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Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: Kehlani eyes a big chart move thanks to a new pack of remixes, a surreal viral trend helps put a rising singer-songwriter on the streaming map, basketball’s greatest soundtrack makes a comeback and more.
Tame Impala’s ‘Dracula’ Sinks Its Teeth Into the Halloween Season
This year, Halloween fell on a weekend, meaning the partying was perhaps even a little more widespread than usual — and the songs that provide the annual soundtrack for such festivities exploded were even more explosive on streaming. On DSPs, the top-ranking songs were the usual perennial favorites, Michael Jackson’s “Thriller,” Ray Parker Jr.’s “Ghostbusters” and Bobby “Boris” Pickett’s “Monster Mash” of course among them. But a little lower on those listings was another much-newer spooky-season favorite: “Dracula,” the current electro-pop breakout hit for psych-dance vets Tame Impala.
“Dracula” has already proven a chart sensation, debuting on the Billboard Hot 100 at No. 55 in October and hitting a new peak of No. 33 last month following the release of its parent album Deadbeat – his first-ever entry on the chart, since joined by two of its Deadbeat tracklist mates. It may hit a new peak on the Hot 100 on next week’s chart (dated Nov. 15), after the (loosely) vampire-themed and (vaguely) eerie-sounding track racked up over 1.8 million official on-demand U.S. streams on Oct. 31 — up 49% from the previous Friday, according to Luminate, a massive gain for a song already pulling daily streams in the seven digits.
Will the song endure to become a Halloween staple like those aforementioned proven classics? Time will tell, but early signs are encouraging for “Dracula” becoming a holiday immortal.
Toni Braxton Proves ‘Man Enough’ for a Streaming Boost, Thanks to Kayla Nicole and an Upcoming Movie
A week after throwing Kehlani an assist on “Folded,” Toni Braxton is experiencing a mini-streaming revival for one of her own hits. Thanks to a spicy Halloween costume from Kayla Nicole, Travis Kelce’s ex, and a flurry of motion from the Braxton world, streams for 2000’s “He Wasn’t Man Enough” are way up.
According to Luminate, on Oct. 31, “Man Enough” (which reached No. 2 on the Hot 100) earned 106,000 official on-demand U.S. streams. After Nicole shared her costume, which tributes the track’s sultry music video, on Halloween, the Grammy-winning song jumped 87% to over 200,000 official streams (Nov. 1). By Nov. 2, “Man Enough” leapt a further 32% to over 265,000 official streams, with the following day (Nov. 3) giving way to a 38% boost, resulting in 366,000 official streams. Over that four-day period, streams for Braxton’s smash exploded over 242%.
To her credit, Braxton also kept her name in the headlines all by her lonesome, which only further propelled “Man Enough.” On Oct. 28, New Edition confirmed it would head out on a 2026 tour alongside Braxton and Boyz II Men, by Oct. 30, all three acts performed a medley on Good Morning America, with Braxton crooning “Man Enough.” Furthermore, the latest season of The Braxtons, a reality show following Braxton and her famous family, premiered on We TV on Oct. 10, with clips quickly going viral across social media. Also on Oct. 28, Lifetime shared the first look at He Wasn’t Man Enough, an original TV movie starring and executive produced by Braxton based on her hit song.
During the first four days of the week preceding Halloween (Oct. 24-27), “Man Enough” logged over 313,000 official on-demand U.S. streams, with that number jumping just under 200% to over 938,000 official streams over the equivalent period the following week (Oct. 31-Nov. 3). In addition to its streaming boost, “Man Enough” also returned to the iTunes U.S. top 30. — KYLE DENIS
Drake and the Toronto Blue Jays: Still Definitively ‘Not Like Us’
For the second straight autumn, the Los Angeles Dodgers ended the baseball season on top of the mountain. After defeating the Toronto Blue Jays in a classic seven-game World Series — with the seventh game (on Saturday, Nov. 1) going to extra innings and ending on a bases-loaded double play — the Dodgers became the first team since the New York Yankees of 25 years earlier (’99-’00) to repeat as MLB champions.
And just like it was last year, the most frequent song of celebration for Los Angelenos was Kendrick Lamar‘s forever-triumphant, forever-sneering “Not Like Us.” The Grammy-winning, Hot 100-topping classic diss track from L.A.’s most esteemed modern hip-hop representative rang out across Southern California over the weekend, pulling a combined 1.8 million official on-demand streams across the two days (Nov. 2-3) following the Dodgers’ clinching victory — up 16% from the same period the week before, according to Luminate.
And of course, helping to make the victory and its soundtrack extra sweet: The Blue Jays’ most high-profile celebrity representative at the series was of course the 6 God himself, Kendrick’s 2024 foe Drake. The FOX network even tweeted a mocked-up photo after the game of a trophy-donning Lamar speeding away from Drake on the baseball diamond, right next to the all-caps caption, “THEY NOT LIKE US.” — A.U.
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Daniel Caesar attains his first No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart as Son of Spergy begins atop the list dated Nov. 8. The set, released on Oct. 24 through Hollace/Republic Records, opens with 43,000 equivalent album units earned in the United States in the week of Oct. 24-30, according to Luminate.
Of its starting sum, Son of Spergy generated 26,000 units from streaming activity, equaling 34.1 million official audio and video streams of the album’s tracks. 17,000 units derive from traditional album sales, with minimal activity from the third contributing metric, track-equivalent units from song sales. Thanks to its activity in the relevant metrics, Son of Spergy arrives at No. 4 on the Top Album Sales chart and No. 11 on the Top Streaming Albums ranking.
Son of Spergy — the title is a nod to the nickname of Caesar’s father, gospel singer Norwill Simmonds — is the fourth album by the singer-songwriter. It follows his breakthrough, 2017’s Freudian, which peaked at No. 16 on the Top R&B/Hip-Hop Albums chart, 2019’s Case Study 01 (No. 10), and 2023’s Never Enough (No. 6).
In addition to its triumph on Top R&B/Hip-Hop Albums, Son of Spergy likewise starts at No. 1 on the Top R&B Albums chart and is Caesar’s first leader there. Breakthroughs continue with its No. 4 launch on the all-genre Billboard 200, where the singer scores his first top 10 visit.
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Ten of the album’s tracks reach the 50-position Hot R&B/Hip-Hop Songs chart, led by the No. 23 debut of “Who Knows.” The entrance gives Caesar his best result as a lead artist. He previously scored two No. 1s in featured capacities: on Justin Bieber’s seven-week champ “Peaches,” also featuring Giveon, in 2021, and by supporting Tyler, The Creator on last year’s “St. Chroma,” which ruled for one week. He likewise assisted Tyler, The Creator on the No. 16-peaking “Take Your Mask Off,” also featuring Latoiya Williams.
Two previous releases, “Have a Baby (With Me)” and “Call on Me” return for their second weeks on Hot R&B/Hip-Hop Songs. The former reaches a new peak of No. 31 after it debuted at No. 36 in August, while the latter matches its No. 40 high.
Plus, Caesar notches his first No. 1 on the Hot Gospel Songs chart, as “Rain Down,” featuring Sampha, blasts in at the top. The track owes its start to 3 million U.S. streams, with negligible amounts of radio airplay or sales.
Here’s a rundown of Daniel Caesar’s Son of Spergy tracks on this week’s Hot R&B/Hip-Hop Songs chart:
No. 23, “Who Knows”
No. 28, “Root of All Evil”
No. 31, “Have a Baby (With Me)”
No. 37, “Baby Blue,” feat. Norwill Simmonds
No. 38, “Rain Down,” feat. Sampha
No. 39, “Emily’s Song”
No. 40, “Call on Me”
No. 41, “Moon,” feat. Bon Iver
No. 46, “Touching God,” feat. Yebba & Blood Orange
No. 49, “Sign of the Times”
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Kenshi Yonezu’s “IRIS OUT” continues to dominate the Billboard Japan Hot 100 for the seventh consecutive week, on the chart released Nov. 5.
While overall chart points for the Chainsaw Man – The Movie: Reze Arc theme dipped slightly compared to last week, karaoke performance increased to 116%. The track sits at No. 1 for streaming, video views, and karaoke, while hitting No. 3 for downloads, No. 9 for CD sales, and No. 13 for radio airplay, extending the hitmaker’s longest-running stay atop the Japan Hot 100.
At No. 2 is Sakurazaka46’s “Unhappy birthday Koubun,” which jumps from No. 15. The girl group’s 13th single sold 614,231 copies to take No. 1 for sales, and comes in at No. 10 for downloads, No. 9 for streaming, No. 70 for radio, and No. 61 for video.
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Three songs debut in the top 10 this week. LE SSERAFIM’s “SPAGHETTI (feat. j-hope of BTS)” sold 92,621 copies to arrive at No. 3, BE:FIRST’s “I Want You Back” rules radio to bow at No. 4, and Travis Japan’s “Disco Baby” lands at No. 7 after topping downloads.
In other chart moves, several songs by veteran band back number see renewed momentum. “Blue Amber” rises 35-32, “Takaneno Hanakosan” 72-56, “Suiheisen” 79-77, while “Koi” returns at No. 87.
The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from Oct. 27 to Nov. 2, here. For more on Japanese music and charts, visit Billboard Japan’s English X account.
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Fuerza Regida secures its fourth stint at No. 1 in 2025, as “Marlboro Rojo” surges from No. 6 to the top of Billboard’s Regional Mexican Airplay chart (dated Nov. 8). The group banks its seventh champ total.
“Marlboro Rojo” becomes the second chart-topper from the group’s ninth studio album, 111XPANTIA. Just four months ago, “Por Esos Ojos” led the list for one week in July.
As the sole writer of “Marlboro Rojo,” Miguel Armando Armenta, better known as Armenta, secures his sixth No. 1 on Regional Mexican Airplay chart as a writer. He previously penned five other chart-topping hits, contributing to the success of songs by Fuerza Regida and Gabito Ballesteros.
“Marlboro” takes the lead with 6.9 million audience impressions, earned in the United States in the week ending Oct. 30, according to Luminate. That’s a 31% boost from the previous week. As the track lands at the summit, Fuerza collects its seventh ruler dating to 2023 when “Bebe Dame,” with Grupo Frontera, earned the group its longest-leading No. 1 with three weeks in charge. Here’s a look at those champs:
Title, Artist, Peak, Weeks at No. 1“Bebe Dame,” with Grupo Frontera, March 18, 2023, three“Mentira No Es,” with Banda MS, July 29, 2023, one“Harley Quinn,” with Marshmello, Feb. 3, 2024, one“Tu Boda,” with Oscar Maydon, Feb. 1, 2025, one“Me Jalo,” with Grupo Frontera, April 5, 2025, one“Por Esos Ojos,” July 19, 2025, one“Marlboro Rojo,” Nov. 8, 2025, one
“Marlboro” shoots up the overall Latin Airplay chart, climbing from No. 15 to No. 3 and giving Fuerza its eighth top 10.
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Kehlani bags her first No. 1 on Billboard’s Hot R&B/Hip-Hop Songs chart as “Folded” snags the summit on the list dated Nov. 8. The single advances after five weeks in the runner-up spot and likewise captures the crown on the Hot R&B Songs list.
“Folded,” released on Atlantic Records, traces its coronation week on the multi-metric Hot R&B/Hip-Hop Songs chart to a combination of 13 million streams, 32.9 million in airplay audience and 3,000 sold in the United States for the tracking week of Oct. 24-30, according to Luminate, gains of 35%, 11% and 74%, respectively.
Streaming and sales improvements were aided by the release of the six-song “Homage Pack,” which remixed “Folded” with different R&B singers. The collection features individual remixes for the song with Brandy, Toni Braxton, JoJo, Mario, Ne-Yo and Tank, respectively. The first five versions all combine with the original “Folded” entry for charting and data purposes; the Tank edition, which recasts Kehlani’s vocals in a less-prominent way, is tracked separately. As the original “Folded” contributes most of the chart activity, no featured artists were added to the song’s billing.
Kehlani claims their first No. 1 on Hot R&B/Hip-Hop Songs with their 19th career appearance, stretching back to 2016’s “Gangsta,” which debuted at No. 20 in August 2016 and peaked at No. 13 the following month. That rank remained Kehlani’s best result until this year; in addition to the “Folded” rise, they came close to the top slot via a feature on Cardi B’s “Safe,” which peaked at No. 3 last month.
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Elsewhere, as “Folded” tops Hot R&B/Hip-Hop Songs, it repeats its rise from runner-up to top dog on the Hot R&B Songs chart, dethroning Leon Thomas’ “Mutt” on both rankings. It likewise is the Kehlani’s first No. 1 entry there; the singer-songwriter previously reached a No. 4 best via the Ty Dolla $ign-featuring “Nights Like This” in 2019 and the Tory Lanez-assisted “Can I” the next year.
In addition to its new crowns, “Folded” continues to unwrap new career milestones across other charts. This week, it becomes Kehlani’s first top 10 hit on the all-genre Billboard Hot 100, where it darts 14-7, and marks their first top 10 visit on both the Streaming Songs (28-10) and Radio Songs (11-8) charts.
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Chris Brown doubles up on Billboard’s R&B/Hip-Hop Airplay chart by occupying the top two spots of the radio ranking dated Nov. 8. The singer’s “It Depends,” featuring Bryson Tiller, rises 2-1, while former champ “Residuals” rebounds 3-2. With the pair, Brown pulls the double play for the third time in his career, and first instance since 2014.
“It Depends,” released on Brown’s CBE imprint and RCA Records, becomes Brown’s 12th No. 1 on R&B/Hip-Hop Airplay, tying Lil Wayne’s count for the third-most among all acts. Tiller, meanwhile, nabs his third champ after his two-week No. 1 “Don’t” in 2016 and via he and Rihanna’s featured spots on DJ Khaled’s “Wild Thoughts,” a five-week leader the following year.
“It Depends” ascends from the runner-up spot to rule R&B/Hip-Hop Airplay, which ranks songs by combined audience totals from panel-contributing adult R&B and mainstream R&B/hip-hop radio stations. There, the single jumped to 22.4 million audience impressions in the United States for the week of Oct. 24-30, according to Luminate, up 15% from the prior week’s total of 19.4 million. The nearly 3 million audience upsurge secures “It Depends” the Greatest Gainer award, given weekly to the song with the largest increase in audience.
Plus, Brown’s nine-week leader “Residuals,” which ruled at various times between February and August, rallies 3-2. In its 65th week on the chart, the single improved 6% to 20 million in audience for the tracking week.
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With “It Depends” and “Residuals,” Brown links a fifth occasion of appearing on the Nos. 1 and 2 songs on R&B/Hip-Hop Airplay. It’s the first time, however, he is the lead act on both tracks. He previously was on the top two titles simultaneously:
On the Nov. 25, 2006, chart with his own No. 1 “Say Goodbye,” and he and Johnta Austin’s features on the runner-up, Bow Wow’s “Shortie Like Mine.”
For three weeks of Nov. 15 – Nov. 29, 2014 charts via he, August Alsina, Future and Jeremih’s featured appearances on DJ Khaled’s No. 1 “Hold You Down” and his own No. 2, “New Flame,” featuring Usher and Rick Ross
Moreover, “It Depends” is Brown’s 12th No. 1 on R&B/Hip-Hop Airplay, tying Lil Wayne for the third-most among all artists since the chart began in April 1992. The pair trail only Drake (29) and Usher (16) on the leaderboard. As Brown makes it to a dozen leaders, here’s a review of the chart-topping collection:
“Say Goodbye,” six weeks at No. 1, beginning Oct. 14, 2006
“Deuces,” feat. Tyga and Kevin McCall; nine, Sept. 11, 2010
“Look at Me Now,” feat. Lil Wayne and Busta Rhymes; eight, April 2, 2011
“Loyal,” feat. Lil Wayne and French Montana or Too $hort or Tyga; eight, June 7, 2014
“New Flame,” feat. Usher and Rick Ross; four, Oct. 25, 2014
“Hold You Down,” DJ Khaled feat. Chris Brown, August Alsina, Future and Jeremih; five, Nov. 15, 2014
“All Eyes on You,” Meek Mill feat. Chris Brown and Nicki Minaj; one, Sept. 26, 2015
“No Guidance,” feat. Drake; 27, Aug. 24, 2019
“Go Crazy,” with Young Thug; 29, Aug. 22, 2020
“Under the Influence,” two, March 25, 2023
“Residuals,” nine, Feb. 15, 2025
“It Depends,” feat. Bryson Tiller; one (to date), Nov. 8, 2025
Elsewhere, “It Depends” lands a fifth week at No. 1 on the plays-based Mainstream R&B/Hip-Hop Airplay chart, where it improved 5% in plays for the week and repeats, at its No. 8 high, on Adult R&B Airplay (up 14% in plays). After three weeks atop the Rhythmic Airplay chart, the song surrenders the summit to Cardi B’s “Safe,” feat. Kehlani, and slides to No. 2 with a 5% decrease in plays.
Combined strength across formats is enough to advance “It Depends” 8-7 on the all-genre Radio Songs chart, where it added 10% in audience to reach 35.9 million in listenership for the tracking week.
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Cardi B punches her ticket into the double-digit No. 1 club on Billboard’s Rhythmic Airplay chart as “Safe,” featuring Kehlani, becomes her 10th leader. The track climbs from the runner-up spot to rule the list dated Nov. 8. Thanks to its victory, “Safe” outdoes the peak of Cardi B and Kehlani’s previous collaboration, “Ring,” which achieved a No. 2 best in November 2018.
“Safe,” released on Atlantic Records, was the most-played song on panel-contributing rhythmic radio stations in the United States for the tracking week of Oct. 24-30, according to Luminate, and improved 17% in plays compared with the prior week. Due to its surge, the collaboration wins the Greatest Gainer honor, awarded weekly to the song with the largest increase in plays.
With the new champ, Cardi B adds her 10th No. 1 on Rhythmic Airplay and is the 13th artist to reach the milestone since the radio ranking’s launch in October 1992. Drake leads all acts, with 43 champs, while Rihanna, at 17, places second overall and claims the best total among women.
Here’s a recap of the Cardi’s B No. 1s on Rhythmic Airplay:
Song Title, Artist (if other than Cardi B), Weeks at No. 1, Date Reached No. 1“Bodak Yellow (Money Moves),” four, Oct. 7, 2017“No Limit,” G-Eazy feat. A$AP Rocky & Cardi B, two, Dec. 16, 2017“Finesse,” with Bruno Mars, two, Feb. 17, 2018“Be Careful,” one, July 7, 2018“I Like It,” with Bad Bunny and J Balvin, four, July 14, 2018“Please Me,” with Bruno Mars, one, April 13, 2019“WAP,” feat. Megan Thee Stallion, one, Sept. 26, 2020“Up,” three, March 20, 2021“Outside,” one, Aug. 16, 2025“Safe,” feat. Kehlani, one (to date), Nov. 8, 2025
Featured artist Kehlani captures a second Rhythmic Airplay No. 1, just a month after “Folded” topped the chart for one week. “Folded” continues to break personal milestones, becoming the singer-songwriter’s first No. 1 on the Hot R&B/Hip-Hop Songs chart and top 10 entry on the Billboard Hot 100 this week.
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Elsewhere, “Safe” wins a third term atop the Rap Airplay chart, where it improved 19% in week-over-week audience and pushes 8-6 on the R&B/Hip-Hop Airplay chart through a 22% gain to 13.5 million in audience at the format for the tracking week. Gains from various sectors help the single rise 22-21 on the Radio Songs chart, reaching 24.2 million (up 20%) across all radio formats during the latest tracking week.
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Anuel AA returns to the No. 1 spot on Billboard’s Latin Airplay chart with “Pórtate Bonito,” his first team-up with Blessd. The track flies 9-1 on the Nov. 8-dated list, Anuel’s first champ in over three years.
Released August 21 on Real Hasta La Muerte, “Pórtate Bonito” was initially announced on Anuel’s Instagram account on August 6, alongside news that Blessd would join him on his RHLM 2 tour.
The collab, produced by Ovy on The Drums, surges 9-1 in its seventh week on the chart with the Greatest Gainer weekly honors, after a 32% boost in audience impressions, to 7.6 million, logged during the Oct. 24-30 tracking week, as reported by Luminate.
The new win marks Anuel’s first No. 1 in over three years, since “Ley Seca,” with Jhayco, ruled for one week in February 2022. In sum, he’s placed 11 rulers, here’s a recap of those since “Ella Quiere Beber,” with Romeo Santos, in 2019:
Title, Artist, Peak, Weeks at No. 1“Ella Quiere Beber,” with Santos, Feb. 2, 2019, one“Secreto,” with Karol G, May 4, 2019, one“Baila Baila Baila,” with Ozuna, Daddy Yankee, J Balvin & Farruko, May 11, 2019, one“Otro Trago,” with Sech, Darell, Nicky Jam, & Ozuna, Aug. 31, 2019, one“China,” with Daddy Yankee, Karol G, Ozuna & J Balvin, Sept. 21, 2019, two“Aventura,” with Lunay & Ozuna, Nov. 9, 2019, one“Keii,” May 2, 2020, one“Fútbol & Rumba,” with Enrique Iglesias, Aug. 8, 2020, one“Location,” with Karol G & J Balvin, April 10, 2021, one“Ley Seca,” with Jhay Cortez, Feb. 5, 2022, one“Pórtate Bonito”” with Blessd, Nov. 8, 2025, one
Colombian star Blessd adds his third No. 1 on the overall Latin radio ranking. “Medallo,” with Justin Quiles and Lenny Tavarez, and “Si Sabe Ferxxo,” with Feid, each led for one week in 2022 and 2024, respectively.
Beyond its Latin Airplay coronation, “Pórtate Bonito” ascends 3-1 on the Latin Rhythm Airplay chart. Plus, it gains traction on the Hot Latin Rhythm Songs chart, where it narrowly misses the top 10 with an 18-11 leap.
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Throughout much of Tame Impala‘s career, the Australian psych-rock group has been a critical darling as its following and stages have both increased in size. Yet, even as the act has littered Billboard‘s rock- and alternative-focused charts, it never reached the all-genre Billboard Hot 100 — until last month.
With the pop-leaning single “Dracula,” Tame Impala has officially sunk its teeth into the chart: Following a debut at No. 55 on the Oct. 11-dated list, it has lurked well beyond the shadows and scaled to a No. 33 high. Plus, the breakthrough may have opened the floodgates, as two other songs from the group’s recent album Deadbeat — released through Columbia Records on Oct. 17 — have since reached the Hot 100 (album opener “My Old Ways” and second single “Loser”).
It’s hard to point to one thing in particular as the spark for the act’s now-exploding mainstream appeal — frontman Kevin Parker’s extensive work on Dua Lipa’s Radical Optimism likely didn’t hurt in bringing in an extended fan base, but it’s just as plausible that his characteristic warble and high-level production finally reached the masses at multiple formats (including TikTok) in a capacity that was long overdue.
Whatever the reason may be, coming to a finished product for “Dracula” was a years-long process, according to co-writer Sarah Aarons. The 31-year-old Melbourne native recalls that the two were tinkering away endlessly to get everything just right, still making fixes to the lyrics two hours after the mixes were due. “There was just something about it that bothered him,” Aarons says. “That crunch-time moment made us be like, ‘Alright, what is it? What are the lyrics? What’s the structure? Go.’ ”
She also lent writing assistance to fellow Deadbeat tracks “Oblivion” and “Afterthought” and is notably the only person outside of Parker credited as a writer or producer anywhere on the album. Aarons notes that the two would spend hours on end in the studio and on phone calls throughout the creation process for the album, growing a close friendship along the way — so much so in fact, that Parker even helped DJ her wedding earlier this year.
Below, Aarons reflects on creating “Dracula,” what makes Parker such a talent to work with in the studio and more.
How did you first connect with Parker?
He was in Australia, and I was in L.A., and there was something he was working on that I don’t think even ended up happening. Someone put us in touch and we had a FaceTime call, and I don’t think we even talked about whatever the thing we were supposed to do was. We just talked s–t. Then the next time he came to L.A. three or four years ago, we hung out and we had this thing where I was like, “I just got a puppy, do you mind if I bring my puppy to your studio? My puppy’s name is Peach.” And he was like, “My daughter’s name is Peach!” And they were both like three months old. It was a weird bonding moment.
Were you already working on “Dracula” or anything else from Deadbeat that long ago?
No. He knew he had to start something. I remember him being like, “Yeah, I should probably figure that out.” It was always like a joke that we all made — me and my wife are quite close with him and his wife. So when they’re in L.A., we would always bring it up and he’d be like, “Yeah, I’m going to have it done in three months.” And we’d all have an argument whether he’d do that. But I think that’s what makes his stuff so good. He really does take his time, and he’s really intentional about what it all sounds like.
“Dracula” took a long time, in the way that there are so many iterations of what it was. There was this one song that was what the chorus is — I call it the chorus, he calls it the pre-chorus — [sings] “In the end, I hope it’s you and me.” We’d worked on that a couple years ago. Then there was this song that we’d written called “Dracula” that his wife loved. One day he just sent me a thing, he was like, “I put the line from ‘Dracula’ into this other idea.” It was the [sings] “Run from the sun like Dracula.” He mashed that into that one line from this other idea, and I was like, “Oh damn, that’s kind of sick.”
It was a really long process in that way. Piece by piece, he’d be like, “Actually, now I think the song’s about this.” Sometimes he’d call me, and I’d be in London and it would be 11 p.m. for me and 9 a.m. for him. We just had so many moments where he’d be like, “The verse is bothering me.” And I’d be like, “Okay cool, let’s get into it.” But it’s funny because we wrote “Afterthought” two hours after the mixes were due. He just called me and he was like, “I have this beat and I feel like the album needs one more song.” And it literally ended up being called “Afterthought,” which is really funny.
“Afterthought” started two hours after the mixes were due?
Yeah. He had called me to finish “Dracula” — I was in London, he was in Australia. “Dracula” was the only song that wasn’t finished. He was mixing everything else and he sent me a picture of a whiteboard that had ticks on it of what he’s done and what he hadn’t — everything else was all ticked and then “Dracula” had no ticks. The beat was always the same, but it was more the lyrics and the structure [that changed].
How much does it impact the writing process to work with someone so well-versed on the production side of things as well?
Oh, it’s so much easier. Everything is him; it sounds so much like him. For me, it’s not easy to get a lyric past him. You can’t just say a lyric, and he’s like, “Cool, I’ll put that in there.” He has to feel the thing or it will not go in the song, whether it’s production, lyrics, melodies — anything. I love that because I’m like, “Oh cool, you’re making me have to really think what is best for you.” It’s not a song for everyone. It’s a song for [Tame Impala]. He’s expressing himself in so many aspects of the songs. When you’re with an artist and it’s like, “Oh, let’s get the producer to do (mimics the sound of a beat),” it’s so many cooks. With him, he’s just doing his thing.
How did the two of you finally come to terms with the final lyrics for “Dracula” given all of the changes over what sounds like a yearslong process?
It’s really interesting, because I’m a person that can keep writing. Like, “Cool, you want a different thing, let’s go!” I’ll do a different one. It’s really up to the artist, because for one person it might be one thing, and for one person, it might be another. There are certain things I might fight for — there were certain lyrics where the melody changed, and I was like, “Bro, you better keep that or I’m going to have something to say about it.” But other than that, he’s gotta hear it and go, “This is mine.”
I think it was the crunch time. It was like, “Cool, this mix is due in 45 minutes.” When you know you have a deadline, your brain just goes, “This is the right thing.” He called me and he went, “What about this melody?” And I was like, “Yeah! How did we not do that melody already? It totally fits the song.” We’d written lyrics so many times, we already had so many lyrics floating around our brains. We had so much of what we knew the song was that it kind of clicked.
You also co-wrote “Oblivion” and “Afterthought” on this album. As a writer, is it easier to work on several songs from the same project versus a one-off in terms of sculpting a cohesive voice or theme that an artist is looking for?
I totally feel that way. Every once in a while, you get one day with someone, and it’s just so hard. You’re just not built to be like that collaboratively, to me. I think the multiple songs is more just a result of the fact that we had fun making s–t. If he ever got stuck, he’d just be like, “F–k it, I’m calling Sarah.” I also heard everything else [on Deadbeat], because we would just chill in the studio and play stuff. That for me was super helpful. Also, knowing the person really well: I found that all my biggest songs the last few years have been people I’m super close with. That’s such a common thread for me at the moment. Music’s supposed to be fun. There’s a reason I’m not an accountant. I’d be bad at it.
As far as I can tell, you’re the only credited songwriter on this album, which is also produced in its entirety by Parker. Does that hold any special meaning to you?
I’m grateful that he called me for help. I’m super flattered. It all happened so naturally in such a friendly way — that’s my favorite thing. It’s funny how you can try as a songwriter so hard [and say], “Oh I want to work with this person and this person.” You can write a list of who you want to work with, but that’s not what gets you there. The universe has to put you where you need to go to make music with the people you should make it with.
A version of this story appears in the Oct. 25, 2025, issue of Billboard.
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Kehlani makes her top 10 debut with “Folded,” while Justin Bieber’s “Daisies” and Olivia Dean’s “Man I Need” continue to rise. Billboard‘s chart experts break down the new contender and whether Mariah Carey will come flying in to No. 1 anytime soon. We also took to the streets of L.A. and asked fans what they thought about the top 10 for this week.
Tetris Kelly: The battle between “Golden” and Taylor Swift stays tight as a new contender enters the top 10. It’s time, well, according to Mariah Carey and KATSEYE, but maybe not quite yet on the charts. More on that moment a little bit later. But for now, let’s jump into the top 10. This is the Billboard Hot 100 top 10 for the week dated Nov. 8. Still at 10 is Leon Thomas with “Mutt.”
Guest 1: So, “Mutt,” man, I feel like it’s so, like, relatable to our culture. I love it. It’s got, like, a lot of flavor in it. And the women, I love the women. So it gets you, you know, it gets you in there.
Tetris Kelly: Morgan also stays at No. 9.
Guest 2: I mean, I live in Texas, so everyone’s obsessed with Morgan Wallen. I kind of stay away from what everyone’s obsessed with.
Guest 3: I don’t listen to him. I’ve never been a country girl, but I know he’s big. I don’t actually think I’ve ever listened to a single song by him.
Guest 4: I never even heard of him. You wilding because I don’t know Morgan.
Tetris Kelly: “Elizabeth Taylor” falls to eight.
Guest 4: Music swiftly goes right by me. Oh, hey, she cute. Though, I bet if I heard it, I probably would like it, though.
Tetris Kelly: So not a lot of movement in the bottom of the chart, but I am happy to see Leon Thomas still hanging in there. How we feeling about the chart this week, guys?
Delisa Shannon: I mean, y’all know this, I love me some Leon Thomas, so to see him holding on, I mean, it’s just truly a testament to really pushing a song. I think that’s what we’ve seen time and time again on these charts, where we see a song that not only that the artist is really strong behind, but their fandom is really strong behind.
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