Afleveringen
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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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Follow Jesse Cannon Musformation YouTube channel
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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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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.”
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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.
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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.”
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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"
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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.
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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.
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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
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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.
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