Scientists call the phenomenon of “revenge bedtime procrastination” something humans do when we feel little control over our daily schedules. When there’s not much free time during the day, we often stay up later than we should watching TV or scrolling as a way to “get revenge on” our packed daytime hours.

It’s a behavioral pattern Sammy Virji says helped bring his new album into being. His days would start with an hour’s walk through London to, he says, “get the oxygen flowing.” He’d grab a coffee, cross London Bridge and eventually arrive at the studio. Productivity wasn’t always immediate upon arrival.

“I’d be there until nine or maybe later, just messing around,” the producer tells Billboard over Zoom from a lush backyard in the Hollywood Hills, where he’s staying while in Los Angeles for spell. “But I would find myself getting more creative late at night, because I really should’ve been getting ready for bed. I procrastinated in the same way that people will watch Netflix when they should go to sleep. The later it got it was like ‘I shouldn’t be here.’ But with that, I ended up being more creative and doing things I wouldn’t usually do.”

The result is Virji’s second album Same Day Cleaning, out today (Sept. 19) via Capitol Records. A 16-track effort featuring collaborations with Skepta, Chris Lake, Flowdan, salute, dancehall powerhouse Spice and a crew of other guests, the cool, stylish album puts an exclamation point on Virji’s rise in the U.S., one during which he’s helped spark a new level of popularity for U.K. garage, also called UKG, or as Virji says it in his accent, “gare-ej.”

Virji is among a wave of UKG artists helping popularize the subgenre, forged in the ’90s UK rave scene, in the U.S. Skrillex has dabbled in the sound, and Interplanetry Criminal, Virji’s collaborator on 2024’s undeniable “Damager,” is among the also popularizing the sound for a new generation.

Virji’s own trajectory has been marked by huge and hugely well received sets at Portola 2024 and Coachella 2025, along with headlining cross country clubs shows that drew crowds Virji, with a laugh that emphasizes his famously wide smile, lovingly calls “feral.”

He’ll be on a U.S. club tour through the end of the year, with the run sprinkled with festival dates and a two-night stint at London’s revered Alexander Palace already on the calendar for April. Below, he talks the new album, America and more.

Do you remember a particular idea that came to you late at night at the studio that eventually made it to the album?

Yes, “Leroy Street,” which is the final tune on the album and much different than the stuff I usually make. — I was just pissing around, and it was late at night, then suddenly I was kind of like “I’m just going to take a break because my brain was fried, so I tried making this ambient thing.” I added some drums and I was like, “Oh, this is actually quite special.” That basically came from me just being there late at night procrastinating.

When did you know the album was done?

I don’t know if I’ll ever get that feeling. There will always be bits where it’s like, “I should have changed that or this,” but it kind of is what it is now… I don’t think I’ll ever get that feeling of satisfaction — I’ll still listen to old tunes and be like, “I actually could tweak that,” but I think I was happy with where it was.

Was there also a deadline you were working under?

Oh yes, there was a deadline as well. [Laughs.]

In terms of UKG in the States, what’s your feeling about what your presence here has done to kind of reintroduce that genre, or introduce it in a new way?

The first time I came to America was 2023, in June. I played at Sound nightclub for [Night Bass founder] AC Slater. I felt like back then it still wasn’t there, but it was kind of this bass house-ey sound. I still play a lot of bass-ey music. I felt like I did have a few fans out here, but it’s just progressed since then. I don’t really know how it’s blown up so much out here, because it’s never really had like such a big moment. I think it’s right time, right place.

What’s your role in that?

What I’m doing is trying to make it accessible. And it’s kind of doing that without selling out and just bootlegging something popular. I’ll try and get loads of different a cappellas and run them over the top and keep it exciting, just kind of mashing things up together.

It feels like that’s the eternal line that dance artists are walking, or trying to walk, of being accessible but not selling out or veering into something that wouldn’t feel good. What have been your guidelines for doing that?

Playing a well known tune in a set, it will always go off well, but it’s kind of cheating. That’s just how I feel. I do that sometimes, but I’ll do things like taking a well known tune that’s not popular right now. I like to play “Pump Up the Jam,” which is old and [people probably] haven’t heard it in a while. I put that on a build up, just to keep it a little bit like, “Yeah, I know this,” then go into something more underground.

You spark people’s interest with this well known song, then you take them with you to the next.

Yeah, but it’s gotta be the right amount of known. It can’t be too known, right? I find that old music does that well.

Does that apply to the music you produce and your work outside of your sets?

I do like having that old feel. I think a lot of my music hints at old school garage, which still — if you played old school garage out in America, I don’t think people would get it on such a big scale. Even in England, it’s still quite a niche thing. But I like to have old-sounding things and real instrumentation. I’ve tried to do that with the album, tried creating a nostalgic feel. Live instrumentation is a good way to do that.

Your father is a musician, right?

He’s a trombonist. I’ve gotten him to play on the album as well. The opening track “One for the Books,” that horn beat is something I typed in on Logic with a really rubbish, fake sounding horn and then sent to him to re-record, so it’s an authentic horn section.

What are the moments when you felt things level up for you here in the States?

I was really surprised when I did my first tour in January of last year. I was surprised at the level of crowd energy. I hadn’t felt that kind of energy in a long time, and it was a completely new thing for me in America. I played Elsewhere in New York and 1015 Folsom in San Francisco. I remember those two shows in particular having the most insane reaction, like feral crowds. It felt really good in Denver as well. Denver was insane.

I felt festivals moved a bit slower, because when you’re playing clubs, you’re playing to people who already know you and your music. With festivals it’s slightly harder to move the whole crowd, when it’s a completely new sound [for them]. Coachella this year felt like a massive turning point. I had to move more people that weren’t necessarily familiar with the sound, and they were very open-minded. There was such a big crowd as well, so that felt really good. Then recently playing Forest Hills Stadium in New York was just insane to me.

Was America a dream of yours, or is it just kind of a fun tangent of your career?

I never actually pictured myself in America. My scope went as far as playing big things in England. I never thought about going abroad. I think the people I looked up to were very much U.K. DJs and producers and doing a U.K. sound. My brain never really went beyond that, yeah. To even be in contact with someone like Skrillex… I never thought anything like that would happen. Everything I’m doing now is beyond my wildest dreams.

When did you hear from Skrillex?

It was last year. I can’t remember how he got my number, but I think I was in bed when he called. He was like, “Hey, man, I’m at the studio. You fancy coming?” I was like, “Yep!” and put my clothes on. We made a little idea, but it was just good to get in the studio with him and learn and just watch a master at work. And he really is a master at work.

Was there anything you saw him do that you were like, “OK, now I see how that’s done”?

We had this whole studio booked. It was actually the same room where I made the album. It’s a small room in this studio, the smallest room, and I think it sounds the best out of any studio I’ve been to.

But he wouldn’t plug his computer or my computer into the speakers, because if he did, he would spend too long on the mixdown, and he didn’t want to do that. He wanted to just get the idea. So we’re in the studio but just using laptop speakers. Watching him on Serum, being so quick, it was quite inspiring just to watch his process.

Do you have a sense of what you want Same Day Cleaning to do that would make it successful for you?

It’s not really numbers for me. I would just want good feedback, and I want it to be special for people. If I can make a very special album for a few people, then I’ve won.

It feels awkward asking you this given that you’re just about to release a whole album — but do you have anything beyond it that you foresee putting out?

Since the album’s been finished it’s been that living on bonus time feeling. I feel a lot of pressure alleviated. Because of that, I ended up making loads of music and being creative. Because I don’t have to make music, I can make music.

New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard and Billboard Español editors. Check out this week’s picks below.

Alejandro Sanz & Rels B, “No Me Tires Flores” (Sony Music España)

Spanish artists Alejandro Sanz and Rels B merge tradition and modernity in their first collaboration, “No Me Tires Flores.” Evocative both musically and lyrically, the pop song with hints of flamenco and rap speaks to the search for true love. “No, don’t throw flowers at me, that’s for the dead/ No, no one is needed, I understand that now/ It doesn’t cost a billion to buy us/ If you love me like I love you, everything is perfect,” they sing together in the chorus, uniting the singer-songwriter’s husky voice with the softer tones of the rapper in a harmonious way. The song was premiered on Sept. 12 during Sanz’s first of six shows at the National Auditorium in Mexico City as part of his ¿Y Ahora Qué? tour. The moment was captured live, becoming the song’s official music video. — SIGAL RATNER-ARIAS

Junior H, “Culpable” (Rancho Humilde/Warner Music Latina)

In the midst of his $ad Boyz Live & Broken tour, Junior H delivers his new single “Culpable.” Written by Junior H and David Álvarez, and produced by Andrés Farías, Cristian Osorio, and Gustavo Farías, the song oozes glam and sensuality while staying true to the Música Mexicana star’s emotional trademark. The artist born Antonio Herrera Pérez is joined by the Macedonian Symphony: Fame’s Orchestra for a soft and jazzy pop ballad à la Luis Miguel in the ’90s. “And if I find out about someone else, if I see you, I’ll be jealous/ I know he’s not the real one, he’s a prisoner/ I’ve been through that, and I’ve even lost my ground,” he chants in the track about love, lust, and guilt. Inspired by “The Great Gatsby” era, the cinematic music video directed by Carlos Reyes Vega (Closrv), John Dela Casa and Seb Espin, shows Junior H having a luxurious lifestyle through his “sad boy” lens. — JESSICA ROIZ

Banda MS & Fuerza Regida, “Seguro Le Dolió” (Lizos Music)

Heartbreak at its finest is the protagonist of this song, an anthem for those hurt by a relationship that didn’t end on good terms. With his rugged vocals, Jesús Ortiz Paz, leader of Fuerza Régida, introduces the story directly: “It sure hurt her, falling from above, from where I put her,” he chants, followed by the softer vocals of Banda MS’ Alan Ramírez: “The so-called princess, one day she lost her manners and she lost me/ Having been the perfect guy was of no use.” Immediately after, the Sinaloa band sounds, and the excellent fusion of two generations of regional Mexican music (with two of the greatest groups) begins. Written by Horacio Palencia, Nathan Galante and Diego Bolela, “Seguro Le Dolió,” which translates to “it probably hurt her,” marks the third collaborative effort between Banda MS and Fuerza Régida. — TERE AGUILERA

iLe, “Si Te Contara” (La Buena Fortuna Music)

With her new single, Puerto Rican singer-songwriter iLe reaffirms her deep understanding of the mystique contained within the bolero genre, a style rooted in the former Calle 13 member’s sonic DNA. “Si Te Contara” marks her own version of the song popularized by Ismael Rivera in 1959 and originally written by Felix Reina. The Latin GRAMMY winner’s interpretation of this second cut from Como las canto yo, her new LP dedicated to bolero, is passionate and dramatic, yet virtuosic, delighting the listener with vibrant rhythms from the Latin American songbook. In a statement, iLe says she has always enjoyed this song for its beautiful melody “that flows well with calm and a contained sadness.” — NATALIA CANO

Israel & New Breed, Coritos Vol. 2 (Integrity Music US)

With Coritos Vol. 2, Israel Houghton & New Breed revitalize 16 Christian music classics, both their own work and iconic hymns of the genre in English and Spanish. Recognized for his impact on contemporary English-language gospel, Houghton returns to Spanish with ease to create this tribute to Latin culture, continuing the project begun with Coritos Vol. 1, released in May. The sequel features Alex Campos on “Te Necesito,” Miel San Marcos on the energetic “Coritos con Miel,” Marcos Witt on the moving “Dios Ha sido Bueno,” and his wife Adrienne Bailon-Houghton, formerly of The Cheetah Girls, on a heartfelt version of “Dios Está Aquí.” Also notable is the participation of Janina Rosado, musical director of Juan Luis Guerra and 4.40, on “Gloria Aleluya.” With impeccable live instrumentation, the musicality shines through from start to finish on this album, where gospel collides with a vibrant fusion of Latin music arrangements. — LUISA CALLE

aLex vs aLex & S.3.R, “centro (aLt)” (omw records)

A hypnotic collision of sensual reggaetón and experimental alt-pop sway, “centro (aLt)” finds New York-based Guatemalan trailblazer aLex vs aLex (Sofía Insua) and Chicago-based Colombian artist S.3.R (Camilo Medina of Divino Niño) reimagining rhythm through intimacy and release. Infused with guaracha-inspired beats, the track invites listeners to lose themselves in its entrancing rhythms and the seamless interplay of bilingual lyrics. Co-written and produced by Medina, “centro (aLt)” builds on aLex vs aLex’s debut EP nyc minute, offering a “looser, sweatier” twist, as Medina describes in the press release. The collaboration marks an exciting fusion of two artists currently pushing the boundaries of Latin alternative music. — ISABELA RAYGOZA

Check out more Latin recommendations this week below:

Tracks from KPop Demon Hunters continue to dominate the U.K’s Singles Charts as three songs land in the top five on the Sept. 19 list.

“Golden,” credited to HUNTR/X, and sung by EJAE, Audrey Nuna and Rei Ami, lands at No. 1 for a sixth consecutive week and its seventh overall. Two other songs from the Netflix movie, Saja Boys’ “Soda Pop” and “Your Idol,” land at No. 3 and No. 5, respectively. This marks the first time that three K-pop songs have concurrently occupied spots in the top five.

On the Hot 100, “Golden” leads for a fifth week, and is now the longest leading hit by an animated act in the chart’s 67-year history. Two cartoon groups reigned for four weeks each: The Archies with “Sugar, Sugar” in 1969, and the Chipmunks with David Seville with “The Chipmunk Song” in 1958.

In the run-up to the release of her sophomore album, The Art of Loving (released Sept. 26), Olivia Dean continues to see success on the Official Singles Chart with three songs landing in the top 10: “Man I Need” spends a fourth consecutive week at No. 2, “Nice to Each Other” lifts two spots to No. 6 and her Sam Fender collaboration “Rein Me In” closes at No. 10.

Sabrina Carpenter has three songs in the top 10 with “Tears” (No. 4), “Manchild” (No. 8) and “When Did You Get Hot?” (No. 9) all performing well. Disco Lines and Tinashe’s “No Broke Boys” round out the top 10 at No. 7.

Ed Sheeran scores the week’s highest new entry with “Camera” making the top 20 (No. 16), and more songs from new LP Play also featuring: “Sapphire” at No. 28 and “A Little More” at No. 26. Play lands at No. 1 on the Official Albums Chart this week, giving the Suffolk-based singer his ninth overall.

Blue Ivy Carter has proved that she’s a gifted performer just by joining mom Beyoncé on stage every night on the Cowboy Carter Tour. But does she ever want to release music of her own?

In an interview with People published Friday (Sept. 19), Tina Knowles shared her thoughts on whether her granddaughter may do just that. “She can do so many things,” she told the publication of Blue.

“She can paint, she writes poetry,” Knowles continued. “Anything she puts her mind to do, she’s good at. So I don’t know what she’s going to do.”

Though the designer thinks her firstborn grandchild would “kill it” if she set her mind to music, Knowles isn’t sure it’s Blue’s path. “I think she would be great at music,” the businesswoman added. “But I don’t think that that’s her passion.”

That said, Blue already has several musical accolades under her belt if she ever does decide to pursue music. In 2021, she became the second-youngest person to ever win a Grammy at just nine years old, taking home best music video alongside Bey for the “Brown Skin Girl” music video. The now-13-year-old was also featured on her mom’s 2014 track “Blue.”

As Knowles pointed out, however, Blue is multitalented. The eldest daughter of Bey and Jay-Z voiced the character of Kiara in Mufasa, and she’s established her dancing chops by joining her superstar mother on stage during the Cowboy Carter trek. Each night, Blue dazzled the crowd by flawlessly nailing Bey’s iconic “Deja Vu” choreography.

Blue also danced on Bey’s Renaissance Tour in 2023 — but not without convincing her mom that she was absolutely ready for the responsibility. “She told me she was ready to perform, and I told her no,” Bey told The New York Times that year.

“She’s having the time of her life, and I couldn’t be more proud of her because she really worked hard,” Knowles told People of her oldest granddaughter amid the Renaissance Tour. “She is 11 years old, and she had one week to prepare, and she’s just getting better and better. So I’m the proud grandma, always.”