Music News

On Friday (July 19), the music world received something it hasn’t gotten often over the last 10 years: a new “Weird Al” Yankovic song.

“Polkamania!” is not a new parody, but a polka medley, the type of which he would often include on his full-lengths — a mash-up of pop smashes performed by Yankovic, with his accordion coursing through the different melody snippets. Since he hasn’t released an album since 2014’s Mandatory Fun, which made history as the first comedy album to debut at No. 1 on the Billboard 200 chart, Yankovic had a decade’s worth of pop hits to select from, and created a pastiche of Hot 100 chart-toppers from across the past 10 years.

That list ranges from Taylor Swift’s “Shake It Off” to Olivia Rodrigo’s “Vampire” to the Encanto smash “We Don’t Talk About Bruno” — to, rather improbably, Cardi B and Megan Thee Stallion’s “WAP.” And the new song was also given an eye-popping music video, which sews together different styles of animation from some of Yankovic’s favorite filmmakers and collaborators.

Yankovic — who has kept busy over the past decade by touring, releasing a handful of remixes and scattered tracks, and working on the 2022 fictionalized biopic Weird: The Al Yankovic Story, which he co-wrote and co-produced — hopes that “Polkamania!” scratches an itch for longtime listeners, who have been waiting years for his new takes on popular music. “For some, I suppose it will be nostalgic,” the 64-year-old tells Billboard, “because it sounds very much like every other polka medley I’ve done, and they haven’t heard that in a while. And for some people, this will be a time capsule — if you’ve been out of touch and not listened to pop radio in the last 10 years, this is a good four-minute refresher course!”

Below, Yankovic discusses his new song, his decision to move away from the album format, and the artist who immediately OK’ed his latest parody. (Note: this interview has been edited for clarity.)

When did the idea for “Polkamania!” start coming together?

A while ago, maybe even a year ago. It’s been in the back of my mind for a while — I figured that I wanted to do something to celebrate the 10-year anniversary of Mandatory Fun. I wanted to come up with something new, so I’d have some new material to play next time I went out on the road. And a lot of years went by where I hadn’t done any parodies or polka medleys, and I just figured I had to kind of catch up — I had to do at least some commentary on the last decade in music. So this is my version of that.

Why was the 10th anniversary of Mandatory Fun important for you to commemorate?

Mandatory Fun is probably my last traditional “Weird Al” album. We released a double LP, the soundtrack to Weird, last year, and I’m sure there will be other projects like that. But in terms of actual “Weird Al” albums, I think that’s the last one, for a number of reasons.

But obviously I’m still trying to put out new material — it’s just that the album format for me has always felt a little restrictive, and not the best way for me to get my music out into the world. And I know that sounds a little ironic, because it’s not like I’ve exactly been prolific in terms of my recorded output in the last 10 years! But I still just feel like, I like the freedom of not having to release 12 songs all at once.

You spoke about moving away from the album model 10 years ago, when Mandatory Fun was released. Looking back on the past decade, do you feel like you made the right call?

Yeah, I think so. I don’t know if it makes sense in terms of a career or staying relevant, but those aren’t driving forces on my life — at this point in my life and career, I basically just want to do what feels right for me, what I enjoy doing. And I’ve taken a little bit of a break from recording, and have been focused on TV and film projects, and obviously a lot of touring as well. Recording is something that I would like to think will always be a part of my life and my career — it’s just that, now, I’m not beholden to a record label, I don’t owe anybody anything, and I just kind of work at my own pace.

Did “Polkamania!” come together like your previous polka medleys, in terms of the composition and squeezing the different melodies together?

Very much. I hadn’t done it in a few years, but it was kind of like riding a bike. I think this is my 13th or 14th polka medley, so it’s second nature to me. So the arrangement came together pretty quickly, once I had an approved list of songs that I could use.

Was it always going to be a smattering of different hits released over the past decade?

Yeah, that was always the idea. I think I actually even limited it to songs that had hit No. 1 on [the Billboard Hot 100], to have it narrowed down a little bit while looking at a decade’s worth of music. Then I made a little chart — like, how many weeks was this No. 1? Based on that, and based on my general feeling about how important each song was in the zeitgeist, I submitted my list to my manager, who then had the job of going out to all the artists and agents and managers and publishers and reps to see if we could actually get them cleared.

Did it take a while to get all the songs cleared, compared to previous songs or medleys?

It’s always about the same. Some people get back to your right away — I think [“Bruno” songwriter] Lin-Manuel Miranda took about 30 seconds. And some took a while, and I had to be more aggressive and track people down, see if I had any friends of friends that knew the artists, that kind of thing.

Listening to the medley for the first time and not knowing which songs are going to appear, I immediately recognized when you launched into “Shake It Off” or “Old Town Road,” but it took me a few seconds for “WAP,” and then I went, “Wait… is this…”

I have to say, that’s my favorite! Once we got the Taylor Swift song, I thought, “Okay, we’ve got a medley now” — but “WAP” was the one I was really, really hoping we would get, just because I thought that would be my personal favorite.

Who was behind the concept of the animated video?

A lot of people that I’ve worked with before, like Bill Plympton and Augenblick Studios and Ghostbot, and some people that I’ve been fans of for a long time – li-ke Cyriak, who’s a British animator who does these amazing surrealistic pieces, and Vivienne Medrano, who does Hazbin Hotel. It’s really an amazing list of talented animators, and I’m just thrilled with what they’ve come up with.

What’s it been like to prep a traditional song and video release like this again?

It’s fun! I mean, I haven’t had this kind of deadline and anxiety, everything that comes with a new release — the suspense of “How’s it going to do?,” and this kind of media blitz. We did a bit of that with the movie, but it feels a bit more personal when it’s your recorded work. So I’m very excited to be doing this project, and hopefully it’ll lead to more.

So what’s next? You’re always working on different projects…

I have five or six things that are in current stages of development, and I can’t speak of them, because some of them will probably happen and some of them probably won’t. So I’ve learned my lesson not to talk too much about things that might happen because, this town being what it is, oftentimes, things never work out. But hopefully a few things well! That’s what I’m counting on.