five burning questions
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For the first few decades of the Billboard Hot 100 — really, close to the first half-century — cover versions were commonplace on all tiers of the chart, with artists frequently charting with different versions of the same song within the same year, sometimes within the same week. But in recent years, covers have largely fallen by the wayside, to the point where even a single cover showing up on the Hot 100 feels like a pretty big deal.
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That’s what makes Luke Combs‘ version of “Fast Car,” the 1988 signature hit for alt-folk singer-songwriter Tracy Chapman, feel like such a big deal. The song debuted as one of the breakout tracks from Combs’ April album Gettin’ Old, and it’s only gained momentum in the weeks since — on streaming, and now also on multiple radio formats. This week, it climbs to No. 9 on the Hot 100, now just three spots shy of the peak for Chapman’s original.
Why is this song resonating like it is currently? And does it mean we’re about to see another influx of covers on the Hot 100 in 2023? Billboard staffers discuss these questions and more below.
1. Seems unlikely that many would have predicted Luke Combs’ biggest hit of the past year — a period with two new albums chock full of originals — would be a cover of a 35-year-old alt-folk song. What is it about Combs’ “Fast Car” or its release that is allowing it to connect in such a way?
Katie Atkinson: I think it’s twofold: It speaks to the strength of the song, which has already seen charting covers in other genres (Jonas Blue and Tobtok both made dance hits of the song in 2016), and to Tracy Chapman’s timeless songwriting, which is doing a lot of the heavy lifting here. But it’s organic as well, since Combs has been covering the song live for years, so its release on this new album was mostly fan-driven after concertgoers fell in love with his version. While it seems wild on paper, it all makes sense in action.
Jason Lipshutz: Maybe it’s just as simple as: “Fast Car” is a timeless, generation-bridging song, and Combs was the right artist to return it to the forefront of pop culture. The country star’s version of the 1988 hit is quite faithful to the original — why mess with perfection? – and Combs’ burly delivery reinterprets Chapman’s point of view without wrestling the story of “Fast Car” away from its creator. Combs has the profile to launch a new single pretty high up on New Music Friday, and put his muscle behind “Fast Car” with the release of his Gettin’ Old album; it was a surprising bet, but the right one.
Melinda Newman: Part of it is timing: Combs is not only introducing the song to a new generation, but also a legion of older fans that may have missed it the first time around because they weren’t listening to pop radio then. It’s also a good time in his career to come with a cover following the success he’s already had a pop radio. He co-writes everything he records, so fans know that for him to record a cover, much less release it as a single, is a sign of just how much the song resonates with him. His love for the song is obvious and I think that comes across to the listener, even if it’s subtle. This wasn’t a casual choice for him. Also, the song still resonates and the story is as heartbreaking now as it was in 1988.
Jessica Nicholson: The song has long been a fan-favorite during his concerts, since he first released a teaser of it six years ago, so ahead of releasing it, the song was already familiar to Luke’s fans. The song is also already familiar — nostalgic even — for a large swath of radio listeners and many radio programmers. And, unfortunately, the heartbreaking story of the working-class characters depicted in the song is still one that hits home with many.
Andrew Unterberger: “Fast Car” is a great example of a song that wasn’t country but could’ve been: Everything from the imagery (small-town stores, aging parents, speeding cars) to the winding guitar hook to the slow-build narrative structure feels like it could’ve come from Nashville: “Take your fast car and keep on drivin’” might be the most country lyric to ever serve as the denouement to a non-country song. Combs’ version serves to present the song within this highly logical new framework, at a time when it’s probably been just long enough since both the original “Fast Car” release and the last big “Fast Car” cover for the song to feel fresh again. And Combs having one of country’s biggest (and still-expanding) audiences certainly doesn’t hurt.
2. Combs’ cover is a fairly faithful one, and is arguably more interesting for the things it chooses not to change about Chapman’s version than for the ones it does. Do you think the song adds something new to the artistry and/or legacy of the original, or is it more about reintroducing a great song to potentially unfamiliar listeners?
Katie Atkinson: I think the song is mostly bringing the song to a new genre and a new generation, but Combs’ seemingly effortless vocals are a great fit for tackling Chapman’s stream-of-consciousness lyrics, never tripping over the loaded verses. While I don’t think there’s a world where this version ever surpasses Chapman’s original, it’s a nice extension of its legacy.
Jason Lipshutz: The latter. Covering “Fast Car” is an interesting choice for Combs at this phase in his career as a mainstream country star, but the song has crashed the top 10 of the Hot 100 less because of his presence and more because of the song’s ability to overwhelm listeners, all these years after its release. I think of Combs’ “Fast Car” as akin to Kate Bush’s “Running Up That Hill” phenomenon last summer: While that ‘80s single hit the top 10 due to a dramatic TV synch and this one because of a cover version, both songs have proven durable enough to transcend their time periods, introduce themselves to unfamiliar young listeners, and reintroduce themselves to older listeners who had been missing their respective powers.
Melinda Newman: While it is more about introducing a song to new listeners, don’t underestimate the tender devotion that Combs brings to this new version. He’s been performing it for years, even before he was signed. The fact that he decided to keep the line “I work in the market as a checkout girl” instead of changing it to “checkout boy,” shows respect to Chapman and her original songwriting. It’s impossible to improve on the original, but Combs has taken a song that very few artists would have the courage to tackle, much less make a single, and put a new spin on it by not changing it… if that makes any sense.
Jessica Nicholson: Luke could have chosen to interpolate “Fast Car” into a newly-created song, change up the melody and/or lyrics, or even collaborate with another artist on the song to bring a new vibe to it. Instead, he chose to be largely faithful to the original, which I feel points more toward reintroducing a new audience to this enduring song—and by extension, to one of the most insightful singer-songwriters of the past four decades, Tracy Chapman.
Andrew Unterberger: More of a well-timed and respectfully delivered cover than a particularly inspired one, sure. It’s solid and his performance is good, but I personally prefer my covers to swing big and risk missing entirely — like Xiu Xiu’s tremblingly stark, almost frighteningly emotive version of the same song from 20 years ago.
3. Luke Combs has scored top 10 hits on the Hot 100 before, but this still feels like something new for him. How, if at all, do you think the success of “Fast Car” might impact his career in the long-term?
Katie Atkinson: This is the crossover moment that has eluded him. He’s had top 10 Hot 100 hits, but it’s very easy to imagine a music listener who had never heard Combs’ name or voice before discovering him through this cover. His country superstardom was already cemented, especially with his back-to-back entertainer of the year wins at the CMA Awards in 2021 and 2022, but this coupled with his recent team-up with Ed Sheeran could bring him to a whole new audience and could even make him consider music and sounds and he wouldn’t have before going into his next project.
Jason Lipshutz: The cover might unlock his appeal a bit more at pop radio: “Fast Car” is up two spots to No. 35 on the Pop Airplay chart this week, and although Combs boasts a long resumé of country radio smashes, most of those singles never crossed over to non-country radio listeners. If “Fast Car” keeps speeding up at pop formats, Combs could enjoy the type of crossover that has thus far eluded him, and become an even bigger superstar in the process.
Melinda Newman: It is going to become a career song for him that brings him an even wider audience both in the U.S. and globally. The timing couldn’t be better for him, given he is on a huge international tour, so this song is preceding him into many of the countries he’s about to hit later this year. In terms of pop radio, some listeners who have never heard his music before are getting their first exposure to him and are going to have fun exploring his numerous country hits. There’s a whole world of Combs’ music ahead of them for the exploring.
Jessica Nicholson: Luke has had top 10 hits before, but to date, he’s never purposefully ventured outside of the country music genre. This rendition largely stays faithful to the original, and demonstrates the breadth of Luke’s musical influences as well as his vocal dexterity. Given that he followed this by collaborating with pop artist Ed Sheeran on Sheeran’s song “Life Goes On” during the ACM Awards (and then officially released their collaboration), it signals that Combs is a vocalist capable of connecting with listeners across the board in multiple styles of music, while remaining true to his own artistry as a country music artist.
Andrew Unterberger: Combs might have already reached his commercial peak in terms of chart impact and first-week numbers — but his overall audience can always get wider, and that’s what a cover like this serves to accomplish. Folks who might’ve otherwise never been familiar with Luke Combs will learn of him through this cover — and though in most cases, the relationship will end there, plenty will find more to appreciate about the country superstar. Combs has long had global ambitions, and though there aren’t many doors still closed to him in 2023, this song will open a good number of those remaining.
4. While covers used to be an enormous part of the top 40 landscape, in recent years they’ve mostly been replaced in the culture by songs that rely heavily on big samples and interpolations. Do you think the success of this fairly straightforward cover of a widely known hit song will lead to more of its kind again populating the pop (or country) worlds?
Katie Atkinson: It makes me think of the early ’90s when John Michael Montgomery and All-4-One had back-to-back hits on the Hot 100 with “I Swear.” I know the country version came first in that case, but the point still stands: I think there’s something to be said for a country-fied version of a pop hit. It’s not assuming that listeners aren’t savvy enough to listen to more than one genre; it’s just giving them options for different ways to consume an across-the-board great song. I vote for more of this!
Jason Lipshutz: It’s a great question that I’m not sure how to answer at this point. On one hand, modern pop music has been ruled by original songwriting – artists presenting themselves through new statements and ideas – even when that songwriting also relies upon melodic interpolations and samples to grab a listener’s ear. On the other, TikTok has completely disrupted the commercial potential of older songs, and if I was a new artist looking at Combs’ “Fast Car” success from afar, I’d be tempted to cover a timeless hit, too. We’ll see if this hit cover remains an outlier at the top of the Hot 100, or a harbinger for the future of pop.
Melinda Newman: I hope so, but it’s unlikely. Cover songs are usually seen more as novelties or a way to pay homage to influences by an artist than a viable single. There are exceptions from the country world, of course, including Garth Brooks’ cover of Billy Joel’s “Shameless,” which went to No. 1 in 1991 (though Joel never had a hit with it) and Faith Hill’s remake of Big Brother & The Holding Company’s “Piece of My Heart,” which was her second No. 1 single in 1994. But, by and large, radio is likely to only play one cover at a time — and it feels like there’s still more artistry involved in creating something new that may include an interpolation (and owe much of its success to that interpolation, like Cole Swindell’s recent hit “You Had Me At Heads Carolina,” which interpolates Jo Dee Messina’s 1996 hit, “Heads Carolina, Tails California”) than a straight-ahead cover.
Jessica Nicholson: I think we will continue to see more interpolations, versus straight-forward cover songs. Most artists tend to contribute writing to their own songs (to varying degrees of success); an interpolation of an old song allows writers of the new song to earn a share of the publishing (as well as writers of the interpolated song), versus a straightforward cover, in which only the cover song’s writers receive payment. That said, I hope we will see more straightforward cover songs, to help further introduce a new generation of music fans to older songs, especially deeper album cuts or semi-hits.
Andrew Unterberger: Modern publishing economics will probably keep the covers market somewhat limited, but as artists continue to push too far with big-interpolation/sample songs in the hopes of landing big hits, I can imagine covers like this will feel like a more dignified way of accomplishing many of the same goals — even without the short-term financial benefits to the newer artist. Hell, in truth, “Fast Car” is already the second cover to hit the top 10 this year: Metro Boomin, The Weeknd & 21 Savage’s “Creepin” is basically a faithful cover of Mario Winans and Puff Daddy’s “I Don’t Wanna Know,” with only Savage’s rap verse being notably re-written.
5. Let’s assume the ’80s-goes-country is a winning formula: Pick your ideal combination of early-MTV-era hit and contemporary country star to score another hit with.
Katie Atkinson: I went to the year-end Hot 100 the same year “Fast Car” peaked – 1988 – and the top song is George Michael’s “Faith.” Of course, that song already had a genre-swapped cover when Limp Bizkit tackled it in 1998, but I feel like an upbeat country cover by Lainey Wilson would be perfect. (Wilson is definitely game: She covered 4 Non Blondes’ 1993 smash “What’s Up?” on her most recent album, Bell Bottom Country.)
Jason Lipshutz: Zach Bryan growling through a cover of Mr. Mister’s “Broken Wings” – unlikely, sure, but also something I need ASAP.
Melinda Newman: I could play this game all day long and there are about 10 combinations that immediately come to mind, but I would love to hear Dan + Shay cover Foreigner’s 1984 smash, “I Want to Know What Love Is,” simply because hearing Shay Mooney, who can sign anything, take on Lou Gramm’s emotional, bombastic vocals would be awesome (Wynonna already did a potent version in 2003). Coming in a close second and third are Carrie Underwood belting Pat Benatar’s “Hit Me With Your Best Shot” because she’s one of the few vocalists who can come close to Benatar’s power, and then HARDY taking on Def Leppard’s “Photograph.” He’s already shown he’s as much a hard rocker/metal head as he is a country artist, so let’s hear him do his best Joe Elliott impersonation and scream “I’ve got to have you.”
Jessica Nicholson: Little Big Town’s incredible harmonies sound fantastic on any Fleetwood Mac song (their cover of “The Chain” is delightful); I would love to hear LBT cover Fleetwood Mac’s 1987 top five Hot 100 hit “Little Lies.”
Andrew Unterberger: Sam Hunt is one of the few performers alive who could translate both the legitimate pathos and the self-pitying scumminess of a song like the Human League’s 1986 cheater’s lament “Human.” I for one would like to see him try. (Maybe his old duet partner Ingrid Andress could cameo too for the “I was human, too” response part.)
On this week’s Billboard 200 chart, Ed Sheeran’s – (pronounced Subtract) scores the top debut of the week, starting at No. 2 (behind Morgan Wallen’s One Thing at a Time, which spends a 10th week at No. 1) with 112,000 equivalent album units, according to Luminate. The album also launches at No. 1 on the Top Album Sales chart, with Sheeran’s largest sales week since 2017.
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Subtract marks a departure in sound for Sheeran, who worked with producer Aaron Dessner and used the album as an outlet for his grief and pain following a traumatic beginning to his 2022. “Eyes Closed,” the album’s lead single, became a top 40 hit on the Hot 100 upon its March release, and a new version of the song “Life Goes On,” featuring country superstar Luke Combs, was recently released.
What does the No. 2 debut on the Billboard 200 signify for Sheeran? And which song from Subtract could turn into a hit single? Billboard staffers discuss these questions and more below.
1. Like a whole lot of albums this year, Ed Sheeran’s latest is blocked by Morgan Wallen’s One Thing at a Time from the top of the Billboard 200. On a scale of 1-10, from crushed to elated, how are you feeling about a No. 2 debut with 112,000 equivalent album units if you’re Ed?
Andrew Unterberger: Solid 6. Those are about the numbers that Sheeran’s = (Equals) album did two years ago, with a huge pop hit and generally more commercial momentum behind him. Stinks to not get the No. 1, and it doesn’t seem like this album is going to have a ton of commercial impact beyond the first week, but given the lack of advance buzz for the set (and how divided his attention has been in the weeks leading up to its release), I think that number is on the high end of the range I might expect for its first week.
Jason Lipshutz: A 3. This album, an acoustic exploration of personal pain, was always viewed as a sonic detour for Sheeran, so its commercial performance was likely going to differ from that of his more radio-ready projects. And ultimately, the launch of Subtract falls right in line with the bow of 2021’s Equals, which was preceded by the hit “Bad Habits” and debuted at No. 1 with 118,000 equivalent album units. Wallen’s One Thing at a Time is a juggernaut, and debuting right behind it, with a comparable total to Sheeran’s last full-length, should be considered a generally positive development.
Katie Atkinson: A solid 5. While Ed has a proven track record for No. 1 albums at this point – with every studio album since 2014’s X (Multiply) topping the Billboard 200 – I don’t get the impression he made Subtract with the charts or pop radio in mind. Actually, he might not have even cared if anyone beyond his diehard fans heard it. As he expressed in his Disney+ docuseries, Sheeran was working through a lot of “heavy stuff” during this album, which naturally made for a quieter, more understated album. It’s a project worth listening to, but it’s not the kind of bombastic project that skyrockets to No. 1. In fact, I’d say No. 2 is mighty impressive for this personal, weighty album.
Lyndsey Havens: 8.5. Ed seems like a guy who wants to win, so I’m sure he would have hoped for a No. 1 debut. But that said, to enter the tally behind a top-spot-blocking behemoth and with over 100,000 units is commendable. To know just how much an album that’s meant to honor his family and late friend Jamal Edwards is resonating with fans should arguably be more gratifying than securing a No. 1.
Rania Aniftos: A 4. After watching his The Sum of It All documentary, I learned that Sheeran is really, really hard on himself. Given that knowledge, and also how different this album is from his past few, I’d be pretty disappointed. He really put his heart on his sleeve and tried something new, which I do applaud him for, despite maybe a less-than-ideal outcome.
2. While Sheeran’s previous three studio albums were each preceded by top 10 Hot 100 hits, Subtract lead single “Eyes Closed” has thus far peaked at No. 19. Are you surprised that the single hasn’t taken off yet?
Andrew Unterberger: No. The song just doesn’t have a lot of juice to it — it sounds like a less-striking copy of older Sheeran cuts, without any of the left-turn unexpectedness we were led to expect from this album. Radio will probably continue to play it a little while longer, but I wouldn’t be surprised if, in a couple of months, they’re back to playing “Bad Habits” or “Shivers” in heavier rotation.
Jason Lipshutz: Yes! Very! I first heard “Eyes Closed” a couple of months before its release, and thought that the song – with its combination of finger-picked riff, understated production, affecting emotion and post-chorus “ay-yi-yi” hook – would become another smash for Sheeran. “Eyes Closed” hasn’t connected thus far, and it may never, especially if top 40 radio moves on to his version of “Life Goes On” with Luke Combs. I would have bet big on the lead single blowing up here, but as of now, it seems I would have lost that bet.
Katie Atkinson: No, but only because I think this one will be a slower burn. Sonically, it’s one of the more upbeat songs on the project, and its bittersweet lyrics convey the kind of universal feeling of loss that could eventually connect with an adult contemporary or adult pop radio audience – à la Maroon 5’s “Memories” – a 10-week-plus No. 1 at both formats. Sheeran’s own “Bad Habits” and “Shivers” will both be dominant as well, so I think there will (eventually) be an appetite for this song.
Lyndsey Havens: Not really. Compared to previous singles like “Bad Habits” or “Shivers” off Equals, both of which were sinewy pop hits, or “I Don’t Care” with Justin Bieber from No. 6 Collaborations Project, “Eyes Closed” is most similar to 2017’s Divide. But even songs like “Castle On a Hill” and “Shape of You” packed a bit more of a punch. I think “Eyes Closed” is a stunning ode to loss, but perhaps not what everyone is gravitating towards as we enter the summer months.
Rania Aniftos: No, but only because I think we’re in a readjustment period when it comes to Sheeran’s new music. We had a few years where he was giving us some really catchy pop hits like “Shivers,” “Bad Habits” and “Shape of You,” so Sheeran returning to his softer state might take some getting used to, both from fans and from radio.
3. Some of Sheeran’s biggest hits, from “Thinking Out Loud” to “Perfect” to “Shivers,” were not lead singles. Is there a song on the new album that you has a shot at taking off?
Andrew Unterberger: No, though “Curtains” is a real highlight from the set that I think would have made for a much bolder and more attention-grabbing lead single — even if its commercial upside would’ve also been somewhat limited. (As a near-carbon copy of “Thinking Out Loud,” maybe “Life Goes On” could also benefit from the attention the former has received over the course of Sheeran’s much-publicized recent trial.)
Jason Lipshutz: “Life Goes On” is an effective belt-along in the vein of Sheeran’s bigger ballads, and the new version featuring Luke Combs augments the better qualities of the track. Yet the song I’m keeping an eye on is “Curtains,” which sounds primed for an adult-contemporary takeover if the album campaign allows. The soaring chorus has seeped into my brain – I find myself going “Sun… SHINE! SHINE!” multiple times a day – and the guitar-and-strings arrangement has real teeth.
Katie Atkinson: I have to lobby for “Curtains.” I think it’s a perfect midway point between Ed’s ballads and his “Shape of You”-style radio hits – it’s catchy and has rapid-fire clever lyrics, but also has a bit more of a rock groove that really shows off his musical skills beyond his acoustic slow-tempo numbers. Also, its optimistic spirit is right there in the chorus: Let’s pull back the curtains and see the sun shine.
Lyndsey Havens: “Sycamore” is a gorgeous Ed song that I think people will connect with even more over time. It’s a stellar snapshot of what Ed has always done best, which is tell a beautiful love story in the length of a pop song — only now, the one he’s telling is about what happens after you find that love. It’s not always perfect, and he’s not shying away from that.
Rania Aniftos: I’m torn between “Curtains” and “End of Youth.” I think “Curtains” is the more upbeat, digestible track on the album, and has some hopeful lyrics that we can all relate to about coming out of a dark period. Similarly, “End of Youth” has themes of fear and aging that are so universal that it might connect to enough people to make it a hit.
4. The new album is a mostly acoustic offering that focuses on a difficult period in Sheeran’s personal life — a sharp left turn in sound for a stadium headliner. How do you think the album will endure within Sheeran’s discography?
Andrew Unterberger: I don’t think it’s really that much of an outlier in his catalog, to be honest — the only way it obviously differs from past Sheeran LPs to me is the lack of an obvious pop single, and even without those clear radio plays, it’s not like this set is starkly uncommercial by any means. There are some good songs here, and I imagine one or two might endure as fan favorites, but ultimately I just don’t think this is an album many people are going to think of when they think of Ed Sheeran decades from now.
Jason Lipshutz: Regardless of its commercial performance, Subtract was a risk that I’m glad that Sheeran took: instead of downplaying his personal difficulties and tossing out more pop hits, the superstar changed up his formula, challenged himself as a songwriter and presented his situation with unflinching honesty. Not all of Subtract is successful, but the album stays true to Sheeran’s grief, and offers empathy to any listener experiencing something similar. It’s going to age well.
Katie Atkinson: I find it to be a very worthwhile, if at times a challenging, listen. I think a lot of the lyrical themes of drowning in an infinite ocean can make some of the music feel hopeless – but like navigating the stages of grief, there is life beyond hopelessness, as shown in the more positive moments, as Sheeran begins to heal from all the personal trauma that came his way. The acoustic vibe also fits Sheeran’s busking beginnings, but I think in the end, I probably prefer my Ed in a cheekier musical space, so I would likely turn to other albums for repeat listens.
Lyndsey Havens: I think a lot of these songs will find a home in the “deep cut” section of Ed’s future tours, and rightfully so. Because of how personal they are, I don’t think they would naturally fit alongside some of his more danceable pop hits on a setlist, but that doesn’t mean they’ll fall to the wayside, either. I think with time — and as some of his fanbase perhaps hits the place in life where these songs resonate on a deeper level — the songs that make up Subtract will be held close.
Rania Aniftos: I look at Subtract the same way I look at Taylor Swift’s Folklore and Evermore. They’ll hold a vulnerable, acoustic moment during Sheeran’s tours, though I still think fans will still mostly look forward to hearing the hits and the throwback tracks.
5. A new version of “Life Goes On” features Luke Combs, and in a recent chat with Billboard, Sheeran expressed interest in making a country project. Ed Goes To Nashville: yee-haw or yee-naw?
Andrew Unterberger: Yee-haw! Perhaps Sheeran’s most underrated career strength is his impressive adaptability to different sounds and genres, from Afrobeats to reggaetón to EDM. He’d be a particularly natural fit in country. I’d only hope he explores more than the staid balladry of Nashville, since he’s already maybe a little too deep into that pocket at this point in his career.
Jason Lipshutz: Yee-haw! Even if Sheeran doesn’t record a full country album, maybe we get a little more of that flavor on his next Collaborations project? As a fan of Subtract, I’m down to see what other rabbit holes he can successfully leap down.
Katie Atkinson: Yee-haw! Obviously it served his superstar bestie well for many years, and his voice alongside Combs’ was a perfect (sorry) match at the ACM Awards. A full country project from Ed would make all the sense in the world.
Lyndsey Havens: Yee freaking haw.
Rania Aniftos: I mean, given the Billboard 200 this week, I’d say yee-haw! Let’s get Morgan Wallen on the phone.
Jack Harlow was one of the success stories of 2022, thanks to his Fergie-sampling, Billboard Hot 100-topping smash “First Class” and its star-studded parent LP, Come Home the Kids Miss You, which debuted at No. 3 on the Billboard 200 albums chart. After years of audience-building, last year seemed to mark Harlow’s official emergence as a pop star.
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However, pop stardom does not seem to be on Harlow’s mind with his current release, Jackman. The 10-track set, announced just days before its April 28 release, contains no features and no advance tracks — nor any singles as obvious as “First Class.” The set debuts at No. 8 on the Billboard 200 dated May 13, making it Harlow’s first album to bow short of the chart’s top five.
Does the release show Harlow’s momentum finally slowing? Or is it doing something for Harlow’s career that you can’t see in the numbers? Billboard staffers discuss these questions and more below.
1. After two consecutive top five LP debuts on the Billboard 200, Jack Harlow’s Jackman comes in a little softer, landing at No. 8, with only two songs making the Billboard Hot 100 (and neither in the top half). Given the breakout year that he had in 2022, how surprised are you (if at all) that the numbers for Jackman aren’t a bit better?
Rania Aniftos: I was initially surprised given his success over the past year, but after thinking about it more, I’m not as shocked. One thing that Harlow does really well is go viral (like he did with that “Dua Lipa” hook and “First Class”), and subsequently garner hype for music releases to the point where you feel like you have to listen to his songs when they drop. This somewhat-surprise drop technique he tried out doesn’t work as well for someone like him, given that he’s known for his juicy viral bars.
Eric Renner Brown: Few artists are as synonymous with “pandemic breakout” as Harlow, and because of that, his career arc has always felt unpredictable. Without COVID, would “WHATS POPPIN” have taken off the way it did? And what would Harlow’s career have looked like after that? With Jackman, the cynical, Harlow-hating argument would be that entertainment-starved audiences in quarantine inflated his popularity beyond what it might have been under normal circumstances and that it’s now come back to earth.
Jackman‘s relatively paltry showing doesn’t surprise me, but not for those cynical reasons. For better or worse, Harlow and his team have proven themselves consummate self-promoters; at 10 exceedingly short and featureless tracks given practically no pre-release promotion, this project doesn’t seem like it was *supposed* to make a huge chart splash.
Jason Lipshutz: I’m not surprised at all, because Jackman doesn’t represent a typical Jack Harlow album. Instead of following up Come Home the Kids Miss You with more pop hooks and A-list collaborators, Harlow chose to assert himself as a no-frills rapper, and provided fans with a lean, 24-minute project in which he deployed rhymes and eschewed choruses over a collection of soul samples. That’s a canny move to build cred, but not one that aims for chart dominance; a No. 8 debut makes all the sense in the world for an experimental LP like this.
Neena Rouhani: I’m not surprised, because I don’t believe his goal with this project was big numbers. This project was meant to be the anti-album – something that greatly contrasts with Come Home the Kids Miss You… especially after that “Tryna come the same day as Jack? Rethink it” line from “First Class” didn’t pan out so well. I think a lot of people questioned where his rapping abilities went with the last project, as there was a lot of chatter about Jack setting his career on cruise control following the success of “First Class.” This was him reminding his fan base that he still has the technical skills of the That’s What They All Say and mixtape days.
Andrew Unterberger: I’m a tiny bit surprised, just because we have seen the semi-surprise release like this really end up capturing the conversation when pop stars are able to catch fans off guard and show them a new side of themselves. Not every such release is gonna be Folklore of course — and though he’s doing well, Jack Harlow doesn’t have anywhere near that level of fanbase yet — but after his overstuffed and undercooked last album, I thought this one might catch a little more attention. Just shows you how hard it is to put up J. Cole numbers with a J. Cole approach; maybe only J. Cole can.
2. Obviously this release differs from Harlow’s last few in that it was a semi-surprise drop, being announced just days before its release. Do you think that was just an ineffective strategy for Harlow? Is there a way he could’ve tweaked it to be more effective?
Rania Aniftos: I don’t think the strategy is necessarily ineffective, because I truly believe a new artist should test the waters whenever possible, even if the result isn’t what is hoped for. If he wanted to do a semi-surprise drop, he could have teased a bar or verse from one of his songs without saying what it’s for (“No Enhancers” would have been a good song to pull from, because I know the girls on TikTok would love those lyrics). Then, when that verse starts to spread on the internet, announce the album the way he did — but the difference is that there’s already some excitement surrounding the release.
Eric Renner Brown: It depends how you define “ineffective.” If the aim was to get Jackman another top five Billboard 200 debut, then sure, his team failed – and the corrective seems pretty clear, to have loaded up the album with guests and twice as many tracks to juice the streaming figures. But given Jackman‘s overwhelming contemplative, introspective subject matter and its brevity, it feels intended more as a recording stopgap and “Hey, remember me?” statement before Harlow’s film debut in the White Men Can’t Jump reboot. And if ever there was an opportune moment for Harlow to get a bit more reflective in the studio, this might be it.
Jason Lipshutz: I think it actually was effective! When viewing Jackman through the lens of a for-the-fans detour with limited crossover potential, an extended rollout never would have made sense. If anything, I would have tweaked the unveiling of Jackman to be a total surprise — just have the album revealed on streaming services upon release, during a particularly snoozy week of new music, and watch both casual listeners and diehard fans check it out. But even that change would not have produced a commercial juggernaut, because Jackman wasn’t built as one.
Neena Rouhani: If I’m wrong and they did expect Jackman to have huge commercial success, then yes, it was an ineffective strategy. But I don’t think that was the goal here. Either way, they could’ve done a bigger social media push, drawing attention to his bars and reminding people he’s a talented rapper by way of various musical influencers. Regardless, the album did alter his listeners’ view of him and put him back in the rapper conversation, which I think was the point.
Andrew Unterberger: A different album cover might’ve helped. (Maybe a different title, too.) But generally, I think Harlow and his team went the right route here — and for the record, it’s not like a ton of other rappers are debuting higher than No. 8 so far this year either.
3. Without the A-list features and big samples/interpolations from his previous album Come Home the Kids Miss You, perhaps Harlow was going for something other than immediate blockbuster commercial success all along with this album. Do you think Jackman could (or will) still prove a smart release for Harlow in the long-term?
Rania Aniftos: Despite what I’ve said about the rollout strategy, Jackman is a great step forward as Harlow navigates maintaining his position as a star in the rap world for years to come. It shows music listeners a new, more contemplative side of him and shows that he has more versatility beyond the flirty, almost cocky persona he always portrays.
Eric Renner Brown: Again, it depends how you define “smart release.” This album has already racked up praise (relatively speaking) from hip-hop heads, because of its understated, smooth production and Harlow’s dexterous rhyming, deployed here in service of more mature content rather than puerile frat-rap. But critical praise doesn’t translate to commercial success, and because I doubt that Harlow is planning a career swerve into headier, less-mainstream fare – I mean, never say never, but – I don’t think plaudits from the heads matters for his trajectory. But for his own ego and sense of artistic self-worth? Sure. Considering that he’s still riding his 2022 musical successes and preparing for his big turn on the silver screen, it tracks that he’d feel less pressure to release another set of potential chart-toppers.
Jason Lipshutz: Yes, because I believe fans who have invested in Harlow long-term will rally around Jackman as proof of the Kentucky rapper’s technical skill. Harlow and his team would no doubt love more smashes like “First Class” and “Whats Poppin,” but chasing hits can yield ephemeral satisfaction and the lack of a core fan base. Meanwhile, a project like Jackman congeals that foundation of support in between hits, and lets listeners who appreciate Harlow’s flow know that they’re being heard. It’s a smart move from an artist who could be focused solely on the here and now, but is instead driving stakes into the ground and setting up his career for years to come.
Neena Rouhani: Yes. What matters in any artist’s catalog is not just big chart moments. It’s those deep cuts and under the radar projects that are rooted in the artists’ skills and passion that fans feel deeply connected to and appreciate. Those offerings lead to deeper loyalty from listeners and longevity for the artist.
Andrew Unterberger: Sure. It’s a little bit of a course correction — Come Home the Kids Miss You did respectable numbers but got mostly lousy reviews, and didn’t spawn a second hit anywhere near “First Class,” largely because the crossover-baiting felt a little too obvious (and the bars a little undercooked). To his credit, he seems to acknowledge he maybe shot a little too far too soon there, and Jackman makes it clear Harlow can still captivate solo and without borrowed hooks, and that’s important to re-establish before he makes his next (presumably bigger) move, whenever that is.
4. The biggest headlines for Harlow’s latest over the weekend revolved around the response dis from Machine Gun Kelly, likely aimed at the rapper’s claims on the album about being the best white rapper since Eminem. If you were on Harlow’s team, would you be persuading him to respond and engage in the back-and-forth, or to just leave it alone and not give it more oxygen?
Rania Aniftos: OK, I just want to start off by saying that I’m not an MGK hater. I promise. I do think, however, that he starts beef for no reason and seems to have a temper that often makes him blow situations out of proportion or put out random attacks on the Internet. With all that being said, an MGK diss really doesn’t hold too much weight given that he’s seemingly mad at everything all the time. If I were Harlow, I’d take the high road. Anyway, Eminem already took care of it back in 2018.
Eric Renner Brown: Can I leave this question alone and not give it more oxygen? This whole thing is just hilarious to me: That MGK or Harlow would fashion themselves in the same lyrical universe as Eminem, that white rappers are still vying for Eminem’s crown 20 years after his creative peak, that MGK all but abandoned hip-hop and but still wants to seat check the white rapper throne (if he even occupied it at all which is… debatable). If I’m Harlow’s team, I’m advising him that he has bigger fish to fry – not because a beef with MGK would hurt Harlow’s career (I don’t think it would) but because… why bother?
Jason Lipshutz: I mean… I’m an absolute sucker for rap beef, particularly one that seems relatively harmless. I wouldn’t begrudge Harlow for brushing off MGK’s diss and moving forward without acknowledgement, but the craven-for-content part of me wants him to flex like he’s about to re-shoot the Jackman album cover.
Neena Rouhani: I’m personally a lover, not a fighter, so I’d never encourage my client to continue hurling insults. But if relevancy is the goal, it’ll definitely keep their names in the headlines. Also, it’s news to me that MGK still considers himself a rapper.
Andrew Unterberger: Well… it’s an option, anyway, and a relatively simple one for pumping up the number of eyeballs he has on him in this Jackman promo period, if that even is a priority for him on this album. But ultimately I don’t think I’d advise it: He’s already got White Men Can’t Jump around the corner, and the kind of attention he’d get from responding to an MGK beef is not that dissimilar from the kind of attention he already got too much of on his last album cycle.
5. MGK beefing aside — now that Harlow’s done more of a One for Me type album, what would you generally advise him to do for his next project if he wanted to recapture more of the crossover/pop star momentum he had after Come Home and “First Class”?
Rania Aniftos: Might I suggest a collaboration album? Harlow works so well with others, and flawlessly matches energy with all types of collaborators. I’d love to see him team up with a female artist – perhaps his “First Class” music video co-star, Anitta? It would be cool to see him dip his toes into the Latin world with a collaboration like that.
Eric Renner Brown: More features, more pop-oriented beats, more promotion. But maybe he can take some of the lyrical maturation on Jackman to heart – he’s always been a talented technician, and I’ve long thought that scaling back on the “sex jokes a 16-year-old thinks are funny” factor could serve his career well in the long-term.
Jason Lipshutz: I’d recommend that Harlow move quickly. Popular hip-hop remains a game of “what have you done for me lately?,” and while I believe Jackman to be a clever left turn, I also think that, if he sits too long on top of it without putting out something more pop-facing, Harlow will be in danger of losing some of the top 40 momentum he scooped up last year. Maybe he’s ultimately fine with that, but if not, he should queue up a big single before the end of the year, in order to lead into a major 2024.
Neena Rouhani: A big collaboration with someone other than Drake. I’d say his efforts towards being heavily associated with Drizzy hurt him a little more than it helped him. He already proved he could have a massive solo moment, and “Industry Baby” with Lil Nas X was also noteworthy, but I’d love to see him collaborate with a woman.
Andrew Unterberger: Two words: soundtrack single. He’s got White Men Can’t Jump coming up — the original of which had a pretty dope OST 31 years ago — and what better way to cement his cross-platform stardom than with a ’90s-worthy lead single to kick off the movie? Harlow seems like a student of hip-hop history to some degree, at least; it’d be a shame if he let an opportunity to live up to his ’90s forebears like this slip.
The regional Mexican takeover has officially reached the highest stretches of the Billboard Hot 100. Eslabon Armado and Peso Pluma‘s “Ella Baila Sola” hit the top five last week, and now they’re joined there by Grupo Frontera and Bad Bunny’s “Un x100to.”
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The song moves 15-5 on the Hot 100 this week (dated May 6) in its first full week of release, marking the first top 10 hit for the regional Mexican group. While it’s far from Bad Bunny’s first such hit, it’s his first integrating his Latin trap sound into his collaborators’ cumbia-norteño framework.
What does the song’s success mean for the respective artists? And just how much will regional Mexican continue to grow? Billboard staffers discuss these questions and more below.
1. Grupo Frontera have already had several hits of increasing size in the past year, but “un x100to” sees them reaching a new level entirely. Does this success officially make them stars, both stateside and globally?
Griselda Flores: I want to say that because of their massive success with “No Se Va,” they were already stars stateside. That track peaked at No. 3 on Billboard’s Hot Latin Songs chart in November. Then, a few months later, they scored their very first No. 1 on Hot Latin Songs and Latin Airplay with their Fuerza Regida team-up “Bebe Dame.” They’re also currently on a 23-date U.S. tour, their first-ever trek following their breakout just last year. So, I would argue that they were already local stars in their own right. However, collaborating with Bad Bunny obviously gives them that global push.
Jason Lipshutz: Hard to say: Grupo Frontera has scored Hot 100 hits before this, both on their own (“No Se Va”) and with other artists (“Que Vuelvas” with Carin Leon, “Bebe Dame” with Fuerza Regida), but they’ve never come close to the top five of the Hot 100 prior to “un x100to,” which just happens to be a team-up with one of the biggest stars on the planet. Bad Bunny’s turn on “un x100to” has undeniably broadened its appeal, and whether Grupo Frontera helped engineer a smash or simply benefited from his presence is in the eye of the beholder; as the song starts its chart run, it will be interesting to see if Grupo Frontera downplays the commercial gains of this collaboration, or grabs hold of their brighter spotlight.
Isabela Raygoza: Yes. Although Grupo Frontera were well on their way to bigger success in their own right — and with their nearly quarter-billion streaming “Que Vuelvas” (2022) alongside Carin León, among other big hits — this collab sees the Mexican stars become supernova-like. Thinking back to 2019, when Natanael Cano was buzzing on SoundCloud and beyond, Bad Bunny jumped on his remix “Soy El Diablo” — and I believe that became a turning point for Cano and corridos tumbados, without sacrificing the integrity of the regional style. This success makes Grupo Frontera a household name beyond original regional Mexican music fans.
Jessica Roiz: I’d want to say it’s 50/50. I don’t doubt “un X100to” is making them a known name globally ,but the truth is, Grupo Frontera was a force to be reckoned with way before the Bad Bunny collaboration. They first gained traction in the summer of 2022 with their norteño cover of Morat’s “No Se Va” — which, thanks to its massive virality on social media, reached corners outside of the states. Their collaborations with Carin León “Vuelve” and Fuerza Regida “Bebe Dame” were also viral hits that kept pushing them onto the international radar.
Andrew Unterberger: I think so. Obviously Bad Bunny is Bad Bunny, but when you look at his other collabs from the past six months you can see that they’re not all automatic smashes just due to his presence — “La Jumpa” with Arcangel only peaked at No. 68 on the Hot 100, while “Gat de Noche” with Nengo Flow reached No. 60. The fact that “Un x100to” zoomed to the top five in its first week of release means more about Grupo Frontera’s rising profile and increasingly mainstream-embraced sound than it does about their global superstar collaborator’s golden touch, I think.
2. Bad Bunny has little left to prove in his superstardom at this point, but he’s less established within regional Mexican as a collaborator. Do you think he sounds at home in the genre in “un x100to,” or are his contributions to the song more in terms of the added exposure he brings?
Griselda Flores: I would say that because of the lyrics, which are very modern and super Bad Bunny-esque (even the title is so him — he named his first album X 100pre), he does sound at home. When it comes to the sound, he doesn’t — because it’s a style he’s never recorded in. But he sure does sound really great in a cumbia norteña.
I’d say that having Bad Bunny on a song will always contribute to global exposure no matter who the other artist is. I think with this collab, Bad Bunny proves that he’s a well-rounded artist who is really paying attention to what is up-and-coming. We already know he’s a fan of the genre, after collaborating on a corrido with Natanael Cano in 2019 — so this is just another nod to the genre that again, has always been strong, and now the numbers are there to prove it.
Jason Lipshutz: Bad Bunny is arguably the most sonically adventurous Latin pop superstar of all time, and last year’s Un Verano Sin Ti – which became one of the biggest albums of the year by hopscotching across genres and stylistic motifs – serves as an Exhibit A. The fact that he fits comfortably into the regional Mexican tradition on “un x100to,” adopting Grupo Frontera’s sensibility and the song’s tempo, shouldn’t come as a surprise to anyone who’s followed Bad Bunny, and his chameleonic streak, over the course of his career.
Isabela Raygoza: I think it’s a bit of both. When Bad Bunny comes in at the 1:35 minute mark, he sounds like his usual self, delivering a very similar attitude that we’ve heard him in his pop-reggaetón and Latin trap songs. What I hear at that mark is that producers Edgar Barrera and Mag adjusted the production on Bunny’s verse to accommodate his passionate flow as he entered, wouldn’t Benito having to sacrifice losing his signature essence. When the regional Mexican rhythm comes in at the 1:57 minute mark, Benito sounds like a natural. Also, the BPM is at 83, and “Amorfoda” is at 74 BPM while “Trellas” at 91. I think this is a sweet spot for the Bunny, and a tempo that he can get down to. (Interestingly, when Bunny joined Cano’s “Soy El Diablo,” the former’s vocal flow sounded a little more challenged, with the breathing.) Benito’s participation still gives Frontera and the song a whole lot of further exposure, IMO.
Jessica Roiz: Personally, although he’s the biggest Latin urban act in the world, I feel that Bad Bunny can easily blend well into any genre. He’s a chameleon. He dropped a dembow track with “Titi Me Pregunto,” a merengue track with “Despues de la Playa, a samba tune with “Yo No Soy Celoso,” and I feel that his first-ever norteño with “Un X100to” is not the exception. The collaboration might not be everyone’s cup of tea — but to my ears, he sounds at home.
Andrew Unterberger: I don’t know if the sound is quite seamless — and the beat switchup upon his entrance kinda sounds like the producers putting up the bumpers at the bowling alley for Benito, which I doubt he really needs. But the more important thing here is that Bad Bunny has proven himself such a musical omnivore — and really, such a good hang — that he doesn’t sound totally out of place anywhere; he could show up on Luke Combs’ next album and you’d just go, “Oh cool, Bad Bunny’s doing radio country ballads now.” He’s got an all-access pass within popular music now, and he’s earned it.
3. A year ago, “Un x100to” wouldn’t likely have been anyone’s guess for a Hot 100 smash — at least in terms of its sound — but this year it’s already a top five hit in its first full week of release. Do you see it growing even further into that kind of summer-dominating smash?
Griselda Flores: I think this will for sure be a song that will continue dominating into the summer. One because of its star power but also because it’s really just a good song: catchy lyrics with an infectious sound. Plus, Mexican music is on top of the world right now so this song — along with others like “Ella Baila Sola” — will be on repeat for many listeners, in the U.S. and globally, throughout the summer.
Jason Lipshutz: We’re in such uncharted territory with the explosion of regional Mexican music on the charts – while also currently in a moment where betting against the commercial success of Bad Bunny feels like a fool’s errand – that I can’t help but conclude that “un x100to” has a real shot at summer-smash status. We’ve never really had a big summer hit like it, but with Bad Bunny and regional Mexican music continuing to rewrite history, who says that they won’t keep going with this new single, which is already a top five hit?
Isabela Raygoza: I do! I think by this point, the general public — who recently discovered this historic genre, and previously non-regional Mexican music fans — are now embracing regional Mexican music like in no other time. (Which is crazy, since I grew up with this style of music being from the San Diego-Tijuana region.) We saw Los Tucanes de Tijuana appear in Coachella in 2019, and “La Chona” (1995) went viral that year because of a TikTok challenge. There were many other trending and cultural moments that have kept regional Mexican music relevant. But now we’re talking about a Hot 100 smash; that’s unprecedented. I strongly believe there’s a very solid foundation to the century-old style, with many young newcomers updating the formula in exhilarating ways that will keep it rocking this summer and beyond.
Jessica Roiz: Definitely! Because of the Bad Bunny push, it’s not only putting Grupo Frontera on the map but also spotlighting the infectious norteño and cumbia genre and a new wave of Música Mexicana artists. The song’s lyrics on heartbreak and regret may not be that feel-good but its uptempo beat is without a doubt one that can be played at any party, carne asada, club, and event, and will have everyone dancing and singing at the top of their lungs.
Andrew Unterberger: Maybe not for the whole summer, since both artists are so prolific they might have newer music commanding attention within a month or two’s time. (Hell, Grupo Frontera already has another new Hot 100 hit this week with their Yahritza y Su Esencia teamup “Frágil,” a No. 82 debut.) But the song definitely is hitting the warm-weather months with all the momentum in the world, and still plenty of potential converts out there waiting to fall under its spell.
4. Collabs have become such a massive part of Latin popular music in the past decade-plus, with artists constantly helping each one another cross-pollenate their sounds and audiences. If you could choose two Latin artists who’ve yet to work together who could really add something to the culture by collaborating, who would you team up?
Griselda Flores: Wow, the possibilities are endless. Karol G, who’s recorded two regional Mexican songs in the past (“200 Copas” and “Gucci Los Paños”) would pair nicely with Grupo Frontera in a cumbia. I think that would be huge. Becky G, who is recording her first Mexican music album, could also surprise with a collab that we didn’t know we needed. I’d love to see her doing a heartbreak sierreño track with Eslabon Armado.
Jason Lipshutz: Late last year, Shakira stated that she wanted Bad Bunny to call her up with a track; since then, she’s scored a pair of top 10 collaborations alongside Karol G and Bizarrap, respectively, yet her team-up with Bad Bunny has yet to materialize. Considering Shakira’s recent chart renaissance, Bad Bunny’s red-hot streak and their penchants for collaborations, a pairing makes all the sense in the world, and could smash the world if and when it finally arrives.
Isabela Raygoza: Indeed — collabs have become essential to the ever-growing boom of Latin music, especially post “Despacito.” At this point, I think collaborations are totally expected, or even necessary for plenty of Latin artists. What still comes in as a welcoming surprise are when Latin acts collaborate with non-Latin acts: Snoop, Drake, Beyoncé, The Weeknd… But if I had to choose, I’d say Julio Iglesias and Enrique Iglesias 🙂 Fans will know why.
Jessica Roiz: OK, hear me out: Karol G and Grupo Firme. I think it can work. Karol is another urban artist who has already tested the regional Mexican waters. She teamed up with Danny Felix for her heartfelt corrido “200 Copas” and worked with Edgar Barrera on her banda track “Gucci Los Paños.” Needless to say, Karol has already invited Firme to sing with her during one of her shows — and if the group’s version of “Tusa” is any indication, Firme is a huge Karol fan.
Andrew Unterberger: Feels like only a matter of time until we get the Peso Pluma & Yahritza y Su Esencia team-up — and when we do, I wouldn’t be surprised if it ends up dominating the Hot 100 more than any of the other hits we’ve discussed here.
5. Between this and Eslabon Armado and Peso Pluma’s “Ella Baila Sola” in the Hot 100’s top five right now — and plenty of other songs from these artists and their peers below them on the chart — do you think regional Mexican is going to be the sound of the summer in the U.S.?
Griselda Flores: Without a doubt. This is the just the beginning for Mexican music. I think, in the upcoming months, we’re going to see many more non-regional Mexican artists wanting to record with these new Mexican music hitmakers, which will continue to fuel the genre’s global takeover.
Jason Lipshutz: Absolutely. It feels like we’re just scratching the surface in terms of the hits being mined from the regional Mexican scene, and the national consciousness that this trend is quickly becoming so dominant – but it’s here, the songs are legitimate smashes, and I’d reckon that a lot more are coming. Regional Mexican fans, rejoice: this summer will be all yours.
Isabela Raygoza: I think it’s going to be like how reggaetón sounded in 2015, in terms of mainstream radio airplay, late-night TV and chart presence. But on the streets, if you live in L.A. or southern California, that has already been happening for many a decade — also in Chicago and Jackson Heights in New York City. But if you live in Miami, although there’s a strong Latin presence, regional Mexican music wasn’t the buzzworthy genre. I think regional Mexican music is going to be a strong sound this summer in the U.S. But the dominant? Not so sure. I think that spot is still reserved for the Miley Cyrus’, the SZAs, the Morgan Wallans, and the Drakes of the world. Bad Bunny fits in this category too, therefore so will “Un x100to.” If Peso Pluma keeps up his momentum, then we’re in for a very exciting summer of regional.
Jessica Roiz: 1000000000000 percent!
Andrew Unterberger: Certainly seems that’s what we’re headed for, doesn’t it? I don’t know how much it’ll be recognized on top 40 radio or in mainstream TV and internet spaces, but on streaming and social media it seems clear that regional Mexican has more movement right now than any other genre — and there’s no particularly close second. It may take the gatekeepers a bit of time to catch up, but sooner or later they’re not gonna have much choice; this is the music of 2023, and it’s pretty exciting stuff.
After 18 weeks on the Billboard Hot 100 — 17 of them in the top 10, and a whopping eight of them at No. 2 — SZA‘s “Kill Bill” finally pulls into pole position in its 19th week, on the chart dated April 29.
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The late surge for “Kill Bill” (which ranked at No. 4 the prior week) is largely due to the debut of the song’s remix, given an assist by an old co-star in Doja Cat — though the official credit on the No. 1 is still given to SZA solo, given that the remix did not account for the majority of the song’s overall consumption during the chart tracking week. It marks SZA’s first No. 1 on the Hot 100, after previously getting as high as No. 3 (as featured on Doja’s “Kiss Me More”).
How important is it that “Kill Bill” finally grabbed that top spot? And what films should SZA be pulling up for a potential sequel? Billboard staffers discuss these questions and more below.
1. “Kill Bill” finally tops the Hot 100 in its 19th week, all but one of which was spent in the chart’s top 10. Are you surprised that the song has had such longevity?
Katie Atkinson: I’m not surprised by its longevity, but I am surprised that it’s taken this long to climb to No. 1. SOS has had such a major impact since its December release, I was certain “Kill Bill” would sneak to the top at some point. I guess I was right (eventually), but I thought it would cut in front of Miley Cyrus during her unstoppable “Flowers” run earlier this year.
Stephen Daw: A little bit! It’s been clear for a while that SOS was going to have massive endurance when it came to Billboard 200, and “Kill Bill” naturally earned its spot near the top of the Hot 100 as a fan favorite. But to see the song finally hit its peak 19 weeks in and after a whopping 8 non-consecutive weeks at No. 2 is pretty surprising. Even SZA seemed to be surprised at the song’s success, and that was before it hit No. 1!
Jason Lipshutz: Yes – not because it’s not a great song, but because it doesn’t scream “surefire smash single that is going to reside in the top 5 of the Hot 100 for one-third of a year.” Even SZA didn’t think “Kill Bill” was the song from SOS that was going to pop, but the midtempo revenge fantasy not only immediately connected upon the late 2022 album release, but has defined the first chunk of 2023 in a way that no other song has. It took me a few weeks to understand why “Kill Bill” became the biggest solo hit of SZA’s career, but I’m still pretty shocked that it’s lasted this long near (and, now, in) the top spot of the chart.
Neena Rouhani: Not at all. This song has staying power and the shock factor. The lyrics “I just killed my ex, not the best idea,” reminds me of those gasp-inducing choruses of hit singles that defined my childhood, like Katy Perry’s “I kissed a girl and I liked it.” So, not only do I think it can endure for 19 weeks, but for years to come.
Andrew Unterberger: Not once it started showing legs early on — but I wouldn’t have predicted much, if anything, about this “Kill Bill” run when I first heard the song. It’s pretty cool, just a good song finding a much wider and more receptive audience than any tastemakers would’ve likely guessed for it. Almost never a bad thing for pop music.
2. Obviously the bump for “Kill Bill” this week is largely due to the debut of its new remix, featuring SZA’s old “Kiss Me More” co-star Doja Cat. Is the new version an interesting/significant expansion of the song and its universe, or more just a fun bonus for fans?
Katie Atkinson: Both! I love Doja’s verse, and I love that it kicks off the song with a whole new storyline to immerse yourself in. I think the original still stands on its own as an excellent song, but the combination of SZA and Doja Cat is undeniable. I hope that — similar to The Weeknd and Ariana Grande – these two continually link up for duets, features and remixes throughout their respective album cycles. Also, Doja has been hinting on Twitter that she’s wanting to go all in on rap on her next album, and her flow on this verse has me very pumped for an all-rap project from her.
Stephen Daw: It’s pretty clearly a fun bonus. Doja is a perfect fit not only for SZA as an artist, but for “Kill Bill” as a song — this is one of my favorite guest verses of hers. Kicking off the song with the added context from Doja’s verse is also a smart way to immediately give fans a different flavor. But ultimately, Doja’s fiery intro doesn’t really change or significantly build upon what makes “Kill Bill” a great song already, which is SZA’s top-tier vocals and A+ songwriting.
Jason Lipshutz: Fun bonus for fans, and there’s nothing wrong with that. Doja’s verse adds some violent specificity to SZA’s vengeance, and as one of the most skilled rappers alive, she floats over the woozy beat while telling her bloody story. Yet the remix doesn’t change the blueprint of the original, which ultimately stands a little more comfortably in its structure, and will more clearly stand the test of time. Fans should think of the remix as a thank-you for their support of the song – which was quickly repaid by listeners with a Hot 100 chart-topper.
Neena Rouhani: I think it has more value than being a fun bonus, at least for Doja. People love seeing her rap and I think it further cements her status as a rapper as well as a singer. She really told a captivating story and I think it’s a big part of her ever-expanding artistic identity.
Andrew Unterberger: Fun bonus. Kinda wish they’d done a little more with Doja’s involvement — her verse is predictably good, but it’s over by the minute mark, and then it’s basically just the original version from there. Some interplay between Doja and SZA would’ve made it more fun, and shifting the beat/production of the original to make the remix more distinctive also could’ve gone a long way to making it feel like a legitimate continuation rather than just a late add-on. That’s not usually the name of the game with remixes in 2023, but from artists as generally creative and thoughtful as SZA and Doja, it’s not unreasonable to expect a little bit more.
3. A good deal of the endurance for “Kill Bill” on the charts is due to the chart-topping success of the song on pop radio — a format that in recent history has mostly been slow to embrace R&B-based songs. Do you think the song’s success will end up being meaningful or impactful for top 40, or was “Kill Bill” just an exception that was too big and/or too good to ignore?
Katie Atkinson: “Kill Bill” is based in R&B, yes, but it also has an undeniably earwormy melody that is a perfect fit on top 40 radio. And I think what makes sense for pop radio is rapidly changing too (see: Steve Lacy’s “Bad Habit” topping the Pop Airplay chart late last year), so I don’t think this is an exception so much as a harbinger of what’s to come on an increasingly nimble format.
Stephen Daw: I don’t know that “Kill Bill” specifically is going to be the final nail in pop radio not playing R&B-influenced tracks, but I do think that SZA is going to be the artist to bring that particular trend to an end. With the success of SOS alone, SZA’s proven multiple times over that alt-R&B is the sound that people are gravitating towards, and pop radio can’t really ignore that any longer. One can only hope that the success of “Kill Bill” is more than a one-off for these stations as they figure out that this is the sound listeners want more of.
Jason Lipshutz: While “Kill Bill” was too good to ignore, SZA was too big to overlook: her long-awaited return with SOS produced a commercial juggernaut that’s still in the top 3 of the Billboard 200 chart four months after its release. SZA has had some pop radio success before – most memorably alongside Doja Cat on “Kiss Me More,” but also on songs with Kendrick Lamar and Justin Timberlake – and to shrug off a superstar of her stature, with a streaming smash like “Kill Bill,” would have been a misstep from top 40 programmers. Thankfully, they didn’t make it.
Neena Rouhani: I don’t think this track is deep enough in the R&B pocket to be written off the same way pop radio writes off other R&B songs. So for that reason, I don’t see it sparking any larger conversation surrounding R&B’s inclusion on pop radio stations.
Andrew Unterberger: I don’t know if it’s as meaningful for R&B specifically as it is for non-traditionally top 40-sounding songs that are putting up undeniable numbers in other metrics (particularly streaming). Pop radio has shown more of a “whatever works” attitude towards playlisting lately, and “Kill Bill” unquestionably worked. That said, so are a lot of other songs by R&B artists in 2023, so hopefully we’ll start to see top 40 embrace those in a similar fashion.
4. How important is it to the legacy of “Kill Bill” that it hit No. 1 after spending eight weeks at No. 2? Do you think people (or that you yourself) will remember it differently because it was able to get over that hump?
Katie Atkinson: I will! But I probably care more about charts than the average music fan. There’s something about that elite club that truly cements a song’s legacy, but of course there are countless massive songs that stalled out at No. 2 – Lady Gaga’s “Bad Romance” spent seven weeks there, Ed Sheeran’s “Thinking Out Loud” spent eight, Shania Twain’s “You’re Still the One” spent nine, Foreigner’s “Waiting for a Girl Like You” spent 10 – so history would still remember “Kill Bill” kindly.
Stephen Daw: Look, people may love a Cinderella story, but that doesn’t mean that’s going to be a defining feature of this song in the years to come. Look back at other songs that had similar trajectories — “Bad Guy” by Billie Eilish eventually going No. 1 largely doesn’t change the way that people think about it. “Havana” is Camilla Cabello’s signature song to this day not because it eventually reached the top of the charts after seven weeks, but because it’s an extremely catchy tune. Sure, “Kill Bill” being SZA’s first No. 1 single will be a huge part of its legacy — but I genuinely don’t think it’s slow-burn approach to rising up the charts will have any real impact on public memory of this song.
Jason Lipshutz: It’s sort of like if a certain Philadelphia-based athlete were to finally win an MVP trophy after years of being in the conversation for the league’s top prize: finishing at No. 1 doesn’t greatly alter a legacy, but it does help crystallize it, right? “Kill Bill” deserved to spend at least one frame as the biggest song in the country, and forever preserve the Hot 100 impact that SZA achieved with the song. And thankfully, this discourse didn’t need to turn toxic in order to get it over the hump!
Neena Rouhani: I mean, I think it’s very important just to add to SZA’s stats and to have that “No. 1 moment,” but whether or not it topped the chart wouldn’t take away from its impact and significance. A lot of really incredible songs never hit No. 1, like Rihanna’s “Pon De Replay” or Beyoncé and Jay-Z’s “Drunk In Love.”
Andrew Unterberger: Not really. I sorta wish artists would embrace the proud legacy of a long-running No. 2 hit that never makes No. 1 — Missy Elliott’s “Work It” and Foreigner’s “Waiting for a Girl Like You” are the current co-holders of that endurance record, and they’re two of my favorite pop songs ever — as well as the honor of having a so-close No. 2 before ultimately reaching the top spot, a path taken by such recent luminaries as Justin Bieber, Taylor Swift, Nicki Minaj, Rihanna and Ariana Grande. SZA’s gonna be contending for No. 1s for a long time still, I don’t think it would’ve been tragic to let this one fall a spot short.
5. Let’s say SZA decides that lead singles named after movies are the way for her to go moving forward. What film would you choose to title (and serve as the jumping-off point for) her next effort?
Katie Atkinson: Apparently Pretty Woman is SZA’s favorite movie, so maybe she can do a whole song with that title, or interpolate Roy Orbison’s classic (which itself inspired the movie’s title). As long as she includes the line “Big mistake. HUGE.,” I’m all in.
Stephen Daw: She doesn’t even need to write a new one — just take her existing SOS slow-jam “Gone Girl,” give it a slightly more sinister remix and intersperse clips from Rosamund Pike’s “cool girl” monologue from the movie of the same name, and you’ve got a hit on your hands.
Jason Lipshutz: Let’s stick with Tarantino and go with “Death Proof,” focusing on her indestructible mind and spirit. Maybe we even get a video where she gets her revenge on her own Stuntman Mike!
Neena Rouhani: Hear me out…. “Edward SZA-hands.”
Andrew Unterberger: “Uncut Gems.” Don’t exactly have a coherent script for it yet — it’s an evocative-enough title there are plenty of directions you could take it — but I bet you can guess who’s showing up for the late-game remix.
If you don’t yet know the name Peso Pluma, now would be a good time to start learning. The rising Mexican corridos singer-songwriter, who had little Billboard chart to history speak of prior to 2023, notches a stunning five separate songs on the Hot 100 this week — all without so much as a debut album to his credit
The burgeoning 23-year-old star can be found on the April 15th chart at No. 17 (“Ella Baila Sola” with Eslabon Armado), No. 26 (“La Bebe” with Yng Lvcas), No. 63 (“AMG” with Gabito Ballesteros and Natanael Cano), No. 64 (“PRC” with Natanael Cano) and No. 65 (the solo “Por Las Noches”). What’s more, he also lands just outside the Hot 100 this week with two more releases: “El Azul” alongside Junior H and “Igualito a Mi Apá” with Fuerza Regida.
How did Peso Pluma become such a prolific hitmaker? And how big might he still get from here? Billboard staffers answer these questions and more below.
1. Despite having no Billboard Hot 100 history before this year, Peso Pluma notches five songs on the Billboard Hot 100 this week — behind only Morgan Wallen (and tied with SZA and Luke Combs) for the most of any artist. On a scale from 1-10, how surprised are you at how big he’s gotten this quickly? (Please include an actual number with your answer.)
Griselda Flores: It’s an 8 for me. I’m surprised because Peso Pluma is relatively a new artist. But looking at the bigger picture, Peso Pluma’s takeover reflects the growth that Mexican Music has been experiencing over the past few years. We’ve been reporting a ton about how the genre has experienced a renaissance of some sort thanks to a new generation of singer-songwriters, such as Natanael Cano, Junior H, Eslabon Armado, to name a few. In comes Peso with an unmatched swag and confidence, and he’s collaborating with all the young acts that came before him (including the three I just mentioned), plus artists that aren’t regional Mexican, including Ovy on the Drums and Nicki Nicole. It’s a strategy we hadn’t seen before. Typically, these acts stick to their genre for collaborations at the beginning of their career and don’t start collaborating with artists outside of their genre until much later. For Peso, it’s all happening at the same time and that only boosts his presence in every single space.
Jason Lipshutz: A 9. The difference between a promising new artist and a surefire new star is often an issue of quantity: instead of having one song bubble up to the mainstream, multiple tracks coalesce around an intriguing voice being invested in by the general public. As a regional Mexican performer with modern production flourishes and dalliances with reggaeton, Peso Pluma’s sound and approach are refreshing — but most new artists simply can’t score five simultaneous Hot 100 entries! The sheer number of chart hits Peso Pluma currently boasts suggests that he’s not just enjoying a fruitful moment, but about to join the A-list of popular music.
Isabela Raygoza: 4. It’s very impressive! But I’m not super surprised because there are several artists that have helped position the new corridos scene for the next superstar to take over. It was just a matter of, “who will step up to the plate (and kill it) for this sound we’ve helped build the foundation for?” Artists like Eslabon Armado, Natanael Cano, and Junior H have been paving the way for a few years now (remember, only a few years ago even Bad Bunny was still relatively unknown in the mainstream). Plus, Peso Pluma has collaborated with most of these acts, which boosted his level of exposure. Also keep in mind that we’ve also seen a variety of artists within the “corridos urbanos” landscape achieve similar success, like Chino Pacas, who landed at No. 84 for the first time two weeks ago, so this is certainly a start of a bigger movement booming.
Jessica Roiz: 10 (and then some!): To be frank, I wasn’t too aware of who Peso Pluma was until recently this year; otherwise, I would have suggested him for our “23 Latin Artists to Watch in 2023” list. Nonetheless, for an emerging artist who dropped his debut single in the midst of the pandemic, his growth is indeed surprising — but doesn’t come as a shocker (if that makes any sense). He has a relatable personality, a mature mentality, and a signature raspy vocals that have all played a big factor into his success.
Andrew Unterberger: At least a nine. We just don’t see artists from pretty much any genre blow up this widely this quickly — especially with one single at a time, without even an album to collect them all — and we certainly don’t see it from the regional Mexican music world (which, again, had never even launched a single Hot 100 hit before two years ago). Times and tides are changing quickly, and Peso Pluma is here and ready to ride the wave.
2. What do you attribute the speed of Peso Pluma’s rise to? How is he already at the stage where seemingly any song he’s on becomes an automatic breakout hit?
Griselda Flores: Definitely collaborations inside and outside of the genre. His early collaborations with Natanael Cano and Luis R Conriquez were key to his rise. Both Cano and Conriquez have very different audiences — Cano is more urban-leaning while Conriquez is a bonafide corridos exponent — so Pluma was introduced to those different audiences at once. He’s sticking to that formula with his new collaborations — most recently Becky G and Blessd.
Jason Lipshutz: Simply put, Peso Pluma does not sound like any other artist in popular Spanish-language music: he operates primarily in regional Mexican, but his voice is malleable, he can succeed on his own as well as with other artists, and none of his hits have flashy marketing rollouts or viral-primed hooks. He’s just a singular presence as a singer and rapper, his voice capable of achieving a cool grittiness but also navigating light, hummable melodies. And because his success can be chalked up to an overall presence instead of a single-song flash point, I’d expect him to be around for a while.
Jessica Roiz: It’s evident that Pluma has a very distinct style and that he was able to secure collabs with acts such as Luis R. Conriquez so early on in his career. But I think what ultimately got him on the radar was when he was taken under Natanael Cano’s wings, with whom he dropped “AMG” (alonside newcomer Gabito Ballesteros) and “PRC.” After that, it was just a domino effect, where even artists outside the Música Mexicana realm (Nicki Nicole, Becky G, Ovy on the Drums, Blessd) wanted to work with him.
Isabela Raygoza: Let’s face it, we’ve been bitten by the Peso Pluma bug, and we foresee no immediate cure. JK! The kid has it — the cool swagger, a unique vocal registry, the attitude, and his unflinching lyrics. He chooses wisely who he collaborates with, and that’s also helping elevate his star. Just a few weeks ago, he killed it alongside Becky G — the Inglewood singer is now stepping into singing corridos urbanos! (She has an album underway that’ll focus specifically on this genre, and that says a lot about the rise of the rugged, acoustic cross-border sound.) We needed a poster boy and Peso Pluma is filling that role with gusto.
Andrew Unterberger: I’d be lying if I said I totally understood what was going on here yet. I like the songs and he seems like a cool guy, but the speed and trajectory of his popularity growth is not something I’d be able to explain convincingly to someone who’d never heard of him. I’m definitely intrigued enough that I look forward to getting to know and understand him better, though — as both an artist and as a rising pop star.
3. Of the five tracks he’s currently charting on the Hot 100, do any of them seem like a more obvious hit than the others? Do you expect any one of them to keep growing and take him to the next level?
Griselda Flores: I think all will keep growing for sure but the obvious hit to me is “Ella Baila Sola” with Eslabon Armado. It’s the song I like the most because I’m also a big fan of Eslabon Armado but out of all his collaborators, Eslabon is the act that has had the most chart presence. The sierreño band made history las year when their album Nostalgia became the first top 10-charting regional Mexican album ever on the Billboard 200. It’s two powerhouses coming together so it’ll be tough to beat. This week, it hits No. 1 on Hot Latin Songs — the first leader for both Peso and Eslabon.
Jason Lipshutz: The obvious answer is “Ella Baila Sola” given its chart movement and streaming numbers, but I’m still bullish on “La Bebe,” a reggaetón change-up for Peso Pluma that’s gentle yet overpowering. As we approach the summertime, “La Bebe” sounds ready to chew up a whole lot of beach-playlist minutes, for both Peso Pluma fans as well as casual listeners entranced by its two-step thump.
Isabela Raygoza: “AMG” is proving to have lasting power with 11 weeks on the Hot 100, and anything with a Natanael Cano credit is bound to be great — Cano is a pioneer of corridos tumbados and has an unmatched ear for identifying new acts to work with. “Ella Baila Sola” comes in hard with a fiery guitar melody that instantly captivates from start to finish, and the vocal interplay between Peso and Eslabon Armando sounds seamless; the horns at the end are the icing on the cake. I don’t think we can predict which of the batch will make the Greatest Latin Songs of All Time list at this stage, but they sure are shaking things up in the scene right now.
Jessica Roiz: “AMG” holds a special place for the artist, especially after telling Billboard that this is the first song one should listen to to “know all about Peso Pluma” — I think this single and “PRC” are the most representative of his craft. “Por Las Noches” is a beautiful song that’s laced with Nicki’s soft, dulcet vocals, and “La Bebe” finds Peso on an infectious reggaetón track — one that’s currently all the rage on social media. However, I think that if being No. 1 song on the Hot Latin Songs chart this week is any indication, the Eslabon Armado-assisted “Ella Baila Sola” is the most notable of the bunch and will only continue to grow.
Andrew Unterberger: The clipped trumpets and woozy trombones of “PRC” definitely make it my favorite song of Peso Pluma’s so far — but it does seem like “Ella Baila Sola” is the right song at the right time (with the right collaborators) to take him to the next level. Probably won’t be long until the next song comes along to take him to the level above that, either.
4. Regional Mexican has obviously had a major chart breakthrough over the past two years — and one that only seems to keep growing — but despite its crossover success, it has yet to really punctuate mainstream awareness for most of the United States. Do you think Peso Pluma is that kind of Bad Bunny-type artist who might be able to get the genre to that level of unavoidable visibility?
Griselda Flores: That’s a really tough question. I think Peso Pluma has a lot of potential and he’s already taken the genre to another level with his chart success. I think the next few months will be telling for Peso Pluma. I don’t think he’s peaked yet and I’m excited to see what else he can do. He’s definitely up for the challenge, as he told Billboard for his Latin Artist on the Rise interview.
Jason Lipshutz: It’s hard to compare any artist to Bad Bunny and the effect he’s had on the visibility of Spanish-language music in North America and around the world, but I do think regional Mexican is about to gain a lot more listeners thanks to Peso Pluma, placing an exclamation point on a fruitful years-long run for the genre. While it may be reductive to describe a 23-year-old as the new face of a time-honored sound, his stardom will absolutely unlock more regional Mexican music for those who are curious and willing to do a deep dive — and hopefully, produce even more crossover stars from that world over the next few years.
Isabela Raygoza: It’s too early to tell. One telltale sign for Bunny — besides his chart-topping success early in his career — was that he was able to sell-out arenas across the United States in 2019, which became a dead giveaway of his ever-expanding draw, especially when he continued growing that momentum year after year. We know Peso Pluma has a fervent fanbase online, but can that translate to physical massive appeal? He recently announced his first national tour slated for this summer. If he’s able to sell out the bigger cities, then I think that’ll indicate a new moment for his career and his star power on a wider scale. It’s also a matter of how prolific he’ll continue to be. (Remember, Bunny dropped three albums in 2020.)
Jessica Roiz: Bad Bunny is an entire force to be reckoned with, and I believe Peso Pluma is following the correct steps by collaborating with renowned and emerging artists just like Bunny did at the beginning of his career. But I think it’s too soon to say. What I do feel is that there’s a refreshing wave of very innovative Mexican artists who, collectively, have pushed forward the Música Mexicana movement: Grupo Frontera, Fuerza Regida, Yahritza y Su Esencia, Ivan Cornejo, DannyLux, Victor Cibrian and Peso, to name just a few.
Andrew Unterberger: The early evidence certainly suggests it, doesn’t it? It took Bad Bunny years to get to the commercial level that Peso Pluma has gotten to in a couple of months — and while some of that is timing and circumstance, you can practically the see the cracks in the dam getting bigger and bigger with each new hit of his. It might not be bursting just yet, but it ain’t likely holding out for too much longer either.
5. If you were working on Peso Pluma’s team right now as he had all the momentum in the world, what would you be advising him to do with his career in order to properly take advantage of it?
Griselda Flores: For starters, keep collaborating. I think that’s been major for Peso. He’s already touring so that’ll definitely boost him even more. I guess I would say his next move should be to drop an album. The last set he released was Efectos Secundarios in 2021 so I think to take advantage of this momentum and to gain more streams, it’s time for an album.
Jason Lipshutz: Keep releasing new music! Peso Pluma is on such a hot streak right now that seemingly everything he releases becomes a crossover hit with nine-figure streams. Although he’s building for the long haul, artists rarely go on this type of heater — so supply enough material to meet sky-high demand, and enjoy the moment.
Isabela Raygoza: Stay focused, ignore online bullying, stay away from drugs (or as much as possible). Take time for you. Fame can be fleeting, so always stay in the present and keep envisioning a greater future to continue manifesting. Your life might never go back to what it was, but I advise you to always keep your feet on the ground and thank those who got you there, your team, your fans, your supporters.
Jessica Roiz: TIKTOK! Almost all of the tracks he’s released are going viral on the app. He boasts nearly two million followers, yet only has a few posts. I think it’s crucial for him to be more active on the app and connect with fans by reacting to videos, doing the dance trends, and whatnot.
Andrew Unterberger: Slow down and start thinking about an album. People may tell you 2023 pop is a singles’ market, but the way you build a real career as a hitmaker is by establishing yourself as an albums artist; just ask Benito himself, who could go the rest of his career without another conventional Hit Single and still run the game with his LP releases. Get one of those under his belt — without shortcutting the process or compromising his artistry — and you can be damn sure the world will stand up and take notice.
BTS alum Jimin sets new benchmarks for both the group’s solo efforts and for all South Korean solo pop stars this week, as his new album and new single both launch major debuts on the Billboard charts.
Jimin’s six-track FACE album enters the Billboard 200 this week at No. 2, with 164,000 equivalent album units moved. Meanwhile, the set’s breakout single “Like Crazy” gets all the way to No. 1, powered in large part by sales of 254,000 — helped by multiple remixes and alternate versions of the song being released for purchase — which makes for easily the highest single-week total of the year. That debut makes Jimin the first South Korean solo artist to top the Hot 100 in the chart’s nearly 65-year history.
How did the song and album launch such massive debuts? And how much might “Like Crazy” still grow from here? Billboard writers discuss these questions and more below.
1. Jimin’s FACE debuts at No. 2 on the Billboard 200 this week (behind Morgan Wallen’s ongoing 36-track juggernaut One Thing at a Time) with 164,000 equivalent album units moved — the highest-bowing debut effort since Olivia Rodrigo’s Sour two years ealier — while FACE single “Like Crazy” debuts at No. 1, with 254,000 copies sold. Which to you is the more impressive of the two accomplishments?
Katie Atkinson: I have to go with the Hot 100 No. 1 debut. In recent history, K-pop has dominated the Billboard 200 – with No. 1s for Jimin’s own BTS, plus Blackpink, TOMORROW X TOGETHER, Stray Kids and more– but shooting all the way to the top of the Hot 100 is much rarer company. Even PSY only reached No. 2 with his omnipresent “Gangnam Style” back in 2012, and indeed, as the first of his BTS brethren to reach No. 1, Jimin is the first South Korean solo artist to ever top the list. This is a historic chart achievement.
Tetris Kelly: It’s hard to say because both are such important accomplishments — not just for a fandom, but for culture — as Jimin is the first South Korean soloist to make these feats. It’s incredible his debut numbers follow the likes of Olivia Rodrigo. It shows Jimin has expanded beyond the K-pop bubble. But for me I would have to say topping the Hot 100 is more impressive. I say that because of how much of a surprise it was: ARMY as a fan base was so excited about the album and supporting it that the growth of the single almost came completely unexpectedly, with Jimin becoming the first BTS member to pull the feat off.
Jason Lipshutz: The Hot 100 chart-topper, for sure. While the BTS members have impacted the Billboard 200 chart with solo projects in the past — RM’s Indigo debuted at No. 3 in December, for instance — none of them have been able to come close to the top spot of the Hot 100 with solo singles, and really, few K-pop artists in general have been able to, even as they capture the attention of wider audiences in the United States. So “Like Crazy” not only stands as an extraordinary achievement for Jimin, but considering recent history, for any K-pop solo act as well.
Glenn Rowley: Both are obviously monumental, but the full studio set rocketing to No. 2 feels like the more major of the two.
Andrew Unterberger: I’m tempted to say the FACE debut, just because moving that number of units with a six-track album — meaning its streams are automatically not going to be able to compete with a behemoth like One Thing at a Time — means you really sold an exceptionally high number of physical copies, likely at a much higher price point than individual song sales.
2. Though Jimin is not the first BTS member to release a solo album (or a big single from it), none of the solo releases from the group’s members thus far have performed this well. What do you think it is about these Jimin releases, “Like Crazy” in particular, that has allowed them to have such a high level of success?
Katie Atkinson: I feel like FACE sees Jimin making a concerted effort to carve out his own sound apart from BTS, and with the almost Future-sounding, hip-hop-inspired first taste of “Set Me Free Pt. 2” and now the dreamy synth-pop of “Like Crazy,” fans are clearly digging his whole experimental vibe. It’s a tall order for all seven members of BTS to find their own lanes, and this solo success is showing that ARMY are liking the path Jimin has set out on.
Tetris Kelly: Each member of BTS is unique and talented and ARMY is always pushing for their success as a group and individually. I feel like the timing of “Like Crazy” just came at a point when pop music just needed a feel-good moment from a male pop star. The track is smooth (maybe like a familiar condiment) and light in a way that it can attract a causal listener or huge fan. The song was also promoted well. Seeing one performance from Jimin, like when he premiered “Like Crazy” on The Tonight Show Starring Jimmy Fallon, easily shows he’s the type of talent that deserves to top the chart.
Jason Lipshutz: Obviously the coordinated fan effort to rally around Jimin’s album and new single during their first week of release helped their respective chart placements, but regardless of where it debuted on the Hot 100, “Like Crazy” sounds like a fully formed top 40 breakthrough. The song boasts clean, ‘80s-indebted synth-pop production that recalls The Weeknd’s “Blinding Lights” formula; a memorable hook that accentuates Jimin’s vocal approach; and even a subtle sense of danger imbued in the chord progression. Whereas recent releases by J-Hope and RM succeeded artistically with bolder sonic approaches, “Like Crazy” is pure, multi-faceted pop, and sounds like a real hit.
Glenn Rowley: The first time I heard “Like Crazy,” I was struck by how much its chilly, synth-drenched soundscape hit me like a cross between a BTS single and something cooked up by The Weeknd. Whereas “Set Me Free Pt.2,” the single that came before it on FACE, was bombastic and filled with horns, “Like Crazy” hits a certain sweet spot that feels like it belongs at the top of the Hot 100.
Andrew Unterberger: It’s a combination of the right song at the right time (riding the right level of momentum), and of course the ARMY efforts to make sure their guy is properly represented on the charts. While the latter’s impact can never be discounted, I don’t think it’s insignificant that this is the first BTS solo release to see this level of single-week consumption; it’s very arguably also the best single a BTS member has released outside of the group so far, and one of the finest pop songs of the year so far.
3. While “Like Crazy” debuts at No. 1, it does so with an extremely slow start at radio. Do you see U.S. radio programmers coming around to “Crazy” as a playlist fixture?
Katie Atkinson: If they’re smart! Thinking about how huge BTS’ “Dynamite” and “Butter” both were on radio, wouldn’t you want to please one of the biggest fanbases in the country by playing the song that they’ve clearly put their weight behind? I can see it fitting in on pop radio at the moment too, since it’s giving off a similar vibe to Steve Lacy’s offbeat Hot 100 No. 1 “Bad Habit” from last fall.
Tetris Kelly: Radio play is always a huge part in making a song a hit with the public, but when certain songs mean a lot to huge fandoms it can make a song just as meaningful. I look at “All Too Well (10 Minute Version) (Taylor’s Version)” as an example. I don’t know if radio ever truly played that single heavily, but every single Swiftie can sing each lyric passionately. I think it would be wise for stations to pick up tracks “Like Crazy” — ’cause if not, they are just missing out on being a part of a huge moment in pop culture.
Jason Lipshutz: I do! The No. 1 debut will certainly cause some programmers to take note of “Like Crazy” and give the song a longer look than they (unfortunately) deign for most K-pop singles. And when they press play on “Like Crazy,” they’ll hear a single with a sturdy vocal take, as well as real hooks that could fit next to plenty of other hits in a programming block. The BTS ARMY buoyed the song’s chart debut, but I wouldn’t be surprised to hear “Like Crazy” on pop radio, or see it linger around the top of the Hot 100 in the coming weeks because of that belated adoption.
Glenn Rowley: Radio may be slow on the uptake, but hopefully programmers come around quickly to the fact that “Like Crazy” is what listeners want to hear.
Andrew Unterberger: I hope so. Radio has been historically gunshy to embrace K-pop — even with BTS’ gigantic English-language chart hits, radio play always lagged behind sales and streams. For that reason, the safe bet would probably be that radio mostly ignores “Like Crazy,” too. But… well, it really sounds like a 2023 radio hit, doesn’t it? If top 40 embraced “Like Crazy,” it’d sound right at home between “Players” and “Die for You” in no time at all. And I think the chances are decent, if not overwhelming, that it will.
4. “Like Crazy” is obviously helped by a number of different versions being made available for streaming and purchase, including an all-English version, an instrumental version and both deep house and U.K. garage remixes. Do you find any of the alternate versions particularly interesting or revelatory, or are they mostly for superfans and completists?
Katie Atkinson: When I listen to the alternate versions, I miss the original production. So while I’m always down for house and garage remixes, I think the original can stand alone here.
Tetris Kelly: I love that different versions were provided here. There’s no denying that although songs from BTS like “Life Goes On” and “My Universe” topped the chart while being multilingual, their biggest hits “Dynamite” and “Butter” were fully English tracks. It was not a necessity, but great for Jimin to offer an English version of “Like Crazy.” And as with almost any other remix — who doesn’t love a chance to hear a different take and dance to a song you’ve already fell in love with? I believe the point here is to have something for everybody, not just the completist who will want it all.
Jason Lipshutz: The “deep house” remix of “Like Crazy” shaves off 30 seconds of run time, compresses all of its melodies and adds a club-ready thump into the mix. Pretty fun! The original “Like Crazy” is more accomplished, but if you’re looking to dance your sorrow away as Jimin’s slightly sped-up voice pleads “Can you help me numb the pain?,” look no further than that rework.
Glenn Rowley: They’re mostly a (smart and strategic) grab for completists and ARMY, but I always think an English version can serve as a great entry point for listeners who might be curious but intimidated or not know where to start in their exploration of K-pop.
Andrew Unterberger: I had high hopes for the U.K. garage version, but it never quite achieves the release you hope it will. The deep house version is more satisfying but still not quite essential. The real question is if the English version will help the song make inroads in top 40 and other mainstream U.S. spaces — maybe, maybe not, but certainly couldn’t hurt to have it available regardless.
5. There has been a very rich history of “Crazy” songs on the Hot 100. Do you have a particular favorite aside from this one?
Katie Atkinson: I have to go with “(You Drive Me) Crazy” by Britney Spears, and now I have to go watch the Melissa Joan Hart/Adrian Grenier 1999 masterpiece Drive Me Crazy because I can’t think of Britney’s video without needing to rewatch the teen-movie classic.
Jason Lipshutz: Enormous shout-out to the beginning of 1999, during which Britney Spears released debut …Baby One More Time and its clanging bubblegum anthem “(You Drive Me) Crazy” in January, and then *NSYNC dropped their underrated midtempo ballad “Thinking of You (I Drive Myself Crazy)” the following month. While Britney’s single became a top 10 Hot 100 hit and *NSYNC’s stalled out at No. 67 on the chart, both dominated TRL, and deserved to do so!
Tetris Kelly: “Crazy In Love” immediately comes to mind. Also, a Billboard Hot 100 No. 1, the song established Beyoncé as a certified solo star outside of her massively successful group. I think these two songs have more in common than just the word “crazy.”
Glenn Rowley: Britney’s “(You Drive Me) Crazy,” of course.
Andrew Unterberger: Too many classics to mention — but we’re never gonna survive unless we give a little bit of a shoutout to Seal’s 1991 dance-soul smash.
Coi Leray was already one of the bigger rap success stories of the 2020s, scoring top 40 Billboard Hot 100 hits alongside Lil Durk (“No More Parties”) and Nicki Minaj (“Blick Blick!”) while also becoming a social media sensation. But her crossover success hits a new level this week, as her viral smash “Players” climbs to No. 9 on the Hot 100.
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The single marks both her first top 10 hit on the chart, and her first to come without any co-credited artists — though the song does get a spiritual lift from the legendary rap outfit Grandmaster Flash & The Furious Five, as “Players” lifts the instrumental hook to the group’s 1982 classic “The Message.” It also has benefited from a couple popular bootleg remixes, including a Jersey Club remix from DJ Smallz 732 which Leray has since released an official music video for.
How did “Players” bring Leray to this new level? And what does it mean for her career from here? Billboard staffers discuss these questions and more below.
1. “Players” moves 12-9 this week to reach the top 10 in its 12th week on the listing. What do you think the song owes its consistent growth to?
Rania Aniftos: Besides that insanely catchy hook? The initial success of the song has led to getting to know Coi a lot more, as she’s been doing more interviews and appearances. Turns out, she’s super cool and funny, which has surely grown her fanbase even more and has encouraged people to want to support her and listen to her music. She reminds me a lot of Cardi B or Doja Cat in the sense that her personality amplifies her music.
Elias Leight: The initial growth of “Players” took place at the intersection of social media and streaming. Leray teased the track early. (“F–k it, I wanted to leak music,” she told Billboard. “I like being [a] little rebellious sometimes.”) A pair of bootleg remixes subsequently became popular on TikTok. The fleet-footed Jersey Club rework from DJ Smallz 732 has been used in more than 1.8 million TikTok videos, while a mash-up with the Busta Rhymes classic “Put Your Hands Where My Eyes Could See” has been incorporated in nearly 450,000 clips; both helped drive listeners to the original. As we’ve seen with other hits, radio started to kick in after a couple months of robust streaming: The airplay audience for “Players” has roughly doubled in the last two months.
Jason Lipshutz: This is a slam-dunk radio success story: “Players” broke through online and has performed well at streaming, but Coi Leray’s breakthrough smash has crashed the top 10 thanks to a No. 1 posting on the Rhythmic chart, as well as a No. 4 peak at Hot R&B/Hip-Hop Songs and No. 10 at Mainstream Top 40. Hip-hop and pop programmers have embraced the track, and “Players” works well at both formats; it’s an old-school approach to hit-making, but one that’s paid off in this instance.
Neena Rouhani: A combination of continued TikTok hype, the Jersey Club remix, radio play and overall catchiness from Coi.
Andrew Unterberger: It’s following the path most non-immediate hits do in 2023: viral success converting to streaming prominence converting to radio play. It makes sense, because the song has all the ingredients needed for each of those three kinds of popularity: It’s catchy, it’s novel, it’s genre-blending and it feels both familiar and distinctly modern.
2. Like Latto’s breakout hit “Big Energy” last year, “Players” is a top 10 breakthrough that rides a recreated sample from the early ’80s (Grandmaster Flash & The Furious Five’s “The Message”) that was already notably revived by a mid-’90s Hot 100-topper (Puff Daddy and Mase’s “Can’t Nobody Hold Me Down”). Does the lift feel more fresh or recycled to you?
Rania Aniftos: I don’t know if it’s because I personally love these ’80s revival hits in general, but it’s fresh to me! Coi has such a unique style to her rap flow that makes it feel modern, despite the clear throwback melody. Also, the themes about girls being players too is playful and feels very 2023.
Elias Leight: Variations on this approach feel ubiquitous at the moment: “Players” is also in the top 10 with “Creepin’,” which reworks Mario Winans’ and Diddy’s “I Don’t Wanna Know,” while Nicki Minaj’s last two singles mined Rick James’ “Super Freak” and Lumidee’s “Never Leave You (Uh Oooh, Uh Oooh),” respectively, for source material. There’s a probably apocryphal story about Jam & Lewis saying there are only three kinds of music – good music, bad music and hits. These lifts, whether they’re fresh or recycled, appear to be a steady conduit for hits right now.
Jason Lipshutz: It’s a little bit of both, and that’s why “Players” works! Like the “Big Energy” production, the sample here is obviously iconic enough to power both a ‘90s revival and a 2020s revival of that revival — the “Message” hook immediately catches your ear when identified on a playlist or radio station, but then Leray twists it into an engaging new shape. Attempting to pull this off with a tired sample or the wrong approach wouldn’t work, but the marriage of an undeniable foundation and a cool new structure built upon it has yielded a top 10 hit.
Neena Rouhani: I actually really like both lifts, “Big Energy” and “Players.” Interpolations and samples have felt overdone lately – I think there’s a fixation on replicating a certain feeling from the past that often fails to translate – but Coi’s “Players” does it right, especially with the Jersey Club Remix. Many artists are flipping radio hits from 20 years ago (which in reality isn’t that old), but it’s another to successfully reimagine a song like “The Message,” which is embedded in the fabric of hip-hop, in such a fun way.
Andrew Unterberger: Fresher than I’d expect, partially because Leray’s vocal interplay with the sample is so playful and fun — though it’s definitely dancing on the borderline. (Then again, so was Puff Daddy and Mase’s use of it a quarter-century ago.)
3. Leray has already made a handful of visits to the Hot 100, but this is both her first top 10 hit and her first unaccompanied solo charting effort. Does reaching this level of success with “Players” establish/validate her as a star?
Rania Aniftos: One hundred percent, especially given that it’s her first solo charting effort. “Players” proves that Coi has what it takes to be a well-respected artist on her own, and that she’s a lot more than a fun collaborator. She’s introducing herself as a force to be reckoned with in the hip-hop world, and “Players” is helping rest her case.
Elias Leight: It certainly helps. But there’s a lot of confusion around the music industry right now about what it means to break an artist and become a star. Are heaps of streams and social media followers enough? Is a star an artist who receives consistent pop radio play across multiple singles, or one who is able to sell lots of tickets outside of New York and Los Angeles, or some combination of all these things? Is thinking about superstars now outdated at a time when fandom is increasingly fragmented and prominent record company executives are talking publicly about “reduc[ing] our dependency” on these acts?
Jason Lipshutz: The chart rise of “Players” has been unexpected, and it will be interesting to see how Leray harnesses the attention it brings to push her career forward. The history of pop music is littered with artists who have turned a strong sample, interpolation or cover into momentary fame, and while a flare-up like “Players” draws interest in the voice leading the hit, Leray needs to transcend the sample and present her own artistry to the masses. Fortunately, the multi-talented Leray has demonstrated a gift for rhythmic pop as a singer and rapper, and should enjoy a prolonged career from here.
Neena Rouhani: She’s absolutely well on her way; reaching the top 10 as a solo artist is no easy feat for any burgeoning star, so it says a lot about how she’s being received and the strategy of her team. She definitely has star quality, especially from her pretty unwavering sense of self. Now let’s see if she remains consistent, which I think will be the true tell.
Andrew Unterberger: It’ll certainly open all kinds of doors for her — TV appearances, pop festivals, award show consideration — though I don’t know if it’ll necessarily translate to star-level consumption for her next project, at least not on its own. It’s the kind of foot in the door that only a handful of artists get in a year, though, and she has the talent to properly take advantage of it.
4. “Players” has already benefited from a couple bootleg remixes, but we haven’t gotten an official remix commissioned from Leray’s camp yet. If she was going to try to get one final chart boost out of an official remix, who do you think would be the smartest guest for her to recruit for it?
Rania Aniftos: OK, this might sound a little random, but I’m thinking Miley Cyrus. She’s the perfect fit for the female empowerment theme in the wake of her divorce, and she’s been topping the Hot 100 for eight weeks with her own don’t-need-no-man anthem, “Flowers.” I also just think Miley’s husky voice would sound so good with Coi’s flow.
Elias Leight: Getting Diddy on it would be a cute nod to the sample’s previous history. Mase is a pastor now, but it wouldn’t hurt to ask him as well.
Jason Lipshutz: It’s hard not to imagine Cardi B demolishing this beat — adding a minute and about a dozen different quotable lines — on a “Players” remix. The wait for Cardi’s sophomore LP continues, but she’s popped up as a guest artist on a few tracks over the past year… and if she can conjure the same magic that she brought next to GloRilla on “Tomorrow 2,” we could see “Players” rise from its current No. 9 peak towards something even bigger.
Neena Rouhani: I think the most obvious choice would be Nicki Minaj. The duo have collabed before in the past on “Blick! Blick!” and show a lot of love to each other. I also think they have pretty similar energy and Nicki is a New York native, which could pay homage to the Grandmaster Flash & The Furious Five flip. If she wants to enlist another rising rap phenom and fellow TikTok cult favorite, Ice Spice would be a natural choice. But I also could see her going totally left field and bringing in someone unexpected, genre or language-wise.
Andrew Unterberger: Where’s Joe at these days? He didn’t want to be a player no more 25 years ago, but if Coi Leray could convince him to temporarily play the part on the song’s revamped hook, it’d probably go over with Mario Winans-in-the-“Creepin’”-video-level excitement.
5. If you were part of Coi Leray’s team and she asked you how best to capitalize on her “Players” success once the song’s chart cycle was essentially through, what would you tell her?
Rania Aniftos: Don’t wait too long before putting out another song. What’s tough about today’s music industry is that viral success seems like just a blink of an eye before fans move onto the next hit. Those who stay on the charts and turn a viral hit into a long-term career are the ones who have planned the rest of their music rollout in some way. I’m sure she has plenty of great tracks in progress, and I’d love to see her take advantage of being in the news and her upcoming festival performances by putting out another fun single.
Elias Leight: What are we sampling next?
Jason Lipshutz: My advice would be, “Stay away from another classic sample.” She doesn’t need it! Leray has been one of the more interesting voices bubbling up in popular hip-hop in recent years, and instead of being pigeonholed as a sample vulture (to mix my bird metaphors), she has more than enough inherent talent and sonic ideas to stand on her own two feet. “Players” brought her into the game, and now, she can go wherever she wants.
Neena Rouhani: Drop another single, and continue boosting “Players” through the release cycle of the follow-up. Sort of how Latto is doing with “Big Energy” and “Lottery.” Also, remixes. A lot of them.
Andrew Unterberger: Don’t try to chase pop radio. Top 40 is more fickle than ever in the TikTok era, and if songs don’t post good streaming numbers, they’re not likely to embrace your new single regardless of how radio-ready it sounds (or how closely it follows the formula of your last radio success). Leray would be better off using the added exposure to make the kind of music she wants to make and that comes most natural to her, whatever that ends up being, and focusing her attention on cultivating the kind of sustained streaming fanbase that can ultimately launch additional “Players”-type successes without needing radio’s assistance.
Miley Cyrus‘ Endless Summer Vacation arrived on March 10 as one of the most-anticipated pop debuts of 2023, and on the back of the biggest Billboard Hot 100 hit of her career in “Flowers,” which returns to No. 1 on the chart his week (dated March 25) for the seventh week total. So some pop fans might be surprised to see Vacation only debuting at No. 3 on the Billboard 200 albums chart this week — one spot lower than her 2021 album, Plastic Hearts.
However, there is some additional context needed to those figures: For one, Vacation debuts with a higher first-week number (103,000 equivalent album units) than Hearts (60,000 units) — and indeed, the highest of any album released by Cyrus since the Billboard 200 switched from a purely album sales-based chart to one using the equivalent album units metric in 2014. For another, it runs into two of the year’s biggest releases so far, in country star Morgan Wallen’s blockbuster One Thing at a Time (259,000 units in its second week of release) and K-pop best-sellers TWICE’s Ready to Be (153,000 units in its debut week) — and, in fact, would have moved enough units to be No. 1 in any of the four weeks prior to One Thing‘s release.
What does the debut mean for Miley Cyrus’ latest LP? And will the set be able to spawn a second hit anywhere near “Flowers”? Billboard writers debate these questions and more below.
1. Miley Cyrus debuts at No. 3 this week on the Billboard 200 with 103,000 equivalent album units for Endless Summer Vacation — behind Morgan Wallen’s One Thing at a Time in its second week, and TWICE’s Ready to Be — short of the chart bow of 2021’s No. 2-entering Plastic Hearts, but with a much more robust number than that set’s 60,000 first week. If you’re Miley Cyrus, how happy are you with those early numbers for Endless Summer Vacation, on a scale from 1-10?
Katie Atkinson: 7. A No. 3 debut doesn’t reflect the pop culture moment Miley created with her smash hit “Flowers,” but her first-week numbers – especially her biggest streaming week ever — paint a clearer picture of the peak success she’s enjoying at the moment. She just happened to wade into the most crowded album week of 2023 and came out at the end of a trio of impressive performances.
Stephen Daw: Definitely a 9. Sure, it’s not the No. 1 debut that some of us (a.k.a. me) thought it would be, but these are the biggest first-week sales numbers Miley has seen in a decade (Bangerz was her last album to cross the 100k mark in its first week). That’s huge, especially for an artist like Miley who has been playing with her sound for the last decade, to see a resounding success this late into her career.
Lyndsey Havens: 7. Looking at the numbers alone, she (sort of kind of) nearly doubled the first week numbers of Plastic Hearts. And I do think in 2023, crossing the 100,000 mark alone is an impressive feat, one that during many other weeks would be enough to land her at No. 1. However, following the behemoth that is Morgan Wallen won’t be much fun for anyone for a while, and the addition of TWICE — knowing how well K-pop releases generally perform in their first week — didn’t help her cause. But considering she has been the long-reigning queen on another marquee Billboard chart, I think she’s feeling just fine.
Glenn Rowley: Let’s say a solid 8.5 — she’s notching her biggest numbers in a decade and still riding high off “Flowers” catching its second wind. Her first No. 1 on the Billboard 200 since Bangerz would’ve obviously pushed it to a full 10, but it’s obviously an unusual week at the top of the chart that no one could’ve predicted.
Andrew Unterberger: A 7 sounds about right. I’d imagine a No. 3 debut isn’t exactly what she hoped for, but doing 43,000 units better than her last time out is an excellent rebound for any artist, and particularly one who’s been making hits since Fergie and Gwen Stefani were two of the biggest stars in pop. The impact of Vacation, “Flowers” and Cyrus’ excellent past half-year in general should be felt more on her next tour (whenever that might end up being) and in her upcoming media opportunities anyway — maybe even a big Grammy nod or two.
2. With added consumption and attention in its parent album’s release week, “Flowers” returns to No. 1 for a seventh week on the Hot 100. It will almost certainly go down as the biggest Billboard chart hit of her career — but do you see it enduring as her all-time signature song, or does one of her older hits still have the advantage there?
Katie Atkinson: I think “Flowers” will be a piece of Miley’s legacy, for sure, but I’ll currently give the edge to her first Hot 100 chart-topper “Wrecking Ball” as the Cyrus signature. That was further cemented in Miley’s latest New Year’s Eve TV special, during which she performed the song as a duet with her godmother Dolly Parton and worked in pieces of Dolly’s own signature song “I Will Always Love You.” “Flowers” has a ways to grow before reaching that god status.
Stephen Daw: I think it has certainly joined the ranks of Eternally Iconic Miley Cyrus Singles™, but I’d be hard pressed to give the title of “all-time signature song” to “Flowers” over songs like “Party in the U.S.A.” or “Wrecking Ball.” The pure campiness, catchiness and overblown emotion of those songs have kept them alive and well in the imaginations of Miley’s fans for over a decade. While I think “Flowers” will become a staple song for the singer, I think she has already well-established her “signature” at this point.
Lyndsey Havens: I think the only thing that can determine a signature song is time. Which is why, for now, I don’t think “Flowers” is quite on the level of “We Can’t Stop,” “Wrecking Ball” or even “Party In the U.S.A.” Plus, the thing that helped those songs feel so iconic to me was that they created and sustained a cultural moment — the videos for “Can’t Stop” and “Wrecking Ball” are burned into my brain and “Party” has become a national anthem of sorts. With “Flowers,” it feels like it’s almost existing outside of Miley… with narratives being pushed on TikTok and its empowering message being universally embraced, but amidst all of that the one thing missing is Miley herself.
Glenn Rowley: When you think of Miley Cyrus today, you think of “Flowers.” And given her long history of getting sick of her past hits, that’s probably the way she wants it. But it’ll always be “Party in the U.S.A.” for me.
Andrew Unterberger: “Flowers” is massive and should be sticky for a long time, and “We Can’t Stop” and “Wrecking Ball” are obviously both iconic in their own right. But “Party in the U.S.A.” really might go down as the “Star Spangled Banner” of 21st century pop. Hard to top that.
3. Though five new songs from the set debut on the Hot 100 this week, led by “River” (No. 32) and “Jaded” (No. 56), nothing else from Vacation seems immediately set to near “Flowers” in popularity. Do you see one of those songs (or anything else on Vacation) growing to a follow-up smash, or do you think “Flowers” is still taking up too much of the oxygen for that?
Katie Atkinson: “Thousand Miles,” with Brandi Carlile, could be just one awards show performance away from becoming a hit. The idea of hearing those two powerhouse voices live together would really push this one over the edge – not to mention that it’s a perfect fit for AC radio, where “Flowers” was already a smash (four weeks at No. 1 on Adult Pop Airplay). Will it ever get as big as “Flowers”? I don’t see anything from this album nearing that unprecedented-for-Miley success.
Stephen Daw: I think it’s “Flowers” all the way down here. Between being suitably fun, radio friendly and just the right amount of shady, “Flowers” has already proven to be an absolute fan favorite. I could see “River” making a slow climb up the charts for a little while, maybe even cracking into the top 10 if Miley were to carefully chart out a few well-placed performances or remixes. But “Flowers” has become such a unanimous hit that I don’t think anything else off of Vacation is going to come close.
Lyndsey Havens: As much as I love those songs — plus mostly every other one on the album — I don’t see them entering smash hit territory. I think it’s a combination of “Flowers” being such a beast still and the fact that with the album, and the video for “River,” now behind us, I don’t see the marketing machine having much more steam. Perhaps Miley has something more up her sleeve… but considering her Oz approach to this release (being more behind the curtain this time around) I’m not sure if anything else is to come.
Glenn Rowley: “Flowers” still has all the momentum at the moment, but even without it, I don’t foresee anything else on Endless Summer Vacation becoming anything close to a follow-up. “Jaded” definitely appeared to be a fan favorite when her Disney+ special was released, but it feels a little unrealistic that she would score back-to-back hits with two pop mid-tempos.
Andrew Unterberger: Not looking too likely, I’m afraid — hits like “Flowers” just stick around forever these days, and it’s tough to convince top 40 PDs there’s any point in switching to an artist’s new song while the older one is still working just fine. And while Cyrus found the perfect combination of song and topic to light the internet on fire a couple months ago, that’s a card that no one (outside of Olivia Rodrigo) has been able to play more than once in an album cycle in recent years. (Shame, too — “River” seriously rips.)
4. There was about a two-month gap in between the debut of “Flowers” and the release of Endless Summer Vacation. Do the first-week returns for the album tell you that the length of that rollout was too short, too long, or about right?
Katie Atkinson: I’d say too long. Part of “Flowers” dominating the pop culture conversation had to do with its January release, and her album could have dominated the conversation with an earlier release too, given the quiet first two months of the year. If she had released this album with these exact numbers nearly any week of 2023 before Morgan Wallen’s One Thing at a Time arrived, she would have been able to at least contend for No. 1 on the Billboard 200 (that same goes for TWICE too). Instead, she ended up in a race with the second week of one of the biggest artists of the past five years and a K-pop group at the peak of its popularity.
Stephen Daw: To me, two months feels like an almost perfect amount of time. It was just a smidge too long, though. If you look at the chart run of “Flowers,” it seems that if that gap had been six weeks rather than eight, that would have been the sweet spot — releasing the album on February 24 would have meant Miley could get her set out into the world before a chart behemoth like Morgan Wallen took over, while also riding the natural momentum of her single’s success.
Lyndsey Havens: I think the timing was perfect. “Flowers” has sustained and is still very much a hit — and following the first day of spring this week, I can only see a song like “Flowers” becoming an even more suitable soundtrack for the coming weeks.
Glenn Rowley: Looking at the first-week numbers, I’d say it was probably just about right — with the added bonus of sending “Flowers” back to No. 1 on the Hot 100 for a seventh nonconsecutive week.
Andrew Unterberger: It might not have made a huge difference in the numbers if she’d released it a month ago, but I think her overall momentum would feel more exciting. Obviously when you’re operating at a pop level as high as Cyrus, it takes time and planning to get all your ducks in a row for a proper album push — but I think we’ve seen in recent years that it’s ultimately more advantageous to have an imperfect rollout that feels timely and urgent than an immaculate one that seems just a little bit late.
5. Commercial response aside — about where do you rank Endless Summer Vacation within Miley’s output since Bangerz a decade ago?
Katie Atkinson: I’d mark it as my third favorite, just because I thought Plastic Hearts was a perfect fit for Miley – where were all these “Flowers” supporters for that perfect album?? — and Bangerz is untouchable when it comes to out-and-out hits.
Stephen Daw: Endless Summer Vacation feels like it definitely belongs in the upper portion of Miley’s discography, probably somewhere in the top three. The songwriting is great, it’s well-produced and it maintains exactly the vibe as described in the album title — it might not quite reach the euphoric highs of some of her past work, but it’s still an excellent album.
Lyndsey Havens: Judging by the number of times I’ve listened to Endless Summer Vacation already, I think it may be one of her most subtle and best albums to date. The more I listen, the more I realize that it manages to deliver all sides of Miley. Songs like “River” could have felt right at home on her SHE IS COMING EP (which was supposed to be one of three EPs… wonder if we’ll ever see those). “You” could belong on Plastic Hearts and something like “Thousand Miles” fits in with the sound and aesthetic of Younger Now. I’ve come to think of Endless Summer as the sum of all Miley’s parts, with “Wildcard” being a more matured take on her splashy and career-defining Bangerz era. But the fact that she has had so many distinct eras at all is what’s most impressive, and that’s what this album celebrates best.
Glenn Rowley: It felt like anticipation for Endless Summer Vacation was at an all-time high, but in my opinion, it doesn’t outdo Plastic Hearts on either a vocal or sonic front. So for me, it sits behind that underrated gem and Bangerz, but well above Dead Petz and Younger Now.
Andrew Unterberger: It’s not my Miley of choice — I generally prefer her bigger swings — but it’s about as satisfying a front-to-back listen as she’s released in the past 10 years, even if I’ll probably be more likely to return to Plastic Hearts or even Dead Petz.
It’s a historic week for Morgan Wallen on the Billboard charts, as his new album One Thing at a Time tops the Billboard 200 with the year’s best single-week tally, while also storming the Billboard Hot 100.
The album — Wallen’s first new set since coming under national fire for using a racial slur in January 2021 — moves 501,000 equivalent album units in its debut frame, the biggest single-week number for any album since Taylor Swift’s Midnights posted 1,578,000 units in Nov. 2022, and also the biggest for any country album of the streaming era since Swift’s Red (Taylor’s Version) moved 605,000 units in Nov. 2021. One Thing also takes over the Billboard Hot 100, notching a record 36 entries on the chart, including his first No. 1 in “Last Night.”
What achievement of Wallen’s week is his biggest? And how did he get quite this big? Billboard staffers discuss these questions and more below.
1. Morgan Wallen’s 498.28 million on-demand official streams for One Thing at a Time this week marks the most streams ever for a country album in a single week — and the biggest streaming week for any album so far in 2023 — while Wallen also becomes the first artist of any genre to notch over 30 Hot 100 hits in the same week. Which of the two achievements is more notable to you?
Jason Lipshutz: The latter, for sure. While debuting with a half-million equivalent album units and nearly half a billion streams demonstrates the commercial stardom that Morgan Wallen has undoubtedly possessed for the past three years, surpassing artists like Drake and Taylor Swift and setting a Hot 100 record by sending all 36 songs from One Thing at a Time onto the chart is truly astonishing stuff. Sure, part of that historic feat can simply be chalked up to the album’s enormous track list, but the fact that there was nary a straggler from the 112-minute project, and that every single song charted in order to gobble up over one-third of the entire Hot 100, showcases listener investment in One Thing at a Time, and in Wallen himself.
Joe Lynch: Without underselling either feat, I would say the former. It’s an uphill battle for any album to notch a half-million copies or a half-billion streams in 2023, and country albums that move this fast in their first week are basically unheard of – until now.
Melinda Newman: The best-ever streaming week for a country album is the most notable, because the numbers are huge no matter what genre. In terms of on-demand official streams, One Thing at a Time‘s 498.28 million is the fifth-largest streaming week ever for any album, so Wallen’s feat shows he is not only leading country artists, but is at the top for all artists (except Taylor Swift, who is her own genre at this point). Also notable is his notching over 30 Hot 100 hits in the same week, meaning one-third of the Hot 100 chart belongs to Wallen. It’s one thing to put out that many tracks, it’s another thing to have fans literally not be able to get enough of what he’s releasing.
Jessica Nicholson: His achievement of becoming the first artist of any genre to earn over 30 Hot 100 hits in the same week is more notable. His 30-track previous album, 2021’s Dangerous: The Double Album was the best-selling album of 2022 and spent 10 weeks atop the Billboard 200, and still topped out at 19 Hot 100 entries in its debut week.
Andrew Unterberger: The Hot 100 entries are the most impressive thing to me — especially that they’re led by a No. 1 in “Last Night,” which is the first country No. 1 by an unaccompanied male solo artist on that chart since Eddie Rabbit’s “I Love a Rainy Night” in 1981. Simply put, it’s been a really long time since we had a male country star performing at this commercial level.
2. Though Wallen’s prior set Dangerous: The Double Album was already one of the biggest albums of the decade, One Thing nearly doubles that set’s first-week numbers (265,000) with its massive showing. What do you think is the biggest reason the set lands with such a larger debut?
Jason Lipshutz: Although the controversy that embroiled Wallen in the weeks following the January 2021 release of Dangerous: The Double Album may have limited his visibility on platforms like primetime television and Grammy ballots, make no mistake: Wallen is much, much bigger than he was when Dangerous was released. The evidence was rampant leading up to the release of One Thing at a Time, from the arena shows Wallen played last year, to the stadium gigs he scheduled this year, from the re-embrace of country radio (he scored three Country Airplay No. 1s in 2022) to the streaming numbers that few other country artists could even fathom. Everything was teed up for Wallen’s Dangerous follow-up to outpace its predecessor and score the biggest album debut of 2023, and One Thing at a Time delivered.
Joe Lynch: When an artist scores a career-launching blockbuster album that soars on the charts for well over a year (a rarity, certainly), it’s only reasonable to expect the follow-up to do better – think Adele’s 25 following 21. In addition to pulling in long-time fans, you have the more recent ones ponying up, too.
Melinda Newman: He was a star then, he’s a superstar now. His fans simply can’t get enough of him and they are extremely avid about wanting to show their support. There is nothing passive about their fandom. Plus, his fan base has grown considerably since Dangerous: The Double Album, so there are new fans eager to show their love as well. He is at the stage of his career where he has the Midas touch. He also has become an arena, if not stadium, headliner since Dangerous came out and has increased his audience through touring. His fans feel great kinship with him not only as an artist but as a person.
Jessica Nicholson: One Thing at a Time slightly exceeds the number of tracks of his previous album, which only added to its potential streaming numbers. Meanwhile, just over a month after the release of Dangerous: The Double Album in January 2021, Wallen’s music was pulled from terrestrial radio and top streaming playlists, as he was dropped from his touring agency and also suspended from his label for a brief period, due to the TMZ-released video of Wallen uttering a racial slur outside of his home in Nashville. Additionally, in 2021, tours were still slowly coming back and Wallen didn’t do a full-fledged tour that year. But now, Wallen’s music is back on country radio and streaming playlists. He also wrapped an arena tour in 2022 and is prepping for a world tour to launch this week, which will include a mix of stadiums and arenas.
Andrew Unterberger: While the headlines and narratives of Morgan Wallen’s career have seen some stomach-churning lows over the past half-decade, the commercial returns have just been one long, uninterrupted upward trajectory since his 2018 breakthrough. The biggest reason One Thing is doing bigger numbers than Dangerous is simply that it’s come two years later in his timeline, with millions of new fans jumping on board in the meantime (and remarkably few exiting).
3. Despite running a lengthy 36 tracks, One Thing mostly finds Wallen staying in his radio country lane in terms of sonics and subject matter, with just a handful of obvious detours into different sounds and themes. Are there any tracks that tread new-ish territory that you’d like to hear him explore further?
Jason Lipshutz: The strongest passages of One Thing at a Time focus less on expanding Wallen’s repertoire and more on streamlining his proven approach with sturdier refrains and lyrical detail. A song like “Single Than She Was,” for instance, doesn’t try to reinvent Wallen’s wheel — it’s another song about meeting a pretty girl at a bar, after all — but the vocal delivery, songwriting and titular hook are all a little more thoughtful than those similar themes presented elsewhere on the album, and become memorable amidst and towering track list.
Joe Lynch: Sonically…. eh. “Ain’t That Some” finds him straying into half-rap territory, and the results are not enjoyable to my ears. Lyrically, sure: For someone who made headlines for all the wrong reasons after a drunken night out and then said he toured “mostly” sober, it might be interesting to hear him explore that struggle/journey (whatever you want to call it) in song.
Melinda Newman: The album brings in his hip-hop, rock and traditional country influences, but all in fairly subtle ways and to varying degrees of success. The title track, which is the new single, is heavily pop influenced and is one of the catchiest songs Wallen has ever recorded, so it’s fun to see him veer in that direction so capably without abandoning his vocal twang. Conversely, “Everything I Love” is more old-school, ‘80s country than Wallen has usually recorded. By and large, the hip-hop-influenced tracks are among the album’s weakest, except for the insinuating “Sunrise.”
Jessica Nicholson: He explores some deeper lyrical themes on the new album — mortality on “Dyin’ Man,” forgiveness on “Don’t Think Jesus.” An ode to his mother, “Thought You Should Know,” landed Wallen a three-week Country Airplay No. 1, proving that fans will also relate to more family-centric material from him.
Andrew Unterberger: Like the title track on Dangerous, the title track on One Thing points compellingly towards a poppier, almost ’80s-sounding pocket for Wallen — still with the kind of clever wordplay and oft-weary outlook that fans have come to associated with his biggest hits. Along with the similarly breezy “Single Than She Was,” it’s a much-needed respite from some of the draggier material found throughout the set’s 36 tracks.
4. Though Wallen is far from the only major breakout country star of the streaming era, he is by far the best-performing. What’s something that you think sets him apart from the rest of the Nashville pack for modern audiences?
Jason Lipshutz: The combination of Wallen’s rugged vocals, knack for pop-adjacent hooks and self-styled outlaw (read: controversy-courting) persona has certainly helped turn him into a stadium headliner. Yet I believe the main reason he is now at the top of the genre is due to his understanding of streaming — staying prolific with his single releases, stacking his album track lists to pile up listens and chart records, and bringing country music, which abided by the rules of terrestrial radio long after pop and hip-hop had pivoted towards digital platforms, into a new era of the industry. In both his music and the way it’s released, Wallen carries himself like a new-school star.
Joe Lynch: The hefty tracklists help, but I think it’s selling him short to say “he only does better because his albums have more songs.” I can’t imagine most country A-listers’ fans embracing and returning to 30-plus track albums. Unlike most, Wallen seems commercial and authentically country at the same time. Sure, he flirts with sounds outside of the genre, but he feels and sounds grittier than the bro country singers who dominated for years, while still singing about a lot of their favorite themes (heartbreak, booze, God and mama).
Melinda Newman: The sheer output is the obvious answer, but he also seems extremely relatable to his audience and truly like one of them. When the industry temporarily “canceled” him after he was caught on video using a racial slur two years ago, many of his fans rallied around him and not just forgave him, but were proud to stand by him. Country audiences are notoriously loyal, but this was an unprecedented show of support that felt like it was as much for the man as for the music.
Jessica Nicholson: While several country artists have released multi-part albums, the majority of them have involved various parts of the album releasing over weeks and months, rather than all at once. As Wallen releases his prolific music simultaneously, it allows him to super-serve fervent fans. Several male artists are turning to songs that chronicle their lives—from getting married, settling down and raising children. Though Wallen is himself a father, his music, for the most part, seems to center on a hip-hop-tinged brand of country with a party-love-loss-whiskey rebound cycle that younger audiences are gravitating toward — with only a few key moments on the album, such as “Don’t Think Jesus” and “Dyin’ Man,” that venture outside the lines. He also has a down-to-earth, “everyman” image that audiences seem to relate with.
Andrew Unterberger: I think more than anything with Morgan Wallen, it’s the messiness that fans gravitate towards. At a time when the genre can seem smotheringly buttoned-up, and most of his peers in mainstream country stardom seem to have their s–t pretty well together both inside and outside of their music, Wallen’s cracks are almost always visible and/or audible. Sometimes that can be endearing, and other times it can be extremely off-putting — but it appears that whatever backlash his bad behavior and poor decision-making attracts from the non-country world just results in his fanbase doubling down on support of him. It’s not shocking: Most of the country community loves a (perceived) underdog, and they really don’t love being told what to do or think by folks on the outside.
5. Wallen is putting up pop star numbers currently, but he still doesn’t have a ton of pop world crossover success. Is that something you think he’ll try for in the next year or two, or do you think he sees himself better served simply staying as the biggest star in country?
Jason Lipshutz: Wallen will likely score a pop crossover in the future — I mean, if you’re a fledgling non-country artist who doesn’t care about a little controversy, why wouldn’t you want him hopping on one of your tracks and boosting its profile? But that day is still a little far off, because I’d guess that, outside of the country community, the reverberations of Wallen’s past transgressions still echo too loudly. For now, Wallen seems perfectly content ruling country music and letting his influence take hold of the pop charts, even as he’s not making pop music himself. He’s the king of his format currently, and we’ll see in the coming years where his ambitions lead.
Joe Lynch: Nah — I think it would be, if anything, a misstep, given that part of his appeal is that he seems less polished than some of his country compatriots who make more obvious overtures in the pop world. I could, however, see him notching a hit song akin to what Kid Rock did with Sheryl Crow on “Picture” – a one-off ballad that’s lyrically in his lane but easily serviced to the sonics of AC radio.
Melinda Newman: He is getting crossover play for “Last Night,” and given that pop powerhouse Republic is the label partner with Big Loud, the goal is, undoubtedly, to get him more and more crossover success. It will be interesting to see if pop audiences have any issues with his past or, like most country fans, care mainly about the music. It feels like Wallen is going to keep getting bigger and bigger in country, and also in crossing over.
Jessica Nicholson: Given that he has yet to win male artist/vocalist of the year and entertainer of the year at either of country music’s two most-lauded awards shows (though he was nominated for EOY at the 2022 CMA Awards and won album of the year at the 2022 ACM Awards), he is probably better served by remaining one of the biggest stars in country music for the for the next couple of years. With his juggernaut sales and touring success, he seems a likely winner in the male artist/vocalist and entertainer categories at some point.
Andrew Unterberger: I think Wallen’s team has been wise to not court too much affection from the pop world thus far — his country base is large enough that he (clearly) doesn’t need additional audiences to put up historic numbers, and the more attention Wallen receives from outside of Nashville, the more incidents like his past racial slur usage will be re-attached to his larger narrative. But the biggest artists (and the labels/teams that support them) are always looking to get bigger, and eventually the allure of something like a Grammys performance or a Drake duet will get tough to turn down. (And though it’s mostly a footnote in his career at this point, his Lil Durk collab from late 2021 suggests that the larger music world will be there and willing to open up to him if/when he chooses to walk through that door.)