five burning questions

It was an eventful week on the Billboard Hot 100 (dated July 29), as the continued reign of Morgan Wallen’s “Last Night” (14 weeks so far) was interrupted by two chart debuts: BTS alum Jung Kook‘s “Seven,” featuring rap hitmaker Latto, and veteran country star Jason Aldean‘s “Try That in a Small Town.”

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The high debut of “Seven” was more foreseeable, given the longtime success of BTS and its members on the Hot 100 and the song’s strong start in both streaming and sales upon its Friday (July 14) release. But the conservative anthem “Try That in a Small Town” came from close to out of nowhere, zooming up the sales and streams charts after its controversial music video (featuring images from the Black Lives Matter protests of 2020) led to it being banned on CMT last week.

How did the two songs make such rapid impacts? And which of the two is more likely to stick around the top of the charts from here? Billboard staffers discuss these questions and more below.

1. Jung Kook has scored a handful of Hot 100 entries before, most notably as a guest on Charlie Puth’s No. 22 hit “Left and Right,” but never really threatened the top spot before. What’s the biggest reason to you that “Seven” has launched him into a new chart stratosphere as a solo artist?

Katie Atkinson: Just like they did with Jimin’s “Like Crazy” back in April, the BTS ARMY clearly rallied around Jung Kook’s debut solo single. The streaming and sales numbers are absolutely massive, and that’s thanks to this tireless fan group. And thankfully, Jung Kook came through for them with an upbeat sing-along of a song that recalls my very favorite Craig David hit “7 Days” for a new generation of pop fans.

Eric Renner Brown: I’m not familiar with the personal fanbases for each BTS member, so my answer is more macro: As a group, BTS was so prolific for so long, and then in 2022 and even early in 2023, we were seeing a healthy flow of solo releases from its members; that flow now seems to have slowed to a drip, and I think fans are simply hungry for more BTS. And while some BTS releases – both group and solo – have featured Western artists, many haven’t, which makes me think Latto’s inclusion might’ve extended this track’s release to another base of listeners.

Jason Lipshutz: Casual chart watchers would probably chalk up the Hot 100-topping success of Jung Kook’s “Seven,” and Jimin’s “Like Crazy” before it, as the results of the BTS Army rallying behind any of the group members’ solo efforts. That’s partially true, but also, both “Like Crazy” and “Seven” are catchy, compelling pop singles that make sense sonically and stylistically atop the chart. The rhythmic, sexually suggestive “Seven” showcases more personality and a stronger hook than “Left and Right,” while Latto slots in nicely as a guest rapper with pop prowess; the single certainly received a boost from the fandom around Jung Kook, but the building blocks of “Seven” compose a successful whole.

Joe Lynch: The devotion and persistence of ARMY is certainly a factor here (regarding “Left and Right,” it’s only natural that Stans are gonna push harder for a song where their fave is the main credited artist and not the featured one). This sales total — 153,000 combined digital and CD singles — is a big part of this No. 1 debut, certainly. But compare it to the No. 1 debut for BTS bandmate Jimin’s “Like Crazy”: that one had a bigger sales total (254,000) but a smaller streaming total – 10 million as compared to the whopping 21.9 million streams for “Seven.” Part of that is the Latto boost, but to my ears, a lot of it has to do with the kind of song “Seven” is — it’s akin to the radio gold Justin Bieber and Ed Sheeran have struck with similar mixtures of sweet acoustic guitars and swinging hip-hop beats. 

Andrew Unterberger: It helps that “Seven” is a really good song — and given its explicit chorus, a particularly ear-catching one. That may sound like a superficial explanation, but given how much better the song has streamed than most BTS-related songs (especially globally), it’s pretty clear it’s not just ARMY soldiers flocking to this one. You have to catch a decent amount of non-superfan interest to put up those kinds of numbers, and you do that by releasing undeniable pop singles.

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2. It’s also the first No. 1 for Latto, who came two spots away in early 2022 with her “Big Energy” and also scored a big hit this year along side Cardi B with “Put It on Da Floor Again.” Do you think this achievement is particularly notable for her career?

Katie Atkinson: It’s funny: When BTS first started making English-language songs, they often enlisted more established artists (Nicki Minaj, Halsey, Charli XCX) for features to boost their profile in America. But now, it’s often the opposite, with BTS and all its members boosting another artist’s profile via features. Latto is reaping the benefits of the ARMY putting their weight behind Jung Kook’s new song, and it can only help her in the long run to have the good will of this fierce fanbase behind her moving forward.

Eric Renner Brown: I don’t think the achievement is too notable, other than her ability to now say she’s topped the Hot 100 (which isn’t nothing!). No shade to Latto, but this chart success feels mostly predicated on its BTS affiliation; it’s easy to imagine this track going No. 1 with another American rapper on it.

Jason Lipshutz: The timing is certainly notable: Latto’s first Hot 100 No. 1 comes as the featured artist on a pop single, one month after she re-established herself as a ferocious rapper on “Put It on Da Floor Again.” Cardi B’s appearance on the remix helped the song reach the top 10, but Latto also sounded reinvigorated on the track after a few singles that had failed to take off. The success of “Put It on Da Floor Again,” followed by the even bigger win that “Seven” represents, secures Latto’s standing as a mainstream star, transcending the pop-rap success of “Big Energy” in 2022 by splitting those two sounds in half this summer.

Joe Lynch: It’s huge for Latto. Her follow-up singles to the undying radio smash “Big Energy” whiffed on the Hot 100, so even when she returned to the top 20 this year alongside Cardi, it’s fair to say she needed to keep the momentum going. And a No. 1 debut for a song she prominently features on is definitely a huge win that bodes well for the rest of her year.  

Andrew Unterberger: It’s another nice win during a particularly successful few months for Latto. I doubt it will change her career arc dramatically, but it may win her some new fans — and a pretty nice one-week financial windfall, given all the consumption.

3. Underneath “Seven,” Jason Aldean’s “Try That in a Small Town” debuts at No. 2, largely thanks to a late-chart-week push after its video (and its subsequent CMT banning) resulted in an explosion of controversy. We’ve seen plenty of songs with implicit or explicit conservative leanings debut on the Hot 100 over the past couple weeks — by artists like Aaron Lewis, Tom MacDonald and Bryson Gray — but none quite with this velocity. What do you think the biggest reason is that “Try That” is speeding to new heights so quickly?

Katie Atkinson: The way the uproar unraveled, whether you agree or disagree with Jason Aldean’s political leanings, you wanted to watch the video to see what all the fuss was about. On top of that, it’s clear from the sales numbers that people who wanted to show their support for his musical message purchased the song in droves. We’ve seen the way Morgan Wallen’s sales and streams erupted following his own controversy when he was caught on camera saying the N-word in 2021, but this scenario is different, because the controversy was around a specific song and centered on a country star with an already-established fanbase after nearly two decades of Nashville stardom. It was a perfect storm for a political powder keg to explode.

Eric Renner Brown: “Who are Aaron Lewis, Tom MacDonald, and Bryson Gray?” That’s the biggest reason I think this track has blown up so quickly. Conservatives are eager to boost right-wing tracks, but those other three artists are relative no-names — Staind’s frontman and a pair of artists who had virtually no profile until they made MAGA-bait songs. Aldean, on the other hand, is an established, Grammy-nominated star who headlines arenas and is heavily decorated by the country-specific awards shows. It’s not surprising to me that his conservative dog-whistle track has outpaced similar songs by less-known performers; likewise, if an even bigger star than Aldean released this type of song, I bet they’d shoot up the chart quicker and stay there longer.

Jason Lipshutz: The commercial explosion of “Try That in a Small Town” rests in the coded messaging of the song and video: As Aldean pointed out, there are no explicit calls to violence or racist lyrics, but by implying that vigilante justice is justified as a pro-gun rights tactic in the song and depicting protesting as violent crime in the video, Aldean has created a conservative anthem with a degree of plausible deniability. Other hard-right songs in recent years haven’t climbed as high on the Hot 100, because they’ve been so straightforward with their agendas that they haven’t been able to court a wide amount of controversy. With “Try That in a Small Town,” however, left-leaning country fans became outraged by the obvious dog whistles, right-leaning country fans became outraged by their outrage, CMT banned the video, conservatives supported the song on iTunes in response, and Aldean rode the discourse all the way to the No. 2 spot on the Hot 100.

Joe Lynch: Those other artists aren’t exactly household names, so Aldean’s profile is the big difference here. He has 10 No. 1 hits on the Hot Country Songs chart. Plenty of people have a warm association with him already, so they’re likely to get more emotional and worked up when they hear he’s being criticized, and therefore more likely to engage with the song by streaming it, sharing it with others, buying it, etc. I could see this happening with another country artist of Aldean’s caliber in the next year — as long as conservative media picks up on it as a culture war cause célèbre.  

Andrew Unterberger: It’s a combination of Aldean’s existing stardom and sorta built-in credibility with country audiences, and the fact that pundits on one of the country’s most watched (and most influential) TV channels are actively calling on viewers to stream the thing on repeat to send a political message. It’s also just good timing, with the news story gradually building to a fever pitch over the course of the Friday to Thursday chart week.

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4. Both “Seven” and “Try That” achieve their top two positions largely on the back of sales, which usually (but not always) drop significantly from week to week. Do you think either of these songs will still be in the hunt for No. 1 next week?

Katie Atkinson: I think they both could be in contention for No. 1 next week, but I’d say Aldean has the better shot as this controversy continues to smolder. A quick search of social media shows that Aldean’s supporters are not letting this high-profile musical moment die down anytime soon, so it could have a real shot to climb to the top next week – especially if some like-minded radio programmers give it extra play.

Eric Renner Brown: I doubt either will remain in the hunt next week. Conservative outrage cycles pass quickly, and with both artists, there’s probably a ceiling of how many people will buy the songs to support them – a ceiling that both Jung Kook and Aldean are likely approaching already. And for the week after, if we’re getting a new Travis Scott album this Friday after all…

Jason Lipshutz: I could actually see both challenging for No. 1 either next week or in the coming weeks. “Seven” sounds like a slam-dunk radio hit, and as sales dip following its first-week explosion, I’d guess that top 40 programmers help Jung Kook and Latto make up some of the difference in Hot 100 points. Meanwhile, something tells me that we’re just at the tip of the iceberg when it comes to the “Try That in a Small Town” controversy — Jason Aldean will continue drawing attention to the song, conservatives will continue downloading it, country radio will continue wading into the interest around it, and next week we might be seeing it atop the chart.

Joe Lynch: Definitely Aldean. The furor isn’t tapering here, as folks on various sides are chiming in with their hot takes, and it will likely last long enough to keep “Try That” in contention for reaching No. 1. Which would never have been imaginable if CMT hadn’t pulled the video in the first place (after all, this song came out months ago).  

Andrew Unterberger: Aldean certainly has the inside track, especially because while consumption of “Seven” was strongest on its Friday release date (as is the case with most new songs) at the beginning of the tracking week, the furor of the “Try That” backlash-to-the-backlash was only beginning to crest at the end of last tracking week, and was still very high at the beginning of this one. Plus, having already gotten their No. 1, “Seven” fans are likely less ravenous about keeping it there than “Try That” boosters are about pushing their anthem over the top. (I do hope “Seven” gets back in the mix soon, though, just as a result of the radio play it deserves to build.)

5. They’re hardly the only ones, but K-pop fans and conservative-leaning music listeners are two groups of consumers who have, over the past few years, shown a steadfast willingness to continue buying digital songs as a way to express support for songs and artists, even as song sales on the whole have continued to slide annually. Is there another group of music fans who you could see adopting (or who have already adopted) this strategy to support their favs?

Katie Atkinson: Not that she needs the extra help, but an artist like Taylor Swift has figured out how to deliver release-week digital extras that give her insatiable fans more ways to support her – I’m thinking especially of lead Evermore single “Willow” in late 2020 and its successive “Dancing Witch,” “Lonely Witch” and “Moonlit Witch” remixes that helped propel the ballad to No. 1 on the Hot 100. In that case, the artist is pulling out all the stops, but the fans are all too eager to collect ’em all.

Eric Renner Brown: I truly have no idea. Whenever I hear about these things, my first reaction is, “Wait, people still buy digital songs?” And my second reaction is, “Wait, people buy digital songs to prove a point, and not because that’s the only way to hear the music?” I’m a huge Deadhead, and I buy their CD-only archival releases, but that’s because there’s no other way to hear them. I can’t imagine buying the CDs as a form of virtue-signaling or to help ensure their chart success – but I also can’t imagine buying a case of Bud Light just so I can destroy it to protest something Anheuser-Busch did, or buying multiple versions of the same vinyl release for collectible reasons.

Jason Lipshutz: I’d expect this to become standard procedure for superstar acts around their biggest releases — which has already happened to some degree, but has not come to define every major pop rollout quite yet. Plenty of dedicated fan bases want to support their favorite A-lister, and digital downloads have become something of a fast track for that support. In the coming months and years, it wouldn’t be a shock to see digital sales ploys become further engrained into all types of big pop arrivals.

Joe Lynch: The LGBTQ community is already pretty good at doing this to support their faves, but to my mind, it’s hard to imagine this trend still being a thing in a decade as everything digital moves into the cloud. As for physical copies, even as tactile music makes an industry comeback, I can’t imagine CD singles (famous last words, perhaps) enjoying the same comeback staying power that full-length albums on CD and vinyl have.   

Andrew Unterberger: I’m a little surprised that influencers on TikTok and IG looking to get into music haven’t yet totally utilized the digital sales route via their rabid fanbases — though their audiences may be too young to properly motivate to actually spend money on digital music, many likely for the first time in their lives.

It’s a movie event like few others in 2023: Barbie, the Greta Gerwig-directed full-length film exploration of the Barbieverse, seems to have pressed all the right buttons in its years-long marketing campaign and is now finally set to debut in theaters this July.

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Part of the movie’s pre-release promotional success has come via its star-studded soundtrack, from which several advance singles have been released. Two of those have already hit the Billboard Hot 100‘s top 40: Dua Lipa’s “Dance the Night,” which climbed to No. 32 in June, and Nicki Minaj, Ice Spice and Aqua‘s “Barbie World” — revisiting the latter artist’s signature ’90s pop classic “Barbie Girl” — which debuts at No. 7 on the chart dated July 8.

Which of the hits will ultimately prove the soundtrack’s biggest hit? And does this new redo do the Aqua original proud? Billboard staffers discuss these questions and more below.

1. “Barbie World” enters the Hot 100 this week at No. 7. Given the song’s buzz and the artists involved with it, is that higher, lower, or about what you would have expected for its debut?

Rania Aniftos: Given that the Barbie movie isn’t even out yet, it’s right where I expected. I think the song’s journey has only just begun, and I have a feeling a “Barbie World”-themed trend will hit TikTok after Gen-Z watches the film and gets a renewed obsession with the iconic doll. 

Katie Atkinson: I might have expected a top five debut – like “Princess Diana” earlier this year – so it’s around where I would have predicted, if a little low. While there is a lot of online buzz around the Barbie movie, I think a lot of the soundtrack love could come after its premiere, depending on how the songs are used in the film and just how big it turns out to be.

Kyle Denis: I expected a bit of a splashier debut for this song. “Barbie World” is the follow-up to Nicki and Ice’s last collaboration, “Princess Diana,” which hit No. 4, it’s the latest track from what is arguably the most anticipated movie of the summer — and it’s fun, catchy, and built around a sample that everyone knows and loves. Not to mention that multiple versions (sped-up, slowed down, extended, etc.) of the song were available during its first week of release. While a No. 7 debut isn’t bad by any means — and this launch certainly isn’t a death sentence for the song — it’s still quite soft.

Nonetheless, it’s always important to remember that soundtrack singles perform differently in comparison to regular radio singles. Take Dua Lipa’s “Dance the Night,” the lead single from the Barbie soundtrack and her first unaccompanied single since her blockbuster Future Nostalgia era. “Dance the Night” is still yet to reach the Top 30 of the Hot 100, so “Barbie World” is doing just fine.

Jason Lipshutz: A little higher than expected, considering the song itself: “Barbie World” is less of a crossover pop track than recent smashes like Minaj’s “Super Freaky Girl” and PinkPantheress and Ice Spice’s “Boy’s a Liar Pt. 2,” and more of a furious rhyming assault, with both MCs relentlessly rapping around the Aqua sample for less than two minutes. The previous offerings from the upcoming Barbie soundtrack didn’t grace the top 10 of the Hot 100, and even though the combined star power of Minaj and Ice Spice is always powerful, I didn’t think “Barbie World” would streak this high. Yet “Barbie World” is beguiling, even without a proper pop hook, and deserves the buzz it’s received.

Andrew Unterberger: Looks about right to me. A little lower than “Princess Diana,” sure, but we’re already a few singles into the Barbie soundtrack rollout, and soundtrack singles (even for movies as anticipated as Barbie) often underperform a bit on streaming. (Even a song as ultimately huge as Doja Cat’s “Vegas” from last year’s Elvis debuted outside the Hot 100 altogether initially.) Plus, “Diana” had the benefit of an original to piggyback off of when the Minaj-featuring new spin debuted, which “Barbie” doesn’t — unless, of course, you count “Barbie Girl.”

2. The song is the second straight top 10 debut this year for Nicki Minaj and Ice Spice, with their “Princess Diana” starting at No. 4 in the spring. Why do you think their combination has proven so immediately potent?

Rania Aniftos: Ice Spice’s natural charisma always reminded me of Nicki’s when she first hopped on the scene, and I’m clearly not the only one who thinks that. You’re combining two fun, confident, lyrically clever female rappers on a song and it feels like the perfect team-up of rap generations every single time. 

Katie Atkinson: It’s the perfect pairing of a rapper with a dedicated fanbase who has been active (and dominant) for 15 years with a buzzy new rapper whose star keeps ascending as she collects new followers. Over the years, Nicki has handpicked female rappers to team up with, as evidenced by the “Queen Mix” of her Hot 100 No. 1 hit “Super Freaky Girl” last year, which featured City Girls’ JT, Bia, Katie Got Bandz, Akbar V and Maliibu Miitch. Ice Spice seems to be the newest member of that select group that Minaj has given her stamp of approval.

Kyle Denis: From a commercial angle, the union of Nicki Minaj and Ice Spice is probably the smartest one in contemporary mainstream hip-hop. Few hip-hop artists have fanbases that can rival the fervent devotion of Minaj’s Barbz. Their ability to effectively organize has helped provide a sturdy foundation for yet another era of Minaj’s commercial dominance. She’s the last artist to send a hip-hop song to the top of the Hot 100, and every song she’s released in 2023 has entered the chart (bar “Endless Fashion” and “Money,” as those songs will have a chance to debut on the Hot 100 next week).

Ice Spice is the hottest new rapper and overall artist of 2023. Outside of her collaborations with Minaj, she’s scored two additional top ten hits on the Hot 100 alongside PinkPantheress (“Boy’s A Liar, Pt. 2”) and Taylor Swift (“Karma”). Even her songs that completely missed the Hot 100 are cultural touchstones (“Munch,” “Bikini Bottom,” etc.), specifically amongst the TikTok crowd and Gen Z consumers. Her commercial pull grows with every release, and people are genuinely enamored with her as an artist and person, hence their increased interest in each subsequent single. 

Moreover, the music is good. The songs are catchy and enjoyable, and the two artists clearly have stronger chemistry than almost all of Minaj’s collaborations with new-gen female rappers. 

Jason Lipshutz: Their collaborations have demonstrated a natural chemistry between their respective flows: Minaj raps with a more animated bounce, Ice Spice’s delivery is more smooth and subtle, and together, their energies form a symbiotic relationship. On “Princess Diana” especially, Minaj’s wild-eyed rhyming sounds like the perfect complement to Ice Spice’s unaffected swagger. Even though they’ve only made a couple of tracks together, I’m already anxious for a Watch the Throne-esque joint full-length.

Andrew Unterberger: It’s just a good pairing of artists with similar styles, personalities, and pop star instincts. Their breakthroughs might be a near-generation separated, but it’s pretty tough to imagine Nicki Minaj fans looking down their nose on the young upstart, or Ice Spice fans rolling their eyes at the older veteran. Plus their voices sound pretty cool together.

3. “Barbie World” marks the second top 40 hit from the Barbie movie soundtrack, with Dua Lipa’s “Dance the Night” having recently climbed to No. 32. Which of the two do you think will ultimately become the most-enduring hit from the movie — or would you guess that song is still to come from the remainder of the star-studded soundtrack?

Rania Aniftos: “Barbie World” for sure. It’s just a better song overall, in my opinion, and something out of the ordinary. As much as I love Dua Lipa, “Dance the Night” gives very similar, disco-tinged energy to “Levitating” or “Don’t Start Now,” so it doesn’t stick out among her discography. Who knows though? I’m excited to hear the rest of the soundtrack. 

Katie Atkinson: I’m going to give the edge to “Dance the Night,” because it has a similar vibe to Lipa’s persistent smash hit “Levitating,” which was crowned the No. 1 song on our 2021 year-end Hot 100 even though it only peaked at No. 2 on the weekly chart. That shows what kind of longevity it had, and if “Dance” gets that kind of major push at radio plus a bump from the movie’s release, it feels like the top 10 could be in its future.

Kyle Denis: I think it’ll be hard to say until the movie comes out. “Barbie World” is in nearly every trailer, but “Dance the Night” will have a prominent placement in a massive dance scene in the film. There are also the other songs from popular artists on the soundtrack, as well as Ryan Gosling’s big power ballad moment, which could pull a “Peaches.” Right now, I’ll put my money on “Dance the Night.” 

Jason Lipshutz: “Dance the Night” has grown on me since its release — but the answer is “Barbie World,” thanks to the higher chart placement, the continued bond between Minaj and Ice Spice, and, most importantly, the amazing feat of returning Aqua to the top 10 of the chart after a quarter-century away, timed to the release of the Barbie movie. In my mind, Minaj and Ice Spice have full license to tell all of us, in full Max Fischer voice, “We revived Aqua. What did you ever do?”

Andrew Unterberger: Seems like “Dance” will have the advantage on radio and “Barbie” the advantage on streaming, so I bet they end up about evening out. That said, I would be 0% surprised if the defining song from Barbie comes from a lesser-known song by a lesser-name artist — just something that comes in the right point in the movie, strikes a nerve on the internet and ends up a TikTok sensation for the rest of the summer.

4. Obviously much of the hook — and the artist credit here for Aqua — comes via a prominent sample of Aqua’s late-’90s top 10 hit “Barbie Girl.” Do you think the sample is a particularly inspired or well-deployed one, or just another example of a 2020s hit being built off a relatively rote sample of a proven hit from a generation earlier?

Rania Aniftos: “Barbie World” is so clean and fresh! I was expecting the Barbie film to just find a pop star to cover the Aqua hit and call it a day, so the Ice Spice/Nicki remix was a pleasant surprise. To me, it perfectly captures the nostalgic feeling of the Aqua song but keeps it exciting with Nicki or Ice Spice, who never let anything feel outdated. They feel like two completely different songs, which is a testament to how well the sample was executed. 

Katie Atkinson: I actually wish it had been used more prominently! When I heard about the song weeks ago, I was imagining something more in the vein of Minaj’s “Super Freaky Girl” or “Anaconda,” but I think the Aqua sample was more quietly woven in than I expected. I was hoping for the “Barbie Girl” chorus to be the chorus here, but “Barbie World” has Nicki and Ice trading raps instead. Plus, its two-minute run-time shaves a full 80 seconds off the Aqua original. And where is Ken (aka Aqua’s Rene Dif)? I don’t know how you can have a “Barbie Girl” sample without the raspy “C’mon, Barbie, let’s go party” line.

Kyle Denis: Somewhere in between. Unless the sample was chopped and screwed beyond recognition (which probably would have made for a more intriguing song), “Barbie World” was always going to feel reliant on “Barbie Girl,” to some degree. Nonetheless, if the sample wasn’t recognizable, “Barbie World” would lose its most immediate connection to both the film and Aqua’s original track. 

I think Nicki, Ice, and RiotUSA strike a fine balance. The elements of drill and Jersey club make the “Barbie Girl” sample feel staunchly contemporary, and when they let the sample play uninterrupted in the song’s outro, it’s a nice way to hold space for and honor the impact of Aqua’s seminal hit. 

Jason Lipshutz: I wish the Aqua sample was utilized a bit more cleanly in “Barbie World” — give me a pop-rap song that lets that timeless hook rock as a proper chorus, similar to how Minaj presented the samples on “Anaconda” and “Super Freaky Girl” — but even as connective tissue between Minaj and Ice Spice’s traded rhyme, the “Barbie Girl” melody is too likable to ever be fully denied. It would be easy to adopt a cynical view of the whole affair as pop-song pilfering, but it’s even easier to just enjoy “Barbie World” as a new generation’s nod to a classic single.

Andrew Unterberger: I think the song does a pretty good job with its source material! The sample is big and unmistakable, but it doesn’t provide the entire skeleton of the song — just one of its most vital organs. It functions well as an obvious centerpiece for the Barbie soundtrack, but really, “World” also sounds like a song that could’ve been found on the expanded version of Ice Spice’s Like..? EP without making fans think twice about it.

5. On a scale from 1-10, how excited are you for the Barbie movie to finally arrive later this month?

Rania Aniftos: 8. Even though I was more of a Bratz doll girl growing up, I can’t get enough of childhood nostalgia movies.

Katie Atkinson: 10. I will be seated on opening day.

Kyle Denis: 11. I simply cannot contain my Ken-ergy. 

Jason Lipshutz: A 4. I love Greta Gerwig as a director, but do not love a popular toy being used as tongue-in-cheek Hollywood IP and then dominating pop culture for weeks on end! So I am excited for the Barbie movie to finally arrive, as a means of concluding the extended Barbie movie rollout.

Andrew Unterberger: A 5, mostly just so we can finally get a verdict on whether or not the final product was worth the months (years?) of internet Barbiemania that’s led up to it.

Though chart success is not exactly new to alt-folk singer-songwriter Noah Kahan — his Stick Season set debuted at No. 14 on the Billboard 200 albums chart in late 2022, while its title track has spent nearly 30 weeks on Billboard‘s Hot Rock & Alternative Songs chart — he certainly reaches a new level this week, as his Stick Season jumps to the top 5 of the Billboard 200.

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The album shoots all the way from No. 100 to No. 3 on the chart dated June 24, easily a new high for the set. That’s thanks to a combination of renewed interest in (and consumption of) the set following its We’ll All Be Here Forever deluxe reissue earlier this month — which includes seven new tracks, including the TikTok-teased “Dial Drunk,” a No. 43 debut on the Billboard Hot 100 this week — and robust sales numbers, spurred on by the set’s long-awaited vinyl release the same day.

Still, how has Kahan been able to build so much commercial momentum in a relatively short period of time? And how big might his new hit still get from here? Billboard staffers discuss these questions and more below.

1. We don’t see a lot of indie-folk-type singer-songwriters reaching the top five of the Billboard 200 in 2023, let alone doing so for the first time with a reissue. On a scale from 1-10, how surprised are you to see Noah Kahan’s Stick Season at No. 3 this week?

Eric Renner Brown: My surprise at seeing Kahan specifically would clock in around an 8, but my surprise at seeing A Guy Like Kahan is about a 3. Earnest, folky singer-songwriter fare perennially does well. The artists who break through can come as a surprise – and I’m not sure I or anyone else can always explain why one artist in this genre gets huge while others don’t – but indie-folk still has a huge audience, and where there’s an audience there will always be a desire for new blood.

Hannah Dailey: I’d say 5, and my surprise level is only that high because it was the deluxe version, not the actual album, to make it that far on the charts. But Noah in general has been long overdue for this kind of commercial recognition — he’s a talented songwriter with that rare but familiar gift for crafting hooks that resonate widely and deeply with the most versatile of audiences. As for his folksy acoustic sound, I’m not surprised he’s seeping into the mainstream — I think his style is one of the most timeless genres out there, and that there’s always been a market for it. But it’s one of those genres that’s often bigger than the individual artists who contribute to it. It’s only when someone like Noah, Mumford & Sons, the Lumineers, etc. is positioned at the right time to rise above the rest of the songwriting pool that numbers like this are able to happen. 

Kyle Denis: I’m probably around a 7.5-8. I’m in a perpetual state of awe at how deep and dedicated music niches have become in the TikTok era. I would wager that the average person walking down the street doesn’t have a single clue who Noah Kahan is, but that doesn’t matter. He’s engaged his base in such a way that them simply showing up is enough to put him alongside global sensations like Taylor Swift and Stray Kids. I think that’s beautiful. I also think the fact that Stick Season hit No. 3 with a reissue is really important. It seems like artists are moving on from albums at an increasingly fast pace, but the success of Stick Season is a testament to the power of working a record to the fullest extent. 

Josh Glicksman: Let’s go with an 8. Granted, it wasn’t a week filled with new releases from perennial chart-topping artists (the only June 9 album to rank ahead of Stick Season on the June 24-dated chart is Niall Horan’s The Show). Even so, Kahan’s monumental leap from No. 100 to No. 3 on the Billboard 200, with no prior history on the chart aside from this project, is nothing to gloss over — particularly during a year when it’s been difficult to break ground among the mainstays.

Andrew Unterberger: About an 8. It was obvious from Stick Season‘s debut last year that Kahan was an artist to watch, and that a true breakthrough moment was likely coming down the road — but I thought “down the road” would mean “at least one album cycle away” for Kahan. That it came with a well-timed, well-planned reissue of Stick Season itself eight months after its initial release is definitely not what I expected, but that’s music in 2023 for you: No album cycle is ever truly over anymore.

2. Kahan has obviously been able to harness a certain amount of momentum and virality from his presence on TikTok. What do you think about him or his music has allowed him to be so successful there? 

Eric Renner Brown: Kahan’s songs are hooky earworms, have vivid and memorable lyrics, and exude a stylistic nostalgia that conjures indie-folk stalwarts of yesteryear like The Lumineers (who, it should be noted, sell out stadiums in the year 2023, even if lots of people reduce them to their 2012 smash “Ho Hey”). It all adds up to an immediate and organic simplicity that can stand out on the platform while appealing to the sensibilities of many of its younger users – who, now, have an indie-folk hero of their own.

Hannah Dailey: I don’t think the answer is much more complicated than that his music is objectively good and has built-in mass appeal. His lyrics are beautiful and widely relatable, his songs are intrinsically cathartic and beg to be sung by thousands of fans in arenas — a tried-and-true formula for commercial success. Does it hurt that he’s hilarious and clever, and has learned to communicate his hilariousness and cleverness to fans on social media while also fostering personal connections? Definitely not. 

Kyle Denis: I think there are two key things happening with Noah Kahan: 1) he satisfies Gen Z’s penchant for relatability from their music stars and 2) his folky analog sound is a far cry from the dominant dance-centric sonics of current mainstream pop. Kahan has been very open about his struggles with anxiety, and that kind of transparency resonates very deeply with a generation that is more open about mental health conversations than their elders were. Musically, he’s a smart lyricist and offers a different sound. It also helps that he engages with fans on a level beyond “here’s this song and tour ticket, buy it.” He’s complimenting and reacting to fans’ covers of his songs and throwing his support behind fans rewriting “Dial Drunk” from the other point of view. He feels accessible even though he isn’t actually just a phone call away for most listeners. 

Josh Glicksman: Though there are trends, it can be difficult to point to definitive rationale for virality on TikTok — though it’s notable that he’s been able to build momentum on the platform over the course of a full 21-song re-release, as opposed to a singular hit. That said, Kahan seems to have built a strong following thanks to frequent interaction with his fans, whether it be showcasing duets of those singing his songs, thanking concertgoers from tour stops or previewing new music.

Andrew Unterberger: If we’ve learned nothing else from the absurd level of success Zach Bryan has reached in the last 18 months, it should be that a relatable small-town artist with a strong voice (both in the technical and artistic sense), big choruses and a good understanding of internet promotion should never be underestimated. Kahan really seems like he’s following the Bryan playbook to the last X & O — most importantly, in terms of having huge-sounding songs that connect with listeners in a really personal way — and it’s certainly paying off for him right now.

3. Though he’s had breakout hits before – particularly with Stick Season’s title track – his new “Dial Drunk” seems to be a new level of breakthrough for Kahan, bowing at No. 43 on the Hot 100 this week. Do you think it will continue growing from here, or is its chart success more of a one-week wonder based on anticipation for its full debut? 

Eric Renner Brown: With its plucky banjo, “Dial Drunk” has a slightly different flavor than some of Kahan’s other most-streamed tracks, while still excelling in the ways those other songs do. I could see it being his next hit – but at this point, Stick Season‘s high chart placement seems the most likely explanation for the song’s Hot 100 appearance.

Hannah Dailey: I’m not sure. If I had to guess, I’d say that Noah’s magic really lies in his albums as full bodies of work, not his songs on their own. So while “Dial Drunk” may not continue its upward trajectory, I’m hopeful Stick Season will. 

Kyle Denis: I think the song might tumble a bit and then remain steady in the weeks to come. It may or may not re-peak, but I think, at this moment, the song’s longevity is of utmost importance for Kahan. People seem to really be latching onto the bridge and the storytelling aspect of the song. It also helps that songs with a similar sound, like Zach Bryan’s “Something in the Orange,” have stuck around on the Hot 100 for 60 weeks, so clearly there’s a sizable market for songs like “Dial Drunk.”

Josh Glicksman: While I don’t expect the song to climb into the highest reaches of the Hot 100, I’d expect for it to stick around in the weeks to come. Even if the viral momentum that spurred it to the chart begins to fade, “Dial Drunk” seems like a bankable hit on the radio throughout the summer. It debuts at No. 3 on Hot Rock & Alternative Songs — one of an eye-popping 18 entries that he holds on the chart this week.

Andrew Unterberger: I gotta say, I am really rooting for this song. I don’t know how big “Dial Drunk” can get on the charts without a major place on radio — it doesn’t quite fit on pop or country, and rock and alternative radio only takes you so far in 2023 — but it’s certainly rousing and replayable enough to remain a fixture on streaming and stick around on the Hot 100 for some time still. It might need a big synch or music video or remix to push it past its current placement, though.

4. Kahan is still in the midst of a U.S. tour that will take him through most of the summer. If you were on his team, would you be advising him to do anything else right now to capitalize on the momentum of this moment, or is he better off focusing on the tour and letting his newfound success essentially promote itself? 

Eric Renner Brown: The guy has a No. 3 album on the Billboard 200 and headlined Radio City Music Hall two weeks ago! I don’t think he or his team needs to mess with his current trajectory.

Hannah Dailey: He’s clearly doing something right on his own, so I wouldn’t want to risk adding any pressure to inorganically capitalize on something that came together so naturally and beautifully. I also like to think that he’s proof of that if your music is really good and you just keep at it, people will eventually start to notice — as naive and over-simplified as that notion may be. 

Kyle Denis: At the risk of looking too try-hard and accidentally stepping towards the hyper-glossy inaccessible pop stardom he exists in opposition to, I would advise Kahan and his team to just keep doing what they’re doing. Maybe book some more televised performances but continue to prioritize the tour and nurture that unique fan connection. Part of the buy-in for supporting any new artist is feeling as though you have discovered them, and a calculated promotional push mitigates that feeling. The momentum will carry itself, and if recent tours from Taylor Swift and Beyoncé are anything to go by, touring — in any capacity — is still the most effective and authentic way to promote an artist’s music and brand. 

Josh Glicksman: Be visible, but don’t feel the pressure to immediately follow-up with something else. I’d be advising him to continue interacting with fans on social media, as well as doing the radio circuit and applicable press, but let Stick Season and “Dial Drunk” have their respective moments to shine in the sun. Spend the next several months continuing to build your fan base, and allow them to become familiar with your discography before trying to add another release in there.

Andrew Unterberger: Just chill for the rest of the season. Keep playing to bigger and bigger crowds on the road, keep engaging with fans online, but otherwise just marinate in the moment and don’t mess with what’s gotten you this far. And perhaps most importantly, maybe take a few months off, and then get to work on that next album: You’ve set yourself up beautifully for whatever comes next, but folks won’t wait around forever — and as good a handle as you have on the current rules of the game, they’re probably just a year or two away from changing into something totally unrecognizable.

5. Who’s another still-somewhat-under-the-radar singer-songwriter from the folk and/or indie worlds right now who you think might be due for a breakout moment of their own soon? 

Eric Renner Brown: Sure, this is partly wishful thinking on my part, but Alex G has an extremely passionate following in the indie world that only continues to grow, and it wouldn’t catch me totally off guard if one of his more folky tracks – and his 2022 album God Save the Animals has some of his folkiest material yet – broke through. Not that I think it’s particularly likely.

Hannah Dailey: Angel Olsen, Ethel Cain or Leith Ross! 

Kyle Denis: I’d love to see P.J. Harding and Ruel have their proper breakout moments sometime soon. 

Josh Glicksman: Samia. Go back and listen to her newest album, Honey — and while you’re there, check out 2020’s The Baby, too.

Andrew Unterberger: A little more country and grunge than folk and indie, but Koe Wetzel seems like another singer-songwriter in this did-it-himself mold who is really resonating with young fans right now and might not be long removed from his own mainstream breakout moment.

While Morgan Wallen has been reigning atop the Billboard charts for the better part of the spring, Taylor Swift has been dominating nearly all other facets of pop culture — largely due to her continent-crossing Eras Tour, which seems to make a week’s worth of headlines with every additional stop.

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This week, Swift’s chart presence again matches her general ubiquity, as her Midnights album — boosted by a number of goodie-boasting new reissues and physical variants — returns to No. 1 on the Billboard 200 (dated June 10). One of those deluxe bonus cuts is the much-hyped remix of Midnights‘ “Karma,” featuring rising star Ice Spice, which also propels that track to a new peak of No. 2 on the Billboard Hot 100.

How important was it for Taylor Swift’s big year to have a chart week like this? And is she reaching the point of overexposure — if such a point even exists for Swift in the first place? Billboard staffers discuss these questions and more below.

1. While Taylor Swift has unquestionably dominated 2023 from a discussion standpoint, she’s been a little less present at the top of the charts. Do you think it’s at all significant that she returns to No. 1 on the Billboard 200 this week with Midnights, or does that not even make it near the top of the Swift-related headlines for this week?

Rania Aniftos: We all know that the whole Matty Healy situation has greatly overshadowed this chart accomplishment, but Taylor always deserves her flowers when it comes to her ability to re-ignite interest and extend the lifetimes of her albums. With the Eras tour in full swing and Speak Now (Taylor’s Version) on the way, we’ll be seeing a whole lot more of that as we enter the summer. 

Katie Atkinson: I think it’s significant, especially considering that she toppled the seemingly unstoppable One Thing at a Time with a six-month-old album. But every headline adds up to the same thing: Swift is currently at the absolute pinnacle of her pop powers. The record-breaking success of Midnights late last year snowballed into her blockbuster, marathon Eras Tour, which is now leading into her latest re-recording — Speak Now (Taylor’s Version) — next month. The continued success of Midnights might not be surprising, but it is momentous nonetheless.

Kyle Denis: Given that Midnights has already spent several weeks at No. 1 and that Tayloris already in rare air in terms of her success across the Billboard charts, this return to No. 1 isn’t all that significant. Midnights has remained in the Top 10 for the entirety of its run so far, so it’s not like the album is rising from the dead. At best, it’s a testament to her ability to keep fans interested and invested in her albums several months post-release, which seems to only get more difficult as the streaming era progresses. Realistically, her reported breakup with Matty Healy is the biggest T-Swift story of the week. 

Jason Lipshutz: While a return to No. 1 on the Billboard 200, thanks in part to the release of a deluxe edition of Midnights, isn’t too noteworthy for a superstar of Taylor Swift’s caliber, she did accomplish something that a whole bunch of artists haven’t been able to muster over the past three months: upend Morgan Wallen’s One Thing at a Time for the top spot. After 12 consecutive weeks at No. 1 and a flood of new releases relegated to runner-up chart placements, Wallen’s latest album finally cedes the floor this week — and for Swift, those circumstances make the achievement slightly more significant than usual.

Andrew Unterberger: Was it needed? Probably not. But part of the reason enduring superstars like Taylor Swift stay at their level is because they seize opportunities to make a splash when presented with them. With Swift already looking to give the chart momentum of the slowly climbing “Karma” an adrenaline shot, why not make the most of it and do a full new reissue (or two or three) and do what no other artist could the past three months — knock Morgan Wallen out of No. 1? It helps her historically in the record books, and it helps her stay winning in real time. And this year is all about winning for Taylor Swift.

2. While Midnights unseats Morgan Wallen at No. 1 on the Billboard 200, “Karma” comes up one spot of doing the same on the Hot 100, with its new Ice Spice-featuring remix propelling it to No. 2 but ultimately proving unable to unseat Wallen’s “Last Night.” If you’re Taylor Swift, is being denied the top spot there a disappointment – and do you think it still has a shot at hitting No. 1 later in its run?

Rania Aniftos: I can’t speak for how Taylor feels, because she’s probably got so many other things on her mind right now, but I personally am disappointed. I really thought this was going to be the song to knock Wallen off the No. 1 spot, but now I’m not sure it’s going to be able to climb to the top. At this point, if Taylor couldn’t do it, if Beyoncé and Kendrick Lamar’s “America Has a Problem” couldn’t do it, if Bad Bunny’s “Where She Goes” couldn’t do it, I don’t know what can.  

Katie Atkinson: While it might be disappointing for Taylor, No. 2 is an impressive showing for an album cut that’s been out since November — and while Ice Spice is having a moment, she hasn’t yet scored a Hot 100 chart-topper, so her addition to a remix wasn’t a guaranteed rocket to No. 1. I think its chances to eventually top the Hot 100 rest almost entirely on airplay. If radio decides to play “Karma” half as much as it played “Anti-Hero,” it has a chance at the top, but it just couldn’t compete with the established success of “Last Night” this early.

Kyle Denis: For the simple fact that this remix was a clear play for No. 1, I think “Karma” missing the top spot is a disappointment. Between a new music video, three live performances with Ice at her New Jersey Eras Tour stops, and several interlocked controversies, “Karma” was clearly primed to be the next No. 1 hit from Midnights. The union of the world’s biggest pop star and hip-hop’s hottest new artist getting blocked by a song that’s several months old isn’t the best look. Then again, Midnights went back to No. 1, the Eras Tour is still a phenomenon, and Ice Spice picked up her third top five hit of the year, so it’s only a minor loss. And Taylor also has her fair share of No. 1 hits already, so I’m sure the disappointment — if there is any — doesn’t sting too badly. 

Anything is possible, but I think “Karma” will have to settle for a No. 2 peak. The general consensus around the song feels pretty tepid, so I doubt it sticks around the upper regions of the Hot 100 for the rest of its run. 

Jason Lipshutz: I do think “Karma” has a chance to hit No. 1 over the next few months, especially if it’s embraced by pop radio in the same way that “Anti-Hero” was in late 2022 and early 2023. The song zooming to No. 2 on the Hot 100 this week is a byproduct of the Ice Spice remix being unveiled, but even before the new version dropped, the song was steadily climbing the chart, aspiring to become the next big single from Midnights. Regardless of how well the remix performs, the original version and Ice Spice version will find audiences as Swift’s summer-song offering — and with their powers combined, may prove strong enough to take over the top of the Hot 100.

Andrew Unterberger: It’s probably a little disappointing for Swift given the lead-up — but it’s also not like The Weeknd’s “Die for You,” which was already inside the top 10 when it lept to No. 1, and added a superstar with chart-topping pedigree of her own (and established history with The Weeknd) in Ariana Grande. For “Karma” to jump from the 30s to No. 2, buoyed by an artist who’d never hit the Hot 100 at all before 2023, is still pretty impressive — and it could still get to No. 1 if Taylor wanted to give it the full “Anti-Hero” spread of remixes for sale. (That said, if this remix was a little better, I think it probably would’ve gotten there this week.)

3. The “Karma” remix isn’t the only new goodie helping movement for Midnights this week – there’s also an extra Lana Del Rey-ier version of “Snow on the Beach,” a full digital release for the previously physical-only bonus cut “Hits Different,” and a CD-only release for the previously unreleased “You’re Losing Me.” Are any of them significant new entries to the Midnights era to you, or all just fun but mostly frivolous extras?

Rania Aniftos: Besides “You’re Losing Me,” which feels particularly heartbreaking in the wake of Taylor’s split from Joe Alwyn, the other two additions are nothing special to me — only because I feel like there are other songs on the original Midnights that haven’t gotten the attention and praise they deserve. I desperately want a piano version of “Midnight Rain,” or a lesson in manifesting via a “Mastermind” music video, both of which could extend the success of the album. 

Katie Atkinson: I really appreciate the fan service of the “More Lana Del Rey” version of “Snow on the Beach,” and I have a feeling it will replace the original on more than a few Swiftie playlists. Fans asked; Taylor listened. The other two are solid and clearly fit in with the Midnights vibe, but I don’t think Taylor made a mistake by leaving either off the core album last year.

Kyle Denis: For me, the Midnights Til Dawn goodies are forgettable. “Hits Different” is enjoyable but feels bland in comparison to the original album’s strongest tracks. If you’re someone who was aching for more Lana on “Snow on the Beach,” then the new version should satisfy you, but there simply isn’t enough of a difference between the two versions to justify a second Midnights purchase if you’re a casual listener. “You’re Losing Me” is the crown jewel of the Til Dawn additions, and it’s a shame that it’s not yet available on all platforms. None of the songs are significant new entries to the Midnights era, but, at least “You’re Losing Me” provides a bit of insight into the demise of Taylor’s relationship with Joe Alwyn. 

Jason Lipshutz: “Hits Different” sounds like a surefire fan favorite, its shimmering guitar and fizzy emotion creating a sense of wanderlust that harkens back to Swift’s Red era. Maybe it won’t be an excavated deep cut-turned-hit single a la “All Too Well” or “Message in a Bottle,” but “Hits Different” contains a gravity that’s hard to dismiss, and a chorus that’s going to be belted out by Swifties in stadium parking lots for the rest of the Eras Tour. I’m already mad that I didn’t get to see it performed as the in-set acoustic track!

Andrew Unterberger: Title/main hook aside — c’mon with that, TS — I love “Hits Different,” and am kinda stunned it didn’t make the proper Midnights tracklist. Plus, “You’re Losing Me” is destined to become a key cut in the larger Taylor Mythology, and its heartbeat chorus is a for-sure stunner. The fact that Swift has songs like those in reserve as third-wave bonus tracks shows just how on top of her game she’s been during this whole era. All that said, I do still wish the “Karma” remix was a little stronger — it could’ve been a real moment.

4. Oh yeah, in the midst of all of this, we also have a Hot 100 re-entry from Swift that long pre-dates the Midnights era: Lover deep cut “Cruel Summer,” which hit the Hot 100 for the first time since Sept. 2019 last week, buoyed by recent TikTok virality, prime placement on the Eras Tour setlist and perhaps some crescendoing warm-weather appropriateness, and rises to No. 45 on the chart this week. Is there a chance “Cruel Summer” actually ends up blazing hotter than the rest of Taylor’s more contemporary jams this upcoming season, or do you think it cools off soon?

Rania Aniftos: Yes! The love for “Cruel Summer” has been building up for years and it’s now finally bubbling over. All it needs is something to propel it to the next level, perhaps an onstage collaboration, a remix or hopefully the overdue music video fans have been begging for ever since it came out. 

Katie Atkinson: I would love a world where “Cruel Summer” becomes a late hit! It originally peaked at No. 29 on the Hot 100 but was never a Lover single. Imagine Swift’s four-year-old song becoming the 2023 Song of the Summer thanks to a seasonal surge. I’m going to put out in the universe that “Cruel Summer” will continue to blaze up the charts and become an unexpected top 20 hit this summer. Hell, maybe it will have a Mariah Carey “All I Want for Christmas Is You” moment and return to the charts every June.

Kyle Denis: I really hope that “Cruel Summer” is the next deep cut that rides TikTok virality to legitimate chart success; it’s one of Taylor’s best pop tracks. If handled correctly at radio and streaming, this could absolutely follow a similar trajectory to The Weeknd’s “Die For You” or Miguel’s “Sure Thing.” “Cruel Summer” has been a fan favorite since the night of Lover’s release, so it’s only right that it finally gets its day in the sun. Personally, I’m hoping we at least get some fun remixes out of this resurgence.  

Jason Lipshutz: The answer is: it’s up to Taylor. If Swift puts her muscle behind “Cruel Summer” — a new remix? A viral moment? A TikTok on a particularly warm day? — then I could see the Lover track continuing to climb and overtake a current hit like “Karma.” Yet as the Ice Spice remix and other Til Dawn goodies suggested, Swift’s focus (understandably) remains on promoting her most recent project. “Cruel Summer” will always swoop back up in streams as we approach its titular season, but I doubt the song gets more lift than “Karma” unless Swift purposely wants it.

Andrew Unterberger: I wouldn’t bet against it. The song (which pretty much every Swiftie holds near and dear) has been climbing, climbing, climbing for months — years, maybe — and now that it’s finally crossed the threshold into official new-old hit territory, I can’t imagine it’s gonna slow down anytime soon. Once Swift has moved on from giving “Karma” her full push, I have to imagine “Cruel Summer” is next: As previously mentioned, she’s not the type to leave opportunities like this on the table, and she’s still got a month to kill before Speak Now (Taylor’s Version) officially takes over her promo life.

5. Between the weekly dispatches from the Eras Tour, the tabloid updates on her personal life, the chart entries new and old and the usual ubiquity that comes with being the biggest pop star on the planet, Taylor Swift is currently hitting a level of exposure that only a handful of artists in our lifetime have previously reached. Do you think she’s at risk of hitting an overexposure tipping point, or can she just kinda do no wrong in 2023?

Rania Aniftos: One thing about Taylor Swift is that we as a society can’t get enough of her. She’s been “overexposed” since she arrived on the scene and I think that adds to her appeal. To the world, Swift has been a superstar that is relatable because of her personal songs, and whether you love her or hate her, you’re invested in her life because she feels like someone from your hometown that made it big. She’s aware of her longevity no matter what happens in her career, and she even said it best herself in “Karma” when she sings, “Ask me why so many fade, but I’m still here.” 

Katie Atkinson: I’m not exactly sure what overexposure looks like for Taylor Swift. She’s seemingly found her groove in delivering a steady stream of music to her insatiable fans and also picked up new fans along the way. And even though she’s playing three-plus nights at stadiums in cities across the country, there are still people struggling to get a ticket to her concerts. While it feels like she’s already bringing an impossible level of material to the world, people somehow still want more.

Kyle Denis: I think that the heated responses to the “Karma” remix and her whirlwind fling with Matty Healy were glimpses of what the tipping point looks like for Taylor. I think there was enough significant backlash to prove that she can do wrong in 2023, but she’s still big enough that her brand isn’t irreparably damaged. Seeing that she’s already starting to distance herself from Healy, it’s clear, to me, that Taylor is aware that she may have been flying too close to the sun. 

Generally, between such a massive tour, an active album campaign, and yet another re-recording due next month, Taylor will remain at risk of overexposure until she completely steps away from the limelight for a bit. Although her work-centric approach to social media helps solidify some boundaries to counterbalance her ubiquity, the volatility of online discourse and attitudes will ensure overexposure remains a constant threat. Nonetheless, if there’s any pop star who can take on that challenge and come out alive, it’s probably Taylor Swift.

Jason Lipshutz: After 2022 was jam-packed with A-list album releases — Beyoncé, Harry Styles, Bad Bunny, SZA, Drake, Kendrick Lamar, and of course Swift, to name a few — this year has been relatively light on superstar activity, which has helped Swift dominate headlines and attention even though she hasn’t actually released much new music. That’s a testament to the gargantuan scale of the Eras tour, as well as how enormous Swift is right now in general. As the Eras tour winds down in the United States and we start getting word of some major releases for the second half of 2023, however, I’d predict that think some of that attention will naturally melt down. Or who knows? Maybe Speak Now (Taylor’s Version) conquers the world upon its release next month, and I’m totally off-base.

Andrew Unterberger: After proving herself on a commercial level all her own last year, Taylor Swift definitely seems to be viewing 2023 as a victory lap year — and she seems to be determined to make the most of it. And she should. This is what great pop stars do when they’re in their imperial phase (or in Swift’s case, her second or third imperial phase): They kinda do any and everything, knowing that as great as things are going for them at the moment, there’s no telling what the next year holds, and they should take advantage of that rare moment when the public’s thirst for them seems unquenchable. And maybe that’ll run out in 2024, but it doing so at any point in 2023 seems pretty unlikely right now.

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.)

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.