Fans have been waiting for seven years for a new submission from iconic angst rap-rock band, Linkin Park. When lead singer, Chester Bennington, tragically committed suicide in 2017, the band went on an indefinite hiatus — after creating seven monumental studio albums together. Since then, there's been silence. Until today.
Linkin Park is used to causing a frenzy. Their hit album,
Hybrid Theory, catapulted the band into rockstar status in early 2000. For two decades, the group led a movement: reviving rock and roll — mixing in original dance, rap, and pop elements along the way. With tracks like "In The End" and "One Step Closer", Linkin Park was a staple in a defining music movement.
They're one of the best-selling bands of the 21st century, winning many fan-nominated and academy-voted awards such as two GRAMMYs. And now, they're ready to return with fresh faces and an even fresher single.
Last night during a live performance, the band announced that Emily Armstrong of the band Dead Sara will be the latest co-vocalists for Linkin Park. They also will be adding Colin Brittain, a songwriter and producer, as one of their drummers.
In addition, Linkin Park will be releasing their first song in seven years, "The Emptiness Machine" and a new album with lead single, "From Zero", out November 15!
The band is officially back in action, and fans are certainly excited for the return of yet another iconic music group!
I'm sure by now you were worrying if there would ever be another Weekend Playlist again. After a brief hiatus, we're back with a week's worth of fresh new music wrapped into one cute playlist that will get you through the weekend! And, personally, I couldn't be more excited than I am now.
After obsessing over Sabrina Carpenter's new album, Short n' Sweet, for the past few weeks...it's time to look for some fresh tunes. There's no better feeling than when you're playing a song and someone asks you what the name is because they love it so much. It means, as the DJ, you're doing your job.
And maybe it's because my name is 50% of the word "DJ," but I love to be on the aux. I have a constant stream of playlists going that fit every mood and situation. Want to be hyped up? I've got you. Want to be sad and weep your eyes out? I have a playlist for you. Sad the summer is over? Check my End of Summer playlist.
Since there's new music released every Friday, I like to comb through press releases, Spotify playlists, and more to find the best new songs released that day. Whether it's a big artist like Taylor Swift, or a more indie sound, I'm looking everywhere for music you'll actually want to listen to.
Now that we're all equally excited, there's no more time to waste! Here are my picks for the best new tracks released the week of September 6, 2024! Let's get listening.
Joe Jonas, Alan Walker, Julia Michaels- "Thick Of It All"
What I love about this collaboration is that it bands together three titans in the music industry. Joe Jonas, the childhood heartthrob who made headlines as one of The Jonas Brothers. Alan Walker, the mastermind behind some of the biggest dance tracks in the world. And Julia Michaels, one of the most prolific singer-songwriter-producer combinations in the game right now.
"Thick Of It All" combines what each artist does best in one smooth track. With a dreamy back beat, Julia Michaels' rings in the chorus as she croons "all the way in the thick of it all." It's a great mix of Jonas and Michaels' complementary vocals with an iconic backing from Walker. You can't lose.
Sabrina Sterling- "take a shot"
If you need a silky, synthy pop song that details what it feels like to be in a toxic relationship, then come listen to Sabrina Sterling's new song. With lyrics like "my boy hates who I'm out with/says it's not allowed if/I do things for me I know he'll tell his friends about it," Sterling sums up the pain and confusion of not being able to leave.
We all need a song that puts our feelings into words, which is exactly how Sterling steals our hearts with this introspective, honest single. An easy pick for this week's playlist. This one's for the heartbroken, yearning listener who likes a melancholic, upbeat track.
The Chainsmokers, Kim Petras- "Don't Lie"
We already know that Kim Petras and The Chainsmokers can make a radio hit with their eyes closed. A bouncy, sexy house track that I can already hear being played in New York City clubs..."Don't Lie" is yet another reason why Petras and The Chainsmokers are so highly reveled in the industry. They understand their audience, and they make music everyone can enjoy.
The summer of house music continues into fall, and who better than The Chainsmokers to remind us they still have it?
Fred again..., SOAK- "just stand there"
Fred again... keeps pushing boundaries with his progressive house music that has stolen the hearts of millions. He's become one of the most innovative DJ's in the game right now, whose music may be unconventional at times but equally thrilling. "just stand there" is another example of how Fred again... is akin to RUFUS DU SOL in terms of groundbreaking dance music.
"just stand there" may not be your most typical dance song, but it's classic Fred again...calm in the right places, nostalgic in others, and an overall good time.
A$AP Rocky, J.Cole- "Ruby Rosary"
A$AP has finally put his time in in the studio and he's coming in hot. Linking up with another big name in the rap game, J. Cole, proves A$AP Rocky can reclaim the crown at any time. This melancholic rap song is quintessential for those who like to keep it old school.
"Ruby Rosary" is classic and familiar in a good way. Not unoriginal by any means, but a reminder that real rap still exists.
BENEE- "sad boiii"
BENEE has a sexy, synthy, dreamy voice that has captivated listeners. She has the ability to slam a catchy hook into a fun chorus, and that's exactly what she's done again with "Sad Boiii." BENEE is every bit the jazzy popstar that we needed in the world.
This song is a reminder that she doesn't need another sad boy, someone who's going to disappoint her. It's the bad bitch energy this playlist needed.
Rex Orange County- "2008"
On a more relaxing note, Rex Orange County reminds us how he's going to prioritize mental health, take life slow, and enjoy. It's a sweet, calming number that shows Rex Orange County's maturation as an artist, and as a person. The song is delicate, lighthearted, and feels like the beginning of a new era for the singer.
It's a confident approach to a song that is much needed for many. A great end to our Weekend Playlist.
When we talk, Becca Stevens is in Hong Kong, playing a string of shows. Before that, she was in Japan. Before that, she was on Broadway on the cast of the Tony Award-winning musical, Illinoise. All while juggling the demands of motherhood and working on her new album, Maple to Paper.
“It’s all very surreal and exciting,” she says. But as someone whose artistry has developed over
years, she’s used to being in service to the art — wherever that takes her. Maple to Paper is proof of her commitment to following her inspirations, no matter how painfully personal. An album about motherhood, artistry, and selfhood, it explores Stevens’ grief over losing her mother while becoming a mother herself. Known for her ability to infuse her personal reflections with universality, Maple to Paper shows Stevens at her most vulnerable.
As her first acoustic folk album, most of it was recorded in single takes, produced alongside Nic Hard to create a stripped-down sound that keeps the listener grounded as the lyrics explore philosophical realities and existential meditations. But this doesn’t feel like a departure — rather an extension of herself. With each album, she says, she embraces a different muse.
Maple to Paper involved searching through the most tender parts of herself by stepping into a character and a new sound and transmogrifying them for an audience.
“This record is very different from
Wonderbloom,” she says. “I'm sure that there will be people who are not into it, and they'll think, I guess this is how she is now. But by the time that happens, I will already be working on the next thing, so I'm not even what they think I am. Once it gets to that point, I'll already be somebody else.”
Becca spoke to us about all things
Maple to Paper and Illinoise — talking transformation, transmuting painful emotions to an audience, and her inspirations (including Sufjan Stevens).
(Photo credit: Shervin Lainez)
POPDUST: How has it been to play the new songs?
Becca Stevens: So much of this process has been a solo venture — writing them at home alone, recording them at home alone — so getting to play them in front of human beings who are reacting to things is awesome.
One thing that has been really cool and refreshing is to hear people laugh at my jokes. Because my sense of humor in a couple of the songs is a little dark and dry. And to hear people get it and laugh at it is startling to me because I've just been singing them alone, and then I hear people get my dumb little jokes, and it startles me in a really nice way.
POPDUST: You’ve talked about the anxiety of sharing such a personal album. Can you speak to that a little bit?
Becca Stevens: In the darkest moments of this album – processing my grief and also birthing the album artistically – I would get in my head about feeling like it was too much to share, too personal to put out into the world. And these intense moments of imposter syndrome being like, Why? What makes me important enough to share this kind of grief with a bunch of potential strangers? Why would I do that?
And it's actually funny that I ended up doing
Illinoise because I was feeling that way one night, and one of the things that brought me out of it was listening to Sufjan Stevens's Carrie & Lowell. The deep sense of catharsis that album gives me made me think, I need to be writing this stuff anyway. The only difference is that I'm recording it and sharing it with people. And if, by sharing that, I could have that kind of effect on one person, then it's worth it to me.
POPDUST: How do the songs change when you go from that initial cathartic expression to something for an audience?
Becca Stevens: There are stages. The writing process was like ugly therapy sessions. Just processing and going through all the stages of grief randomly, like a grief roller coaster. Then, the recording process was one step removed from that. I was more focused on trying to rise above the technicality and go back into the emotional — but in a more controlled, spectator-type way, dipping back into the role of how I felt when I wrote the songs, but without losing control. And I say that because in the recording process, I had takes when I was able to fully commit to this character that was experiencing the grief, but if I had gone fully into it, then I wouldn't have been able to execute the song.
So it's a balancing act there. And that was almost an athletic venture. It took me the better part of a year to get to the point where I believed all of the takes. The recording was done live. Everything. I was singing and playing at the same time, and I was really hoping for as close to complete takes as possible. The third stage that I'm in now, performing this stuff, is totally different. It's a totally different experience to be able to witness the exchange of energy and have it be received by an audience.
POPDUST: In some of your lyrics, you talk about this juxtaposition of privacy and performance because you’re talking about such private moments. But you’re very aware of the Artist as a performer and the Artist's role in translating a feeling to an audience. Can you talk about where the idea of character fits in?
Becca Stevens: This record came at the perfect time in my artistry. Separate from the process of traversing this grief of losing my mom and while becoming a mother, I have been, with each record, more and more inspired by the task of stripping away the veil, like the artistic veil, and really cutting to the core of honesty. I think it's easier to do that when there's something that you have to be really honest about. On the hard days, I'm like, This is too much to share. And then on the good days, I could be like, Okay, this is the ultimate challenge — to really buckle down and embrace the truly authentic voice that's coming out of an experience that literally everyone goes through at some point in their life: loss.
If we're lucky, our parents die before we do, and so it's a very shared human experience. So, committing to the expression of honesty and authenticity was a refreshing challenge and something that I'm interested in anyway. Early in my songwriting career, it was my tendency to avail myself of things that I was really feeling or ashamed of feeling. And I'm always going to be a person that's drawn to doing the thing that's harder for me. And so this record was like, Okay, this is already hard, so I might as well go full throttle into that thing that's been interesting to me.
POPDUST: Do you feel differently about any of this album – or can you see growth or evolution in your perspective with distance? Or even answers to some of the questions that you pose in the songs?
Becca Stevens: When I was in Hong Kong, I was playing old songs and these new songs on the same set. Also, in Japan, I sprinkled in a couple of old songs and played them after the new songs. And they feel so different to me. It's not it's not like I dislike my old songs. It just feels like such a different version of myself, a different part of my brain, and a completely different energy on stage. Songs from Regina make me feel empowered, and I feel like I'm stirring up energy and raising the energy in the room. Then, songs from Maple to Paper feel heavier, like I'm bringing people into this really heavy, dark, but womb-like state.
As far as my reaction to the songs, after some time, it's much easier for me to get through them without crying. Now, I can enjoy the process of playing them, and I can enjoy them. I can step outside of them and enjoy the music and the process of sharing them with people.
POPDUST: For this album, you reference confessional folk influences. Who was inspiring you, and what was drawing you to those influences?
Becca Stevens: Nick Drake and Elliot Smith both come to mind — not only as songwriters but as guitar players. Some of their records are just guitar and voice, but — at least for me personally, as I'm listening to them — it doesn't occur to me. Then I'm like, what's happening here, and it’s very simple. It's just guitar and voice, or guitar and voice doubled. But because of how it's recorded and played, particularly the guitar playing, it feels so full, and you don't miss the fancy overdubs, production, orchestrations, and stuff like that. So, that was something that I referenced with Nic Hard when we were mixing it. We sent a lot of stuff back and forth — we talked about Nick Drake and Elliot Smith, and then there's some Kurt Cobain and Radiohead in there. There's Robert Johnson, Piedmont blues guitar, and right-hand stuff in there. And also people like Bob Dylan and Joni Mitchell. And almost the sound of folk, without it being specifically attributed to any one person,
POPDUST: Some of the people that you mentioned make me think of that opening line of that opening track, “Now Feels Bigger Than The Past.” You say: “What is it about an artist dying that makes art feel more palatable?” What was on your mind when you wrote that?
Becca Stevens: Do you remember what year Prince died? Like 2016. I wrote the first line on a little piece of paper and stuck it to my wall shortly after he died because I'm a huge Prince fan. And I remember being annoyed by seeing people who I knew weren't really fans sharing bite-sized versions of Prince on social media – whatever the most popular song, and acting so emotional about losing him.
On one hand, I was like, great. He deserves that. But also, as an artist who's struggling in the streaming world and still very much feeling the burden of artistry on my body after the 20 years that I've put into this artistry, the world doesn't take care of me. And then you look at somebody who's had such fame as Prince, and in a lot of ways, the world still wasn't taking care of him either. People at his level, you've seen time and time again somebody dies because they overdose on a drug that can help them sleep at night or get through the next day because the work is so taxing.
And they're not making the money that they need to be making from their art because people aren't paying for it anymore. Then, we tag a Spotify clip on a social media post. And I was just frustrated by the fact that these people weren't actually supporting the art. But I jotted that on a piece of paper, stuck it to my wall, and forgot about it for a while. Then, a year or so later, when my mom was re-diagnosed with breast cancer, and she was dying, I pulled the paper off and wrote this song that created a thread between the two.
POPDUST: Mortality is a theme on this album. So is impermanence. Can you talk about creating that thread?
Becca Stevens: So I was thinking about this idea of impermanence and how that affects our perception of the thing. Like someone dies, and then suddenly, you want to dive into their work and appreciate them more. What if you take that same concept into someone who’s betrayed you? And then they die, and you're able to forgive because they're gone. Then, the third verse is the same thing applied to the process of losing one's parent or mother and how that affects them as well. When my mom was sick and dying, and after she died, I thought about my own mortality a lot, especially when I was writing “If I Die Before You.”
POPDUST: You talk a lot about the maker feeling the way that they'll be seen. Thinking about audience, does the idea that the work will be seen and heard by an audience affect you when you write?
Becca Stevens: As a songwriter, there's this constant dance, almost like the angel and the devil on your shoulder, between the Muse feeding you this beauty and this effortless artistry and this internal critic that is like embodying voices from your past, or voices from social media, or what you fear other people might think. Our job is to oscillate between the two. Sometimes, those voices of the internal critic are feeding you things that might be useful. And sometimes, it's total Malarkey, and it needs to be ignored at all costs.
POPDUST: To talk about Illinoise, what was it like to be part of that production?
Becca Stevens: As I mentioned before, I'm a huge Sufjan Stevens fan. I got the call from Timo Andrus, who did the orchestration for the show, and we've been friends for 20 years. And Shara Nova, who sang on the original album on Illinois from way back in the day, she could only do the first half of the run and my friend Timo was like, oh, Becca would be really cool for this. Let's see if she's available. And he called me — I think it was three weeks after I had a baby — and he was like, I know you just had a baby, but I feel like you'd be really cool for this. And I was so committed to taking this time to recover and be quiet, but he started talking about it, and I was like, Oh, I think I have to audition for this because it just sounds too good to be true. So I auditioned, kind of half thinking that I wouldn't even get it. And then I was offered the part.
Being in the show was so amazing to be a part of something bigger than me that had really very little to do with me. It gave me so much space on the stage to have a sense of coming back into working, working hard, but to come back into feeling like an artist and like a professional publicly after a couple of years of feeling more like a mom. I felt like I was doing exactly what I was meant to do, rather than being alone in a room trying to figure out what I was
supposed to do.
POPDUST: Another theme of the album is impermanence, and a live production only exists each night while an album is recorded permanently. How do both experiences and living in both worlds lend to the art itself?
Becca Stevens: Some nights, I'd be on the train with people who were at the show who didn't even know who I was. I struggled sometimes, like an ego struggle where I was like, Is this even happening? But it was both challenging and also deeply cathartic and refreshing that I didn't matter. I'm a part of this bigger thing. It's not being recorded, and I'm not seeing it back. My daily mantra became: “Have fun, be in service to the bigger thing, and don't take yourself too seriously.” And I was just telling myself that over and over and over again.
And now that I'm coming back to this world where I'm playing my own music, I think I'm noticing a difference. It's easier for me to handle my own nerves and use some of those same tools. Because even though these shows that I'm playing now are all me and by myself, the same stuff still applies. People come to shows, and if you're lucky, you have 70% of their attention. We're really not all that important. So, I'm able to have more space for that feeling of being a conduit and serving the greater thing,
Listen to Maple to Paper here:
Watch the video for “Now Feels Bigger Than The Past” here:
Rumors began to swirl online yesterday that the American Royal Couple, Travis Kelce and Taylor Swift, were heading for Splitsville.
It began with a Reddit post with an alleged contract, providing an exact date when Travis Kelce and Taylor Swift would break up. This fueled even more gossip that the iconic couple — who have made debuts together on-stage at Swift's Era's Tour — were a so-called PR relationship.
Online forum and social media users began to speculate whether or not Swift and Kelce's relationship has merely been a ploy for popularity — or not. However, Travis Kelce shut down those rumors immediately by having his PR firm, Full Stop, call lawyers to confirm these documents are falsified and they will be taking action.
image C/O Daily Mail
It's a sigh of relief for many as The Tortured Poet's Department singer and the Kansas City Chiefs tight end haven't called it quits. But it's also an important sign not to believe everything you see on a Reddit thread...and luckily, this couple will never go out of style.
A spokesman from Full Scope told The Daily Mail that the document is "entirely false and fabricated and were not created, issued or authorized by this agency."
'We have engaged our legal team to initiate proceedings against the individuals or entities responsible for the unlawful and injurious forgery of documents,' Full Scope added.
It's been a busy week for Travis Kelce, who spent the summer following Taylor on tour, as he prepares for the start of NFL season on Thursday. He also just revealed the trailer for Ryan Murphy's latest show, Grotesquerie,starring Kelce and Niecy Nash. While the trailer is sure to turn heads, we can't help but still fear for his acting abilities— or lack thereof!
Regardless, we can all relax now knowing Taylor and Travis are still going strong. And I will wait patiently for the engagement rumors to ensue.
These days, the inception of many careers starts on social media. At first, there was YouTube, now there's TikTok. This video-based social media platform is where Sam Tompkins began posting clips of himself singing covers of popular songs. While many aren't successful, Sam Tompkins had a different story to tell.
His story truly starts with his cover of Bruno Mars' "Talking To The Moon," which sent viewers into a frenzy over Tompkins' captivating voice. From there, he collaborated with JNR CHOI to create a viral remix of the song...which would become the soundtrack for
millions of TikTok's by users everywhere.
He's a mega-viral singer who has already proven that he's not letting this moment end. Sure, there's always the question of "what's next," but Tompkins seems to have the formula figured out. His vocal ability has gotten him here for a reason, and fans quickly recognized that his relatable lyrics and hard-hitting choruses are replay-worthy.
But it's not just the fans who love Tompkins...who has received recognition from superstars like Elton John, Bebe Rexha, and Justin Bieber. There's something special woven into his silky smooth vocals that makes Sam Tompkins an obvious choice for the next star in the music industry.
His debut album,
hi, my name is insecure, which was released on July 26, is a step inside Tompkins' soul. While many artists play it safe during the first submissions, it's clear that Sam had a different approach...and we're lucky he did.
The album itself is stunning: an aesthetically pleasing, sonically dynamic masterpiece that showcases his depth as an artist. A ballad-heavy, introspective piece of work with tracks like "lose it all", which was another hit among listeners and fans. Each song is riddled with emotion and ladened with instrumental backing that just contributes to the well-rounded tracks.
You can listen to hi, my name is insecure here:
He's one of the most exciting artists out there, and he deserves all the success he's receiving...and while he may make it look easy, we know it certainly is not.
We spoke with Sam Tompkins about his debut album, touring with The Kid LAROI, and much more! Check it out below:
Congratulations on your debut album, hi, my name is insecure! As your first official album, what was it like to create a full body of work?
Creating an album is difficult in hindsight as I’m sure you can imagine, but actually (at least for me), it felt really natural. I loved the writing process and recording and figuring it all out step by step. it was chaos and it was tricky at times, but it just felt right.
What is the main message behind your album? How does it represent you as an artist?
I guess the main message would be a problem shared is a problem halved. that’s kinda my mantra as a person and artist to be honest. Be vulnerable and you will find the challenges you’re faced with don’t feel as scary. Saying “hi my name is insecure” straight off the bat as the title for my introduction to the world as an artist just felt like the right thing to do. I am insecure and i will not be ashamed of that anymore. it’s natural… we all feel it.
While the album title is a bit self-explanatory, what does it mean to you? How did it feel right when making the single and the album?
I always compare it to
8 Mile. That rap battle at the end where Eminem's character basically just insults himself for the first verse using all of the negative things he knew his opponent was gonna use against him basically rendering the other guy useless. When i say i'm insecure and own that, i am essentially taking control and power over the situation.
You just went on tour with The Kid LAROI…what was your favorite part about touring live? Will we see a solo Sam Tompkins tour soon?
It was amazing. Honestly, my favourite part was seeing one of my favourite artists doing his thing in the flesh. Yes! I am supporting Myles Smith across America in September and then doing my own tour in Europe and the uk in November!
Your “Talking To The Moon” cover went viral on TikTok. Can you tell us a little about that experience?
Honestly, it was just such a whirlwind. I was just bored one night and decided to make the video and it just changed my life in so many ways. Kinda crazy to experience that level of vitality, but it’s something I’m super proud of.
What are three words you’d use to describe this album?
"Honest", "Raw", "Rollercoaster"
We hail Taylor Swift for many things: her innate musical ability, her consistent chart-topping albums, her drive. And her personal life is something we’ve all been invested in for years, whether it’s her boyfriend Travis Kelce or even her private jet usage, people are obsessed with Swift.
And while the Eras Tour is all the rage right now, selling out in seconds and causing a outright siege on Ticketmaster, I’m not paying attention to surprise songs…or the teasing of the reputation (Taylor’s Version) re-release…I’m fully focused on Taylor Swift’s makeup.
You see, the woman has performed in rain, in the heat of the summer, dancing and charming, and belting out songs for hours upon hours…and her makeup doesn’t move. There’s not a single photo with Taylor’s mascara running down her face, her blush is still intact, it’s actually an anomaly.
Taylor Swift’s makeup routine may be one of the most sought-after recipes in the world. Why can’t we keep our faces in flawless condition, ready for any event or natural disaster that comes our way? It seems unfair.
Well, for one, we don’t have makeup artists and a team of stylists curating the best routine for our faces and skin tones. But, we can take a note from the artists and see what products they use.
Look, I’m not performing for hours on a stage for tens of thousands, but I am going out and sweating my makeup off night after night. And heaven forbid it rains. So, I need to prepare my makeup just like I’m on tour. It’s the only way.
Okay, I’ve done my research and I’m willing to share. If you want Taylor Swift’s makeup routine, here are the go-to Taylor Swift makeup products you need:
The Secret? It’s All Pat McGrath
Pat McGrath is similar to Patrick Ta: both celebrity makeup artists-turned-beauty-brand-gurus who make incredibly viral makeup. There’s a reason they’re two of the most in-demand names in the beauty industry right now.
Tons of celebrities are often seen wearing Pat McGrath thanks to its second skin-like finish and long-lasting wear. Fans have been asking for years for Taylor Swift’s routine, and while it’s never fully been confirmed…we have an idea thanks to some internet sleuths unearthing a number of hints.
Swift collaborated with legendary makeup artist Pat McGrath for the “Bejeweled” music video from her album, Midnights, where McGrath herself even makes a cameo. Not only that, but fans have figured out she’s a regular McGrath fan thanks to the likes of Deuxmoi.
Taylor Swift's makeup routineDeuxmoi via Instagram
So, it’s safe to say that Taylor is exclusively using Pat McGrath makeup products. It makes sense, considering they’re luxurious, premium quality, and highly celebrated by makeup artists.
And while Pat McGrath may be on the pricier end of Sephora products, it’s well worth the money. When shopping for makeup, I use Girl Math. Sure, foundation can sometimes cost upwards of $50…but that’s $50 for six months of wear…or $10 per month! So cheap.
Now that we know the brand and some of the products that Taylor’s rumored to enjoy. Here are a few:
We’re all aware that Taylor opts for a bold red lip, it’s kind of her signature. But don’t be afraid to try the other shades in this collection. While LiquiLUST: Legendary Wear Matte is very Taylor, it’s also great to layer with a gloss.
Pricey, but well worth it. The Sublime Perfection Foundation sets in like a second skin while covering any imperfections or discoloration that you may have. It gives a subtle glow that we all love while remaining full coverage. Plus, it stays on the skin forever.
One of Taylor’s lyrics is literally “dry the cat eye sharp enough to kill a man” so you know when it comes to eyeliner Taylor doesn’t play. Pat McGrath Labs’ PERMA PRECISION liner is silky smooth to use and glides effortlessly over any lid…giving you an easy wing in no time.
What I love about the Skin Fetish Highlighter is that they’re easy to keep in your purse for on-the-go fixes. They pack a major punch when it comes to shine, and you can put it anywhere on your face, including your eyelids for a subtle glimmer look.
While I’m personally not a fan of primer in general, I can’t discount Taylor’s makeup regmen. It endures. It stays on her face through anything, so it’s got to be working. Plus, when you pair the same foundation, setting powder, and primer, it’s going to look cohesive.
I’ve spoken volumes about this palette. While it may be on the more expensive side, it’s definitely worth your money. First of all, consider how often you’re buying eyeshadow. Palettes last a long time, and this highly pigmented one is packed with color.
It’s buildable, blendable, and easy for beginners to use. Plus, the rose shades are amazing.
(Photo credit: Shervin Lainez)
image C/O Daily Mail 
Taylor Swift's makeup routineDeuxmoi via Instagram
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