It’s the spookiest time of the year; Halloween is right around the corner. But unlike the winter holidays like Christmas and Hanukkah, Halloween seems to lack a defining canon of scary music. There’s, of course, “Monster Mash,” and “Ghostbusters,” but those songs aren’t actually bone-chilling. Is there a way to make music scary? In a live show from The Dalton School in New York City, Nate and Charlie try to unpack that very question, dissecting some of the scariest songs of all time to create their own spine-tingling, hair-raising Halloween anthem. Songs discussed: Bobby “Boris” Pickett – Monster Mash Michael Jackson – Thriller Ray Parker Jr. – Ghostbusters Bernard Hermann – The Murder (From Psycho) John Williams – Main Title (Theme From Jaws) John Carpenter – Halloween, Main Title Cannibal Corpse – Scourge of Iron Learn more about your ad choices. Visit podcastchoices.com/adchoices

Stevie Wonder may be our modern day Mozart. A child prodigy, he joined Motown as a preadolescent where he was marketed as “Little” Stevie Wonder. He wowed audiences with his virtuosic command of the piano, harmonica, drums and of course, vocals. At just 13, he had his first number one hit “Fingertips Part II.” It was an unusual chart topper, featuring a live recording of mostly improvised music with Wonder switching between instruments as the audience cheered him on. But Wonder’s musical potential was far more than a gimmick.  In the 1970s, Wonder broke free from the confines of his initial recording contract, securing his artistic and financial freedom. Between 1971 and 1976, during what is now known as his "classic period," he released five of the most iconic albums in popular music, beginning with Music of My Mind and culminating in Songs in the Key of Life. These albums showcased his musical genius and included timeless songs that have become part of the modern pop canon, touching on themes of love, heartbreak, justice, and spirituality. Few child prodigies fulfill their potential as profoundly as Stevie Wonder. With the help of Wesley Morris, NYT critic and host of the spectacular audio series The Wonder of Stevie, Switched on Pop looks back on some of Stevie Wonder’s strongest compositions, exploring what makes him our contemporary musical maestro. Songs Discussed: Stevie Wonder - "Girl Blue" Stevie Wonder - "Superwoman (Where Were You When I Needed You)" Stevie Wonder - "Superstition" Stevie Wonder - "Golden Lady" Stevie Wonder - "Isn't She Lovely" Stevie Wonder - "I Wish" Stevie Wonder - "Sir Duke" Stevie Wonder - "As" Learn more about your ad choices. Visit podcastchoices.com/adchoices

We celebrate Switched On Pop's 10th anniversary by taking a deep dive into the last decade of pop music. From bubblegum pop to EDM, trap, and K-pop, we explore how the sound of pop has continually evolved—even when it feels like it’s all the same. Plus, we pull back the curtain on the show with a special interview: Sean Rameswaram, host of Vox's Today Explained, puts Nate and Charlie in the hot seat to reveal their best—and most cringe-worthy—moments from the past decade. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Coldplay is one of the biggest musical acts in the world, ranking #6 on Spotify and boasting one of the highest-grossing tours of all time. Yet, despite their global success, they've often been a critical punching bag. The New York Times once branded them “the most insufferable band of the decade.” The Independent described them as “pompous, mawkish, and unbearably smug.” But Coldplay has never claimed to be the hardest rock band—they’ve instead built a legacy on their softer sound and uplifting message. With the release of their 10th studio album, Moon Music, we dive deep into their catalog and ask the question: can we learn to love Coldplay? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Marianne Eloise has had the same Fall Out Boy song stuck in her head for over three years. "It’s Hard to Say 'I Do,' When I Don’t," an relatively obscure cut from the band's 2007 album Infinity on High has taken up permanent residence in her brain as the ultimate earworm. Everybody has had a riff or a melody stuck in their head, but not at this . Eloise, a journalist and music writer, decided to turn her malady into a story. Her pursuit of the science behind "stuck songs" led her to our unique bureau of forensic musicology. On this episode of Switched on Pop, Charlie and Nate talk about earworms: what they are, why are they so catchy, and how we might get rid of them. Then, Nate confronts his own stuck song: The Lemon Twigs's "In My Head," and in talking to the two brothers behind the group, finds a novel approach to giving an unwanted musical guest the boot. Songs Discussed Fall Out Boy - It’s Hard to Say “I Do,” When I Don’t The Lemon Twigs - In My Head Kylie Minogue - Can’t Get You Out of My Head Gene Wilder - Pure Imagination Dave Harrington Group - Pure Imagination More Read Marianne Eloise’s Vulture article, “My Quest to Exterminate an Earworm” Catch the Lemon Twigs on Tour (at your own peril) Learn more about your ad choices. Visit podcastchoices.com/adchoices

Last month, our producer Reanna Cruz had the opportunity to attend Baja Beach Fest in Rosarito, Mexico, a three-day Latin music festival set on the Mexican coastline. While they were there, they got the chance to tap into what's happening in the world of Mexican music – from romantic tumbados and lovesick R&B to multi-language crossovers and genre experimentation. This episode, Reanna takes us through the newest gems of the Mexican pop scene, in honor of Hispanic Heritage Month. Songs discussed: Xavi – La Diabla Xavi – La Victima LATIN MAFIA – Julieta LATIN MAFIA – Julietota Peso Pluma, DJ Snake – TEKA Peso Pluma, Cardi B – PUT EM IN THE FRIDGE Tito Double P – MARAVILLA Son Rompe Pera – Cumbia is the New Punk Ivan Cornejo – Aquí Te Espero Learn more about your ad choices. Visit podcastchoices.com/adchoices

"Mamushi," the fourth single from Megan the Stallion’s album Megan, was not supposed to be a huge hit. But thanks to a viral dance, the song has become the first song on the Billboard Hot 100 to feature Japanese lyrics since 1963. With a feature from rapper Yuki Chiba and a beat from producer Koshy, "Mamushi" creates the kind of cross-cultural musical collaboration that helps correct a long record of U.S. pop stars appropriating Japanese culture. Songs Discussed Megan Thee Stallion (feat. Yuki Chiba) - Mamushi Megan Thee Stallion - Hiss, Boa, Cobra, Savage, Megan's Piano, Otaku Hot Girl Kyu Sakomoto - Sukiyaki A Taste of Honey - Sukiyaki Selena - Sukiyaki Pikotaro - PPAP (Pen-Pineapple-Apple-Pen) Hikaru Utada, Skrillex - Face My Fears Gwen Stefani - Harujuku Girls Avril Lavigne - Hello Kitty More Hannah Lee of the Japan Society NPR on the story of "Sukiyaki" Learn more about your ad choices. Visit podcastchoices.com/adchoices

Oasis, the Manchester band led by brothers Noel and Liam Gallagher, conquered the charts in the 1990s with rock anthems like "Wonderwall." This month, they did something no one saw coming: Announced a reunion. In 2025, the band will play 19 dates in five cities across the UK and Ireland, their first shows with both brothers in the lineup since breaking up in 2009 due to long-simmering tensions between them. Formed in 1991 with Noel as chief songwriter and guitarist and Liam as lead vocalist, the band helped define the sound of Britpop alongside peers like Blur, Suede, and Pulp. Noel’s and Liam’s feuding made it seem like the band would never reunite, so this upcoming tour has generated a minor frenzy, resulting in insane ticket prices, the band’s songs surging in popularity on streaming services, and countless diehard fans zipping up their parkas in anticipation.  As two casual listeners to the band, we want to understand the hype behind this long-awaited reunion, so we went through the band’s catalog to uncover what makes this working-class Mancunian outfit so beloved, and see whether we can learn to love Oasis. Songs Discussed Oasis - Wonderwall, Supersonic, Shakermaker, Don't Look Back In Anger, Champagne Supernova, All Around The World, Go Let It Out, Stop Crying Your Heart Out, Little By Little, The Turning The New Seekers - I'd Like to Teach the World to Sing (In Perfect Harmony) John Lennon - Gimme Some Truth, #9 Dream Sheryl Crow - If It Makes You Happy Learn more about your ad choices. Visit podcastchoices.com/adchoices

Porter Robinson has a unique relationship with being famous. With his new record SMILE! :D, the 32 year old producer and DJ steps front and center into the spotlight for the first time in his career, working through his thoughts on fame in the process — something he says he’s “addicted” to. The first track on the record, “Knock Yourself Out XD,” is a hook-laden radio pop hit destined to sit on a neon green iPod shuffle, filled with chiptuned synth textures and tongue-in-cheek lyrics about what it means to contend with nuclear levels of celebrity. Robinson’s voice is also front and center, unencumbered by the vocal manipulation and heavy production defining his two previous albums. “”Knock Yourself Out XD” was me indulging that fantasy of like, This is so not a Porter Robinson song. Everyone's gonna hate this,” he said. “But this is what seems really fun to me right now.” The rest of SMILE! :D juggles two truths about Robinson: his innate desire for a positive relationship with the culture that surrounds him, and his dark, introspective nature, highlighted on tracks with stark names like “Is There Really No Happiness?”. But “Knock Yourself Out XD” is deeply silly – filled with cheeky lyrics like the line “Bitch, I’m Taylor Swift.” It’s new territory for him, but Robinson’s inclinations are, always, to “burn everything down and start fresh.”  Learn more about your ad choices. Visit podcastchoices.com/adchoices

On her sixth studio album, Short n' Sweet, Sabrina Carpenter moves seemlessly between pop, country, folk and R&B. For Carpenter, genre is merely a musical tool to help construct a song. Listen to how she bends genre to her will. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jhayco, the artist formerly known as Jhay Cortez, feels different from the rest of the Latin music machine. He considers himself a “melody freak,” has a wide variety of influences – “Alternative music, indie music, deep house, rap, trap, salsa, bachata, scores for music” – and is intimately involved in every step of the creative process, writing, producing, and performing his brand of glossy, melancholic reggaeton. Since his breakout hit “No Me Conoce” in 2019, the Puerto Rican multihyphenate has become one of the most listened to artists in the world, thanks to collaborations with superstars including Bad Bunny and J Balvin — which have amassed several billion streams on Spotify —, along with writing credits on smash hits like Cardi B’s “I Like It” and Natti Natasha’s “Criminal.” Jhayco's newest record, Le Clique: Vida Rockstar (X) is out September 6th, and is a three-part, 29-track behemoth highlighting Jhayco's globalist production style, his keen eye for melody, and his unique tastemaker status in the industry. “There's only a few people I know who do this,” he says, “and thank God I'm one of those people.” Learn more about your ad choices. Visit podcastchoices.com/adchoices

It seemingly a terrible time to launch an over-the-top sentimental duet. This style of production peaked in the 80s and has had few chart topping success since. But as a sort of counter programming, Lady Gaga and Bruno Mars' duet "Die With A Smile" is an unexpected smash. This oddity from two beloved legacy artists may be more than a stand alone hit hit to promote Mars' Vegas residency and Gaga's upcoming film role in Joker: Folie à Deux. "Die With A Smile" more than hints at being interwoven to that film's universe, while also adhering to a forgotten musical traditional: the devotional duet in the style of Sonny & Cher. In the movie, Joker and Gaga's character Harley Quinn, have shared musical delusions about performing in a murderous Sonny & Cher like TV duo. But does this single come credit sequence song stand up to the best duets from the past? Listen to find out. Songs Discussed Lady Gaga & Bruno Mars - "Die With A Smile" Sonny & Cher - "I Got You Babe" Bread - "Make It On Your Own" Roberta Flack & Donny Hathaway - "The Closer I Get To You" Lionel Richie & Diana Ross - "Endless Love" Kenny Rogers & Dolly Parton - "Islands in the Stream" Patti LaBelle & Michael McDonald - "On My Own" Learn more about your ad choices. Visit podcastchoices.com/adchoices

Few pop groups are making music as imaginative as Magdalena Bay. The Los Angeles-based duo of singer Mica Tenenbaum and multi-instrumentalist Matthew Lewin, have been steadily releasing music since 2016, eventually breaking out with their viral hit “Killshot,” four years later. In the last four years, their work has dabbled in everything from 70’s disco-pop to Y2K pastiche. Their music, often narrative-based and paired with equally stunning visuals, excels in balancing tension; there’s gossamer-sounding production juxtaposed with dark, conceptual lyrics, or chaotic cacophony placed alongside ironic euphoria. Their sophomore album Imaginal Disk is out today, and is no exception. The record is a concept album of sorts, as it follows the story of a character named True, after receiving a “consciousness upgrade” in the form of the titular “imaginal disk.” Over the course of fifteen songs, Tenenbaum and Lewin tell a story about identity, technology, and what it means to be a human.  It’s a lofty record, so Switched On Pop’s Reanna Cruz sat down with Magdalena Bay to talk about how this album manages to sound so gorgeous — and took some cues from ABBA in the process. Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you've spent any time on the internet this summer, you may have encountered a certain refrain accompanying particularly fierce dance videos—"I've been a nasty girl. Nasty, nasty, nasty." This track, "Nasty" by the R&B singer and songwriter Tinashe, is a jam in its own right. Far from just a piece of viral content, "Nasty" is one of the songs of the summer, a chance for an burgeoning artist to reach a new level of success, and the latest in a long line pop songs from Janet Jackson to Beyoncé and Destiny's Child, taking the term "nasty" and spinning its on its head.  "Nasty" is also a song that, in some ways, is ridiculously simple. And the simplicity of pop music has been in the news after a new scientific study argued that pop hits have become less complex over time. We dig into the study's methodology to see if we agree with its conclusion, or to put it another way, whether its conclusions match our freak. Songs Discussed Tinashe - Nasty, Save Room For Us, 2 On Charli XCX - I might say something stupid Janet Jackson - Nasty Destiny's Child - Nasty Girl Ariana Grande - Nasty Paul Simon - Still Crazy After all These Years More Read more from the New York Times about the study exploring pop's melodic complexity through history. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On June 17 the pop world was rocked by three letters: LOL. Kesha tweeted the acronym immediately after Katy Perry announced her new single "Woman's World," which was co-written by Dr. Luke. Since Kesha had accused Dr. Luke of sexual assault a decade earlier, many read her "LOL" as directed at her one-time friend Perry. Kesha, meanwhile, released her own single a week before Perry's, a wild "Joyride" featuring hyperactive accordion, percussive handclaps, and quasi-operatic vocals. Both pop stars have much at stake with their new songs. For Kesha, it's her first independent release since finishing her multi album contract with Dr. Luke's record label. For Katy Perry, it's her attempt to reconquer the charts after her last attempt fizzled. On this episode, we listen closely to both songs to hear how each artist is navigating a pivotal moment in their career. Since we are talking about the changing eras of some of our biggest stars, we knew we had to speak to an expert on the subject: Tayla Parx, the singer and songwriter whose newest track "Era" considers the tension between letting the moment define you, or defining it yourself. Songs Discussed: Kesha - Joyride, Tik Tok, Eat the Acid, Raising Hell, Praying Katy Perry - Womans World, I Kissed a Girl, California Gurls, Daisies Lady Gaga - Born This Way Madonna - Express Yourself Tayla Parx - Era Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you like how Switched On Pop breaks down songs, you’re going to love the show One Song hosted by Diallo Riddle and Luxxury. They play you the stems of iconic recordings to see how they were made. To give you a taste today we’re sharing with you an episode of One Song about Blondie’s “Call Me.” Listen to One Song on SiriusXM on Wednesdays or subscribe to the podcast which is out Thursdays wherever you get podcasts.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

CharliXCX's latest album, brat, has created an internet fever dream. This club record celebrating messiness, partying, and brutal honesty has created its own color (brat green), a viral meme generator, and even an unlikely political platform. When CharliXCX endorsed Kamala Harris for president, saying "Kamala IS brat", the album took on a larger culture significance. The pundit class rushed to explain what it means to be a brat. Countless ink has been spilled dissecting the artwork and semiotics of brat, but has everyone really listened to the music? Smack in the middle of brat summer, Switched On Pop breaks down the making and meaning of the most talked about album of the season. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For months, listeners have been peppering us with the same question: “When are you going to cover Chappell Roan?” We genuflect, then respond, “We interviewed her back in 2023!" The people don’t care. They want breakdowns of Chappell Roan’s musical wizardry, and who are we to deny them? After all, Chappell is having a moment, with five songs on the Billboard Hot 100, iconic performances on the biggest stages, and an average of seventy million streams a week. Everyone from the mailman to your grandma is dancing along to her buoyant choreography and undeniable melodies—but why? What are the musical devices Chappell and producer Dan Nigro are using to craft her ubiquitous sound? And why are her empowered, defiant lyrics resonating with audiences at this particular moment in history, when queer and trans rights are under attack? In this episode, Nate and Charlie visit the Pink Pony Club to get some much-needed answers. Songs Discussed Chappell Roan - Good Luck, Babe!, HOT TO GO!, Red Wine Supernova, Pink Pony Club, Hurt Toni Basil - Mickey Devo - Whip It Starship - We Built This City More Read Constance Grady's Vox article, Chappell Roan spent 7 years becoming an overnight success Learn more about your ad choices. Visit podcastchoices.com/adchoices

For decades, hip hop has been the most successful genre on the charts. Then, in 2023, a shift occurred. For the first time, the country songs outnumbered hip hop songs on the year end charts. Last year, country’s boom was led by hyper-partisan hits like Jason Aldean’s “Try That In A Small Town” and Oliver Anthony’s “Rich Men North of Richmond.” In 2024, country has taken a left turn. Beyoncé’s genre-busting album Cowboy Carter pushed the limits of what country can sound like, and who can make it. Two of her collaborators have since charted #1 hits: Shaboozey with “A Bar Song (Tipsy)” and Post Malone with “I Had Some Help” featuring Morgan Wallen. Country music is growing, and its sound is changing. Will it replace hip hop for good?  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Verge's Nilay Patel and David Pierce chat with Switched on Pop's Charlie Harding about the RIAA lawsuit against Al music startups Udio and Suno. Later, Nilay and David discuss the rest of this week's tech and gadget news. Subscribe to Vergecast Learn more about your ad choices. Visit podcastchoices.com/adchoices

The synthesizer was invented in the 1890s. But for people to really start using it, it took half a century, a musician named Wendy Carlos, and an album called Switched-On Bach. Charlie Harding and Nate Sloan of Switched On Pop tell Phoebe why Wendy Carlos is “the most significant figure in 20th century music that the least people know about.” Subscribe to This Is Love Learn more about your ad choices. Visit podcastchoices.com/adchoices

Long live the song of the summer with Today Explained. But wait! Switched on Pop's Charlie Harding disagrees. And Rolling Stone's Brittany Spanos says maybe it never existed at all. This episode was produced by Amanda Lewellyn, edited by Amina Al-Sadi, fact-checked by Laura Bullard, engineered by Patrick Boyd and Andrea Kristinsdottir, and hosted by Sean Rameswaram. Be sure to subscribe to Today Explained. Transcript at vox.com/today-explained-podcast Support Today, Explained by becoming a Vox Member today: http://www.vox.com/members Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today’s volatile music industry, many artists struggle to navigate the pitfalls of touring, the whims of social media, and the inequity of exploitative contracts. But Lawrence, an eight-piece band led by siblings Clyde and Gracie Lawrence, provide a beacon of hope. Combining exceptional talent, savvy business acumen, and a familial bond, they've forged an uncanny path as a band. From testifying before Congress to tackle industry monopolies, to managing their tour logistics and branding, Lawrence seamlessly blends the artistry of music with the realities of a family-run enterprise. Their perseverance and authenticity shine through their newest album, aptly named "Family Business.” Learn more about your ad choices. Visit podcastchoices.com/adchoices

The first half of 2024 has been for the “pop girlie.” It seems like every major artist who’s dominated the discourse this year has been a woman, ostensibly making music about what it means to be a woman. There’s Camila Cabello's "Chanel no.5,” Lorde and Charli XCX working out the labyrinth of emotions that come with female friendship on the “Girl, so confusing” remix, and Sabrina Carpenter’s ode to the female ego, “Please Please Please." On this episode, Charlie, Nate, and Reanna – with some insight from journalist Ilana Kaplan – unpack these tracks at length, exploring what these artists are saying about femininity, and by extension, themselves. Songs discussed: Camila Cabello – Chanel No.5 Camila Cabello – I LUV IT (ft. Playboi Carti) Camila Cabello – DREAM-GIRLS Charli XCX – Girl, so confusing Charli XCX, Lorde – The girl, so confusing version with lorde Sabrina Carpenter – Please Please Please Read more from Ilana Kaplan Learn more about your ad choices. Visit podcastchoices.com/adchoices

There’s many things to love about Los Angeles: low-rider cars, roadside taco stands, and, come awards season, the omnipresent “For Your Consideration” billboard. Nobody knows this better than lifelong L.A. resident Lorely Rodriguez, also known as Empress Of. The indie-pop darling’s latest record, aptly titled For Your Consideration, is her take on what it means to have your full self considered, in all of its guises. The almost genreless record is so wildly catchy and remarkable in scope (all of the percussion on the record is actually Rodriguez’s voice) that Switched On Pop host Nate Sloan and producer Reanna Cruz had to consider For Your Consideration with Empress Of herself, live in person, in the City of Angels. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Bootsy Collins is, perhaps, the funkiest man of all time. Over the course of his nearly six decade career, Collins has given up the funk in the iconic Parliament Funkadelic, helmed Bootsy’s Rubber Band, and lended his slaparific talents to songs from everybody from James Brown to Dee-Lite to Fatboy Slim. His new album, aptly titled Album of the Year #1 Funkateer, is on the way, so in celebration of his illustrious career, we invited Bootsy Collins – aka Casper the Funky Ghost – onto Switched on Pop to reminisce on some of his greatest hits. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There is no contemporary pop music without Nile Rodgers. Born in 1952, Rodgers grew up playing classical music on flute and clarinet before picking up jazz guitar. And at age 20, alongside bass player Bernard Edwards, Rodgers formed the band Chic. They wrote the biggest disco hits of the 70s, like: “Dance Dance Dance,” “Everybody Dance,” “Le Freak," and "Good TImes," which formed the core of Sugarhill Gang’s “Rapper's Delight”. In his music career spanning six decades, Rodgers has produced and played on some of the biggest pop songs in history, for artists like Sister Sledge, Diana Ross, David Bowie, Madonna, Daft Punk, and Beyoncé. He is also the chair of the Songwriters Hall of Fame, so with the Songwriters Hall of Fame ceremony taking place this June, we invited him onto Switched on Pop to talk about the making of a great song. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There's no music writer like the essayist and poet Hanif Abdurraqib: whether he's narrating the beautiful awkwardness of a Carly Rae Jepsen concert or talking jazz and eastern spirituality with Andre 3000, he manages to coax stories and insights out of songs in a way that never fails to surprise. His latest book, There's Always This Year, is a free flowing meditation on basketball, childhood, his home state of Ohio, and of course, music – so on the precipice of the NBA finals, Hanif returns to Switched On Pop to discuss classic soul, sports, and sound with musicologist Nate Sloan. You can buy Hanif's work through his website here. Songs discussed: Boyz II Men, "On Bended Knee" Otis Redding, "My Girl" The Temptations, "My Girl" Joy Oladokun, "My Girl" Stevie Wonder, "My Girl" Stevie Wonder, "Knocks Me Off My Feet" Trent Reznor, Atticus Ross, "Challengers: Match Point" Learn more about your ad choices. Visit podcastchoices.com/adchoices

On her latest album, Taylor Swift “declared Charlie Puth should be a bigger artist.” No one was more surprised by this than Charlie Puth himself: the singer, pianist, and songwriter whose career has always straddled pop stardom and behind the scenes anonymity. After three albums, billions of streams, and numerous songwriting credits – including one on the award-winning number one track “Stay” from the Kid Laroi – Puth has been busier than ever. His new song “Hero” comes on the heels of the Swift mention, and takes him in a new direction, with acoustic guitars and hushed, contemplative vocals. On the heels of this song’s release, Nate sat down with Charlie Puth himself at Conway Studios in Hollywood to discuss the new track, aided by a piano and all of “Hero”’s isolated stems. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On Billie Eilish’s third album, Hit Me Hard and Soft, Eilish finally graduates from her signature anti-pop persona into full blown pop stardom. This record finds Eilish experimenting on the themes from her earlier records, while crafting an economic ten tracks that position themselves for mainstream radio consumption. There’s “L’amour de ma vie,” her five-and-a-half minute beat-switching eulogy for a failed relationship, or “Birds Of A Feather,” where she contrasts the soft, dreamy melodies we’ve come to know Eilish for with hauntingly dark lyrical content. This duality is a recurring motif throughout Hit Me Hard and Soft, with each song offering a unique blend of vulnerability and strength. These tracks, along with the rest of the album, develop a satisfying and diverse creative arc that speaks to the album’s title: they hit both hard and soft. This week’s episode of Switched On Pop explores Eilish’s new record track by track, unpacking the sonic duality of her new sound. Learn more about your ad choices. Visit podcastchoices.com/adchoices

When you go out for a meal, it’s not just what's on your plate that matters, it's what's in your eardrums, too. From dining rooms so loud you have to shout to be heard, to playlists that sound like a generic Millennial Spotify account, it's not surprising that sound is the single most complained about aspect of restaurants. A few years ago, Charlie and Nate explored this in an episode on restaurant playlists. This week, they joined Cynthia and Nicky on their show Gastropod to help them explore the science behind the sonic experience of eating. Are restaurants really getting louder, and, if so, why? What does it take to create the perfect acoustic environment for dining? Can restaurateurs design their playlists to make customers order more or eat faster? Listen in now for the secrets to culinary acoustic bliss – and check out Cynthia and Nicky's guest spot on our episode of Switched On Pop. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Where were you when you learned that the McDonald's jingle "I'm lovin' it" was originally part of a full-fledged pop song by Justin Timberlake and Pharrell that flopped on the charts but found staying power as a slogan? For us, it was recording our live episode about sponsored content in pop back in March 2024, and we have not been the same since. Shaken by this revelation, we found ourselves asking, "What else don't we know about fast food jingles?" Turns out, it's a lot. From Taco Bell to Popeye's to Chili's, the music of fast food represent some of the most familiar melodies in society, across state lines and generations. But the stories behind those songs, and the way that fast food production and pop music production often move in parallel, was something we never saw coming once. Since we are music experts but amateur foodies, we invited the brilliant hosts of Eater's Gastropod podcast, Cynthia Graber and Nicola Twilley, to help serve up the history of fast food and its changing role in culture. Tune in and pig out with us as we listen and debate the artistic and ethical implications of the sounds of fast food. More Check out more episodes of Gastropod Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tongue twisters that mock techno-optimism and cite critical theory don’t usually make for catchy song lyrics. But indie rocker Rosie Tucker’s Utopia Now! finds beauty in the dross of late capitalism. Over 13 songs backed by distorted guitars and blazing drum fills, Tucker’s searing vocals bemoan the inherent dislocation of our modern world while searching for moments of truth and human connection. The night before Tucker embarked on a tour, Nate visited their home studio to speak to them about the inspirations behind their latest album. Although it deals with “big” topics, Tucker stressed that it all comes back to the individual and that the world we have reflects the world we make. “I am trying to reckon with both processing personal resentment,” they told Nate, “and recognizing my own role in my own misery.” Songs Discussed: Rosie Tucker - All My Exes Live In Vortexes, Lightbulb, Paperclip Maximizer, Unending Bliss Erik Satie - Gymnopedie No 1 Learn more about your ad choices. Visit podcastchoices.com/adchoices

It’s that time of year again when the entirety of Europe (and a few other countries) come together to celebrate kitschy, bombastic songwriting through the Eurovision Song Contest! This year’s competition, held in Malmo, Sweden, features everything from rave-pop on behalf of the Netherlands, to folk-rapping hybrids courtesy of Ukraine – and Charlie and Nate are here to musicologically unpack the craziest tracks that have the potential to win it all.  For more on the controversy surrounding this year’s contest, check out Charlie’s appearance on Vox’s podcast Today, Explained. Songs discussed: Joost – Europapa Angelina Mango – La noia alyona alyona, Jerry Heil – Teresa & Maria Nemo – The Code Baby Lasagna – Rim Tim Tagi Dim Windows95Man – No Rules! Kaleen – We Will Rave Olly Alexander – Dizzy Bambie Thug – Doomsday Blue Ladaniva – Jako Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gaspard Augé and Xavier de Rosnay of the French electronic duo Justice speak with cohost Charlie Harding about their new album Hyperdrama. Song Discussed Justice - Phantom Pt II, D.A.N.C.E., Neveender, New Jack, Genesis, Horsepower, Civilization, One Night-All Night, Dear Alan, Incognito, Moonlight Rendez-vous, Audio Video Disco, Afterimage, The End, Generator, Pleasure The Who - My Generation The White Stripes - Black Math The Human League - Human John Carpenter - Night Serge Gainsourg & Jane Birkin - Je T’aime… moi non plus Michel Berger - Le Paradis Blanc Stardust - Music Sounds Better With You Chaka Khan - Fate Learn more about your ad choices. Visit podcastchoices.com/adchoices

The beginning of 2024 has brought new music aplenty. Some big releases are in the form of big-ticket albums by the world’s biggest superstars (shoutout Taylor and Beyoncé); some are in the form of soon-to-be radio-friendly staples (we love you, "Espresso"); and some are in the form of personal earworms (Justice! Rosie Tucker! Dua!). This episode of Switched on Pop, we take a look at the records that we can’t stop listening to from the past few months, from Metro Boomin to Kacey Musgraves to Willow Smith.  Songs discussed:  Metro Boomin, Future, Kendrick Lamar – Like That J Cole – 7 Minute Drill Drake – Push Ups Rick Ross – Champagne Moments WILLOW – Big Feelings Hozier – Too Sweet Sabrina Carpenter – Espresso Justice, Tame Impala – One Night/All Night Justice – Generator Rosie Tucker – All My Exes Live In Vortexes Lizzy McAlpine – I Guess Kacey Musgraves – Too Good To Be True Maggie Rogers – The Kill Dua Lipa – Illusion Kacey Musgraves – Deeper Well Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Tortured Poets Department, Taylor Swift's 11th studio album, finds the songwriter in the world of literature. She interweaves personal romance with mythical creation and quotations from high and low culture: Genesis, Peter Pan and even Playstation. Despite calling herself a "modern idiot," less-than-subtle nods to Sylvia Plath, Samuel Taylor Coleridge, Dylan Thomas, and Patti Smith reveal the artist’s literary aspirations and “legendary” status. The full length Anthology version contains a bookshelf of many genres: pulp fiction, diary entries, period pieces, epic poems, and her very own genre, Taylor Swift. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lost Notes by KCRW explores how Fela Kuti’s time in LA in 1969 was instrumental in the creation of his legendary Afrobeat sound. Hosted by Michael Barnes and Novena Carmel. Find a full transcript of Lost Notes at KCRW. And subscribe to the show. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There are few artists pushing the boundaries of their respective genres like Maryland rapper Rico Nasty and German-Iraqi electronic producer Boys Noize. The two have run in the same circles for over half a decade, but their joint collaboration has reached an apex with their three song EP, HARDC0RE DR3AMZ, a dance-floor ready project that owes as much to Berlin techno as it does to Dutch gabber music. Rico and Boys Noize – a.k.a. Alexander Ridha – are also incredible friends with a lot of love for one another, and for producer Reanna Cruz, all of these reasons make the duo’s EP one of the best projects of the year. On the heels of Berlin techno being added to the UNESCO list of intangible cultural heritage for Germany, Reanna sat down with Rico and Alex for this episode of Switched on Pop. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joe Keery is best known for his acting roles, such as the reformed jock Steve Harrington in "Stranger Things" and his chilling performance in season 5 of "Fargo." But he's also a spectacular musician. Rising through the Chicago music scene in college, he has self-released two albums under the moniker 'Djo.' His latest work, "Decide" from 2022, serves as a coming-of-age story and a meditation on navigating modern life. Despite strong initial reviews, the album only gained widespread attention two years later when its breakout hit "End of Beginning" became a soundtrack for youthful nostalgia on TikTok, casting Keery as an accidental pop star. Joe Keery joined "Switched On Pop" to discuss the creation and significance of "Decide." Sign up for the Switched On Pop Newsletter Learn more about your ad choices. Visit podcastchoices.com/adchoices

Beyoncé's Cowboy Carter is her foray into country music, but this isn't just dirt roads, blue jeans and whiskey. Her country music distills all of American pop: blues, gospel, R&B, soul, house, hip-hop and yes, country. If this ain't country, what is? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hip-hop is in a weird place right now. Research says that the genre, in both streaming and chart performance, has declined over the last decade. And while rap artists can still get number one songs on the Hot 100, it’s a far cry from the peak of trap circa 2017, when Nielsen data named hip-hop as the most popular genre in the U.S. So what does that mean for the future of rap? To find out, producer Reanna Cruz spent all weekend reporting from Inglewood, CA, at the California edition of the world’s largest hip-hop festival: Rolling Loud. Through talking to attendees and catching the weekend’s hottest sets, they learned about the current state of hip-hop – the good and the bad – as well as what the future may hold. To read Reanna’s highs and lows from the festival, check out their Vulture article here.  Special thanks to Antonio Cruz for his production help on this episode. Songs Discussed: OsamaSon – Pop Nicki Minaj – BARBIE DANGEROUS ¥$, Kanye West, & Ty Dolla $ign – EVERYBODY (live) ¥$, Kanye West, & Ty Dolla $ign – BACK TO ME (live) Junior H – Y LLORO Natanael Cano – Pacas de Billetes Fuerza Regida – Enculado That Mexican OT, Lefty SM – Barrio (with Lefty SM) That Mexican OT – Cowboy Killer (live) KenTheMan – Not My N**** – Extended KenTheMan – Poppin Sh!t KenTheMan – Keep Going (live) Kaliii – Area Codes Action Bronson & Statik Selektah – Respect the Moustache Drake, SZA, & Sexyy Red – Rich Baby Daddy (live) Sexyy Red, Sukihana – Born By the River (feat. Sukihana) Sexyy Red, Chief Keef – Skee Yee (live) Nettspend – shine n peace (live) Nettspend – deftones snippet (live) Matt Ox – Overwhelming Nettspend – What they say SOPHIE – BIPP Learn more about your ad choices. Visit podcastchoices.com/adchoices

What do Duke Ellington, United Airlines, and the K Pop group Red Velvet share in common? They've all covered George Gershwin's piano concerto, Rhapsody in Blue. First premiered in 1924, the piece became an immediate hit for the way it blended American jazz with the European symphonic tradition. Gershwin had a number of successes as a composer in his day—his aria "Summertime" from the opera Porgy and Bess is by some measures the most covered song ever—but the staying power of the Rhapsody make it a rare instrumental piece that's instantly familiar. Maybe too familiar. In 2024, there will be many centennial performances of this iconic piece, but pianist Lara Downes wanted to do something more than just the sound the notes of Gershwin's score for the umpteenth time. Downes commissioned Puerto Rican musician Edmar Colon to create a new version of Gershwin's composition, one that brought in the full spectrum of American life in 1924: fiery improvisation, Latin percussion, and dance rhythms. The resultant piece both pays tribute to an American icon while adding a new set of modern counterpoint. Nate sat down with Lara to ask her if she was nervous to rewrite such a canonic piece, why a concerto is like a musical kaleidoscope, and the surprising family connection to Gershwin's musical world she discovered while researching Rhapsody in Blue. Songs Discussed George Gershwin, Lara Downes, Edmar Colon - Rhapsody in Blue Reimagined Gershwin - Rhapsody in Blue Gershwin - 3 Preludes: II. Andante con moto e poco rubato Sarah Vaughan - Nice Work if You can Get It Sam Cooke - Summertime Chet Baker - But not For ME Louis Armstrong - Aint Misbehavin Ella Fitzgerald - Blue Skies Red Velvet - Birthday Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sidestep the gossip and focus on the music in Ariana Grande’s latest album Eternal Sunshine. The music is an exercise in nostalgia: 70s Disco, 90s R&B, and 00s pop and dance music. As she moves through the musical past, her lyrics tear through past relationship. But its the way her lyrics interweave with the deft melodies and harmonies that reveal the meaning of the record.  Sign up for the Switched On Pop Newsletter Songs Discussed Ariana Grande - Eternal Sunshine, Bye, Don’t Wanna Break Up Again, True Story, The Boy Is Mine, We Can’t Be Friends, Imperfect For You Isaac Hayes - Theme From Shaft Barry White - Can’t Get Enough of Your Love Babe Britney Spears - Oops I Did It Again, Gimme More Brandy, Monica - The Boy Is Mine Aaliyah - Are You That Somebody Ginuwine - Pony Robyn - Call Your Girlfriend, Show Me Love Learn more about your ad choices. Visit podcastchoices.com/adchoices

In a landscape where the music industry seems designed to stifle creativity and independence, Amelia Meath stands as a beacon of resistance. Through her involvement in bands like Sylvan Esso, Mountain Man, and The A's, and as a founder of label Psychic Hotline, Meath defies the narratives that label success in music. This conversation dives into the systemic challenges musicians face today—from the pitfalls of streaming economics to the trials of touring and beyond. Yet, it's not just about the hurdles; it's a conversation on solutions, embodied by Meath's multifaceted career and the inspirational journey of David Gray, whose story of grassroots success with "Babylon" serves as a case study in artistic resilience and independence. Sign up for the Switched On Pop Newsletter Songs Discussed David Gray - Babylon, Shine, What Have I Become, Skellig Sylvan Esso - Coffee, Die Young Learn more about your ad choices. Visit podcastchoices.com/adchoices

Live from On-Air Fest in Brooklyn, Nate and Charlie investigate listeners’ burning musical mysteries, such as: Is Beyoncé’s reference to Lexus in “Texas Hold ’Em” product placement? And, could we be tuning all our music the wrong way? These stories have twists, turns, and a live parody performance that no asked for. Thanks to Steve Stoute, Lucas Keller, Samer Ghadry, Helen Zaltzman, and Phil Pappas for contributing to this episode. Sign up for the Switched On Pop Newsletter Songs Discussed: Beyoncé – TEXAS HOLD ‘EM RUN DMC – My Adidas Busta Rhymes – Pass The Courvoisier Part II Taylor Swift – Out of the Woods Outkast – Hey Ya! Jason Aldean – Take A Little Ride Justin Timberlake – I'm Lovin' It Chris Brown – Forever Pitbull – Rain Over Me (ft. Marc Anthony) Lady Gaga – Telephone (ft. Beyoncé) Beyoncé – SUMMER RENAISSANCE Beyoncé – Crazy In Love (ft. Jay-Z) LFO – Summer Girls Aqua – Barbie Girl Moonlight Sonata (432hz) Here Comes the Sun (432hz) Deep Focus Music with 432 Hz Tuning and Binaural Beats for Concentration - Study Music Learn more about your ad choices. Visit podcastchoices.com/adchoices

One of the most inventive and gifted musicians working today is none other than Jacob Collier. Maybe you know him from his YouTube videos, or co-writing SZA’s “Good Days,” or even performing alongside Joni Mitchell at this year’s Grammys. Jacob is a musician with thunderous chops, proficient on multiple instruments and with a voice that ranges from bass to soprano. over the past few years, he’s managed to release several records, net collaborations with everyone from Michael McDonald to T-Pain, and become the first British artist to receive a Grammy Award for each of his first four albums. His latest album Djesse 4 is the conclusion to his Djesse quadrilogy, and it features a kaleidoscopic range of style, from Indian sitar to Colombian reggaeton to a haunting Simon and Garfunkel cover. This week, we’re going to take a look inside the work and process of a musical mad scientist – our resident songwriter Charlie Harding sat down with Jacob to learn about his new record, his collaborators, and the beautifully unique way he sees and thinks about music. Sign up for the Switched On Pop Newsletter SONGS DISCUSSED Jacob Collier - In My Room, 100,000 Voices, A Rock Somewhere, Little Blue, She Put Sunshine Learn more about your ad choices. Visit podcastchoices.com/adchoices

Renaissance Act II truthers, your time has come: There’s new music from Beyoncé, and boy, is it country. Her two new singles dropped two weeks ago, and in the time since, they’ve both climbed up the chart and taken the internet by storm. There’s the barnstorming stomp and holler ditty “TEXAS HOLD 'EM,” which just notched the top spot on the Billboard Hot 100, and the dark horse “16 CARRIAGES,” a autobiographical work song detailing Beyoncé’s roots in Houston, Texas. Charlie and Nate unpack both of these two songs, highlighting their structures, inspirations, and collaborators, from Raphael Saddiq to Rhiannon Giddens. Then, producer Reanna Cruz speaks to music journalist Taylor Crumpton, whose article for Time, “Beyoncé Has Always Been Country” lays out the cultural implications of this sonic pivot for one of the biggest artists of all time.  Sign up for the Switched On Pop Newsletter Songs Discussed Beyoncé - Texas Hold 'Em, 16 Carriages, Break My Soul, Formation, Daddy Lessons Dink Roberts - Georgia Buck Carolina Chocolate Drops - Hit 'Em Up Style Elvis Presley - Mystery Train Unidentified African American Chain Gang - Waterboy, Run James Carter and the Prisoners - Po Lazarus Robert Randolph and the Family Band - Find a Way Vince Gill ft Justus West- High Lonesome Sound More Read Taylor Crumpton's article Beyoncé Has Always Been Country Learn more about your ad choices. Visit podcastchoices.com/adchoices