Chart Beat
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SZA’s SOS era keeps unlocking achievements for the hitmaking singer-songwriter, who captures her first No. 1 on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as “Shirt” tops the tally dated Feb. 18.
The single pushes from No. 5 after a strong 19% jump in weekly plays that made it the most-played song on U.S. monitored R&B/hip-hop radio stations in the week ending Feb. 9, according to Luminate. Its sizable week-over-week improvement earned the track the weekly Greatest Gainer honor for the biggest play count increase among the chart’s 40 songs. KNDA-FM in Corpus Christi, Texas, led the way with the most plays this week, followed by KHTE-FM in Little Rock, Ark. as the second-biggest supporter and KBDS-FM in Bakersfield, Calif. in third.
With “Shirt,” SZA finally finds the right fit for a No. 1 on Mainstream R&B/Hip-Hop Airplay after seven previous top 10 efforts. She first broke the barrier in 2017 with her breakthrough hit, “Love Galore,” featuring Travis Scott, which reached No. 4, and became a staple at the format thanks to six more top 10s from her next 10 chart appearances. Here’s a full recap of SZA’s top 10 collection on Mainstream R&B/Hip-Hop Airplay:
Song Title, Artist (if other than SZA), Peak Date, Peak Position“Love Galore,” featuring Travis Scott, No. 4, Sept. 2, 2017“The Weekend,” No. 4, Dec. 9, 2017“All the Stars,” with Kendrick Lamar, No. 9, March 31, 2018“Broken Clocks,” No. 8, May 12, 2018“Hit Different,” featuring Ty Dolla $ign, No. 10, Dec. 12, 2020“I Hate U,” No. 2, March 12, 2022“No Love,” with Summer Walker, No. 5, June 4, 2022“Shirt,” No. 1 (one week to date), Feb. 18, 2023
The count could grow in the very near future, as SZA’s latest hit, “Kill Bill,” repeats at No. 13. At just five weeks on the chart, it’s the youngest title in the top 15. And, despite the non-movement in rank, it improved 4% in plays in the latest tracking week.
Back to the current champ: In addition to securing SZA’s first chart-topper on the radio ranking, it returns one of the track’s co-writers and co-producers, Rodney “Darkchild” Jerkins, to the summit for the first time in 23 years. The hitmaker last reigned for his songwriting and production contributions with Destiny’s Child “Say My Name,” a three-week champ in 2000.
Elsewhere, “Shirt” rallies 7-3 on the R&B/Hip-Hop Airplay chart, which ranks songs based on combined audience totals from adult R&B and mainstream R&B/hip-hop radio stations. There, the song reached 19 million in audience, a 22% from its prior week’s total. Plus, “Shirt” climbs 4-3 on Rhythmic Airplay (up 10%) and flies 28-18 on the all-genre Radio Songs chart (up 21% to 34.2 million in total audience).
Welcome to The Contenders, a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming charts dated Feb. 25), as SZA’s SOS starts to approach double-digit weeks atop the Billboard 200, it faces new challengers from a pair of veteran rock bands, as well as an artist whose comeback gig was just watched by over 100 million people.
Paramore, This Is Why (Atlantic): One of the year’s most-anticipated rock releases comes from longtime hitmakers Paramore, who are finishing out their Atlantic Records tenure with its sixth album, This Is Why. The band’s first full-length in six years is led by the hit title track, which recently became its first-ever Alternative Airplay No. 1, and comes on the heels of a media blitz that includes features in NPR and The New Yorker, as well as a Billboard digital cover story. (The group’s last album, 2017’s After Laughter, peaked at No. 6 on the Billboard 200, while their 2013 self-titled album topped the chart.)
This Is Why is expected to sell a significant number of physical copies, with six different vinyl variants available, as well as deluxe boxed sets that contain a T-shirt, along with either a CD or vinyl option. It will need robust sales to make up for the streaming gap between it and SZA’s SOS, which will otherwise score its ninth week atop the Billboard 200. That would break a tie to make it the longest-running No. 1 album from a female artist this decade.
Pierce the Veil, The Jaws of Life (Fearless): Pierce the Veil were one of the most commercially successful post-hardcore bands of the 2010s, and its 2016 set, Misadventures, reached No. 4 on the Billboard 200. The Jaws of Life arrives in the wake of the 2022 lead single “Pass the Nirvana” — which tied 2015’s “The Divine Sorry” as the group’s highest-ever entry on the Hot Rock Songs chart with its No. 21 peak. (It also follows a viral moment for their decade-old Kellin Quinn collaboration “King for a Day,” which took off on TikTok last August.) Jaws‘ sales should be helped by over a dozen vinyl variants available on the band’s webstore.
Rihanna, Anti (Westbury Road/Roc Nation) & Good Girl Gone Bad (Def Jam): As you may have heard, Rihanna recently broke a five-year drought of public performances with a small gig Sunday night. Her Super Bowl Halftime performance, which included over a dozen of her biggest hits was watched by 118 million viewers, many of whom unsurprisingly took to streaming services and music retailers to re-listen to several of the classics she played – and even some she didn’t, based on the way her songs are blanketing the Spotify, Apple Music and iTunes charts.
The impact of the bump for these songs will be felt on the Billboard 200, where five of her albums look set to appear this week – most, if not all, in the chart’s top half. They will likely be led by Rihanna’s two perennial biggest albums: The 2016 Anti (from which she played parts of “Work” and “Kiss It Better”) and 2007’s Good Girl Gone Bad (“Umbrella”). The two releases rank at No. 50 and No. 137 on the current Billboard 200, having spent 354 and 103 weeks on the chart, respectively.
IN THE MIX
Post Malone, Twelve Carat Toothache (Mercury/Republic): Posty’s 2022 album has remained on the Billboard 200 since its No. 2 debut in June , and it’s now at No. 99 in its 36th week on the chart. It should see big gains next week, thanks to its debut on vinyl, which is now available in multiple variants. (Post has also been all over ads for the NBA’s upcoming All-Star Weekend, held in his current home state of Utah, and the and his visibility there could help as well.)
Victor Manuelle extends his record for the most top 10s among all acts on Billboard’s Tropical Airplay chart thanks to his latest single “Esta Noche Te Conviene,” which rises 16-10 on the Feb. 18-dated ranking.
The single enters the upper region in its third week with an 86% gain in audience impressions, to 2.32 million, earned in the U.S. during the Feb. 3-9 tracking week, according to Luminate. The song was composed by Luis Castillo, Omar Alfanno and Santiago Castillo.
“Esta Noche” is the third top 10-charting single from Manuelle’s 20th studio album Lado a Lado — which peaked at No. 13 on Tropical Albums last May — to reach the top 10 on Tropical Airplay. It follows the chart-leading “Víctimas Las Dos,” with La India (May 2021) and “Decidí Tener Pantalones,” which peaked at No. 5 last October. The former gave India her 11th champ on Tropical Airplay, the most among women since the tally launched in 1994.
Lado a Lado has collected one further top 20-charting hit in “Vamo’ a Ver Si El Gas Pela,” with Miky Woodz and Marvin Santiago, peaking at No. 13 last June.
With the new top 10, Victor Manuelle improves his career total count to 64 top 10s. The Puerto Rican stands way ahead of his nearest competitor, Marc Anthony, and his 54 top 10s. Let’s look at the scoreboard:
64, Victor Manuelle54, Marc Anthony37, Gilberto Santa Rosa34, Daddy Yankee33, Elvis Crespo32, Prince Royce31, Jerry Rivera
Manuelle secured his first top 10 with the No. 3-peaking “Apiádate de Mi” in 1994, his first visit to the chart (the same year the list launched).
Shania Twain’s sixth studio set, Queen of Me — her first since 2017’s Now — flies in at No. 2 on Billboard’s Top Country Albums chart (dated Feb. 18), becoming her seventh top five entry.
Released on Feb. 3, the LP earned 38,000 equivalent album units, with 34,000 in album sales, in its opening week, ending Feb. 9, according to Luminate.
On the all-genre Billboard 200, Queen starts at No. 10, awarding Twain her sixth top 10.
The set, whose 12 songs Twain co-authored, is her first of new material since Now, which opened at No. 1 on Top Country Albums and the Billboard 200 in October 2017. Now marked Twain’s fifth No. 1 on Top Country Albums and her second on the Billboard 200.
Twain first appeared on Top Country Albums in 1993 with her No. 67-peaking self-titled debut set. She then reigned with The Woman in Me, which spent 29 weeks at No. 1 in 1995-96; Come on Over (50 weeks, 1997-2000); Up! (six weeks, 2002-03); Greatest Hits (11 weeks, 2004-05); and Now (one week, 2017).
In between Now and Queen of Me, Twain’s Not Just a Girl: The Highlights soundtrack, which accompanied her career-spanning Netflix documentary, opened at its No. 15 Top Country Albums peak last September.
With its 50 frames atop Top Country Albums, Come on Over is tied for the second-longest reign with Luke Combs’ This One’s for You, which began its rule in June 2017. Since the chart premiered in January 1964, Morgan Wallen’s Dangerous: The Double Album boasts the longest command: it racks up its 94th week in the penthouse on the latest list, with 46,000 units (up 8%).
Meanwhile, Twain joins five other acts with top five titles on Top Country Albums in the 1990s, 2000s, ’00s and ’10s: Kenny Chesney, Alan Jackson and Tim McGraw, as well as Willie Nelson and Dolly Parton, both of whose streaks date back to the ’60s.
English singer-songwriter PinkPantheress is officially a Billboard Hot 100-charting artist, as her new collaboration with Ice Spice, “Boy’s a Liar, Pt. 2,” debuts at No. 14 on the latest chart, dated Feb. 18.
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The team-up, released Feb. 3 via Parlophone/Elektra/3EE, opens with 20.2 million U.S. streams, 585,000 radio airplay audience impressions and 600 downloads sold in the Feb. 3-9 tracking week, according to Luminate. The track is a remix of PinkPantheress’ original solo “Boy’s a Liar,” released in November. (All versions of the song are combined into one listing on Billboard’s charts.)
“Boy’s a Liar, Pt. 2,” which PinkPantheress wrote and produced with Mura Masa (who also appears on the Hot 100 for the first time), is additionally a hit around the world, as it debuts at No. 15 on the Billboard Global 200 and No. 54 on Global Excl. U.S.
TikTok has been instrumental in the song’s growing popularity, as a portion of the track’s audio has been used in over 760,000 videos on the platform to-date. (TikTok does not contribute to Billboard’s charts.)
PinkPantheress, who hails from Bath, England, first appeared on Billboard’s charts in June 2021, when “Break It Off” debuted at No. 43 on Hot Rock & Alternative Songs, before reaching No. 30 two months later. She’s charted three additional tracks on the tally since then: “Passion” (No. 30 peak in July 2021), “Reason” (No. 39, October 2021) and “Where You Are,” featuring Willow (No. 22, May 2022).
She’s charted two other songs outside of Billboard’s rock rankings: her featured credit on CKay’s “Anya Mmiri” reached No. 28 on the Billboard U.S. Afrobeats Songs chart in November and “Way Back,” with Skrillex and Trippie Redd, hit No. 13 on Hot Dance/Electronic Songs this January.
Meanwhile, her debut mixtape To Hell With It debuted and peaked at No. 73 on the Billboard 200 in October.
“Boy’s a Liar, Pt. 2” marks PinkPantheress’ first collaboration with Ice Spice, who herself became a Hot 100 First-Timer when her song “Gangsta Boo,” with Lil Tjay, debuted at No. 82 (Feb 4). Ice Spice has now scored three total Hot 100 entries, all this month, as her own “In Ha Mood” debuts at No. 85 on the current chart.
PinkPantheress was featured in Billboard’s 21 Under 21 list in 2021. “I think my biggest interest when it comes to music making is within the topline writing, as opposed to the beat production and the singing aspect,” she told Billboard at the time. “I’m a big fan of writing lyrics, writing melodies, so I wasn’t too bothered with collaborating with other people. It’s only a good thing to get the help of a producer because I’m a terrible producer, which is why I have to sing on top of samples.”
Republic Records is having a stellar week on the Billboard 200 albums chart (dated Feb. 18), as the company lays claim to seven of the top 10 titles.
Since Luminate’s electronically monitored music data began powering the chart on May 25, 1991, no label has concurrently held seven of the top 10 on the Billboard 200. Republic previously shined with six of the top 10 on the Feb. 27, 2021-dated list.
In the top 10 of the Feb. 18 chart, Republic has Taylor Swift’s Midnights (No. 2), TOMORROW X TOGETHER’s The Name Chapter: Temptation (released via BigHit/Imperial/Republic, No. 3), Morgan Wallen’s Dangerous: The Double Album (Big Loud/Republic, No. 4), Metro Boomin’s Heroes & Villains (Boominati/Republic, No. 5), The Weeknd’s The Highlights (XO/Republic, No. 6), Drake and 21 Savage’s Her Loss (OVO Sound/Republic, No. 8) and Shania Twain’s Queen of Me (new on the chart at No. 10).
“This historic moment is the result of an exceptional roster of artists and storytellers who continue to make a tremendous impact and shape culture around the world,” says Republic Records founder and chief executive officer Monte Lipman. “This achievement is also a credit to the tenacity of our dedicated and fiercely competitive team of executives and partners.” Lipman heads Republic alongside his brother, founder and chief operating officer Avery Lipman.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
Future’s “Wait” pays off as the rapper’s hit single “Wait for U,” featuring Drake and Tems, breaks the record for the most weeks in the top 10 on Billboard’s Rap Airplay chart.
The single, which won a Grammy Award for best melodic rap performance on Feb. 5, captures an unprecedented 40th week in the top 10 despite a 4-5 decline and 7% drop in weekly audience, according to Luminate.
With a 40th week in the top 10, “Wait” surpasses Pop Smoke’s “What You Know Bout Love” as the track with the most weeks in the Rap Airplay top 10. The late Pop Smoke set the mark on the chart dated Oct. 2, 2021, as “Know” ranked at No. 10 for its 39th week in the upper tier.
As the leaderboard shuffles, here’s a look at the tracks with the most weeks in the top 10 of Rap Airplay since the list began in 1999.
Weeks in Top 10, Song Title, Artist, Year(s) in Top 1040, “Wait for U,” Future featuring Drake & Tems, 2022-2339, “What You Know Bout Love,” Pop Smoke, 202138, “Back That Thang Up,” Juvenile featuring Mannie Fresh & Lil Wayne, 1999-200038, “Suge,” DaBaby, 2019-2038, “Baddest,” Yung Bleu, 2 Chainz & Chris Brown, 2021-2237, “Power Trip,” J. Cole featuring Miguel, 2013-1436, “For the Night,” Pop Smoke featuring Lil Baby & DaBaby, 2020-2134, “Girls Want Girls,” Drake featuring Lil Baby, 2021-2234, “Big Energy,” Latto, 2021-2234, “Super Gremlin,” Kodak Black, 2022
During its recordbreaking stay, “Wait” captured 18 weeks at No. 1 on the Rap Airplay chart to claim the second-longest run in the chart’s history. It trails only the 19-week reign for Kid Ink’s “Show Me,” featuring Chris Brown, in 2014.
The combination of three radio favorite artists has proven an irresistible teamup for radio programmers and listeners alike. Since its release in April 2022 on Future’s I Never Liked You album, “Wait” has dominated the artists’ home radio R&B/hip-hop format and led to breakthroughs in other arenas. “Wait” racked up a record 16 weeks at No. 1 on the Mainstream R&B/Hip-Hop Airplay chart and is nearing the all-time top 10 mark there, too. Plus, it led to Future’s biggest Pop Airplay success as a lead act with its No. 20 peak, as all three of his higher-peaking songs featured him alongside core pop acts: Maroon 5’s “Cold” (No. 8), Taylor Swift’s “End Game,” also featuring Ed Sheeran (No. 10) and Ariana Grande’s “Everyday” (No. 18).
The radio juggernaut has also boosted Tems’ appeal in the radio world. Between featured turns on “Wait” and Wizkid’s 2021 smash “Essence,” which ruled R&B/Hip-Hop Airplay for 27 weeks, the Nigerian singer-songwriter quickly became a favorite at the radio format. The two titans helped generate interest in her own work, with “Free Mind” the top beneficiary. The song, first released on her 2020 EP, For Broken Ears, improved in streams and led to a radio campaign of its own. It clearly worked – this week, “Free Mind” sits at No. 1 on the R&B/Hip-Hop Airplay chart for a sixth week.
Hard rock band Falling in Reverse scores its first entry on the Billboard Hot 100 chart (dated Feb. 18), as “Watch the World Burn” opens at No. 83.
The song, released Jan. 31 via Epitaph Records, starts with 5.1 million U.S. streams, 161,000 in airplay audience and 4,000 downloads sold in its first full tracking week (Feb. 3-9), according to Luminate.
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“World” concurrently jumps 3-1 on Hot Hard Rock Songs, becoming the band’s fourth leader, after “Popular Monster” (three weeks in 2020), “Zombified” (two, 2022) and “Voices in My Head” (four, 2022). The group breaks out of a tie with Bring Me the Horizon for the most No. 1s in the chart’s nearly three-year history.
Among other chart moves for “World”: it leads Alternative Digital Song Sales and Hard Rock Digital Song Sales; bows at Nos. 2, 8 and 13 on Hard Rock Streaming Songs, Alternative Streaming Songs and Rock Streaming Songs, respectively; and starts at No. 38 on Mainstream Rock Airplay.
Falling in Reverse has been a staple on Billboard’s rock listings since 2011, when it notched its first chart appearance with its album The Drug in Me Is You. The set debuted and peaked at No. 2 on Hard Rock Albums, No. 3 on Alternative Albums and No. 19 on the all-genre Billboard 200.
Since then, the band has tallied three additional entries on the Billboard 200: Fashionably Late (No. 17 in 2013), Just Like You (No. 21, 2015) and Coming Home (No. 34, 2017). All three sets also peaked at No. 2 on Hard Rock Albums.
Falling in Reverse has earned 10 entries on Hot Rock & Alternative Songs, including two top 10s: “Popular Monster” (No. 4 in 2020) and now “World” (No. 8).
The band, which formed in Las Vegas in 2008, comprises Ronnie Radke (lead vocals), Max Georgiev (lead guitar), Christian Thompson (rhythm guitar) and Tyler Burgess (bass).
Coi Leray rises to No. 1 on Billboard’s Emerging Artists chart (dated Feb. 18), becoming the top emerging act in the U.S. for the first time, thanks to her single “Players.”
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The song, released in November via Uptown/Republic Records, jumps 38-28 in its sixth week on the Billboard Hot 100, with 29.1 million radio airplay audience impressions (up 20%), 9.4 million U.S. streams (up 23%) and 5,000 downloads sold (up 2%) Feb. 3-9, according to Luminate.
The track became Leray’s fourth entry on the Hot 100, after “No More Parties,” featuring Lil Durk (No. 26 peak in 2021); “Big Purr (Prrdd),” with Pooh Shiesty (No. 69, 2021); and “Blick Blick!,” with Nicki Minaj (No. 37, 2022).
“Players” also holds at its No. 4 high on Hot Rap Songs and ascends 13-10 on Hot R&B/Hip-Hop Songs. It additionally pushes 6-4 on Rap Airplay and 9-6 on Rhythmic Airplay, holds at its No. 11 best on both R&B/Hip-Hop Airplay and Mainstream R&B/Hip-Hop Airplay and climbs 28-23 on Pop Airplay.
Just below Leray, Samara Joy jumps 45-2 on Emerging Artists thanks to gains following her best new artist win at the Grammy Awards Feb. 5. Joy’s 2022 LP Linger Awhile rises to No. 1 on Jazz Albums, Traditional Jazz Albums and Heatseekers Albums, leading all three lists for the first time, and debuts at No. 158 on the Billboard 200. Plus, her self-titled 2021 set debuts at No. 7 on both Jazz Albums and Traditional Jazz Albums.
Joy became the first jazz act to win best new artist at the Grammys since Esperanza Spalding in 2011.
The Emerging Artists chart ranks the most popular developing artists of the week, using the same formula as the all-encompassing Billboard Artist 100, which measures artist activity across multiple Billboard charts, including the Hot 100, Billboard 200 and the Social 50. (The Artist 100 lists the most popular acts, overall, each week.) However, the Emerging Artists chart excludes acts that have notched a top 25 entry on either the Hot 100 or Billboard 200, as well as artists that have achieved two or more top 10s on Billboard’s “Hot” song genre charts and/or consumption-based “Top” album genre rankings.
For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

While we’ve already seen a few proven hitmakers — Miley Cyrus, Shakira, Morgan Wallen — zooming onto the Billboard Hot 100 with splashy hits so far this year, this week we get something a little different: a top 15 debut from two rising pop artists who’ve never reached higher than No. 82 on the chart before.
“Boy’s a Liar” was already a modest streaming success for acclaimed pop&B singer-songwriter PinkPantheress, racking up millions of plays a week. But it didn’t really threaten the Hot 100 until its “Pt. 2” remix premiered on Feb. 3, alongside viral rapper Ice Spice. The new version took off almost immediately, and continued climbing for all last week — resulting in a No. 14 Hot 100 debut on the chart dated Feb. 18.
Why did their combination prove so potent? And which artist does the breakthrough mean more for? Billboard staffers discuss these questions and more below.
1. PinkPantheress’ and Ice Spice’s names won’t be unfamiliar to anyone who’s paid close attention to pop music over the past couple years — particularly online — but their individual solo Hot 100 histories to this point are minimal. What is about their team-up that allowed “Boy’s a Liar” to have such an explosive Hot 100 debut?
Rania Aniftos: PinkPantheress and Ice Spice teamed up at the perfect point in their careers, where they both had just enough buzz for the collaboration to take off. Also, “Boy’s a Liar” is two cute, fun women singing about how men are trash. It was made for the Hot 100.
Jason Lipshutz: Sometimes, online popularity is multiplied thanks to a collaboration between two well-known (if not high-charting) artists, and then applied to the right song to have both artists explode up the Hot 100. The effect that we’re seeing from “Boy’s a Liar Pt. 2” reminds me a little of Migos and Lil Uzi Vert’s No. 1 smash from 2017, “Bad and Boujee” — not that those songs sound anything alike, but they both soared up the Hot 100 at a time when their respective creators had been cult favorites for a while without a full-on mainstream embrace. We’ll see how high “Boy’s a Liar Pt. 2” can climb, but PinkPantheress and Ice Spice are likely about to experience highly expanded profiles because of it.
Heran Mamo: TikTok has been an impressive launchpad for both artists, so for PinkPantheress and Ice Spice to join forces (and online fanbases), their collaboration was sure to make a lot of noise on the Billboard charts. Sonically, Pink’s U.K. drum and bass-meets-bubblegum pop and Ice’s Brooklyn drill sounds complement one another with their uniquely frenetic rhythms, while Pink’s sweet-sounding, shrill voice and Ice’s bold, raspier voice delivery provide a noteworthy contrast. Not to mention, the “Boy’s a Liar Pt. 2” music video — which currently sits at No. 1 on YouTube’s U.S. Trending music chart — adds to their indomitable power as Gen-Z’s it-girlies.
Andrew Unterberger: Sometimes it just takes a small boost for artists who have long been knocking on the door of the mainstream to break all the way through. The pairing of PinkPantheress and Ice Spice was unexpected but intriguing — and, once you got the chance to hear and see it, pretty logical. If you were interested in either artist, chances are you were checking this out, and you were probably satisfied enough to share it on put it on your heavy-rotation playlists. To see it just snowball from there — to the point where the song now likely has plenty of listeners who were previously unfamiliar with either artist — is mostly just a testament to the song being real good.
Christine Werthman: PinkPantheress and Ice Spice both get a lot of streaming and TikTok love on their own, though that doesn’t necessarily translate to Hot 100 success. But their team-up on “Boy’s a liar Pt. 2″ — not just for a song but also a video — made for a perfect joining of forces that united their fanbases, and their numbers, and catapulted this vulnerable 2:11-long callout to that impressive No. 14 debut. PinkPantheress recently admitted to being picky about her collaborators, and it seems like she held out for the perfect one.
2. The original “Liar” had been lingering around the Spotify daily charts as one of PinkPantheress’ bigger streaming hits, but could never quite seem to get the juice to cross over on its own. Do you think the Pt. 2 with Ice Spice is a superior and/or more commercial version of the song, or do you think it’s mostly excitement over the combination of artists that’s propelling it so far?
Rania Aniftos: The online hype surrounding Ice Spice lately definitely didn’t hurt. Her soothing rap verse adds a digestible, radio-ready quality to the song without sacrificing its unique sound. Fans in general also seem to be loving female collaborations, as we’ve seen through various team-ups Doja Cat and Megan Thee Stallion have done over the past few years. The unexpected-but-so-natural decision for PinkPantheress and Ice Spice to work together was such a good move, and allowed the song to propel into the mainstream.
Jason Lipshutz: Why not both? The remix has certainly benefited from the presence of Ice Spice, who’s been a prominent figure in popular hip-hop throughout this year, thanks in part to her Like.. ? EP. But her presence on “Boy’s a Liar Pt. 2” isn’t a gimmick: even though the song lengths of the original and remix are exactly the same, Ice Spice balances out PinkPantheress’ melodic sighs and jingly chorus with weighty bars, making the song less of a delightful trifle and more of a fleshed-out pop hit.
Heran Mamo: I’d say both. Adding another fast-growing internet sensation like Ice Spice into the mix is the perfect ingredient to make “Boy’s a Liar” a commercial hit. Even leaked TikTok videos of them filming the “Boy’s a Liar Pt. 2” music video in New York made waves before the song was ever released because fans were in disbelief that their favorites were coming together. Additionally, the beginning of Ice’s verse – “He say that I’m good enough, grabbin’ my duh-duh-duh/ Thinkin’ ‘bout sh— that I shouldn’t have (Huh)” – has proven to be one of the most lyrically memorable components of the track, so she adds more value to “Boy’s a Liar” beyond her presence.
Andrew Unterberger: I wouldn’t say the new version is better, necessarily, but it does make “Liar” feel more like a commercial pop song. The “Pt. 2” version of “Boy’s a Liar” isn’t actually any longer than the original — both run 2:11, just with Ice Spice’s new verse subbed in for PinkPantheress’ second verse on “Pt. 2” — it just feels fuller, thanks the switch-up to Spice’s completely different (but still well-matching) flow. For two artists whose singles have been consistently satisfying, but maybe a little too clipped and weightless for certain pop audiences to really give them full consideration, the combination ends up being more than the sum of its parts.
Christine Werthman: The Bronx rapper brings a grounding element to the original track, which flits about as the British dance-pop artist vocalizes relationship insecurities and frustrations. “Pt. 2” also catches Ice Spice in a less guarded place than usual, and though there’s something novel about that for fans, I don’t think it upped the song’s commercial appeal. Instead, I think it just granted each artist exclusive access to the other’s fanbase, and that combination propelled the plays.
The video dropped 11 days ago, and it already has 12 million views — so watching these two link, looking ultra cool against a New York City backdrop, is enough to get people excited. That said, if “Pt. 2” (or even the original “Boy’s a Liar”) weren’t such a strong track on its own, the collab might not have had such an impact. But the audio plus the visual made it take off.
3. Which of the two artists do you think this debut ultimately means more for?
Rania Aniftos: I really want to say both, but I’m not going to cheat on this answer. I’m going to say PinkPantheress, because I’ve always known that she’s great, and it’s about time everyone else does too.
Jason Lipshutz: Probably Ice Spice — who appears to be on the verge of full-blown stardom, after a months-long run of positively received music, increasing meme-ability and growing respect for her microphone skills from the old school and new school hip-hop communities. Make no mistake, “Boy’s a Liar” represents a significant win for PinkPantheress, a critically adored pop savant who is about to play bigger stages. Yet the song feels like another checked box in Ice Spice’s rapid breakthrough as a major artist.
Heran Mamo: PinkPantheress, considering she’s the lead artist on the track and this marks her career-first entry on the Hot 100. She released her debut mixtape, To Hell With It, in October 2021, and besides her latest slew of singles (which includes “Boy’s a Liar”), it’s been relatively quiet on her end. Her evolution from a faceless singer who teases her music on TikTok via viral snippets to charting star with increasing momentum and an actual physical presence has been remarkable to witness in the short years she’s been on the scene.
Andrew Unterberger: It’s tough, because it means a whole lot for both in different ways. But I’d say Ice Spice gets the slightly bigger boost here as the difference-maker; she also debuts her own slowly growing solo hit “In Ha Mood” at No. 85 this week, and seems well on her way to being one of the most ubiquitous pop figures of 2023. This is a big breakthrough for PinkPantheress and should help her visibility significantly, but if she went back to being a mostly cult-level pop hitmaker after this it wouldn’t be shocking.
Christine Werthman: Ice Spice, since it looks like her co-sign/feature can boost songs to new heights.
4. Once the initial excitement passes, do you see “Liar” continuing to grow into one of the biggest hits of early 2023? Or do you think this strong start is about as good as it will get for the song?
Rania Aniftos: It’s hard to say because I still haven’t been able to pinpoint what the major 2023 trend in music is yet. It seems like this is going to be the viral song that stays through the summer due to its bubbly nature, but you really never know with the Internet. Every time we think we figured out what’s viral, another random smash comes out of nowhere.
Jason Lipshutz: Although it will be tough for “Liar” to challenge smashes from A-list artists like Miley Cyrus, SZA, Morgan Wallen and Taylor Swift at the top of the Hot 100 in the coming weeks, I do expect the song to keep rising and make a top 10 bow sooner than later. “Liar” is too damn catchy and well-made to be relegated to “viral hit” status, and even though PinkPantheress and Ice Spice have zero track record at pop radio, I could see top 40 programmers taking a chance on a single that’s this accessible, and help its upward momentum continue.
Heran Mamo: I have hope that “Boy’s a Liar” has the momentum to become one of the year’s earliest hits. Pink’s catchy “Good eno-o-ough, good eno-o-ough” post-chorus, cheeky Ice Spice-isms like “grabbin’ my duh-duh-duh” and the candy-coated production ensure this track will be a mainstay. I mean, how could they lose if they’re already chose… like?
Andrew Unterberger: It’s really never a good idea to underestimate the commercial ceiling for a song that debuts strong out the gate and just keeps growing from there. The song has continued to climb on streaming services’ daily charts — and not just one of them; it’s in the daily top 10 for each of Spotify, Apple Music and YouTube — and radio shouldn’t be far behind. It’ll have its work cut out for it passing some of those bigger names currently occupying the chart’s top spots, so No. 1 might end up being out of reach for it. But the top five feels like a distinct possibility, and sooner than later.
Christine Werthman: All the attention is boosting “Liar” beyond the Ice Spice and PinkPantheress fan spheres, so I think it will climb a little higher from here. Maybe even top 10 material.
5. When a song like this comes out of nowhere (relatively speaking) and zooms into a debut like this, it’s guaranteed the industry will sit up and pay attention to it. So what important industry lessons, if any, do you think can be taken from the early success of “Boy’s a Liar”?
Rania Aniftos: Songs that sound like Paris Hilton listened to them in 2005 are still very much in – and so are female collaborations! We’ve been on this early 2000’s nostalgia wave in music over the past few months, and I think it’s going to continue well into 2003. I expect to see more of these pop, digital-sounding hooks in the future.
Jason Lipshutz: A decade ago, there were certain indie-pop artists who were never going to remove the “indie-“ prefix from their categorization and score a mainstream hit; now, in the age of TikTok, left-of-center artists have a very real shot at scoring top 40 hits under the right circumstances. So as unlikely as a hit PinkPantheress single may have seemed a few weeks ago, the industry cannot afford to shrug off the mainstream potential of singer-songwriters who continue to produce top-notch pop. You never know which “Boy’s a Liar” is just around the corner.
Heran Mamo: Make remixes that make sense. Sometimes, songs that are already performing well on their own will be supplemented with remixes that don’t necessarily add to the track beside A-list names (e.g., the Justin Bieber and J Balvin remix of 24k Goldn and iann dior’s “Mood”) and end up doing nothing. PinkPantheress and Ice Spice are two 20-something, pop and rap princesses of the digital age with a similarly eclectic taste in beats. Even Pink said it herself in a cover interview with NME that “when it comes to collaborations, I’m quite picky: I always want someone who can match me well on a track.” And Ice does exactly that on “Boy’s a Liar.”
Andrew Unterberger: I think there’s something to be said about looking out for buzzy singles that internalize trends that have been going on for some time in the underground, while filtering them through a more accessible pop framework. You can hear some of the frenetic airiness of hyperpop and even a little bit of the bounce of Jersey club in “Boy’s a Liar,” but at the end of the day you wouldn’t say it really belongs to either of those genres — you’d just call it a pop song. Songs that can pull that off, without seeming trend-hoppy or late… the sky’s the limit for ’em, really.
Christine Werthman: PinkPantheress has more monthly listeners on Spotify than Ice Spice (20 million vs. 14 million, respectively), but they’re not lightyears apart in terms of popularity. Perhaps the takeaway is that you don’t need a big Drake-sized feature on your track to make it soar — you just need a smart pairing of artists who naturally vibe, who differ stylistically but aren’t total opposites and, sure, who have each found love in the streaming world.