For those who have been on the lookout for a single week that captured the story of pop music this 12 months — or perhaps hit-making within the streaming period writ giant — zoom in on April 26, 2020.
Time has handed hazily since March, so in case you want a refresher, this was the week America formally surpassed a million instances of Covid-19, the British prime minister, Boris Johnson, returned to work after his personal battle with the virus, and White Home officers reassured the American public that the president of america hadn’t really advised injecting bleach into one’s bloodstream.
Within the music world, the information was extra benevolent. On April 29, Beyoncé and Megan Thee Stallion released a remixed, collaborative version of “Savage,” the swaggering Megan solo monitor that had already taken TikTok by storm. Two days later got here one other: Doja Cat’s summery “Say So,” now with added verses from her stylistic forebear Nicki Minaj. Billboard watchers settled in for an epic chart battle, if solely as a result of all the things else taking place on the earth was unimaginably miserable.
As soon as the numbers had been tallied for the Might 16 Sizzling 100 chart, Doja Cat and Nicki Minaj’s “Say So” got here out on prime, with Megan and Beyoncé’s “Savage (Remix)” arriving at No. 2. In a bigger sense, although, it was a win for all 4 of them: This was the primary time that 4 Black girls had occupied the highest two spots on Billboard’s Sizzling 100 chart. And, two weeks later, when “Savage (Remix)” surged to No. 1, this sense of a shared coronation was much more palpable.
Widening the lens a bit, although, these high-profile, fan-army-uniting duets have been the newest iteration of one of many 12 months’s defining pop tendencies. From Might 16 till August 8, every music that topped the Billboard Sizzling 100 was a paired collaboration. In a 12 months that sanctioned social distancing and solitude, our pop stars have been becoming a member of forces like by no means earlier than.
OK, perhaps not like by no means earlier than. Musical collaborations are frequent in any period, and it’s no coincidence that each one three of the longest-reigning Sizzling 100 No. 1’s of all time are the product of a number of artists: the country-rap handshake that was Lil Nas X and Billy Ray Cyrus’s 2019 “Old Town Road” remix; the 2017 world juggernaut “Despacito,” initially launched by Luis Fonsi and Daddy Yankee, then given an English-language enhance with a Justin Bieber remix; and Mariah Carey and Boyz II Males’s 1995 all-star tear-jerker “One Sweet Day,” a Voltron-like unification of two ’90s R&B powerhouses.
When a single can attraction to a number of style codecs, cultural backgrounds and fandoms, it has the potential to maneuver extra models — that’s simply basic math. However in a pop musical second dominated by streaming numbers, passionate stan communities and algorithmic savvy, it’s turn out to be much more clear why A-list collaborations have proved to be the most secure chart bets. Name it the Avengers period of pop music.
Take, for instance, “Rain on Me,” Woman Gaga and Ariana Grande’s house-pop team-up that hit No. 1 on June 6, the week after “Savage (Remix).” This was the second single from Gaga’s album “Chromatica,” following “Silly Love,” a dance flooring thumper that did respectably if not spectacularly on the Sizzling 100, peaking at No. 5. “Rain on Me” simply bested it. On Spotify, it now has greater than double the performs of “Silly Love” (474 million to the primary single’s 213 million) and is quick approaching the play depend of Gaga’s greatest hit, “Unhealthy Romance” (485 million). What’s higher than Woman Gaga’s Little Monsters rallying behind a single? Little Monsters and Grande’s Arianators rallying behind a single.
Solo or in a pair, Grande has been an exceptionally profitable artist within the streaming economic system, which additionally means she’s a fascinating power-duet accomplice. Justin Bieber discovered this when “Stuck With U,” their quarantine-themed charity single, went to the highest of the chart on Might 23 (the week between the “Say So” and “Savage” remixes). Somebody who didn’t really feel particularly charitably towards the music was the rapper and provocateur 6ix9ine, who fervently criticized Billboard when his post-prison comeback monitor “Gooba” debuted two spots behind “Caught With U,” regardless of topping the weekly Streaming Songs chart.
Billboard weighs purchases extra closely than streams, however 6ix9ine accused Bieber and Grande of making an attempt to “purchase” their method to No. 1. Implicit within the rapper’s in any other case petty critique was the problem offered for any solo artist now anticipated to compete with conjoined duos of superstars and the mixed energy of their fan bases. So when it got here time to launch his subsequent single, “Trollz,” 6ix9ine referred to as up his most high-profile ally, Nicki Minaj, to collaborate on a remix and, naturally, summon the help of her fearsome, omnipotent fan military, the Barbz. On cue, the pair’s “Trollz” remix debuted atop the chart on June 27, giving 6ix9ine his career-first No. 1.
Neither “Trollz” nor “Caught With U” lasted at No. 1 longer than per week. However a music that has managed to stability attention-grabbing with endurance is probably the mom of all 2020 collaborations, Cardi B and Megan Thee Stallion’s gloriously libidinous “WAP.” The third No. 1 hit of the 12 months to characteristic two Black girls, “WAP” was a strong present of solidarity between two contemporaries who — had they emerged a technology or two in the past, when loads of individuals within the music business believed the self-fulfilling lie that just one profitable feminine rapper may exist at a time — may need been pitted towards one another as rivals. As an alternative, “WAP” finds them showcasing their differing although complementary musical personalities and weathering the reactionary conservative backlash to the monitor extra blithely than they might have been capable of alone.
“Empowerment” is considered one of fashionable pop music’s most virtuous buzzwords, and it’s straightforward for labels to spin these collaborations into inherently constructive, feel-good narratives of mutual help. And given how white and male the Sizzling 100 has skewed lately, it’s definitely refreshing to see so many Black and feminine artists triumphing whereas ostensibly rejecting the concept they’re inherently one another’s competitors. However, particularly in a 12 months when touring wasn’t a viable revenue stream, collaborative hits additionally appeared like savvier enterprise methods within the streaming period of diminishing returns.
The final word proof of the power-collabo’s ubiquity is in the way in which sure fan communities have began to boast about its reverse. When BTS’s first English-language single “Dynamite” hit No. 1 later within the 12 months, for instance, a frequent stan chorus was to marvel that they’d finished it with “no features.” Most pop actions have equal and reverse reactions, so maybe the subsequent pattern, or subsequent 12 months’s most coveted hit-making flex, would be the solo No. 1.