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At one point during the first show of her long-awaited, highly anticipated Eras tour on Friday night (Mar. 17), Taylor Swift described herself as “really overwhelmed, and trying to keep it together all night.” It’s easy to understand: this enormous stadium trek, one of pop’s hottest tickets in years, also happens to be Swift’s first proper tour in five years, thanks primarily to the pandemic. The pop superstar has released a whopping four original albums (plus two re-recorded ones) since last hitting the road, and on Friday night at State Farm Stadium in Glendale, Ariz., she told the crowd that she had been dreaming about this day — the day that she could finally perform this wealth of new material — for a long time.
“Overwhelming” would also be an apt way to describe the sheer tonnage of the Eras tour: with segments dedicated to all 10 of Swift’s studio albums, the show entertained a sold-out, frequently screaming stadium audience for 3 hours and 15 minutes, as Swift tirelessly showcased her skill set and various artistic personas across a whopping 44 songs. The most dominant artist in popular music has used this live run to reflect on the various iterations of her career to date, and the achievement is often staggering, with costume changes, set-piece upheaval, vulnerable moments in a crowd of thousands and sing-alongs that will rival the scope of any tour this year.
The Eras tour is going to satisfy a lot of Swift diehards in the coming months, who will surely find their own favorite pockets of the set list. And while Swift fans should embrace the entire experience, the opening night provided some clear-cut highlights. Here are the 13 best moments from the Eras tour kickoff in Glendale on Friday night:
The Cathartic Opening of “Cruel Summer”
Although Swift technically opened the show with part of a different Lover track, “Miss Americana & The Heartbreak Prince,” the brilliant synth-pop single “Cruel Summer” was the first to get the full, stadium-show treatment, complete with a raised platform, backup dancers and Swift unveiling a diamond-encrusted one-piece with matching tall boots. For both the fans in attendance and Swift herself, the song seemed to represent an exhalation — this tour was finally happening, and this immaculate song, three-and-a-half years old at this point, was finally being performed.
The First Era-Hop, Into ‘Fearless’
“Tonight, we’re going to be going on an adventure, one era at a time!” Swift declared a few songs into the show — a concept that truly sunk in a few minutes later, when the first era of the evening, Lover, gave way to Fearless both in the set list and stylistically. Gone was the glitter getup and deep pop rhythms, replaced with a fringe dress and sunny country licks from Swift’s acoustic guitar, as she jumped into the Fearless title track, “You Belong With Me” and “Love Story.” The “Fearless” change-up marked the moment that the idea of the Eras tour fully snapped into place, and the crowd was enthralled with the approach.
Taylor’s ‘Evermore’ Defense
In the middle of the Evermore mini-set, Swift sat down at a moss-covered piano and talked to the audience about how gratifying it was that she was finally getting to perform her “four new members of the family” — Lover, Folklore, Evermore and Midnights, the four albums she’s released since her last tour. She added that Evermore “is an album I absolutely love — despite what some of you say on TikTok!” She paused for comic effect, then deadpanned, “I’ve seen it. I’ve seen all of it!” Even if some TikTok users haven’t warmed as much to Folklore’s counterpart, Swift gave Evermore prime placement in her set list, with a total of five songs performed from the album, including “’Tis The Damn Season,” “Willow” and “Tolerate It.”
The Unexpected “Don’t Blame Me” Showcase
When the Evermore part of the set ended and snake scales appeared on screen, everyone in attendance knew that Reputation was next up — and while singles like “…Ready For It?,” “Delicate” and “Look What You Made Me Do” were all delivered with high energy, “Don’t Blame Me” was bestowed with a fiery passion that, even compared to how its swooping harmonies were presented on the Reputation tour, elevated the album cut. Quite literally: Swift sprung skyward on a platform while attacking a big, showy note during the song’s climax, making for one of the more memorable technical performances of the evening.
“Enchanted” as the Dramatic ‘Speak Now’ Representative
It’s hard to quibble with set list exclusions when the set list in question contains 44 songs… but still, Speak Now are not going to be thrilled that the Eras tour contains only one song from that particular era. At least that song stood out as a highlight: “Enchanted” found Swift in a flowing ball gown maximizing the emotional stakes, with acoustic strums laying the groundwork for a full-band crescendo. If “Mine,” “Back to December,” “Mean” and “Dear John” aren’t getting any burn on this tour, “Enchanted” will have to be a powerhouse for the third-album diehards… and on opening night, it was just that.
The Extended Version of “All Too Well”…
After rolling through Red highlights like “22,” “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble,” Swift spoke to the audience about how meaningful the success of both the original Red in 2012 and the re-recorded version in 2021 had been for her. Then, Swift asked if the crowd had an extra 10 minutes to spare. The chart-topping 10-minute version of “All Too Well” followed the roars in response, and naturally functioned as a centerpiece for the entire set, arriving roughly at the halfway point and becoming an emotional anchor for the evening. By the time that paper snowflakes fell across the stadium during the final minute, the magic of the moment was widely accepted.
…And the Three-Word Shout-Along Within “All Too Well”
When you attend a Taylor Swift show in 2023 (and beyond), you simply will not experience a bigger sing-along moment than the phrase “F–k the patriarchy!” In the 10-minute “All Too Well.” Not only does everyone in attendance sing along, they scream along, and wind up to it in the preceding lyrics! Talk about magic! Count on Swifties loudly flipping off men in power, in unison, for years to come.
‘Folklore’ Deep Cut-Turned-Viral Smash “August”
Taylor Swift pays attention to her fans — when she says she’s seen the Evermore hate on TikTok, she’s kidding around, but rest assured she’s actually seen it. So when deciding which tracks from the sprawling Folklore to play, there’s no doubt that Swift noticed the fan adoption to “August,” which wasn’t a focus track upon the album’s release but has since become a fan favorite that’s often bubbling up on social media (especially during the titular month each year). The mass sing-along of “August” may have caught some offline attendees as a surprise, but Swift’s fans fiercely love the wistful folk-pop track, and demonstrated their appreciation at the opener.
The Neon Golf Clubs of “Blank Space”
Swift’s backup dancers rode out on neon-lit bicycles during her performance of the 1989 smash, but that was only prelude to one of the night’s better visuals: Swift and her cohorts brandishing blue-lit golf clubs during the bridge, and then smashing an animated car (a la Swift’s crazed attack in the “Blank Space” video) on a mid-stage screen, each new dent in time with the song’s beat. It was difficult to look away from the spectacle, and became the sort of sight gag that sticks with you long after the show has wrapped.
The Surprise Acoustic Track
Deep into the evening, Swift grabbed her guitar and announced that she planned to perform an acoustic song that wasn’t included in the Eras set list during the tour, with the hope of never duplicating the song she selected for each performance. It’s a strong move in theory — even after the Eras set list gets mulled over endlessly, there will still be a new surprise each night — and was even better in practice, as the achingly beautiful “Mirrorball” was selected for the first performance. The acoustic tracks probably won’t be as strong as the Folklore standout on a nightly basis, but for the Glendale audience, the choice made opening night even more special.
The “Anti-Hero” Metaphor Comes to Life
Earlier in the evening, Taylor Swift gave a begrudging shout-out to everyone in the audience who was dressed like a “sexy baby” in tribute to the “Anti-Hero” lyric; later, when her latest No. 1 smash was performed, Swift embodied the “monster on the hill” line that follows it. On the video screen behind her performance, Swift turned herself into a Godzilla-esque creature terrorizing a city before glumly sitting on (and destroying) an office building. On a night with a lot of impressive choreography and stage setups, that straightforward visual — Swift as the problem, it’s her — became one of the more interesting spectacles of the show, and added to the performance of the hit single.
The “Vigilante Shit” Dance Routine
Speaking of spectacle: Swift goes full-on burlesque alongside her dancers for the Midnights standout, dancing on and around a chair and having an absolute blast while doing it. The song comes about three hours into the performance, but Swift conjures every ounce of energy to turn one of the more sparsely produced songs in her catalog into an enthralling jam.
Ending With a Fan Favorite
The final era presented during the Eras tour is Midnights, and Swift could have capped it with a hit — “Anti-Hero,” of course, or maybe fast-rising follow-up “Lavender Haze.” Instead, she concludes the evening with a trio of non-hits that fans truly adore: “Bejeweled,” “Mastermind” and “Karma.” The logic behind that decision is simple: the Eras tour is less about hits than it is about fan service, and ending on a song like “Karma” nods to those who inhale every song on a Swift track list instead of just paying attention to the singles. This run of shows is for the fully committed Swift listeners, and an album cut like “Karma” is the perfect way to bid them adieu for now.
More than perhaps any other show in the history of television, RuPaul’s Drag Race has always prided itself on creating a space for the intersection of pop culture and queerness. Whether it’s in a lip sync for your life to a famous LGBTQ anthem, or a pitch-perfect Snatch Game impersonation of a gay icon, Drag Race delivers a bevy of queer cultural moments every year.
In the series’ more recent seasons, one particular brand of those moments emerged as a fan-favorite: the Rusical challenge. Since the debut of “Shade: The Rusical” back in season 6, every main season of Drag Race has featured the now-iconic challenge where queens are tasked with picking roles and creating on a show-stopping theatrical experience. Complete with costumes, choreography and the occasional 11 o’clock number, the Rusical challenge is a near-perfect way to celebrate the queer community’s undying obsession with musical theater.
Just like Broadway itself, pretty much anything can be turned into a Rusical: Some challenges have seen queens telling an original story about drag ingenues interacting with evil queens; others have seen them telling the lightly altered stories of pop divas; one even saw the queens attempting to sell fake pharmaceutical products. In the case of season 15, the queens will be performing in their very on Footloose parody, Wigloose: The Rusical on Friday (March 17).
What makes a good Rusical performance? Below, Billboard takes a look back at every Rusical performance in the history of RuPaul’s Drag Race and RuPaul’s Drag Race All Stars, and ranks them from worst to best based on their general concepts, execution, music and overall impact. Take a look at where your favorite Rusical ended up below:
‘PharmaRusical’ (Season 10, Episode 2)
Concept: Who came up with this? It’s sort of funny, but ultimately very strange and random to take the format of drug infomercials and transform them into drag puns that sort of become songs. We don’t need to hear a song about a drug called Badonkadonx that will give you a bigger butt — even when it’s trying to be over-the-top and campy, it still fizzles out.
Execution: It’s tough to remember a single performance from such a strange Rusical. The Vixen made the most out of what she was given, and Mayhem Miller’s ballad about anal options was objectively funny. The rest largely got left in the background.
Music: The songs of this Rusical are disjointed, skipping around frequently from hip-hop to Broadway to pop at a frenzied pace. There’s not a lot to say here – there’s very little that’s actually successful in this music.
Overall: Especially in a season that had another (much better) Rusical, the PharmaRusical was a forgettable experience, and one that you certainly don’t need to think too much about. If you’re looking to rewatch old episodes, feel free to skip this.
Glamazonian Airways (Season 7, Episode 2)
Concept: While being slightly more coherent than the PharmaRusical, Glamazonian Airways still elicits the question, “Why?” Spoofing airline takeoff videos makes a bit more sense than satirizing pharmaceutical commercials, but it isn’t exactly ripe for comedy.
Execution: Mrs. Kasha Davis served a full ham dinner, which is the only sensible choice for this strange lip-sync experience. Ginger Minj earned her win with her choreography and her wacky faces. Most of the other queens in this challenge did a serviceable job, with only Katya, Miss Fame and Sasha Belle standing out for their struggle with performing the number.
Music: With a top 40 pop feel to each of the songs, there’s a plenty of continuity here. There’s nothing particularly exciting about the selections, but they certainly aren’t bad.
Overall: Glamazonian Airways is another rare swing-and-miss among the Rusical challenges. Especially when compared to later entries on this list, this season 7 challenge failed to take off.
Kardashian: The Musical (Season 9, Episode 5)
Concept: Now this is what we call a concept. Taking a Broadway sensation like Hamilton and parodying it by changing the subject to reality TV royalty is a perfect way to get both the competing queens and the audience at home invested in what’s happening.
Execution: Unfortunately, even with such a good concept, two queens ended up bearing the weight of this Rusical on their shoulders. Alexis Michelle’s unhinged portrayal of Kris Jenner was perfect for the challenge, and Shea Couleé’s Blac Chyna was an absolute scene-stealer. But in a musical centered around the role of Kim Kardashian, it’s hard to watch Cynthia Lee Fontaine’s strained stint in the spotlight.
Music: The music isn’t bad, per se. But when the reference point you’ve chosen to mimic is a musical like Hamilton, there’s suddenly a lot of expectation to live up to. The “club song” featuring Britney Spears, Paris Hilton and Lindsay Lohan was fun, as was “Momager,” but the moments meant to directly reference Lin-Manuel Miranda’s magnum opus fell apart.
Overall: The idea of Kardashian: The Musical is greater than the sum of its parts. While the concept should work, the only truly memorable parts of this performance were Alexis Michelle, Shea Couleé, and Nina Bo’nina Brown constantly insisting that she should’ve been Blac Chyna.
Shade: The Rusical (Season 6, Episode 4)
Concept: As the first-ever Rusical, the idea behind Shade is simple; what happens if we take some classic stage tropes and reflavor them for drag queens? A winsome ingenue, a jaded diva, a brassy villain, a Greek chorus — they hit all of the marks. It’s not particularly inventive, but hey, it’s not really meant to be.
Execution: Courtney Act, Adore Delano and BenDeLaCreme are absolute stars in this Rusical. Courtney and Adore nail the live singing, and BenDeLaCreme is pure camp as the eye-patched, leopard-printed villain. Outside of that, there’s not a lot to say; queens like Darienne Lake and Gia Gunn struggled with their singing, while Trinity K. Bonet and April Carrion looked lost on the stage.
Music: As RuPaul once said to Nina West and Silky Nutmeg Ganache: “Meh.” This musical was designed to be campy and funny, not musically exciting.
Overall: Shade: The Rusical kicked off the Rusical challenge trend on Drag Race, and featured a number of highly entertaining, memorable performances. But taken altogether, the numerous rough patches showed some of the kinks that still needed to be worked out for the future of this challenge.
Cher: The Unauthorized Rusical (Season 10, Episode 8)
Concept: Considering that The Cher Show, an actual Broadway musical exploring the life of this pop icon, was already in the works at the time of this Rusical’s release, it’s safe to say that the concept is solid. This is a simple, fun way to give each queen the spotlight, by having them highlight a different era in the Goddess of Pop’s decades-spanning career.
Execution: The good largely outweighs the bad here — Kameron Michaels’ ’60s Cher had great vocals and a very funny impersonation, Monét X Change proved that she could sing the house down, and Miz Cracker delivered one of the best (and frankly, underrated) performances of the show as Vocoder comeback Cher. A few queens stumbled, like The Vixen and Asia O’Hara, but even then, the queens still worked this number out.
Music: While the performances in this challenge made us Believe, the music was not Strong Enough. The verse for Miz Cracker’s comeback Cher, including like “I know the gays will buy this/ And I know Britney will try this” is far-and-away the best, while the Movie Star Cher section sounds like it’s pulled from another project entirely. When the music works, it works — unfortunately, there are more than a few sections where it doesn’t.
Overall: The format of this unauthorized Cher Rusical, along with some high-quality performances from the queens of season 10, make up for the music’s dip in quality.
Social Media: The Unverified Rusical (Season 13, Episode 8)
Concept: Taking each major social media platform and personifying them into a cast of wildly unhinged characters is an easy, albeit hackneyed plot device that leads to all kinds of ridiculous on stage shenanigans. It’s fun, it’s campy, it’s what you’ve come to expect from a Rusical. It’s certainly not worth a downvote, but it’s not getting retweeted any time soon.
Execution: The queens did a pretty good job in this challenge, with a few exceptional standouts, and a few who we simply must swipe left on. Rosé, as expected, killed her role as Foxy, Denali and Gottmik’s Russian bots had us rolling, and while the judges were focused on a mistake Tina Burner made in character, we couldn’t help but absolutely adore her performance as the evening’s emcee, Friendster. Meanwhile Symoné and Kandy both fizzled in their respective roles as Instagram and LinkedIn, while Elliott with 2 Ts’ TikTok impersonation felt like it simply could not pass the vibe check.
Music: The song parodies here are very good — rewriting both the music and lyrics of Barbra Streisand’s iconic Funny Girl showstopper “Don’t Rain On My Parade” to fit the theme was the strongest choice of the night, with the nods to Broadway staples like “The Cell Block Tango,” “Do You Hear the People Sing?” and even “I Am the Very Model of a Modern Major-General” picking up a lot of the slack from the bland story.
Overall: While the concept may not have been particularly inventive or interesting , Social Media: The Unverified Rusical was saved by smart musical numbers and showstopping performances from a few of the queens. Feel free to give it a like.
Trump: The Rusical (Season 11, Episode 4)
Concept: Some fans were very trepidatious about Drag Race making light of the controversial president and his lackeys with this Rusical — but looking back, this was probably the most on-brand way for Drag Race to address the Trump administration. Turning Grease into a political spoof where the queens get to openly mock those surrounding Trump (and praise those who opposed him) was about as good of a concept as we’ve seen in these Rusicals.
Execution: The queens did a great job on this yuuuuge challenge. Silky Nutmeg Ganache stole the spotlight with her Oprah Winfrey number, Nina West’s turn as Sarah Huckabee Sanders was gut-busting, Ariel Versace nailed the leading role of “Shandy,” and Yvie Oddly’s deranged Kellyanne Conway was exactly the right amount of crazy. But without uttering a single word, Ginger Minj’s guest star turn as Donald Trump himself was the show-stopping moment of this entire Rusical.
Music: It’s not easy to create multiple parody songs about political corruption in the style of Grease, but Drag Race managed to do it. While not every number was a winner, the vast majority of them hit their marks as needed, and deftly walked the line between imitation and original.
Overall: Trump: The Rusical had the potential to fall flat on its face, yet it managed to be one of Drag Race‘s most consistent Rusicals. It was over-the-top, funny, and kept the spirit of Grease intact throughout, all while getting to throw up a big middle finger to the Commander in Chief.
VH1 Divas Lip Sync Live (‘All Stars’ Season 3, Episode 2)
Concept: Simplicity, it turns out, is key when putting together a Rusical. With Drag Race and All Stars having made the official move over to VH1 , creating a musical around the network’s iconic Divas series made perfect sense for the show — and felt like a simple, easy way to both reimagine tracks from RuPaul’s catalog and let the queens embody some of their favorite chart-topping artists.
Execution: Simply put, everyone did great. BenDeLaCreme was born to shake her ass while impersonating Julie Andrews, Shangela’s Mariah was spot-on, Trixie Mattel could pull off Dolly Parton in her sleep, and Bebe Zahara Benet looked like the spitting image of Diana Ross herself. Even Thorgy Thor’s turn as Stevie Nicks, while less impressive than some of her cohorts, was still unbelievably entertaining to watch.
Music: Retrofitting each of RuPaul’s singles for different divas — spanning genres like pop, country, rock, adult contemporary and more — is a Herculean task. But each song fit every queen and made the performance that much more fun to watch, anticipating just how they would take a song like “Peanut Butter” and make it work as a Celine Dion showstopper.
Overall: From top to bottom, this challenge checked every box it needed to, and earned its Diva title.
Bitch Perfect (Season 8, Episode 2)
Concept: With Pitch Perfect‘s continued cultural dominance back in 2016, this challenge was a perfect way to honor (and poke fun) at the impact of a cappella. There’s no need for a convoluted plot or fleshed-out characters when all we really want to see is our favorite drag queens competing in different collegiate singing troupes.
Execution: Go back and watch Bitch Perfect and try not to have a great time. Everyone in this challenge is giving their best, campiest performance art, and absolutely working out the choreography. The late, great Chi Chi DeVayne is an immediate standout — her handstand-twerk continues to impress us to this day — while Thorgy Thor’s unbridled energy is infectious. Kudos to every single one of these queens.
Music: This is some of the best music ever put to the stage in a Rusical challenge. Whether they were going for bubblegum pop on “Jealous of My Boogie” or scintillating hip-hop on “Geronimo,” every a cappella arrangement in this performance was absolutely stellar.
Overall: It may not be the first one that comes to mind for some fans, but Bitch Perfect is far and away one of the best Rusical performances ever brought to the mainstage of Drag Race. Everybody say “underrated!”
Moulin Ru! The Rusical (Season 14, Episode 12)
Concept: This story is about … drag. The idea here is pretty simple — taking the hit film and Broadway musical Moulin Rouge, re-translating it using the music of RuPaul herself, and casting drag queens (as well as Leland and Leslie Jordan) in the roles. With a built-in and already beloved story, you have yourself a winning formula for a Rusical.
Execution: Can we get a standing ovation? Throughout this marvelous Rusical, each of the seven queens did a fabulous job pulling out all the stops to ace the monumental task of telling the story of Moulin Rouge armed only with RuPaul’s repertoire. Some queens, though, sparkled more than others — Lady Camden in particular, in her Harold Ziegler-adjacent role as “Mama Z,” stole every moment she appeared, nefariously stroking her beard and twiddling her mustache. Willow Pill also managed to shine as the Green Fairy with her high-energy, ratcheting-up performance in the show’s back half.
Music: Producers Leland and Gabe Lopez nailed the assignment. Each of the tracks throughout the Rusical took on RuPaul’s songs — including “Cover Girl,” “Freaky Money” and “Jealous of My Boogie” — and gave them that dramatic, brassy twist that makes Moulin Rouge so fun to listen to over and over again. Also, listen closely to that Green Fairy medley, and you’ll hear the beautiful vocal stylings of Allie X giving a truly unhinged performance.
Overall: Season 14’s installment of the annual Rusical challenge was, to borrow a phrase, spectacular-spectacular. With a clear-cut concept, some entertaining takes on RuPaul originals and a series of show-stopping performances, Moulin Ru will go down as one of the best Rusicals in the show’s herstory, come what may.
HERstory of the World (‘All Stars’ Season 2, Episode 3)
Concept: Taking a tour through history, guided by a handful of the powerful women who helped shape it? Brilliant. Not only is the concept easily accessible for fans, but it opens the door for hilarious performances and creative liberties with music throughout history. Someone in the Drag Race writers room deserved a raise for this concept, and we hope they got it.
Execution: Even the judges had a hard time finding faults in these performances. They ended up singling out Katya and Ginger Minj, but both excelled in the challenge — Ginger’s absolutely unhinged Catherine the Great was hilarious to watch, and Katya’s Princess Diana felt spot-on. Of course, the two scene stealers were Detox as a neon-colored, opera-singing Marie Antoinette, and Alyssa Edwards’ rootin’, tootin’, gun-shootin’ Annie Oakley. If there had been an audience, we would have expected a standing ovation.
Music: With every song, the producers upped the camp factor, making this challenge even funnier than it needed to be. Making hard pivots from heavy metal to opera to rockabilly to salsa, the music in HERstory of the World is insane — and yet every song works for the context it’s put in.
Overall: While it was far from the first Rusical, HERstory of the World certainly helped cement the Rusical’s status as a mainstay challenge on Drag Race, thanks to how exceedingly well it was executed.
Madonna: The Unauthorized Rusical (Season 12, Episode 7)
Concept: The fact that we don’t have a real-life Madonna jukebox musical is, frankly, criminal. With a songbook as iconic and versatile as Madonna’s, Drag Race would be foolish not to pay homage to the Material Girl’s career through a Rusical.
Execution: First things first — yes, Jan was robbed. The New York City queen slayed every vocal, nailed every dance move, and was a near-perfect embodiment of Early Madge. But when you look at the rest of the talent in this Rusical, it’s understandable why the judges had such a hard time choosing who should win the challenge — everyone was phenomenal. Gigi Goode’s True Blue-era impersonation was endlessly entertaining, Jaida Essence Hall served pure sex, Crystal Methyd was ridiculous (and really good!), and even Brita (who ended up sashaying away in this episode) did an excellent job portraying the iconic cone-bra phase of the Queen of Pop’s career.
Music: One word: composition. Nailing a parody song is a difficult task, but each and every track in the Madonna Rusical perfectly evokes a specific song in her catalog without directly using its melody. Every song managed to be both funny and good — a feat that no other Rusical accomplished quite like this one did.
Overall: This Rusical had everything — incredible performances, a strong well of material to pull from, excellently orchestrated music and stellar choreography. Frankly, no other Rusical compares — Madonna: The Unauthorized Rusical is unquestionably the best Rusical in the history of Drag Race. Period.
Jimmy Fallon loves a good prank. The late night talk show host is known for playing tricks on his fans and famous friends, and most recently made his way into The Voice auditions.
On March 7, Fallon pretended to blind audition for the NBC singing competition’s coaches Blake Shelton, Kelly Clarkson, Niall Horan and Chance the Rapper, delivering a performance of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near).”
Clarkson, Horan and Chance all turn around to take a peek at who the mysterious singer is, but Shelton remained unfazed by the prank. Saturday Night Live alum then walks offstage and presses the country star’s button for him. “You broke the rules!” Shelton jokingly scolds him, grinning when he sees Fallon’s face.
However, The Voice mischief is just the tip of the iceberg when it comes to Fallon’s pranks. We’ve rounded up five of our favorites, which you can check out below.
The Switch of the Jimmys
When April Fool’s Day came around in 2022, Jimmy Fallon and Jimmy Kimmel knew exactly what to do. The two late-night hosts took inspiration from The Parent Trap, as Fallon went over to the Jimmy Kimmel Live studio in Los Angeles and Kimmel when to the Tonight Show studio in New York City for the day’s show.
“This is something we’ve been planning for years, it was a top secret operation,” Kimmel said of the Jimmy-themed prank.
Watch it go down here.
Accidental ‘Game of Thrones’ Spoiler
When Fallon had Maisie Williams as a guest on The Tonight Show, the duo began talking about the final season of Game of Thrones, in which the actress plays Arya Stark.
While chatting, Williams seems to accidentally reveal that her character dies in the second episode of the final season — which, we now know, isn’t true. She then looks shocked and covers her mouth with her hands. Fallon assures the visibly upset actress, telling her that they can re-film the segment. She then storms offstage, before the duo reveal that the whole scene was a big April Fool’s Day prank.
Watch it here.
Paul McCartney Elevator Prank
Fallon and Beatles legend Paul McCartney surprised people who thought they were taking a run-of-the-mill tour of 30 Rockefeller Plaza by setting up scenes to appear in when the elevator doors opened on their floor.
The unsuspecting tourists caught hilarious glimpses of the celebs lounging around in smoking jackets, performing magic or battling in ping pong.
Watch it at the three-minute mark here.
Dua Lipa Superfan
OK, so this one isn’t technically a “prank,” but it’s too cute to not include. Papa Richy, an 80-year-old grandfather who loves Dua Lipa went viral on TikTok after his family gave him tickets to the Future Nostalgia singer’s concert.
So, when Lipa appeared on the Tonight Show, Fallon put together a surprise for Richy — meeting the pop star in person. The tricked the grandpa by making him believe he was going on a radio show when he was actually walking out onto the talk-show host’s stage with his granddaughter Kadie Bernstein.
“I got to dance with Dua!” Papa Richy shouted to the audience after it all went down.
Watch the sweet moment here.
‘Ben & Jerry’s’ Surprise
To celebrate the release of his “Tonight Dough” ice cream flavor, Fallon played a fun prank on fans who were testing the treat down in 30 Rock’s Ben & Jerry’s Scoop Shop.
Employees at the shop encouraged fans to try to ice cream from a robotic arm attached to the wall. Little did they know, Fallon was inside the robot operating the arm, and he later surprised the customers when he began talking to them through a hole in the wall.
Watch it here.
Justin Timberlake is no stranger to a good collaboration. His wide-ranging voice blends seamlessly throughout a number of genres, and his decades-long experience in the music industry has allowed him to make several high-profile, talented friends along the way.
In 2020, the Trolls World Tour soundtrack was unleashed with the help of two new Timberlake duets: “The Other Side” (with SZA) and “Don’t Slack” (with Anderson .Paak). Most recently, in 2022, he teamed up with Calvin Harris, Halsey and Pharrell Williams for “Stay With Me,” featured on Harris’ Funk Wav Bounces Vol. 2.
In honor of his decades of music magic, we’ve compiled a list of our favorite JT collabs, from pop to hip-hop and R&B. See them below.
“Dead & Gone” – T.I. feat. Justin Timberlake
In 2008, this song was inescapable. The single came following T.I.’s smash Paper Trail album, which claimed two Hot 100 No. 1s with “Whatever You Like” and the Rihanna-assisted “Live Your Life.” T.I.’s flow mixed with JT’s melodic chorus paints a cinematic picture of leaving your old self in the past.
Listen here.
“My Love” – Justin Timberlake feat. T.I.
Speaking of T.I. collabs, 2006’s “My Love” was a definite standout from Timberlake’s FutureSex/LoveSounds album. The album is still a staple at clubs, and gets the whole crowd going with the instantly recognizable opening line of “Ain’t another woman that can take your spot, my love.”
Listen here.
“SexyBack (Remix)” – Justin Timberlake feat. Missy Elliot & Timbaland
Yes, we all know JT brought sexy back with Timbaland on his 2006 hit, but did you know the song got a fun twist from Missy Elliott? The DJ Wayne Williams Ol’ Skool Remix of the tune features a new opening verse from Elliott and another flow before Timberlake’s last verse. Elliott puts references the already risqué lyrics in her own way by rapping, “Don’t you like the way I make you be my little slave?/ Whip you like a kid every time you misbehave.”
Listen here.
“Love Sex Magic” – Ciara feat. Justin Timberlake
The songstress called on JT for her 2009 Fantasy Ride tune. The duo trade honeyed and sultry verses alongside an equally seductive music video in which Ciara gets flexible on an attentive Justin.
Listen here.
“TKO (Remix)” – Justin Timberlake feat. A$AP Rocky, J. Cole and Pusha T
A total knockout to say the least. A$AP Rocky, J. Cole and Pusha T trade verses on a cold-hearted woman over The 20/20 Experience track’s menacing beat, before JT comes in with the explosive chorus.
Listen here.
“Holy Grail” – Justin Timberlake feat. Jay-Z
Jay-Z and JT explore the struggles with fame in the lead single off the rapper’s 2013 album, Magna Carta Holy Grail. “Caught up in all these lights and cameras/ But look what that s—- did to Hammer/ Goddammit I like it,” Jay-Z raps in his verse, in response to JT’s proclamation, “Sipping from your cup ’til it runneth over, Holy Grail.”
Listen here.
“Cabaret” – Justin Timberlake feat. Drake
JT’s process for seduction is laid out in the alluring “Cabaret,” featured on his 2013 album, The 20/20 Experience. Drizzy hops in for a high-energy third verse, rapping, “Got a bunch of old girls that I threw away for ya/ I been in the gym doing two-a-days for ya/ So I can lift ya up when I do the thang to ya.”
Listen here.
“Until the End of Time” – Justin Timberlake feat. Beyonce
The originally solo song off FutureSex/LoveSounds got a dreamy remix thanks to Queen Bey, as the duo muse about everlasting love.
Listen here.
“Like I Love You” – Justin Timberlake feat. Clipse
Still one of Timberlake’s fan favorites, “Like I Love You” was the lead single off his 2002 debut solo album, Justified. The must-have tune for a night out features production from The Neptunes (Chad Hugo and Pharrell Williams) and a verse from Clipse (Pusha T and No Malice).
Listen here.
“Ayo Technology” – 50 Cent feat. Justin Timberlake
“Ayo, I’m tired of using technology/Why don’t you sit down on top of me?” Timberlake declares to his “new-age” girl in the chorus of this 2007 hit, which peaked at No. 5 on the Hot 100.
Listen here.
“Rehab” – Rihanna feat. Justin Timberlake
RiRi called on the crooner for the Good Girl Gone Bad cut for the background vocals, and the two get close in the steamy music video.
Listen here.
“Suit & Tie” – Justin Timberlake feat. Jay-Z
The moment we had all been waiting for in 2013. Timberlake had been on a six-year hiatus since the release of FutureSex/LoveSounds, and finally satisfied fans itching for new music with the release of The 20/20 Experience’s lead single, “Suit & Tie.” The sleek, nostalgic tune features a guest verse from frequent collaborator Jay-Z, who stunts that the duo are decked in “Tom Ford tuxedos for no reason.”
Listen here.
“Say Something” – Justin Timberlake feat. Chris Stapleton
JT’s 2018 album, Man of the Woods, only had two features, and they did not disappoint. “Say Something” was the star track of the album, marking Timberlake’s first musical dip into his country, Tennesseean roots. The modern-yet-acoustic feel to the tune is complete with Stapleton’s husky vocals and the duo’s soaring harmonies.
Listen here.
“Morning Light” – Justin Timberlake feat. Alicia Keys
Man of the Woods’ second collab comes in the form of the peaceful love song with vocals from Alicia Keys. “I’m in love with you/ Laying here in the morning light/ And all I want to do, is hold you tight just one more night/ Yes I’m in love with you,” the duo sing in the sugary sweet chorus.
Listen here.
“4 Minutes” – Madonna feat. Justin Timberlake
The Queen of Pop and Timberlake share a flirtatious back-and-forth in this 2008 hit, as they claim to have the four-minute length of the song to “save the world.” The urgency builds in the “tick tock tick tock” Madonna teases at the end before the tune’s final breakdown.
Listen here.
Side projects are an exciting component in music, because they offer fans the chance to immerse themselves in disparate sounds from their favorite acts that can be just as captivating as (or fascinatingly contrasting with) their primary outfits. The results may be unpredictable, but they let certain members of a group dive into sounds that might’ve not fit in their original band. Or they may be an extension of the riveting experimentation that already took place in their initial project, but with more emphasis on other instruments or styles.
Enter the electo pop-rock enigma of Astronomía Interior (AI): an electrifying mix of digital configurations that seem to radiate somewhere in outer space. It’s the latest side project of two Zoé bandmates — but this time, Jesús Báez and Ángel Mosqueda joined forces to release songs that “at times seemed to come from another world or a distant future,” as they describe. The duo released their eponymous debut album in January through Universal Music Mexico, and will perform at Vive Latino on March 18.
This is not the first time that members of Zoé have explored on their own. Frontman León Larregui continues to navigate his solo side with great success since Solstis (2012) and Voluma (2016). On Friday (March 10) the singer-songwriter releases his second set of two singles: “Chromocismic Ave,” a multilingual track with psychedelic touches, and “Holidays,” a gentle coo with guitar arpeggios, both from his upcoming album Prismarama due out later this year. (The band’s former drummer, Siddhartha, has also enjoyed a fruitful career on his own.)
Other prominent bands such as Maná have seen their members Sergio Vallín and Alex González launch side projects, and Gustavo Santaolalla, one of Latin America’s most important Latin rock producers, created a fascinating electronic tango project with Bajofondo, while also composing for film and more recently for the world of video games.
Side projects are defined by their inclusion of one or more artists who are primarily known for their participation in another group, such as Jay de la Cueva or De La Tierra, for example. They can also be an artist or band that temporarily and/or radically changes style – like HopPo! or Terri Gender Bender. Sometimes, those initiatives become bigger than what the artist anticipated, as in the case of Kumbia Queers, a rowdy troupe of punks who came from separate independent music projects.
Without further ado, here are 10 outstanding Latin music side projects of the last decade (in alphabetical order).
Astronomía Interior
Members: Jesús Báez and Ángel Mosqueda of Zoé
Astronomía Interior (AI) is the latest musical project of Zoé keyboardist Jesús Báez and bassist Ángel Mosqueda. As an extension of their musical versatility beyond the Mexican troupe, the duo shoots for the stars to “gradually build a constellation full of musical magic” that will form a “musical galaxy based on emotion and visuals,” as they describe in a press release.
In January, AI released its debut album Astronomía Interior, which contains hypnotic pieces of electro-pop brilliance such as “California”, “Un Día Especial” and “Estrella Fugaz.” The duo will be touring the U.S. this year and are confirmed for Vive Latino (March 18) and Pa’l Norte (March 31) festivals in Mexico.
https://www.instagram.com/p/CoDDLZqJ0xN
At The Drive-In
Image Credit: Andrew Benge/Redferns
Members: Omar Rodriguez-Lopez and Cedric Bixler-Zavala of The Mars Volta; Paul Hinojos, Tony Hajjar, and Keeley Davis (their most recent line-up).
It’s arguable that At The Drive-In should’t be considered the side project of The Mars Volta members Omar Rodríguez-López and Cedric Bixler-Zavala, since At The Drive-In happened first, and also both musicians have a variety of side projects. But given the greater commercial success they had with TMV (a group with whom they have released seven studio albums versus four), we will assert, for the purpose of this list, that the post-hardcore group eventually became their side project.
Formed in the 1990s, At The Drive-In is one of Cedric and Omar’s most recognizable projects. In 2000, they released one of their most acclaimed albums, Relationship of Command, a year before forming TMV. Since then, the original group went on hiatus, until reuniting in 2016 for one more brief period.
Both Omar and Cedric have been incredibly active in diverse spaces, where they have exercised their creative muscles in unpredictable ways. Other side projects of theirs include bands such as De Facto, Omar Rodriguez Lopez Group, Bosnian Rainbows and Antemasque.
Dante Spinetta
Known for: Illya Kuryaki and the Valderramas
Whether solo or with a group, Dante Spinetta is a star in his own right. The rapper/singer formed the pioneering Kuryaki and the Valderramas in the ‘90s in Buenos Aires when he was 14 years old, alongside Emmanuel Horvilleur, to tremendous international success.
At the turn of the decade, Dante released solo material that saw him delving deeper, with the riveting mix of hip-hop, funk and R&B heard in albums like Elevado (2002) and El Apagón (2007). With 2010’s Pyramide, the Argentine artist moved old-school rap and música urbana to the forefront.
Last year, the eccentric artist dropped his fifth solo album, Mesa Dulce, where fans could hear him embracing his funky and soulful side, while also welcoming rising stars like Trueno and CA7RIEL into the mix for a few features.
https://www.instagram.com/p/Co3M8uXshJq
De La Tierra
Image Credit: Martin DarkSoul
Members: Andreas Kisser of Sepultura, Alex González of Maná, Andrés Giménez of A.N.I.M.A.L., Harold Hopkins Miranda of Yupa, and previously Flavio Cianciarulo of Los Fabulosos Cadillacs
One decade ago, four musicians of internationally successful bands united to usher in Latin metal’s reawakening. It started with Mexican drummer Alex González’s yearning to explore a more hardcore sound outside of Maná’s pop-driven rock ballads. Enlisting A.N.I.M.A.L. frontman Andrés Giménez, bassist Flavio Cianciarulo of Los Fabulosos Cadillacs from Argentina and guitarist Andreas Kisser of Sepultura from Brazil, De La Tierra was born.
The all-star troupe released their eponymous full-length debut in 2015 and second album II the following year, which straddles death metal and slashing hard rock. Adding Puerto Rican bassist Harold to the lineup, after Flavio’s departure, the band released their last rock ballad, “Distintos,” which features Andreas’ crystalline acoustic guitar pluckings against Andrés’ fervent vocals.
Gustavo Santaolalla
Image Credit: César Guekian
Known for: Bajofondo, record producer, composer.
Gustavo Santaolalla’s range as a musician, composer and producer is impressive, and his diverse musical talents make it a bit difficult to see where the main project begins and the side project ends.
As a musician, the multi-instrumentalist co-founded the Uruguayan-Argentinian ensemble Bajofondo, with their gripping formula of tango and electronic music. Santaolalla had already helped establish the pioneering rock nacional band Arco Iris in the hippie era.
As a producer, Gustavo Santaolalla established himself as the man behind many of rock en español’s greatest records of all time. He helped pave the way for the genre’s cross-continental explosion, producing hits for megastars like Café Tacvba, Ely Guerra, Julieta Venegas, Maldita Vecindad, Los Prisioneros, Juanes and many more Latin rock icons.
As a composer, his film scores have been featured in some of the most important Latin American cinema — including award-winning 21st century films like Amores Perros, 21 Grams, Motorcycle Diaries and Babel. His works have also appeared in TV shows and video games.
HopPo!
Members: Rubén Albarrán of Café Tacvba, Juan Pablo “Muñeco” Villanueva, Carlos Icaza, Rodrigo “Chino” Aros, Giancarlo Baldevenito.
While on a break from Café Tacvba, the eccentric frontman Rubén Albarrán took advantage of his creative wanderlust to help form HopPo!, which means “Let’s Go” in the Dakota language. He teamed up with three Chilean musicians to create music that honored the Chilean song movement, including beautiful covers from Chile’s ‘60s protest leader and musician Violeta Parra.
Equipped with a charango, sitar, pan flutes, guitar and drums, the rock-leaning folk combo was a charming homage to the protest music of Latin America in its fight for social and political justice, causes that Albarrán has been very vocal about.
Their last song as HopPo! to date is the Jorge González cover, “El Futuro Se Fue.” González is best known as the frontman of the political pop-rock band Los Prisioneros. Other releases by the side project include the EPs Te Vas al Sur (2014) and La Maga y el Sadhu (2018).
https://www.instagram.com/p/Bo2k2WulZT6
Kumbia Queers
Members: Juana Chang, Pilar Arrese and Inés Laurencena of She-Devils; Flor Linyera; formerly, Ali Gua Gua of Las Ultrasónicas.
Starting off as a side project, Kumbia Queers made a big splash in the late ‘00s with their quirky tropical punk covers of the Cure, Black Sabbath, the Ramones, and Madonna, where they wrote original lyrics catered to their punk and queer lifestyle. With their knack for clever wordplay, signature fusion, and outrageous stage theatrics, the Argentine-Mexican queercore troupe capitalized on this niche and their “side” gig became a huge hit.
Their 2011 release La Gran Estafa del Tropipunk EP was an underground sensation, and songs like “Celosa” and “Daniela” have endured in the Latin alternative music catalog with humorous songwriting and danceable rhythms. They later followed that up with Pecados Tropicales (2012) and La Oscuridad Bailable (2019), in which they continued to embrace cumbia villera, with infectious synthesizers and an irreverent attitude.
https://www.instagram.com/p/CmcgCZ-OzK1
Mexrrissey
Image Credit: Shirlaine Forrest/WireImage
Members: Camilo Lara of M.I.S.; Ceci Bastida of Tijuana No!; Chetes of Zurdok; Sergio Mendoza of Calexico and Sergio Mendoza y la Orkesta; Jay de la Cueva of Moderatto, Fobia and Titán; Adan Jorodowsky of Adanowsky; Alex González of Twin Tones; and Alejandro Flores of Café Tacvba.
Comprised by Morrissey lovers, the Mexican supergroup reimagines songs by The Smiths’ frontman, as evidenced by their only album, No Manchester (2016). Founded by Camilo Lara and Sergio Mendoza, the cast of charro-clad rockers take turns performing songs by Moz. Complemented by a brass section and a vihuela, the album documents Britain’s fascination with bleak humor and Mexico’s knack for melodramas — just seek no further than the telenovela.
Passion, rebellion and melancholy take center stage as listeners watch the journey of a sad loner wandering through a republic full of agony, as heard in the song “Mexico.” With Jay de la Cueva’s angelic coo, Chetes’ swaggering sneer and Adanowsky’s warm vocals, “Estuvo Bien” is a great remake of “Suedehead.” Meanwhile, Ceci Bastida channels Moz’s cool in her surfy remake of “The Last of the Famous International Playboys,” refashioned as “International Playgirl.”
Sergio Vallín
Image Credit: Elishia Perosa
Known for: Maná
In Sergio Vallín’s first solo project, Microsinfonías (2021), Maná’s guitarist ventures into classical music, accompanied by the Prague Symphony Orchestra. For the seven-track, self-produced instrumental album, the Mexican artist composed the intro and outro, and reworked hits by Alejandro Sanz (“Cuando nadie me ve”), Marco Antonio Solís (“Dónde está mi primavera”), Maná (“Vivir sin aire”), and Juan Luis Guerra (“Bachata rosa”), demonstrating his versatility in conducting beautiful arrangements with piano and shimmering strings.
Teri Gender Bender
Known for: Le Butcherettes
Mexican-born singer-songwriter and guitarist Teri Gender Bender, better known as the frontwoman of Le Butcherettes, is stepping out of her usual zone to forge an identity of her own. Last year she released a series of lo-fi bilingual singles and EPs, including Saturn Sex and State of Fear. Her solo work is a sample of avant-garde pop in which the tapatía explores facets of her life with an idiosyncratic and experimental approach, without ever abandoning the distorted sound of her electric guitar.
https://www.instagram.com/p/Cl_8H85uec1
For centuries, love stories — in the form of songs, plays, books or films — have used the concept of “forbidden love” as a narrative device to heighten the tension and drive a story forward. So, should it really come as a surprise that LGBTQ artists write some of the best love songs around?
After all, queer folks were told on a regular basis throughout history that their way of loving was wrong (let’s be honest — in many cases and places, we are still being told that). So when given a platform to express themselves openly, it’s no wonder that LGBTQ talents have penned or performed exceptionally moving, deeply affecting love songs. Look no further than Melissa Etheridge’s “Come to My Window” or George Michael’s “Fastlove” for proof.
In recent years, as queer artists have gained more mainstream visibility in the music industry, the content of queer love songs has noticeably shifted in new, bold directions. No longer relegated to writing non-specific ballads of generalized longing, queer artists starting using proper pronouns for their lyrical lovers more regularly, explicitly spelling out the dynamics of relationships and taking the opportunities afforded to straight artists for years to sing frankly about sex and desire. Some of those songs have even gone on to top the Hot 100, making history for the LGBTQ community.
With so many gay love songs to choose from, Billboard decided to offer some help. Below, we list out 30 of our favorite gay love songs — specifically in which men sing about loving men — ranging from sensual dance bangers to tender pop ballads.
Breaking up is hard to do. When a relationship comes to a painful end, however, there is one bright side — you get to enjoy breakup songs in a way you might not have before.
It’s true: Taylor Swift, Olivia Rodrigo and SZA (who is Billboard’s 2023 Woman of the Year) just hit different once you’ve actually gone through the tender-hearted scenarios they so poignantly describe in their lyrics. Maybe you, too, have had an ex hang on to your old scarf because it smells like you, even after calling you up again just to break you like a promise. Or, maybe you had to watch as your partner left you for the older blonde girl they had previously told you not to worry about, possibly right before you passed your driver’s license test.
Or god forbid, maybe you’ve even been dumped by someone you uhh … had an intimate moment with at a theater, a la “You Oughta Know” (which is absolutely, without a doubt, 1,000% on this list). Hey, Billboard doesn’t judge.
But just as not all breakups are sad, neither are all breakup songs. Just ask Lizzo, whose self-love, leave-his-behind, booty-shaking bangers will transform listeners from heartbroken to happily single and ready to mingle. Alternately, allow Beyoncé’s discography to remind you just how much you’re worth. Or better yet, take a cue from Ariana Grande and simply say to your ex, “Thank you, next.”
Whether you’re angry, relieved, wallowing in grief or gleefully moving on from your latest romantic split, allow Billboard‘s 55 favorite breakup songs to ease you through the aftermath.
When you think of love songs, artists like Frank Sinatra, Etta James, The Beatles, Al Green and Dolly Parton are probably among the first that come to mind. Sure, it is country, pop and R&B that have seen most of the biggest hits under the everlasting theme — but “love songs” encompass much more than just sentimental ballads.
EDM may have a reputation for heavy bass drops and addictive synth beats, but a growing number of dance tracks feature thoughtful and emotional lyrics, too. Several top 10s have proven EDM’s reach goes beyond the club and rave scenes. DJs like Calvin Harris have made the genre more accessible to all music lovers — with Rihanna, Ellie Goulding, Frank Ocean and Migos being among the collaborators who’ve brought vocals to his skillful arrangements.
When words and EDM’s trademark pulsing beats join forces, it’s no surprise that love is among the most popular subjects. Whether the lyrics detail finding your soulmate or realizing you still having feelings for the one that got away, there are hundreds of electronic tracks pinpointing the fuzzy feeling you get when you’re around that special someone. Billboard has narrowed them down and put together a list of our favorite EDM love songs of all time.
Let’s be honest, saying “I love you” doesn’t always come easy. Or if it does, it can be hard to show it. Thankfully, music is there to do the work for you – or at least encourage you to show the one you love just how much you care. Listen to 55 dance-ready ways to say those three little words below.
Whether or not you celebrate, whether you find it sweet or mawkish, Valentine’s Day is good for one thing — grand, sweeping declarations of love.
Every year as Feb. 14 approaches, many significant others consistently try (to varying degrees) to turn their love lives into a scene from their favorite romantic comedies. Whether they’re channeling Heath Ledger from 10 Things I Hate About You to perform Frankie Valli’s “Can’t Take My Eyes Off You” with a full marching band, or evoking the spirit of Say Anything’s John Cusack for a simpler, boombox-assisted rendition of Peter Gabriel’s “In Your Eyes,” Valentine’s Day is the day to tell your partner — and everyone else in their general vicinity — just how much you fancy them.
Naturally, the catalyst for many a romcom romantic gesture is the music that accompanies it. Some love songs are just naturally thought of in moments like this — Taylor Swift’s “Love Story,” Beyoncé’s “Love on Top,” Bruno Mars’ “Just the Way You Are” and John Legend’s “All of Me” come to mind as perfect soundtracks for Valentine’s Day romanticism.
But what about artists from the LGBTQ community? In the extensive history of romcoms, queer folks don’t usually get to have their voices represented when it comes to the saccharine storytelling genre — so why not show your support by tracklisting your Valentine’s Day with songs from a community that often finds itself left out of the proceedings?
Below, Billboard lists 20 loves songs performed by LGBTQ artist for you to jam out to this Valentine’s Day.
Songs have been written about every topic imaginable, but the best ones — from swooning ’50s ballads to contemporary club bangers — have been penned about the ups and downs of being in love. We are counting down the top 50 Hot 100 hits with a form of the word “love” in the title. The romantic tunes cover every era of the Hot 100’s history, ranging from 1958’s “To Know Him Is to Love Him” by the Teddy Bears to 2019’s “Someone You Loved” by Lewis Capaldi. Love is a many splendored and many faceted thing, and this list has all types of love songs: tunes about “The Power of Love” (Huey Lewis), “The Greatest Love of All” (Whitney Houston), eternal love (Donna Lewis’ “I Love You Always Forever”) and NSFW lovin’ (Madonna’s “Justify My Love”).
It’s sonic proof that while musical fads and fashions will change with every generation, love — and the songs inspired by it — will never go out of style. And we have the numbers to prove it: 9.6% of all Hot 100 No. 1s feature the word “love” in the song title.
The ranking is based on actual performance on the weekly Billboard Hot 100 chart. Billboard’s Top 50 Love Songs of All Time ranking is based on weekly performance on the Hot 100 (from its inception on Aug. 4, 1958, through Feb. 4, 2023) and comprises songs that have the word “love” in its title (or a variation, like “lover,” “loving,” “lovely,” etc.). Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods. Songs are ranked based on a formula blending performance, as outlined above, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits from each era, certain time frames were weighted to account for the difference between turnover rates from those years.