Music

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.

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.