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    A Shocking Country Song Is Dominating TikTok. Is Girly Girl for Real?

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    TikTok’s latest musical obsession is a country song. But not the kind that first comes to mind.Miles removed from the weather-beaten earnestness of Zach Bryan, or Bailey Zimmerman’s heart-on-sleeve crooning, the viral “10 Drunk Cigarettes” is plasticky, poppy, alien and seemingly A.I.-assisted. Its lyrics advocate for a carefree, resolutely American way of life, although they replace Nashville standards like beers and Bibles with cigarettes and copious amounts of cocaine, and find humor (and plenty of shock value) in their clash of saccharine femininity and unbridled nihilism. The result is like the cult comedy “Strangers With Candy” or the early web series “The Most Popular Girls in School” for the short-form video generation.“10 Drunk Cigarettes” is by Girly Girl Productions: a mysterious trio supposedly based in St. Louis that seem to have a preternatural ability to turn ironic, startlingly contemporary internet humor into music. Most Girly Girl songs follow a brutally effective structure: an intro verse about how empowered women are, followed by a chorus about using that power to do something horrifyingly self-destructive, in a tone that vaguely echoes the “God forbid women have hobbies” meme.Not every Girly Girl song is indebted to country, but its most ingratiating ones, like “Notes App Girls!” and “Coked Up Friend Adventure!” feel rooted in the genre. “10 Drunk Cigarettes,” which has gained the most traction on TikTok and streaming, combines the smiley feminized empowerment of RaeLynn’s “Bra Off” — which likens a breakup to “takin’ my bra off” — with the boozy escapism of Chase Rice and Florida Georgia Line’s “Drinkin’ Beer. Talkin’ God. Amen.”“10 Drunk Cigarettes” is not dissimilar from that collaboration in structure and arrangement. It’s built around a rhythmic acoustic guitar line and surges to an anthemic chorus structured as a list. But it’s not the kind of song that will be getting played on country radio anytime soon. TikTok is filled with videos of people reacting, mouths agape, to its chorus: “I can name 10 things us girls need before we ever need a man/One new vape/Two lines of coke/Free drinks from the bar/Four more lines of coke” — and so on.The very first line of “Demure,” Girly Girl’s debut album, makes a statement: “Haters mad ’cause my music is A.I./Wish I cared, but I’m way too high.” While many vocals on the album are wobbly and lo-fi in a way that recalls the fake songs by Drake and the Weeknd that proliferated last year, it’s unclear how much of Girly Girl’s songs are A.I.-generated; it’s unlikely that tracks like these could be made without a high level of human involvement. (The company did not respond to a request for comment.)Girly Girl’s songs tap into a vein of humor that’s firmly of-the-moment. Their glib jokes about vaping, drinking, drug taking and trauma — and, specifically, how those things relate to, or form an essential part of, “girlhood” — are the kinds of jokes going viral on X, formerly Twitter, every day. “Demure” was released last month, and even its title (which refers to a TikTok trend about being “very demure, very mindful” that blew up and faded away within the last few weeks) points to a desire for immediate relevance at the expense of longevity.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Beyoncé’s ‘Cowboy Carter’ Country Album Snubbed by CMA Awards

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      The country-plus-everything-else album was given only limited promotion on country radio, with the success of the song “Texas Hold ’Em” driven by streaming and downloads.When the Country Music Association announced the nominations for its 58th CMA Awards on Monday, there were plenty of expected names.Morgan Wallen, the pop-country superstar who has been a streaming phenomenon, led the pack with seven nods, including for the top honor, entertainer of the year. Cody Johnson and Chris Stapleton, two Stetson-wearing stalwarts, had five nominations apiece, and Lainey Wilson, a rising star in song and style, and Post Malone, the rap-rock-folkie who made a pivot to country this year, each got four.But there was a conspicuous absence: Beyoncé, whose country-plus-everything-else album “Cowboy Carter” took the music world by storm this spring, with her song “Texas Hold ’Em” going to No. 1 on Billboard’s Hot Country Songs chart. The album — with a cover picturing Beyoncé as a red-white-and-blue rodeo queen, riding a horse sidesaddle and hoisting an American flag — was a cultural phenomenon, stirring debates and extensive news media coverage about the historical role of African Americans in country music and their continuing struggles to be accepted by the Nashville establishment.A Beyoncé fan account quickly protested on X: “The CMA’s have once again deferred to those in the industry who prefer to deny Black artists the recognition they deserve.”But the snub was not unexpected. Eight years ago, Beyoncé got a cool reception at the 2016 CMAs when she performed her song “Daddy Lessons” with the Chicks (then still known as the Dixie Chicks). That experience apparently played a role in Beyoncé’s decision to make a country album, with the star saying that “Cowboy Carter” was “born out of an experience that I had years ago where I did not feel welcomed … and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      20 Pop and Jazz Albums, Shows and Festivals Coming This Fall

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      Anticipated debuts and long-awaited follow-ups are due this season. Our critics plucked out a list of the most notable.Some of the year’s buzziest artists (Charli XCX, Chappell Roan) are headlining tours and festivals this fall, and a bevy of new albums from established stars (Shawn Mendes, Jelly Roll) and up-and-comers (Flo, Nemahsis) are on the way. Dates and lineups are subject to change.SeptemberNILÜFER YANYA The British musician Nilüfer Yanya makes pensive, intricately layered songs that revel in unexpected textural jolts. On “Like I Say (I Runaway),” the lead single from her third album, “My Method Actor,” the deadpan, Sade-like cool of Yanya’s vocals is interrupted by a sudden eruption of PJ Harvey-esque guitar distortion. A melodically rich meditation on identity, desire and the reverberations of heartache, “My Method Actor” is a confident and hypnotic follow-up to her 2022 release, “Painless.” (Sept. 13; Ninja Tune) LINDSAY ZOLADZNEMAHSIS Nemahsis — the songwriter Nemah Hasan, who has Palestinian roots — sings about seizing her tangled identity as an independent artist, a Muslim, the daughter of immigrants and a self-questioning but determined individualist. On her debut album, “Verbathim,” her producers include Drake’s regular collaborator Noah (40) Shebib, with songs that can be folky or test the electronic edges of hyperpop. (Sept. 13; Verbaithim) JON PARELESSEXYY RED Fresh off several high-profile collaborations with Drake, Sexyy Red, the 26-year-old St. Louis rapper, makes the leap to headlining arenas on her Sexyy Red 4 President tour, on which she’s playing songs from her latest mixtape, “In Sexyy We Trust.”. That’s one way to kick off election season. (Sept. 17; Barclays Center) ZOLADZSexyy Red’s tour started in late August and comes to Brooklyn in September.Torben Christensen/Ritzau Scanpix Denmark, via ReutersCHARLI XCX AND TROYE SIVAN Most live performances by the British pop singer, songwriter and producer Charli XCX tend to feel more like semi-legal warehouse raves than highly choreographed arena shows, but the breakout success of her sixth album, “Brat,” means that, on the Sweat Tour that she is headlining with the Australian pop star Troye Sivan, the 32-year-old industry veteran will be playing some of the largest venues of her career. Bid farewell to Brat Summer in style starting Sept. 14 in Detroit. (Sept. 23; Madison Square Garden) ZOLADZWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Pete Wade, Guitarist on Countless Nashville Hits, Dies at 89

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      His clean tone and less-is-more approach made him a studio stalwart and a pioneer of what came to be known as the Nashville Sound.Pete Wade, a prolific and versatile Nashville studio guitarist who played on scores of blockbuster hits — including Ray Price’s “Crazy Arms” and Sonny James’s “Young Love,” two of the most popular country records of the middle to late 1950s — died on Wednesday at his daughter’s home in Hendersonville, Tenn., near Nashville. He was 89.His daughter, Angie Balch, said the cause was complications of hip surgery.A member of the loose aggregation of top-flight session musicians known as the Nashville A-Team, Mr. Wade played on numerous records regarded as classics. Among the best known were Loretta Lynn’s “Fist City” (1968), Lynn Anderson’s “Rose Garden” (1970), Crystal Gayle’s “Don’t It Make My Brown Eyes Blue” (1977), George Jones’s “He Stopped Loving Her Today” (1980) and John Anderson’s “Swingin’” (1983).All five of those records were No. 1 country hits; “Brown Eyes” and “Rose Garden” also won Grammy Awards and crossed over to the pop Top 10. “He Stopped Loving Her Today,” another Grammy winner, was added to the Library of Congress’s National Recording Registry in 2008.“Pete Wade treated all of them the same way,” the music journalist Peter Cooper said, referring to the many artists Mr. Wade accompanied, at an event celebrating his legacy at the Country Music Hall of Fame and Museum in 2016. “He listened, he comprehended, he added what would help, and he left out anything that would distract or water down.”Mr. Wade in 1954, the year he moved to Nashville. Soon after arriving, he joined Ray Price’s band, the Cherokee Cowboys; he went on to work with Mr. Price on and off for almost a decade.via Country Music Hall of Fame and MuseumAn empathetic musician whose clean tone and less-is-more approach lent themselves equally to rhythm and lead playing, Mr. Wade, who also played fiddle, bass and steel guitar, had a special affinity for collaborating with steel guitarists.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      What Was Your Personal Song of the Summer?

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      We want to know your seasonal anthem, for a future Amplifier playlist.In a recent edition of The Amplifier newsletter, Lindsay Zoladz shared her picks for this year’s Song of the Summer, including seasonal smashes like Sabrina Carpenter’s “Espresso,” Shaboozey’s “A Bar Song (Tipsy)” and Kendrick Lamar’s “Not Like Us.”But the song that defined your summer doesn’t have to be a contemporary hit. Maybe it was an old song you discovered — or rediscovered — that captured an experience you were going through. Maybe it was a newer song that didn’t crack the Top 40. Or maybe it was a familiar classic that provided a perfect soundtrack for a vacation, a sunny stroll or a day at the beach when the summer, briefly, felt endless.If you’d like to share your song and your story with us, fill out the form below. We may publish your response in an upcoming newsletter. We won’t publish any part of your submission without reaching out and hearing back from you first.What was your personal song of the summer?We want to know your seasonal anthem, for a future Amplifier playlist. More

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      Post Malone Returns to No. 1 With His Country Debut, ‘F-1 Trillion’

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      The shape-shifting pop songwriter’s new album debuts atop the Billboard 200, and Chappell Roan’s “Midwest Princess” holds at No. 2.Post Malone, the face-tattooed singer and songwriter who emerged a decade ago with a rock-meets-folk-meets-rap style that caught fire on streaming services, opens at No. 1 on the latest Billboard album chart with “F-1 Trillion,” which repositions the star in a country context.“F-1 Trillion,” featuring guest spots by a bevy of Nashville stars like Dolly Parton, Tim McGraw, Morgan Wallen, Lainey Wilson and Jelly Roll, was released on Aug. 16 — two days after Post Malone’s debut at the Grand Ole Opry — and garnered the equivalent of 250,000 sales in the United States. That total includes 213 million streams and 80,000 copies sold as a complete unit, according to the tracking service Luminate. The full “deluxe” version of the album has 27 tracks.The success of “F-1 Trillion” is the latest swerve in the story of Post Malone — real name Austin Post — who in the late 2010s became one of the flagship stars of the streaming era with emotive earworms like “Rockstar,” “Better Now” and “Sunflower.” His albums “Beerbongs & Bentleys” (2018) and “Hollywood’s Bleeding” (2019) were mainstays in the top ranks of the chart. But he stumbled with two follow-up LPs, “Twelve Carat Toothache” (2022) and “Austin” (2023), which leaned deeper into pop and rock but had considerably weaker sales.Recently, Post Malone returned as an unexpected guest star on two of this year’s biggest albums: Beyoncé’s “Cowboy Carter” and Taylor Swift’s “The Tortured Poets Department,” where he duetted with Swift on the album’s lead single, “Fortnight.” In May, he revealed his country direction with “I Had Some Help,” featuring Wallen, the first single from “F-1 Trillion”; it became his first solo No. 1 on the Hot 100 chart since “Circles” in 2019. (“Fortnight,” naturally, went straight to the top.)Also this week on the Billboard 200 album chart, Chappell Roan’s “The Rise and Fall of a Midwest Princess” holds at No. 2, while Swift’s “Tortured Poets” falls to No. 3 after logging its 15th week at No 1. Wallen’s “One Thing at a Time” is No. 4 and Billie Eilish’s “Hit Me Hard and Soft” is in fifth place. More

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      8 Correct Answers to ‘What Was the Song of the Summer?’

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      Revisit contenders from Sabrina Carpenter, Kendrick Lamar and Billie Eilish.Sabrina Carpenter has the top contender for song of the summer.Amy Harris/Invision, via Associated PressDear listeners,I’m sorry to be the one to break it to you, but the end of the summer is approaching. Every year around this time, music fans’ favorite unwinnable debate reaches an apex: What was the song of the summer?At the risk of breaking even more bad news, I’ll say that for the most part, the Song of the Summer is a fictitious and even pointless construction, generally immeasurable and usually difficult to agree on unanimously. Sure, every so often a single tune becomes so ubiquitous during those sweltering, school’s out months that it rightfully earns the title. Think of Lil Nas X’s chart-dominant “Old Town Road” in 2019; the viral glee of Carly Rae Jepsen’s “Call Me Maybe” in 2012; or, if you can remember that far back, the Bayside Boys remix of Los Del Rio’s “Macarena” in 1996 (Ay!).But more often than not, the Song of the Summer is up for debate. And given that I believe a true S.o.t.S. must be monocultural and undeniable, most contenders do not truly reach that status.Around Memorial Day, it did seem like we had a prime candidate: the rising pop star Sabrina Carpenter’s fun, flirty “Espresso.” It had all the makings of a summer smash, including a well-timed release date, a beach-themed music video and several goofy, endlessly quotable lyrics that just begged to be printed on novelty boardwalk T-shirts. Case closed, right?But as the summer continued, “Espresso” faced some formidable challengers. The Drake-vs.-Kendrick Lamar beef produced a bona fide anthem in “Not Like Us,” by most measures the biggest hit of Lamar’s career. The rise of the Midwest princess Chappell Roan became one of the year’s most captivating narratives, and her wrenching synth-pop single “Good Luck, Babe!” climbed the Hot 100 accordingly. Even Carpenter herself gave “Espresso” a run for its money with its irresistible follow-up single, “Please Please Please,” which achieved a feat that her previous hit did not: It went to No. 1 on the Billboard Hot 100.So, which was the Song of the Summer? Today’s playlist contains 8 different and entirely acceptable answers to the question. If I had to pick just one, I’d still go with “Espresso,” but I’d argue this summer contained too many unexpected plot twists for there to be a unanimous winner. Maybe it’s just one of those years where you need a collection of different tunes to tell the full story of the season. So let this playlist be a time capsule that you can return to in subsequent years when you want to conjure up the sound of summer ’24 — or in a couple of months, when the autumn chill makes you long for these endless sunny days.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      7 New Collaborations You Should Hear Now

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      Hear music from pairings that include Lady Gaga and Bruno Mars, and Post Malone and Chris Stapleton.Post MaloneThea Traff for The New York TimesDear listeners,It’s time once again for your monthly digest of recommended new music, culled from the Friday Playlists that Jon Pareles and I compile each week. This month’s collection has a twist: It’s composed entirely of collaborations.I try to keep these new music compilations relatively brief, so you can stay up-to-date on recent releases without investing too much time. Consider today’s playlist especially efficient. Over just 7 tracks, you’ll get to hear 14 different artists.Some pairings are like peanut butter and jelly, in that they make perfect sense: Of course Lady Gaga and Bruno Mars sound good together. Chloe and Anderson .Paak? I can absolutely hear that in my head before I even press play. But I’d categorize a few of these collaborations as peanut butter and bacon: Unexpected, a bit of a head-scratcher on paper, but surprisingly enjoyable in execution. I never thought I’d hear, say, the rapper ASAP Rocky and the folk singer Jessica Pratt on a song together, but now I have and you know what? That’s a tasty sandwich.You wanna guess if we’re serious about this song,LindsayListen along while you read.1. Lady Gaga & Bruno Mars: “Die With a Smile”Lady Gaga and Bruno Mars each have the sort of highly adaptable talent that transcends genre and trend; they also pride themselves on professionalism sprinkled with a healthy dose of pizazz. (For what it’s worth, they’re also the exact same age: 38.) Each brings the appropriate amount of firepower to “Die With a Smile,” a romantic torch song accentuated by dreamy guitars. It’s likely a one-off, but Gaga did reference a forthcoming seventh album when she announced this single. Little Monsters, you’ve been warned.▶ Listen on Spotify, Apple Music or YouTubeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      By Day, Sun Studio Draws Tourists. At Night, Musicians Lay Down Tracks.

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      The day’s last batch of tourists filed out of an exhibition space and entered a room overflowing with the sound of Johnny Cash’s “Cry! Cry! Cry!”They’d spent the late afternoon soaking up stories about this small space with an outsize weight — Sun Studio, in Memphis, Tenn. — where the nascent sound of rock ’n’ roll took shape in the mid-1950s. It’s where Elvis Presley became Elvis and Sun Records made household names of Cash, Carl Perkins, Jerry Lee Lewis and others. It happened between the same well-worn acoustic tiles that still line the studio walls and its rolling, wavelike ceiling, and on top of the same linoleum where a hand-taped “X” marks the spot where Sun vocalists once stood.The visitors took turns with a nonfunctional but studio-original Shure 55-series microphone, made available under two conditions: no stealing it and no kissing it. They settled for photos instead before exiting into the hot, late-July evening.Then, almost as soon as the front entrance was locked, the back door opened and the local indie-rock band Blvck Hippie began to trundle in with gear.The no-kissy mic was swapped for a working one and cables were threaded across the studio floor in an electric web, as the drummer screwed down cymbals and riffs rang from warming fingers on two guitars and a bass.Before long a room intended to keep alive the memory of old songs had transformed, and was wired to capture new ones.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More