Bop Shop: Songs From Muna, J-Hope, King Princess, And More

The search for the ever-elusive “bop” is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn’t discriminate by genre and can include anything — it’s a snapshot of what’s on our minds and what sounds good. We’ll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.

  • Zee Machine, Kelechi: “Everybody Wants It”

    Are you ready to don your leg warmers in July? Sleepy grooves are over and it’s time to wake up, tell the world that it won’t break your soul, and dance the day away. We’re getting an uplifting flashback groove with Zee Machine and Kelechi’s latest single “Everybody Wants It.” Everything from the beat to the vocal stylings creates nostalgia that pumps serotonin into your veins for the weekend ahead. Zee Machine wrote on Instagram that they are “really proud of this one because I feel like I’m truly writing music that I wanna listen to now. And hopefully you do too.” The answer is an easy one: We do! —Zach O’Connor

  • They. ft. Fana Hues: “Comfortable”

    They. and Fana Hues get together to curate a secure and slow sexual setting. This velvety track evokes the ideal and effortless balance between power and control when it’s built on boundaries and reciprocation. The artists dominate with each verse, but don’t be fooled: Fana Hues makes the rules. —Gwyn Cutler

  • Muna: “What I Want”

    Muna’s new self-titled album is an unabashedly queer pop celebration, though no song rings quite as triumphant as their most recent single “What I Want.” Throbbing synths and punctuated vocals set the scene for a retro bop in which they describe the type of night out on the town they desire. If they didn’t have you hooked at opening lyric (“When I go out again / I’m gonna drink a lot / I’m gonna take a shot / ‘Cause that’s just what I want”), then they’re going to get you astral projecting by the instantly iconic chorus, featuring a simple but assured declaration: “I want to dance in the middle of a gay bar.” Its flashy video finds them living their reckless rock star fantasies as they take their levels of “don’t-give-a-fuck” to the extreme alongside a who’s-who of LGBTQ+ icons, including Meg Stalter, Matt Rogers, Leland, and Bronze Avery. —Carson Mlnarik

  • J-Hope: “More”

    Beginning his “Chapter 2” with a bang, BTS member J-Hope takes listeners on a wild and unexpected ride with “More,” an edgy, ’90s-inspired hip-hop track designed to be blared. As the first single off the K-pop superstar’s upcoming solo album, Jack in the Box, “More” serves as an apt representation of J-Hope’s evolution. The track features an almost punk melody, filled with boisterous guitars and distorted electronic sounds that come to a climax at the chorus. When layered with the rapper’s iconic rasp and heavy vocal fry, J-Hope creates a melody that you can feel in your soul. Accompanied by a dark, high-concept visual, pulling themes from the myth of Pandora and the surrealist art of Salvador Dali, J-Hope makes it clear that his artistry runs so deep that it simply cannot be contained. We can’t wait to watch Jack escape his box come July 15. —Sarina Bhutani

  • Quinnie: “Touch Tank”

    Quinnie is on full display for her tender TikTok hit “Touch Tank.” Her naughty and nautical metaphors are hot enough that you’ll need to cool off in the kiddie pool. Deeper than that, Quinnie details the infatuation that arises when your level of intimacy is matched, arguing that even casual sex can’t compare to the comfort of a satisfying partner. Seem too good to be true? You’ve got to make a splash while the steamy summer lasts. —Gwyn Cutler

  • Little Mix: “No”

    If you’ve dealt with an ex or even a toxic “friend” who has repeatedly tried breaking your boundaries, this cathartic song is for you. The ladies of Little Mix refuse to be played around with anymore, and they will not be treated like doormats. “I say, ‘No, no, no’ / I said ‘yes’ too many times / You should know, know, know,” they sing. “Told you, ‘I’m no longer under your control’ / See, I’m not the kind of girl I was before / Can’t walk over me no more.” Simply put, this is a powerful “fuck you” anthem. —Athena Serrano

  • King Princess: “Too Bad”

    From over-the-top bombastic pop to plucky ballads, King Princess has traversed a variety of genres throughout the singles leading to her forthcoming sophomore album Hold On Baby. Her latest track, “Too Bad,” finds the indie-pop singer-songwriter at her sweet spot: a classic mix of self-deprecating and sexy. Over cranked-up acoustic guitar and a slow drum loop, she crafts a deserted dive bar-friendly ode to being “too much” in a relationship and the weight of being in love. “Oh my god, is it hard to be loved / But that’s life,” she sings, before twisting the knife in her own heart deeper. “Too bad that I’m never enough.” Once again, she’s delivered the perfect pity-party soundtrack, whether you’re ready to burn it all down or you’re licking your cuts. —Carson Mlnarik

  • Enhypen: “Future Perfect (Pass the Mic)”

    The members of Enhypen make a thunderous comeback with the release of “Future Perfect (Pass the Mic),” the first single off their EP, Manifesto: Day 1. Inspired by the sounds of the Chicago drill scene, the high-energy hip-hop track showcases a darker side of the rising K-pop group. This is especially poignant given the massive success of their light and sweet song “Polaroid Love” that became a TikTok phenomenon. With an accompanying visual filled with complex group choreography made for the stage, “Future Perfect (Pass the Mic)” is a clear representation of Enhypen’s goals and aspirations as a group that aims to push boundaries. Since their debut in 2020, the boys of Enhypen have worked diligently to diversify their musical offerings, exploring interesting and unique concepts with each comeback. “Future Perfect (Pass the Mic)” not only proves that point, but expands on it. —Sarina Bhutani