that's going on in the world around us, and sometimes people just need a release and something that feels playful. And I think people can relate to the song in a lot of ways. It's just youthful and free and it feels like summer.

One of the other tracks on the album that really feels like it's also gonna pop off is "No Broke Boys." When you create from that super confident space you were referring to, are those songs coming to you in a different way than some of the more introspective or vulnerable tracks?

I think in terms of what type of song I make on any given day, it really just depends on my mood, or perhaps the weather, the time of year, or how I'm feeling any given week, whatever's going on in my life. There're so many elements that could play into why I would want to make a certain song, but I find myself also wanting to make songs that feel hyper-confident and in your face like "No Broke Boys" as a means of almost harnessing that energy for myself. A lot of times I don't necessarily feel as confident as the characters that I portray via music. I think that's a cool way to conjure up and harness that energy and make something that feels that way, and to be able to share that with other people. That's the intention behind making songs like that.

Do you see it as an alter ego?

I wouldn't say it's as deep as an alter ego, but it definitely feels like a side of my persona that I really just relate to through music. In real life, I'm a little bit more laidback and easygoing, kind of quiet. Through my art, [I can tap into] a whole different side of my personality.

What's one thing that you think people either get wrong about you or don't know about you?

I think people assume that someone who's in the entertainment industry or has a public-facing job is extremely outgoing and always wants to be on and talking all the time and surrounded by people. As much as I want my art to communicate that and I love playing shows and things of that nature, I'm definitely more of a homebody and [keep] to myself. I just want to just hang out, to be chill. I'm not super social. I have a really small social circle.

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It was cool how fast you responded to the virality of "Nasty" with all the different remixes. How did that happen so quickly? How did you kind of choose who to bring into it?

It's a couple things. I think there was an aspect of just being ready for the moment. I have a whole album coming out and I have all these different things that I'm already planning on doing. So when I had this amazing viral moment and there were a lot of new eyes on my work, I had the work already prepared to continue the momentum or use that energy to move into my album roll out, as opposed to it feeling unexpected and unprepared.

I also think the song just had so much energy with its initial burst of virality that there were so many people already remixing it and just popping on it in a super organic way. That felt extremely organic to put out all the different versions because I was hearing so many dope interpolations and interpretations of it online everywhere. It just felt very of the moment [by] embracing the energy that was already naturally happening.

It's amazing how worldwide it gets too, because it was trending in China before the United States. I was out there doing some shows, so I got to see that firsthand. That was crazy. It's been really fun.

One of the remixers was Kaytranada, who's also tapped you for features on his last two albums, including "More Than A Little Bit" on his latest. Both of your styles always sound so good together. Can you speak to that particular creative relationship?

We've always just had a natural chemistry when working together. It's always felt very effortless and just really easy. And he's also super laidback and cool. I think we just gel, personality wise and creatively. Like I said, it just feels really effortless and that's the best [kind of] collaboration. So we just keep doing it.

You just announced the Match My Freak world tour — what can fans expect from this tour and these shows?

I think the biggest thing they can expect and look forward to is that I will be playing new material. I think that's something that's also really cool for the fans, they get to experience a new show that's always evolving. It's really fun for me because as someone who performs the show so often, you get bored sometimes doing the same thing. It's exciting to be able to add new numbers. We're going to have new choreography, new numbers, new transitions — it's going to be an entirely new production. I think that's always something to look forward to, because then you always get a new experience, even if you've been to a show before.

Going back, it's been a decade since you put out your debut studio album, Aquarius. How have you felt that you've grown as an artist since then and what's one of the biggest things you've learned about yourself in the process?

I think the biggest thing I've learned about myself is also the biggest way that I've grown, which is my level of confidence. I know now that my ideas are good and when I stick to what I believe in with the creative, that's ultimately when the music and the art is the purest and most authentic. The audience can tell the difference when it comes to authenticity, so [it's important to] never doubt your perspective as a creator.

A big part of your story the last couple years has been leaving the major label system and stepping out on your own. What has that freedom felt like for you, and how does that specifically come out in Quantum Baby?

It's given me a newfound sense of belief in myself and my agency. I'm my own boss, the captain of my ship; as a creative that's very empowering. I like having that kind of pressure and responsibility.

Is there music that you can release now that you couldn't before?

It's more so the cadence of my releases, being able to release a lot faster and to make decisions easier. I wouldn't necessarily say [it's resulted in] totally different songs, but it's little things creatively that feel different. Not having to answer to anyone is cool. It's fun. I feel like that's the way it should be as a creative.

You've had some pretty iconic collabs over the years, including Britney Spears, Usher, Devonté Hynes, Normani, and many more. What have been some of your biggest pinch-me moments meeting artists you admire?

The top for me are probably my girls. Britney Spears was insane, so surreal. And I recently met Janet Jackson, that was also super surreal and really, really cool. I think those moments are so affirming as an artist, because to see people that you've looked up to your entire life connect with you in that way, you've almost hit all the benchmarks. Where do you go from there? That's such an ultimate sign that you're on the right path.

Are there any other dream collabs you've yet to realize?

I would love to work with SZA, James Blake, Janet — that would be amazing. I'll put that on the bucket list, why not? I'd still love to work with André 3000; that would be crazy.

What's your advice to younger artists, particularly women of color, navigating the music industry, trying to get their music heard, trying to find their creative voice?

One: teach yourself to use the computer programs that are required to record your music. That's extremely advantageous, and that way you don't have to wait around for studio time or for someone to do it for you. There're so many ways that you can record music at home, on your own. So get that DIY spirit and start creating your music on your own.

The second thing I would say is just be fearless in putting your art out there. Just share it. Don't wait.

Meghan Trainor — 'Timeless'

Just a few weeks before Meghan Trainor's breakthrough smash, "All About That Bass," turns 10, the GRAMMY winner rings in the anniversary in major fashion: a brand new album.

Trainor's sixth LP, Timeless, an irresistible split difference between bubblegum pop and woo-wop. Back in March, she released the lead single "Been Like This" with T-Pain; the "Buy U a Drank" star also appears on "Love on Hold."

"I cannot believe it has been 10 years since this all started. I have never been more grateful for this life that my incredible Megatronz have gifted me with," Trainor said in a statement — "Megatronz" referring to her rabid fanbase. "This new album and tour are all for them and my beautiful family."

Peggy Gou — 'I Hear You'

I Hear You might be South Korean DJ and singer Peggy Gou's debut album, but she declares it to be much more than that.

"It embodies countless hours of dedication in my journey to create something timeless, and is a testament to the power of listening, to ourselves and to each other," Gou said in a statement.

And of the video to "1+1=11," in all of its shadowplay: "By bringing together dance — embodied exploration of space — with colorful shadows, lights, and mirrors, I was able to bring some of the key interests that have long shaped my art into an entirely new context."

If all this resonates with you, I Hear You is — well, a must-hear.

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Orville Peck, Diplo & Kylie Minogue — "Midnight Ride"

As Pride Month kicked off, Kylie Minogue brought out two very special guests at Outloud Fest at West Hollywood Pride: her newest collaborators, Orville Peck and Diplo. The trio debuted the slinky, sparkling "Midnight Ride," a winning trifecta of their diverse talent pools.

Just a few days later, the studio version has arrived. In its full-fledged wonder, the track is just as much of a ride on record as it was on stage.

The single is the latest offering from Peck's forthcoming duets album, Stampede; though the full album's release date has yet to be announced, the alt-country star teased the exciting collabs to come with the seven-song Stampede, Vol. 1 on May 10, which featured Elton John and Bernie Taupin, Nathaniel Rateliff and more.

On July 19, English indie favorites Glass Animals will declare I Love You So F***ing Much with their fourth album. They previously released the advance single "Creatures in Heaven." "A Tear in Space (Airlock)" arrives from smack in the middle of the forthcoming album.

A celestial, pulsing track replete with delicious production details, "A Tear in Space (Airlock)" marks another evolutionary step for the Oxford-rooted group. Their smash "Heat Waves" might be in the rearview, but they still know how to craft a song for just that.

Read More: Meet The First-Time GRAMMY Nominee: Glass Animals' Dave Bayley On The Group's Slow Burn To Massive Success With "Heat Waves" — And How It Almost Never Happened

Jungkook — "Never Let Go"

Where would BTS be without its ARMY? It's an unthinkable prospect — and the boy band giants' beloved Jungkook has penned a worthy tribute to the fanbase that made them.

Released for BTS' annual debut anniversary celebration, Festa, "Never Let Go" opens its heart completely. "Without your love, I'm nothing/ You mean more than you know/ And words escape me whenever you're close," he croons. "I tried to put it into words but it don't measure up/ My pen and paper could never do quite enough."

Believe us: the radiant "Never Let Go" is more than enough. "It's the truth, it's the truth," Jungkook concludes. "We got something rеal nothing could break."

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KAYTRANADA — 'TIMELESS'

Maluma & Blessd — '1 of 1'

"A full production between two Colombian artists had never been done before," rapper and singer Maluma brassily proclaimed in a recent press statement. "If it's the first, it can't be done twice."

He's referring to the (aptly titled) 1 of 1, his new EP with fellow Colombian great Blessd. Co-produced by MadMuscik and the RudeBoyz, this six-pack is a reflection of the clear admiration and respect between the two reggaetón practitioners.

This pre-summer weekend, grab a bestie, hit the road, crank up tunes like "Call Me" and "Goyard/GTA," and let that feeling flow through you, too.

Ski Mask the Slump God — '11th Dimension'

Five years after his last LP, Floridan rap phenom Ski Mask the Slump God returns by taking listeners to the 11th Dimension.

If 11th Dimension's advance singles — the jovial "Ooga Booga!", the propulsive "Headrush" — whetted your thirst, get ready for the other 19 tracks, like head-spinning highlights "By Myself," "KillStreak" and "Him Jung Un."

And while Ski Mask the Slump God takes most of those tracks himself, the album's five features are equally as thrilling: Future and ATL Jacob, Skillibeng, Corbin, and two posthumous duets with late rap stars XXXTentacion and Juice Wrld.

Generally, when an artist has a blast making music, it seeps through the grooves — and Thomas Rhett had an absolute ball making his new album, About A Woman, out Aug. 23.

"I did this with a new batch of producers, a lot of different songwriters. This is the funnest album that I've made, I think," he told Backstage Country. "This is a very, very 'me' album. If you liked Tangled Up and Life Changes, Center Point Road, this album is sort of that on steroids."

He's already revealed the first single, "Beautiful as You"; its follow-up, "Gone Country," is a rough-hewn statement of down-home purpose. Every line and lick is true to his dictum that he "got back to the root of why I love to make music and put smiles on faces."

Let that smile cross your face as you prepare for your summer adventures — and we'll see you on next week's New Music Friday!

On This Day In Music: 2 Live Crew's 'As Nasty As They Wanna Be' Becomes First Album Declared Legally Obscene, Anticipates First Amendment Cases

Tinashe is a true triple threat, acting, dancing, and dropping banger after banger as a singer. In just under a decade, she’s released six studio albums, went independent in 2019, and has been showered with critical acclaim for her creative freedom. Regardless of major or independent label backing, Tinashe has shown a commitment to her craft, each release remaining at a high caliber.

Quantum Baby, her seventh studio album and part of the BB/ANG3L trilogy — and fourth to be released under her Tinashe Music Inc label — doesn’t have a concrete release date yet but its lead single, "Nasty," is doing a good job of getting people interested. Released in April, the song became an instant hit with Tinashe fans and garnered a wider audience after being used in a viral video. Even fashion brand Marc Jacobs hopped on the trend with a TikTok now viewed more than 2.9M times.

Because of the viral social media posts, streams for "Nasty" have gone through the roof. The song garnered 600k+ streams in a single day on May 22. Not only has "Nasty" become a hit, but it’s pushed many listeners to generate their own version of Tinashe’s "is somebody gonna match my freak?" lyric.

In honor of her latest hit, and ahead of Tinashe's highly-anticipated next album, press play on 10 essential songs from across her discography which showcases her chameleon-like ability to handle various music genres and styles with ease.

"Needs" (BB/ANG3L, 2023)

"Needs," the second single from BB/ANG3L, wastes no time getting straight to the point. When the sultry beat drops, Tinashe purrs about her many talents and offers a few clear directives for her romantic partner. By the end of this 2.5 minute song, there’s no denying it’s her declaration of total sensual independence.

At first glance, the music video’s setting inside a grocery store might seem random. But all it takes is one focused listen to the lyrics to find the connection between the song and its visuals. A grocery store provides its shoppers with a plethora of options and, as the title of the song makes clear, Tinashe isn’t afraid to pick up what wants when she needs.

"I Can See The Future" (333, 2021)

Tinashe’s music generally adopts a first-person perspective; her own thoughts and desires placed in the spotlight. On the bass-heavy R&B track "I Can See The Future," she subtly brings in the emotional perspective of a man she has her eye on. In the pre-chorus, she sings "He said I don't play 'bout what's mine/I'm not a psychic/I can't read your mind/If you with it, don't waste my time."

As Tinashe talk-sings through most of the song, her raspy voice exudes an enviable confidence while selling her partner a vision of love. By the time we get to the bridge, she explicitly responds to his concerns about her potential indifference. "Get ready for love/Get ready for me/I've made up my mind/I want you to myself," she sings, her vocals muffled in certain sections. Could that allude to her unwillingness to commit?

KAYTRANADA - "The Worst In Me" (BUBBA, 2019)

Listening to KAYTRANADA’s music is the equivalent of a perfect summer evening where you get to dance on a rooftop with your friends. Bring in Tinashe’s vocals and you only turn up the volume on these good vibes. That’s exactly what happened when the duo linked up for "The Worst In Me."

The song explores a relationship rife with uncertainties and bruised emotions. In the chorus, Tinashe sings "I want your love" which sounds encouraging enough. But when she slips into a higher register and immediately follows up with "You bring out the worst me," she hammers home how this is no love song.

Despite the somber message burning beneath the beat, KAYTRANADA and Tinashe succeed in getting listeners on their feet. Fans of "The Worst In Me" were excited when it was announced the duo would reunite for KAYTRANADA’s upcoming album, Timeless, out in June 2024.

"Bouncin" (333, 2021)

On "Bouncin," Tinashe explores a familiar topic — her undeniable sex appeal — but does so by tapping into her "divine feminine energy." In addition, she showcases a few different vocal layers, moving from her strong mid-range to a breathy falsetto. Sung high, the lyrics in the first verse are almost undecipherable. Chopped-and-screwed background vocals add an unexpected texture you can’t help but sing with once you know where they’ll come in.

Thanks to dwilly’s production, the song has just as much nuance as Tinashe’s explorative vocal performance. A plucky, synth melody brings in a playful video game quality while a ticking sound in the background introduces a sense of urgency. When all put together, these elements transform "Bouncin" into a sonic rollercoaster.

"Save Room For Us" feat. MAKJ (Songs For You, 2019)

With a driving beat and moderate tempo, "Save Room For Us" effortlessly captures the melancholic stage after a breakup we might not have initiated. Before Tinashe gets to the chorus, it becomes obvious she's begging her lover to reconsider their decision.

"I think for a long time I didn’t want people to see a vulnerable side to me because I thought they would think I was weak," Tinashe said about bringing more raw emotion to her music. While it’s true the song has plenty of believable yearning, she proves she’s also the type of pop star who knows how to spin her tales of sadness into a dancefloor anthem.

"Die A Little Bit" feat. Ms Banks (Songs For You, 2019)

"Die A Little Bit" stands out as one of Tinashe’s darkest, most experimental songs to date and depicts L.A.'s tricky social scene. While that may be the official line, the single was also her first as an independent artist and could easily describe her artistic journey/newfound freedom.

"Searching for something in someone without a soul," Tinashe sings on the highly danceable track. "Running in circles 'cause I suck at letting go/ Starting to feel like there's no chance of breaking through/Plenty time wasted, what am I waitin' for?"

"Superlove" (Superlove, 2016)

On "Superlove," Tinashe worked with industry juggernaut producers Tricky Stweart and The-Dream to create a slick and utterly infectious pop/R&B track. By incorporating the best elements of hip-hop subgenre Miami bass, "Superlove" manages to transport you to the past without sounding dated.

"Superlove" is technically included on the tracklisting for Joyride, Tinashe’s third studio album, and was meant to serve as its lead single but was released during a period in her career where her album was perpetually delayed. (Joyride was released almost two years after "Superlove.")

"Superlove" landed at No. 72 on Billboard’s 100 Best Pop Songs of 2016. With its feel-good energy paired with the type of music video that would’ve reigned supreme on MTV’s "TRL" (think attractive people rolling around in the sand and lifeguards performing provocative choreography), this song is a testament to the electrifying pop star Tinashe has always been.

Britney Spears - "Slumber Party" (Glory, 2016)

Tinashe has, multiple times, gone on record saying Britney Spears is one of her idols. In 2016, she was able to live out a childhood fantasy by featuring on a remix of "Slumber Party," a track originally included on Spears’ album, Glory. Over a pop-friendy reggae beat, the track details a night between two lovers.

Tinashe takes over the second verse, and layers in additional vocals and adlibs throughout. While none of the lyrics she sings are updated, she rises to the occasion and goes toe-to-toe with one of pop music’s biggest icons. Tinashe’s timbre, polished yet rich in texture, is perfectly suited for the modern pop soundscape. On "The Kelly Clarkson Show," Tinashe discussed performing with Spears and how she could feel the star power radiating from the "...Baby One More Time" singer. "You’re that person now, too," Clarkson reassured Tinashe.

Ty Dolla $ign - "Drop That Kitty" feat. Tinashe & Charli XCX (Drop That Kitty, 2015)

At the time "Drop That Kitty" was released, each artist on the track was having their own respective moment. Ty Dolla $ign was gearing up to release his debut album, Charli XCX had the massive success of "Fancy," her duet with Iggy Azalea, and Tinashe had released the third single from her major label debut.

Each has their own distinct energy and bringing them together for the track could have been disastrous, but it was the type of chaos you want to listen to on repeat. Ty’s melodic rapping is tinged with autotune, while Charli chants lyrics. But when Tinashe’s vocals come in on the post-chorus, they’re as sweet as honey. Though the lyrics are fairly surface ("I know you want it all/I'm giving you a show/You like what I'm doin'"), the song continues to be a consummate pre-game banger.

"Pretend" feat. A$AP Rocky (Aquarius, 2014)

Those skills were put on full display with the music video for her debut single, "2 On." While the logical follow up might’ve been another energetic bop, her label chose to release "Pretend" a mid-tempo ballad featuring rapper A$ASP Rocky. But if you’re new to the world of Tinashe, "Pretend" delivers something special.

The song’s theme is relatable as it introduces the different ways people can ignore issues in a relationship or create imagined versions of happiness. Tinashe’s vocal performance, one of her strongest on a slower track, illustrates how she doesn’t need any feature to shine bright.

Chief Keef On Almighty So 2

The five nominated works for Best Latin Rock or Alternative Album at the 2024 GRAMMYs underscore how incredibly pluralistic the genre has become.

Recorded live on tape with a cadre of virtuoso players, Mexican songstress Natalia Lafourcade’s De Todas las Flores explores grief, impressionism and the healing power of love. Motivated by a deep marital crisis, Vida Cotidiana by Colombia’s Juanes is a middle-aged rocker’s message of hope — and it grooves like crazy. A collage of alternative sonics hand-crafted at his Puerto Rico home studio, MARTÍNEZ finds former Calle 13 founder Cabra delving into trance-inducing electro and slick Afrobeats. A cool, sophisticated affair, Diamante Eléctrico’s seventh album Leche de Tigre fuses Colombian rock with nocturnal vibes and cosmopolitan funk. In Argentina, Fito Páez lovingly reinvented his 1992 masterpiece El Amor Después del Amor on EADDA9223, populated by a gallery of iconic guest stars.

If the nominees at the 66th GRAMMY Awards are any indication, Latin rock and alternative are more than a sound. They signify a point of view, a credo, a way of doing things that spans countries.

With that in mind, GRAMMY.com organized a roundtable with this year’s nominees, who discussed their influences, the current state of the multifarious genre, and the dreams of future albums that keep their creative fires burning.

Is rock 'n'roll eternal? Will its mystique continue to influence musicians for generations to come?

Natalia Lafourcade: It is eternal, yes. Rock is like life itself. It evolves and transforms in language and form — its tempests, energy and meaning. I would never have imagined my album being nominated in this category. But then I think about the idiosyncrasies of rock — a style spawned from broken places, the crevice where a flower can blossom and it makes sense. I cherish the fact that rock can encompass so many different possibilities of singing about emotion.

Cabra: I understand rock’n’roll as an agent of change and attitude is already dead. In my work, I like using musical references from the past as I create in the present mode.

Juanes: Rock will be eternal to me for as long as I live. In my own universe, rock was the channel that allowed me to transform as a person and I find in it a very powerful energy. I hope future generations will learn to play instruments, form their own bands and write songs — even with the current avalanche of technology and AI.

Fito Páez: Rock is much more than just a genre. It represents an open minded, eccentric cultural reality that fears nothing and transcends the music itself.

Juan Galeano (vocalist and bassist, Diamante Eléctrico): Rock has evolved, just like music has. It will live on as long as it preserves its avant-garde qualities and continues to challenge the establishment.

Who were the rock artists who first inspired you?

Juanes: Metallica, Led Zeppelin, Black Sabbath and Pink Floyd. Heavier stuff too: Slayer, Sepultura. Even Venom. [Laughs.] That was my path during the ‘80s here in Medellín. Before I discovered rock, the sounds of Latin American popular music that I heard during childhood defined my path as a musician as well.

Lafourcade: The works of women like Julieta Venegas, Joni Mitchell, Björk, Fiona Apple, PJ Harvey and Erykah Badu, among many others. All of them acted as anchors on my artistic path. They offered guidance and illumination.

Páez: I was influenced by artists outside the confines of rock — people who played all kinds of music, like Charly García and Luis Alberto Spinetta. Is [Brazilian MPB icon] Chico Buarque rock? Sort of. You could say he’s part of the rock culture, much like [tango master] Astor Piazzolla was.

There’s something really cool about the Alternative Field. It goes beyond the mainstream — there’s an extra serving of fun in it; it defies logic. An artist is truly alternative when he’s different from everyone else.

During the ‘70s, rock became exceedingly ambitious — incorporating elements of jazz and classical, folk and the avant-garde. I believe the same ethos informs the Latin Alternative today, a time when stylistic experimentation is accepted as the norm. Do you agree?

Cabra: I agree about 50 percent. I believe the experimental tendencies of the ‘70s and ‘80s signified the genre’s finest moment. Right now, there are artists who dare to innovate. At the same time, many defend the purity of various musical styles, and as a result, everything sounds the same.

Lafourcade: Rock will always be linked to that utmost freedom of expression. It’s connected to the soul, and it’s deeply spiritual. There is no strategy in it. It’s about seeking the disruptive, the unexpected — that which will surprise and shake us up. It allows you to scream, weep and laugh — to be silent following heartbreaking chaos.

Galeano: Something that we really enjoy about the last few years is the increasing blurring of genre boundaries. We’ve always believed that Diamante is much more than just a rock band. We borrow from different styles: funk, soul and cumbia; jazz and classical; Black music in general, and, of course, rock 'n' roll. I love that the younger generations don’t listen to any specific genres anymore — just good songs.

Are reggaetón and urbano the new rock? Could they coexist with the works of Soda Stereo or Café Tacvba?

Páez: No, they’re not. Clearly not. I’m writing a lengthy essay on the current state of the music scene. I think it will generate an interesting debate.

Juanes: I notice in artists like Bad Bunny the same kind of rebellious spirit and desire to provoke that was present in rock. That said, I think music will continue to evolve. It can never stagnate.

Cabra: Rock is a feeling, a lifestyle. That is why I believe it is dead.

Within a rock context, is there a fusion or experiment that you have yet to attempt? Is there a treasured album percolating in your soul, waiting to emerge?

Lafourcade: I’d love to return to the electric guitar at one point, and explore beyond the familiar limits. To navigate alternate possibilities that can continue to surprise me and make me feel like it’s the first time doing this.

Juanes: I’d like to record an album or EP focused on cumbias, slow and heavy. Haven’t found the time yet, but it’s something I would love to do at one point.

Páez: The music I desire the most is the one I have yet to record — that much is clear. The advantage of music over words is that the potential combinations are infinite. You just have to play, something I’ve been doing my entire life. Sometimes you have to push the new melodies away so that you don’t step on them when you get out of bed in the morning. At other times, you can’t find a single tune. It’s all about being adventurous, studying and researching — the kind of activities that are not in vogue at the moment.

Cabra: This year I’d love to make a record of complicated duets in different genres. Right now I’m dreaming of that album.

Galeano: We’d love to experiment with jazz, corridos tumbados, cumbia and Brazilian. Whenever we collaborate, we gravitate to artists who come from different worlds. I’d love to record a song with Carín León.

2024 GRAMMY Nominations: See The Full Nominees List