If it wasn’t already clear that North West, the scion of the West-Kardashian throne, had inherited serious star power, it only takes roughly 10 minutes for her to prove it on her debut EP. Over an efficient five tracks, West traverses the sonic styles of her generation — from nu-metal riffs to rage-rap 808s — with startling confidence. At just 12 years old, North’s debut is impressive regardless of her famous pedigree. Even for music royalty, talent still has to announce itself, and that’s what she’s done with N0rth4evr.
The EP opens with “H0w Sh0uld ! f33l,” spelled with the same chaotic eccentricity of the song titles on Playboi Carti’s Whole Lotta Red, and clocking in at just under two minutes. The song starts in emo territory, with a crooning vocal that could come from an Evanescence B-side, before launching into fast-paced drums that fit squarely in the Slayyyter universe of hyperactive pop influenced by the internet’s sprawling musical instincts. “They don’t see me, they just see the appeal,” she raps, somewhat devastatingly, as the song’s booming 808s, reminiscent of Ken Carson, glide into a Jersey Club-style rhythm.
On “#N0rth4evr,” the project’s emotional core is laid bare. It’d be easy to write North off as a novelty until you hear the angst oozing through the Slipknot-esque drums executed with startling conviction. Here is the daughter of one of the most scrutinized couples in pop-culture history, and she exhibits a self-awareness well beyond her years. North’s first single, “Piercing on My Hand,” channeled the public scrutiny over her style choices into a certifiable banger; similarly, the songs on her new EP navigate the realities of being born into fame with a sense of melodic urgency.
“How I’m younger than you, but I’m who you look up to,” she raps with a confident swagger that she’s frankly earned on “D!e.” In the spirit of both of her parents, North has already taken fame into her own hands, dictating on her own terms how she’ll engage with an increasingly adoring public. Her verse on FKA Twigs’ track “Childlike Things,” from last year’s Eusexua, exhibited West’s confidence in her creative vision; she even raps her lyrics there in Japanese, carrying a motif present throughout her work.
“Th!s t!m3” brings the EP’s emo sensibility into focus, fusing her varied sonic inspirations into something cohesive. As a producer and curator of sound, North seems less interested in recreating the past than in metabolizing the chaos of the present: ear-shattering guitars, post-punk beats colored with the gloss of hyperpop’s long tail, all with the diaristic melodrama of a generation raised online. Closing track “Aishite” feels like teen angst distilled into its most potent form. “Can’t be no one’s friend, I can’t let nobody in,” West raps, managing to tap into a universal adolescent experience while speaking to the contours of her extremely unique position.
That tension is what makes N0rth4evr so compelling. Rather than pretend to be anonymous or mysterious, she leans into the fact that her life has been public since before she had any say in the matter. But across these five songs, she begins to turn that impossible inheritance into material, shaping the noise around her into something undeniably her own. N0rth4evr is brief, but it leaves a surprisingly lasting impression: the sound of a young artist not merely entering the family business, but beginning to define the terms of her own mythology.
Taylor Swift and Bad Bunny in a split image
Taylor Swift and Bad Bunny Dealt With Trump Quietly. It’s a Smart Move
Taylor Swift and Bad Bunny are both major superstars — and they’ve shared some parallels in their careers and discographies for several years. Now, they’re even using the same playbook to deal with taunts and baiting from Donald Trump and the White House’s social media teams.
Since Trump took office during his second term, he and his administration have been using social media as part of their communication strategy. The propaganda-like, rage-bait-style clips often lean into internet culture and use popular music to make light of Trump’s most egregious actions, like his immigration policy and war-hungry foreign policy.
Olivia Rodrigo, Katy Perry, Ariana Grande, and Noah Kahan are just some of the artists who have had their music used in these videos without their permission — and vehemently spoken out against these actions and against the president. In the past couple of weeks, the Trump administration seems to have wanted to provoke a response from two of the world’s biggest superstars: Bad Bunny and Swift.
On July 30, the official White House TikTok used “La Mudanza” for a particularly tone-deaf video about immigration that celebrated the number of deportations under Trump. A week later, a video with text that said, “mood because it’s August and Donald Trump is your president” set to Swift’s “August” was uploaded by Team Trump, the president’s official campaign account. The caption was an overt provocation: “I’m sure Taylor Swift is going to be super excited we used her song,” it read. Days later, another clip from the same account featured an edited version of Swift’s Red album cover with text that said, “Did you know that Taylor Swift wrote a whole album about the color of the Republican Party?”
Neither musician has released a public statement denouncing the use of their music in Trump’s videos. Instead, two of the world’s biggest superstars quietly removed their songs from videos posted by official accounts linked to the Trump administration. (It’s unclear if there is a TikTok feature that allows selective sound muting on videos or if the respective teams reached out to the social media accounts directly.) The tracks are still available for other TikTok accounts to use in their videos, making their silence a pointed — and smart — approach. Both Bad Bunny and Swift seem to recognize the president and his administration’s tactics for what they are: antagonizing moves that keep the Trump conversation centered on his social media presence, rather than his actual policies and the harm they commit. Why would they add their star power to the conversation and stoke the flames when that’s exactly what the White House appears to want?
Some people argue that celebrities should wield their platform to denounce Trump at any chance if they are truly not politically aligned with his MAGA politics. But because they hold so much influence, these superstars need to be strategic about how they use it.
Benito, in particular, has been incredibly outspoken about his politics. He stood on two of the world’s biggest stages and used them to voice pro-immigration messages, denounce Trump’s policies, and highlight Puerto Rico as it struggles with the effects of U.S. imperialism. “Before I say, ‘Thank God,’ I’m going to say, ‘ICE out,’” the Puerto Rican superstar said at the 2026 Grammys. “We’re not savage. We’re not animals. We’re not aliens. We are humans and we are Americans.” Last summer, Bad Bunny’s music video for “Nuevayol” used a voice that sounds a lot like the president’s to deliver a pro-immigrant message. “I made a mistake. I want to apologize to the immigrants in America. I mean the United States. I know America is the whole continent,” the voice bellows out of a Seventies radio toward the end of the video. “I want to say that this country is nothing without the immigrants.”
Fans were convinced that Benito would speak out against the official White House TikTok account when it used one of his most political songs. But commenting on the video would only blow up the discussion for a wider audience. When Rodrigo, Perry, Grande, and Kahan made public comments, spokespeople for the White House used the opportunity to spread hateful rhetoric. “We’ll say this one last time: what’s actually barbaric, inhumane, and heinous are the criminal illegal aliens who have injured and murdered innocent American citizens,” Abigail Jackson said in a statement to Rolling Stone after Grande spoke out. It’s the antithesis of what Benito said during his Grammys speech this year: “The only thing more powerful than hate is love.”
Swift, on the other hand, has dealt with Trump and the right-wing’s instigations for years, each one crazier than the last. The TikTok videos from the last week aren’t even the first time that the administration has used the singer’s music for social media videos. Last fall, both the official White House TikTok account and Team Trump used songs from Swift’s then-newly released The Life of a Showgirl in separate videos. One plucked the lyrics “pledge allegiance to your hands, your team, your vibes” from “The Fate of Ophelia” to celebrate Trump, Vice President JD Vance, and the first and second ladies. The others boasted about Trump by using “Father Figure” and honored Melania Trump’s Patriot of the Year award with “Opalite.” As of Aug. 10, the audio is not available under all of these specific videos.
The pop superstar has not spoken publicly about these instances. But she has made her disdain for Trump clear. Over the years, Swift has criticized Trump’s autocratic leadership. On X, she wrote “we will vote you out” and endorsed Joe Biden and Kamala Harris in the 2020 and 2024 elections, respectively. In 2019, Swift told Rolling Stone, “There’s literally nothing worse than white supremacy. It’s repulsive. There should be no place for it.”
Even though she’s shared her liberal viewpoints on issues like abortion, LGBTQ+ rights, and racial inequality, Swift has still faced ridiculous claims of being MAGA-aligned and folding in right-wing dog whistles to her music — and that’s without ever naming Trump. If Swift were to make a statement about her music being used by the Trump administration, the attention-seeking president would absolutely revel in it. Getting Swift and Bad Bunny to weigh in is exactly the type of headline grabber he would love to draw attention from his remarkably unpopular presidency.