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Taylor Swift’s game-day denim look is going viral. The pop star popped up at Arrowhead Stadium in a scorching denim outfit with red thigh-high boots to support her boyfriend, Travis Kelce, and the Kansas City Chiefs during the NFL’s season kickoff game on Thursday (Sept. 5).

Of course, Swift is no stranger to denim outfits, but the 34-year-old singer glammed it up for game day — complete with her signature red lip and billowy curls. She launched a new denim era in a Versace Medusa ’95 Denim Corset and Giuseppe Zanotti Frannie Boots, as spotted by Taylor Swift Style, and GRLFRND Whitney Mid Rise Mom Shorts from Revolve.

The shorts and boots are almost out of stock, but the Medusa Corset is available in sizes ranging from 36 to 50 at several retailers, including Neiman Marcus, FWRD, Farfetch and Versace.com.

According to the Versace website, the top is a reimagining of the luxury designer’s signature Atelier Versace corset. The $1,325 top is cinched at the waist with V-shaped boning, a cropped silhouette made in medium denim wash and “accented by Medusa ’95 hardware” on the shoulder straps.

Swifties looking for a budget-friendly spin on the outfit can find plenty of denim alternatives for under $100. To make the search easier, we did some digging online and found a few denim corset tops and high-waisted denim shorts that will help you pull off the look — without spending your entire paycheck.

See more below.

Denim shorts are versatile enough to wear from summer to fall, and even winter with the proper layering, and they’re easy to find online. For more Swift-inspired options, check out Everlane’s A-Line Denim Short ($48), High Waist Mom Shorts from Zara ($35.90) and Hollister’s Ultra High-Rise Medium Wash Denim Shorts ($20).

With carnival season coming to a close, it’s time to let go of the summer and ease into the cooler half of the year. Lucky for us, the world of Caribbean music closed out summer with a bang. During the annual West Indian Day Parade in Brooklyn, NY, on Labor Day (Sept. 2), the Queen of Dancehall, Spice, joined forces with BK rap star Lola Brooke for a special parkway performance of “Cry,” from the Jamaican superstar’s new Mirror 25 album.

The week prior, Brooklyn once again played host to the Caribbean Music Awards, which featured hours of celebrations of the past year in Caribbean music and culture. Fresh off his stellar Stateside comeback performances earlier this year, Buju Banton took home album of the year (reggae) for Born for Greatness, which featured collaborations with Victoria Monét, Stephen Marley and Snoop Dogg. Masicka’s Generation of Kings — which reached No. 2 on Reggae Albums last December — was crowned album of the year (dancehall), while fellow Jamaicans Shenseea (artist of the year female – dancehall), Lila Iké (artist of the year female – reggae), Valiant (artist of the year male – dancehall) and Dexta Daps (performer of the year – dancehall).

Two 2023 Billboard-charting hits — Teejay‘s “Drift” and Byron Messia & Burna Boy‘s “Talibans” — earned trophies as well. Teejay’s joint took home video of the year (dancehall) while Byron took home a pair of honors: collaboration of the year (dancehall) and song of the year (dancehall). Other notable victors included Shaggy & Kes (collaboration of the year – reggae) and Romeo Santos (artist of the year – Latin Caribbean). On the honorary side, Marcia Griffiths received a Lifetime Achievement Award, Cedella Marley received a Legacy Award and Spice was honored as Artist of the Decade.

Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:

Mortimer feat. Kabaka Pyramid & Lila Iké, “Bruises”

For the latest single from his forthcoming From Within LP (due Sept. 20), Mortimer, one of contemporary reggae’s guiding lights, recruits Kabaka Pyramid and Lila Iké for a solemn, reflective track that deals with the bleak state of the human condition and the global Black struggle. Keeping the tradition of speaking truth to power while injecting a distinctly modern, almost hip-hop-inflected groove to its reggae foundation, “Bruises” is a winning collaboration. Between Kabaka’s sizzling verse and Lila’s tender timbre, “Bruises” is a wholly dynamic listen that balances the hurt and hope that ground the trio’s powerful lyrics.

Chronic Law, “Dark Up Di Place”

Chronic Law is on a seemingly endless hot streak, and his run continues with “Dark Up Di Place.” Operating in the trap dancehall lane, the St. Thomas star adds another solid gun chune to his arsenal with this ominous banger. “How you fi shoot up a yard weh nobody nuh live, come on” he taunts in a tone that’s equal parts apathetic and snarky, underscoring how comfortably he rests in his own proclamations of dominance and power. The chugging riddim feels as dark as the song’s title suggests, but it’s Chronic’s menacing delivery that really brings the whole song together.

Capleton, “Jah Guide My Step”

For the deluxe version of the Brimstone Riddim album, reggae legend Capleton made a characteristically moving appearance with “Jah Guide My Step.” “Jah, guide my step/ Jah, guide and protect” he opens the song, immediately matching the triumphant energy of those opening horns by grounding his vision for his future in the hands of the Almighty. Some of the best reggae songs blend their blistering political commentary with reverence for the endless possibilities of a future buoyed by steadfast faith and holy guidance, and that’s exactly what Capleton achieves on this poignant new track.

Skillibeng feat. Tokischa, “Boom”

Ahead of his stint as a support act on Nicki Minaj‘s historic Pink Friday 2 World Tour, Skillibeng angled himself towards a reggaeton crossover moment with his new Tokischa-assisted track, “Boom.” Built around a sample of the iconic “Bam Bam” riddim, the Yeti-produced track finds Skillibeng doubling down on his trademark X-rated lyrics. “It nuh matter, baby gyal, yuh hot, look how yuh proper/ Waan fi plow yuh like a farmer, wi fi f–k inna da car yah,” he spits to close out his verse, with Dominican rapper and singer Tokischa effortlessly matching his energy with the lines, “He call my p—y, say, ‘Miss fatty-fatty’/ P—y so tight, gon’ make him a murder.” From bilingual verses to an iconic sample, “Boom” is tailor-made for some kind of crossover success — even if this is the second time Skillibeng has put out a song with that name!

Spice, “You Are Worthy”

To kick off her career-commemorating Mirror 25 album, Spice brought herself to the church doors with this gospel-steeped opener. “When I look at what You carry me through/ Who could it be? No other one but You/ I stand on your word in Psalms 92/ And Psalms 35, the words in Mark 2,” she sings in the song’s emotional second verse. In a conversation with Billboard, Spice explained that she opened her album with a gospel song to give God praise for helping her through a near-fatal health scare. “I’m supposed to be here because God saved my life for a reason,” she said. “I escaped death. I don’t take that lightly.” With the way her voice soars with gratitude over the evocative amalgam of organs, piano, drums, and guitar, it’s clear that Spice meant every word of that explanation.

The Wailers, “Sins”

It’s been a major year for the Marleys, but The Wailers have something to say too. On Aug. 30, the Grammy-nominated band launched their Evolution album featuring the excellent closer, “Sins.” Across an earthy mixture of guitars, bass, and horns, the Aston Barrett Jr. warns people to not use the Bible to justify themselves and to not “be a hypocrite,” two proclamations that inadvertently (maybe intentionally!) set them in opposition to the way quite a few artists across genres, including reggae and dancehall, use the Bible to justify positions that can be extremely harmful and downright heinous. It’s a ballsy closer, one that pushes the album further into conversations at the intersection of religion, music, and politics — a true testament to the enduring legacy of both Bob Marley and reggae music at large.

Peetah Morgan & Zion I Kings, “Who Run the World”

Earlier this year (Feb. 25), Peter “Peetah” Morgan — the lead singer of Morgan Heritage — passed away, but his moving voice is still as powerful as ever on “Who Run the World,” his take on Zion I Kings’ “Full Bloom” riddim. “Who run di world and who call di shots/ Yuh think a you just because you hold a glock,” he sings before shouting out Kwame Nkrumah, Patrice Lumumba, and Thomas Sankara among other “African fathers who fight for our liberation.” In a way, the song is a smart answer to those who think being armed automatically equates to having and securing power. It’s also a timely reminder of the interconnected struggles of the global Black diaspora — especially in light of the frenzy Buju Banton’s take on Afrobeats caused a few weeks ago.

DJ Cheem, “She Getting On (Never)”

Bajan-American soca artist DJ Cheem delivers a sunny end-of-summer jam with “She Getting On.” By all accounts, it’s a standard soca track that praises a lady’s posterior and recounts wicked wins over a jaunty combination of groovy drum patterns. What takes “She Getting On” to another level is the chorus melody. It’s relatively straightforward, but when Cheem’s voice soars on “know” just as the whistles and horns come in, your waist will probably start moving on its own accord — and that’s exactly how you know that you have a real soca hit on your hands.

Tina (Hoodcelebrityy), “Lover Man”

Fresh off her Tina vs. Hoodcelebrityy project from earlier this year, Tina is back with a new single that pulls from two dancehall classes. “Lover Man,” a song that flips the script on dancehall’s male-dominant explorations of romance, takes notes from Dave Kelly’s 1994 “Pepperseed” riddim, as well as the hook from Nadine Sutherland & Terror Fabulous’ classic, “Action.” With her voice floating between different registers and lyrics that champion a woman’s right to be selective with who she crowns her “lover man,” Tina’s new single is a sweet synthesis of all of her sonic influences and both of her personas.

Chip & DJ Frass, “Gyalis Pree”

For his take on DJ Frass’ “Party Bus” riddim, Tottenham emcee Chip steps into his dancehall bag with a sexy combination of his British rap foundation and his Caribbean roots. He effortlessly switches between spitting debaucherous bars (“Weed and tequila/ Standard procedure”) and employing a melodic, AutoTune-assisted cadence that allows his voice to try on different textures to play up the subtle percussiveness and vibrant synths of Frass’ riddim. Of course, that callback to 50 Cent’s “In da Club” (“Find me in the club…”) is the icing on top.

This week in dance music: A new compilation of music of rare disco and funk from the former USSR was released via Ostinato Records, Charli XCX teased a new project, the DJ Awards announced that they’re coming back after a four year hiatus with an October ceremony in Ibiza and a sprawling pool of nominees, Kaytranada, Ravyn Lenae and Channel Tres performed on The Late Show With Stephen Colbert and Clean Bandit and Zara Larsson’s “Symphony” spent a second week at No. 1 on the TikTok Billboard Top 50.

And, on a singularly busy release day, here are the best new dance projects of the week.

Fred again.., Ten Days

Before Fred again.. embarks on his North American tour, he’s shared his fourth studio album, ten days. A follow-up to his Grammy award-winning Actual Life 3 (January 1 – September 23, 2022), the new LP is similarly diaristic, comprising “ten songs about ten days,” as he writes on Instagram. Fred shines in his ability to make his music feel infinitely emotional, simultaneously larger-than-life and intimate – where a song played to a stadium-sized crowd touches everyone on a personal level, as if it were made specifically for them. Where songs like “Fear Less” and “Just Saw You” offer a soft but powerful slow burn, others like “Places to Be” and “Glow” — a seven-and-a-half-minute joyride made with with old pals Skrillex and Four Tet, along British producer Duskus — are more outwardly energetic, a fast-pass to euphoria.

“There’s been a lot of biggg mad crazy moments in the last year but basically all of these are about really very small quiet intimate moments,” Fred writes. “Some of them are like the most intensely joyful things I have felt, and some of them are the other side of things. And some days i don’t want to speak about loads cos I’m not the only person it was an important day for it that makes sense.” — KRYSTAL RODRIGUEZ

Nero, The Unknown

EDM era titans Nero return with their first album in nine years, Into the Unknown, a 13-track demonstration that the trio’s still got it. Via a coalescence of jungle, drum ‘n’ bass, UKG, bass and genres beyond, the sleek, pristinely produced album explores themes of apocalypse, global disconnection, the growing influence of technology and nothing less than the progression of humanity itself, a sizeable message for a sizable, powerful project. Coming nine years after their last album Between II Words, Into The Unknown completes a trilogy started with the group’s 2011 debut Welcome Reality, and longtime fans will certainly recognize the epic sound and style (and Alana Watson’s umistakable voice) that first brought Nero to the fore. — KATIE BAIN

The Chainsmokers with Kim Petras, “Don’t Lie”

There’s something absolutely breezy about The Chainsmokers new Kim Petras collab, “Don’t Like,” with the duo shooting off a slinky, infectious production that trades big drops for a more tempered but very effective garage-y IDM vibe. Petras pulls her weight here as well, with her breathy vocals giving a classic Kylie vibe with the song’s earworm melody. And the video, about a deliciously messy renegade desert party (starring The Chains behind the deck and Petras as the mini-skirted star of the dancefloor), is just eye-candy fun. — K.B.

Aluna & Aqutie, “Ghostin“

Hailing from the deluxe edition of Aqutie’s Coolest in the City EP, “Ghostin” has the feel of the city itself, with a siren going off over a scintillating beat that conjures a vibe of subway tunnels and dark alleyways. Vocals here are from Aluna, who’s also releasing the project on her Noir Fever label, with the the two artists recently taking part in the label’s first writing camp at Empire’s San Francisco headquarters. Of pairing up with Aluna, New York City based Aqutie advised that “when two queens link up honey, and the combos communicate, unstoppable.” Meanwhile, the next Noir Fever showcase will feature artists including Aluna and Coco & Breezy next month in Brooklyn.

Ninajirachi & MGNA Crrrta, girl EDM

Australian producer Ninajirachi releases her full length project girl EDM (disc 1), a 10-track package on which she synthesizes the 2000s and 2010s electronic music that influenced her and puts it through her own crunchy, ephemeral, but also quirky and also hyperpop influenced filter. To that end, standout “Angel Music” is the 2024 female equivalent to Scary Monsters and Nice Sprites-era Skrillex, with Ninajirachi taking the pummeling vibe of that era, updating it and making it her own. — K.B.

Alan Walker, Joe Jonas & Julia Michaels, “Thick of It All”

Sometimes you just want to get lost in a big, hooky, feel-good, tearjerky anthem — which Joe Jonas, Julia Michaels and Norwegian electronic giant Alan Walker deftly deliver on “Thick of it All.” Walker laces the pop-forward singalong with a light drum ‘n’ bass influence, a foundation for Jonas and Michaels to belt globally relatable lyrics like “One, there’s no one to blame/ Two hearts don’t break the same way/ I know we’re in the thick of it all,” which swell to a climax of pretty harmonies. The song is out now on Monstercat. — K.B.

Microfilm, Futureproof

Portland electronic music duo Microfilm achieve a major milestone with the release of their tenth studio album Chimeraz. Packing 11 songs into just over a half-hour, it’s an exploration of what the pair call “mutant pop,” trekking across frenetic soundscapes that touch upon styles like footwork, electro and techno. “The impetus was to make a collection of tracks something like ‘George Michael on Warp Records’ or ‘Modeselektor producing the Pet Shop Boys,’” says member Matt Keppel. On songs like “Quaaludes,” “Collabz” and “Shade,” brash beats meet prismatic melodies and vocals like bubblegum pop thrown in a blender, while “Rabbitholez” gleams with the ominous atmosphere of a full moon on Halloween. Chimeraz’ many textures and layers make it a brain-tickler in the best way. — K.R.

Yunè Pinku, “Half Alive”

In the leadup to her Scarlet Lamb EP, yunè pinku shares her latest single “Half Alive.” It’s a bittersweet affair, where dense breakbeats cast a shadow against the lightness of dreamy synths above. pinku’s falsetto floats even higher overhead; her reflections on experiences with anxiety and depression imparting a deep wistfulness. The Billboard 2023 emerging dance artist has been expanding her sonic universe on this project, with her previous offering “Believe” leaning into something more alternative-indie. Scarlet Lamb is due out on October 4 via Method 808. Following its release, pinku will join Caribou on a North American tour, which includes stops in L.A., Brooklyn, and Toronto. — K.R.

Mat Zo, “Disco Boy”

Skinny jeans, EDC in L.A., EDM’s infancy and all things neon: Mat Zo’s latest single is an instant portal to the late 2000s in all their maximal glory. Marking the London-based producer’s return to deadmau5’s mau5trap label, “Disco Boy” is a raucous shape-shifter of a track, moving from frayed-out electro-house to shimmering disco with Animorphs ease. The groove is gritty and head-thrashing, peaking with a hoovering build that threatens to suck out your soul and leave you whirling into the night. (And, if you listen to it three times in a row, Cobrasnake shows up to snap your photo.) — K.R.