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Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip. This week: An early great of the Billboard charts threatens her first new hit in many decades, a staple turn-of-the-millennium band connects with Gen Z and two new artists score viral breakout hits.
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See latest videos, charts and news
A Connie Francis Deep Cut Makes for a ‘Pretty’ Good Viral Moment
Connie Francis was one of the reigning queens of the Billboard Hot 100 in its early days. The late-’50s and early-’60s pop star scored a whopping 15 top 10 hits on the chart, including three No. 1s: “Everybody’s Somebody’s Fool,” “My Heart Has a Mind of Its Own” (both 1960) and “Don’t Break the Heart That Loves You” (1962). And over six decades after her commercial peak, Francis is once again having a big pop culture moment – but it’s not with any of those charting singles.
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“Pretty Little Baby,” a non-single from Francis’ 1962 album Connie Francis Sings Second Hand Love, has caught fire on TikTok in the past month. Users have been lip synching along to the “You can ask the flowers/ I sit for hours/ Telling all the bluebirds/ The bill and coo birds/ Pretty little baby, I’m so in love with you” verse of the song, often while wearing cute retro outfits and/or singing to actual babies, with over a million videos being created to the song (though the official sound’s page currently appears to be unavailable).
Regardless, the song has already begun to cross over from TikTok to streaming in massive numbers. As recently as the tracking week ending April 10, the song was earning just over 17,000 official on-demand U.S. streams a week – but four weeks later, that number was up to 2.4 million, a gain of over 7,000%. And it’s still rising at an incredible rate – even debuting on the Spotify Daily Top Songs USA and Global charts – meaning the song could soon be threatening a Hot 100 debut, a mere 63 years after its initial release. – ANDREW UNTERBERGER
OK TikTok: Radiohead’s ‘Let Down’ Goes Up in Viral Plays as Catalog Grows
One of the greatest emotional rushes within Radiohead’s sprawling discography is the final verse of “Let Down,” on which Thom Yorke’s quivering lilt soars higher and higher to achieve bracing, beautiful alt-rock catharsis. Even as “Karma Police,” “Paranoid Android” and “No Surprises” remain the signature songs from the band’s 1997 masterwork OK Computer, “Let Down” has long been a favorite among Radiohead diehards — and now, the song is slowly crossing over to casual fans, too.
TikTok has latched onto that euphoric final verse, particularly the line “One day, I am gonna grow wings,” with users reacting to (and often bowled over by) the song’s whooshing upward build. And those TikTok clips are starting to translate into real streaming momentum for “Let Down,” which was earning 1.83 million U.S. on-demand weekly streams a month ago (during the chart week ending Apr. 10, according to Luminate), and is now earning 2.73 million streams (for the week ending May 8).
That’s a 49% increase in the song’s weekly streams over a four-week period — and while Radiohead’s entire streaming catalog isn’t growing that rapidly, “Let Down” is helping that total grow. Radiohead’s catalog earned 35.4 million streams during the week ending May 8, up 10% from four weeks prior (32.1 million during the week ending Apr. 10). Pretty impressive for a band whose most recent album came out nine years ago, although Yorke is keeping busy: he just put out a new album with electronic producer Mark Pritchard, as the duo Tall Tales, just last week. – JASON LIPSHUTZ
Trump, Dance Trends & TikTok Relationship Drama Boost BB Trickz’ “Super”
Nearly two months ago (March 30), BB Trickz released “Super” as the lead single from her new 80z EP – and an interesting combination of social conversation has driven up the track’s streams.
Eagle-eyed music fans may recognize BB Trickz, a Spanish rapper who broke through in 2023 with sample drill tracks, from Charli XCX’s “Club Classics” remix. BB even appeared as a surprise guest on the second night of Charli’s Barclays Center mini-residency on the Brat Arena Tour (May 1). About two weeks before her appearance onstage (April 22), BB said that she could learn a few things from Donald Trump and Hitler during an interview with Grimey TV, spurring understandably split reactions amongst fans and increasing her general notoriety as “the most hated rapper in Spain.”
That clip – which has since amassed over 57,000 views – came around the same time “Super” became the go-to song for a TikTok love triangle to throw shade at one another. TikTok personalities @.willito, @orlenaodette, @wendolynortizz have each posted multiple videos with the official “Super” sound (which currently boasts over 166,000 posts) that have millions of collective views.
Independent of that love triangle, much of the social conversation around “Super” is based around some people adoring the song and other people detesting it. Furthermore, on April 24, BB Trickz teamed up with TikTok personality @bachbuquen for a dance challenge set to “Super.” That clip reached 9.4 million views on Back’s account and over 23.5 million views on BB’s account.
According to Luminate, “Super” has jumped over 776% in streams over the past four weeks. During the period of April 4-10, the track earned over 146,000 official on-demand U.S. streams. By the time her Trump comments started going viral and the dance trend kicked off, “Super” pulled over 1.9 million streams during the week of May 2-8, growing over 50% week over week.
Having already visited the Billboard charts with Charli — “Club Classics” reached No. 8 on Hot Dance/Electronic Songs last year – BB Trickz could soon be poised for her first solo entry. – KYLE DENIS
ATL’s Female Rap Wave Buoys a New Hit In BunnaB’s “Bunna Summa”
Just as Pluto & YKNiece’s “Whim Whammiee” begins its Hot 100 ascent, Atlanta has already spun out another delightfully ratchet female rap hit to kick off the summer.
Released on April 16, “Bunna Summa” arrived after a few short weeks of teasing from the artist herself. On April 4, Bunna B posted a snippet of the then-unreleased song to her official TikTok account (@therealbunnab). To date, that snippet has amassed over 584,000 views, while the accompanying official sound now plays in over 51,000 posts on the app. Most of the song’s traction has come from the end of its opening verse: “I drive the boat, these b–ches follow/ F–ked around and text my ex, oops, it was a typo/ Shake, shake, shake, booty shake like a maraca/ If you ain’t throwin’ ass, what the f–k you outside for?”
In its first week of release (April 11-17), “Bunna Summa” garnered 112,000 official on-demand U.S. streams, according to Luminate. That number jumped 425% in its first full tracking week (April 18-24) to over 592,000 streams. The following week, streams jumped a further 145% to over 1.4 million, and by May 2-8, the song started crossing over two million weekly streams.
If her hit continues to rise along with the temperatures, we can officially crown the upcoming season a “Bunna Summa.” – KD
SoundCloud CEO Eliah Seton has today (May 14) published an open letter clarifying the company’s position on AI.
This letters follows backlash that happened last week after AI music expert and founder of Fairly Trained, Ed Newton-Rex, posted about SoundCloud’s terms of service quietly changing in February 2024 to allow the platform the ability to “inform, train, develop or serve as input” to AI models.
In his letter, Seton repeats what SoundCloud shared in a statement last week, noting that the platform “has never used artist content to train AI models. Not for music creation. Not for large language models. Not for anything that tries to mimic or replace your work. Period. We don’t build generative AI tools, and we don’t allow third parties to scrape or use artist content from SoundCloud to train them either.”
The letter then goes on to directly address the 2024 Terms of Services changes, which were done, Seton writes, “to clarify how we may use AI internally to improve the platform for both artists and fans. This includes powering smarter recommendations, search, playlisting, content tagging and tools that help prevent fraud.”
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But he acknowledges that “the language in the Terms of Use was too broad and wasn’t clear enough. It created confusion, and that’s on us. That’s why we’re fixing it.” He write that the company is revising the Terms of Use to make it “absolutely clear” that “SoundCloud will not use your content to train generative AI models that aim to replicate or synthesize your voice, music, or likeness.” He notes that the Terms of Service updates will be reflected online in the coming weeks.
Seton adds that given the rapidly changing landscape, “If there is an opportunity to use generative AI for the benefit of our human artists, we may make this opportunity available to our human artists with their explicit consent, via an opt-in mechanism. We don’t know what we don’t know, and we have a responsibility to give our human artists the opportunities, choices and control to advance their creative journeys.”
Finally, he notes that the platform is “making a formal commitment that any use of AI on SoundCloud will be based on consent, transparency and artist control.”
Read his complete letter here.
Eazy-E‘s son wants to see his late father make a comeback with the help of artificial intelligence. TMZ spoke with the late rap legend’s son Lil Eazy-E, who spoke about some plans he has in store for his father’s legacy. “I have something special that I’m doing,” he said. “I actually just got a sample […]
After taking a few years off, the irreverent and one-of-a-kind podcast Promoter 101 is back and dropping hot takes on the concert business like it’s 2018 all over again.
Understanding why music manager Luke Pierce and Live Nation promoter Dan Steinberg revived their podcast is nearly as complex as understanding why they stopped in the first place. When they shelved the show in 2020, shifting priorities and the increasingly complicated post-pandemic concert industry played a major role. But what surprised Steinberg most was that no one stepped in to capitalize on their absence.
“We thought that we’ve been talking for quite a while, and maybe there was another voice; maybe if we got out of the way and somebody else wanted to speak up and fill that void,” Steinberg says.
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But no one did — and Steinberg and Pierce believe that’s partly because the concert business has only grown more complex in the wake of the pandemic, especially with the rise of dynamic pricing and nine-figure tour grosses. While they plan to keep the show’s popular interview format, they also intend to dive deeper into topics like ticket pricing and the reasons behind the sharp rise in concert costs in the post-pandemic era.
“I think it’s a mistake to say the promoters are outpricing the market,” Steinberg said. ” I think the managers are setting the prices. The artist may say they want more money, but I think that call is usually the manager, and it’s their job to direct that, and most artists leave that to the manager and the agent to figure out. I don’t know the promoters that want a more expensive ticket — more often, the promoter is trying to bring the ticket price down.”
Pierce added that there’s a “good swath of working artists that have priced themselves out of the middle class of live music.”
In the months immediately following the reopening of concert venues, fans were spending significant money on concerts and live experiences, making up for time lost during the pandemic. That period was followed by what Pierce calls a “burnout period” that’s happening “right now.”
“While fans return to some of their pre-pandemic behaviors, you know, artists continue to kind of tour at peak levels, and I think that will cause some problems with soft tours and unsold inventory,” he said. The result is a “top-heavy touring ecosystem, where the middle is kind of getting squeezed out a little bit, and I think it’s something artists and their teams really need to be cognizant of.”
The pricing problem will become more acute in the next 24 months based on what happens with the economy, Pierce adds, noting that “we just saw GDP figures come out, and the contraction of the U.S. economy is certainly not a great sign. Paying attention and making adjustments to your business is prudent right now.”
“Put more simply, the demand in the post-pandemic environment was enormous because we couldn’t do anything for a while, and we got free money from the government for a little bit, and nowhere to spend it,” Pierce says. “But that has to reset somewhere along a sensible trend. And I think it’ll be challenging for some people to figure out what that looks like.”
Steinberg notes that while the festival market will need to make some adjustments to navigate a tough economic climate, he remains optimistic about its long-term potential.
“Festivals are not done, it’s just a competitive space,” Steinberg says. “And they’re for younger people. And so there’s always going to be a cooler festival with a more cutting-edge lineup. But festivals can come back from a bad year. Coachella had some rough years, but they came back. Bonnaroo definitely had some tougher years, but they have come back. It’s very cyclical.”
One real challenge festivals face, Pierce notes, is “headliner fatigue, due to a lack of inventory of headliners.” Artists can make more money touring, especially artists playing arenas and stadiums, where they can deliver “the exact experience they want their fans to have, and that’s a better business decision for them, top to bottom.”
Steinberg and Pierce plan to release one new Promoter 101 episode each month and have launched a refreshed brand identity, complete with updated logos and artwork, to mark their return. Their comeback episode, No. 230, features interviews with Paladin Artists agents Steve Martin, Andy Somers and Chyna Chuan. The latest episode is available now at promoter101.net.
Justin Baldoni’s lawyers claim Blake Lively asked Taylor Swift to delete text messages and used “extortionate threats” to try to get a statement of support from the pop superstar in the It Ends With Us legal battle — accusations, attributed to an anonymous source, that Lively’s lawyers say is “categorically false.”
The salacious allegations come in a court filing Wednesday (May 14) from attorney Bryan Freedman, who represents Baldoni and his production company Wayfarer Studios in litigation with Lively over dueling claims that include allegations of sexual harassment, retaliation and defamation.
On Monday (May 12), Swift’s longtime lawyers at the firm Venable told a judge that Baldoni sent them a subpoena for no good reason. Now, Freedman claims he actually does have a good reason: he wants to dig into accusations from an unnamed source that Lively tried to engage in “witness tampering and evidence spoliation” to get Swift on her side in the case.
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“The Wayfarer parties’ counsel are informed and believe, based on information from a source who is highly likely to have reliable information, that (i) Ms. Lively requested that Taylor Swift delete their text messages; (ii) Michael Gottlieb of Willkie Farr, counsel for the Lively defendants, contacted a Venable attorney who represents Ms. Swift and demanded that Ms. Swift release a statement of support for Ms. Lively, intimating that, if Ms. Swift refused to do so, private text messages of a personal nature in Ms. Lively’s possession would be released,” writes Freedman.
“The Wayfarer parties’ counsel are further informed and believe that a representative of Ms. Swift addressed these inappropriate and apparently extortionate threats in at least one written communication transmitted to Mr. Gottlieb,” Freedman continues. “It is those communications that the Wayfarer parties seek to obtain by way of subpoena, as they would evidence an attempt to intimidate and coerce a percipient witness in this litigation.”
Freedman’s letter does not identify his anonymous source or explain how this person allegedly came to know about Lively and her attorney Michael Gottlieb‘s communications, nor does it cite any evidence. Freedman did not immediately return a request for more details.
Gottlieb quickly released a fiery statement denying the claims on Wednesday.
“This is categorically false,” Gottlieb writes. “We unequivocally deny all of these so-called allegations, which are cowardly sourced to supposed anonymous sources, and completely untethered from reality. This is what we have come to expect from the Wayfarer parties’ lawyers, who appear to love nothing more than shooting first, without any evidence, and with no care for the people they are harming in the process.”
Gottlieb adds that his team “will imminently file motions with the court to hold these attorneys accountable for their misconduct here.”
Reps for Swift did not immediately return a request for comment Wednesday. Swift’s camp previously criticized Baldoni for trying to drag her into the dispute, saying she had no involvement in It Ends With Us and that her name was being thrown around to “draw public interest by creating tabloid clickbait instead of focusing on the facts of the case.”
Lively alleges in the case that Baldoni, her co-star and director on the movie released last summer, sexually harassed her on set and then orchestrated a public relations smear campaign to retaliate against her after she complained.
Swift was brought into the fray when Baldoni countersued Lively for defamation and claimed that the actress leveraged her relationship with a “megacelebrity friend,” presumed to be Swift, to bully her way into more control of It Ends With Us.
Baldoni’s legal filing includes text messages concerning an alleged meeting attended by “Ryan and Taylor,” seemingly referencing Swift and Lively’s husband, Ryan Reynolds. In one message sent by Lively, the actress called Swift and Reynolds her “most trusted partners” and compared them to the “dragons” in the show Game of Thrones.
“The message could not have been clearer,” Baldoni’s lawyers wrote in the countersuit. “Baldoni was not just dealing with Lively. He was also facing Lively’s ‘dragons,’ two of the most influential and wealthy celebrities in the world, who were not afraid to make things very difficult for him.”
The Billboard U.S. Afrobeats Songs chart welcomes a new No. 1 – and first new leader of 2025 – as MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (FLY)” remix rises from the runner-up spot to rule the list dated May 17. With its ascent, “Shake It to the Max” unseats Tyla’s […]
At the Music Biz 2025 conference in Atlanta, the “Let’s Get Physical” segment opened with a panel featuring Luminate’s director of partnerships, Chris Muratore, who shared the latest industry insights around the continued success of Record Store Day.
One of Muratore’s slides pointed out that in the last 10 years, there have only been a dozen weeks in which album sales reached the 1 million unit mark, and Record Store Day was responsible for five of those weeks, with most of the other million-selling weeks coming during the year-end holiday season.
Staying with the panel’s theme of updating the industry on “Indie Retail Sales Data,” Muratore explained how Luminate — which shares a parent company with Billboard, Penske Media — has evolved its approach since partnering with StreetPulse to gather data from independent record shops.
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Muratore — who was joined by Coalition of Independent Music Stores executive director Andrea Paschal and StreetPulse CEO John Weston on the panel — began with a brief history lesson, explaining how Luminate’s predecessor, SoundScan, first began tracking indie retail data back when physical music was the only game in town. At the time, around 300 independent stores reported sales. However, the weighting system used to extrapolate sales for the entire indie sector hadn’t been updated since it was first implemented in 1991.
When Luminate began its collaboration with StreetPulse in 2024, it was only after it had made the controversial decision to end weighting for indie stores at the end of 2023, resulting in widespread industry resistance.
By June 2024, Luminate struck a deal to collaborate with StreetPulse on collecting indie retail sales data and assembled a dedicated data team to develop a new, more flexible and efficient weighting model to replace the outdated system. As part of the partnership, Luminate initially gathered sales reports from 200 indie stores, with the number growing to around 250 stores by the end of 2024, according to Muratore.
For her part, Paschal acknowledged that Music Biz president Portia Sabin “was very involved in bringing us all together.”
Muratore noted that, through its partnership with StreetPulse, Luminate continues to expand its network of reporting stores, now surpassing 400 locations contributing sales data. “We think we have identified another 100-plus stores to bring on by the end of the year, so we will have over 500 stores reporting sales,” he said.
In order to get to 500 stores, Weston thanked labels and distributors for pointing out retailers that should be added. Then, speaking to store owners, he pointed out that one of the challenges is that every store owner runs their business “a little different.” “There is a reason you are called independent because you are all different,” he noted. “So if you are not reporting to us and want to, we need to know what kind of POS system you have.”
While Luminate may reach 500 reporting stores — roughly one-third of the estimated 1,500 independent U.S. shops selling new physical music — by year’s end, that one-third likely represents about two-thirds of total physical sales volume. Conversely, the remaining two-thirds of stores that aren’t yet reporting likely account for just one-third of the volume. “That’s because we know who the tier 1, tier 2 and tier 3 stores are,” Muratore explained.
Also, as Luminate and StreetPulse add stores, the new weighting system is flexible enough to accommodate the new ones coming on without distorting the sales picture.
Using the new weighting system, Luminate apparently backfilled the weighted numbers back to the beginning of last year because Muratore reported that in 2024, while physical sales were 77.8 million, the largest segment was indie retail, which collectively sold 23 million album copies of vinyl and CDs, representing 36% of physical sales.
Breaking it down, Muratore noted that of the 44.4 million vinyl albums tracked by Luminate in 2024, independent retailers accounted for 17.3 million — roughly 36%. And indie retail continues to gain ground, particularly in vinyl sales: In just the first four months of 2025, indie stores were responsible for 5.7 million of the 13.1 million vinyl units sold, representing 44% of total sales, he said.
As for CD sales, last year indie stores collectively accounted for 5.4 million of total U.S. sales of 32.9 million CD copies, or 17% of CD sales. So far this year, indie stores account for 1.8 million units of the 8 million CD sales recorded so far — or 22% of CD sales.
Focusing on Record Store Day, Muratore emphasized the importance of recognizing who’s buying physical music today. Unlike the early days of the vinyl revival, he noted, it’s no longer just older people driving sales of physical music — and Record Store Day clearly reflects that shift.
Muratore reported that the top three Record Store Day 2025 titles were Taylor Swift’s “Fortnight” single featuring Post Malone, which led with 59,000 copies sold; Malone’s Tribute to Nirvana with 12,000 copies; and Gracie Abrams’ Live From Radio City Music Hall, which moved 11,000 units.
Muratore further emphasized the shift toward a younger demographic in physical music buying, noting that a recent Luminate consumer survey found that 25% of vinyl purchasers are under the age of 25. He went on to urge labels and music distributors to make sure “they put the right product out for who the consumer is for physical,” adding that the younger physical music buyers wanted Swift and the Wicked soundtrack album.
“We have to pay attention to who is showing up in the stores because it has changed drastically,” Muratore said. “If there were more allocation, this could have been the biggest Record Store Day ever.”
Source: Dimitrios Kambouris / Getty
The Diddy federal trial is underway and as expected some of revelations have been jaw dropping. Cassie took the stand and claims she was forced to participate in a four-day freak off and more.
As reported by Variety, Cassie served as a witness on Tuesday, May 13. When questioned about her 11-year relationship with Diddy she got emotional as she further detailed the abuse she suffered. Cassie alleges that after the two started dating the mogul quickly introduced to her to what he called “Freak Offs.” According to her Diddy invited male escorts to perform sex acts with Cassie while Diddy watched. While she admitted she enjoyed the “voyeurism” aspect of it, she felt “nervous” and “confused” and “wanted to make him happy.”
Cassie claims that eventually Diddy had tasked her with organizing the “Freak Offs” including sourcing the male escorts. She also said the sessions would go on for days with the longest one lasting four days. The “Me & U” singer alleges Diddy provided her ecstasy, marijuana, ketamine and mushrooms to perform. “The ‘Freak Offs’ became a job, where there was no space to do anything else but to recover and feel normal again,” she added. As time progressed Cassie started to see “a different side” of Diddy which came with physical abuse. She says the mogul would “knock me over, drag me, kick me, stomp me in the head if I was down.”
Diddy is facing federal sex trafficking and racketeering charges. If found guilty he could serve natural life in prison.
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Lord Buffalo has canceled its European tour after border patrol “forcibly removed” band member Yamal Said, a Mexican citizen, from a flight — despite the drummer being a green-card holder and “lawful permanent resident” of the United States — according to a statement on the Texas band’s Instagram.
With just one day left before their trek had been scheduled to kick off Thursday (May 15) in the Netherlands, the group members wrote in their joint statement that, moments before they’d been supposed to take off for Europe on Monday (May 12), their bandmate was escorted off the plane at at Dallas/Fort Worth International Airport. “He has not been released, and we have been unable to contact him,” they wrote, noting that they are “heartbroken” to have to cancel the tour as a result.
“We are currently working with an immigration lawyer to find out more information and to attempt to secure his release,” the band continued in the post. “We are devastated to cancel this tour, but we are focusing all of our energy and resources on Yamal’s safety and freedom. We are hopeful that this is a temporary setback and that it could be safe for us to reschedule this tour in the future.”
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In an update to the caption posted later Thursday afternoon, Lord Buffalo thanked fans for their “outpouring of support” and shared that Yamal had “secured the legal representation he needs.” “We are waiting to hear what comes next,” the band added. “We want to reiterate that we truly don’t know what’s going on. We have more questions than answers, but we will keep you posted as much as we can. At this time the family asks for privacy as they navigate the situation.”
Billboard has reached out to the band’s reps and the DFW International Airport for comment.
According to Lord Buffalo’s website, the Americana rockers were slated to play eight total dates across Europe. Following their kickoff performance in Heerlen, they’d planned on spending the month of May traveling through cities in Germany, Denmark, Norway, Sweden and Finland.
In the group’s absence, tourmates Orsak:Oslo will still play at all of their scheduled dates. “We urge everyone to go see this amazing band and support them over the next couple weeks,” Lord Buffalo added in its statement.
The announcement comes at a tense time in American immigration politics, with Donald Trump pledging to carry out mass deportations as part of his presidency when he entered office in January. As reported by Billboard, the administration’s policies have had a particular effect on the Latin music industry, with many artists sharing that they’ve seen a distinct drop in attendance levels due to concertgoers fearing deportation.
The twice-impeached POTUS’ crackdowns on travel and immigration have also impacted the trans community. In January, Trump signed an executive order requiring that travel documents such as passports and visas display a person’s sex assigned at birth, after which U.S. Citizenship and Immigrant Services (USCIS) announced in April that it would only recognize biological sex on immigration forms going forward. As a result, trans musicians — such as Bells Larsen, who was forced to cancel his American shows due to the change — have similarly struggled to tour in the U.S.
See Lord Buffalo’s statement below.
Kendrick Lamar and SZA have been sharing the spotlight with each other on their current Grand National Tour, and the “All the Stars” collaborators are bringing their A-list friends into the fold during select shows. Playboi Carti was the first guest performer, popping out for “Good Credit” at the Atlanta show last month after Dot […]