Billboard’s Friday Music Guide serves as a handy guide to New Music Friday’s most essential releases each week — the key music that everyone will be talking about today, and that will be dominating playlists this weekend and beyond. 

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Last week, we featured Taylor Swift, Niall Horan, Tinashe and more.

This week: Olivia Rodrigo releases her anticipated third album, You Seem Pretty Sad for a Girl So in Love; BTS drop a new song on streamers that had previously only been available on a vinyl edition of ARIRANG; and Jack White teases his just-announced new album, Frozen Charlotte, out next month…plus much more. Check out all of this week’s picks below:

Olivia Rodrigo, You Seem Pretty Sad for a Girl So in Love

After topping the Hot 100 with lead single “Drop Dead” and entering the top five with second single “The Cure,” Olivia Rodrigo’s third full length is finally here. You Seem Pretty Sad for a Girl So in Love delivers on what its two sections promise: songs about being a “girl so in love” (section one) and songs where that same narrator seems pretty down about it (“you seem pretty sad,” as section two is called). Standout track and third single, “Stupid Song,” seems to tug at the thread that unites those two sensations: feeling stupid. While it comes loaded with the declaration that “nobody’s wanted somebody more,” the humor is in the fact that, as the title suggests, such big feelings can seem rather silly in hindsight. For more, read Billboard‘s review and tracks ranked. — LYNDSEY HAVENS

BTS, “Come Over”

In celebration of the 13th BTS Festa, an annual festival for ARMY, the global icons dropped “Come Over” on streamers. Previously, the thumping, hip-hop heavy track was only available as a bonus on the deluxe vinyl of the group’s March album, ARIRANG. The song was co-written by SUGA, RM and j-hope, among others, and co-produced by Grammy award winner Cirkut with SUGA and Ammo. — L.H.

Jack White, “Dollar Bill”

Following the two-pack White released and performed as musical guest on Saturday Night Live in April (“G.O.D. And The Broken Ribs” and “Derecho Demonico”), the rocker returns with a new single from his freshly-announced new album out July 10. The bluesy “Dollar Bill” opens with a twangy western riff before exploding into classic White, who is most at home on any track when delivering lyrical riddles like: “You can’t control me/ Unless you owe me/ And you don’t own me/ Unless I owe you.” — L.H.

Bebe Rexha, “One Day”

The newly independent pop singer, who partnered with Empire in January after a career with Warner, has dropped her first album since the move. Titled Dirty Blonde, the project mostly delivers high-energy dance-pop bangers, but “One Day” stands out from the rest not only for its mid-tempo production but mostly for its honest lyrics, which Rexha co-wrote. And while it’s likely about a former flame, it could just as easily be a message to Rexha’s fallen fans: “One day, you’ll realize just what you lost/ By then, you’ll be nothing more than an afterthought.” Who needs ’em, right? — L.H.

Infinity Song, INFINITY SONG

Alt-rock sibling band Infinity Song has released its self-titled debut album today, and it delivers on the exact type harmonies and tightknit writing that can only come from that kind of bond. “We grew up studying music together, performing together and learning how to listen to one another,” the Boyd siblings shared in a statement. “This album gave us the space to lean into our individual strengths while pushing ourselves as musicians…we’re proud of how expansive the record became without losing the intimacy that’s always been at the heart of Infinity Song.” The album was recorded between the Boyd siblings home base of New York and Los Angeles. — L.H.

Rapsody feat. Karabo yaMorena Choir, “God Gotta Afro”

After dropping her MadRaps joint EP with Madlib and picking up her first Grammy (Please Don’t Cry‘s Erykah Badu-assisted “3:AM” took home best melodic rap performance), Rapsody has returned with “God Gotta Afro,” the first single from her forthcoming fifth studio album, God Gotta Afro & Gold Hoops. “Miriam Makeba how I ride for the clique/ ’64 Chevy Chevelle, trunk big on me, thick/ Oil wells in my thighs shift on ’em like The Clipse/ One come up, other come up, we connected, Black fist,” she spits over Mr. Porter’s frenetic, militant production, delivering a pertinent reminder for us all to “see God in our reflection.” Anchored by a chant-worthy hook and a pan-African energy by way of the Karabo yaMorena Choir’s lust harmonies, “God Gotta Afro” is a ravishing return for Rapsody. — KYLE DENIS

Ayetian, “Chip”

Just a few days after emerging as the most-nominated male artist at the 2026 Caribbean Music Awards (seven; tied with soca stars Machel Montano and V’ghn), fast-rising Jamaican dancehall sensation Ayetian has dropped “Chip.” Built around Extol’s eerie, percussive riddim, Ayetian delivers a gritty midtempo that juxtaposes nicely against his “Donkey Call” take on Di Genius’ bouncier “Hill & Gully” riddim. Between his animated intonation shifts and menacing delivery, Ayetian’s hot streak remains intact with “Chip.” — K.D.

Cultura Profética, En Bucle

Cultura Profética delivers En Bucle, its first studio album since 2019’s Sobrevolando that won the Latin Grammy for best alternative music album. Home to 18 songs, the Puerto Rican band keeps faithful to its signature reggae sound while fearlessly fusing it with salsa and bolero on select tracks. En Bucle, which is a Spanish term that refers to being “in a loop,” is the first set the quartet recorded in its own studio. “We’re super proud to finally have our own space after so many years. Look out for more music coming later,” the group expressed during a private listening party in Miami on Thursday (June 11), assuring that “the entire album has a very rich and beautiful aura.” En Bucle has collaborations with Dread Mar I, Bebo Dumont, Frido Vargas and Colombian breakout star Kapo on the focus track, “Flaca.”  — JESSICA ROIZ

Baauer, U

A front-to-back no skips winner from the mighty Baauer, U is variously blissful, tough, tender, crunchy and delirious, demonstrating the artist’s deft ability to pack a kitchen’s sink worth of sounds into the album’s quick 36-minute run time. U is the culmination of a breakthrough experienced during the pandemic, when the artist started making music live on Twitch, a routine he says “cracked open my process — people could see me the whole time, from starting a beat to finishing.” While this ritual forced him to trust his gut rather than make things perfect, to us this all sounds damn near it. U was executive-produced by Hudson Mohawke and features collaborators including Aluna, KUČKA, Brazy and Betsy, alongside piano from Eli Teplin and additional production from Parisi. — KATIE BAIN

ANOTR, Witness

Dutch duo ANOTR has long made music that plays like if summer were a sound, a vibe they continue with their glistening new album, Withness. Merging analog warmth and electronic shimmer, this buoyant, breezy, funky and simply cool set of tracks was recorded and tested live while the pair were on the road over the last year, with the resulting set certain to soundtrack BBQs, pool parties and road trips for the next three months. The project is out on ANOTR’s own No Art label and comes ahead of shows at Pacha New York, DC10 in Ibiza and two nights at London’s Alexandra Palace this September. — K.B.

Koe Wetzel, “When I’m Gone”

Featured on his new album, The Night Champion, Wetzel’s dynamic vocal is commanding, as he weaves a story of a man reckoning with the consequences of unhealthy emotional dependency on a lover who is anything but faithful. “I hear the sirens, the buzzards arrivin’/ Too many times been down this road,” he sings, his melancholy, aching vocal giving the razor-sharp lyrics a convincing sense of hard-won weariness. — Jessica Nicholson

Charles Wesley Godwin feat. Wyatt Flores, “Hey There Son”

Charles Wesley Godwin and Wyatt Flores join forces on this deeply affecting ballad, which Godwin crafted for his son. Written with co-writer Lori McKenna (“Humble and Kind”), the song traces the emotional arc of welcoming and raising a child. Sweeping strings elevate lyrics such as “That moment I first held you/ I’d never been more alive.” Then, the song adopts a classic country twist, as Flores’ lyrics shift the song’s perspective to that of the son bidding farewell to his father, as the end of the father’s life draws near. Godwin’s rugged delivery and Flores’ conversational phrasings balance each other nicely, resulting in a heart-tugger of a track. — J.N.