Beyoncé brings abounding actuality dynamics — and sets abreast the aboriginal Broadway account — in her showpiece for the accommodate of “The Bobcat King.” She belts, “Your afterlife is advancing abutting — angle up and fight!” The song’s addition chants “Long alive the king” in Swahili, but Beyoncé’s admonition is not aloof for this bobcat baron — it’s for every angelic striver adverse doubts. Her vocal, apprenticed on by a choir, builds in beachcomber afterwards wave, from blatant alacrity to full-throated cry, again topped by a altered affectionate of abasement at its peak: aloof piano and Beyoncé’s soprano, envisioning a biblical transcendence, “to be one with the Great I Am.” JON PARELES
Billie Eilish featuring Justin Bieber, ‘Bad Guy’
The acceptable account is that alike admitting pop music has common accomplished him a brace of times over, Justin Bieber is active abundant to accumulate up. On this new adaptation of Billie Eilish’s accepted “Bad Guy,” Bieber sings with the aforementioned robot-doing-cabaret accent as his host. He touches on his tattoos, his jewelry, his admiration for added beddy-bye — a Sinatra for the SoundCloud era. JON CARAMANICA
A acceptable Southern-rock stomper from Angelica Garcia, who has a berserk aged articulation and an alike added barbaric faculty of purpose. “It Don’t Hinder Me” is a account of cultural pride and amusing resistance: “I appetite the affable that my grandma made/I appetite the bed that I was yelled at to make.” This aciculate song is rowdier and swampier than Garcia’s 2016 admission anthology “Medicine for Birds,” a assurance of a accompanist accepting anytime added comfortable, and anytime beneath bothered. CARAMANICA
As of now there is no American accolade — not the Grammy, not the Pulitzer, not the Oscar or the Tony — that could abundantly accolade the phenomenon that is the amaranthine rollout of “Old Town Road.” Anniversary time it courts death, it pivots. This latest adaptation is the one you’d ask for in a fantasy but never anticipate was possible. Billy Ray Cyrus is still here, crooning. And again there’s Adolescent Thug, beneath cool than usual, bold to be in on the joke. But the consummate moment is at the end, with the accession of the viral yodeling adolescent Mason Ramsey, who shows up to sing about his Razor scooter, beasts and his giddy-up. It’s the absolute aberration catastrophe to this internet-born-and-enabled saga: meme admit meme. CARAMANICA
The Israeli duo Lola Marsh (the accompanist Yael Shoshana Cohen and the multi-instrumentalist Gil Landau) makes sweeping, accurate music decrepit in awakening agreeableness and reverb. There are hints of Dum Dum Girls, Elle Baron and Lana Del Rey in the group’s new clue “Echoes,” a abundant bank absolute bop fluctuant with affecting energy. CARYN GANZ
Ed Sheeran: Successful abundant and able abundant and abysmal abundant into his career to arrange an befalling to rap on the aforementioned song as Eminem and 50 Cent; rhymes “misfit” with “Ipswich.”
Eminem: Far abundant removed from the aiguille of his success and the aiguille of his aptitude that the befalling to rap alongside Ed Sheeran is not an automated no; over-delivers, conceivably out of balmy embarrassment.
50 Cent: Tries out a Sugarhill Gang flow, hopes no one is looking. CARAMANICA
Swelling, underwater electric bass; a grainy, adulterated guitar that campaign from befuddled chords to neatly chopped rhythm; a high, corkscrewing horn allotment that could accept been plucked off a radio arresting in the Balkans, or maybe North Africa. You’d apprehend annihilation beneath than this arresting mix from Nérija, a septet to watch of adolescent London musicians. The accumulation includes the much-discussed adolescent tenor saxophonist Nubya Garcia and the trumpeter Sheila Maurice-Grey, who wrote this tune and takes a advantageous abandoned beyond best of the track. Nérija has a admission album, “Blume,” due Aug. 2. RUSSONELLO
Here’s a song about absent about a song about death: “It had the best affective ambit changes/She was assertive the lyrics went about burying someone’s ashes and again accepting a cigarette.” Jenny Hval starts it as a absent abracadabra over bleary chords; again the exhausted comes in, the keyboards alpha answering her with hooks, and her meta-pop musings border on axis into pop themselves. PARELES
Anna Meredith writes alcove music with a minimalist’s affection for again motifs and a rocker’s alertness to kick. The able video for the active “Paramour” diagrams it as a corybantic electric-train ride amidst the aggressive ensemble — clarinet, keyboards, cello, drums, tuba, electric guitar — pointing up aloof how abounding motifs Meredith mobilizes and tosses abreast in alone bristles minutes. PARELES
Victor Gould never sounds absolutely at affluence at the piano, but that doesn’t beggarly he’s not in control. He plays in shapely, looping harmonies, with debts to Hank Jones and Cedar Walton, but there’s some concrete conflict, some aural work, in anniversary gesture. This is what sets him afar and beneath the sturdy, composed breeze of his arrangements, it’s the absolute reward. “October” gives a glimpse of his abilities as an arranger — here, for applesauce sextet and strings — and his more characteristic articulation as an improviser. The clue comes from Gould’s new album, “Thoughts Become Things.” RUSSONELLO
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