usher my way tour songs

The 10 Best Usher Songs Of All Time

By Steven J. Horowitz

Steven J. Horowitz

Senior Music Writer

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Usher has had a career filled with many sparkling moments, and yet this one feels like it outsizes them all. After dazzling Las Vegas with his “My Way” residency for 100 shows, the singer didn’t stop to catch his breath—in fact, he braced for maximum impact, announcing the release of his ninth album “Coming Home” (his first in eight years), an upcoming North American tour and a coveted booking as the performer during the Super Bowl Halftime show, taking place on Feb. 11.

It makes sense, then, that Usher would play the biggest stage in the world at this point in his career—he’s done the work. Ever since debuting with his eponymous 1994 album at just 15 years old, he has repeatedly proven to be a chameleonic tour de force, whether it be traipsing genres across albums and stacking nine number-one Billboard Hot 100 hits to gracing the silver screen and building his portfolio as an entrepreneur. 

With a discography that stretches across decades and timeless hits to his name, the 45-year-old has consistently proven that a legacy is only as strong as the talent and hard work behind it. And Usher has the track record to show for it. Before he takes the biggest stage in the world, Variety takes a look back at his best singles, spanning the ballads to the bops.

U Remind Me

Usher planted his flag as an R&B scion with his eponymous debut and more mature, befitting follow-up “My Way,” but answered the call to pop superstardom with “U Remind Me,” the first single off of 2001’s “8701.” With its cartwheeling synths and swishy hi-hats, “U Remind Me” disproportionately leans on its chorus—after all, it repeats eight times throughout the song—but it doesn’t feel overbearing, instead creating a playground for Usher to do what he does best: hammer the point of the song home with the space to let his vocal runs shine.

The title track from Usher’s 1997 sophomore album centered the singer as something of a bad boy. While lead single “You Make Me Wanna…” pointed him towards wherever his romantic inklings dictated, “My Way” did the opposite, attracting a potential love interest away from her boyfriend and laughing squarely in his face over it. With Jermaine Dupri and Manuel Seal in the driver’s seat on production, Usher glides across the percolating instrumental, setting the precedent that he’s a woman-stealing paramour—something that recurs later in his career on “U Don’t Have to Call.”

Good Kisser

As his career unfurled, Usher started to become much less subtle, and “Good Kisser” feels like a fulcrum moment in his exploration of innuendo. It’s easy to see what he’s getting at on this non-album track—”She’s such a good kisser, got lipstick on my leg,” he winks—but there’s an allure coded into the song itself. Usher slinks across the song as the drums tumble behind his octave-spanning vocals, creating a wobbling sense that it’s all about to skid off the tracks. But it always snaps back into place, confidently finding its footing.

Throwback featuring Jadakiss

At the time that Usher recorded “Throwback,” producer Just Blaze was undoubtedly in his imperial phase, coming off of helming now-institutional records for Jay-Z and Cam’Ron. The melodicism of his sample flips teed Usher up for one of his most soulful songs to date, with a gushy instrumental that’s wrapped around a sample of Dionne Warwick’s “You’re Gonna Need Me.” Usher bemoans the loss of a love that will never return on “Throwback,” replaying where the relationship went wrong as Warwick’s ringing vocal sample plays against his moans of regret.

Yeah! featuring Lil' Jon and Ludacris

When he gives it a go, Usher is the ultimate party-rocker, and “Yeah!” featuring Lil’ Jon and Ludacris makes the case. As the lead single off 2004’s “Confessions,” the synth-smeared track is all sweat and heavy pants, playing like a call to action. Usher’s chants on the chorus are the stuff earworms are made of, while Lil’ Jon’s signature adlibs give a rough edge to the almost surgical instrumental propelling it all forward. Add a jocular Ludacris rap break to the mix and it coalesces into an unshakable anthem, one that’s withstood the test of time.

U Got It Bad

The sense of drama that swirls as Usher gives a diaphragm howl at the start of “U Got It Bad” is a clear indicator that he’s going through it, and he isn’t just going to tell you why. The song, written with Jermaine Dupri and Bryan-Michael Cox, isn’t your standard pining love ballad. Usher is flooded by his infatuation to the point of rendering him useless, almost to a pitying extent. As a guitar flutters beneath him, he’s conversational in a way that gives the track immediacy: Anyone who’s had a crush grow into something more sinister can relate, and he shows you how it manifests.

While much of Usher’s 2012 album “Looking 4 Myself” shape shifted across genre and style (some of its more EDM-concerned inclusions didn’t age particularly well), “Climax” stood out as a trend-bucker. To see Usher work with Diplo and Ariel Rechtshaid at a time when they had peak outré cred was a brilliant creative mood, and together they confected a song that reflects back on what its title suggests. As he sings directly to a partner who’s on the outs, Usher expertly toys with vocal restraint as an emotive tool. He sings in a delicate falsetto for much of it, and as the song tensely builds towards an explosive payoff, it never actually gets there, leaving the notes hanging in the air.

U Don't Have to Call

If one thing is true, it’s that Usher knows how to have a good time, even in the face of hardship. On “U Got It Bad,” the second single from 2001’s “8701,” he gets swept away by romantic feelings he simply can’t shake and wallows in his own longing. What he accomplished with his follow-up single “U Don’t Have to Call” was showing emotional versatility: Even when he’s victim to his own desires, he can still float away from them. The Neptunes-produced “U Don’t Have to Call” is peak player Usher—don’t bother leaving your girl around him, she’s his for the taking—and celebrates the release that a night on the town can offer. Here, he’s having fun, and sounds so good doing it.

Confessions, Pt. II

Career-long collaborator Jermaine Dupri helped Usher architect his sound and scope as a musician, and has regularly been a key figure in confecting some of his biggest hits. Enter “Confessions Part II,” a mid-tempo ballad directly inspired by Dupri’s experience of a love triangle gone wrong, where he impregnated a side chick and was slapped with the reality of having to explain the situation to his main girl. But part of what makes Usher such an intuitive artist is his ability to translate experiences to fit his own—upon the song’s release, for instance, most speculated on who Usher was talking about. He sings “Confessions Part II” with conviction and a touch of shame, somehow evoking sympathy when he’s clearly the bad-acting catalyst.

You Make Me Wanna

What makes this his most optimal, most Usher song is that it perfectly embodies the Usher experience. After his introduction as a doe-eyed R&B aspirant on his eponymous 1994 debut, he largely skated away from the sound established on that album—the tinny mid-range percussion dominating New Jack Swing at the time—for something smoother and aesthetically richer. “You Make Me Wanna…” arrived as the lead single off 1997’s “My Way,” repositioning him as a full-throated lothario who not only tussles with the hardships of romance but also acts as the progenitor of them. Over a satin guitar lick and quiet storm percussion care of Jermaine Dupri and Manuel Seal, Usher is less overcome by his feelings for a woman as he is at war with them. Should he risk it all? Will a potential relationship be more satiating than the one he currently has? It’s why Usher continues to be such a compelling figure: wracked by indecision, saddled with emotions he can’t control and, above all, mercurial enough as an artist to deliver it in the most seductive way possible.

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• July 30, 2022 Setlist

Usher Setlist at Dolby Live at Park MGM, Las Vegas, NV, USA

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• My Way Play Video
• She Came to Give It to You Play Video
• Caught Up Play Video
• U Don't Have to Call Play Video
• Love in This Club Play Video
• There Goes My Baby Play Video
• Don't Waste My Time Play Video
• I Don't Mind Play Video
• Bad Girl Play Video
• Good Kisser Play Video
• My Boo Play Video
• U Remind Me Play Video
• You Make Me Wanna... Play Video
• Climax Play Video
• Burn Play Video
• Confessions Play Video
• OMG Play Video
• Yeah! Play Video
• Without You ( David Guetta  cover) Play Video

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4 activities (last edit by dirkvandamme , 11 Aug 2022, 18:28 Etc/UTC )

Songs on Albums

• Confessions
• U Don't Have to Call
• U Remind Me
• Good Kisser
• She Came to Give It to You
• You Make Me Wanna...
• There Goes My Baby
• Don't Waste My Time
• I Don't Mind
• Love in This Club
• Without You by David Guetta

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USHER entered public consciousness in the early ’90s as a smooth, baby-faced teenager whose lack of vocal bass didn’t quite match up with the sexual undertones of his music. His 1994 self-titled debut was foundational in furthering Combs’ development of a new R&B sound that took production cues from hip-hop—but much of the album felt like an artist figuring out his sound in real time. When he returned three years later with a deeper voice, a jawline that was no longer boyishly round, and musical direction from Atlanta producer extraordinaire Jermaine Dupri, the Usher Raymond we’ve grown to know and adore was introduced to the world. His sophomore album, My Way, traded those overtly hip-hop beats from The Hitmen for more fitting silky arrangements from Dupri and R&B maestro Babyface, which made a world of difference. “After that first album, I really decided that I wanted to do things my way,” USHER told Apple Music’s Estelle in 2022, and he found the inspiration and validation to do so in the form of—who else?—Frank Sinatra. “Hearing him tell his story, hearing him express how, ‘Hey, listen, good, bad, or whatever it might be, I did it my way.’ To me, that's where I was in my life at the age of 16, 17. It was almost like the permission that I needed. So I was like, ‘I want to name this album My Way. I want to have something that I can say I'm proud of.’” On the album’s lead track “You Make Me Wanna…” USHER convincingly built on the soul music tradition of bellowing out to a prospective lover who makes you reconsider the lackluster relationship you’re currently enduring—a concept he landed on after being stymied by a Dupri beat. “Me and my homie were playing basketball outside,” he said. “I had a Jeep back then, so I would crank the record up, playing out in the middle of the street, and would just listen to this track over and over and over again, like, ‘Yo, what do you think this is making you feel?’ He's like, ‘I don't know. I ain't never heard nothing like this. This shit is crazy.’ So I came back to the studio. I was like, ‘Yo, after about three days of listening, I don't know what I want to talk about.’ And then the more we just hung out, kicked it at the studio, he overheard a conversation I was having with this chick—and I'm in a relationship. I'm a scum guy.” “Slow Jam,” a cover of a song that Babyface wrote for Midnight Star in the ’80s, recruited another teenage R&B phenom in Monica for a sultry ballad. And a Lil’ Kim appearance on “Just Like Me” provided USHER with useful grit. A sweet falsetto, guitar strums that acted as ad libs, and dramatic heavy breathing helped “Nice & Slow” effectively melt the hearts of teenage girls through Walkman headphones and radio speakers—but maybe its most seductive move was USHER spelling out his name. “I was really looking for something to introduce myself,” he said. “So I was like, ‘I want a song that's going to spell my name out: They call me U-S-H-E-R R-A-Y-M-O-N-D.’ That was like Snoop's ‘Snoop Dogg’ or Eminem's ‘My Name Is.’ For me, it was my introduction to the world over an R&B classic record that people celebrate all over the world.” All throughout My Way, it became clear that he was more than the potential that was teased a few years prior. Now with proven juggernauts in his corner, USHER was becoming the model for a young star in the genre—clean-cut, a big smile, designer goggles cocked to the side of his head, and a voice that resonated with Black youth. More than two decades after USHER found his voice, he had a clear sense of what the album meant, not just to him personally, but to pop music in general. “R&B assists us in all of these other areas, whether it became authentic hip-hop, or rock ’n’ roll, or any of it,” he said. “My version of it is a combination of those things. If you hear a rock guitar in a song, that doesn't make it a rock song, that makes it a rock solo. If you hear a rap in a song, that doesn't make it a rap song, that makes it a song that has new arms and connects with a bigger audience. So My Way gave me that opportunity to spread my wings and also to explore some things that I was inspired by.”

September 16, 1997 10 Songs, 40 minutes ℗ 1997 Sony Music Entertainment

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Usher's Biggest Hits, From Baby-Making Slow Jams To Dance Floor Classics

As Usher preps for the Super Bowl halftime show and his first album in nearly a decade, revisit the entertainer's biggest hits and underrated gems that made him the King of R&B.

With eight GRAMMYs, over 65 million albums sold, and nine Billboard Hot 100 No. 1s, Usher is undoubtedly one of the biggest stars of his generation. And 20 years after his diamond-certified magnum opus, 2004's Confessions , the 45-year-old triple threat is reminding fans and critics alike that he's still got it.

In the midst of his highly successful (and twice-extended) Las Vegas residency, Usher was announced as the 2024 Super Bowl halftime show headliner, coinciding with the Feb. 9 release of Coming Home — his first solo studio album in eight years. On paper, Usher is the perfect halftime performer that checks all the boxes: the voice, the choreography, the stamina, the hits, the charm. If his electrifying appearance alongside the Black Eyed Peas ' 2011 performance is any indication of how Feb. 11 will go, it's bound to be one for the books. 

Super Bowl halftime shows usually last around 13 minutes, but for an artist of Usher's caliber, the high-stakes performance is over 30 years in the making. In 1991, a 13-year-old Usher appeared on Star Search , which led to an audition with LaFace Records. While singing Boyz II Men 's "End of the Road," he displayed his knack for captivating an audience even way back then, before appearing on the soundtrack for the 1993 film Poetic Justice starring Janet Jackson and Tupac . 

His debut single, "Call Me a Mack," mostly flew under the radar at the time, though his star power gleamed in the accompanying video. In the decades since, Usher's eight albums and 16 No. 1 hits on Billboard's R&B/Hip-Hop Airplay chart have helped him earn the unofficial title of "The King of R&B," paving the way for other household names like Chris Brown , Trey Songz, Ne-Yo , and protégé Justin Bieber .

Though the aptly titled Coming Home marks his first solo album since 2016's Hard II Love , he's continued to whet fans' appetite with several one-off singles, including "Bad Habits" and "Glu." For the lead single from Coming Home , "Good Good," he recruited Summer Walker and 21 Savage , signaling a new chapter for the music veteran. Following his announcement, Usher described the forthcoming LP as a body of work that not only honors his legacy, but tells "a story that is open to interpretation and that will connect with people in different ways."

As the world awaits Usher's Super Bowl halftime show and new music, GRAMMY.com is revisiting 15 songs that made him a force to be reckoned with in entertainment.

"You Make Me Wanna," My Way (1997)

Three years after his 1994 self-titled debut album failed to garner much attention, Usher crashed the second half of the decade with his breakout hit "You Make Me Wanna." Inspired by the then 19-year-old's real-life experiences of juggling multiple women, he sings frankly about being stuck in a love triangle: "You make me wanna leave the one I'm with/ Start a new relationship wit' you."

Peaking at No. 2 on the Hot 100, "You Make Me Wanna" set Usher's career ablaze as the lead single off 1997's seven-time-platinum My Way album — helping him stand out among a sea of fellow R&B newcomers, including Joe and Ginuwine.

In 1998, the success of "You Make Me Wanna" also earned Usher his first-ever GRAMMY nomination for Best Male R&B Vocal Performance. That same year, he was chosen as Janet Jackson's opening act for the U.S. leg of her Velvet Rope Tour, setting a precedent for the show-stopping performances he's since become known for.

"Nice & Slow," My Way (1997)

So many of Usher's best songs focus on the art of lovemaking, but "Nice & Slow" is notable as his first No. 1 on the Hot 100 — and for cementing his sex symbol status.

Only 20 years young at the time, Usher delivers suggestive lyrics (e.g., "I got plans to put my hands in places/ I never seen, girl you know what I mean") with such bravado that it's easy to mistake the then-budding entertainer for someone twice his age.

Moments before laying down the sensual track, producer Jermaine Dupri set out to create a "ballad that's gonna knock out the world," he said in 2003's The Billboard Book of Number One Hits . Over 25 years later, "Nice & Slow" is still quintessential Usher, as it gave way to a long string of slow jams like "Do It To Me" and "Climax" that make the ladies swoon.

"Bedtime," My Way (1997)

Around the release of Confessions , Usher declared himself a "sexaholic" (which he later refuted). But the hearthrob's sexual appetite first appeared on his album My Way , as evidenced by one of the LP's closing tracks, "Bedtime." In the opening line, he sings, "Craving your body all through the night/ Feels like I'm going through withdrawals."

Penned by R&B mastermind Babyface , the number is structured a little bit like a lullaby but isn't as captivating as "Nice & Slow." Still, it earns a spot on this list for being one of the very first in his catalog to ooze grown and sexy vibes.

"U Remind Me," 8701 (2001)

Kicking off his now-iconic 8701 era, "U Remind Me" follows Usher as he falls for a girl who resembles his ex, but ultimately decides against dating her for that very reason.

Produced by Jimmy Jam and Terry Lewis , "U Remind Me" shares similarities to "You Make Me Wanna" as both songs center around inner conflict, but the most noticeable difference is the vocal delivery. His runs and ad-libs carry more weight in "U Remind Me," which also charted higher internationally. According to what Jimmy Jam told MTV at the time, the goal was for "people to hear Usher sing and go, 'This boy can sing. He's a singer.'" 

Becoming his second No. 1, "U Remind Me" paid off critically for him as well, earning the child prodigy his first GRAMMY for Best Male R&B Vocal Performance in 2002.

"U Got It Bad," 8701 (2001)

After "U Remind Me," Usher slowed things down with his third chart-topper, "U Got It Bad," which is believed to be about then-girlfriend, Rozanda "Chilli" Thomas of best-selling female group TLC , who also stars in the accompanying video.

Interpolating Prince 's "Adore" and Maxwel l's "Fortunate" from 1987 and 1999, respectively, "U Got It Bad" finds Usher struggling to accept that he's fallen deep for someone, a slow-burning feeling intensified by a guitar solo that soars midway through. The smoldering track showcased that he was a fully developed star capable of conveying emotion in addition to crafting tunes that fill the dance floor.

"Yeah!" feat. Lil Jon and Ludacris, Confessions (2004)

Usher was at his commercial peak when he tried his hand at crunk music à la "Yeah!" with Lil Jon at the helm. Somewhat of a catalyst for his foray into EDM (more on that later), "Yeah!" marked the first of four consecutive No. 1s off Confessions and Usher 's longest-running chart-topper at 12 weeks. Naturally, it was crowned the most-played song of 2004 despite the label's hesitation to release it as a lead single.

Of all of Usher's party anthems, "Yeah!" wins for holding its relevance 20 years later; to this day, it remains a staple at wedding receptions, sporting events, and countless other celebrations. Plus, Ludacris ' scene-stealing guest verse, where he rhymes "ridiculous" and "conspicuous," is forever etched in our memory.

In 2005, Usher added to his GRAMMY collection after "Yeah!" took home Best Rap/Sung Collaboration. It was such a smash that "Ursher, Jon and Luda had to do it again" in 2004's "Lovers and Friends," which narrowly missed the No. 1 spot, and then again with "SexBeat" in 2020.

"Burn," Confessions (2004)

True to the diaristic nature of Confessions , "Burn" sees Usher grappling with the aftermath of a failed relationship. "Sendin' pages I ain't supposed to/ Got somebody here, but I want you/ 'Cause the feelin' ain't the same/ Find myself callin' her your name," he laments in the second verse.

"Yeah!" took Usher's stardom to the next level, but "Burn" gave fans a deeper glimpse into his personal life. By then, his two-year relationship with TLC's Chilli had run its course. As Usher noted himself to MTV News, "It's unfortunate when you have to let a situation go because it's not working. Although you may want to stay, you've got to let it burn."

That level of vulnerability resonated with broken hearts everywhere; "Burn" dethroned "Yeah!" when it skyrocketed to the No. 1 spot on the Hot 100. Subsequently, Usher held the No. 1 and 2 spots on the chart, becoming the first artist to achieve such a major feat since the Beatles 40 years earlier. 

"Confessions Part II," Confessions (2004)

While "Burn" saw Usher pulling back the curtain, he left it all on the table in one of the most talked about songs of his three-decade career: "Confessions Part II."

In "Part I," he sings about having a "chick on the side," but "Part II" marks the point of no return as he confesses to impregnating his mistress. As expected, "Confessions" sparked rumors that Usher got another woman pregnant while dating Chilli. In reality, it was recorded before their breakup and based on Jermaine Dupri's situation. Still, Usher delivers the story as if it was his own.

Even though "Confessions Part II" revolves around infidelity, it's difficult to not feel sympathetic toward him as the track winds down: "This by far is the hardest thing I think I've ever had to do/ To tell you, the woman I love/ That I'm havin' a baby by a woman that I barely even know/ I hope you can accept the fact that I'm man enough to tell you this," he says in the spoken interlude.

"My Boo" feat. Alicia Keys, Confessions (2004)

Usher and Alicia Keys were both at the top of their game when they joined forces for "My Boo," an ode to young love that's guaranteed to make you cry nostalgic tears of joy. Even the most cynical hearts can't resist singing along: "I don't know about y'all, but I know about us and, uh/ It's the only way we know how to rock," a twenty-something Usher croons in the outro.

The romantic duet is even sweeter when you realize that Usher and Keys have known each other since they were teenagers. Their undeniable musical chemistry won a GRAMMY for Best R&B Performance By A Duo Or Group With Vocals.

At the time of its release, "My Boo" went straight to No. 1, which means he spent an astonishing 28 weeks atop the Hot 100 in 2004, proving that the year unequivocally belonged to none other than Usher.

"Bad Girl," Confessions (2004)

"Caught Up" was the final single off of Confessions , but Usher's reign could have carried well into 2005 and possibly even '06 if deep cuts like "Throwback," "Superstar," "Can U Handle It?" and "Bad Girl" were released as singles. The latter appears as a snippet in the beginning of the music video for "My Boo," leaving you wanting more.

In "Bad Girl," Usher prefers women who look "fresh out of Elle magazine" and can buy their "own bottles." Fueled by hypnotic electric guitar riffs, "Bad Girl" exemplifies his fondness for a late-night rendezvous: "Look at them bad girls moving it/ Making faces while they doing it/ Ah, I want to take one to the restroom/ So close, I'm smelling like your perfume," he sings in the second verse.

The song also took on a life of its own when Usher performed it at a 2005 concert special with Beyoncé , who steals the show without ever touching the mic.

"Best Thing" feat. Jay-Z, Here I Stand (2008)

When "Best Thing" arrived, Usher and Jay-Z were both newlyweds. So, of course, Usher was feeling particularly inspired by then-wife Tameka Foster.

Recorded during Hov's Heart of the City Tour, "Best Thing" celebrates commitment over "trickin' and kissin' miscellaneous chicks." Of the song's background, Usher reportedly said , "If you are a playa, you're a playa. If you're a real man, you're a real man, but you know you got to — in some point in life — you've got to grow up. Grow away from certain immaturities."

He and Foster divorced the next year, but "Best Thing" speaks to something bigger: the beginning of his transition into manhood.

"OMG" feat. will.i.am, Raymond v. Raymond (2010)

With easygoing lyrics like "I fell in love with shawty when I seen her on the dance floor/ She was dancing sexy, pop-pop-popping, dropping, dropping low," "OMG" sounds like a continuation of "Yeah!" but with hints of Eurodance.

Written and produced by Black Eyed Peas frontman will.i.am , "OMG" gave Usher's post- Confessions career a much-needed boost. Despite spawning the No. 1 single "Love in This Club," his previous studio effort, 2008's Here I Stand , was deemed a commercial disappointment. 

Although "OMG" was criticized for Usher's use of auto-tune, the party classic thrusted him back to the top. What's more, he displayed a willingness to reinvent himself at a time when EDM started to infiltrate the charts. It not only became Usher's ninth No. 1 hit, but it produced his first of four entries on the Billboard Dance Club Songs chart, while paving the way for his other dance-pop hits like Pitbull -featuring "DJ Got Us Fallin' in Love" and "Without You" with David Guetta .

"Numb," Looking 4 Myself (2012)

At first listen, "Numb" may sound like just another synth-heavy banger about leaving your troubles on the dance floor, but the song is actually a well-crafted culmination of what was going on behind the scenes for the R&B superstar.

In the years leading up to his seventh album, Looking 4 Myself , Usher experienced some turbulent times. Months before their divorce, Tameka Foster went into cardiac arrest prior to undergoing cosmetic surgery (depicted by scenes of Usher comforting a woman in the hospital in the accompanying video for "Numb"). A couple years later, fans booed him after he walked off stage mid-show in Berlin. Then, in the midst of a highly publicized custody battle with Foster, his 11-year-old stepson died after a tragic jet ski accident.

In true Usher fashion, he sang and danced through the pain: "Keep on doing the same old thing/ And you expecting change/ Well, is that really insanity/ Or just a losers' game?" he ponders in the second verse.

Stalling at No. 69 on the Hot 100, "Numb" is one of Usher's lowest-charting songs — but along with "Sins of My Father," which deals with breaking generational curses, it spotlights his depth as an artist.

"Tell Me," Hard II Love (2016)

Usher set out to make music he wanted to with 2016's Hard II Love . Though it marked his first album to miss the top spot in eight years, the 15-track LP is a welcome return to his R&B roots. He does just that in "Tell Me," a nearly nine-minute carnal extravaganza that acts as the album's centerpiece and encompasses the physical, emotional, and spiritual connection between two lovers.

At face value, "Tell Me" boasts Usher's endurance in the bedroom, but on a deeper level, it's about intimacy — an element missing from a great deal of today's R&B, especially from the male perspective. His golden falsetto shines through, making eight and a half minutes sound like the sweetest serenade.

"Boyfriend" (2023)

Last summer, things got interesting when Keke Palmer stopped by Usher's acclaimed Vegas residency, where she was serenaded by the "There's Goes My Baby" singer. Seen by millions, the lighthearted moment turned negative when Darius Jackson, the father of Palmer's child, publicly shamed her for the sheer outfit she wore to the show.

But in the name of entertainment, Usher seized the moment, flipping the controversy into a new earworm. Adding fuel to the fire, Palmer stars in the video, which appears to be filmed in Vegas. And the lyrics are as cheeky as they come: "Somebody said that your boyfriend's lookin' for me/ Oh, that's cool, that's cool/ Well, he should know I'm pretty easy to find/ Just look for me wherever he sees you."

The stunt jokingly earned Usher the nickname "Domestic Terrorist," but more importantly, it illustrated his power to still generate buzz as a well-established artist amid the rise of R&B's new class comprising younger male singers like Steve Lacy , Jvck James, Brent Faiyaz , and Lucky Daye .

Thirty years after his debut, Usher proves he's the last of his kind with the voice, sales, and stage presence to back it up. In a recent interview with Vogue , he described his highly anticipated Super Bowl performance as a "celebration for everybody, for all of us, from the beginning up until this point." 

It'll be the single biggest showcase of his career, but judging by his showmanship, he'll meet the moment while reminding the world of his greatness as a new, exciting era begins — one that demonstrates he's still at the top of his game.

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Photo: Williams Peters

Meet Usher Collaborator Pheelz, The Nigerian Producer & Singer Who Wants You To 'Pheelz Good'

After working with Usher on two tracks for his latest album, 'Coming Home,' Lagos' Pheelz is looking inward. His new EP, 'Pheelz Good II' drops May 10 and promises to be an embrace of the artist's unabashed self.

If you were online during the summer of 2022, chances are you’ve heard Pheelz’s viral hit single "Finesse." The swanky Afro-fusion track (featuring fellow Nigerian artist Bnxn) ushered in a world of crossover success for Pheelz, who began his career as a producer for the likes of Omah Lay, Davido , and Fireboy DML.

Born Phillip Kayode Moses, Pheelz’s religious upbringing in Lagos state contributed to his development as a musician. He manned the choir at his father’s church while actively working on his solo music. Those solo efforts garnered praise from his peers and music executives, culminating in Pheelz's debut EP in 2021. Hear Me Out saw Pheelz fully embrace his talent as a vocalist, songwriter, and producer. 

"I feel important, like I’m just molding clay, and I have control over each decision," Pheelz tells GRAMMY.com about creating his own music. 

2022 saw the release of the first two tapes in his Pheelz Good trilogy: Pheelz Good I and Pheelz Good (Triibe Tape) , which was almost entirely self-produced. The 29-year-old's consistency has paid off: he produced and sang on Usher ’s "Ruin," the lead single from his latest album Coming Home , and also produced the album's title track featuring Burna Boy . But Pheelz isn't only about racking up big-name collaborators; the self-proclaimed African rockstar's forthcoming projects will center on profound vulnerability and interpersonal honesty. First up: Pheelz Good II EP , out May 10, followed by a studio album in late summer.

Both releases will see the multi-hyphenate "being unapologetically myself," Pheelz tells GRAMMY.com. "It will also be me being as vulnerable as I can be. And it’s going to be me embracing my "crayge" [crazy rage]...being myself, and allowing my people to gravitate towards me."

Ahead of his new project, Pheelz spoke with GRAMMY.com about his transition from producer artist, designing all his own 3D cover art, his rockstar aesthetic, and what listeners can expect from Pheelz Good II .

This interview has been edited for clarity.

What sparked your transition from singing in church to realizing your passion for creating music?

For me, it wasn’t really a transition. I just always loved making music so for me I felt like it was just wherever I go to make music, that’s where I wanna be. I would be in church and I was the choirmaster at some point in my life, so I would write songs for Sunday service as well. And then I would go to school as well and write in school, and people heard me and they would love it. And I would want to do more of that as well. 

A friend of my dad played some of my records for the biggest producers in Nigeria back then and took me on as an intern in his studio. I guess that’s the transition from church music into the industry. My brothers and sisters were in the choir, but that came with the job of being the children of the pastor, I guess. None of them really did music like me; I’m the only one who took music as a career and pursued it.

You made a name for yourself as a producer before ever releasing your music, earning Producer Of The Year at Nigeria’s Headies Awards numerous times. What finally pushed you to get into the booth?

I’ve always wanted to get into the booth. The reason why I actually started producing was to produce beats for songs that I had written. I’ve always been in the booth, but always had something holding me back. Like a kind of subconscious feeling over what my childhood has been. I wasn’t really outspoken as a child growing up, so I wouldn’t want people to really hear me and would shy away from the camera in a sense. I think that stuck with me and held me back. 

But then COVID happened and then I caught COVID and I’m like Oh my god and like that [ snaps fingers ] What I am doing? Why am I not going full steam? Like why do I have all this amazing awesomeness inside of me and no one gets to it because I’m scared of this or that?

There was this phrase that kept ringing in my head: You have to die empty. You can’t leave this earth with all of this gift that God has given you; you have to make sure you empty yourself. And since then, it’s just been back-to-back, which just gave me the courage.  

How did you react to " Finesse" in former President Barack Obama’s annual summer playlist in 2022?

Bro, I reacted crazy but my dad went bananas. [ Laughs. ] I was really grateful for that moment, but just watching my dad react like that to that experience was the highlight of that moment for me. He's such a fan of Barack Obama and to see that his son’s music is on the playlist, it just made his whole month. Literally. He still talks about it to this day. 

Experiences like that just make me feel very grateful to be here. Life has really been a movie, just watching a movie and just watching God work and being grateful for everything.

At first he [my dad] [didn’t support my career] because every parent wants their child to be a doctor, a lawyer, or an engineer. But when he saw the hunger [I have], and I was stubborn with [wanting] to do music, he just had to let me do it. And now he’s my number one fan. 

Your latest single, "Go Low" arrived just in time for festival season. What was it like exploring the live elements of your art at SXSW and your headlining show in London at the end of April?

I have always wanted to perform live. I’ve always loved performing; Pheelz on stage is the best Pheelz. Coming from church every Sunday, I would perform, lead prayers and worship, so I’ve always wanted to experience that again.

Having to perform live with my band around the world is incredible man. And I’ll forever raise the flag of amazing Afro live music because there’s a difference, you know? [ Laughs .] There are so many elements and so many rhythms and so many grooves

I’ve noticed that much of your recent cover art for your singles and EPs is animated or digitally crafted. What’s the significance, if any, of this stylistic choice?

It still goes back to my childhood because I wasn’t expressive as a child; I wouldn’t really talk or say how I felt. I’d rather write about it, write a song about it, write a poem about it, or draw about it. I’d draw this mask and then put how I’m feeling into that character, so if I was angry, the mask would be raging and just angry.

The angry ones were the best ones, so that stuck with me even after I started coming out of my shell and talking and being expressive; that act of drawing a mask still stuck with me. And then I got into 3D, and I made a 3D version of the mask and I made a 3D character of the mask. So I made that the main character, and then I just started making my lyric videos, again post-COVID, and making them [lyric videos] to the characters and making the actual video mine as well.

In the future, I’m gonna get into fashion with the characters, I’m gonna get into animation and cartoons and video games, but I just wanna take it one step at a time with the music first. So, in all of my lyric videos, you get to experience the characters. There’s a fight [scene] among them in one of the lyric videos called "Ewele"; there is the lover boy in the lyric video for "Stand by You"; there are the bad boys in the lyric video for "Balling." They all have their own different characters so hopefully in the near future, I will get to make a feature film with them and just tell their story [and] build a world with them. I make sure I put extra energy into that, make most of them myself so the imprint of my energy is gonna be on it as well because it’s very important to me.

You and Usher have a lengthy working relationship. You first performed together in 2022 at the Global Citizen Festival, then produced/co-wrote "Coming Home" and "Ruin." Take us through the journey of how you two began collaborating.

It started through a meeting with [Epic Records CEO] L.A. Reid; he was telling me about the album that they were working on for Usher and I’m like, "Get me into the studio and lemme see what I can cook up." And they got me into the studio, [with Warner Records A&R] Marc Byers, and I wrote and produced "Coming Home." I already had "Ruin" a year before that. 

["Ruin"] was inspired by a breakup I just went through. Some of the greatest art comes from pain, I guess. That record was gonna be for my album but after I came home I saw how L.A. Reid and Usher reacted and how they loved it. I told them, "I have this other song, and I think you guys would like it for this album." And I played "Ruin," and the rest was history.

Before your upcoming EP, you’ve worked with Pharrell Williams , Kail Uchis , and the Chainsmokers in the studio. What do you consider when selecting potential collaborators?

To be honest, I did not look for these collabs. It was like life just brought them my way, because for me I’m open to any experience. I’m open to life; I do it the best I can at any moment, you understand? 

Having worked with Pharrell now, Dr. Dre , Timbaland, and the Chainsmokers, I’m still shocked at the fact that this is happening. But ultimately, I am grateful for the fact that this is happening. I am proud of myself as well for how far I’ve come. Someone like Timbaland — they are literally the reason why I started producing music; I would literally copy their beats, and try to sound like them growing up. 

[Now] I have them in the same room talking, and we’re teaching and learning, making music and feeding off of each others’ energy. It’s a dream come true, literally.

What's it like working with am electro-pop group like the Chainsmokers? How’d you keep your musical authenticity on "PTSD"?

That experiment ["PTSD"] was actually something I would play with back home. But the crazy thing is, it’s gonna be on the album now, not the EP. I would play it back home, like just trying to get the EDM and Afrohouse world to connect, cause I get in my Albert Einstein bag sometimes and just try and experiment. So when I met the Chainsmokers and like. "Okay, this is an opportunity to actually do it now," and we had a very lengthy conversation. 

We bonded first as friends before we went into the studio. We had an amazing conversation talking about music, [them] talking about pop and electronic music, and me talking about African music. So it was just a bunch of producers geeking out on what they love to do. And then we just talk through how we think the sound would be like really technical terms. Then we get into the studio and just bang it out. Hopefully, we get to make some more music because I think we can create something for the world together.

I’ve noticed you dress a bit eccentrically. Have you always had this aesthetic?

I’ve always dabbled in fashion. Even growing up, I would sketch for my sister and make this little clothing, so like I would kick up my uniform as well, make it baggy, make it flare pants, make it fly. 

I think that stuck with me until now, trying different things with fashion. And now I have like stylists I can talk to and throw ideas off of and create something together. So yeah, I want to get into the fashion space and see what the world has in store for me. 

What can fans expect as you’re putting the finishing touches on your upcoming EP Pheelz Good II and your album?

Pheelz Good II , [will be] a close to the Pheelz Good trilogy of Pheelz Good I , Pheelz Good Triibe Tape and Pheelz Good II . The album is going to be me being unapologetically myself still. But it will also be me being as vulnerable as I can be. 

It’s going to be me embracing my crayge [crazy rage]. Like just embracing me unapologetically and being me, being myself, and allowing my people to gravitate towards me, you get me. But I’m working on some really amazing music that I am so proud of. I’m so proud of the EP and the album.

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Photo: Kevin Winter/Getty Images for iHeartRadio

9 Reasons Why Usher's 'Confessions' Is R&B's Definitive Blockbuster Album

Just before Usher kicks off his extensive world tour, the R&B superstar celebrates the 20th anniversary of his magnum opus, 'Confessions.' Here's a look at the ways the album changed the genre — and cemented Usher as an icon.

"All of us have our Pandora's boxes or skeletons in our closets," Usher told MTV News while promoting his 2004 album, Confessions . "I've got a lot of things and stuff built in me that I just want to let go of."

He sure wasn't kidding. The concept album, and loosely based around his relationship with TLC 's Rozonda "Chilli" Thomas — essentially played out like a prime-time soap opera set to music. But its brutally honest narrative and earworm hooks connected like no other contemporary R&B record before or since, solidifying Usher as one of music's modern greats.

In fact, Confessions was the second-best selling album of the 2000s (only behind *NSYNC 's 2000 juggernaut, No Strings Attached ), thanks in part to four consecutive Billboard Hot 100 chart-toppers and a string of attention-grabbing videos that allowed Usher to showcase his skills as a singer, dancer, actor, and all-round loverman.

Just after delivering a career-defining Super Bowl halftime show performance, Usher celebrates  20 years of Confessions on March 23. To commemorate the anniversary, here's a look at why Confessions remains the R&B scene's definitive blockbuster.

It Saved The Record Industry 

Thanks to the rise in illegal downloads and decline of "Total Request Live" - friendly blockbusters, the music industry began 2004 staring down a fourth consecutive year of declining sales. Step forward their savior, Usher Raymond IV.

Confessions shifted a colossal 1.1. million copies in its first week, the highest number since Eminem 's The Eminem Show in 2002, and didn't stop selling. By the end of December, its total had ballooned to nearly eight million — double its closest competitor, Norah Jones ' Feels Like Home , to become the year's biggest commercial smash.

Usher's magnum opus was widely credited with getting the American public back into record stores again, resulting in a 1.6 percent increase in overall album sales. But Confessions ' journey wasn't done there. In 2012, it was awarded diamond status, joining TLC's CrazySexyCool and Boyz II Men 's II as the only R&B representatives in the exclusive club, with its current tally now reportedly standing at 18 million!

It Invented Crunk&B 

Crunk, an energetic form of southern hip-hop defined by its 808 basslines, kick drums, and general party-starting vibes, originated in the mid-1990s. But it took nearly a decade for the sound to crossover from the Miami underground to the top of the charts. And then the lead single from Confessions took the scene to another level.

With its high-pitched synth hook, emphatic beats, and hype man chants from the subgenre's self-proclaimed king Lil Jon , "Yeah!" had all the hallmarks of a crunk classic. But Usher's smooth, soulful tones and Ludacris ' playful rhymes gave the dance floor anthem a much stronger melodic edge, prompting critics to coin a new term, Crunk&B.

Several artists took note of the crunk and contemporary R&B crossover, with both Ciara 's "Goodies" and Chris Brown 's "Run It" also topping the Hot 100. But "Yeah!" remains the sound's crowning glory, as proven by the diamond status it achieved right before Usher's Super Bowl halftime show (Usher is also now only the third ever Black artist to have a diamond-certified single and album, alongside Michael Jackson and Whitney Houston ).

It Further Bridged The Gap Between R&B And Hip-Hop 

While previous albums Usher , My Way, and 8701 had all been grounded in slick, soulful R&B, Confessions was a concerted attempt to bridge the gap between his signature sound and the grittier world of hip-hop. The man himself admits that he took just as much inspiration from Eminem and Bone Thugs-N-Harmony as his usual suspects, like Michael Jackson and James Brown, to create an album that was aimed equally at the bedroom and the clubs.

Alongside the famous guest appearances from Lil Jon and Ludacris, the LP also drew upon the production talents of Roc-A-Fella regular Just Blaze . Meanwhile, on the special edition, Jadakiss laid down some bars on "Throwback," while the remix of "Confessions Part II" boasted rhymes from Shyne, Twista , and Kanye West .

That's not to say thatNot that Usher forgot his roots, though., Has proven by his collab with Keys ("My Boo"), recruitment of legendary producers Jimmy Jam and Terry Lewis , and contributions from long-time collaborators Jermaine Dupri and Bryan-Michael Cox all helped remind of his R&B prowess. "I feel like it is the base of everything," Usherhe said about his love of R&B at the time. "I want to make it more prominent."

It Was A GRAMMY Favorite 

Although Ray Charles posthumously won the most awards of the night, the 2005 GRAMMYs undoubtedly still belonged to Usher. The R&B star not only took home three golden gramophones, but he also brought the house down thanks to a spellbinding duet with the Godfather of Soul.

A sharp-suited Usher first took to the stage for an epically choreographed performance of Confessions ' fifth single "Caught Up," before James Brown — who even at the age of 71 still had several moves of his own — popped up for a joint rendition of his classic, "Sex Machine."

Usher was no doubt in a celebratory mood. By this point, he'd picked up three of the eight categories he'd been nominated in: Best Contemporary R&B Album, Best Rap/Sung Collaboration for "Yeah!," and Best R&B Performance by a Duo or Group with Vocal alongside Alicia Keys for "My Boo." (As of press time, Usher has won eight GRAMMYs and received 23 GRAMMY nominations.)

It Brought A Confessional Side Back To R&B 

From Marvin Gaye 's Here, My Dear to D'Angelo 's B rown Sugar , some of the greatest R&B records of the 20th century resulted from artists baring their souls as if their lives depended on it. This was an approach that had largely fallen by the wayside as time went on, with some suggesting that the genre gradually became more emotionally stunted.

Usher, on the other hand, had no qualms whatsoever about laying it all on the line, namely the ups and downs of his relationship with Thomas. On the falsetto-voiced "Burn," he willingly displays devastation over his breakup ("I'm twisted 'cause one side of me's telling me that I need to move on/ On the other side I wanna break down and cry"). And even by the penultimate track, "Take Your Hand," he still seems to be in a state of torment ("In your loving, every time I feel your touch/ Second thoughts, more doubts started building up").

Usher's confessional approach continued in 2008 with Here I Stand 's love letter to then-wife Tameka Foster and then again in 2010 with the divorce-themed Raymond vs. Raymond . And many other R&B artists, including Janelle Monae and Beyoncé , have since made career bests by delving similarly deep into their personal lives.

It Inspired A Generation Of R&B Lotharios 

Think of any R&B lothario who's emerged in the last 20 years and chances are they've been heavily inspired by Confessions . Jason Derulo has said as much, describing it as a "classic album" and "just start to finish awesome"; Ne-Yo echoed that sentiment to BBC Radio 1 , calling it "flawless top to bottom." While Bryson Tiller explicitly told Fuse he wanted to make a record in the same vein. And you can hear its influence in everything from Drake 's more romantic offerings to August Alsina's intimate revelations.

And 10 years after Robin Thicke co-penned and co-produced Confessions ' sensuous bedroom jam, "Can U Handle It," he released his own breakup tale with 2014's Paula .  Though he hasn't ever explicitly cited Confessions as an influence, Paula is a concept album about Thicke's real-life marriage breakdown, which essentially doubled up as a begging letter to his estranged wife.

It's A Storytelling Masterclass 

In 2023, it was announced that an untitled drama series inspired by Usher's back catalog was in the works. No doubt that the project, said to be "about Black love in Atlanta and individuals looking to find a place to call home," will draw heavily upon the storytelling masterclass that is Confessions .

Take "Truth Hurts," for example, the relationship tale in which Usher initially presents himself as the wounded party before revealing that he was, in fact, the one being adulterous ("I've been blaming you when I'm the one that's doing wrong/ I'ma go on/ My guilty conscience is the real reason I wrote this song").

Usher also appeared to enjoy keeping audiences guessing about whether his confessions were truly autobiographical or borrowed from the album's male-centric production team. See the two title tracks, which suggested the lothario had himself become a father following a one-night stand, when in reality, the paternity drama was all Dupri's.

"We wanted the media to ask us questions," the latter admitted to Vibe in 2014, citing Michael Jackson as a key attention-grabbing influence. "Nobody knows who the f— Billie Jean is. We're still looking for her."

It Helped Breathe New Life Into Several Soul Classics 

While much of Confessions was interested in pushing R&B forward, it wasn't entirely averse to getting a little nostalgic. The record is filled with cleverly chosen samples from the soul of yesteryear, from Harold Melvin and the Blue Notes ' "Is There a Place for Me" on "Take Your Hand" to Willie Hutch 's Mack's Stroll on "Superstar" and Preston Love's "Chili Mac" on "Whatever I Want."

And nearly 20 years before Doja Cat repurposed a Dionne Warwick classic to chart-topping effect on 2023's "Paint the Town Red," Usher brought the Motown legend into the contemporary R&B world by borrowing from "You're Gonna Need Me" on the aptly titled "Throwback."

It Broke Multiple Chart Records  

You know an artist has reached true greatness when they start being mentioned in the same breath as The Beatles . In 2004, Usher became the first act since the Fab Four to have both the biggest and second biggest-selling singles of Billboard's year-end chart with "Yeah!" and "Burn," respectively. And this was far from the only major milestone Confessions achieved. 

Until Taylor Swift 's Fearless spent an additional fortnight in the top spot in 2009, the album's nine weeks atop the Billboard 200 was the longest run of the millennium. And with "Confessions Part II" also reaching No. 1 on the Hot 100 (ironically, replacing "Burn"), Usher not only became the first artist in  history to achieve three consecutive chart toppers, but also the first act to spend more than half a calendar year atop the Hot 100 at 28 combined weeks. 

Twenty years on, Confessions is still the highest-selling record by a Black artist this century. And further exemplifying his staying power and impact across the globe, Usher will soon embark on a lengthy world tour that has sold out from Brooklyn to Berlin — a momentous way to honor the album that changed the R&B game.

24 Songs Turning 20: Listen To 2004's Bangers, From "Yeah!" To "Since U Been Gone"

Photo: L.E. Baskow/Las Vegas Review-Journal/Tribune News Service via Getty Images

17 Love Songs That Have Won GRAMMYs: "I Will Always Love You," "Drunk In Love" & More

Over the GRAMMYs' 66-year history, artists from Frank Sinatra to Ed Sheeran have taken home golden gramophones for their heartfelt tunes. Take a look at some of the love songs that have won GRAMMYs.

Editor's Note: This is an update to a story from 2017.

Without heart-bursting, world-shifting love songs, music wouldn't be the same. There are countless classic and chart-topping hits dedicated to love, and several of them have won GRAMMYs.

We're not looking at tunes that merely deal with shades of love or dwell in heartbreak. We're talking out-and-out, no-holds-barred musical expressions of affection — the kind of love that leaves you wobbly at the knees.

No matter how you're celebrating Valentine's Day (or not), take a look at 18 odes to that feel-good, mushy-gushy love that have taken home golden gramophones over the years.

Frank Sinatra , "Strangers In The Night"

Record Of The Year / Best Vocal Performance, Male, 1967

Ol' Blue Eyes offers but a glimmer of hope for the single crowd on Valentine's Day, gently ruminating about exchanging glances with a stranger and sharing love before the night is through.

Willie Nelson , "Always On My Mind"

Best Country Vocal Performance, Male, 1983

In this cover, Nelson sings to the woman in his life, lamenting over those small things he should have said and done, but never took the time. Don't find yourself in the same position this Valentine's Day.

Lionel Richie , "Truly"

Best Pop Vocal Performance, Male, 1983

"Truly" embodies true dedication to a loved one, and it's delivered with sincerity from the king of '80s romantic pop — who gave life to the timeless love-song classics "Endless Love," "Still" and "Three Times A Lady."

Roy Orbison , "Oh, Pretty Woman"

Best Pop Vocal Performance, Male, 1991

Orbison captures the essence of encountering a lovely woman for the first time, and offers helpful one-liners such as "No one could look as good as you" and "I couldn't help but see … you look as lovely as can be." Single men, take notes.

Whitney Houston , "I Will Always Love You"

Record Of The Year, Best Pop Vocal Performance, Female, 1994

Houston passionately delivers a message of love, remembrance and forgiveness on her version of this song, which was written by country sweetheart Dolly Parton and first nominated for a GRAMMY in 1982.

Celine Dion , "My Heart Will Go On (Love Theme From Titanic)"  

Record Of The Year, Best Female Pop Vocal Performance, 1999

This omnipresent theme song from the 1997 film Titanic was propelled to the No. 1 spot on the Billboard Hot 100 as the story of Jack and Rose (played by Leonardo DiCaprio and GRAMMY winner Kate Winslet) swept the country.

Shania Twain , "You're Still The One"

Best Female Country Vocal Performance, Best Country Song, 1999

Co-written with producer and then-husband Mutt Lange, Twain speaks of beating the odds with love and perseverance in lyrics such as, "I'm so glad we made it/Look how far we've come my baby," offering a fresh coat of optimism for couples of all ages.

Usher & Alicia Keys , "My Boo"

Best R&B Performance By A Duo Or Group With Vocals, 2005

"There's always that one person that will always have your heart," sings Usher in this duet with Keys, taking the listener back to that special first love. The chemistry between the longtime friends makes this ode to “My Boo” even more heartfelt, and the love was still palpable even 20 years later when they performed it on the Super Bowl halftime show stage.

Bruno Mars , "Just The Way You Are"

Best Male Pop Vocal Performance, 2011

Dating advice from Bruno Mars: If you think someone is beautiful, you should tell them every day. Whether or not it got Mars a date for Valentine's Day, it did get him a No. 1 hit on the Billboard Hot 100.

Cee Lo Green & Melanie Fiona , "Fool For You" 

Best Traditional R&B Performance, 2012

It's a far cry from his previous GRAMMY-winning song, "F*** You," but "Fool For You" had us yearning for "that deep, that burning/ That amazing unconditional, inseparable love."

Justin Timberlake , "Pusher Love Girl" 

Best R&B Song, 2014

Timberlake is so high on the love drug he's "on the ceiling, baby." Timberlake co-wrote the track with James Fauntleroy, Jerome Harmon and Timbaland, and it's featured on his 2013 album The 20/20 Experience , which flew high to No. 1 on the Billboard 200.

Beyoncé & Jay-Z , "Drunk In Love"

Best R&B Performance / Best R&B Song, 2015

While "Drunk In Love" wasn't the first love song that won Beyoncé and Jay-Z a GRAMMY — they won two GRAMMYs for "Crazy In Love" in 2004 — it is certainly the sexiest. This quintessential 2010s bop from one of music's most formidable couples captures why their alliance set the world's hearts aflame (and so did their steamy GRAMMYs performance of it).

Ed Sheeran , "Thinking Out Loud"

Song Of The Year / Best Pop Solo Performance, 2016

Along with his abundant talent, Sheeran's boy-next-door charm is what rocketed him to the top of the pop ranks. And with swooning lyrics and a waltzing melody, "Thinking Out Loud" is proof that he's a modern-day monarch of the love song.

Lady Gaga & Bradley Cooper , "Shallow"

Best Pop Duo/Group Performance / Best Song Written For Visual Media, 2019

A Star is Born 's cachet has gone up and down with its various remakes, but the 2018 iteration was a smash hit. Not only is that thanks to moving performances from Lady Gaga and Bradley Cooper, but particularly thanks to their impassioned, belt-along duet "Shallow."

H.E.R. & Daniel Caesar , "Best Part"

Best R&B Performance, 2019

"If life is a movie/ Know you're the best part." Who among us besotted hasn't felt their emotions so widescreen, so thunderous? Clearly, H.E.R. and Daniel Caesar have — and they poured that feeling into the GRAMMY-winning ballad "Best Part."

Kacey Musgraves , "Butterflies"

Best Country Solo Performance, 2019

As Musgraves' Album Of The Year-winning LP Golden Hour shows, the country-pop star can zoom in or out at will, capturing numberless truths about the human experience. With its starry-eyed lyrics and swirling production, "Butterflies" perfectly encapsulates the flutter in your stomach that love can often spark.

Dan + Shay & Justin Bieber , "10,000 Hours"

Best Country Duo/Group Performance, 2021

When country hook-meisters Dan + Shay teamed up with pop phenom Justin Bieber, their love song powers were unstoppable. With more than 1 billion Spotify streams alone, "10,000 Hours" has become far more than an ode to just their respective wives; it's an anthem for any lover.

Lovesick Or Sick Of Love: Listen To GRAMMY.com's Valentine's Day Playlist Featuring Taylor Swift, Doja Cat, Playboi Carti, Olivia Rodrigo, FKA Twigs & More

Photo: Michael Owens/Getty Images

Usher's Super Bowl Halftime Show Was More Than A Performance, It Was A Celebration Of Black Excellence

From celebrating Atlanta's HBCU culture to shining light on Southern rappers like Ludacris and Lil Jon, Usher brought the brilliance of the Black South to Las Vegas.

In the days leading up to Usher’s Super Bowl performance , the singer waxed poetically about the significance of this moment not only in popular culture but for Black music.

Speaking with Kelly Carter on "Good Morning America," Usher reflected on the history of Black entertainers who performed for the masses under restrictive laws . Although a majority of those laws have been overturned, it would be remiss to not think about the recent series of court cases that have targeted Black musicians, such as Atlanta-based rapper Young Thug , whose music is currently being used against him in court . 

For singers like Usher who have been privy to the ways in which Black music — and those who create it — have been mistreated, his halftime performance was as much as a statement as it was a tribute to those who came before him. "I'm coming through the front door with this one," Usher told Carter.

View this post on Instagram A post shared by Recording Academy / GRAMMYs (@recordingacademy)

It is only fitting that the performance opened with lines from "My Way" — the title of his Las Vegas residency, which has featured a who’s who of prominent figures in pop culture — before launching into "Caught Up." Usher then descended from his anointed throne in a crisp, all white Dolce & Gabbana ensemble, he began a Michael Jackson -inspired dance routine with an array of backup dancers; the standout being renowned celebrity choreographer Sean Bankhead.

Usher made it clear early on, however, that his performance was no mere spectacle. He paused to deliver a testimony, one that bears repeating despite his new album and $100 million-earning Vegas residency : "They said I wouldn't make it, they said I wouldn't be here today, but I am." 

Once the air cleared and Usher thanked his momma for her steadfast advocacy and faith in him, he led Allegiant Stadium in a sing along of "Superstar." The track from 2004’s Confessions recently inspired a viral challenge on TikTok. 

A consummate performer and supporter of his peers, Usher wasn't content to simply highlight his own success. The singer transformed Allegiant Stadium to " The Yard " — the singular place at Historically Black Colleges and Universities, where students gather to talk, discuss, and have fun — and filled it with music. 

Usher’s Yard included a performance of "Love In This Club" with the assistance of two members of Kappa Alpha Psi Fraternity Inc. , the second oldest Black fraternity in the U.S. The trio was supported by the Jackson State University marching band, known as the "Sonic Boom of The South," to finish the song. 

Even his brief moment of affection with singer Alicia Keys , who joined the singer for "My Boo," can be described as a "homecoming hug." Homecoming is another HBCU tradition, where alumni convene at their respective campuses and greet their former flame with a hug.

When Jermaine Dupri entered the stage to announce the 20th anniversary of Confessions , the transportation was complete. The audience was no longer in Vegas, but in Atlanta, the Black Mecca of the world. And Usher is Atlanta’s nucleus.

It is here that the spirits of Michael Jackson, Marvin Gaye , and Prince accompanied Usher as he bewitched millions with a singular microphone and momentum stage presence. A haze of purple clouds and smoke led the way for singer H.E.R. , the night’s self appointed "Bad Girl" and her crew of roller skating baddies.

While Usher may have began the halftime show with the enthusiasm of a young boy who just got his chance to perform a solo in the church choir, by its end he was fully inhabiting his chart-topping sex icon persona. Will.i.am ’s voice rippled through the stadium as Usher, donning a blue and black Off-White outfit reminiscent of football shoulder pads, glided onto the stage with an aura that is equal parts charismatic and sinful sweet. 

Skating, a main tenant of Atlanta’s culture, is embedded in Usher’s ethos and a part of his larger business. The singer loves skating and owns several skating rinks.

Usher finished the extravagant performance with "Yeah!" — a song beloved in Atlanta and far, far beyond. That the song is turning 20 this year and still resonates with a global audience (not to mention a football-loving one) is further evidence that Usher truly is the "King of R&B."

"Your moment is your moment. And this is a moment I’ve prepared for during the last 30 years," Usher told Billboard ahead of the Super Bowl. 

He certainly owned his moment. Usher's Super Bowl halftime show was no singular performance or an audition, but a coronation. He was receiving the torch carried by all the Black entertainers who preceded him, and reminding the world that the South still has something to say. 

Surrounded by Ludacris and Lil Jon ,  strippers, and his own marching band, Usher closed the night out with the A-Town Stomp and one important phase: "I took the world to the A!" 

Usher's Biggest Hits, From Baby-Making Slow Jams To Dance Floor Classics

• 1 Usher's Biggest Hits, From Baby-Making Slow Jams To Dance Floor Classics
• 2 Meet Usher Collaborator Pheelz, The Nigerian Producer & Singer Who Wants You To 'Pheelz Good'
• 3 9 Reasons Why Usher's 'Confessions' Is R&B's Definitive Blockbuster Album
• 4 17 Love Songs That Have Won GRAMMYs: "I Will Always Love You," "Drunk In Love" & More
• 5 Usher's Super Bowl Halftime Show Was More Than A Performance, It Was A Celebration Of Black Excellence

• Manage Account

Usher’s 50 Best Songs: Staff Picks

Before the pop and R&B legend takes the world's biggest stage this weekend, a look back at the songs that have defined his generational hitmaking career up to this point.

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It was always going to happen. Maybe not the Super Bowl gig necessarily — only so many folks get to do that, and things have to break just the right way for it to even be an option — but the general Usherssaince of 2024, where Mr. Raymond once again finds himself among the most vital and celebrated performers in pop and R&B.

Was he ever really gone? Not really , but also kinda — at least more than he ever should have been. From 2017 to 2022, Usher only reached the Billboard Hot 100 three times, never as a solo lead, and never higher than No. 40. For Usher’s last visit of any kind to the chart’s top 10, we have to go back over a decade, to the No. 9-peaking “Scream” in 2012. And it wasn’t just that one chart: His R&B radio success became erratic, his touring level declined from arenas to theaters and his media coverage started focusing less on his new releases and more on his scandals, lawsuits and Usher Bucks.

Some of this might have been inevitable for any superstar in his late 30s and early 40s while in the third decade of his recording career. But Usher isn’t just any superstar: He’s a singular artist who’s had a generational career. He’s had era-defining singles in at least three different top 40 eras. He’s spent a year as the greatest pop star in the world. He went Diamond on sales alone, for an album released a half-decade after Napster’s debut. He has the best friend-crush song of the ’90s, the best cheating song of the ’00s and the best breakup song of the ’10s. He has the greatest singer-playing-themselves film cameo of all time . And though he may have put his superstardom on pause, he never stopped being great: The last 10 years of his career have featured several of his finest singles and most rewarding deep cuts yet. Early-pandemic social media talk theorizing about him battling Justin Timberlake or Chris Brown in a prospective Verzuz was always misguided; when thinking Usher peers, think Beyoncé.

And whether or not he was truly gone, he is now undeniably back . Not only is Usher on the cover of Billboard today, and not only is he headlining the most-watched gig in the world this weekend, but he’s releasing his first proper solo album ( Coming Home ) in eight years on Friday — and it already has his biggest hit in even longer than that, with the Summer Walker and 21 Savage collab “Good Good.” Plus, after a successful Vegas residency revived his live fortunes earlier this decade, he’ll be heading back out on an arena tour starting this summer — bringing one of the greatest artists of the modern pop era back to the venues where he belongs.

Before all that, though, we wanted to recap the Best of Usher so far: Our staff’s picks for the 50 best songs from the man they call Ursher, baby through his first three decades. We can’t wait for the fourth to get going.

"Lil Freak" (feat. Nicki Minaj) ( Raymond vs. Raymond , 2010)

Might be a touch tasteless to sample Stevie Wonder’s “Living for the City” – a protest odyssey about the plight of being born Black and impoverished in America – for a club jam about an orgy, but what did you expect from a song titled “Lil Freak” anyway? Regardless, Usher can sell sex by barely raising his finger, and Nicki’s cheeky verse manages to seem Sapphic while naming Santa’s reindeer and referencing  Everybody Loves Raymond . — JOE LYNCH

"I'll Make It Right" ( Usher , 1994)

When LaFace wanted to make their new baby-faced superstar seem wise beyond his 16 years, they knew to tap the would-be king of rap and R&B, then known as Sean “Puffy” Combs, to oversee his debut product. The opener set the tone with Alex Richbourg (of Trackmasters fame) laying a backdrop that would become Puff’s calling card: sensual R&B perfectly blended with percussion that would shake a club chandelier loose. Usher slides onto the track with hints of the svelte tenor that would strengthen over time and carry him to unprecedented heights. Did anyone believe a kid singing about wanting to make it right for some woman he’s courting? Nah. But we did believe this kid was about to be a star. — DAMIEN SCOTT

"Tell Me" ( Hard II Love , 2016)

“ I just wanna take my time .” Sure enough, the eight-minute climax to 2016’s underrated Hard II Love is pretty handily the longest song in Usher’s catalog — an old-school falsetto fest that finds the singer in no particular rush to get where he’s going. “We’re going to a whole ‘nother level,” he insists over heartbeat drums and synths chilly enough to make you wanna cuddle up extra close. Whether or not you’re into it, you have to respect a man who’s willing to put in the effort to properly make the case. — ANDREW UNTERBERGER

"Peace Sign" (with Zaytoven) ( A , 2018)

“One of his most unappreciated songs”: That comment, found on the song’s YouTube video page, says it all. Given the love-making ballad’s languid drum beat cadence, sultry groove and seductive imagery (“Legs up like a peace sign/ Two cups down, got her tongue-tied/ Can’t wait ’til I’m inside”) laid out by Usher’s inimitable tenor, it’s hard to believe “Peace Sign” didn’t chart. But the sole single from the pair’s album  A  makes a strong case for revisiting the 2018 collaborative project. — GAIL MITCHELL

"Can You Help Me" ( 8701 , 2001)

The list of career-defining hit records Jimmy Jam and Terry Lewis have made for R&B artists is damn near endless. T his 8701 cut didn’t change Usher’s career, but the shimmering promotional single, which finds the star pleading for a love to return to him, cemented that he’s one of our generation’s premiere vocalists — and one of the few stars who could take a song that would have been right at home on New Edition’s Heart Break album from 1988 and turn it into a hit in the futuristic keyboard-dominated radio landscape of 2001. That’s the power of Usher. — D.S.

"Can U Get Wit It" ( Usher , 1994)

With a slow grinding rhythm, melisma a’plenty and those robot voices chirping backup on the chorus, the first single from Usher’s debut album – written and produced by DeVante Swing of Jodeci – is pure mid ‘90s R&B pleasure. Young Ush was just 15 when this dropped, but with lines like “I might sound a little hasty/ But let’s do what we came to do,” it was clear that LaFace and Arista were tossing out the teen heartthrob playbook and teeing him up to be the R&B sex symbol of the millennial generation. — J. Lynch

"Don't Look Down" (Martin Garrix feat. Usher) (non-album, 2015)

Usher’s 2015 collaboration with Martin Garrix is an overlooked but catchy moment from his dance-club banger period. Garrix softens his progressive house edge with pop-friendly, guitar-backed verses, where Usher’s passionate vocals capture the palpable intensity of falling for someone and hoping the feelings are mutual. His “ Oh-oh-oh-oh ” build-up to the happy-go-lucky xylophone beat drop gives listeners the ultimate high, fitting for a song loosely about defying gravity (“Up this high, we’ll never hit the ground,” Usher belts in the chorus). — HERAN MAMO

"Dive" ( Looking 4 Myself , 2012)

Although the metaphors aren’t too subtle on this standout Looking 4 Myself sex jam — the chorus starts with the line “It’s raining inside your bed,” after all — Usher commits to the double entendres and sounds spiritually enlightened above the hazy guitar and echoed drums. “Dive” demonstrates a combination of Ursh’s technical skill (listen to how his falsetto crescendoes within the word “precipitate”) and arena-ready power (lighters up when he hits that titular word!). — J. Lipshutz

"Bedtime" ( My Way , 1997)

Throughout this understated, Babyface-helmed My Way deep cut , a young Usher (just 19-years-old!) lays the foundation for his career as an eternal leading man, but the flashes of youth in his voice provide an energy of innocence that pairs well with the chaste lyrics. In fact, he doesn’t really get PG-13 until that heated sigh before he croons, “I’ll freak you wherever you want.” Nonetheless, it’s the bridge – with backing vocals from ’90s hitmaker Shanice, engaging in a conversational call-and-response with Ush – that makes it clear the mid-tempo “Bedtime” is more about the concept of yearning than actually yearning for a specific woman. Either way, who can resist those perfectly placed ad-libs? — KYLE DENIS

"Risk It All" (with H.E.R.) ( The Color Purple , 2023)

Thank goodness someone understood that we needed this beautiful duet featured on  The Color Purple ‘s soundtrack. The seamless fusion of the pair’s smooth, buttery vocals calls to mind such soulful R&B pairings as Ashford & Simpson and Roberta Flack & Donny Hathaway. But Usher & H.E.R. bring a contemporary take to this empowering song about perseverance and strength, which the latter produced and co-wrote. Of his first time working with H.E.R., Usher recently told  Billboard , “Our friendship led us to this remarkable song.” — G.M.

"Missin U" ( Hard II Love , 2016)

Usher didn’t exactly make it easy for audiences to love Hard II Love , an album filled with few obvious singles but plenty of the least-intuitive (and most-rewarding jams) of his career. Take “Missin U,” which deploys one of R&B’s most classic can’t-miss song titles for a midtempo puzzler that’s lurching trap on the verses and shuffling jazz on the chorus, with a lyric about being wistful for a future relationship (“I reminisce of all of the things that don’t exist yet/ Like the breakfast on Sunday mornings after drunk sex”). Like the album’s cracked-sculpture cover, it shouldn’t work; unlike the cover, it actually does. — A.U.

"Best Thing" ( Here I Stand , 2008)

Though Usher’s Here I Stand wasn’t the commercial haymaker that Confessions was, his fifth studio album possessed high-caliber deep cuts highlighting his evolution from avid club-goer to devoted then-husband. “Best Thing” was the song that best exemplified Usher’s growth, showing him abandoning his player ways after stumbling on a goldmine in the romance department. “No more trickin’ and kissin’,” vows the changed singer. With a guest Jay-Z in his corner, Raymond’s leap at love lands successfully. — CARL LAMARRE

"Twork It Out" ( 8701 , 2001)

Oozing with grown and sexy vibes, “Twork It Out” was an 8701 slow burner. Though Netflix-and-chill wasn’t quite in during the early 2000s, Usher cajoles his lady with a fun-filled date night at the house. With Jimmy Jam and Terry Lewis helming the production, Usher sets the mood with rose petals, bedroom theatrics and dulcet vocals, which are more than enough to woo his partner out of her clothes. — C.L.

"Hey Daddy (Daddy's Home)" ( Raymond vs. Raymond , 2010)

Before “Hey Daddy” became a trending TikTok sound for Gen Z to make memes with, the song served as the lead single from Usher’s sixth studio album, and his proclamation of a full-throttle Lothario era. Giving himself the title of “daddy,” Usher floats over Rico Love and The Runner’s sleek combination of twinkling synths and handclaps as he croons sweet promises of sexual escapades to a gaggle of female backing vocalists. They’re the ones that truly give the song its dynamism, but between the big belt and flashy ad-libs in the final chorus, “Hey Daddy” goes heavy on the bombast. — K.D.

"Looking 4 Myself" (feat. Luke Steele) ( Looking 4 Myself , 2012)

Usher’s R&B stylings have crossed into the pop world plenty of times, but never before with the zippy, new wave-adjacent textures of “Looking 4 Myself,” the buoyant self-exploration that inspired the title of his 2012 album. Although featured artist Luke Steele, one-half of Empire of the Sun, only chimes in with some limited post-chorus rejoinders, the influence of the Australian electro-pop duo on the song is undeniable, as Usher injects the metallic pop-rock with some sleekly delivered soul. — J. Lipshutz

"Come Thru" (Summer Walker feat. Usher) ( Over It , 2019)

Summer Walker honored her ATL hometown hero by lifting his 1997 Hot 100 No. 2 hit “You Make Me Wanna…” for her arousing Over It single “Come Thru.” The original acoustic guitar melody and atmospheric hi-hats give the modern hook-up jam a nostalgic feel, but rather than finding herself stuck in the middle of a love triangle, Summer is debating if her collaborator is worth dropping the rest of her roster for. “Yeah, you got somebody, I been in this predicament,” Usher croons as a nod to his classic, which has proven its influence on the modern generation of R&B superstars. — H.M.

"Call Me a Mack" ( Poetic Justice Soundtrack, 1993)

What a difference puberty makes. Although it dropped just 11 months before “Can U Get Wit It,” “Call Me a Mack” finds a 14-year-old Usher Raymond IV sounding very much like a little kid playing dress-up in his older brother’s new jack swing blazer. Even so, Usher’s vocal abilities and easy-going charisma are abundantly clear — and the fact that his debut single hailed from the classic Janet/Tupac flick  Poetic Justice  tipped to the fact that this “Mack” attack wasn’t a feint. — J. Lynch

"DJ Got Us Falling in Love" (feat. Pitbull) ( Raymond vs. Raymond , 2010)

Can a song make you fall in love? This 2010 top five Hot 100 hit probably soundtracked its fair share of dancefloor meet-cutes thanks to Usher’s lyrical pickup lines (“Ain’t I seen you before? I think I remember those eyes, eyes , EYES …”). The real love story here might be how well the R&B star’s falsetto marries with the thumping Europop beat, crafted by Swedish hitmakers Max Martin and Shellback – or the magnetic pull a DJ can have over a club packed with sweaty partygoers when just the right track plays. Or maybe it’s just the perfect match of a Pitbull verse with an early 2010s dance-pop hit. Whatever the case, it was love at first play. –  KATIE ATKINSON

"Crash" ( Hard II Love , 2016)

A non-album single whose falsetto’d hook and woozy electro-pop buzz made it feel like an unofficial sequel to “Climax,” “Crash” has the same kind of nervy romantic panic as its predecessor, but there’s a warmth and an excitement to its falsetto hook and synth throbs. Usher still realizes that his relationship is destined for wreckage, but he’s still smiling remembering the ride: “I’m not thinking ’bout nobody else but you/ You’re the only one who takes me there.” Not as dramatic, but just as visceral. — A.U.

"Bad Habits" (Non-album, 2020)

“I love love, I’m just bad at it,” Usher admits — sorta indirectly summarizing the first 25 years of his recording output. Co-written by 2024 songwriter of the year Grammy winner Theron Thomas, the sparkling “Bad Habits” shows Ush in his most natural mode: somewhere between a good guy dragged down by his worst impulses and a bad guy really trying to do better. Few can play halfway between the hero and the heel as well as Usher, and the song’s sweetly retro electro-R&B production (including a comforting “Computer Love” sample 2/3 through) always has sympathy for him, even when we don’t. — A.U.

"Appetite" ( Here I Stand , 2008)

Fresh off the success of Justin Timberlake’s FutureSex/LoveSounds, Danja, the Viriginia Beach producer who co-produced the album with Timbaland was in extremely high demand. It was a given he would link up with biggest R&B star in the world. Featured on the follow-up to Usher’s watershed Confessions album, Here I Stand, “Appetite” finds Ursh fighting the temptation to step out on his lady while on the road. The beat is all fluttering space synths and twirling woodwinds, and Usher gives an admirable vocal performance. It’s just slightly unbelievable to imagine someone as famous picking up women in the ways described on the song: “My Mac is in my backpack, I’m surfing all the sites,” he sings. But, hey, anything’s possible. — D.S.

"Crush" (Yuna feat. Usher) ( Chapters , 2016)

Seven months prior to the September 2016 release of  Hard II Love,  Usher guested on this gold-certified lead single from the Malaysian singer-songwriter and Pharrell protege’s  Chapters  album. The ballad’s subtle spareness perfectly showcases Yuna and Usher’s soft vocals as they tenderly emote the thrill and angst that come with crushes. The gem of a duet peaked at No. 3 on Billboard’s Adult R&B chart. — G.M.

"There Goes My Baby" ( Raymond vs. Raymond , 2020)

Another Raymond v. Raymond single, “There Goes My Baby” is one of the crown jewels of Usher’s second decade – specifically when it comes to brilliant vocal showcases. From his seductive tone to his expansive range, Usher has long been one of the most celebrated male vocalists in R&B. On “Baby,” Usher resides almost exclusively in his falsetto, his warm, honeyed too cooing of a love that hurts him no matter how much he believes it. Rico Love and Jim Jonsin pair Usher’s stunning vocal with production that plays on his EDM forays – check out those background synths – with on-the-nose handclaps that complement the charming sappiness of the song’s lyrics. — K.D.

"Slow Jam" (feat. Monica) ( My Way , 1997)

Before Usher and Monica were R&B icons, they were barely out of their teens, recording some of the most soulful slow jams of the late ‘90s. No, the title isn’t a bait and switch: “Slow Jam” literally finds the two A-Town heroes pleading with a DJ to play another such ballad so they can dance with their lover – a phenomenon that may seem a bit foreign to younger audiences who are encountering Usher’s 2024 Super Bowl Halftime Show through tracks like “Good Good.” Despite their youth, both singers deliver vocal performances with finesse far beyond their years, harmonizing and trading off ad-libs across the guitar-forward track — but it’s the way they both subconsciously employ a bit of gospel-rooted grit to lift the bridge to its climax that truly impresses. — K.D.

"Can U Handle It?" ( Confessions , 2004)

Buried deep in the Confessions’ treasure chest lies arguably one of Usher’s most underrated songs, “Can U Handle It?” The singer is in peak-tease mode, pondering where his lady can match his wits in the bedroom. Testing her limits, the singer darts the simple question, “Can you handle It?” In response, his lover replies with aplomb over the prodding soul groove, proving that she’s willing to rev the temperature and meet his expectations. — C.L.

"OMG" (feat. will.i.am.) ( Raymond vs. Raymond , 2010)

The most divisive song in Usher’s catalog continues to split fans a decade and a half later: Is it Usher’s cringiest attempt at trend-hopping, or simply his greatest stadium anthem? Why not both: “OMG” is certainly 2010 enough to give you The Decision flashbacks, with copious Auto-Tune and EDM black-light production and will.i.am-penned lyrics about booties and boobies — but Usher sells the vocal, the beat stop-starts are charming and the Jock Jams chant-along hook is irresistible. It’s OK to think that it’s his dumbest song ever, and also that it’d be a travesty if he didn’t play it at the Super Bowl. — A.U.

"Throwback" (feat. Jadakiss) ( Confessions , 2010)

Built around an absolutely blistering sample of Dionne Warrick’s “You’re Gonna Miss Me” — so prominent in the mix that Usher actually responds to its taunting in the intro (“That’s the last words she said to me”) — “Throwback” was one of the signature non-singles from Confessions , getting considerable R&B radio airplay even as an album cut. Usher’s frenzied belting about his searing regret matches the intensity of the Just Blaze-helmed beat, and Jadakiss’ tears-on-his-pillow guest verse takes the late-night panic to the next level. Call it “Confessions, Pt. III: Too Little, Too Late.” — A.U.

"Good Kisser" (Non-album, 2014)

A 2014 single that topped out at No. 65 on the Hot 100 and was never included on a proper album, “Good Kisser” could be accused of brandishing too many hooks — from the all-falsetto rhymes in the verses to the “devil is a LIE!” transition to the funk riff that snakes throughout the track — and that’s all before the actual chorus. Yet Usher is too smooth to ever make “Kisser” sound overstuffed, hopscotching across the song’s rhythmic segments and making sure each receives the full blast of his charisma. — J. Lipshutz

"My Boo" (with Alicia Keys) ( Confessions (Special Edition) , 2004)

After hopping on the remix of Alicia Keys’ “If I Ain’t Got You” six months earlier, Usher reunited with the red-hot R&B star for a proper duet. The two portray exes who reminisce about their past but still devotedly declare each other as “my boo.” And their soaring harmonies on the “My oh, my oh , my oh, my oh, my boo-ooo-oooo ” post-chorus seal the deal that they’re forever meant to be. While it was released on the expanded edition of Confessions , “My Boo” continued the No. 1 streak of the album’s three previous singles, spending six weeks of its own atop the Hot 100. — H.M.  

"I Don't Know" (feat. Diddy) ( 8701 , 2001)

In what could have easily been another 8701 top 40 scorcher if it had been released as a proper single, the Diddy-assisted “I Don’t Know” had party-starter written all over it. Produced by The Neptunes, the nimble singer is aching for a night out with the boys and refuses to hit pause for anyone. With the dancefloor being his domain, Usher reigns supreme in what rightly should have served as the club-conquering sequel to the album’s “U Don’t Have to Call.” — C.L.

"My Way" ( My Way , 1997)

For Usher’s second full-length effort, Jermaine Dupri took over EP duties and kicked off what would be a long and fruitful partnership. One of the most successful products of that ‘ship was the title track of Usher’s sophomore album, “My Way”: Seesawing between lustrous singing and hard-edged syncopated singing and rapping, Usher showcases the full suite of his talent, vocally traipsing around the pulsating bassline. When you factor in the memorable music video, which made Usher the premier dancing solo star of his era, it wasn’t a surprise when the the JD-produced single became a megahit, peaking at No. 2 on the Hot 100. — D.S.

"I Need a Girl (Part One)" (Diddy feat. Usher & Loon) ( We Invented the Remix , 2002)

Following in the loverboy footsteps of LL Cool J’s “I Need Love,” this Diddy number signals that it’s a rap hit for the ladies by enlisting Usher’s silky vocals and yearning ad libs (and a gratuitous ab-revealing shirt lift in the  music video  for good measure). Usher’s magic is sprinkled all throughout the No. 2-peaking Hot 100 smash, like when Loon raps “I need somebody I can chill with” and Usher sweetly croons in the background “Let’s  chilllll ,” or after Diddy confesses he wishes a woman would’ve had his child and Usher whisper-sings “Girl, you mean that much to meeee.” Basically, he brings the heart to what could have felt like a bro-fest. –  K.A.

"Don't Waste My Time" (feat. Ella Mai) (Non-album, 2019)

One of Usher’s best qualities is how seamlessly he clicks with virtually every one of his female collaborators – and Ella Mai is no different. Linking up with the dream team of Bryan-Michael Cox and Jermaine Dupri for this 2019 single , Usher and Ella match each other’s forward, hit-it-and-quit-it energy. The “Boo’d Up” singer injects her tone with the perfect amount of sass to balance Usher’s calm – and borderline cocky – cool. Pulling inspiration from tracks such as The Jacksons’ late-’70s Philly soul hit “Show You the Way to Go,” this duet is perfectly primed for a two-step – down to the sultry synergy between the thumping bass and grandiose strings. — K.D.

"Without You" (David Guetta feat. Usher) ( Nothing But the Beat , 2011)

“Without You” wonderfully blends two of Usher’s strengths: heart-wrenching ballads and lighthearted bangers. Usher describes in painstaking detail how paralyzing it feels to be without the one who means absolutely everything to him. But Guetta’s kaleidoscopic beat drop creates a moment of pure bliss, encouraging listeners to throw their hands up in the air with the hope that they’ll never have to know the desolate life they so greatly dread. Usher effortlessly pulls off the spirited “Oh-oh-oh” chant in the chorus and the mellifluous “Without you-u-u-uu-uuu ” outro, further demonstrating why he’s the perfect artist for this crossover collaboration. — H.M.

"Caught Up" ( Confessions , 2004)

The fifth and final single from  Confessions  is the only one that didn’t top the Hot 100, but it was still a top 10 hit that helped define what uptempo R&B meant in the mid ‘00s. Over a syncopated beat and woozy synths from producers Dre & Vidal, Usher’s voice oozes confusion and longing as he spins a tale of the hunter becoming the prey. And like the best Usher songs, it has that one vocal moment — the repeated “ caught UP! ” refrain – that is likely to intrusively echo in your head anytime you hear those words IRL. — J. Lynch

"Love in This Club Part II" (feat. Beyoncé & Lil Wayne) ( Here I Stand , 2008)

“Love In This Club,” a No. 1 smash for Usher in 2008, stands as a bleary-eyed ode to getting a little too frisky on the dance floor; its remix, which swaps out Jeezy for Beyoncé and Lil Wayne, is more opulent and thoughtful, with Ursh’s sexual declarations turned into a sultry dialogue with Queen Bey and the hook re-fashioned into a more open-hearted yelp. Any remix is going to benefit from a Beyoncé guest spot; ditto for Lil Wayne, in the middle of his mixtape-fueled ascent here and rapping about neck-kissing, before referencing his just-released single “Lollipop.” — J. Lipshutz

"Burn" ( Confessions , 2004)

Ending a romantic relationship is never easy, and that’s why Usher goes straight to the heart of the matter in the first verse of this searing breakup classic. “I do, but you don’t, think it’s best we go our separate ways …/ When I’m hurtin’, baby, I ain’t happy, baby…/ I think that you should let it burn,” he sings plaintively — though he later has second thoughts about his decision (“I don’t know what I’m gonna do without my boo”). Produced by Jermaine Dupri, who co-wrote with Usher and Bryan-Michael Cox, “Burn” is the second Hot 100 No. 1 hit from the trio’s monumental  Confessions  album, and peaks with one of the most memorable climaxes of his career: “Too many days, so many hours, I’m still burning till you returrrrnnn! ” — G.M.

"Bad Girl" ( Confessions , 2004)

Set off by a blazing guitar lick and a booming drum clap, “Bad Girl” detonates about 2/3 of the way through Usher’s 2004 blockbuster, letting you know there’s gonna be no dragging in the album’s back end. “What y’all know about a supermodel?/ Fresh out of Elle magazine,” Ush asks in taunting falsetto, silently providing the answer: Not as much as I do . Of course, Confessions was so loaded with hits that “Bad Girl” never got official single release, but the thing was too cold to not get some additional exposure — so Usher cleverly used it as a fakeout at the beginning of the “My Boo” video , with its lascivious funk groove making for the perfect contrast to the sentimental ballad that followed. — A.U.

"New Flame" (Chris Brown feat. Usher & Rick Ross) ( X , 2014)

It’s hard to explain just how dominant “New Flame” was back in 2014, even outside of its notable chart success — it’s truly a “if you know, you know” situation. This link-up with Chris Brown and Rick Ross was something of a royal hat trick; what appeared to be a “passing the crown” moment, was actually Usher sonning Brown on his own song. Over Count Justice’s thumping electro-R&B beat the two trade verses about the allure and thrill of starting a new relationship. While Brown puts on a strong performance, there’s an air of effortlessness to Usher’s vocal that is simply enrapturing, soaring whenever he takes the upper harmony, but he also tasteful and understated when appropriate. Perhaps the best part of “New Flame” is the way Usher took the track as another opportunity to delve into a more mature lane of his decades-long exploration of the various winding avenues of love. — K.D.

"Nice & Slow" ( My Way , 1997)

This is the one that taught everyone Usher’s full name – and how to spell it. There are so many highlights from Usher’s first Hot 100 No. 1 hit, including that time-specific opening line (“It’s 7 o’ clock  on the  dot ”), the unexpected rap breakdown (“They call me U-S-H-E-R R-A-Y-M-O-N-D”) and that braggadocious bridge (“I’ll freak you right, I will”). But what this song really accomplished was selling the baby-faced 18-year-old as an honest-to-god sex symbol, with its sultry guitar-plucking production and suggestive lyrics. –  K.A.

"Lovers and Friends" (Lil Jon feat. Usher & Ludacris) ( Crunk Juice , 2004)

“Please tell your lovers and friends/ That Ursher, Jon and Luda had to do it again.” So explains Ludacris in the outro of “Lovers and Friends,” the blockbuster sequel to their monster hit “Yeah!” from earlier in 2004; neither lovers nor friends could have anticipated that Luda, Usher and Lil Jon would follow up that danceable pop-rap smash with an emotionally vulnerable slow jam, but kudos to that ATL trio for understanding that a reunion couldn’t function as a rehash. Divorced from its context as a second installment, “Lovers and Friends” remains a warm, swaying R&B summit all these years later, with Usher’s vocals understandably leading the conversation, and Lil Jon’s production maintaining a lightness and care that simply could not have been expected when “Lovers and Friends” appeared on his Crunk Juice album. — J. Lipshutz

"Superstar" ( Confessions , 2004)

We all know and love that opening riff, and regardless of the rest of the world’s best efforts, only Usher can make it sound like *that*. But “Superstar” is a stunner beyond its slinky opening. If “Superstar” is proof of anything, it’s that Usher ascended to R&B’s highest heights by fashioning himself as a multidimensional artist. Sure, he can pack on bravado and sexual innuendo when he wants to, but he can also become completely selfless in the name of love: “Front row, there I am/ Jumpin’ and hollerin’, wavin’ both hands/ Would you notice me, little me?” he pleads. With a combination of an incredibly earnest vocal performance that leans into the innate schmaltz of submitting to love, and a guitar-anchored instrumental that exudes all the seductive qualities of a top-shelf slow jam, “Superstar” is an absolute gem. — K.D.

"U Remind Me" ( 8701 , 2001)

The hype train for 8701 began when Usher released the album’s lead single, “U Remind Me.” Produced by Jimmy Jam and Terry Lewis, Usher’s having a bad case of the double take after a nasty break-up –every girl he meets oddly reminds him of his ex-girlfriend. While the cheeky lyrics and playful video added more sheen to the already-polished song, Usher’s vocal performance is the show’s star: The bridge finds the R&B dynamo proving why he’s more than a dancer, hitting high notes with seamless breath control. “U Remind Me” would be the catalyst in Usher’s journey back to the Hot 100 mountaintop, as the summertime head-bopper became his second No. 1 in July 2001. — C.L.

"You Make Me Wanna" ( My Way , 1997)

Usher found breakout success with this ode to another woman, professing his love to a friend while in a relationship with someone else. What should he do? He talks through all the options in the Jermaine Dupri-produced Hot 100 No. 2 hit (which once again makes perfect use of a plucky acoustic guitar) and somehow makes us sympathize with his predicament when the obvious answer is right there in the song: yes, he should tell his baby, “bye-bye.” But that’s not the point here; the point is that Usher and JD landed on the perfect showcase for the young R&B singer: confident and cool, a little naughty but mostly nice, and, most importantly, 100% authentic. This is the Usher we came to know and love, and it all really started right here. –  K.A.

"I Don't Mind" (feat. Juicy J) (Non-album, 2014)

“I Don’t Mind” is something of a marooned classic in Usher’s catalog, caught in the half-decade of desert in between Looking 4 Myself and Hard II Love , never getting an official music video, and with no parent album to call home. But a decade later, the single stands as one of his finest: a surprisingly sweet anthem for the fellas who support their stripping girlfriends without jealousy or judgment. The airy, minimal production (from Dr. Luke, it should be said, along with Cirkut and Rock City) keeps things appropriately light, and Usher’s vocal dances gleefully between the snare hits, with strip-club patron saint Juicy J showing up to bless the song with his ad libs (“ She HERE? “) and guest verse (“Knock that p—y out the park like my name Babe Ruth”). Not many stars had this healthy a perspective on women handling their biz in the mid-’10s, but you know, Usher was raised in the A. — A.U.

"Yeah!" (feat. Lil Jon & Ludacris) ( Confessions , 2004)

Some smashes quickly overstay their welcome even as they remain unmovable at No. 1 on the Hot 100 – but this 12-week chart-topper from 2004 wasn’t one of them. Usher was already a big name before  Confessions , but the album’s inescapable lead single catapulted him into the stratosphere of mainstream pop superstardom. As a producer, Lil Jon gave Usher a libidinous bed of crunk punctuated by that staccato synth alarm that repeats throughout; as a guest rapper, he provides the titular “YEAH!” and various club war cries throughout. Jon’s absurd level of excitement is the perfect counterpart to one of Usher’s most compelling vocal performances, an almost frantic dispatch from a man drowning in a sea of hormones as he’s seduced by someone he shouldn’t be going home with (“her and my girl used to be the best of homies”). By the time Ludacris’ incorrigibly braggadocious verse about birthday sooootes comes around, it’s just the icing on this perfectly sweetened crunk cake, a treat that no one can resist. — J. Lynch

"U Don't Have to Call" ( 8701 , 2001)

Usher set the stage for  Confessions  three years earlier with the release of 2001’s multi-platinum  8701 . His third studio album featured eight “U”-titled songs including this perennial party-starter: The Neptunes-produced third single which peaked at No. 3 on the Hot 100. Its upbeat take on the end of a relationship (“Should’ve cherished me/ Listenin’ to friends, now it’s the end … / You don’t have to call … / Cause I’ma be alright tonight”) sounds just as fresh and real as it did over 20 years ago, thanks to Ush showing off the full extent of his vocal range, and Pharrell and Chad Hugo’s beat is an absolute all-timer with its knocking drums, soft keys and gleefully chirping synths. — G.M.

"Climax" ( Looking 4 Myself , 2012)

Despite having songs like “Can You Help Me” and “Superstar” in his catalog, Usher, for most of his career, was seen more as an R&B artist than an R&B singer. The distinction may be small, but it’s meaningful — of course, Usher could make hits and perform them ably with chronographic dance routines, but not everyone viewed him as a true vocalist. “Climax” silenced all those doubts. Produced by Diplo and written by Usher, Sean Fenton, and Ariel Rechtshaid, the Looking 4 Myself single was an EDM-era revelation for fans who thought Usher had resigned himself to making music better suited for Ibiza night clubs.

The song is a bundle of paradoxes: It’s tender but powerful, soulful but industrial; R&B for the electronic age. And then there’s the vocal performance: Do yourself a favor and go watch Usher perform it live on YouTube. It’s the best he’s ever sounded, smoothly ascending into registers we rarely heard him hit. It may have only reached No. 17 on the Hot 100, but make no mistake about it: this is one of the best songs Usher has ever made. Hell, it’s one of the best songs ever made, period. — D.S.

"Confessions, Pt. II" ( Confessions , 2004)

After Usher admitted to his girl that he’s been seeing someone on the side on “Confessions Part I,” he divulged an even more damning secret on the song’s second (and superior) half: His mistress is expecting a baby – and it’s his. “Confessions Part II” gives a masterclass in storytelling, with Usher as the unreliable protagonist who’s getting everything off of his chest — but with the suavest voice, that would have even a hurt woman crawling back to him. Though what happened was based off co-writer/producer Jermaine Dupri’s life, Usher sang with so much conviction that it led listeners to believe it must have been his own story. The song became Confessions’ third consecutive Hot 100 No. 1 single, dethroning “Burn” (which had replaced “Yeah!” at the top), and is still impacting pop culture decades later: Usher’s performance of the song during his 2022 NPR Tiny Desk performance birthed the “ Watch this ” meme , while its music video was used to announce his Super Bowl Halftime Show performance. — H.M.

"U Got It Bad" ( 8701 , 2001)

From the second those forlorn guitars start to soundtrack Usher’s guttural wail, “U Got It Bad” announces itself as something incredibly special. Where the “Superstar” opening riff is sweet and precise, the riff that opens “U Got It Bad” tempers Usher’s spotless technique with unprecedented levels of emotional vulnerability. He vaults the first note into the air, pulling the entire riff closer to a cry than a suave melismatic display of vocal dexterity. But it’s Usher, so it’s both at the same time. 

“U Got It Bad,” the second consecutive Billboard Hot 100 chart-topper from Usher’s Grammy-winning 8701 answers the question: What happens when the consummate player finally fumbles? Not on his own accord, but because he’s so swept up in the throes of love? There is, in fact, a reason we say “catching feelings” as if you’re contracting a cold. Just listen to his voice — that brother is in pain! 

Woven around an understated, hauntingly windswept arrangement from Jermaine Dupri, Usher’s voice is not simply the star of “U Got It Bad,” it is the track’s center of gravity. The percussiveness of Usher’s diction in the verses finds a mirror in the track’s subtle, digitized kick drums, while his sprawling vocal range provides a worthy sparring partner for William Odun’s weeping guitar. It’s a relatively unfussy arrangement – one that Usher relentlessly contours with a vocal performance that finds him moving away from self-reflection, and instead choosing to reflect the love-stricken woes of his audience right back to them, proving “everyone of y’all are just like” him. It’s the rare moment that Usher centers us over his own playboy experiences – and he does it flawlessly and, more importantly, believably. 

And Usher isn’t only in conversation with his audience here, but also with history. From his lyrical allusions to Maxwell’s “Fortunate” and Prince’s “Adore” — along with a Purple One-evoking guitar solo following the climactic chorus — he understands that the only way to pioneer your own excellence is to study and innovate on the blueprints left for you. “U Got It Bad” isn’t just Usher’s best song, it’s his defining song: the perfect synthesis of his inimitable vocal talent, his ability to simultaneously seduce and empathize, and his commitment to building on the legacies of past greats. — K.D.

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Grammy-winning singer Usher is an R&B and pop artist best known for his hit album Confessions as well as No. 1 songs “Yeah!,” “Burn,” and “Love In This Club.”

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1978-present

Latest News: Usher Will Headline the 2024 Super Bowl Halftime Show

Quick facts, early years, songs and albums, movies and tv roles, philanthropy and business ventures, children and girlfriend, who is usher.

R&B singer and pop artist Usher is an eight-time Grammy winner best known for his best-selling album Confessions as well as the songs “Yeah!,” “Nice & Slow,” “U Remind Me,” and “My Boo,” a duet with Alicia Keys . He entered the fame game at age 14, after a performance on Star Search led to a recording contract with LaFace Records. Usher released his first album in 1994, at age 15, and began dominating airwaves later that decade. In 2004, Confessions brought even greater success; his first No. 1 album sold more than 1 million copies in its first week and led to three Grammy Awards. His most recent album is 2016’s Hard II Love . Usher is currently performing a Las Vegas residency, scheduled to wrap up in December 2023.

FULL NAME: Usher Terry Raymond IV BORN: October 14, 1978 BIRTHPLACE: Dallas, Texas SPOUSES: Tameka Foster (2007-2009) and Grace Miguel (2015-2018) CHILDREN: Usher V, Naviyd, Sovereign, and Sire ASTROLOGICAL SIGN: Libra

Usher Terry Raymond IV was born on October 14, 1978, in Dallas and raised in Chattanooga, Tennessee. He began singing in his church choir when he was 6 years old. Two years after moving with his mother and brother to Atlanta, Usher performed on the hit talent competition show Star Search and landed a recording contract with LaFace Records soon after. He released his self-titled first album in 1994, at age 15. Usher soon became known for his polished vocals, broad vocal range, chic style, sexy dance moves, and sensual ballads.

Since the late 1990s, Usher has been a dominant player in the music industry. He’s moved across several different musical genres, including R&B, blues, and pop, with his eight solo studio albums.

Following Usher (1994), he released his second album, My Way , in 1997. The album—including singles “Nice & Slow,” which became Usher’s first No. 1 hit, and “You Make Me Wanna...”—skyrocketed the young artist to fame, selling more than 7 million copies to date. Usher was quickly lauded for his fluid vocals and addictive melodies. He also became known for incorporating sexual themes into his songs, performances, and music videos.

Usher released 8701 in 2001. The incredibly successful album included the No. 1 song “U Got It Bad” as well as two Grammy Award–winning singles: “U Remind Me” and “U Don’t Have to Call.” More than 4 million copies of 8701 have been sold in the United States alone.

A decade after making his first album, Usher released Confessions (2004), which was extremely well-received. More than 1 million copies of the album were sold in its first week, and sales have accumulated to nearly 20 million copies worldwide. The No. 1 album included the No. 1 songs “Burn,” “Confessions Part II,” and “Yeah!,” a collaboration with Ludacris and Lil Jon that held the top spot on the Billboard Hot 100 for 12 weeks. Billboard later named “Yeah!” the Hot 100 Single of the Year. “My Boo,” a duet with Alicia Keys , also released in 2004 and landed him another No. 1 song.

By this time, Usher had an incredibly impressive track record: He had achieved 13 Top 20 hits, seven of which were No. 1 singles. He was named Artist of the Year at the 2004 Billboard Music Awards. A year later, he received three Grammy Awards—Best Contemporary R&B Album for Confessions , Best R&B Performance by a Duo or Group for “My Boo,” and Best Rap/Sung Collaboration for “Yeah!”—and two People’s Choice Awards.

Fans were eager for Usher’s next effort, Here I Stand , which released in 2008. The album quickly captured the No. 1 spot on the Billboard 200 and is largely remembered for its No. 1 single “Love In This Club” featuring Young Jeezy. The song went platinum within two months of its release, and the album followed. After the release of Raymond v. Raymond (2010), Usher won two more Grammys for Best Contemporary R&B Album and Best Male R&B Performance on “There Goes My Baby.” In all, the singer has won eight Grammys and 19 Billboard Music Awards, among other honors.

In June 2012, he produced Looking 4 Myself , which was his fourth consecutive album to find a No. 1 spot on Billboard ’s albums chart. In September 2016, User released his eighth studio album, Hard II Love , that featured the singles “No Limit,” “Crash,” “Missin U,” and “Rivals.” It was first made available exclusively through the streaming service Tidal , which Usher co-owns with Jay-Z and other big-name musicians, but was later made available on other streaming services as well.

Usher plans to release his ninth studio album, Coming Home , on February 11, 2024. That the same day, he will headline the halftime show for Super Bowl LVIII , which will be held in Las Vegas. “It’s an honor of a lifetime to finally check a Super Bowl performance off my bucket list,” Usher said. “I can’t wait to bring the world a show unlike anything else they’ve seen from me before.”

Outside of music, Usher has worked as a movie and stage actor. One of his earliest roles was in the teen horror film The Faculty (1998). He went on to make guest appearances on several television shows, including a role as Marvin Gaye on the program American Dreams (2002). In 2005, Usher played a disc jockey in the movie In the Mix , and a year later, he landed the lead role of Billy Flynn in the Broadway play Chicago (2006).

In March 2013, Usher returned to reality TV, this time as a judge and coach. He and Latin singer Shakira joined NBC’s popular singing competition show The Voice for Season 4. Replacing Cee Lo Green and Christina Aguilera , Usher and Shakira starred on the show alongside returning judges/coaches Adam Levine and Blake Shelton . Usher soon won over TV viewers with his offbeat coaching style. Despite this success, he sat out the next season before returning for Season 6, which his protégé Josh Kaufman won.

Usher also stays busy with his charity, New Look Foundation, which was founded in 1999. The organization provides funding for children in foster care and service programs, holds conferences and camps for at-risk youth, and works to promote leadership skills for kids in impoverished communities. For his work with the nonprofit, Usher has received honors from such groups as the Boys & Girls Clubs of America, the Trumpet Foundation, and the National Association for the Advancement of Colored People.

Additionally, Usher has invested in several entrepreneurial endeavors. He owns the record label US Records and a men’s cologne line. He also is a part-owner in the music streaming service Tidal and is a co-owner of the Cleveland Cavaliers basketball team.

In the early 2000s, Usher dated Chili, a former member of the all-female group TLC . In 2007, he married Tameka Foster. Usher and Foster have two children together: Usher Raymond V, born in 2007, and Naviyd, born in 2008. The couple divorced in 2009.

In July 2012, Foster’s 11-year-old son from a previous relationship (Usher’s stepson), Kyle Glover, suffered a severe brain injury in a water accident. According to several media reports, Glover had been riding on an inflatable tube on Lake Lanier in Atlanta when a jet ski struck him in the head and knocked him unconscious. After being rushed to a local hospital, Glover was declared brain dead by doctors.

Tragedy struck Usher’s family again the following August. His son Usher Raymond V got caught in a pool drain at the singer’s Atlanta home. Usher’s aunt was watching the child when the incident happened and had tried to free the boy. The child was taken to a nearby hospital and survived his injuries.

After this accident, Usher’s ex-wife Tameka Foster launched a legal battle to regain custody of the couple’s two children. She claims that the singer was “not capable of providing daily caregiving and supervision for the minor children” in her legal filing, according to CNN. But the judge in the case disagreed with Foster and allowed Usher to retain custody of the children.

In September 2015, Usher married his longtime girlfriend and manager Grace Miguel, who is a top executive at Def Jam Records. After two years of marriage, they announced their separation in March 2018.

In September 2020, Usher and his girlfriend Jenn Goicoechea welcomed a daughter named Sovereign Bo. The next September, the pair had their second child together, whose name is Sire Castrello.

• Sleeping is forbidden at the age of 22. It’s all work and no play.
• Down time is not the name of the game.

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Colin McEvoy joined the Biography.com staff in 2023, and before that had spent 16 years as a journalist, writer, and communications professional. He is the author of two true crime books: Love Me or Else and Fatal Jealousy . He is also an avid film buff, reader, and lover of great stories.

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Rare footage of Craig David and Usher singing together resurfaces - leaving fans begging for more as they gush 'it's the collab we didn't know we needed'

Never-before-seen footage of Craig David and Usher collaborating has resurfaced online, leaving fans begging for more.

The clip, which is just over a minute long, was posted to the 7 Days singer's official TikTok  page last month, sending R&B fanatics into a frenzy. 

Craig, now 43, wrote in the caption: 'Some unseen footage to brighten your Thursday. Wow this takes me back. Such a vibe freestyling with my guy @Usher Raymond. Reliving this moment.'

In the rare footage, the pair were in a recording studio in their younger years, freestyling and laughing together.

They begin by singing the lyrics to Usher's hit song, You Make Me Wanna, before improvising, stealing iconic lines from their own singles.

Craig raps the words to 7 Days: ' On my way to see my friends who lived a couple of blocks away from me / As I walked through the subway it must have been about quarter past three / In front of me stood a beautiful honey with a beautiful body.

'She asked me for the time / I said it'd cost her name, a six-digit number and a date with me tomorrow at nine.'

Usher, now 45, then jumps in with: 'First of all, I know these so-called players wouldn't tell you this.'

The back and forth continues with Craig rapping: 'Craig David rappin' here for Paris from the UK scene / Craig David bounce from the front to the back / Do you love it like this and love it like that.'

At the end of the short clip, the pair grin at each other and cement the collaboration with a high five and handshake.

Since Craig shared the old clip online, fans have questioned why the artists never released an official collaboration. 

Viewers wrote in the TikTok comments: 'How has this never been released?'

'Why was this not an official thing!? I would have lost my mind back then with a Craig David / Usher collab! Can we still get it?'

'Always thought about this being the perrrrrfect collab!' 

'Please let R&B never die'; 'Best era. The 2000s were crazyy.'

'The collab we didn’t know we needed! love it!'

'Epic moment!!! Two R&B kings together. Legendary!!!' 

'This is so iconic'; 'My favorite artists of all time'; 'What a moment.'

Usher and Craig David were both huge hitmakers in the R&B and hip-hop scene throughout the 2000s, drawing in waves of adoring fans who have stuck by them for years.

The former completed his concert series as part of his Las Vegas residency in 2023, and the latter has announced a brand new arena tour for February 2025.

Craig revealed in April that his Commitment UK arena tour will be going ahead with special guest Lemar - tickets went on sale in May.

He said: 'I can't wait to bring my band back to the UK for my 2025 Commitment arena tour!

'Looking forward to having a party and mixing up the classics and maybe something new...'

Since bursting onto the scene with his 2000 album Born To Do It, Craig has remained at the helm of his own unique, authentically British sound.

He first emerged onto the UK garage scene at the end of 1999 with hit song Re-Rewind, and has scored 25 UK top 40 singles, nine UK top 40 albums, and amassed over 5 billion streams worldwide since.

Award-wise Craig has received 14 Brit Award nominations, two Grammy nominations, four MOBO awards, three Ivor Novellos honouring his songwriting, and most recently an MBE for his services to music. 

Usher, Babyface showcase icon and legend status at Apollo 90th anniversary

NEW YORK – Icon and legend are some of the many words to describe Usher and Babyface , and on Tuesday, they were given the official titles from the Apollo Theater .

The historic theater in New York's Harlem neighborhood celebrated its 90th anniversary with the two music moguls at their annual spring benefit.

"We're thrilled to honor Usher with the Icon Award and Babyface with the Legacy Award," Apollo Theater CEO and President Michelle Ebanks told USA TODAY on the red carpet. "These are transformational artists. They've had a global impact."

The benefit included tribute performances from the next generation of Black talent, including a dance routine to Usher's hit songs from nearly 50 young performers that took over the theater and singers Saint Harison, Leon Thomas, Avery Wilson and Karyn White lending their voices to various Babyface songs.

"There's room for all of us. We have to encourage (prospective artists) and speak life into the youth. 'Gatekeeping' … that word should be thrown out the window," Jordin Sparks told USA TODAY ahead of her performance, with the " American Idol " alum adding that she would "love" to be considered as a judge in a singing competition to help the next generation.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

To kick off the night, Sparks performed a musical medley of "Superstition," "Respect" and "I'm Every Women" as a nod to the legacy acts that have previously graced the Apollo stage.

After Sparks got the crowd dancing, the night's host Kym Whitley breathed laughter into the air with jokes about Harlem's signs of gentrification (French vanilla lattes for sale on the same street as incense) and quips about how she's been trying to hunt Usher down for a serenade at his Las Vegas residency .

'American Idol' Jordin Sparks wants a judge gig: 'I've been in their shoes'

Usher talks about being 'the youngest of the legends' while accepting the Apollo's Icon Award

Usher was first to take the stage to accept his award, recalling his early memories of being at the Apollo, including seeing former Apollo Amateur Night host Kiki Shepherd. "They say if you can make it in New York, you can make it anywhere. But if you can make it to the Apollo, you can do anything," he said. "Everything that the Apollo has done has motivated me in so many different ways."

The " Good Good " singer praised his mother Jonnetta Patton for allowing him to dream big. "I was always talking about the reality that I would be able to make it and she believed it," he said. "She was daring enough to support my vision and support me as an artist and as a man and as a philanthropist.

"Incredible moments have happened on this stage. Tonight I'm able to join a legacy of incredible people, like Harry Belafonte," Usher continued. "I feel like I'm the youngest of the legends, but for some reason, I also feel like I might be the oldest of the pioneers of this time. Someway, somehow this puts me in this very new and classic space. I'm so happy that I could have this moment."

Usher wished he "got a chance to meet Kiki Shepherd, but I never became an amateur because I became a major," he joked to a roaring crowd. He later quipped, "By the way, Kym Whitley, you didn't come back out here to get me to serenade you. You know I like 'em older."

The performer ended with a note to his newly minted wife and "best friend" Jennifer Goicoechea : "I'm so happy that we get to do this together."

Usher talks Super Bowl show, reveals most 'personal' song on new album: 'Oh, I'm ruined'

Babyface says he never imagined being on The Apollo stage

Babyface, who was awarded a star on the Apollo's Walk of Fame Monday, lamented to the crowd that he's "usually a lot funnier" in his acceptance speeches but was at a loss for words when it came to the inaugural Legacy Award.

"If I'm honest, I just never saw myself as being on the Apollo stage," the 12-time Grammy-winning singer, songwriter and producer said. "I was just always the guy behind the scenes, writing songs for everybody else and looking at people like my little brother Usher … You knew he was going to get here, and he knew he was going to get here. I am just in awe to be considered a part of the group."

Babyface added that he hasn't been on this journey in music alone. "I was being pushed. God was living through me and said, 'This is what you gotta do, this is what you're going to do.'"

Babyface delivers soulful performance, honors Whitney Houston in NPR Tiny Desk Concert: Watch

"People always ask me, 'How are you so humble?' I never feel like I do it all, I never feel like it's just me doing it," he added, giving praise to his fans. "I need every one of you to do what I do."

The musician ended by not only getting on the stage to accept his award but closing the night with a surprise performance of his 1989 song "Whip Appeal" as the theater sang along.

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The eagles announce 2024 las vegas sphere residency. get tickets today.

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It’s time to check out of the Hotel California and into a resort on the Strip.

From Sept. 20 through Oct. 19, The Eagles will play eight concerts at Las Vegas’ premier concert destination, Sphere .

At all ‘Eagles — Live In Concert at Sphere’ shows, fans can expect an “ultimate connection to the band’s legendary catalog in an immersive experience that only Sphere can provide,” according to a press release.

Prior to this high-profile residency announcement, Don Henley, Joe Walsh and co. have been touring all over the globe as part of their farewell ‘The Long Goodbye Tour.’

As of now, there’s no word on whether or not these Sin City gigs will be the Rock and Roll Hall of Fame group’s last; when they initially announced the farewell trek, they teased that the tour would stretch into 2025.

In any event, if you want to see the legendary group deliver their timeless hits — “Life In The Fast Lane,” “New Kid In Town,” “Take It Easy,” “Lyin’ Eyes” and “Desperado” are just a few of the classics that often make the set list — tickets are available for all eight Sphere concerts as of today.

Fans can purchase tickets for all upcoming shows on sites like Vivid Seats ; the official on-sale is Friday, June 21.

Vivid Seats is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

They have a 100% buyer guarantee that states your transaction will be safe and secure and will be delivered before the event.

The Eagles 2024 Sphere concert schedule

A complete calendar including all Sphere dates and links to buy tickets can be found below.

The Eagles concert review

According to  Variety , The Eagles’ live show “easily competes with the likes of Taylor Swift and Beyoncé for tour of the year.”

For more about Deacon Frey, Joe Walsh, Don Henley, Vince Gill and what covers the band worked into their MSG concert, you can read their thorough review  here .

The Eagles band members

When you’ve been living life in the fast lane since 1971 (!), a bit of shuffling when it comes to your group’s lineup is to be expected.

Still, to this day, 76-year-old, founding member Don Henley (drums, vocals, also known for the ’80s smash “Boys of Summer), continues to tour with the group.

On the road, he’ll be joined by 76-year-old Joe Walsh (also of the James Gang), 76-year-old Timothy B. Schmit (bassist and vocalist, played with Poco), 22-time Grammy winner 67-year-old Vince Gill and the late Glenn Frey’s 31-year-old son Deacon.

Over the course of their illustrious career, the band has racked up six Grammy awards, performed over 1,000 concerts and sold 150 million-plus albums.

The Eagles set list

On their farewell tour, The Eagles stuck to a pretty strict set list.

While we can’t confirm what they’ll take to the Sphere stage, here’s what they played last year, based on our findings at  Set List FM .

01.) “Seven Bridges Road” (Steve Young cover) 02.) “Take It Easy”

03.) “One of These Nights” 04.) “New Kid in Town” 05.) “Take It to the Limit” 06.) “Best of My Love” 07.) “Witchy Woman” 08.) “Peaceful Easy Feeling” (Jack Tempchin cover) 09.) “Tequila Sunrise” 10.) “In the City” (Joe Walsh song) 11.) “I Can’t Tell You Why” 12.) “Lyin’ Eyes” 13.) “Life’s Been Good” (Joe Walsh song) 14.) “Already Gone” (Jack Tempchin cover) 15.) “The Boys of Summer” (Don Henley song) 16.) “Funk #49” (James Gang cover) 17.) “Life in the Fast Lane”

18.) “Heartache Tonight” Encore:

19.) “Rocky Mountain Way” (Joe Walsh song) 20.) “Desperado” 21.) “Hotel California”

Classic rockers on tour in 2024

Many of the biggest acts that defined the sound of the ’70s and ’80s are back on the road this year for another spin.

Here are just five of our favorite classic rockers you won’t want to miss live these next few months.

•  Dead and Company

•  Bruce Springsteen and the E Street Band

• The Doobie Brothers

• Chicago with Earth Wind and Fire

Need more classic rock in your life? Check out our list of the  52 biggest classic rock concert tours in 2024 here  to find the show for you.

Why you should trust ‘Post Wanted’ by the New York Post

This article was written by Matt Levy , New York Post live events reporter. Levy stays up-to-date on all the latest tour announcements from your favorite musical artists and comedians, as well as Broadway openings, sporting events and more live shows – and finds great ticket prices online. Since he started his tenure at the Post in 2022, Levy has reviewed Bruce Springsteen and interviewed Melissa Villaseñor of SNL fame, to name a few. Please note that deals can expire, and all prices are subject to change.

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Out & about

Kathy Hochul, Usher and Babyface Turn Out for the Apollo

More than 1,000 musicians, politicians and philanthropists gathered in Harlem on Tuesday night to celebrate the theater’s 90th anniversary.

Usher addressing the crowd onstage at the Apollo Theater’s annual spring benefit. Credit... Krista Schlueter for The New York Times

Supported by

By Sarah Bahr

Sarah Bahr reported for Out & About , a column that covers the events where notable, powerful and influential figures gather — and their outfits.

• June 12, 2024

Usher, an eight-time Grammy winner, has won many awards in his 30-year career. But the one he received on Tuesday night at the Apollo Theater in Harlem was special, he said.

“It’s the prestige,” said the R&B singer, who arrived in a black S.U.V. surrounded by phone-wielding fans to the red carpet outside the theater, which was celebrating its 90th birthday at its annual spring benefit.

Along with Babyface, Usher was at the Apollo, which opened in 1934 and has played host to numerous venerated musicians including Billie Holiday, James Brown and Aretha Franklin, for a celebratory concert and an awards ceremony. He and Babyface, the singer-songwriter and producer who has won 12 Grammy Awards, received Icon and Legacy awards from the organization, respectively, for their contributions to music.

Gov. Kathy Hochul; the Rev. Al Sharpton; Jordin Sparks, the singer and “American Idol” winner; Ava DuVernay; the filmmaker and screenwriter; and Big Daddy Kane, the rapper, were among the more than 800 musicians, philanthropists and elected officials who filled the 1,500-seat theater.

The gala, which raised $3 million for the organization, the largest African American performing arts presenting group in the country, comes at a critical time for the theater, which later this year will embark on a major project to fully renovate its 110-year-old building . Plans include new lighting and audio systems, additional seating, updates to the building’s exterior, along with a new lobby cafe and bar that will be open to the public.

(The main theater will be closed during at least part of the renovation, but programming will be presented at the Victoria theaters down the street, a pair of performance spaces with a combined seating capacity of nearly 300.)

“It will be restoring what we love and have cherished for nine decades, and then modernized,” said Michelle Ebanks, the Apollo’s president and chief executive, who assumed the role just under a year ago.

Excitement for that future was apparent Tuesday night. A crowd that included the R&B singer Karyn White, the Tony-nominated Broadway actress Kara Young and the comedian and actress Kym Whitley, the evening’s host, began the night posing for cameras on the red carpet, in floral gowns, sparkling clutches and gold-rimmed sunglasses.

Ms. Sparks, who wore a pink floral gown, said she was overwhelmed by the opportunity to perform on such a historic stage.

“I’m just really grateful to be following in the footsteps of so many incredible people that have been here before,” she said.

Ms. Whitley, in a glimmering black pantsuit, admitted to some preshow jitters. “The people that have come through these doors, that’s what scares me,” she said.

Around 7:15 p.m., the crowd funneled into the theater for the concert and awards presentation. Ms. Sparks kicked things off with a medley of Stevie Wonder’s “Superstition,” Aretha Franklin’s “Respect” and Chaka Khan’s “I’m Every Woman.”

Ms. Hochul then presented the Apollo with a 90-year anniversary plaque. “This is the heart and soul of Harlem culture, of Black culture, of American culture,” she said, to roaring applause.

But it was a choreographed dance tribute to Usher that got the crowd moving. Performing a medley of songs that included “Yeah!,” “Burn” and “Confessions Part II,” around three dozen dancers dressed in white filled the aisles as Usher, seated next to his wife, Jennifer Goicoechea, smiled and bobbed his head in appreciation.

As the R&B singer accepted his award onstage, he rubbed the Apollo’s famous Tree of Hope, a stump of an elm tree that stood outside the Lafayette Theater on Seventh Avenue until 1934 — and is believed to bring performers good luck.

Addressing the crowd, Usher, in a burgundy suit, a shimmering silver choker and white boots, recalled watching “Showtime at the Apollo,” the televised amateur talent show, with his late grandmother when he was growing up in Tennessee.

“I remember thinking, ‘Man, someday I’m going to make it to that stage,’ and ‘Hopefully one day, I’ll get a standing ovation,’” the musician said. (The audience, who was indeed standing, applauded.)

But not every performer had that kind of lifelong confidence. Babyface, the evening’s other award recipient, was astonished as he accepted the inaugural Legacy award from the rapper Fat Joe and the investor Kwanza Jones, both of whom are former winners of the Apollo’s Amateur Night, the weekly talent show for novice performers.

“I just never saw myself as being on the Apollo stage,” said Babyface, who had been inducted into the theater’s walk of fame at a ceremony the day before. “I was always the guy behind the scenes and writing songs for everyone else. I am just in awe to be considered as part of this.”

A series of singers performed a 20-minute musical tribute to Babyface featuring some of the most well-known songs he has written and produced. Ms. White performed her single “Superwoman,” and the musician Johnny Gill sang “My, My, My.”

And then a surprise.

“Oh my God, Babyface is going to perform!” one woman in the audience yelled as the musician, wearing a white suit over a white turtleneck and snakeskin boots, his eyes hidden behind gold-rimmed sunglasses, walked onstage.

Around 9:30 p.m., after Babyface closed the show with “Whip Appeal,” attendees joined a second-line procession to an after-party about a block away under a tent outside the Adam Clayton Powell Jr. State Office Building.

Waiters floated around the room with trays of small bites like miniature tacos, and people lounged on yellow couches, munching on plates of braised short ribs and chicken from Charles Pan-Fried Chicken.

Partygoers stepped onto a black-and-white-checked dance floor and danced under a rotating gold disco ball to sets by the D.J. D-Nice. Under a canopy of red neon lights, he played funk and soul hits like “Nasty Girl” by Vanity 6 and “It’s a Love Thing” by The Whispers.

Guests took photos in front of a neon letter “A” and sipped turmeric-ginger lemon mules and vanilla espresso martinis.

The celebration continued until around midnight. The evening, Ms. White said, had been “incredible.”

Sarah Bahr writes about culture and style for The Times. More about Sarah Bahr

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The Best Songs of 2024 So Far

• By Rolling Stone

Rolling Stone

It’s been a big year for moody guitar bangers, boundary-pushing Latin pop, dazzling pop spectacle, and uplifting Afropop. The song of the summer sweepstakes are off and running. Superstars like Usher, Cardi B, Kendrick Lamar, and Kacey Musgraves rolled through with unforgettable tunes, and rising artists from Sabrina Carpenter to Carin Leon announced their presence with authority. There’s a ton going on in hip-hop beyond headline-hogging beef. Great country records are coming out that look past Nashville for inspiration. To capture it all, we’ve sequenced our (unranked) list of favorites into a Spotify playlist.

Fontaines D.C., ‘Starburster’

Each instrument in Irish post-punk band’s scowling “Starburster” is ushered in one-by-one like a grand reintroduction. A seesaw of fuzzy synths lays the groundwork. Enter: a jangly piano, cascading sustained background vocals, a propulsive drumbeat … and then a total free-fall once frontman Grian Chatten’s punchy, grungy flow kicks in. Call it what you want — a sonic departure, a sexy reinvention — but one thing’s for sure: Fontaines D.C. are so back, and at their best. —L.L.

Beyoncé, ‘Ya Ya’

This Cowboy Carter highpoint applies the anything-goes spirit of late-Eighties hip-hop to Bey’s wide-open idea of American music. Over a stompin’, clappin’, snappin’ beat and a Nancy Sinatra sample, she evokes Tina Turner’s rock-soul sass, James Brown’s Black-and-proud testifying, and, most directly, the Beach Boys’ “Good Vibrations.” Her lyrics place her own family’s struggles against a backdrop of American economic, racial, and social hypocrisy, and wrap her anti-erasure gospel in a music that radiates freedom, resistance, and joy. –J.D.

Kehlani, ‘After Hours’

“I’m-a hit the gas if you ready to go,” Kehlani sings. Since her forthcoming album is titled C rash, the romantic acceleration she’s singing about might end up taking a hard turn, but in the space of this moment of club-levitating R&B gorgeousness, the future sounds like nothing but endless horizons and shattered speed limits. It’s also a hot flash of early-2000s nostalgia, with Kehlani vibing along to the Coolie Dance dancehall riddim that lit up several hits 20 years ago. She makes the groove her own, lighting up one of 2024’s finest summer jams. —J.D.

Ariana Grande, ‘We Can’t Be Friends (Wait for Your Love)’

After public scrutiny over her love life and her defiant response (“Yes, And?”), Grande showed a vulnerable side on “We Can’t Be Friends (Wait for Your Love).” It’s a moment of four-on-the-floor synth-glitz catharsis co-written and produced by Max Martin, alongside ILYA, that brings to mind another Martin-helmed masterpiece — Robyn’s introspective dance-floor classic “Dancing on My Own.” Whether the song is about Grande’s relationship with the press, an ex, or both, its raw mix of hurt and hope has the kaleidoscopic radiance of club lights in wet eyes. —B. Stallings

Kendrick Lamar, ‘Not Like Us’

Of all the songs that Kendrick Lamar unleashed against Drake this spring in a paroxysm of pure contempt, this is the winner  — the one you’re most likely to hear at sporting events, club nights, and summer festivals, with crowds of thousands cheering along to each vicious insult. A good part of the credit goes to Mustard, whose bouncy, brass-boosted beat is the catchiest thing he’s done since his early-2010s heyday. Kendrick takes that baton and runs with it, dismantling Drake’s entire being in terms that might be morally dubious but are sure fun to shimmy to. —S.V.L.

Kim Gordon, ‘Bye Bye’

Some people were shocked to hear Kim Gordon stepping confidently into post-industrial trap beats on her second solo album, but they shouldn’t have been — she’s been making freaky, brilliant noise since before much of today’s streaming audience was born. On “Bye Bye,” she talk-raps a packing list for a trip (“Blue jeans, cardigan, purse, passport”) in the same killer monotone she’s been using since Confusion Is Sex, only this time it’s over a deconstructed club banger. Your favorite avant-garde twentysomething wishes they sounded this cool —S.V.L.

Chappell Roan, ‘Good Luck, Babe!’

While in the middle of opening for Olivia Rodrigo on the  Guts  tour across North America, Chappell Roan dropped a song that would help skyrocket her to the next level of her rising pop stardom. “Good Luck, Babe!” is a big, bold pop anthem that makes it clear Roan won’t deny fate. She sings to a lover who would rather “kiss a hundred boys in bars” than accept their feelings for the singer — and probably women altogether. The track builds up to a big chorus where Roan belts her way to the top, making it clear that in a few years’ time, no one will be able to deny her power. —B. Spanos

Sabrina Carpenter, ‘Espresso’

Who says the song of the summer has to make sense? The effervescent synth-pop buzz of Sabrina Carpenter’s smash single is strong enough to make you think that you, too, are that me espresso — even if it’s been years since you’ve had to work late because you’re a singer. Sabrina keeps the rich, honeyed vocals and the witty innuendos coming, giving 2024 a much-needed splash of fun. She’s Mountain Dew, she’s a dream come true, she’s a pop star whose rizz rivals early Madonna. Pour us another cup, this one’s tiny!  —S.V.L.

Megan Thee Stallion, ‘Hiss’

“Hiss” was a potent warning to anyone who thought they could disrupt what the H-Town hottie has dubbed “The Year of the Stallion” (and a pointed comeback to disparagements from Nicki Minaj and Drake). Everyone took heed, and it brought with it Megan Thee Stallion’s third time topping the Hot 100, and her first time doing so completely solo. For longtime fans, it represented the down and dirty, no holds barred, UGK-studied rapping that made them fall in love with her. She herself credits it to her beloved ego, Tina Snow . —M.C.

Shakira, ‘Cómo Dónde y Cuándo’

Shakira channeling her Nineties rock-era energy was not on anyone’s 2024 bingo card, but we sure as hell will take it. On the track off her 12th LP, Las Mujeres Ya No Lloran , the Colombian singer taps into the angsty soundscapes of her classic 1998 album, Dónde Están los Ladrones? , for an exquisite pop-rock moment. Shakira proclaims, “Life’s a bitch,” before using this grungy cut to essentially say “Fuck it” and remind herself and her listeners to seize the moment, no matter how, where, or when . —M.G.

Illuminati Hotties, ‘Can’t Be Still’

Few, if any, indie songwriters can deliver an earworm as well as Illuminati Hotties’ Sarah Tudzin. On “Can’t Be Still,” she puts her gift for grabby arrangements and grabbier hooks — simple but effective riffage, percolating verses, frothy chorus — in service of lyrics about needing to stay in constant motion. The words are fitting for someone who, in addition to making her own albums, stays busy mixing, producing, and engineering others’ (she got nominated for three Grammys for her work on the last boygenius album). Here’s hoping that even if Tudzin slows down the catchy tunes don’t. —C.H.

Olivia Rodrigo, ‘So American’

It’s taken Olivia Rodrigo two albums and change before she finally delivered her first joyful love song, and maybe that’s why this is so great. She just can’t stop talking about how much she loves her new Brit boyfriend. The singer’s breathless adoration is palpable as she sings over a headlong bass line, bouncy, distorted guitar, and neon-tinted keyboards straight out of an old New Wave hit, delivering delicious lines like “He’s like a poem I wish I wrote.” It’s a giddy pop earworm and an absolute rock & roll banger. —M.G.

Blondshell feat. Bully, ‘Docket’

On the raging “Docket,” Blondshell’s Sabrina Teitelbaum mulls about love and trust on the road, while Bully’s Alicia Bognanno swoops in to join her on the second verse. This collaboration between the two indie-rock greats is so damn good that you end up wishing they’d join forces for an album. Until then, we’ll keep this on repeat. “It’s about uncertainty when you’re in different environments all the time,” Teitelbaum said. “In a way, it’s about wanting to cope with distance and change, but it’s also just a bit about being reckless.” —A.M.

Eliza McLamb, ‘Modern Woman’

Eliza McLamb first gained notoriety during the pandemic with the spicy TikTok song “Porn Star Tits,” and as the co-host of the podcast Binchtopia . But her excellent debut, Going Through It feels like the proper introduction to this fiery songwriter . The opening track “Modern Woman” contains some of the best songwriting you’ll hear this year, jam-packed with lines like “They love me when I’m miserable/Because I’m super marketable” and “2 p.m. is a wormhole into buying clothes on Instagram/And standing in front of my fridge eating deli ham.” It doesn’t get more relatable than that. —A.M.

Hozier, ‘Too Sweet’

Ten years after his debut hit “Take Me to Church,” Irish folk-soul singer-songwriter Hozier had his first Number One single with “Too Sweet,” and deservedly so. “I’d rather take my whiskey neat/My coffee black, and my bed at three/You’re too sweet for me/You’re too sweet for me,” he croons against the song’s tough, catchy retro-R&B groove. The song didn’t appear on his album Unreal Unearth because it didn’t fit the mood, but it’s landed perfectly now. —J.L.

Waxahatchee feat. MJ Lenderman, ‘Right Back to It’

Every indie head who heard MJ Lenderman’s Boat Songs in 2022 walked away thinking that they’d like to be and/or be bros with the shaggy North Carolina riff slayer. Waxahatchee’s Katie Crutchfield did one better, recruiting him to play lead guitar all over her latest country-rock LP. Their musical chemistry peaks on this sweet, leisurely duet about the joys of long-term partnership. Crutchfield and Lenderman harmonize like Emmylou and Gram, evoking Sunday-afternoon splendor in warm vocal tones punctuated by his laconic solos. —S.V.L.

Rosali, ‘On Tonight’

You walk into some bar in some city — Greensboro or Akron or whatever — and there’s a band in the back that somehow sounds like Linda Ronstadt fronting Crazy Horse. That’s the vibe on Roasli’s album Bite Down . “On Tonight” is her stand-out moment. “Yeah, you freak me out/And that’s what I came for,” she sings. Sounds like a party, the dark hunger in her voice adding to the slow-build tension in the guitars. The result is a roots-rock booty call of the first order. —J.D.

This Is Lorelei, ‘I’m All Fucked Up’

Nate Amos is best known as half of the ravenously all-over-the-place Brooklyn noise-pop duo Water From Your Eyes. He’s also been churning out dolorous little lo-fi tunes at a relentless clip under the moniker This Is Lorelei. His forthcoming record, Box for Buddy, Box for Star, is a great entry point into his sweet little sound world, particularly “I’m All Fucked Up,” a lickity-split blast of pencil-necked guitar gush with bad-dream lyrics that’ll leave you smiling along as you struggle to keep up. With this guy, the ideas don’t ever seem ever stop flowing —J.D.

Koe Wetzel, ‘Damn Near Normal’

The Texas party animal sums up the “Damn Near Normal” life he’s carved out for himself in this bleak yet swaggering ode to indulgence. All the beers and late nights may seem like rock-star fun, but Wetzel admits he secretly “hates it,” and self-medicates with melatonin, weed, and a “fistful of Xans just to fall asleep.” He watches with something close to regret as his friends marry off, raise kids, and work steady jobs — while the touring musician is left wondering, “Can’t believe I’m livin’ like this.” —J.H.

Liam Gallagher and John Squire, ‘Just Another Rainbow’

While Oasis fans continue to hope against hope for a Gallagher-brothers reunion, Liam is off making some of the best music of his solo career, teaming up with Stone Roses guitarist John Squire for this sneering blast of Brit-pop. Gallagher could sing the phonebook and make it sound cool: Here, he croons the colors of the rainbow — “Red and orange/Yellow and green” — to equally mega results. —J.H.

Kacey Musgraves, ‘Cardinal’

To open her latest studio album, Deeper Well , Kacey Musgraves looked to nature to set the tone. “I saw the sign or an omen on the branches in the morning/It was right after I lost a friend without warning,” the country superstar sings on the LP’s introspective opener “Cardinal,” which was inspired by Musgraves’ late friend John Prine. “Cardinal, are you bringing me a message from the other side?” she sings on the chorus of the transfixing track, which is steeped in Seventies melodies and rolling acoustic riffs that would surely make Prine smile. —J.L.

Elvie Shane, ‘215634’

Kentucky songwriter Elvie Shane adds an instant classic to country’s pantheon of prison songs with this look at how the penal system dehumanizes inmates. “My name ain’t my name no more/It’s 215634,” he sings in a whine straight out of the holler, rattling off his new identity. The song is also a statement on recidivism: The protagonist ends up back behind bars for shooting a man in self-defense with a gun he illegally owned. —J.H.

Abby Sage, ‘Milk’

“I want to drink my milk in my own filth,” sings Abby Sage on “Milk,” her fragile tone floating above a swaying, sly acoustic guitar and contained percussion. Sage’s lyricism throughout her album Rot is totally carnal, evocative, and fantastical, anchored by her thoughtful interiority and utter awareness of her physical form. “Milk” is a whimsical exploration of childhood through several lenses: the innocence of being young, the filthiness of discovery, and the charm of curiosity. —L.L.

Marina Allen, ‘Red Cloud’

The Los Angeles singer-songwriter dives deep into her family mythology for the enchanting “Red Cloud.” On it, she paints a simple, pre-industrial portrait of Nebraska, complete with dreamy plains, ponies, and a magical stew. She told Rolling Stone about channeling her hero Joanna Newsom on this track, but what you hear is ultimately Allen herself, a brilliant songwriter on the rise. —A.M.

Tini, ‘Ni De Ti’

Tini, a massive celebrity in her native Argentina, is a former child star who hasn’t been afraid to share the dark side of the fame as a young tabloid fixture. On “Ni De Ti,” she unceremoniously melts the haters: “To the people who believe or feed these lies, I desire from the bottom of my heart that you find something more productive with your empty lives,” she offers in Spanish, flashing knife-eyed rage as her distorted voice slams against a scorched-earth electro-punk track. Take Kesha at her most no-fucks-given, subtract about ten-thousand fucks, and you’ve got the idea. —J.D.

Conan Gray, ‘Lonely Dancers’

Usually Conan Gray is an emo-anguish folk-pop singer-songwriter guy. Here, he switches it up for a Max Martin-produced (and sung on) synth-pop homage to Eighties greats like Erasure, Yaz, and Depeche Mode, matching sad romantic overkill with peppy keyboard glitz. Gray even adopts a flouncy Euro-sleaze accent, committing to the bit like a champ, and in an inspired twist of historical revisionism, the bridge adds in a spritz of Thriller -era Michael Jackson, like we’re twisting between radio stations on a summer drive in 1982. —J.D.

Good Looks, ‘If It’s Gone’

A different kind of breakup song. On “If It’s Gone,” frontman Tyler Jordan holds an ex to account and hopes the best for them, too. It’s a standout single from Texas indie-rock outfit Good Looks’ second album, Lived Here for a While , propelled by Tom Petty-esque drums and shimmering War on Drugs-style guitars. Good Looks are beating the sophomore slump by wearing hearts on sleeves and showing that maturing doesn’t mean becoming less fun . —B. Stallings

Dehd, ‘Dog Days’

The heartbreaker and the brokenhearted — you can’t have one without the other, you can’t be one and never the other. It’s a contradiction the Chicago indie-rock trio Dehd drive to life-affirming heights on “Dog Days,” the opener from their new album, Poetry . Rambunctious, infectious, and the right amount of reckless, “Dog Days” speeds by in tantalizing flashes punctuated by spitfire downbeats that recall (in the best way) Blink-182’s “First Date” and a call-and-response refrain that starts with Jason Balla bellowing, “It’s a dog day,” and Emily Kempf replying, “ Ahhhooooo! ” —J.B

Willow, ‘Big Feelings’

There’s something almost theatrical about Willow’s “Big Feelings.” It’s soaring and chaotic, with a complex opening piano giving way to her explosive opening verses — “I have such big feelings/Can’t shut ‘em down without a sound” — sung as if she has no choice but to blurt out the messy, giant tangle of feels building up inside right now . Willow has said the track “has a darkness and complexity that reflects what we all experience in our own minds.” It’s definitely a showstopper. —L.T. 

Hovvdy, ‘Forever’

You know the Y2K nostalgia cycle is in full effect when acoustic guitars paired with record-scratching comes roaring back. That’s not to say Hovvdy’s “Forever” is full-on Sugar Ray pastiche. Its charms are ultimately more back-porch country, fused with some of the tender, electronic open-heartedness of the Postal Service, a novel combination that blossoms into the simple declaration: “Goddamn I swear I/Will always love you/Yeah, I’ll fall forever.” The record-scratching is deftly placed accoutrement, a fun feature that warms the heart, and makes the prospect of “Forever” irresistible. —J.B.

Nilüfer Yanya, ‘Like I Say (I Runaway)’

Time doesn’t exactly slip into the future on Nilüfer Yanya’s “Like I Say (I Runaway).” It’s more inescapable. Rife with the pressure to seize it, make the most of it, spend it the right way, because it’s the one thing you can’t get back, can’t control. The London singer-songwriter pairs this meditation with a mesmerizing lead guitar riff that bends through the verses with a rich acoustic thunk before leaping into fuzzed-out delirium as she sings, “The minute I’m not in control/I’m tearing up inside/And I can’t stop you leaving/Is the biggest fear of mine.” —J.B.

TitoM and Yuppe feat. S.N.E and EeQue, ‘Tshwala Bam’

“Tshwala Bam” may be the year’s first globally resonant amapiano track. South African producers TitoM and Yuppe teamed up on its intense and brooding beat, tapping S.N.E for lead vocals and EeQue for additional ones (you may recognize his voice from Uncle Waffles’ “Yahyuppiyah,” one of our top Afropop songs of 2023 ). “Tshwala Bam” is performed in isiZulu, their country’s most widely spoken indigenous language. S.N.E, who wrote the hook, told The Native that what sounds like a party song is actually about the perils of abusing “tshwala” — alcohol, which he’s seen torment people around him. —M.C.

Tems, ‘Love Me JeJe’

Sweet and sunny, Tems’ “Love Me Jeje” is inspired by a radically different Nigerian hip-hop song from 1997 by Seyi Sodimu of the same name. Tems completely reimagines its rap and boom bap with new lovelorn lyrics wrapped around Sodimu’s cute chorus, tinny guitar, and raw Afro drumming. The way Tems sings about her utter devotion takes the piecemeal, straightforward shape of other parts of her freestyled discography but forgoes the gravity of hits like “Higher” and “Free Mind.” Intimate in its simplicity, “Love Me Jeje” builds into a grand, orchestral affair . —M.C.

SiR, ‘Tryin’ My Hardest’

Most of Heavy , SIR’s highly anticipated follow-up to his excellent 2019 LP, Chasing Summer, finds him burdened by internal tumult — particularly, as he told Rolling Stone, with addiction and its impact on his marriage. Tucked toward the end of the album, “Trying My Hardest” feels like the first ray of sun breaking through passing storm clouds (“We’re good now, but I did a lot of dirt,” the singer told us). It’s a methodical confession of the ways SiR is giving being better a shot, beautifully crafted with soft guitar, jazzy bass, delicate piano, and upbeat percussion that, in unison, sounding like the epitome of cautious optimism. —M.C.

Usher & Pheelz, ‘Ruin’

Ahead of a groundbreaking Super Bowl half-time retrospective and Coming Home , and his first album in more than five years, Usher released this Afrobeats-tinged confession to a spree of heartbreak-induced rendezvous with women who don’t mean much to him. Gorgeously complemented by Nigerian producer-performer Pheelz’s buoyant touch, “Ruin” falls in line with all other evidence that Usher is one of the most timeless musicians of his generation, able to remake almost any Black sound in his image. —M.C.

Future, Metro Boomin, and Kendrick Lamar, ‘Like That’

“Like That” isn’t just a setoff to “the great rap war,” it’s a top-tier party track that exemplifies why Future and Metro can stake a claim for artist-producer duo of their generation. Riding Metro’s flip of Rodney O and Joe Cooley’s “Everlasting Bass,” Future laces his melodic ode to everyone who’s “Like That” with characteristic vivid toxicity. But Kendrick Lamar’s verse is what turns the track into one of the most memorable of the decade. Kendrick and Drake’s beef was bookended by two party records with affirmational choruses; The same people who are now screaming, “They not like us,” were probably raving about being “Like That” first. —A.G.

Cardi B, ‘Enough (Miami)’

“I know for a fact I make fucking hits,” Cardi B told Rolling Stone in her June cover story . She’s been hard at work on her long and much-anticipated sophomore album, with “Enough” dropping earlier this year like something of an appetizer — and sure enough, it’s one of her best declarations of how much she’s accomplished and how little shit she’ll take. “I’m in Miami, I pull up on cruise ship/You in Miami four-ho’s-to-room shit,” she teases, pulling the insult from experience. Sure enough, it’s the hard-hitting rap track like this one that leveled her up . —M.C.

MIKE and Tony Seltzer feat. Earl Sweatshirt and Tony Shhnow, ‘On God’

Earlier this year, MIKE told Rolling Stone that he viewed his Pinball album with Tony Seltzer as a chance to pivot from the soulful, traditionalist-leaning sound he’s known for without making a big deal about it. It all comes together on “On God,” where they’re joined by Earl Sweatshirt. All three men are experts at barely enunciative delivery that feels free-jazz-esque, and here they deliver nonplussed flows that meld into Seltzer’s ominous, hypnotic composition. —A.G.

Cash Cobain, Bay Swag, and Ice Spice, ‘Fisherrr’ (Remix)

There’s something to be said about a signature sound, when any artist who collaborates with you wants to enter your world. That’s rapidly become the case with Cash Cobain, who’s had Drake and J. Cole both jump on his beats. His peak this year is the “Fisherrr” remix, on which Ice Spice gives Cash and Bay Swag’s already buzzing hit a feminine touch, mirroring their slinky cadence and rhyming. Cash has been on a roll as of late, but we didn’t forget this May harbinger for a slizzy summer. — A.G.

Fletcher, ‘Doing Better’

While Fletcher’s new album, In Search of the Antidote, reflects a shifting point of view in her music toward healing, “Doing Better” reminds us that the rising pop songstress isn’t afraid to get messy and dominate your For You Page. Singing about an ex’s new girlfriend — who was also the focus of her 2022 hit “Becky’s So Hot” — Fletcher sings, “Your girlfriend never thanked me/For making her go viral/Fuck it, I’m her idol.” The song reflects the record’s theme of stepping into the light — even if there’s still some edge and get-back to be had. —W.A.

Taylor Swift, ‘Guilty As Sin?’

Taylor Swift is often at her best when she allows all sides of her musical interests and capabilities to co-exist at once. This soft-rock banger is a little pop, a little folk, and a little country, as she dreams of another man while still in her current relationship. This dangerous fantasy allows Swift’s dreamiest songwriting to shine through; she sings about “drowning in the blue Nile,” while thinking about her imagined lover and writing “mine” on her upper thigh. Not since “The Piña Colada Song” has an almost-infidelity sounded so radio friendly and romantic. —B. Spanos

Carin Leon and Leon Bridges, ‘It Was Always You (Siempre Fuiste Tú)’

This lush border crossing collaboration between Musica Mexicana star Carin Leon and rootsy Texas R&B artist Leon Bridges beautifully updated the rich Mexican-American tradition in country music, which goes back to Seventies greats like Freddy Fender and Johnny Rodriquez. “It Was Always You (Siempre Fuiste Tú).” is a painstakingly lovely heartbreak ballad in which the two artists’ voices weave together in a sublime moment of bilingual harmony. –J.D.

John Summit and Hayla, ‘Shiver’

After last year’s Hayla-assisted “Where You Are” turned John Summit into the hottest name in house music, the two linked up once again and knew they had to recapture that magic. Enter the euphoric “Shiver,” which Summit describes as the most emotional track he’s ever made. “The ‘I want this forever’ line just really, really hits me because I feel like I’m at the top of the world right now and I love it so much,” Summit, who’s set to headline Madison Square Garden, told Rolling Stone . —W.A.

Charli XCX, ‘Von Dutch’

Charli XCX promised a tribute to the underground London rave scene with her sixth album,  Brat , and lead single “Von Dutch” proved she wasn’t lying. The brash, aggressively fun single is one of XCX’s many tributes to being the It girl on everybody’s minds this year, both flipping off and embracing the gossip and obsession. One of pop’s boldest auteurs, XCX still finds new ways to make it clear she’s pushing boundaries and creating trends. And as an added bonus, the A.G. Cook remix featuring Addison Rae triples the excitement and is bound to be a club staple beyond just this summer. —B. Spanos

Kali Uchis feat. Peso Pluma, ‘Igual Que un Ángel’

“Igual Que un Ángel,” Kali Uchis’ turn toward dreamy disco pop was a surprise even for an artist that’s down to experiment with most sounds and genres. She practically coos the lyrics, about a woman owning her autonomy, juxtaposing the strength of the message with an air-light touch. Then there’s another unexpected moment: Mexican crooner Peso Pluma slides in for a verse, his gravelly voice suddenly soft and silk-smooth. Their quick chemistry might be why the song made the Top 10 of Billboard ‘s Global 200 earlier this year. —J.L.

FloyyMenor and Cris MJ, ‘Gata Only’

Nobody really saw FloyyMenor and Cris MJ’s dark, lo-fi reggaeton hit coming. The shadowy track is wrapped up in a bit of mystery — until “Gata Only” broke through, FloyyMenor was a local, hard-to-pin-down Chilean artist whose face and identity had been hidden from the internet. But once he teamed up with fellow Chilean and rising star Cris MJ, they had some magic in their hands: “Gata Only” blew up on TikTok and blasted up the charts, becoming one of the summer’s most inescapable club bangers —J.L.

Myke Towers and Bad Bunny, ‘Adivino’

Myke Towers and Bad Bunny have been frequent collaborators throughout the years, but “Adivino” is their most unexpected link-up yet, starting with the song’s dark, dubby production and thudding electronic beat, thanks to work from producers Cruz, Eiby, Finesse, Jerom Su’a, and Tainy. From there, they keep things unpredictable: Bad Bunny charges in and throws some cryptic lines about an old relationship that instantly got the Internet wondering who he was referring to, while Towers goes hard on his verses, even rapping a few lines in English. –J.L.

Allie X, ‘Galina’

Only Allie X could make a song inspired by a Russian woman’s natural eczema cream. On “Galina,” the dark-pop troublemaker heightens the existentialism of her new album, Girl With No Face, with the real-life story of Galina, a woman who made a magical eczema-curing cream. “Galina, wake up/I’m running out of luck/And I get so ugly without you,” she sings in the chorus. The track is a synth-filled banger and a standout on the Eighties-inspired album. —T.M.

Lip Critic, ‘In the Wawa (Convinced I Am God)’

Pounding, distorted beats, twisted vocal samples, and a guy screaming incomprehensible lyrics about protozoa and perdition. If this sounds fun to you, you’ve gotta check out Lip Critic, the New York quartet making some of the strangest sounds in any genre. Lead bellower Bret Kaser has a disorienting sense of humor that comes out on songs like this one: “Standing in the Wawa, convinced I’m a god/So I’m gonna get any sandwich I want.” Is that a satire of toxic male ego, a comment on convenience-store economics, a Yeezus reference, or none of the above? Don’t worry about it. —S.V.L.

Flo, ‘Walk Like This’

An opening with heavenly harmonies, a catchy chorus with sultry lyrics, and a can’t-miss bridge? What else would we want in a song by Flo? MNEK produces “Walk Like This” to perfection, giving Stella Quaresma, Jorja Douglas, and Renée Downer their time to shine. Seeing the fast-rising British trio perform this track at Coachella was a reminder: Girl groups are back. —T.M.

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