Justin Bieber And Ed Sheeran Travel Through A Wild Green-Screen Universe In ‘I Don’t Care’ Video

Justin Bieber and Ed Sheeran‘s new collaboration, “I Don’t Care” has gotten a visual treatment with enough green screen to film a siege of King’s Landing. The video, which released earlier today (May 17) is a touching, often adorable, and sometimes terrifying look at the highs and lows of green screen. No matter what’s happening onscreen, no matter what’s happening in the world, it doesn’t matter because the two are with their partners. And they make the chaos of it all disappear.

Sheeran’s a panda, Bieber’s a walking, singing, corn-on-the-cob. Sometimes, Bieber’s a waffle cone, sometimes on top of a centaur’s lower body. All the time, however, the two are in front of a green screen. “I Don’t Care” is perhaps one of the wildest, wide-reaching in the creative landscape, videos of the year. Ed Sheeran travels through screen after screen of party and leisure at the pool, the contrast between his pixelated nature and his background making the green screen apparent. Bieber similarly journeys through locales and inexplicably gets chased by a gigantic Tyrannosaurus Rex. “Inexplicable” is probably the best word to describe this collection of vibrant, scary, and eclectic images. They just exist, strung together. But in a way, they fit, somehow.

Bieber and Sheeran released “I Don’t Care” last week. Bieber returned to the stage as a surprise guest during Ariana Grande‘s Coachella set in April. While there, he announced that new music would be on the way. Now that it has arrived, it looks like his self-imposed break from music that he announced in March is finally over.

Watch the crazy video for “I Don’t Care” below.

Alex Lahey’s Empathetic, Vulnerable New Album Is a Guide to Surviving Your Twenties

Alex Lahey is very relatable. You may have heard. Following the 2016 release of her “highly likeable” breakthrough track, “You Don’t Think You Like People Like Me,” the burgeoning Australian pop-punk artist not only won a substantial songwriting grant — “Her turn of phrase was quirky and intelligent, and really relatable,” said the prize’s namesake, Josh Pyke — but also went on to capture the hearts of critics and fans alike in the wake of this newly earned attention. After 2016’s B-Grade University EP, her 2017 debut LP, I Love You Like a Brother, and a late night television debut with Seth Meyers, Noisey U.K. called Lahey “relatable and ready for anything,” while Stereogum celebrated her “charming, relatable, and ultimately hopeful” approach to navigating early adulthood. Her music captured the sound of someone growing up, but feeling like they’re doing it all wrong — a feeling that is, well, pretty relatable.

Lahey’s appeal is no less present on I Love You Like a Brother’s follow-up, The Best of Luck Club, released today (May 17) via Dead Oceans. Its sweet and soaring pop-punk soundtracks the spiritual hangover that sets in as you gradually enter your late-twenties, a disorienting time in our lives when we fight to solidify the specifics of who we are and what we’re after. In the process, we perhaps settle down, take ourselves a little more seriously, slough off some relationships and adjust others. People change, but so do you.

For Lahey, that’s where The Best of Luck Club comes in. After settling in Nashville to begin writing her second album, she became drawn to the city’s dive bar scene — particularly, its oldest haunt, Dino’s, a place where she would often go to unwind after spending the day writing. Inspired by the warmth and the “anything goes” attitude of the space, the structure for the album loosely frames each song as the story of a fellow elbow-bender, another patron at the counter sharing their troubles, hearing yours, and signing off from the conversation with a well-meaning, “Best of luck.”

“All the people that inhabit the album exist within me. That’s the thing — I think even within all of us as individuals, there are so many different stories and different characters within us,” she tells MTV News. “We express so much of so many different people within ourselves. That’s why I think it’s so important to be able to empathize. That’s a really important part of the ethos of The Best of Luck Club: The vibe is that we’re not all that different, which is why we need to look after each other. The Best of Luck Club is that place where we can go and support one another.”

Dead Oceans

It’s that vulnerability, Lahey says, that’s so key to not only surviving this period of change in your life, but enjoying it.

“There’s so much power in vulnerability, and if you’re not able to be a vulnerable individual, you’re not going to reap the benefits or the rewards of being really happy and courageous at the end of that,” she says. “That’s something that’s a big part of the spirit on this album: Putting it all out on the table and feeling the relief of that and the happiness that comes with that.”

Written over the period of 12 months, The Best of Luck Club caught Lahey at a moment where she was finding her footing both professionally and personally, beginning to understand the balance of managing a thriving career in music with the responsibility to maintain long-term relationships and friendships. Along the way, she moved in with her girlfriend, played nearly every instrument you hear on The Best of Luck Club (yes, including the tearing sax solo on “Don’t Be So Hard On Yourself”), and even co-produced it with Melbourne native Catherine Marks. Pairing with Marks was crucial to making the album, Lahey notes, as her meticulous production and engineering expertise — which has contributed to songs and albums by The Killers, Foals, Local Natives, and a favorite of Lahey’s, The Big Moon — helped the two form a tight-knit, creative bond that steered the project’s softhearted core.

Together, they were guided by a simply philosophy: “Trying shit and seeing how it makes you feel,” Lahey says. Holed up in Melbourne’s Sing Sing South recording studio every day for a little over a month, they were able to immerse themselves in the The Best of Luck Club, spending hours searching for that one sound that could strike a certain emotional chord — a marked difference from the process of making ILYLAB, Lahey notes, which was recorded in chunks of time around her first tour.

“There was so much laughing and fun and mucking around in making the record,” Lahey says. “Fun is a big thing that I want to come out of this record. I want people to have a lot of fun with it, and I want them to interpret it in the way that fits their lives — to go with the metaphor, that they can go in the door and have a seat, that there is somewhere they are understood.”

Throughout the album, Lahey keeps that door ajar. The Best of Luck Club begins with “I Don’t Get Invited to Parties Anymore,” a power-chord-backed romper braced by lines engineered to pierce the heart: “I’ve lost track, it’s caught me by surprise / Can I go back and not be left behind?” Lahey sings close to its final, sweeping chorus, pining for a chance to reconnect with people as they’ve begun to fade away. The song finds its subject at a crucial turning point in their life: The moment they suddenly realize that everything and everyone they know is a little different now.

“‘I Don’t Get Invited to Parties Anymore’ is about coming out of your own scene in your early twenties and people have jobs and they’re moving on into their own relationships and commitments and you have to adjust the way you interact with them and adjust your expectations,” Lahey explains. “Sometimes, especially with school relationships and college relationships and that kind of thing, these bonds form kind of in a very institutional way — you go to the same place every day, you see the same people, and you create a relationship, which is wonderful and beautiful, but that doesn’t last forever. That way of getting to know someone doesn’t last forever. And you kind of have to change and adjust with the new environment that you find the relationship in.”

In kind, the album goes on to explore self-doubt (“Am I Doing It Right?”), heartbreak (“Unspoken History”), and aimless one-night stands (“I Need to Move On”). “Misery Guts” — a familiar ripper for any ILYLAB fan, and a favorite of Lahey’s touring bandmates — is a kiss-off to the backseat drivers in your life when you need to instead find your own way.

“Don’t project your shit on me so you can feel better about yourself by telling me what do because you feel like you can,” Lahey says. “That takes many different forms. A classic is the old dude coming up to you at the end of a gig being, like, “You know what I think would sound really good…?” That kind of thing, which is so fucking annoying.”

Despite its bouts with these recognizable crises, though, The Best of Luck Club manages to find a happy ending. The album closes on “Black RMs,” a love-struck anthem to the sensation of finding your soulmate, and “I Want to Live With You,” which treats shacking up with the tender romance of a John Hughes movie’s climactic kiss. That the album arcs so neatly is merely coincidence, Lahey notes, but it’s not hard to see the parallels between its tidy conclusion and the changes Lahey has made to her own life — or the journey any 20-something might weather as they stumble toward a surer version of themselves.

Altogether, The Best of Luck Club is akin to ILYLAB’s sweeter cuts like “Awkward Exchange” and “Lotto In Reverse” — the guitar effects and synth flourishes devised by Marks support Lahey’s rowdy playing and give the album a dreamy, arresting glow. If there’s a certain listlessness that develops in us as we get older, a loss of lust for life as we grapple with our own self-doubt, poor decisions, and waning ties, Lahey and Marks are the antidote.

With her second album, the vulnerable, empathetic songwriter continues to chart a course for growing up that is certainly relatable but, most of all, inspiring. Through heartache, missteps, fear of the future, and all, Lahey doesn’t let us lose our faith in fun, old friendships, forging new bonds, nor the capacity to be energized by those we find. The Best of Luck Club is open for all these stories. All we have to do is pull up a chair.

DJ Khaled’s ‘Higher’ Video Is A Triumphant, Loving Tribute To Nipsey Hussle

DJ Khaled‘s Father of Asahd is officially here — 15 tracks spanning trap, R&B-inspired pop-rap, and an OutKast interpolation, and featuring a typically superstar roster of Jay-Z, Beyoncé, Future, Justin Bieber, Chance the Rapper, Quavo, Cardi B, Meek Mill, Post Malone, Travis Scott, and somehow even more. We already know some of the songs here, like “Top Off” and “No Brainer,” but luckily there’s an entire cache of new tunes to dig into. One of them is the celebratory ode “Higher” that’s taken on a new meaning since its recording.

“Higher” finds Khaled paired up with John Legend and the late Nipsey Hussle — and the song’s video, which dropped at midnight on Friday (May 17), features Nipsey, Legend, and Khaled palling around in L.A.’s Inglewood neighborhood, not far from where Nipsey grew up. It’s also, as the title card tells, a loving tribute to Nipsey himself and his life.

Centered around a sky-high chorus hook and piano work from Legend, “Higher” allows Nipsey space to tell an origin story of sorts: “Pops turned 60, he proud what we done / In one generation, he came from Africa young / He said he met my moms at the Century Club / Los Angeles love kinda of like Hussle and Boog,” he raps. The video, directed by Eif Rivera, finds all three stars in their finest, contrasted against the biggest, bluest sky. It might even make you misty eyed.

The crew shot the video just days before Nipsey’s murder in late March. “He was so gifted, so proud of his home, so invested in his community,” Legend tweeted shortly after Nip’s death.

Father of Asahd is out now, along with the exultant “Higher” video. Check it out above.

Chance The Rapper And Tisakorean Talk Food And Pop Culture On Witty ‘Groceries’

Chance the Rapper has released a new tune that’ll make you feel all warm and fuzzy inside. It’s “Groceries,” a collaboration with Texas dance-master rapper Tisakorean and its bubbly energy will make your Friday much better, no matter how absurdly good it already is. It’s pure, nonsensical, fun.

“Groceries” is Chance the Rapper in rare form. With nice and steady trap drums that boom and bang like cannons, the jubilant melodic loops circle around like a hula hoop on the waist. Tisakorean handles the refrain and Chance tackles the chorus and the differences between their voices, the former a deeper and wider growl and the latter having a grating siren, making for an interesting contrast. Their raps are laced with pop culture references, from Spongebob Squarepant‘s Patrick Star to Braxton from The Jamie Foxx Show. Chance sounds reinvigorated next to Tisakorean’s whimsical raps and the combined effect makes for a thrilling new look.

Earlier this year, Chance teased that he would be dropping an album in July. In April, he released a venomous track with Lil Yachty, “Atlanta House Freestyle.” Combined with his latest Tisakorean-assisted drop, it appears that Chance season is upon us.

Listen to Chance and Tisakorean talk pop culture on “Groceries” up above.

Elle Winter Just Can’t Seem To Pull Away On Fizzy, Highly Danceable ‘Sick Of You’

Rising young pop singer Elle Winter is at the center of a sensory overload on “Sick of You,” her latest single and a confectionary slice of funky liberation. She might sing “When the night is over, we keep wanting more / I found myself running back to your door,” but from the sound of the production behind her, she’s actually having the time of her life.

“Sick of You,” as Winter explained in a statement, “describes being with a person who understands you and that you connect with.” That fizz is captured here over limber production work from The Orphanage, the behind-the-board duo of Trevor Brown and Zaire Koalo, whose soundtrack here recalls the ’80s work of Quincy Jones.

The duo provide right kind of foundation over which Winter can deliver the sweet, simple message implied by the title: “I can’t get sick of you.”

Winter began her career in movies with an assist from Disney, appearing in 2015’s 3 Generations and last year’s The After Party, led by rapper Kyle. While her first EP is still a few months away (it’s due out this fall), “Sick of You” is the second track we’ve heard from her this year after the Cherry Beach-assisted, EDM-tinged “Easy.”

And as she revealed on social media, “Sick of You” has the distinction of being released on her birthday.

Winter’s sound is in good hands: her producers also recently worked on Lizzo’s “Better in Color” and the towering 5 Seconds of Summer/Chainsmokers collab “Who Do You Love.”

Listen to “Sick of You” above. It can be your own personal birthday gift to Winter.

Tyler, The Creator’s New Album Igor Has Some Rules To Follow For Your First Listen

Tyler, the Creator‘s new album, Igor, is finally out. That’s one part of the news. The second, equally important part, is that when you listen to it, you have to listen to it in a very particular manner; “No skips. Front to back. No distractions either,” he wrote in a special note on Twitter on the eve of the LP dropping. So take that into consideration today when you’re basking in the fifth studio album comprised of songs that he produced, wrote, and arranged himself (also revealed in the same note). Follow the instructions.

Igor is different from anything else that Tyler, the Creator has ever released. So this pink note in question lays out exactly what to expect when listening to it: don’t expect anything. “Igor. This is not Bastard. This is not Goblin. This is not Wolf. This is not Cherry Bomb. This is not Flower Boy. This is Igor,” the note reads.

The LP credits no features, but Playboi Carti sings on “Earfquake” and Kanye West‘s voice can be heard on “Puppet.” The 12-track album features the full versions of previously teased tracks, “Igor’s Theme,” “Whatsgood,” “A Boy is A Gun,” and “New Magic Wand.” On Twitter, he announced that the vinyl will be available in “a few weeks.”

Tyler gave an exciting Twitter countdown to the LP’s release last night; he was clearly as exhilarated as fans were. He tweeted at 50 minutes, then 40, 30, 20, and 10 before then posting one every minute until the clock struck 12. His last was “ONE MINUTE FUCK” before posting the link to the album. Now that the new Creator music has arrived, the two-year wait (not counting “You’re a Mean One, Mr. Grinch“) since Flower Boy is finally over.

Check out Igor up above and remember, no expectations. 

Halsey Is Bloody And Brawling In Her Tenacious ‘Nightmare’ Video

Welcome to Halsey‘s nightmare.

The “Without Me” hitmaker has kicked off what appears to be a new era with the release of the punky single “Nightmare” and its bloody, brawling, and fire-filled video. In it, Halsey’s angry but emboldened as she spits dauntless declarations like “I’m no sweet dream but I’m a hell of a night” and “No, I won’t smile but I’ll show you my teeth.” That’s exactly what she does in the clip, which co-stars Cara Delevingne, Suki Waterhouse, and a cluster of uniformed schoolchildren as members of her badass girl gang.

This one’s more in line with Halsey’s hard-hitting Yungblud and Travis Barker collab “11 Minutes” than, say, “Bad At Love,” and it’s a thrilling taste of what her third album could sound like.

“Nightmare” arrived on Thursday night (May 16), just a week after she announced the single during an intimate show in New York City. A couple weeks prior, the 24-year-old wiped her Instagram feed — the universal sign that a pop star is about to begin a new era — and subsequently teased the song with fan-friendly lyric scavenger hunts and more IG posts.

It’s unclear if “Nightmare” will be another standalone single like “Without Me” or if it’ll proceed a new project, but all signs point to the latter. If so, it may be her biggest album to date — it’s been two years since her last LP, 2017’s Hopeless Fountain Kingdom, and since then, she’s only seen her star power rise, thanks to her first No. 1 single, “Without Me,” and her Top 10 hit with BTS, “Boy With Luv.” In short, it’s been anything but a nightmare.

Everything We Know About Taylor Swift’s Mysterious Seventh Album

Swift’s lead singles tend to be red herrings that offer little insight into the album to come (see: “We Are Never Ever Getting Back Together,” “Shake It Off,” and “Look What You Made Me Do”). Swift admitted in her Entertainment Weekly cover story, “A lot of the time I’ll pick a first single because I like the feeling it conveys, knowing that there’s a lot more on the album that’s very different from that first single.”

Expect “ME!”, released in April, to be a similar deflection for a project that’ll cover the “emotional spectrum,” as she told the mag. “I definitely don’t wanna have too much of one thing. You get some joyful songs and you get the bops, as they say… [and also] “really, really, really, really sad songs.”

The deeper stuff, then, will come later, as with Swift’s previous eras. She puts the “WANEGBT”‘s out first, and saves the “All Too Well”‘s for the album.

ASAP Ferg and ASAP Rocky Bring Cute Dogs To A Rave In ‘Pups’ Video

A$AP Ferg and A$AP Rocky have the type of brotherly chemistry that most rappers could only dream of. So it makes sense that the two rappers would love to showcase their tightness on their new collaboration, “Pups.” In the video, which takes place at a wild, rave-like concert, there are actually puppies there. So whether you come for the rapping or the adorable animals, you’ll be satisfied either way.

The video starts off with adorable pups, large and small. Try not to smile too much; the ferocity starts immediately afterward. For nearly three minutes, the two rappers trade bars and verses with a verbal high five every few seconds for a masterfully intricate collaborative effort. Rocky starts things off with “Get at me,” leading on with a tight string of words that Ferg picks up with his own “Get at me.” The beat and surrounding crowd are ravenous and it’s all that the two-man combo need to crank up the energy. The crowd itself is a character, filled with a diverse cast of people all moving frantically. It’s a chaotic scene that matches the berserk song which feels somewhat nostalgic. It’s clear that that frantic energy of Ferg’s 2017 hit “Plain Jane” has stuck around and manifested itself as something new.

A$AP Ferg revealed to MTV News last month, ahead of his set at Pharrell‘s Something In The Water festival, that in addition to “Pups” he has “a lot of music about to come out.” His last full-length release was the Still Striving mixtape in 2017.

Watch the video for “Pups” up above and ogle some adorable dogs.

Lizzo, Martin Garrix, Macklemore, And Patrick Stump Will Perform At The 2019 MTV TV & Movie Awards

The 2019 MTV Movie & TV Awards are still a month away, but the party has already started. In addition to the full list of nominees (announced earlier this week), we officially have a host in Shazam!‘s Zachary Levi. But no party — or awards show for that matter — is complete without a soundtrack.

This year, the MTV Movie & TV Awards are bringing the heat: Lizzo will perform along with Martin Garrix, Macklemore, and Patrick Stump of Fall Out Boy.

Lizzo, this month’s MTV PUSH artist, is having quite the 2019. In addition to releasing her new album, Cuz I Love You, in April, the singer/rapper/flute-playing diva just popped up on a summery collab track with Charli XCX. It’s a great time to be Lizzo — it’s an even better time to tune in to find out what she’ll do onstage.

Superstar Dutch DJ Garrix recently teamed up with Macklemore and Stump for the slippery, funky anthem “Summer Days,” and the 2019 MTV Movie & TV Awards stage will be the first place the trio ever assemble to perform it. You won’t want to miss this debut.

This year’s crop of nominees is a field full of faves. Avengers: Endgame, Game of Thrones, and Ruth Bader Ginsburg documentary RBG lead the nominations with four each, but that’s only the beginning. (See the full list right here.)

Wanna support your faves? Then you better get voting at vote.mtv.com and by direct messaging @MTVAwards on Twitter and Facebook Messenger. Don’t forget to tune into MTV Movie & TV Awards on Monday, June 17 at 9 p.m. ET/PT.