K-Dot, Gaga and He-Who-Must-Not-Be-Named (Drake) dominate the charts this week with bangers new and old, hits ranging from rap tracks designed to blow subwoofers to pop party-starters, with country singer Morgan Wallen sneaking into the 8 and 9 spots between two of the biggest “slay queen” anthems of the year. Let’s dive into the hits of today and the artists of tomorrow.
(Source: Billboard Hot 100)
- “Luther” by Kendrick Lamar & SZA
Released on November 29th, 2024, “Luther” is a standout track from Kendrick Lamar’s album “GNX” featuring SZA. The song plays homage to R&B legend Luther Vandross, sampling his rendition of “If This World Were Mine” with Cheryl Lynn. Lyrically, it explores themes of love and devotion, with Lamar and SZA delivering heartfelt performances. The track blends contemporary R&B and hip-hop elements, showcasing the duo’s chemistry. “Luther” achieved commercial success, topping charts in New Zealand, and reaching number one on the Billboard Hot R&B/Hip-Hop Songs chart. The song was also featured during Lamar’s Super Bowl LIX halftime performance on February 9th, 2025, in New Orleans, Louisiana, where he was joined by SZA for a live rendition. To promote the album and single, Lamar and SZA announced the “Grand National Tour”, set to begin in April 2025.
- “Die With A Smile” by Lady Gaga & Bruno Mars
“Die With A Smile” is a collaborative single by Lady Gaga and Bruno Mars, released on August 16th, 2024. The song blends pop-soul and soft rock elements, highlighting the duo’s vocal chemistry and emotive delivery. Lyrically, it explores and dives into themes of profound love and commitment, with both artists expressing a desire to cherish every moment with their romantic partner. The music video, directed by Mars and Daniel Ramos, features a retro-inspired performance, highlighting the song’s nostalgic feel. “Die With A Smile” achieved commercial success, topping the Billboard Global 200 for nine weeks and breaking records as the longest-running #1 hit on Spotify’s daily global chart. At the 67th Annual Grammy Awards in February 2025, the track won Best Pop Duo/Group Performance, marking a milestone in both artists’ careers.
- “Nokia” by Drake
Note: this song contains strong language – listener discretion is advised.
Drake’s surprise release titled “Nokia” takes fans on a gritty, reflective journey back to his roots, using the outdated flip phone as a metaphor for simpler, more authentic times before fame and fortune. With moody, minimalist production and sharp lyricism, the track strips away commercial gloss in favor of raw emotion and introspection, echoing his earlier work like “5AM in Toronto.” Fans are calling it a return to “old Drake energy,” praising the song’s stripped-down honesty and lyrical depth. Whether “Nokia” signals a new album era or stands alone as a lyrical flex, it reminds listeners that Drake doesn’t need any flashy hooks, just a beat, a memory, and a mic to keep the world listening.
- A Bar Song (Tipsy) by Shaboozey
At number four, is an iconic country-rap fusion track that blends twangy, honky-tonk, dance vibes with hip-hop energy and has been on the billboard for 43 weeks. The song samples J-Kwon’s 2004 hit titled “Tipsy”, giving it a very nostalgic but yet fresh feel. Shaboozey’s lyrics capture the rowdy, carefree atmosphere of a bar scene, filled with drinking, partying, and letting loose. With its infectious beat, country instrumentation, and playful delivery, the song has gained popularity for its very unique genre-blending style, making it a standout track in modern country and hip-hop crossover music. This track is still soaring through the music charts.
- “Pink Pony Club” by Chappell Roan
Chappell Roan’s “Pink Pony Club” is a glitter-soaked, unapologetically bold anthem of self-discovery, freedom and chasing dreams no matter what they are and what the cost is. With roaring 80’s inspired synths, theatrical vocals, and a storyline that feels straight out of a coming-of-age film, the film follows a small-town girl who leaves her consecutive roots behind in Tennessee to become a dancer at the mythical Pink Pony Club in West Hollywood. Roan paints her journey with emotional honesty and defiant joy, turning the track into a celebration of embracing one’s true identity, even if it means breaking away from everything familiar including home. Beloved by many audiences, “Pink Pony Club” is more than just a song, it is a neon-lit decoration of independence, believing in dreams and self love.
- “Lose Control” by Teddy Swims
Taking the #6 spot, Teddy Swims’ “Lose Control” is back in the game. It’s a slow, passionate RnB love ballad that cements Swims as a serious player in 2025’s chart battle. The song features a smooth chord pluck rhythm with a downtempo drum groove layered over it and more heavy electronic production over the chorus, but the real magic is in Swims’ vocals, who gives it his all in soul-influenced verses about being consumed by love. There’s no question as to why this track is climbing the charts, and if you’re eager for more of the same, the rest of his double album I’ve Tried Everything But Therapy is just as excellent.
- “APT.” by Bruno Mars and ROSÉ
Finding its way back into the charts at #7, “APT.” is a sonically pleasing pop banger that makes you want to get up and dance like nobody’s watching. This song was born to be played at high school proms and on the radio to get everybody vibing immediately. Instantly catchy, ROSÉ brings her immense talent from BLACKPINK into delivering appealing hooks over bubblegum beats, and Bruno Mars completes the track channeling his signature vocal style into a heartfelt duet reminiscent of a bygone 2010s pop era. Move over BRAT summer, because “APT.” is here to stay.
- “Just In Case” by Morgan Wallen
Forgive my journalistic bias, but my vendetta against modern country music is directly proportional to Charles Barkley’s loathing of fellow analyst Skip Bayless (“Y’all know I hate Skip Bayless”). Obviously it sells, and yet I’ve never understood the mass appeal behind it. However, “Just in Case” off of Morgan Wallen’s forthcoming album “I’m The Problem” (releasing May 16) might be one of the least egregious and easily listenable songs of the genre. Feeling more like a pop song than traditional country fare, the guitar and piano-laden production actually suits Wallen’s style quite well, unlike the album’s title track. The lyrics are simple but effective, and any listener can relate to the overtly romantic themes Wallen is expressing. As with many popular songs today, it’s made to top charts, and that isn’t necessarily a bad thing here. Sticking to the formula is absolutely working for Wallen, and he’s poised to make a major splash this year in the popular music scene with his fourth LP.
- “I’m The Problem” by Morgan Wallen
Morgan Wallen’s lyrics are great. He and his other writers can seriously write a darn good love song. On “I’m The Problem,” Wallen rambles through his deteriorating relationship with somebody who seems to change their opinion on him constantly, renouncing him but still sticking around. He laments that the person hates looking at him because she sees that they’re similar, and that if he’s the problem in the relationship that she might be the reason. A formula for success, if Wallen didn’t wrap the song up in a modern country music bow. Not to criticize too much, as the singer is undeniably a talented musician, but why in the name of all that’s holy would you put an electronic beat over an over-compressed acoustic guitar and then market it as a raw display of emotion? The song is clearly a success, as his upcoming album of the same name will be, but if Wallen fired his producers and didn’t restrain his vocal performance to a Chevy commercial friendly-output, maybe the listening experience would match the amazing lyricism.
- “BIRDS OF A FEATHER” by Billie Eilish
Note: this song contains strong language – listener discretion is advised.
I’m not crying, you’re crying. Billie Eilish is now a familiar symbol of the eternal sad girl Tumblr movement, and she pulls out all the emotional stops on her latest album HIT ME HARD AND SOFT, an album that cements her rightful place in the pop culture zeitgeist and also one that my crush has listened to more times than we’ve have conversations in the past three years. “BIRDS OF A FEATHER” is phenomenal, a track that showcases Eilish’s growth as a singer-songwriter since her debut and acts as HMHAS’s centerpiece. The song chronicles Eilish’s conflicted feelings over a relationship as she croons over FINNEAS’s smooth and minimalistic production, and it’s the perfect soundtrack for staring out your window with a cinnamon hot cocoa on a foggy winter’s day. This track is beckoning us into Eilish’s world, and it’s a great place to be.
