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Year in Music

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Noah Kahan has had a nonstop year — and as a result, the artist has enjoyed a never-ending string of successes. Below, we chart the milestones that propelled the singer-songwriter through a breakout 2023.
Jan. 6: Kahan’s Stick Season summer tour sells out.

March 31: Kahan begins an 11-night opening run on the U.K. dates of Dermot Kennedy’s Sonder tour.

May 25: Kahan announces The Busyhead Project, which supports and funds mental health organizations that provide care to underserved communities.

June 9: Kahan releases Stick Season (We’ll All be Here Forever), the deluxe edition of his 2022 third album.

June 24: Stick Season hits a new peak of No. 3 on the Billboard 200 (after debuting at No. 14); Kahan makes his Billboard Hot 100 debut with “Dial Drunk,” which enters the list at No. 43.

July 8: Kahan teams with Ranger Station on a Stick Season candle.

July 17: Kahan releases the “Dial Drunk” remix featuring Post Malone, which they later live debut during one of Post’s tour stops.

Sept. 9: Kahan earns his first No. 1 on a Billboard airplay chart as “Dial Drunk” climbs to the top of Adult Alternative Airplay.

Sept. 13: Kahan hits 1 million followers on Instagram.

Sept. 15: Kahan releases a new version of “Call Your Mom” featuring Lizzy McAlpine.

Sept. 20: Kahan announces his We’ll All be Here Forever World Tour, including stops at the Hollywood Bowl, Madison Square Garden and Fenway Park.

Sept. 22: Kahan features on Zach Bryan’s Boys of Faith EP, guesting on the track “Sarah’s Place.”

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Oct. 2: Olivia Rodrigo covers Kahan’s hit “Stick Season” on BBC Radio 1 Live Lounge.

Oct. 6: Kahan teams with Kacey Musgraves for a new duet rendition of “She Calls Me Back.”

Oct. 10: The Busyhead Project announces it has raised $1.9 million for mental health services.

Nov. 10: Kahan earns his first Grammy nomination, for best new artist; a “Northern Attitude” remix with Hozier arrives.

Dec. 1: Kahan and Gracie Abrams team up for a new version of the former’s “Everywhere, Everything.”

Dec. 2: Kahan makes his musical guest debut on Saturday Night Live.

This story originally appeared in the Dec. 9, 2023, issue of Billboard.

Something unusual happened at the 2023 Country Music Association (CMA) Awards: A song written over three decades ago won the award for song of the year.
While Tracy Chapman’s “Fast Car” first became a pop hit in 1988 — when it reached No. 6 on the Billboard Hot 100 — the song experienced a renaissance over the past year thanks to country singer Luke Combs’ faithful cover. Combs released his rendition to pop radio in April and country radio in June, helping it became a juggernaut that ultimately reached No. 2 on the Hot 100 and spent five weeks atop the Country Airplay chart.

“The success of ‘Fast Car’ is mind-blowing. But should it be?” asks Combs’ manager, Chris Kappy. He calls Combs’ connection to the song (the artist has said that it reminds him of his father) and his ability to deliver it to a new generation of fans “the perfect chemistry to create this moment.”

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The fact that Combs scored one of the biggest hits of his career with a cover is illustrative of the unconventional success stories that defined country music in 2023 — all of which helped propel the genre to one of its most prominent years in Billboard chart history. Jason Aldean’s politically charged “Try That in a Small Town”; outlier Oliver Anthony’s out-of-nowhere hit, “Rich Men North of Richmond”; and Zach Bryan and Kacey Musgraves’ somber duet, “I Remember Everything” all ruled the Hot 100. Along with Morgan Wallen’s “Last Night,” which spent 16 nonconsecutive weeks at No. 1, 2023 marked just the second time in Hot 100 history that four country songs reached the chart’s summit in a calendar year. And for the first time since the chart launched in 1958, country hits occupied the top three spots (“Small Town” at No. 1, “Last Night” at No. 2 and “Fast Car” at No. 3) in a single week on the Hot 100.

Yet in the same way that a decades-old single winning the song of the year CMA Award (a feat that also made Chapman the first Black songwriter to win that honor) marked an uncommon achievement, the biggest wins of country’s huge year all contained atypical wrinkles in their narratives. The success of “Try That in a Small Town” — and in particular, the song’s accompanying music video — was mired in controversy. Footage of Black Lives Matter protests was seemingly edited out of the original clip, while critics noted the performance itself was filmed in front of the site of a 1927 lynching. CMT ultimately pulled the video from its rotation — a move that led many to view the clip on YouTube and stream the song, some out of curiosity alone, which helped push it to No. 1 on the all-genre Hot 100.

In late August, independent artist Anthony broke through with one of the year’s most unexpected hits, the polarizing “Rich Men North of Richmond.” The song — with lyrics centering on greedy politicians, inflation, rising taxes and welfare abuse — was uploaded to YouTube out of the blue. And a little more than 10 days later, it debuted atop the Hot 100, making him the first artist to enter at No. 1 without any prior Billboard chart history. The video has been viewed over 98 million times on YouTube.

“Rich Men North of Richmond” stayed atop the Hot 100 for two weeks, during which time it became a lightning rod of controversy for political pundits on both the right and left. “The most special thing about it being on the chart at all is that it made it [there] without some big, corporate schmucky schmuck somewhere pumping a bunch of money into making it get there,” Anthony recently told Billboard. “It actually got to the top of the [Hot 100] because people genuinely wanted to listen to it and support it.”

As Country’s Radio Coach owner/CEO John Shomby says, “Now he’s going on a 40-plus-city tour next year. That tells you a lot.”

Then there’s the alternative, genre-fluid Bryan, who prior to signing with Warner Music in 2021 built a fan base with his independent releases and constant touring, and has a history of shucking industry expectations. He capped 2022 with a live album titled All My Homies Hate Ticketmaster and throughout his breakout 2023 has largely avoided press. In September, he and Musgraves each earned their first Hot 100 No. 1 with “I Remember Everything” off his self-titled album. The duet became the first song to simultaneously debut atop the Hot 100, Hot Country Songs and Hot Rock & Alternative Songs charts — proving Bryan’s wide appeal.

A surplus of country artists have experienced similar crossover success, with hits that have both topped country charts and entered the upper echelon of the Hot 100. Jelly Roll’s “Need a Favor” hit No. 13 on the Hot 100, Bailey Zimmerman’s “Rock and A Hard Place” entered the chart’s top 10, and Lainey Wilson’s “Watermelon Moonshine” reached No. 21 — and all three songs were Country Airplay No. 1s. Meanwhile, a few Hot 100 first-timers included rising stars like Hailey Whitters and Warren Zeiders along with Americana stalwart Tyler Childers.

“This year has shown us that the genre is not as painted into a corner as it was years ago,” says Shomby, who credits a younger generation of programmers moving into decision-making roles at radio stations as a driving factor in the span of country music sounds dominating charts in 2023. “The bigger companies, it’s going to take a little while, but some of these smaller organizations, you can see it already, with people taking chances on songs like the Zach Bryan and Kacey Musgraves duet, or Tyler Childers or the Post Malone song [titled “Pickup Man,” off HARDY’s HIXTAPE and featuring the late Joe Diffie, which debuted on Country Airplay in November]. They look at it as, ‘It sounds good, so I’m going to play it.’

“I come from the generation where we couldn’t care less whether it was rock or pop or country,” Shomby adds. “Then we started putting people into lanes. Thankfully, it’s starting to open up a little more. I’m not saying we’re there, but it’s the beginning of it.”

This story originally appeared in the Dec. 9, 2023, issue of Billboard.

In the five years that followed the release of SZA’s groundbreaking debut album, Ctrl, the acclaimed artist teased fans with the occasional one-off or collaboration — as the wait for the official follow-up continued to grow. So when she finally did return at the end of 2022 with her much-anticipated second album, SOS, the stakes were high. And throughout 2023, her record-breaking chart wins exceeded expectations.
With SOS, SZA ventured outside R&B’s boundaries by diving into gospel, grunge, pop-punk and rap; meanwhile, as her producer-engineer, Rob Bisel, previously told Billboard, “Her pen got sharper and more personal.” SOS debuted at No. 1 on the Billboard 200 and spent 10 nonconsecutive weeks there, the most of any R&B/hip-hop album by a woman since Mariah Carey’s self-titled debut spent 11 weeks at the top in 1991. Instead of its impact being limited to the final weeks of 2022, SOS became one of this year’s biggest releases.

It started with the groovy yet gruesome “Kill Bill,” which arrived as a single in January and eventually became SZA’s first No. 1 on the Billboard Hot 100; it also made history with an unprecedented 21-week siege atop the Hot R&B/Hip-Hop Songs chart. The following month, she embarked on the SOS tour, telling Billboard at the time that she was “deeply excited to pop ass and cry and give theater” during her first-ever arena headlining stint, compared with her more intimate, stripped-down shows in the past. “When I finally saw the tour and how insane she was going with her choreography, range and stamina … it really hit me,” her producer Carter Lang previously told Billboard. “The transformation was super apparent.”

SZA found ways to keep SOS in rotation while on the road. In April, “Snooze” was released as the album’s sixth single and slowly grew into its next smash. It was serviced to (and succeeded at) rhythmic, R&B/hip-hop and pop radio, all of which culminated in a star-studded music video that arrived in August and featured Justin Bieber. Soon after its release, she recruited him for the song’s acoustic version. “Snooze” ultimately peaked at No. 2 on the Hot 100 and dethroned “Kill Bill” on Hot R&B Songs, where the former had ruled for 16 nonconsecutive weeks.

By September, SOS became the longest-running No. 1 title on Top R&B Albums, logging 50 weeks and counting at the summit. And to top it all off, SZA finished at No. 1 on four major Billboard year-end R&B/hip-hop rankings: Top R&B/Hip-Hop Artists, Hot R&B/Hip-Hop Songwriters, Top R&B/Hip-Hop Albums (SOS) and Hot R&B/Hip-Hop Songs (“Kill Bill”). SZA was also crowned the No. 2 Hot 100 artist of the year and No. 5 Hot 100 songwriter of the year, while SOS landed at No. 3 on the year-end Billboard 200 recap.

“We had a lot of really big moments in R&B this year, obviously SZA being one of those,” says Alaysia Sierra, head of R&B at Spotify. “She’s pop, alternative, R&B. She doesn’t want to be put in a box, but she can’t deny her foundation.”

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But SZA wasn’t the only R&B artist earning rave reviews following a prolonged album break. Janelle Monáe returned with The Age of Pleasure, which is Grammy-nominated for album of the year and blends more Afrobeats, reggae, funk and soul sounds compared with her 2017 left-of-center pop album, Dirty Computer. Jorja Smith released the kaleidoscopic Falling or Flying five years after her critically acclaimed debut, Lost & Found. And Kelela dropped the rapturous Raven, the follow-up to her first full-length album, Take Me Apart, from 2017. Taking their time to further develop their sound — regardless of expectations to make a specific type of music — wasn’t just better for their peace of mind but also for their artistry.

“It’s hard making music as a Black woman [because] we don’t get the luxury to try something and have it be something that’s genuinely part of us,” SZA previously told Billboard. “You have to allow people to get to know different parts of it.”

She’s following the trajectory laid out by artists like Beyoncé and Usher, who have R&B roots but later crossed over and found mainstream pop superstardom. Decades into their careers, they are dominating the world’s biggest stages: Beyoncé’s Renaissance world tour grossed $579.8 million, according to Billboard Boxscore — making it the highest-grossing tour by a woman, a Black artist and any American soloist — while Usher will headline the Apple Music Super Bowl LVIII Halftime Show next year in Las Vegas, the home of his two residencies that combined are expected to exceed $100 million in earnings by early December, according to Billboard’s estimate.

SZA is well on her way. She is the most nominated artist at the 2024 Grammys, with SOS up for album of the year and six different songs nominated in various genre categories. More Black women R&B artists are present in the Big Four categories: Victoria Monét is the second-most nominated, with seven nods, while Coco Jones has five.

Sierra believes that R&B artists like Monét and Jones, both of whom are up for best new artist, have the best shot at elevating to pop music’s upper echelon. “Our next superstars are R&B artists,” Sierra says. “When you think about a pop star, they’re going to be making R&B music.” 

This story originally appeared in the Dec. 9, 2023, issue of Billboard.

There’s no agreed upon birthdate of the term “rock’n’roll.” Ohio DJ Alan Freed is widely credited with popularizing it in the early 1950s to describe a new upbeat version of R&B music that was gaining traction with young audiences throughout America. Almost 70 years later, in 2017, it was R&B/hip-hop that surpassed rock as the country’s dominant music. And unlike rock, hip-hop does have an agreed upon birthdate, resulting in the current 50th-anniversary celebration.
Despite chatter to the contrary, a large segment of rap sounds very similar to what it was like at 30, 25 or even 15 years old. A clear line can be drawn between Big Daddy Kane or Rakim and the deliveries of Jay-Z, Nas, Drake, Kendrick Lamar and J. Cole. The aesthetics may have changed a bit, as well as the effectiveness of the techniques, but the artistic values shared by the first group of MCs are also shared by the latter.

And yet, until this September, hip-hop had gone an entire calendar year without a song topping the Billboard Hot 100, for the first time since 1993. The concern was understandable, but when it’s considered that the artist who broke the streak isn’t even a traditional rapper — Doja Cat, whose “Paint the Town Red,” the Dionne Warwick-sampling single from her most recent rap-flavored project, Scarlet, did the honors — the genre seems to be just fine. And to be fair, when the genre’s most consistent hit-makers did return — Drake and Cole’s collaboration “First Person Shooter” debuted at No. 1 in October — things more or less went back to normal.

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And that’s what has been so remarkable about this yearlong celebration of hip-hop’s anniversary. The palpable sense of doom and gloom between the innumerable star-studded events — the pop-up performances, special segments on airings of the BET Awards and the MTV Video Music Awards and a multigenerational gathering at Yankee Stadium that capped off the festivities — all just proved that the principles that catapulted the genre into the mainstream are alive and well. Some aspects of the music’s past have even miraculously returned to the forefront — like a strong contingent of women rappers.

For years, fans and critics alike have decried the fact that hip-hop didn’t make enough space for women artists to thrive. It may have taken a few years, but that’s what they’re getting today. As a matter of fact, outside of “The Big Three” (Drake, Cole and Lamar) it’s the women — rappers like GloRilla, Cardi B, Ice Spice, Nicki Minaj and Latto — who seem to be carrying on the tradition the most. They’re the artists rapping as if they’re standing 10 toes down in the middle of a cypher. And their fixation on bars has netted them great success.

Minaj is already one of the most successful artists of her generation and Cardi B can’t seem to make a song that doesn’t turn into a hit, while Latto and GloRilla, two relative newcomers, have both managed to land top 10 hits and sell out their own shows. Even Doja Cat, an already successful pop artist, has released a rap album to critical acclaim and commercial success. To top it off, she took arguably the hottest new female rapper in the game, Ice Spice, on tour with her.

Meanwhile, a new generation of rap stars like Lil Uzi Vert and Playboi Carti have taken the music in a different direction that eschews its traditional form and most resembles a new brand of punk. They don’t focus on crafting 16-bar verses or making sure to stay within the pocket of the beat. Hell, fellow newcomer Yeat doesn’t even use real words at times. But it seems to be working. Uzi’s Jersey club-influenced “Just Wanna Rock” dominated radio, and their Pink Tape album went No. 1 earlier this year. Carti’s last full-length, 2020’s Whole Lotta Red, debuted at No. 1, and Yeat has notched two top 10 entries on the Billboard 200, while hitting No. 1 on the Hot 100 with his recent collaboration with Drake, “IDGAF.” Traditional rap fans may feel that, if this is the future, then hip-hop won’t last another 50 years.

But hip-hop has always been this way — a fearless cultural and artistic lab that works to push itself forward. If anything, it’s the world that has changed the most. “Rap has always come in waves,” says Maurice Slade, SoundCloud’s head of marketing, artist relations. “Similar to a garden, rap needs rain for things to grow. And whenever it gets real rainy — which I think is the time we’re in right now — shortly after that there’s fertile soil and sunshine, and then you see the fruit after.”

According to Slade, the state of the world is responsible for the type of music new hip-hop artists are creating. “The rain right now is post-pandemic — these kids went through some crazy shit with that. You got a recession, you got high interest rates, you got wars going on. The world is f–ked up. When the world is really f–ked up, right after that is when we get some of the best sh-t when it comes to rap and hip-hop.”

This story originally appeared in the Dec. 9, 2023, issue of Billboard.

The sound that dominated popular Spanish-language music in 2023 wasn’t represented at all on the Billboard Hot 100 until two years ago, when Gera MX and Christian Nodal’s country-tinged “Botella Tras Botella” debuted at No. 60 and made history as the first regional Mexican song on the chart. Since then, the genre’s presence on the ranking has exploded as a new crop of stars has evolved the music’s sound and look, borrowing from hip-hop, trap and rap to build on its traditional instruments of guitar, accordion and more. As a result, these artists have nurtured a new generation of fans for a genre with foundations that date back over a century.

This year, more than 35 regional Mexican tracks have entered the Hot 100, highlighted by Eslabon Armado and Peso Pluma’s blockbuster smash, “Ella Baila Sola,” which also made history when it reached the chart’s top five. This record year for regional Mexican music, or música Mexicana, has been powered by not only superstar collaborations — like Grupo Frontera’s team-up with Bad Bunny and Fuerza Regida pairing with Marshmello — but also support from major labels eager to partner with the independents that have long dominated the genre. In the first half of 2023 alone, overall consumption of regional Mexican music jumped 42.1%, topping all other genres but K-pop, according to Luminate.

“For decades, Mexican music has played a significant role in Latin music, leaving a profound impact on the global musical landscape,” says Manny Prado, vp of marketing and A&R at Interscope Records. “Finally, it has gained the acknowledgment it deserves.” This year in particular, international collaborations have propelled the sound into uncharted territories, and no other Latin genre has gained the traction of regional Mexican.

Its newfound popularity is rooted in many things, but particularly in its indie support, followed by multinational distribution partnerships with major labels. In June, Fuerza Regida frontman Jesús Ortiz Paz signed a worldwide deal with Cinq Music to distribute his own label, Street Mob Records, which he launched in 2018. The move followed a deal that Fuerza Regida signed with Sony Music Latin last year through a partnership with its indie label, Rancho Humilde. The strategy also worked for Washington state-based sibling trio Yahritza y Su Esencia, which signed to Columbia Records in partnership with Sony Music Latin and its indie Lumbre Music (which had discovered and signed the act eight months prior).

While indies have historically dominated the genre — and continue to do so — such partnerships indicate that alliances will be key to the music’s continued growth in 2024.

“We saw Mexican music grow because artists started to collaborate, and it’s the same thing when companies start joining forces,” says Maria Inés Sánchez, Sony Music Latin’s new vp of West Coast operations. “Major labels like Sony can reach a broader spectrum of the business in general. We have eyes where indies perhaps don’t with offices internationally.”

At the center of the regional Mexican revolution is Peso Pluma, whose raw and raspy vocals and signature sound of punctuated trombones and charchetas — along with a quirky haircut — made him the unwitting face of the genre. After a few collaborations with fellow corrido artists at the beginning of the year, he struck gold when he teamed with Eslabon Armado for “Ella Baila Sola.” Arguably this year’s biggest Latin hit, with 617.3 million on-demand official streams in the United States, it proves how a powerful song can propel a local genre to global recognition, as well as the importance of catering to a broader audience. The two indie artists are stylistically opposites; Peso Pluma is known for his swaggy, attitude-heavy corridos and Eslabon Armado for its romantic sierreño ballads. “Ella Baila Sola” became the first regional Mexican song to dominate the Billboard Global 200 (holding the top slot for six weeks) and is No. 1 on the year-end Hot Latin Songs chart.

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Another head-turning team-up arrived in April, when Bad Bunny joined Tejano act Grupo Frontera for “un x100to,” a cumbia/norteña song that scored a top 10 debut on the Hot 100. It was perhaps a catalyst for other unorthodox collaborations that followed, including Peso Pluma and El Alfa, Grupo Frontera and Manuel Turizo, and Banda MS and Ice Cube.

“The [Mexican] movement is now taking advantage just as reggaetón did” in the early 2000s, says Sergio Lizárraga, founder of indie label Lizos Music and manager of Banda MS. “But in the end, the root is the same, the themes they address are the same — just sung differently.”

Uriel Waizel, the editorial lead for Mexico at Spotify, compares this wave of success to another genre entirely: Afrobeats. “The biggest lesson regional Mexican music has taught is that the ‘traditional’ format had to make concessions to impact the U.S. and global charts,” Waizel says. “Which is what we saw happen with Rema and Selena Gomez [with “Calm Down”]. It’s a great example of music that becomes more digestible for global audiences.”

He cites recent Latin hits like “Qlona” by Karol G and Peso Pluma and “Harley Quinn” by Fuerza Regida and Marshmello as further proof. “After several iterations that have been happening evolutionarily over the past five years,” he says, “música Mexicana has finally found its way into the global market.” 

This story originally appeared in the Dec. 9, 2023, issue of Billboard.

Tega Oghenejobo could see it coming — but didn’t realize just how big it would be.
In March 2022, Nigerian record label Mavin Records and its subsidiary Jonzing World released Rave & Roses, the debut album by budding Nigerian star Rema, who had already achieved success in his home country and was steadily making inroads internationally. The album was well-received, but it was its second single, the bouncy earworm “Calm Down,” that was really making noise. “Its initial growth in Europe, particularly in France, where it dominated the radio charts for months, hinted at its potential,” says Oghenejobo, Mavin’s COO. “Then breaking records in regions like India and the Middle East, becoming the first No. 1 song on the MENA [Middle East and North Africa] charts showcased its global appeal even before it hit the U.S.”

The song began picking up traction on TikTok and across social media, followed by marketing support from Mavin and distributor Virgin Music, all while Rema toured Europe and Africa to help “Calm Down” gain steam. Then, in August 2022, Mavin and Interscope Records released a remix with Selena Gomez, and the song began to catch on stateside, both on streaming services and at radio. It would take another 10 months, but “Calm Down” would ultimately reach No. 3 on the Billboard Hot 100 and No. 1 on the all-genre Radio Songs chart, both history-making feats for a song by an African lead artist.

“The success of ‘Calm Down’ highlighted several crucial lessons: Solid partnerships, a competent team and an artist aligned with the vision are indispensable for global success, while the ability to adapt and capitalize on every opportunity, as well as maintaining momentum, emerged as key strategies,” Oghenejobo says. “And collaborations, exemplified by Rema and Selena Gomez, underscore the potential for unexpected pairings to achieve remarkable results.”

The coronation of “Calm Down” across the charts — it also reached No. 1 on the Global Excl. U.S., Pop Airplay and U.S. Afrobeats charts, ultimately spending 58 weeks atop the lattermost list — didn’t happen in a vacuum. For the past seven years — since Wizkid became the first Nigerian act to reach No. 1 on the Hot 100, as a featured artist on Drake’s 2016 smash “One Dance” — African artists and African music, for which “Afrobeats” serves as a sort of catchall term, have been steadily making headway on the U.S. charts, radio station playlists and arena headlining slots. Wizkid, Burna Boy and Davido have been at the forefront leading the charge, but the past two years have also heralded breakthroughs for a number of younger artists, such as Rema, Tems, Libianca, Asake and Tyla. The Grammys acknowledged that growth by introducing the best African music performance category; the award will be given out for the first time next year.

“For the past 30 to 40 years, American culture influenced the world,” says Tunde Balogun, president of LVRN, which co-manages Davido and Nigerian DJ-producer Spinall. “Now, through Africa and Latin in particular, we’re seeing the world influence American music. We’re seeing the industry’s institutions change, and we’re seeing it on the top 40 radio charts as well as the Hot 100. It’s a really exciting time.”

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Some of that is due to the success of collaborators like Rema and Gomez. For example, “Essence,” Wizkid’s breezy breakout hit with Tems, took off in 2021, then exploded after Justin Bieber hopped on the remix, while Tems herself won a Grammy for a guest feature on Future’s “Wait for U.” And this year, Becky G remixed Libianca’s “People” to reach a broader audience. But it’s also a reflection of a growing appetite for music from beyond the borders of the United States — and labels are following consumer tastes.

“Most labels right now are essentially looking at the world’s music population — they’re no longer just looking at what’s happening in Ohio or Portland or wherever, they’re looking at what is actually being consumed in the world,” says RCA COO John Fleckenstein, whose roster includes Wizkid, Davido, Tems and Libianca. “That, to me, shows that we’re starting to recognize that the whole world is full of fans and artists and those borders are coming down, the economic ones and the political ones. It’s just about fans and artists. Perhaps most excitingly, the stage is already set for a true global superstar to emerge in the genre.”

And that superstar might already be here. For all the excitement around the music itself, there is more groundwork to do for the artists and the business — work that is already well underway. “The numerous wins, valuable lessons learned and opportunities for growth have been incredibly rewarding, and the validation through successful tours, enthusiastic audiences, awards and accolades motivates us to aim higher and work harder,” Oghenejobo says. “With determination and respect for the craft, there’s limitless potential for what African music can accomplish. The future looks incredibly promising.”

This story originally appeared in the Dec. 9, 2023, issue of Billboard.

Ironically, this year in pop was defined by a pair of 2022 blockbusters: Taylor Swift’s Midnights and SZA’s SOS. Although the two Billboard 200-topping albums are starkly different in sound and tone, there is a lyrical through line of unflinching self-examination and sarcastic self-deprecation that courses through each. “Anti-Hero,” the lead single from Midnights that ruled the Billboard Hot 100, became one of Swift’s biggest chart hits thanks, in part, to its cheeky refrain: “It’s me, hi/I’m the problem, it’s me.” Likewise, SZA dominated the Hot 100 with her Grammy-nominated “Kill Bill,” in which she sings, “I’m so mature, I’m so mature/I’m so mature, I got me a therapist to tell me there’s other men.”

Olivia Rodrigo, a pop powerhouse who this year scored a Hot 100 No. 1 with “Vampire” and another top 10 with “Bad Idea, Right?,” built the entirety of her Grammy-nominated GUTS album around this concept. In “ballad of a homeschooled girl,” she croons, “Everything I do is tragic/Every guy I like is gay/The morning after, I panic/Oh, God, what did I say?!” Delivered with a tone that carefully swells from apathy to mania, Rodrigo’s lyrics are biting — but she’s the subject of her own takedown. Through revealing the social and romantic cues that still confuse her in spite of her superstar status, Rodrigo goes from inaccessible celebrity brand to virtual friend and confidante in just a few bars.

This sort of tongue-in-cheek accountability — which struck a particularly resonant chord in the context of the evolution of Swift’s public persona and perception ­— harks back to a pivotal album released a decade earlier. Lorde’s 2013 debut, Pure Heroine, was defined by its pointed pop songwriting, with couplets that bemoan the singer’s own shortcomings just as much as they deride and analyze the world around her. Ten years later, pop music in 2023 has proved that not only is this style of songwriting here to stay, but it has also become increasingly reflective of diversity and representation in popular media.

SZA’s brand of self-deprecation speaks more directly to Black women. When she sings, “I used to be special/But you made me hate me/Regret that I changed me/I hate that you made me/Just like you,” in “Special,” she’s speaking from a place that’s uncomfortable, embarrassing and valid — especially to Black women who must fight various compounding forms of misogynoir in their quest for love. She’s making emotional space that holds just as much weight as more positive anthems like Beyoncé’s “Brown Skin Girl.”

For as many pseudo-protest songs as summer 2020 produced, that period also intensified the already-brewing ramifications of a pandemic on the human psyche. “I think between people being on lockdown and dealing with all the hardships of the last few years, [they] have had much more time to turn inward and sometimes face their own demons,” says “Special” co-writer Rob Bisel. “I think having music that’s self-deprecating helps make that process of turning inward much less difficult and makes people feel less alone during these turbulent times.”

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Bisel also worked on Reneé Rapp’s standout debut, Snow Angel, which features several sarcasm-drenched pop tunes including “I Hate Boston” and “Poison Poison.” The former is a cheeky rebuttal of Beantown due to a no-good ex, while the latter is a fiery rumination on a friendship with a woman that went up in flames. As an out bisexual woman in pop, Rapp writes lyrics that capture the minds and attitudes of an audience rarely targeted — but often objectified — by top 40 radio. Troye Sivan’s Hot 100 hit “One of Your Girls” — which details the minefield that is being a gay man messing with romantic interests who have not previously been with other men — functions in a similar way for gay men. Even Barbie (by way of Ryan Gosling’s worldview-shattering viral hit, “I’m Just Ken”) and Paramore (with the sassy “Running Out of Time”) employed this trend of sardonic, intimately self-aware songwriting this year.

According to Alexander 23, who co-wrote “Poison Poison,” this style of songwriting is “here to stay because we just see too much of people now via social media to believe something too positive.” He adds, “I think people are hearing things that feel more conversational, more like the artist is someone [who] they actually know and [is] their friend.” Of course, this hasn’t completely pushed aside flashy, confidence-boosting pop jams — take Tate McRae’s “Greedy” and aliyahsinterlude’s “IT GIRL,” for example — but there’s no mistaking its dominance.

Both Bisel (Beck, Green Day) and Alexander (LCD Soundsystem) point to past generations of pop artists as evidence of this songwriting style’s legacy. “One of the most powerful things you can do as a songwriter is to share the feelings that everyone experiences but are too afraid to say out loud,” Bisel says. “A self-deprecating song in some ways is a vehicle for listeners to share their own burdens and to feel seen.”

With self-critical records from Lana Del Rey (“A&W”) and boygenius (“Not Strong Enough”) scoring key Grammy nods and tongue-in-cheek tracks from Swift and SZA dominating commercially, pop is staunchly in its sarcastic era. “I’m a big believer that trends in music are cyclical and constantly come back around,” Bisel says. “At the same time, honest music will never go out of style.”

This story originally appeared in the Dec. 9, 2023, issue of Billboard.

While 2022 was undoubtedly the year BTS shocked the world with their announcements of moving onto a “Chapter Two” and planning their individual military enlistments, there’s still a massive amount of records, achievements and moments that demonstrate why BTS are superstars without precedent in the global music industry.

While the K-pop superstars have been breaking chart and attendance records for years, 2022 saw new triumphs from the septet. From never-before-achieved feats with the Billboard Music Awards, American Music Awards and the International Federation of the Phonographic Industry to breaking box-office and concert-gross records (not to mention hanging out in the Oval Office), 2022 was literally one for the history books.

Even as the group announced plans to look forward to a new chapter in their career and embark on solo releases, BTS continued to achieve greatness as a septet and as individuals. RM, Jin, J-Hope, Suga, Jimin, V and Jung Kook all had major moments to celebrate. From four members making their debuts on the Hot 100 to internationally recognized festival and collaboration moments, the guys were thriving on a global scale.

While 2023 will certainly look different in terms of how BTS operates—and dominates—within the music industry, there’s no denying that this past year was huge for the guys. We already know that solo music, collaborations, documentaries, TV specials, commemorative stamps and more are on the way for next year. But before we look forward to all that, let’s reminiscence and celebrate the band’s 22 most significant achievements from 2022 below.

The K-pop industry is heavily focused on one single per release. Whether it’s an EP, LP, deluxe version, greatest hits or anything in between, K-pop artists tend to define releases by one central song. But thanks to how listeners now curate their own playlists and soundtrack stellar social-media moments with music, the single is not necessarily the only song on a release to get attention.

In addition to K-pop having more worldwide eyes than ever, today’s listening habits demand more material from artists and more quality material on par with the singles already getting expensive investments and heavy promotional pushes.

Luckily, these 25 artists below not only delivered on their title tracks and singles but created bodies of work that deserve further exploration beyond the glossy music videos. From TVXQ!‘s Max Changmin, BTS‘ J-Hope, and Red Velvet‘s Seulgi letting listeners into new parts of their minds with their solo efforts, to AKMU’s Lee Chahyuk adopting a whole new character with his concept album Error, plus RM creating a musical museum to honor his twenties on Indigo, there was a lot to dig into this year. Meanwhile, unexpected viral sensations came from B-sides by (G)I-DLE, TREASURE and ENHYPEN, proving that these artists packed their records with songs and messages to connect even further with fans.

From satisfyingly short EPs to the more in-depth full-length albums, each of these releases stood out thanks to the artists reaching for something beyond a quick hit single. Read on for Billboard‘s staff picks for the best K-pop albums of the year.

It has been 10 years since Psy’s “Gangnam Style” became the first YouTube video to reach one billion views. In addition to pushing K-pop into the global stratosphere, the vibrant video (now with more than 4.6 billion views, as of Dec. 2022) kickstarted the video-streaming platform’s official Billion Views Club — which has grown to become a landmark achievement for artists and industry leaders alike.

Over 300 music videos have entered the club since its inception in 2012 and several have surpassed Psy’s history-making visual. Luis Fonsi and Daddy Yankee’s “Despacito” reigns as the most-viewed music video on YouTube, crossing 8 billion views just five years after its release. Also lapping Psy are Ed Sheeran’s “Shape of You” with 5.8 billion views, Wiz Khalifa’s “See You Again” featuring Charlie Puth with 5.7 billion views, and Mark Ronson’s “Uptown Funk” featuring Bruno Mars with 4.7 billion views, all as of Dec. 2022.

A number of superstar musical acts have had multiple videos surpass a billion views — including Justin Bieber, Adele, Bad Bunny and Taylor Swift. Colombian singer-songwriter J Balvin has entered the Billion Views Club 12 different times, making him the artist with the most videos in the coveted club.

In 2022 alone, more than 50 music videos earned their first billion views. While some musical acts made their triumphant return to the Billion Views Club, others earned their first entries ever. The Weeknd added his fifth video with a billion views thanks to “Save Your Tears,” less than two years after its premiere. On the other hand, Cyndi Lauper reached the milestone for the first time with “Girls Just Want to Have Fun” 39 years after its initial release (though it wasn’t uploaded to YouTube until 2009).

To celebrate a decade of billions, Billboard revisits all 51 music videos to enter YouTube’s Billion Views Club in 2022 below.