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Popular music changes all the time, but there’s been one consistent element in practically everything released in the last two decades: Auto-Tune is everywhere. What started as a simple audio processing tool in the 1990s has become the dominant force in music. Artists are training to sing with Auto-Tune; songs sound like Auto-Tune. Like it or hate it, Auto-Tune is everywhere. And to be clear, most people like it.
On this episode of The Vergecast music journalist and Switched on Pop co-host Charlie Harding tells us the story of Auto-Tune. (Disclosure: Switched on Pop is part of the Vox Media Podcast Network, as is The Vergecast.) It starts, of all places, in the oil and gas industry. It involves artists like Cher and T-Pain, spreads like wildfire throughout the music business, and quickly becomes so utterly ubiquitous that you probably notice when Auto-Tune isn’t used more than when it is.
As we barrel toward whatever the “AI era” of music will be, we also look for clues in Auto-Tune’s story that point to what’s coming next. We talk about the distinct sound that comes from tools like Suno and Udio, how artists will use and abuse AI, and whether we should be worried about what it all means. We haven’t yet found the “Believe” of the AI music era, but it’s probably coming.
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The first time you hear "Santa Claus is Coming to Town," it probably registers as just another cheery holiday standard. But hiding within this seemingly simple song is a remarkable story of American transformation - musical, technological, and social. Each time artists reimagine the song over its 90-year history, they leave an imprint not just of their own style, but of their entire cultural moment.
Artists Discussed:
Eddie Cantor
Bing Crosby and the Andrews Sisters
The Crystals
Ella Fitzgerald
Fred Astaire
The Jackson Five
Bruce Springsteen
Justin Bieber
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Three artists quietly reshaped pop music in 2024, though you might not know it from your Spotify Wrapped. As listeners question the accuracy of their year-end streaming stats, we explore the innovative sounds bubbling up just below the algorithmic radar. Tampa's "Swamp Princess" Doechii brings narrative depth back to hip-hop through her chameleonic vocal approach. Bedroom producer Mk.gee discovers entirely new possibilities for the electric guitar by deliberately recording "wrong." And BLACKPINK's ROSÉ challenges K-pop industry constraints while building bridges to Western pop on her revolutionary solo album. These artists point toward an exciting future where pop continues to evolve in unexpected ways, even as streaming platforms try to predict and package our musical tastes. Plus: Our producer Reanna Cruz presents evidence that their Spotify Wrapped might be fibbing, and Nate reveals his most-played track of 2024 was... Jeremy Irons singing "Be Prepared" from The Lion King? The algorithm works in mysterious ways.
Songs Discussed
Doechii: "Girls," "Yucky Blucky Fruitcake," "NISSAN ALTIMA," "Denial Is A River," "Boom Bap"
Mk.gee: "I Know How You Got," "Big Mics," "Are You Looking Up," "Alesis"
BLACKPINK"Boombayah," "Kill This Love," "How You Like That," "Pink Venom,"
ROSÉ: "On The Ground," "APT." (featuring Bruno Mars), "Toxic Till The End"
Taylor Swift: "Shake It Off"
Avril Lavigne: "Girlfriend"
Toni Basil: "Mickey"
Tom Petty: "American Girl"
Bo Diddley: "Bo Diddley Beat"
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It's an annual tradition: Every December, artists release their bids to join the hallowed halls of holiday music history. The gold standard remains Mariah Carey's "All I Want for Christmas Is You," which reportedly earns the pop star $2.5 million annually in royalties. This year's crop of seasonal offerings spans from ambitious originals to reimagined classics, with artists trying everything from AI-generated lyrics to funk renditions of Hanukah hymns. To evaluate this year's entries, we're introducing our definitive sleigh bell ranking system: five sleigh bells marks a future holiday classic destined to join Mariah in the pantheon, while one sleigh bell promises pop obscurity.
Songs Discussed:
•Kelly Clarkson - You For Christmas
•Orville Peck - Happy Trails
•Conan Gray - Holidays
•Dan and Shay - Take Me Home for Christmas
•Amy Grant - Tennessee Christmas
•Kesha - Holiday Road
•Ben Folds - Xmas Aye Eye
•Jennifer Hudson - Santa for Someone
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In 2024, Kendrick Lamar pulled off what seemed impossible: winning hip-hop's biggest rap battle in recent history, securing the Super Bowl halftime show, and dropping GNX, a surprise album that might be the year's defining pop record. But this triumphant return wasn't guaranteed. Two decades into his career — well past the average life expectancy of a rap career — Kendrick faced a critical challenge: how to balance his legendary artistic complexity with mainstream accessibility.
Songs discussed:
Kendrick Lamar – squabble up
Kendrick Lamar – luther (feat. SZA)
Kendrick Lamar – tv off (feat. Lefty Gunplay)
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The year's hottest movie is, against all odds, a musical. Wicked, starring Cynthia Erivo and Ariana Grande, just hit theaters, and tells the tale of how a green-skinned girl named Elphaba became the Wicked Witch of the West. And with any musical, the songs are just as important as the narrative. On this episode of Switched On Pop, Charlie, Nate, and Reanna hop on their broomsticks to break down the music powering this cultural phenomenon.
Songs Discussed
The Wizard And I - Cynthia Erivo, Michelle Yeoh
The Wizard And I - Carole Shelley, Idina Menzel
Popular - Ariana Grande
Popular Song - MIKA, Ariana Grande
Defying Gravity - Cynthia Erivo, Ariana Grande
What Is This Feeling? - Ariana Grande, Cynthia Erivo
Defying Gravity - Kristin Chenoweth, Idina Menzel
You'll Be Back - Jonathan Groff, Original Broadway Cast of Hamilton
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TIME Magazine once said, “there are few figures more closely associated with religion in pop culture than Madonna.” And looking at her catalog, it’s hard to disagree. From cheeky double entendres on “Like A Prayer,” to explorations of alternative philosophies on Ray of Light, spiritual practice has always been a core aspect of Madonna’s work. And as she dips her toes in different ideologies, she eventually comes to mold her own special religion in the process.
On our final episode of our week-long Listening 2 Madonna series, we take a look at the third essential part of Madonna’s holy trinity: spirituality.
Songs discussed:
Madonna – "Like A Prayer"
Madonna – "American Life"
Sister Cristina – "Like A Virgin"
Ray Charles – "What I'd Say"
Madonna – "Live to Tell"
Madonna – "Oh Father"
Madonna – "X-Static Process"
Madonna – "Bedtime Story"
Björk – "Hyperballad"
Madonna – "Ray of Light"
Madonna – "Nothing Really Matters"
Madonna – "The Power of Good-bye"
Madonna – "Sky Fits Heaven"
Madonna – "Shanti / Ashtangi"
Addison Rae – "Aquamarine"
Madonna – "Vogue"
Madonna – "Music"
Madonna – "Isaac"
Madonna – "Like It Or Not"
Madonna – "Get Together"
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Throughout her forty-year career, Madonna has managed to travel the globe, both literally and musically. Despite being a white woman from the midwest (Michigan, to be exact), her discography has been influenced by countless different cultures and sounds.
Even from her very first single, Madonna has frequently paid homage to those she has encountered, reflecting (and sometimes appropriating) the cultures that surrounded her. But because she's the world's biggest pop star, this globalist approach created space in the mainstream for artists from different cultures to follow in her footsteps. This episode of Switched On Pop, we're Listening 2 Madonna and exploring the second aspect of her Holy Trinity: multiculturalism.
Songs discussed:
Madonna – "Everybody"
La India – "Dancing on the Fire"
Miami Sound Machine – "Dr. Beat"
Madonna – "Holiday"
Shannon – "Let the Music Play"
Madonna – "Music"
Madonna – "Vogue"
Madonna – "La Isla Bonita"
Madonna – "Spanish Eyes"
Madonna – "Who's That Girl?"
Ricky Martin – "Livin' La Vida Loca"
Los Lobos – "La Bamba"
Lady Gaga – "Alejandro"
Malcolm McLaren – "Deep In Vogue – Introducing Lourdes & Willie Ninja"
Madonna – "Deeper and Deeper"
Derrick May – "Strings of Life"
Ariana Grande – "yes and?"
Beyoncé – "Break My Soul – The Queens Remix"
Madonna – "Faz Gostoso"
Blaya – "Faz Gostoso"
Anitta – "Funk Rave"
Madonna – "Batuka"
Megan Thee Stallion, Cardi B – "Bongos"
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Madonna is the world's biggest female pop star. She's influenced everyone from Beyoncé to Britney Spears; is the most successful solo artist in Hot 100 chart history; and is the best-selling female recording artist of all time. Her career – which has spanned over forty years – has seen her continually reinventing herself and her sound over fourteen studio albums, from her early years in the New York City underground dance scene, to collaborating with artists like Maluma, Sam Smith, and the Weeknd.
Throughout all this, though, she has also managed to remain an enigma. Much has been said about Madonna, but through her work, a holy trinity of themes has emerged. And through these themes – gender exploration, multiculturalism, and spirituality – we can unpack one of the most iconic catalogs in pop music.
This week on Switched On Pop, we're Listening 2 Madonna, and releasing three special episodes focused on the Material Girl, going Deeper and Deeper to understand the Queen of Pop. On this episode, we take a look at how Madonna conveys gender in her work, from "Like A Virgin" to "What It Feels Like For A Girl."
Songs discussed:
Madonna – "Vogue"
Madonna – "Borderline"
Madonna – "Like A Virgin"
Madonna – "Material Girl"
Deniece Williams – "Let's Hear It For The Boy"
Madonna – "True Blue"
Madonna – "Live to Tell"
Madonna – "Papa Don't Preach"
Madonna – "Express Yourself"
Madonna – "Justify My Love"
Madonna – "Deeper and Deeper"
Madonna – "Waiting"
Madonna – "Bad Girl"
Madonna – "What It Feels Like For A Girl"
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In 1973, before their ascent to rock superstardom with Fleetwood Mac, Lindsey Buckingham and Stevie Nicks were just two young lovers making music in Los Angeles. Their debut album, Buckingham Nicks, though commercially unsuccessful at the time, would prove to be the catalyst that changed their lives. When Mick Fleetwood happened to walk into Sound City Studios and overheard Buckingham's masterful guitar work, he knew he'd found what his band desperately needed given the departure of their guitarist Peter Green. Fleetwood invited Buckingham to join the group, and Buckingham agreed on one condition: his musical and romantic partner, Stevie Nicks, would come too. This fateful meeting would birth the legendary lineup that created Fleetwood Mac and Rumours, albums that would define a generation.
Yet all this time, the band's origin story, captured in Buckingham Nicks, has remained locked away in aging vinyl archives – until now. Grammy-winning guitarist Madison Cunningham and virtuoso multi-instrumentalist Andrew Bird have breathed new life into this historic recording with their interpretation, Cunningham Bird. Cunningham, celebrated for her sophisticated fingerpicking and intricate compositions, joins forces with Bird, whose distinctive violin work and plaintive vocals have earned him critical acclaim.
Their reimagining of this pivotal album offers fresh insight into both Fleetwood Mac's enduring influence and the rocky romance that sparked their success. I sat down with the duo to discuss their approach to this legendary material and what drew them to resurrect these long-lost songs. Switched On Pop spoke with Madison Cunningham and Andrew Bird about how they adapted Buckingham Nicks into Cunningham Bird
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A musical "freak," to us here at Switched On Pop, is an artist who is unique, non-conforming, and always manages to surprise. We're living in some freaky times right now, so there's no better way to honor that than to listen to pop's freakiest artists. The past few weeks have seen new releases from Lady Gaga, Tyler, the Creator, and The Cure – the latter releasing their first new album in sixteen years. This episode of Switched On Pop, we unpack these songs and get to the bottom of their freakiness.
Songs discussed:
Lady Gaga – Disease
Tyler, The Creator – Noid
The Cure – Alone
More
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Over the summer, the culture was shaken by the biggest rap beef this decade, between Drake and Kendrick Lamar. From “First Person Shooter” to “Not Like Us,” hip-hop listeners hung on each rapper’s every word and rebuttal, and for the first time in years, the genre felt exciting.
Months after the beef had “ended,” Lamar released a track on Instagram dubbed “Watch the Party Die,” in which he lamented that hip-hop, in its current state, has lost its way and – as the title suggests – needs to die. It’s interesting, coming from Lamar, the supposed winner of the beef, and begs the question: is hip-hop dead?
On this episode of Switched On Pop, engineer Brandon McFarland takes us on a journey over the course of history, to answer the question: can hip-hop ever truly die? And if this form of it is not sustainable, what’s next?
Tracklist:
Drake - First Person Shooter ft. J. Cole
Future, Metro Boomin, Kendrick Lamar - Like That
Drake - Push Ups
Kendrick Lamar - Euphoria
Drake - Family Matters
Kendrick Lamar - meet the grahams
Kendrick Lamar - Not Like Us
Kendrick Lamar - Watch The Party Die
Glass Animals - Heat Waves
Desiigner - Panda
Migos - Versace
Public Enemy - Bring The Noise
THE CARTERS - APESHIT
Ariana Grande - 34+35
Kendrick Lamar - Alright
Jay-Z - D.O.A.
Cher - Believe
T-Pain - I'm Sprung
Lil Wayne - Lollipop ft. Static
Kanye West - Heartless
Drake - Over
Travis Scott - Mamacita ft. Rich Homie Quan, Young Thug
Lil Yachty - Poland
DRAM feat. Lil Yachty - Broccoli
Charlie XCX - 360
Too $hort - Oakland California
Geto Boys - Damn It Feels Good to Be a Gangsta
Geto Boys - Mind Playing Tricks On Me
Blondie - Rapture
Playboi Carti - Magnolia
Playboi Carti - Rockstar Made
Lil Uzi Vert - New Patek
Lil Uzi Vert - Suicide Doors
Lil Uzi Vert - XO Tour Llif3
Juice WRLD - Lucid Dreams (Forget Me)
Future - Fuck Up Some Commas
Tyler, The Creator – Sticky
tisakorean - LET ME HEAR YOU SCREAM
Travis Porter ft. Tyga - Ayy Ladies
AgusFortnite2008, Stiffy & DJ Smokey – COF COF
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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
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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"
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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.
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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?
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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)
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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
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"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"
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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
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