After achieving global stardom at just 16 years old back in 2013, Lorde is ready to look back on how becoming famous at such a young age impacted her life.

In a new interview with Apple Music 1’s Zane Lowe, Lorde revealed that her rapid rise to success created a “binary” way that she viewed her life as a young woman. “When I’m in the studio or when I’m in America, I’m an artist. When I go home to New Zealand, I’m not an artist and I turn that part of myself off,” she explained. “It’s impossible obviously.”

The “What Was That” singer continued, saying that while her 2021 album Solar Power was an attempt to break that pattern and merge the two modes of her life. “Didn’t feel great,” she said. “And I’ve realized now, and this speaks to the trying to find this purest version of yourself … the purest version of me is famous out in the world. It’s just that she’s maybe in a garden experiencing ego death in the middle of the night on a heroic dose.”

The new interview comes just one day before Lorde is set to drop her fourth studio album Virgin, which she has said was written throughout her own struggles with body image, disordered eating and gender identity. In her new interview, Lorde expanded on those ideas, explaining that she reached a “breaking point” following the release of Solar Power that forced her to reassess her life choices.

“I was like, ‘Why am I in this role? What is the way that I want to be in that feels right to me and healthy to me?’” she asked. “I remember waking up one day and being like, ‘I cannot do this anymore. I cannot go to bed thinking about everything I ate that day and waking up worrying about all the shit I’m going to eat.’ [It] completely robbed me of all of my life force and creativity.”

Watch Lorde’s full interview with Zane Lowe below:

On Tuesday night (June 24), New York State Assembly member Zohran Mamdani became the presumptive Democratic nominee for mayor of New York City, defeating a crowded field that included early frontrunner and former Governor Andrew Cuomo.

As the race heated up and Mamdani gained momentum, a surprising part of his past re-emerged online: his rap career.

Before his political rise, the 33-year-old rapped under the names Young Cardamom and then Mr. Cardamom. As old videos circulated online in the lead-up to the primary, curious voters were quick to stream his music, resulting in notable gains.

In 2016, Mamdani released a six-track EP, Sidda Mukyaalo, alongside his close friend and collaborator Abdul Bar Hussein (who raps under the name HAB). On the EP, the pair raps in six different languages, while drawing from the members’ shared Ugandan heritage — Mamdani was born in Kampala, Uganda, and moved to New York City at age seven. In addition to the EP, the tandem released the song “#1 Spice” on the soundtrack to the Disney biographical drama Queen of Katwe.

Here’s a recent week-by-week breakdown of on-demand official streams for Young Cardamom and HAB’s catalog (which is comprised of seven songs), in the United States and globally, according to Luminate:

Combined U.S. Streams for Young Cardamom & HAB’s Catalog

Combined Global Streams for Young Cardamom & HAB’s Catalog

Compared to the two weeks before the news of Mamdani’s rap background surfaced (May 23-June 5), the duo’s catalog jumped 2,300% in the U.S. and 1,543% globally.

“#1 Spice” saw the most substantial gains in the act’s catalog. Queen of Katwe stars Lupita Nyong’o and David Oyelowo, and was directed by Mamdani’s mother, Academy Award-nominated filmmaker Mira Nair. Nyong’o even appears in the song’s music video, alongside Mamdani and HAB.

Here’s a four-week breakdown of the song’s streams in both the U.S. and globally:

U.S. Streams for “#1 Spice”

Global Streams for “#1 Spice”

In just two weeks, “#1 Spice” surged by 2,600% in U.S. streams and 1,900% globally.

According to a 2019 New York Times story about actress Madhur Jaffrey, Mamdani made his rap debut in the late 2000s while running for student vice president at Bronx High School of Science. He rapped under a platform that promised freshly squeezed juices for all. He lost that election, but it paved the way for his future political aspirations.

The past is dead.

Mental health professionals sometimes cite that mantra as a reminder to live in the present. But people aren’t particularly good at doing that — and country music, of course, mirrors life, often encouraging listeners to rummage through the old cobwebs and reconsider the leftover business lurking there.

It’s how John Morgan’s “Kid Myself” operates, with an adult male drifting back in his mind to a time when he was young and stupid and likely let a good one get away. It’s a little nostalgic and a bit melancholy, though not entirely either of those things. It’s mostly just regretful, and the musical vibe of “Kid Myself” fits that attitude to a T.

“This song is somewhat of an apology letter,” Morgan says, recalling a relationship he left behind in North Carolina. “I wasn’t able to be what they probably deserved.”

It’s not only about Morgan’s experience. “Kid Myself” is also his title. He logged it in the list of possible hooks he keeps on his smartphone, and it was waiting for him when he wanted a solid idea to present during his first co-write with Tyler Hubbard on June 8, 2024. 

“I’ve obviously been a big fan of his for a long time with [Florida Georgia Line] and have heard a lot of good things about his writing as well,” Morgan says. “So I was like, ‘I got to bring at least one good idea.’”

The night before, he scrolled through that list of titles, and “Kid Myself” caught his eye. He tossed the words around in his mind and realized it lent itself to a classic country flip: “I was just a kid myself” and “I don’t want to kid myself.” Then he played his guitar a bit, looking for a progression that matched the regret the title insinuated.

“It’s not an F.U. kind of hook,” he says. “I’m just telling facts of what it was at the time.”

Morgan and Hubbard showed up the next day at the home studio of Jordan Schmidt (“God’s Country,” “wait in the truck”). Morgan didn’t push his idea on them — in fact, they spent more than an hour chasing another song that didn’t quite pan out. Finally, Morgan confessed that he wasn’t feeling it and wanted to see what they thought about “Kid Myself.”

“Kudos to John for speaking up,” Schmidt says. “All of us want to write great songs and we respect one another, and if somebody in the room is like, ‘Hey, I don’t think this is it,’ it’s rare that you’re going to get a lot of pushback from people.”

Schmidt started building a track around Morgan’s acoustic guitar progression, and they filled in the chorus using the hook as bookends. It opens with the guy recalling when he was “just a kid myself,” lamenting how badly he handled the end of the relationship and working toward some acceptance that he destroyed whatever interest she once had for him: “I don’t want to kid myself.”

“I don’t think he had the whole chorus sussed out,” Hubbard says. “But he definitely had enough of an idea, concept and melody to get us going, to really hang the dartboard and give us a direction to shoot toward.”

The verses maintained the same reflective tone as that chorus, drifting back lyrically to a time when the two people were young and carefree. She, however, grew up while he kept hanging out at bars, and by the end of the opening verse, he recognizes that he just couldn’t give her what she deserved: “a ring and a house with a dog and a couple of kids.”

That last part inadvertently provides an extra interpretation to “Kid Myself.” When Morgan sings the last line of the chorus — “I don’t want to kid myself” — he phrases it, “I don’t wanna kid myself.” Listeners who aren’t staring at the lyrics are apt to hear it as “I don’t want a kid myself,” which would suggest they argued about what a family would look like or that he even impregnated her and abandoned her. It’s not Morgan’s story, but it is an interpretation he briefly considered when they cut the demo.

“I’m in the vocal booth, and [Jordan] just kind of let me vamp on the end for one pass,” Morgan says. “I started saying that very thing — I was like, ‘I don’t want a kid myself/ Got a couple kids myself.’ We were just joking around, but we all kind of looked at each other like, ‘Should we try to fit that in there?’ And I think we just came to the conclusion that there was already enough turns and we didn’t want to confuse the listener.”

Hubbard was impressed with Morgan’s performance in the vocal booth. “There’s a lot of artists, myself included, that aren’t first-takers [who] can just get in there and crush it on first take,” he says. “John’s one of those guys. I was blown away. This dude can really, really sing.”

Schmidt hired guitarist Jonny Fung to add a few parts to an intentionally sparse demo. 

“With a song like this, the music really helps set the tone and the melodies,” Schmidt says. “The whole song is kind of based around the four and the five chord, and it never really resolves. That’s kind of like the whole tone of the lyric, too, so it all fits together nicely in this tension.”

Night Train Records founder Jason Aldean told Morgan, based on that demo, that “Kid Myself” should be the next single. Morgan and producer Brent Anderson (Chris Janson, Dustin Lynch) created the foundation for the master version, working a day or two at a time between Morgan’s tour dates at Anderson’s home studio. Anderson recorded bass and drum placeholder parts, and they experimented with guitar and keyboard sounds on top of that.

“There kind of wasn’t really any rules,” Anderson says. “It was just me and him there, ordering Uber Eats, and my wife keeps bringing us whatever kind of cookies or anything else. You’re just down there throwing stuff at a wall until you listen back and go, ‘Man, I’m really proud of that.’ ”

Morgan played a solo as well that had a lonely, ’80s Britpop sound. The actual notes weren’t nearly as important as the tone.

“[Writer-producer] Derek George has a Telecaster that I, for all intents and purposes, have stolen,” Anderson says with a laugh. “I tell him all the time, ‘Man, I’m going to give that back.’ ‘It’s OK, just get it back when you can.’ I’ve had it for a year, and I have no intention of giving it back.”

They brought in steel guitarist Mike Johnson to create the final instrumental piece of the puzzle, and they had drummer Rob Ricotta and bassist Caleb Bates — both members of Morgan’s touring band — replace the placeholder rhythm section. Morgan was intentionally emulating Aldean, who uses his own band in the studio. 

Ultimately, Night Train/Broken Bow released “Kid Myself” to country radio via PlayMPE on May 28 as a follow-up to his Aldean collaboration, “Friends Like That,” which peaked at No. 2 on Country Airplay.

“There’s a lot of details of my story in this song, and so I felt like it represented me really well as an artist,” Morgan says. “I’m still on the front end of showing people who am I as an artist and what makes me different than everybody else.” 

This week’s roundup of music publishing headlines includes several signings, with big names like FKA twigs, Eric Paslay and James Arthur, plus a bevy of news from Wise Music Group, Ninja Tune and Liz Rose Music.

Kobalt signed a global publishing deal with FKA twigs, the artfully multidisciplinary artist known for genre-defying songs like “Two Weeks” and “tears in the club,” Billboard can announce. The deal covers her catalog and future work, and follows the release of twigs’ critically acclaimed album EUSEXUA, which topped Billboard’s Top Dance Albums chart and has landed on several mid-year best-ofs. Currently on her EUSEXUA world tour, the artist is performing across Europe and the U.S. (visa issues have been resolved). Beyond music, she recently starred in The Crow reboot alongside Bill Skarsgård and was honored by the Music Producers Guild for her contributions to UK music. “FKA twigs stands as a truly singular talent – a prolific songwriter and artist whose work consistently pushes boundaries,” said Jeannette Perez, president and chief commercial officer of Kobalt. “It’s a privilege to welcome her to the Kobalt family, and we are absolutely thrilled she has placed her trust in us as her publishing partner.” Twigs’ manager Jon Lieberberg praised Kobalt as having “some of the most clear and transparent administrative services in the industry.”

BMG signed multi-platinum singer-songwriter James Arthur to an exclusive global publishing deal. The agreement includes Arthur’s latest album, PISCES, which recently reached No. 3 on the Official UK Albums Chart, and future work. This also marks a major addition to BMG’s growing UK roster, which includes artists like Mick Jagger, Lenny Kravitz and George Ezra. “James Arthur is an exceptional talent whose songwriting resonates deeply with audiences worldwide,” said Lisa Cullington, vp of creative publishing. “We’re thrilled to be working closely together on James’ creative journey moving forward and we are very proud to welcome him to the BMG roster.”

Wise Music Group got busy with three new signings, expanding its global and stylistically diverse roster. Berlin’s Bosworth Music GmbH and Random Musick Publishing signed an exclusive publishing deal with Gloria de Oliveira, a multidisciplinary artist known for her experimental soundscapes. Her catalog includes Fascination and an upcoming third album with producer Randall Dunn. In Spain, contemporary classical composer Raquel García Tomás joined Unión Musical Ediciones. A recipient of the “Premio Nacional de Cultura,” she is known for works like Ceci n’est pas une valse and Vols brisés and aims to broaden her international appeal. Meanwhile, Edition Peters signed genre-blending composer/percussionist Lukas Ligeti, whose works span classical and electronic traditions. WMG manages nearly 500,000 copyrights and represents over 100 living composers through its global network of publishing houses, which in addition to the mentioned companies includes Chester Music, Associated Music Publishers and Novello & Co.

Sony Music Publishing Nashville, in partnership with Brooks & Dunn’s Kix Brooks, signed singer-songwriter Briana Calhoun to a global publishing agreement. Calhoun is also the executive director and founder of the organization Hope on the Inside, alongside the organization’s partner/president Brooks. Calhoun is set to release two new songs this year: “Hope on the Inside” and “Bustin’ Out” (the latter written with Brooks and Chancie Neal). –Jessica Nicholson

Anthem Music Publishing inked an exclusive songwriting deal with multi-platinum Canadian pop artist Shawn Desman, marking a major step in its partnership with Wax Records. This follows their November 2024 alliance aimed at redefining artist development. The first release under the deal, Desman’s dance-pop single “BODY” featuring 2025 JUNO nominee Jamie Fine, quickly became the most added track on Canadian radio. Building on the momentum of his Top 10 hit “Maniac” and a string of sold-out tours, Desman is preparing for another national tour this fall. Anthem CEO Jason Klein praised Desman as “a force in Canadian pop music,” adding, “his creative resurgence has set the stage for an exciting new chapter.”

Liz Rose Music and Sheltered Music Publishing partnered in a joint venture to sign award-winning singer-songwriter Eric Paslay. Known for penning country hits like “Barefoot Blue Jean Night,” “Angel Eyes,” and “Even If It Breaks Your Heart,” Paslay also gained recognition as an artist with songs such as “Friday Night” and “She Don’t Love You.” This collaboration brings together two respected Nashville publishing companies with one of country music’s most enduring creative talents. Liz Rose Music co-founder Scott Ponce praised Paslay’s storytelling and vocal artistry as “the kind of talent we’ve always believed in,” while Sheltered Music’s Darrell Franklin highlighted the “integrity, depth and diversity of his songwriting.”

Meanwhile… Liz Rose Music also added singer-songwriter Adam Sanders to its publishing roster. Sanders has written hits for Cole Swindell (“Ain’t Worth the Whiskey”), Dustin Lynch (“Hell of a Night”) and Drew Baldridge (“Tough People”). LRM was founded in 2010 in Nashville by the Songwriters Hall of Fame inductee Liz Rose, known for writing hits for Taylor Swift, Tim McGraw, Little Big Town and more. –J.N.

Ninja Tune’s publishing arm, Just Isn’t Music, announced a wave of developments. Rising UK artist jasmine.4.t, the first British signee to Phoebe Bridgers’ Saddest Factory Records, joined the roster following her acclaimed debut album You Are The Morning, produced by Bridgers, Julien Baker and Lucy Dacus — aka, the indie supergroup Boygenius. Meanwhile, longtime signees Marie Davidson and Andreya Triana renewed their deals. Davidson’s City of Clowns was released earlier this year via Soulwax’s DEEWEE, and Triana is working on her first album since 2019. Just Isn’t Music also won AIM’s “Sync of the Year” for a Rexona ad featuring Davidson’s “Work It.” Lastly, Ninja Tune’s Kelly Burke was elected to the PPL board, further strengthening the label’s industry influence through its involvement in one of the world’s largest recording databases.

Concord Music Publishing signed Nashville-based producer and songwriter Ryan Kohn to his first global publishing deal, in partnership with InDent Music, the publishing division of Dennis Entertainment. The agreement covers Kohn’s entire catalog and future compositions. A Belmont University graduate, Kohn has worked with Concord artists Erin Kirby and Cole Goodwin, as well as emerging acts like Callista Clark and Ashley Anne. His notable releases include the single “The Man She Used to Know” and his 2021 EP November Skies. Kohn recently performed at the 29th Annual Key West Songwriters Festival. “Ryan is already so well-connected in our music community, it was easy to see the path of success in front of him,” said Melissa Spillman, vp of A&R. “To find someone who is so loved and respected among writers, artists and executives alike is a rare thing!”

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