This Saturday, Adele will join the long list of musicians who have hosted Saturday Night Live — but who’s the best to have ever done it?
Justin Timberlake has hosted and performed on the show in 2003, 2006 and 2013, while Garth Brooks and Donald Glover have both hosted SNL and later transformed into their alter egos — Chris Gaines and Childish Gambino, respectively — for their performances.
In 2010, Jennifer Lopez made history as the first Latina celebrity to pull double-duty as the host and musical guest more than once on the sketch comedy series.
But which musician-turned-SNL host is your favorite? Vote below!
Benny The Butcher doesn’t like hearing the word “potential.” If you ask the Buffalo rhyme-slinger about his current status in the game, he’ll more than likely point you to “Legend,” the outro to his new album, Burden of Proof, on which he declares, “Said I’m gon’ be a legend soon, s–t, I’m a legend now.”
With Hit-Boy helming the production of Burden of Proof, Benny’s claim appears to be more than just hyperbole. Not only does he nimbly spar with Rick Ross, Lil Wayne, Big Sean, and Freddie Gibbs on his new album, but he handles the competition with ease. Benny’s agility gleams most on “Famous,” where he wrestles with the idea of fame and what it means to him: “Three Rollies, two cribs, six figures, and I still don’t feel famous.” Though he doesn’t relish his newfound celebrity status, Benny embraces his rank as a top-tier lyricist, as proven on his posse track “War Paint” with Conway The Machine and Westside Gunn.
For Hit-Boy, this collaboration caps a monstrous run in 2020. After partnering with Nas and Big Sean for their respective albums, Hit-Boy’s work with Benny stamps his ticket as a leading candidate for the year’s top rap producer.
Billboard spoke to the newly formed tandem to discuss Burden of Proof, if they consider themselves legends today, and why Benny would have been a perfect fit for the ’90s music scene.
How did you guys link up to create this album?
Hit-Boy: Honestly man, [it] was just an organic situation. I just hit him up on the random and saw he was in L.A. I was like, “Man. I got the stu, I got beats, n—a pull up.” It was that simple. The first song that we did ended up being the outro on the album.
On “Sly Green,” Benny says he’s the only rapper that would have thrived in the Tupac era. Hit, what characteristics do you think Benny exudes that makes that bar true in your eyes?
HB: The game was a lot more serious when it came to hardcore rappers. He still got that real n—a essence to him. Ain’t nothing fluff about his movement and the way he delivers music. His whole presentation is from that era — real n—a era — and I’m from that era, too, so I can relate.
On “Famous,” Benny you said that you don’t really appreciate the fame you have right now. Do you think you’d enjoy it more if you were back in the ’90s?
Benny: I feel like Griselda [Records rappers] are diamonds in the rough in this era. Maybe in that era we would have been more on the forefront, because in that era, this type of music was what shined. They were playing gangsta s–t on the radio.
Benny, you’ve always been open about your time in prison. On “Burden of Proof,” you say that “jail cells was where I learned my decision-making.” What’s the biggest life decision you’ve made that was influenced by your time in jail?
Benny: Just to come home and attack [rap] in a more serious way. Just to come home with my mind right and with my plan right. When you get prison time, it’s not like you can come and change that one day when you come out. You gotta start right then and there while you’re in there so you can come out with the mind frame already. The mind frame was ready [when I came home]. That’s what it’s about. I trained my mind and I trained my body while I was in there to come home and have discipline so I can do the things that I need to do to get me to where I’m trying to go.
Did anything change creatively for you guys while working together on this project? Benny, you’re accustomed to your Tana Talks series, and Hit, you’re coming off working with Nas and Big Sean.
HB: Like I said, when we did “Legend,” that was the first song that set the tone. So I already knew that vibe of where we needed to stay in. Nothing sounded the same on the album but it all got that energy. It really feels like real hip-hop. It really feels like New York, East Coast s–t. Once we caught a wave, I just locked in and made sure it was where it needed to be.
Benny: Same for me. The energy was always there, you know what I’m saying? I was always feeling the music, feeling the vibe and the setting was always right. I was out in L.A. living that life and feeling good. So it was perfect for me. I agree.
Hit, can you give me your favorite 16 from Benny? In return, Benny can you name me your favorite beat off the project?
HB: Damn, you go first, n—a. [Laughs].
Benny: I can’t pick my one favorite, but I can try to narrow it down. Definitely “Legend,” because that song meant so much because like he said, that set the tone. We had high expectations for ourselves after “Legend.” “War Paint” was crazy, and “Famous.”
HB: It’s so hard to pick one verse. Both of the verses on the intro [were hard]. I can’t lie bro, damn near every verse is flawless.
Benny: I know working in the studio with Hit, I know he f–ked with the intro “Burden of Proof.” [Laughs].
HB: Honestly, when he was writing the first verse of “Thank God I Made It,” that was another one. I was smoking and I was trying to pass the weed. This pre-COVID, so n—as still passing the weed and I tried to pass it to bro, but he wasn’t even looking. I’m like, “Damn, n—a.” I’m trying to pass it and he was having a moment thinking about his brother. Bruh was really locking in on this s–t. It was some life s–t. It was beyond putting some verses down, he really put his soul into this album.
The album has some big features: Lil Wayne, Big Sean, Rick Ross, Freddie Gibbs and more. Who would you say you were most impressed by on the album, Benny?
Benny: I feel like everybody delivered man. Rozay came with his s–t. You know Wayne obliterated the s–t. I gotta say Freddie Gibbs and Big Sean. Conway, too!
HB: Conway got one of my top-three favorite verses on the album, bro. N—a he up there. That s–t was crazy.
Benny: Yeah, he went stupid. A lot of times, everybody know that I’m trying to bring the best out of people I get on features with. They came with it. Everybody delivered. So I’m happy.
Benny, you said on the outro that you’re a legend right now. Why do you feel so confident in owning that title?
Benny: I kind of feel like I’m in a space where only a few have been before. I never signed a major deal. I’m in my thirties. I come from Buffalo, New York. Nobody has done that. Nobody before has done that. I got my own label deal. I’m working on albums with n—-s like [Hit-Boy]. I’m signed to Roc Nation. N—a ain’t come like how I came. N—s ain’t have a come-up like mine in a minute. Let’s give a n—-a his flowers while he can still smell them.
Hit, do you finally feel comfortable with attaching the word “legend” to your name at this point in your career?
HB: I always say it’s all how you look at it. Some n—as gonna look at me and be like, “That n—a a legend.” Some n—as might say, “He don’t do it for me.”
Benny: If you don’t look at Hit-Boy as a legend, I don’t know what to say about you! [Laughs]. I don’t wanna hear nothing from you. I don’t even wanna talk this s–t with you. I mean, even if a n—a not your preference, that’s a different thing.
HB: I’m just doing my job. I’m just servicing the artists and the people by making the hardest s–t at the time.
Benny: He giving the answer n—as give after winning the Finals and dropped 60. [Laughs].
Switching gears, Benny, you admitted to having trust issues with people in the industry. How did you learn to get comfortable and trust Hit-Boy to helm the project and be that executive producer you needed?
Benny: At first, when you come around a n—a, you can feel a n—a vibe by the company he keep and by what people say about him. Like, who are these people saying things about him? Hit proved what kind of character he got. I’m the type of person who attracts that kind of energy anyway. I know how to act. I’m a gangsta and a gentleman. So I only exert that kind of energy with n—as, you know what I’m saying? And Hit that boy. People f–k with him. It’s not a secret that he’s at where he at and worked with who he worked with. It’s not a secret why. You gotta have more than talent, You gotta have that other wise of it and bro got that.
Let’s go basketball with this question. If you guys can compare yourselves to any NBA duo with this project, who would y’all choose and why?
HB: That’s my era. I’m going Kobe and Shaq for sure. I’m from [L.A.]. Kobe, that’s my n—a.
Benny: I’m gonna go LeBron and AD, because they already got one. Hit already got rings and he helped me get one.
HB: That’s 100.
On “New Streets,” Benny, you rapped, “Losses turn into pain and then they become advantages.” Which loss in your career has been the biggest blessing to you so far?
Benny: Not as far as my career, but as far as life, any time I sat in jail, I kind of needed it. It changed my thinking so that when I jump back in the streets, I can go do what I need to do because when you’re out here and you’re moving fast in that life, this street sh-t swallow people whole. A lot of dudes aren’t man enough to step away and get their lives together. Not their street life — their whole life together. I feel like being in jail a lot of times put me in position to do that and gave me that discipline.
Before we close out, I gotta ask: is there a sequel coming?
HB: We got years in us, man. We gonna be doing this for a long time, n—a. It’s infinite possibilities.
So it went when the pop power duo recently performed their collaborative single at Los Angeles’ legendary Troubadour nightclub as part of the Save Our Stages Fest, an initiative that’s raising money for independent music venues on the verge of closing due to the pandemic. Marshmello and Lovato’s confidence-boosting ballad is currently at No. 4 on Hot Dance/Electronic Songs.
The Troubadour is just one of thousands of venues threatened with closure due to COVID-19. The West Hollywood nightclub is famous for incubating the Los Angeles music scene of the ’60s and ’70s, with acts including Linda Ronstadt, Jackson Brown, Eagles, Elton John, Joni Mitchell and more all playing the stage early in their careers.
Save Our Stages is aiming to raise $5 million to help fund the Troubadour, and thousands of other venues like it, over the next few months as doors remain shut amidst the global pandemic.
Watch the live performance below:
Billboard Latin Music Week 2020 kicked off today (Oct. 20), and Nicky Jam was at the center of it all. With 14 No. 1s on Billboard’s Top Latin Airplay chart and 17 top 10 hits on Hot Latin Songs, including five No. 1s, Nicky Jams was the star of the 2020 Iconic Songwriter Q&A, presented by Sony ATV.
For the past five years, the top publisher on Billboard’s charts has presented this Q&A session to highlight the work, motivation and stories from top composers. Nicky Jam had plenty to talk about, including his soon-to-launch new podcast and new bakery.
As for Latin music’s growing popularity, he says that he “absolutely saw it coming. Yes. I feel like one of the architects that made that happen.”
Here are the five most interesting topics he discusses in the full interview, which you can watch below. (Comments are presented in Nicky’s own words.)
1. The new album. It will be called Infinity [in part because it’s his eighth album]. My last album was Intimo (Intimate), and I was not in a good spot. I was divorcing, my entire public life was out there, and I’m not used to that. This album has a whole different vibe. Definitely [I’m a person who needs to be happy to do his best music]. This album is Nicky Jam: “El perdon,” “El amante,” but new.
2. Collaborations. I’m not a fan of collaborations. I’m more about feelings. I know artists who will bring me more money in a collab, but the vibe is so heavy…I would rather do music with someone new who has a good vibe. You could do a big song with the best video, and it will look like an expensive production. But is that a hit? There’s a bunch of songs out there — they’re even charting — but it doesn’t mean they’re a hit.
3. The writing process. I do melody first. I’m [originally] a freestyler. And if you freestyle, it’s not going to be a hit. One day, I was in Colombia. I was staying in a hotel, and I was watching HTV, and I saw Juan Luis Guerra talking about the way he writes music. Obviously, I’m a big fan of Juan Luis Guerra and I think he’s a genius. And he said, “What I do is I lay down then melody and I put down the lyrics.” And I said, “What?” I went to the studio and my life changed.
4. Upcoming film projects. I’m doing the new sneaker movie [American Sole], with Kevin Hart as the executive producer. And after [Bad Boys For Life], people like seeing me as a bad boy. So I’m the black cat, the mean cat in Tom & Jerry. Which is fun. I never did the voice for a cartoon before.
5. Writing while in love. She [model Cydney Moreau] makes me feel good. We met doing the “Atrevete” video with Sech; she was the model. She has her own thing going on. She has her own company, her clothing line, she’s so successful. It’s the first time I’ve been with a girl that’s been so successful, and it feels good. It feels good to be with a girl that doesn’t depend on me. She has what she has. It’s respectful. We play basketball with nine, ten guys every day and she’s one of the guys. They all say, Boy, that girl can play!
For more Latin Music Week programming visit www.BillboardLatinMusicWeek.com.
Watch the complete panel above.
TikTok has earned a reputation for turning songs like 24kGoldn’s “Mood” featuring iann dior and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” into Hot 100 No. 1s months after their initial release. Now, the platform is inviting artists to debut new music to fans directly within the app with the launch of its new “Watermarked” listening session series, announced today (Oct. 20).
Every Thursday at 11:30 p.m. ET, a different artist will host “Watermarked” on TikTok LIVE, the app’s hub for original live programming, to give users an exclusive first listen to a new album before it hits streaming services at midnight. During each session, the artist will talk viewers through the album’s key tracks and answer questions posed by fans in the comments.
“Watermarked” kicks off this coming Thursday, Oct. 22 with country star Luke Combs, who will offer an exclusive first listen to the new deluxe edition of his Billboard 200 chart-topping album What You See Ain’t Always What You Get. The session marks the official release of “Forever After All,” which Combs first shared as a snippet on his official TikTok account, and which has since been used in more than 60,000 user clips on the platform. “Watermarked” continues next Thursday, Oct. 29 with 10K Projects rapper Trippie Redd, previewing his album Pegasus.
While TikTok initially had a contentious relationship with the music industry over music licensing, the platform — now armed with broad music licensing agreements — is increasingly partnering with artists and record labels to promote music on the platform. “Watermarked” follows the May launch of TikTok LIVE musician interview series Sound Off, which has hosted more than 40 conversations with artists like Lil Yachty, Liam Payne and Swae Lee. In August, The Weeknd performed a live virtual concert as an avatar version of himself inside the app.
The launch of “Watermarked” comes as TikTok continues to battle President Donald Trump in court over his proposed ban on the app in the U.S.
Check out the flyer for the first edition with Combs, below.
At the top, near the bottom, and just about everywhere in between, you can see the impact of TikTok on the Billboard charts this week.
Both the No. 1 song on the Billboard Hot 100 (24kGoldn feat. iann dior’s “Mood”) and the No. 1 album on the Billboard 200 albums chart (Pop Smoke’s Shoot For the Stars, Aim For the Moon) were aided by massive popularity on the video-sharing service. Meanwhile, several artists debuting or rising on the charts have received similar bumps — including Fleetwood Mac’s enduring “Dreams,” which continues to scale the Hot 100 weeks after first going re-viral.
Will one of these hits eventually follow “Mood” to No. 1? And which artist might be next to benefit from a TikTok boost? Billboard staffers answer these questions and more below.
1. 24kGoldn and iann dior’s TikTok-boosted “Mood” ends a long run of No. 1 hits from one or multiple previously established pop stars atop the Hot 100. Does it feel significant to you that we have two much newer artists back on the top of the charts with “Mood”?
Rania Aniftos: Yes, yes, yes! I love seeing new artists switch up the same old lineup and dominate the charts. Especially my fellow USC Trojan Goldn, who is really using TikTok to his advantage and making the most of his wildly catchy hits like “Valentino,” “City of Angels” and obviously “Mood.” Fight on!
Josh Glicksman: Sure, but I still think it’s worth noting that even just since September, there have been three other acts that have scored their first career No. 1 hit (BTS, M.I.A and Jawsh 685 for “Dynamite,” “Franchise” and “Savage Love (Laxed – Siren Beat),” respectively). That said, it’s great to see two artists with just one combined Hot 100 entry prior to “Mood” land a chart-topping hit. Hopefully, it sets the precedent for many other young artists to scale the charts and shake up what has been, at times, a rather stale top 10.
Jason Lipshutz: I guess I could toss out a snarky joke about how previous No. 1 champ Jawsh 685 is still a little short of household-name status in the States, but it is true that most of the relative newcomers make their first trips to the top of the Hot 100 this year — Doja Cat, Megan Thee Stallion, the aforementioned Jawsh — have done so while collaborating with A-listers like Nicki Minaj, Beyonce and BTS. “Mood” is absolutely everywhere on radio and sports one of the catchiest hooks of the year, so the smaller profile of its two creators isn’t too significant to me.
Mia Nazareno: As much as all of my favorite artists got No. 1s this year (Harry Styles, Taylor Swift, Ariana Grande, BTS, and Lady Gaga to name a few), I love that two young, emerging artists get to play this time around! The success behind “Mood” also shows how Gen Z-ers mean business, and how TikTok remains a viable route to a top song. On top of that, it seems almost democratic that teenagers on the app picked one of their own in Goldn to crossover into mainstream hitmakers.
Andrew Unterberger: I think the most significant part of it is that pop radio has been picking up the song — it’s No. 3 on Billboard’s Pop Songs chart this week, which is pretty darn high for a song by two new rappers. Of course, this isn’t a traditional rap song by any means, and the fact that it naturally crosses into alt and pop territory makes it an easier sell for pop radio than probably any hit by new rappers since Juice WRLD’s “Lucid Dreams.” Still, such streaming-to-radio hits have been rare in recent years, and even Juice’s own “Come & Go” has barely scratched that chart’s top 10. The fact that “Mood” has proven top 40 catnip could become a door-opening moment for a radio format that’s been fairly closed off to all but the Harrys, Duas and Weeknds this year.
2. Fleetwood Mac’s TikTok-revived “Dreams” jumps to No. 12 on the Hot 100, but its momentum may finally be sagging. What’s more one thing the band or TikTok could do to give it a final push to the top 10?
Rania Aniftos: Unless a top TikTok creator made a “Renegade”-esque dance or a new trend to the song, I think we might be seeing the end of the “Dreams” resurgence. Social media hype is so fleeting, and there are only so many videos one can make drinking cran-raspberry juice.
Josh Glicksman: How about a TikTok duet post featuring Nathan Apodaca (better known as @420doggface208), Mick Fleetwood and Stevie Nicks? With three viral solo posts on the app between them, there has to be some way that they can make something together, right? In a perfect world, they would be able to create a clip together in-person — and maybe there is some safe, socially distant way to pull this off! — but for the time being, really squeezing every last bit of juice out of the moment with a joint effort could push it to the top 10.
Jason Lipshutz: The apotheosis of the “Dreams” revival has to be a performance by Fleetwood Mac alongside viral star Nathan Apodaca — a bit tricky to pull off in pandemic times, so maybe he can longboard around them during a socially distanced performance, with Stevie Nicks taking swigs of cran-raspberry juice during instrumental passages. Honestly, watching Apodaca and Nicks sing “Dreams” together over Zoom would probably be enough to dominate headlines for a day or two.
Mia Nazareno: The song can be placed in an upcoming, hyped up rom-com on Netflix that stars the nerdy girl getting with the guy she thinks is out of her league! Think To All the Boys I’ve Loved Before or Never Have I Ever. Yeah, that kind of vibe. That’ll get ‘em.
Andrew Unterberger: Three words: Post Malone remix. He’s already rapped over it once before!
3. Pop Smoke’s Shoot For the Stars, Aim For the Moon is back at No. 1 on the Billboard 200 several months after its original debut in large part due to multiple songs taking off on TikTok — “For the Night,” “Mood Swings,” and now “What You Know Bout Love.” Do you think we’ll see more albums in the future that essentially extend their album cycle / shelf life through multiple consecutive TikTok hits, or is this a one-album fluke?
Rania Aniftos: TikTok is starting to really prove how influential it is in music discovery and music trends — no matter the time frame — and Pop Smoke’s case is something we’re going to see a lot more of in the future. Look at Doja Cat: Almost every song on Hot Pink was a TikTok hit, long before and long after the album’s release date.
Josh Glicksman: I wouldn’t bank on late TikTok hits regularly pushing an album all the way to No. 1, but this is going to be far from the only time an album gets a rejuvenation because of the app. You don’t need to look any further than the last question to realize that this isn’t a one-off — thanks to the resurgence of “Dreams,” Fleetwood Mac’s Rumours is back in the top 10 of the Billboard 200 for the first time in more than four decades. At this point, it seems pretty difficult to understate the impact that TikTok currently has in what defines popular music. It stopped being a fluke a long time ago.
Jason Lipshutz: The large majority of popular artists are more prolific now than they were a decade ago — waiting a few years between albums now feels like punishment for super-fans — and more music to consume means more album cuts that are glossed over before a new project swiftly arrives. Even if TikTok doesn’t repurpose a ton of non-singles as bonafide hits in the coming years, I expect to see more instances like this Pop Smoke album, in which compelling album tracks are democratically positioned to succeed and naturally rise on the charts.
Andrew Unterberger: I think this is a somewhat unusual circumstance, in that fans of the late Pop Smoke might have more reason than most to try to keep the viral flame burning for the posthumous album and its many singles and deep cuts. But no, it probably won’t be the last, and as labels and artists figure out how better to position their singles for proper TikTok consumption, I think we could definitely see albums with four or five singles showing up on the service almost one at a time, like they would have as music videos on MTV 20-30 years earlier.
4. “Lemonade,” another TikTok-assisted hit by Internet Money and Gunna feat. NAV and Don Toliver climbs into the top 10 this week, in its ninth week on the chart. Do you think it will follow “Mood” to No. 1 by the end of the year?
Rania Aniftos: Definitely! That song is everywhere. I can’t scroll through TikTok without hearing the hook at least five or six times. Internet Money has also already put together a great remix for the song with Roddy Ricch, so I think another feature from a buzz-worthy star will help launch it into that No. 1 spot.
Josh Glicksman: Look, I’ve been wrong before — just check out the previous edition of Five Burning Questions that focused on “Mood” — but I think it ultimately falls a bit short of claiming the top spot. Normally, I’d point to a potential star-studded remix that may be able to get it over the hump, but Internet Money already released one with Roddy Ricch on Sept. 30. So, unless there’s another remix in the works or an additional creative marketing push to get it over the hump, I don’t see it happening. That said, betting against NAV is always a dangerous game.
Jason Lipshutz: “Lemonade” has certainly grown on me over the past few weeks and its top 10 success is not a shock, but its hook isn’t as immediate as that of “Mood,” and that might handicap its shot at No. 1. It’s a crowded moment at the top of the Hot 100 as well, with “Mood,” “WAP,” “Dynamite” and “Savage Love” all within range of spending more weeks in the penthouse, so “Lemonade” would really have to make a big push to reach No. 1 in the near future.
Mia Nazareno: Personally, I don’t think so — unless some crazy TikTok alchemy happens and someone makes a viral video out of the track. “Mood” is catchier, more danceable, and more fun to listen to. In other words, I get the hype around this week’s No. 1. Not so much with “Lemonade.”
Andrew Unterberger: I think it’s in play, but it depends a lot about some of these bigger debuts we might have coming late in October — including the (likely) solo return of Ariana Grande, and perhaps an even-more-anticipated rumored comeback from an A-named pop star. If one of those drops with maximum impact and spends the next 5-6 weeks putting up stratospheric numbers, “Lemonade” will almost certainly be iced out of the top spot.
5. Acclaimed singer-songwriter Clairo makes her first appearance on the Hot 100 this week with her 2019 track “Sofia,” in large part due to the song getting a second life on TikTok. Who’s another alt/indie artist you think could be crossing over to the Hot 100 soon with a TikTok boost?
Rania Aniftos: Tai Verdes. He only has one song out, “Stuck in the Middle,” and it’s already a TikTok smash, so I believe he’ll be making his way onto the charts soon enough. On the other hand, I could also see some more established alt stars head back up the Hot 100. I’ve noticed Arctic Monkeys’ “Why’d You Only Call Me When You’re High?” has been picking up steam thanks to Miley Cyrus’ 2018 cover.
Josh Glicksman: It may not be before the end of the year, but if I were a betting man, I’d chalk up a Hot 100 hit for Gracie Abrams at some point in 2021. Her debut EP, minor, released in July, is chock full of the bedroom pop vibes that have sent plenty of artists, including Clairo, into the public eye. She’s only posted twice so far on TikTok, but both posts have compiled more than 100,000 streams. With a well-crafted marketing effort from Interscope — and maybe even a little push from her dad, famous filmmaker J.J. Abrams — it wouldn’t be too far-fetched to imagine one of her songs getting the TikTok boost.
Jason Lipshutz: I’ve been playing Kississippi’s new single “Around Your Room” nonstop since it came out a few weeks ago, and everyone I’ve shown this piece of escalating pop euphoria to seems to love it as much as I do. Take this one to the next level, TikTok Youth!
Mia Nazareno: You know that the only answer I have for this is beabadoobee! With one TikTok- famous track already under her belt (Powfu’s “Death Bed” samples her “Coffee.”), Bea’s just getting started. To recap my lecture on why she’s the (bedroom) pop star we need right now, the Filipino-British singer’s recent magazines covers, newspaper features, and billboard in Times Square show that BIPOC indie stars do exist, and that means so much to her fans — many of whom are kids of immigrants. With her bleached blonde hair and outfits borrowed from the ’90s, Bea’s sound is influenced by Smashing Pumpkins and Pavement with a dash of OPM (Original Pinoy Music). Besides releasing music that has graduated from my seasonal playlist to my permanent library (“If You Want To,” “Art Class,” etc.), beabadoobee is mad cool, and as a fellow BIPOC, she’s the kind of artist I wanna see on our screens and hear on the charts.
Andrew Unterberger: Norway’s girl in red is a bedroom pop SoundCloud favorite who’s already got one perennially viral hit to her name and feels one undeniable crossover away from being a generational-type phenom. maybe there’s a way to get her “rue” trending along with the recently announced return of HBO’s Euphoria?