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      ‘Olivia Rodrigo: Driving Home 2 U’ Review: Songs on Overdrive

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      The singer-songwriter is in a reflective state in the director Stacey Lee’s film, which documents a trip from Salt Lake City to Los Angeles.Olivia Rodrigo, the pop sensation whose global megahit “Driver’s License” put her career in the fast lane in 2021, is, naturally, driving a car in the first film about her life.She makes the same trip — Salt Lake City to Los Angeles — in the director Stacey Lee’s film on Disney+ as she did to record her wildly popular debut album, “Sour.” It’s a trek that puts Rodrigo in a reflective state, and Lee’s mood-infused film is tailored to appeal to the vintage taste of a Gen Z crowd that loves the grainiest of photo filters. Her subject’s ruminations feel overstated when paired with a retro-chic visual palette, so there are looks of intense longing that would make “Folklore”-era Taylor Swift proud.But the more Lee shows Rodrigo gazing into the distance, whether alone in a hotel room or atop a hill, the more it feels like a director’s cue rather than an organic moment that the camera just happened to catch. In the scenes where Rodrigo is openly sharing parts of her life that led to creating “Sour,” authenticity seems to come more easily.As a performance piece, “Driving Home 2 U” is an exhilarating and intimate showcase for Rodrigo, as commentary about her album’s tracks spills seamlessly, in musical-theater fashion, into “Sour” tunes. Songs are newly arranged and presented in some breathtakingly scenic spots. It’s a film that at least succeeds in making you feel that it really is about the journey, not the destination.Olivia Rodrigo: Driving Home 2 U (a Sour Film)Not rated. Running time: 1 hour 17 minutes. Watch on Disney+. More

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      The Many Worlds of Rosalía

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherThe Spanish flamenco prodigy turned multigenre pop innovator Rosalía has just released her third album, “Motomami.” Crucially, it’s her first full-length since the breakthrough she experienced with her 2018 album “El Mal Querer,” which elevated her from local renown to global attention.In the years since, Rosalía has collaborated widely — Travis Scott, Ozuna, Billie Eilish, J Balvin — and leaned into the sounds of the Spanish-speaking Caribbean. Her success has, for some, underscored how much latitude is afforded white performers working with nonwhite styles and sounds. But also it has marked Rosalía as one of the most sonically ambitious and creative performers in contemporary pop.On this week’s Popcast, a conversation about Rosalía’s unlikely pop stardom, her avant-garde approach to style blending and the cultural politics of laying claim to a multitude of traditions.Guest:Joe Coscarelli, The New York Times’s pop music reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      How Charli XCX, Caroline Polachek and Christine and the Queens Navigate Pop

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      As she was preparing to release “Crash,” the glossiest album of her career as a solo pop artist, Charli XCX was in the doldrums. In December, the British singer and songwriter landed a high-stakes “Saturday Night Live” performance that would feature two of her friends and collaborators, Caroline Polachek and Christine and the Queens.After a labyrinth of planning, rehearsal and boomerang travel, the whole thing was scrapped hours before air because of the Omicron surge. Navigating this disruption and other big questions about what might come next, Charli XCX spun out. “I actually felt really, really low in January,” she said, “and really sad, and was crying a lot and questioning a lot of things.”Eventually, the fog lifted; her public bravado kicked in. “My album is so good,” she tweeted last week. “It’s just true, I can’t help it.” “Crash,” which arrived on Friday, is the fifth and final LP released under the major label contract that Charli XCX, 29, signed as a 16-year-old. After she broke through in 2014 with the single “Boom Clap,” and earned a reputation as a hooky, hit-making writer for other artists, she grew more experimental, veering into hyperpop with Sophie and A.G. Cook, like her 2017 mixtape “Pop 2.” But she never lost her taste for collaborating.“She’s the queen of features,” said Polachek, a longtime friend. She and Christine and the Queens, the French artist Hélöise Letissier, who goes by Chris, are, indeed, featured on “New Shapes,” a synthy single from “Crash,” in which each wrote a verse about relationships — a subject they have long discussed in DMs and on podcasts. “I think we all fall in love quite differently,” Charli said.The relationship songs on “Crash” could double as a narrative about Charli XCX’s up-and-down time in the music industry, she added. She wanted the album to be her last, most packaged push for pop stardom — just to see if she could do it. “For me, there’s always been this eternal question of, like, could I be the biggest artist in the world,” she said, “or am I not made for it? Am I too weird, too left, too opinionated, too unlikable, too different looking, whatever, whatever, whatever?”Charli XCX got a rescheduled shot on “S.N.L.” this month, albeit without her pals. Now she’s wondering what the next phase of her career could be. “Who will I become? What will I look like? What will I wear? What will it sound like?” she said.Transformation and evolution were recurring topics when Charli XCX, Polachek and Chris got together in December, to discuss recording and performing together across continents. They each approach music from different lanes, as Polachek, formerly of the Brooklyn indie band Chairlift, put it: Charli on the social media-fueled pop front (she started on Myspace); Chris, who has lately been holed up in Los Angeles at work on a new Christine and the Queens album, arriving with a headier theatrical and performance background. “I love making music on my own, but I really find I come alive more when I share a space with them,” Charli said.In joint interviews and separately, they spoke about their careers and friendships, and why they work well as collaborators. “We’re feelers, you know,” Polachek said. These are edited excerpts from the conversations.“I roll my eyes when people point to female pop vocalists as an example of change in music,” Polachek said.Jingyu Lin for The New York TimesHow They MetPOLACHEK Charli and I met 12 years ago in Australia. I was playing double-decker synths, singing from behind the band — I wasn’t even really the lead singer of that band. And Charli was wearing platform sneakers that were like a foot high, with rainbow stripes, and she was just singing over an iPod and stomping onstage. The paradigms were so different. She was like, Caroline, I want you to produce music for me. At the time I’d never produced music for anyone, let alone myself.CHARLI XCX I remember watching Chairlift perform and Caroline’s vocals being incredible, and I think I was just really in awe of her. And I still am. I felt intimidated by her coolness, not that she was an intimidating person. She was really kind. I was maybe 18, and still traveling back and forth on trips from my parents’ house.POLACHEK I did a mega-story Instagram post when Chris put out the “Girlfriend” video, I was just blown away by it, and I think you responded to that story and said, “I’m a fan” and I was like, “I’m a fan.” We had a pen pal relationship for about a year and a half, and quite a deep one, before we actually met. Just on Instagram DM. We were talking about love and pain.CHRIS I can go deep with you in conversation, and I appreciate that in our friendship.“The truth is, I’m allowed to be whoever I want, because the reason I’m an interesting artist is because I evolve and change,” Charli XCX said.Jingyu Lin for The New York TimesOn Gender in the Music IndustryCHARLI XCX Now, and for the past however many years, I’ve loved co-writing. I see it as a real skill to be able to hone multiple people’s ideas into one sensical thing. But what I did experience [from outsiders] was a sense of disbelief that I could possibly write a song. Maybe that’s a lack of education in the minutiae of the music industry and the different roles — the songwriter; the producer; the artist who sometimes doubles as both. I think there’s still a narrative of people being like, oh, did Olivia Rodrigo really write that song? Or did Taylor Swift?Like, it seems that there needs to be this question around women’s validity and whether they’re worth their space, whereas it just doesn’t really seem to be a question for men.POLACHEK I roll my eyes when people point to female pop vocalists as an example of change in music. No. Women’s faces and women’s voices have been prominent since the beginning of pop music. It’s who has their hand on the dial. That’s what’s changing.CHARLI XCX There are more ways to be an artist because there are more platforms — there’s TikTok, there’s SoundCloud. There’s being that girl in your bedroom, releasing songs and organically building a fan base via your own memes. Those things are all true, but unfortunately, and maybe call me a pessimist, I do feel like there are still boxes that women are supposed to fit in.And there are definitely moments that break that mold — Billie Eilish becoming the biggest artist in the world. A great artist creates an amazing world for people to access. I feel like people sometimes are not willing to accept that women artists evolve. Billie did a performance using Auto-Tune, and the world imploded. And it’s like, that’s an artistic choice.I’m the weird girl on the fringes who made “Pop 2” and people loved me for that, and I’m eternally grateful for that support. That helped me sustain a career that, post-2014 to 2015, wasn’t very commercially successful. I found a new lease on life playing closer to the underground, more avant-garde sounds. Maybe this is just the Twitter discourse, which I probably need to get my head out of, but sometimes it feels like I’m being told, no, you’re not allowed to be anyone other than that. And really, the truth is, I’m allowed to be whoever I want, because the reason I’m an interesting artist is because I evolve and change.CHRIS I’m off social, stopped in July. My mental health is better. My connection to the present is better. I think social sometimes — when it’s hyper-filtered and it needs to be punchy, catchy, immediately digestible — it’s encouraging something that I’m not always understanding myself, as an artist. Sometimes I want to take more time to express an idea.My journey with gender has always been tumultuous. It’s raging right now, as I’m just exploring what is beyond this. A way to express it could be switching between they and she. I kind of want to tear down that system that made us label genders in such a strict way. I remember talking about being pansexual in France in 2014 — it was a conversation that few opened up, and I was advised in, like, offices to maybe tone it down. I’m really trying to address it the right way now, and I’ve been sometimes pressured to give an answer. But I think the answer is to be flickery, fluid, escaping.I don’t want to rush that conversation, and I might never answer again. But in my work I’m finding ways to make that journey joyful. I believe the real gestures are artistic, because the real discussion on queerness is also a discussion about the society we live in, about capitalism, about social justice. It’s not just about me every morning wondering, am I masculine or feminine? It’s all-encompassing.“My journey with gender has always been tumultuous,” Chris said. “It’s raging right now, as I’m just exploring what is beyond this.”Jingyu Lin for The New York TimesOn What They Value in Each Other as ArtistsPOLACHEK Chris has a sense of velocity and total commitment. Most people when they’re in rehearsal mode, they do things at 50 percent energy because you don’t want to wear yourself out, you’re just doing it for your brain. Chris is at like 100 percent, 150 percent, every single time, and just raises the level of commitment and energy flow for everyone around.CHRIS I’ve been a fan of Caroline forever. I like how artistic everything is, how intentional everything is. There is an elegance, it’s demanding, but also super melodic.CHARLI XCX I think Caroline sees the potential for pop music to be anything that she can mold. She can create and make it sound or look or do anything that she wants, because she has all the skill set to do that.With Caroline and Chris sometimes, honestly, I’m just envious of their music. When I heard “Girlfriend,” I was like, God, I want to work with [Christine’s collaborator] Dâm-Funk. And I did and I was like, I don’t have this magical connection with this person, even though he’s amazing. Like, I wish Chris was here to figure this out for me.CHRIS Charli, I relate very deeply to you writing the song. I can tell that you’re making music with what you experienced and the feeling you go through. There is something very earnest about your writing.CHARLI XCX Well, you were sort of my therapist for a while. You give good advice.Especially over the past couple of years, I’ve been able to turn to both of them for a lot of personal things outside of music, and also, personal things that connect to music. Sometimes I think it’s hard, being an artist, to vocalize that you’re having a hard time, because obviously, we’re so lucky to be able sustain ourselves from the things that we create. But also, everyone has struggles. It’s nice to speak with others who are in the same kind of situation as you, to confide in them about things that they get. I’m really, really grateful for that. More

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      Lil Durk and Ghost Shake Up the Billboard Chart

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      After an eight-week run at the top for the “Encanto” soundtrack, new albums from the rapper and the Swedish metal band take over.After eight straight weeks leading the Billboard album chart — and nine at the top overall — the “Encanto” soundtrack has finally been bumped from No. 1 by new releases from the Chicago-born rapper Lil Durk and the costumed Swedish metal band Ghost.Lil Durk, a mainstay of the Chicago rap scene who has relocated to the Atlanta area, and lately reached a new audience through a crossover with the country star Morgan Wallen, tops the chart with his album “7220.” It had the equivalent of 120,500 sales in the United States in its opening week, including nearly 165 million streams. Those numbers are tallied by Luminate, the new name for MRC Data, the tracking service that is owned by Billboard’s parent company.It is Lil Durk’s second time at No. 1, after “The Voice of the Heroes,” a joint album with Lil Baby, last June.At No. 2 is “Impera” by Ghost, whose members perform in elaborate satanic regalia. The lead singer, Tobias Forge, appears in black robes and skeletal makeup as a demonic antipope called Papa Emeritus IV — his influences include black metal and Andrew Lloyd Webber — backed up by a crew of Nameless Ghouls. (Forge’s identity became widely known only after four former Nameless Ghouls sued him for back pay in 2017; the case was later dismissed.) “Impera,” Ghost’s fifth studio album, had the equivalent of 70,000 sales, mostly from copies sold as complete albums, in formats like CDs and vinyl LPs.“Encanto” falls to No. 3, and Wallen’s “Dangerous” is No. 4. The British singer Rex Orange County opens at No. 5 with “Who Cares?” More

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      Arcade Fire Ignites a Fresh Era, and 11 More New Songs

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      Hear tracks by Normani, Brad Mehldau, Valerie June and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Arcade Fire, ‘The Lightning I, II’Rarely does critical consensus pivot as quickly and sharply as it did for Arcade Fire, a band that began the 2010s snagging a surprise album of the year Grammy for its beloved, towering double album “The Suburbs,” and ended the decade caricatured as out-of-touch scolds when its 2017 technology critique “Everything Now” left just about everybody cold. The overwhelming return-to-form narrative that has greeted its first new music in five years, from an album due May 6, though, suggests that many were simply waiting for the group to once again make songs that sound like “The Lightning I” and “II.” “I won’t quit on you, don’t quit on me,” Win Butler sings through gritted teeth on the first part of the song, which moves at the tempo of someone running against the wind. Then, all at once, the track kicks into a rapturous gallop and becomes the kind of urgent, clenched-fist anthem the band was once known for: “Waiting on the lightning, waiting on the lightning, what will the light bring?” Butler sings, burning once again with an earnest, fiery hope. Somebody kept the car running after all. LINDSAY ZOLADZOumou Sangaré, ‘Wassulu Don’Oumou Sangaré has carried a women’s song tradition from Mali’s Wassoulou region to a worldwide audience. Her first new song since 2017, from an album due in April, is the Malian fusion of “Wassulu Don”: the quavering vocal lines and call-and-response of Wassoulou songs propelled by the modal, six-beat electric guitar picking — echoing Ali Farka Toure — that has been called “desert blues,” topped by an openly bluesy slide guitar. The song, it turns out in translation, praises regional economic development “thanks to colossal investments”: a prosaic text for a euphoric piece of music. JON PARELESNormani, ‘Fair’Her debut full-length is so long awaited, to some people the phrase “new Normani album” has come to mean roughly what “Chinese Democracy” used to, or — heaven help us —“#R9” still does. But the arrival of Normani’s new single “Fair” is promising on two counts: It indicates that 2022 really could be the year she puts out that mythical album; and it’s much better than “Wild Side,” the sultry but ultimately snoozy Cardi B duet from 2021. Mining the liquefied sounds of Y2K-era TLC or Aaliyah, “Fair” is an anguished ballad with a deep, menacing undertow. “Is it fair that you moved on?” Normani asks, “’cause I swear that I haven’t.” All the while, the moody track throbs with a sputtering but persistent heartbeat. ZOLADZInside the World of RosalíaIn just a few years, the Spanish singer from Catalonia has grown into one of the most worshiped, scrutinized and counted on young artists in the world.Reinventing Flamenco: Rosalía first burst onto the scene with her take on tradition, earning worldwide acclaim and introducing new generations to the genre.New Album: With “Motomami,” the singer adds irony and humor to her thematic arsenal, while turning up the sex and swagger.The Making of a Star: Before racking up magazine covers and millions of views with her YouTube videos, Rosalía spent years training in one of the world’s oldest musical art forms.Diary of a Song: For her hit “Con Altura,” the singer and her collaborators entered the studio with the express mission of paying tribute to old-school reggaeton.Residente featuring Ibeyi, ‘This Is Not America’Setting aside his intramural reggaeton beef with J Balvin, the Puerto Rican rapper Residente returns to major sociopolitical statements with the furious “This Is Not America,” which is rapped in Spanish but purposefully titled in English. It’s a darker sequel to the hemisphere-spanning “Latinoamérica” by Residente’s former group, Calle 13: a far-reaching indictment of repression, corruption and abuse across North, Central and South America. Driven by deep Afro-Caribbean drumming and choir harmonies, it insists, “America is not just the U.S.A.,” with a video that recapitulates brutal human-rights abuses in nation after nation. PARELESBrad Mehldau, ‘Cogs in Cogs, Pt. I: Dance’A three-part suite, “Cogs in Cogs” sits at the center of Brad Mehldau’s new album, “Jacob’s Ladder,” which collects 12 complex, hard-toggling tracks: an attempt to use the tools of prog-rock — his first musical love — to explore how a worldly life might have both shaken and strengthened his Christian faith. Mehldau, who continues to build out from his fixed identity as one of the country’s top jazz pianists, plays almost every instrument on Part 1 of “Cogs in Cogs”: piano, Rhodes, harmonium, mixed percussion and more. He sings some, too. Underpinned by the syncopated rhythm and woven harmonic progression that he outlines at the start, the track works as a patient immersion, providing some balance to the heady overload of so much of this album. GIOVANNI RUSSONELLODonae’o featuring Terri Walker, ‘Good Mood’Everyone in this dystopian moment wants something better. Here’s a song for whenever, eventually, the situation might feel right: a stripped-down bit of electronic funk topped by gritty human voices, placed in a digital grid but hoping there’s a warm, real, physical space beyond it. PARELESSyd and Lucky Daye, ‘Cybah’On the brink of a new romance, Syd — Sydney Loren Bennett, the songwriter and producer who emerged from Odd Future — airs her misgivings in “Cybah,” whispering a question to a prospective partner: “Could you break a heart?” Lucky Daye responds with conditions of his own: “Promise me you’ll always keep my heart in a safe place.” The hesitancy is built directly into the track, three slowly descending chords atop a bass line that sometimes falls away into complete silence, keeping the next step uncertain. PARELESValerie June, ‘Use Me’Valerie June’s “Use Me” isn’t the 1972 Bill Withers song. It offers a more kindly, less exploited version of the same generously loving sentiment: “I’ll let you use me when the world is doing you wrong,” she promises. It’s a soul waltz that gathers a circusy momentum from an oom-pah-pah beat, slightly delayed snare-drum rolls and jovial horns that sound like they wandered into a bar and decided to stick around. PARELESRosalía, ‘Hentai’A delicate, demure piano arrangement serves as a sonic red herring for the raunchiest song Rosalía has released to date. On the surface, “Hentai” is achingly gorgeous, as sparse and intimate as anything the pop-flamenco queen has ever done. “So, so, so good,” she croons ecstatically on the chorus, starry-eyed and accompanied by nothing more than a few plinking notes — the sound of a multifaceted artist revealing yet another side of herself. ZOLADZEthan Gruska and Bon Iver, ‘So Unimportant’Two meticulously disorienting songwriters and producers — Justin Vernon (Bon Iver) and Ethan Gruska (Phoebe Bridgers’s producer) — collaborated remotely on “So Unimportant.” It’s a waltz that mingles an argument and an apology, with Gruska eventually deciding, “It’s so unimportant what started the fight.” What could have been a folksy, homey waltz is layered with hazy sonic phantoms — echoes, altered voices, electronic tones, a hovering string arrangement — that hint at the emotional complexities of everyday frictions. PARELESDanilo Pérez, ‘Fronteras (Borders) Suite: Al-Musafir Blues’As the founder of the Berklee Global Jazz Institute in Boston, the celebrated Panamanian pianist Danilo Pérez has a utopian goal, framed by his own experience of jazz: He sees the music as a tool for international solidarity, and a pathway toward some kind of global sonic language. Pérez’s Global Messengers are a transnational band that has grown out of his work at Berklee, and that seeks to put some evidence behind the ideas. “Al-Musafir Blues” comes as part of the “Fronteras (Borders) Suite,” which contemplates the pain of forced migration. “Al-Musafir Blues” is an 11-minute epic unto itself, starting with a plodding, lovely pattern from the Palestinian cellist Naseem Alatrash that melds slowly into a full-band arrangement; by the end, Pérez’s scampering piano is guiding the conversation. RUSSONELLO More

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      The Sounds of Ukrainian Pop

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherThe Russian invasion of Ukraine is entering its fourth week, upending life, damaging cities and towns and spawning a refugee crisis. Culture, needless to say, has largely come to a standstill.Pop music in Ukraine has long been a window to understanding the country. The scene is wide and varied — there is, among many other styles, the theatrical pop of Max Barskih, the indie pop of Luna, the quick-tongued rapping of Alyona Alyona and the dance-soul of Ivan Dorn. The music is bold and modern, in dialogue with the styles popular in the rest of Eastern Europe, and beyond.On this week’s Popcast, a conversation about some of the country’s pop stars, the musical traditions they borrow from and work within, and how they have grappled with the Russian invasion of Ukraine, both in music and on the internet.Guest:Liana Satenstein, senior fashion writer at VogueConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Dolly Parton Bows Out of Rock & Roll Hall of Fame Nomination

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      The country singer, who was among 17 genre-spanning nominees this year, said, “I don’t feel that I have earned that right” and asked to be removed. Voting has already begun.Dolly Parton does not feel rock ’n’ roll enough for the Rock & Roll Hall of Fame.The country singer, known for crossover hits like “Jolene,” “I Will Always Love You” and “9 to 5,” said on Monday that she wished to be removed from consideration for the annual honor after earning her first nomination in February.“Even though I am extremely flattered and grateful to be nominated for the Rock & Roll Hall of Fame, I don’t feel that I have earned that right,” Parton, 76, wrote in a statement posted to social media. “I really do not want votes to be split because of me, so I must respectfully bow out.”❤️ pic.twitter.com/Z6LKfWtlxg— Dolly Parton (@DollyParton) March 14, 2022
      The Rock Hall did not immediately respond to a request for comment. Selection was underway as of last month, and it was unclear what would happen to any potential votes already cast for Parton.Among the 17 nominees eligible for inclusion alongside Parton were others who stretch the traditional definition of rock music: Eminem, A Tribe Called Quest, Lionel Richie, Carly Simon, Dionne Warwick and Kate Bush were selected for the ballot along with bands like Judas Priest, MC5, Rage Against the Machine and New York Dolls.Ballots were sent in February to the more than 1,000 artists, historians and music industry professionals who choose their top five inductees each year, with the winners — typically between five and seven in total — scheduled to be announced in May. This year’s induction ceremony was slated for the fall.The Rock Hall asks its voters to consider an act’s music influence and the “length and depth” of its career, in addition to “innovation and superiority in style and technique.” Following complaints about its treatment of female and Black musicians over the years, the Rock Hall has recently expanded its tent to include artists from rap, pop, R&B and beyond, including Whitney Houston, Janet Jackson, Jay-Z and the Notorious B.I.G. Artists in both the Country Music Hall of Fame and the Rock Hall include Hank Williams, Johnny Cash and Brenda Lee, among others. Parton was inducted into the Country Hall of Fame in 1999.On its website, the Rock Hall praised Parton as a “living legend and a paragon of female empowerment,” adding that her “unapologetic femininity belied her shrewd business acumen, an asset in the male-dominated music industry.”A 2019 look at the organization’s nearly 900 inductees found that only 7.7 percent were women.Other artists have balked at inclusion in the club before: John Lydon, better known as Johnny Rotten of the Sex Pistols, thumbed his nose at the band’s induction in 2006, with the band opting not to show. In 2012, when Guns ’n Roses made it, Axl Rose said he would decline to participate and asked that he not be inducted in absentia. Both acts were inducted anyway.In her statement, however, Parton left the door open. She wrote that she hoped the Rock Hall would “be willing to consider me again — if I’m ever worthy,” noting that she had been inspired by the recognition to “put out a hopefully great rock ’n’ roll album at some point in the future.” More

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      ‘Encanto’ Tops Chart for Ninth Week. Will It Be the Last?

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      The soundtrack, which includes TikTok-fueled hits like “We Don’t Talk About Bruno,” may soon be ousted by “7220,” a new release by the Chicago rapper Lil Durk.This week, Disney’s “Encanto” soundtrack notches its ninth, and possibly last, time on the top of the Billboard chart.The “Encanto” album, with songs by Lin-Manuel Miranda, like “We Don’t Talk About Bruno” and “Surface Pressure,” that were amplified through TikTok into streaming blockbusters, holds the No. 1 spot with the equivalent of 72,500 sales in the United States, including 93 million streams, according to the tracking service MRC Data.That is the longest run on the Billboard 200 chart since Morgan Wallen’s “Dangerous: The Double Album,” which ruled for 10 weeks last year. But the numbers for “Encanto” have been slipping for weeks, and it may have finally met a challenger that could oust it: “7220,” by the Chicago rapper Lil Durk, which was released on Friday and is expected to make a splash on the next chart.Also this week, “What It Means to Be King,” a posthumous album by King Von, who died in late 2020 at age 26, opened at No. 2 with the equivalent of 59,000 sales, including 79 million streams.Wallen’s “Dangerous” holds at No. 3 in its 61st week on the chart; of those, 60 have been spent in the Top 10. Kodak Black’s “Back for Everything” is No. 4 and Gunna’s “DS4Ever” is No. 5. More