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    Morgan Wallen Retreats Into Sadness, While His Protégés Party On

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    The country superstar’s “I’m the Problem” is a despondent self-portrait. But a generation of singers blending Southern rap and Nashville songwriting are thriving.It seems like the more melancholy Morgan Wallen becomes, the more successful he gets. In just a few short but smash-filled years, he has become the most prominent and committed miserablist in pop — the contemporary star most preoccupied with failure, and the most adept at turning it into something like beauty.Unlike Drake, who is perhaps his closest analogue, Wallen almost never dwells on his successes. He forever lives in the space just beyond loving himself, and allowing himself to be loved. As a result, even his best and most engaging songs have a somber pallor hovering just over them.On “I’m the Problem,” his moody and melodramatic fourth album, Wallen is almost unrelentingly despondent. Women are ruining him, and whiskey is rescuing him (by ruining him even further). Some representative moods: “I just wanna love somebody that don’t want me falling apart”; “Every square inch of this house is as messy as you left me”; “Too young to feel this old.”It’s tragic, concerning and pointedly effective stuff: “I’m the Problem” is already on track to become one of the most commercially successful releases of the year. At 37 songs and almost two hours long, it’s a structural beast, a chart-clogging data dump. But rather than use that grand scale to explore different sonic approaches, Wallen largely digs in to several microtones of weariness.“Kick Myself” laments the one thing an addict can’t ever escape: himself. “Just in Case” tells a story of never letting anyone get too close. “Jack and Jill,” a morbid song about a broken couple, recalls “Whiskey Lullaby,” the unbearably tragic Brad Paisley-Alison Krauss duet from 2004.After Morgan Wallen, Lil Nas X and Shaboozey, Nashville is going hip-hop yet again. “Oil Money” by Graham Barham is the latest example of a long lineage, our critic explains from the driver’s seat.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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      Lana Del Rey’s Foreboding Lullaby, and 7 More New Songs

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      Hear tracks by Madison McFerrin, Ana Tijoux, Matmos and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Lana Del Rey, ‘Bluebird’“Bluebird” — the latest single from Lana Del Rey’s country-infused 10th album — has a homey, retro sound: a relaxed waltz tempo, acoustic guitar picking, dulcet strings and an innocent warble in her voice. Behind it is worry. She’s warning someone — a child? a friend? — to escape while they can, while she stays behind to shield them from abuse: “We both shouldn’t be dealing with him,” she sings. It’s an alarm that’s delivered as a lullaby: “Find a way to fly,” she urges, oh so sweetly. “Just shoot for the sun, ’til I can finally run.”Madison McFerrin, ‘I Don’t’Madison McFerrin transmutes a failed engagement into a wry but dramatic self-assessment: “Did I make a mistake in choosing who / to say ‘I do’ to?” she sings with crisp syllables. Syncopated piano chords and sympathetic backing vocals hint at the archness of a show tune, but a crescendo of distorted electric guitars suggests some feelings still unresolved.Grumpy featuring Claire Rousay and Pink Must, ‘Harmony’A mid-tempo, boom-chunk beat is the only relatively stable component of “Harmony,” a collaboration by four electronics-loving experimenters from pop’s fringe. (Pink Must is a duo.) “Harmony” is a hyperpop ballad that somehow stays winsome despite its filtered, pitch-shifted, overlapping vocals, warped instrumental sounds and angular bits of melody. “When I pray for harmony, it’s for you,” Grumpy sings, no matter how skewed the harmonies are at the moment.Morgan Wallen featuring Post Malone, ‘I Ain’t Comin’ Back’Released on Good Friday, “I Ain’t Comin’ Back” offers peak posturing and allusions to faith, along with brand placements for booze, tobacco and a vintage car. “There’s a lot of reasons I ain’t Jesus, but the main one is that I ain’t comin’ back,” Morgan Wallen and Post Malone sing with sullen pride. There’s some clever wordplay — “Go throw your pebbles, I’ll be somewhere getting stoned,” Malone taunts — but sour self-righteousness prevails.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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      Why Morgan Wallen’s Abrupt ‘S.N.L.’ Exit Is Being Dissected

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      The pop-country superstar followed his departure from the stage with a social media post about needing to get “to God’s country.”At the end of every “Saturday Night Live” episode, the host, the musical guest and cast members assemble onstage to say goodbye to the audience and viewers at home. While the music plays and the credits roll, they make small talk, shake hands and say their farewells.There’s not much to think about.Usually.Social media has been abuzz since Morgan Wallen, the pop-country superstar who was the musical guest on Saturday, walked offstage while the end credits rolled, leaving behind the host, Mikey Madison, and the rest of the “S.N.L.” cast. It is not clear whether his sudden exit was an intentional message.Here is what we do know.What happened?After Madison made her closing remarks, she turned to Wallen and hugged him. They shared a few words off mic before he walked offstage into the audience past the camera. Shortly after the show ended, Wallen posted a picture to his Instagram stories of a jet with the caption, “Get me to God’s country.”It was unclear what Wallen, who in recent years was rebuked by music industry’s gatekeepers after a video surfaced of him using a racial slur, meant by the statement or why he left the stage.Representatives for Wallen, who performed two songs from his upcoming album “I’m the Problem,” and “S.N.L.” did not immediately return requests for comment on Monday. (Variety cited anonymous sources to say that the exit was an “oops” moment and that it was the route Wallen had used all week.)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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      Japanese Breakfast’s Shimmering Sadness, and 8 More New Songs

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      Hear tracks by Marianne Faithfull, the Waterboys featuring Fiona Apple, Debby Friday and more.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Japanese Breakfast, ‘Here Is Someone’Plucked string tones from all directions create a magical, shimmering cascade around Michelle Zauner’s voice in “Here Is Someone” from the new album by Japanese Breakfast, “For Melancholy Brunettes (& Sad Women).” The lyrics hint at tensions and anxieties, but the track radiates anticipation: “Life is sad, but here is someone,” Zauner concludes. Jon ParelesMarianne Faithfull, ‘Burning Moonlight’Marianne Faithfull, who died in January at 78, kept recording almost to the end. She brought every bit of her scratchy, ravaged, tenacious voice to “Burning Moonlight,” a song she co-wrote that holds one of her last manifestoes: “Burning moonlight to survive / Walking in fire is my life.” Acoustic guitars and tambourine connect the music to the 1960s, when she got her start; her singing holds all the decades of experience that followed. Jon ParelesThe Waterboys featuring Fiona Apple, ‘Letter From an Unknown Girlfriend’“Letter From an Unknown Girlfriend” is from the Waterboys album due April 4, “Life, Death and Dennis Hopper,” and was written by Mike Scott. But it is sung and played by Fiona Apple, alone at the piano, delivering a remembrance of an abusive boyfriend: “I used to say no man would ever strike me,” it begins, “And no man ever did ’til I met you.” She admits to the charm of the “satyr running wild in you,” but her voice rises to a bitter, primal rasp as she recalls the worst. It’s a stark, harrowing performance.Jon ParelesTamino featuring Mitski, ‘Sanctuary’Diffidence turns into resolve in the course of “Sanctuary,” a waltzing duet from “Every Dawn’s a Mountain,” the new album by the Belgian songwriter Tamino-Amir Moharam Fouad. In separate verses, Tamino and Mitski sound fragile, contemplating uncertainty and loss; “I reside in the ruins of the sanctuary,” Mitski sings. But when they connect — asking “Is it late where you are?” — and harmonize, an orchestra rises behind them to offer hope. Jon ParelesMorgan Wallen, ‘I’m a Little Crazy’“I’m a little crazy, but the world’s insane,” the disturbed narrator of Morgan Wallen’s new single contends. His character is a drug dealer who keeps a loaded gun nearby. He’s sustaining himself “on antidepressants and lukewarm beers” and yelling at his TV, “but the news don’t change.” Over steadfast acoustic guitar picking and lightly brushed drums, Wallen sings with chilling, sociopathic calm. Jon ParelesWe 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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      Morgan Wallen Pleads to Reduced Charges in Chair-Throwing Incident

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      The country superstar agreed to misdemeanor reckless endangerment charges and a week at a D.U.I. education center.The country superstar Morgan Wallen pleaded guilty on Thursday in a Nashville courtroom to misdemeanor reckless endangerment charges stemming from an arrest in April, in which he was accused of throwing a chair from the sixth-story roof of a downtown bar.In exchange for prosecutors dropping the felony counts of reckless endangerment against Mr. Wallen, the singer, 31, entered a plea agreement that requires him to spend seven days at a D.U.I. education center and be on probation for two years.“Upon the successful completion of his probation, the charges will be eligible for dismissal and expungement,” Worrick Robinson IV, a lawyer for Mr. Wallen, said in a statement following the court appearance. “Mr. Wallen has cooperated fully with authorities throughout these last eight months, directly communicating and apologizing to all involved. Mr. Wallen remains committed to making a positive impact through his music and foundation.”The chart-topping performer had just opened his latest blockbuster stadium tour earlier this year when he was arrested and charged for throwing the chair from atop Chief’s, a bar on lower Broadway owned by a fellow country star, Eric Church. The chair landed near Nashville police officers, authorities said, and staff members at Chief’s told them Mr. Wallen was responsible.Mr. Wallen was previously arrested and charged in May 2020 with public intoxication and disorderly conduct in downtown Nashville. Months later, he was dropped from an appearance on “Saturday Night Live” for not following Covid-19 protocols after social media footage showed him doing shots and kissing fans at a bar in the lead-up to his appearance.The next year, immediately following the release of his breakout album, “Dangerous: The Double Album,” Mr. Wallen faced widespread but temporary industry backlash when TMZ published a video of him referring to a friend with a racial slur. Mr. Wallen cited a night of hard drinking for his “ignorant” language, calling it “hour 72 of a 72-hour bender,” and said he checked himself into rehab for 30 days following the incident.“You know, just trying to figure it out,” Mr. Wallen said on “Good Morning America” as he returned to the spotlight. “Why am I acting this way? Do I have an alcohol problem? Do I have a deeper issue?”His next album, “One Thing at a Time,” did not suffer commercially, spending a total of 19 weeks at No. 1. Last month, he won entertainer of the year, the top honor, at the Country Music Association Awards, though he did not attend the ceremony. More

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      Morgan Wallen Wins CMA’s Entertainer of the Year Award

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      The singer, who is among the most popular artists in music, won country’s top prize in absentia, three years after being rebuked by the genre’s gatekeepers.The pop-country superstar Morgan Wallen won entertainer of the year, the top honor at the 58th annual Country Music Association Awards in Nashville on Wednesday night. The award recognized Wallen’s status atop the genre three years after the association banned him from performing at the 2021 show.That year, Wallen was rebuked by many of the industry’s gatekeepers after video surfaced of him using a racial slur. This year, the singer did not attend the show, but was the most nominated artist with seven nods, including male vocalist of the year. Wallen’s lone win came after his 2023 album “One Thing at a Time,” hit No. 1 for the 19th time a year after its release, breaking Billboard’s record for most weeks at the top for a country album.“Last Night,” a single from the LP, went platinum seven times and was 2023’s most-streamed song of any genre in the United States.Wallen was also nominated for single of the year for his work on Post Malone’s “I Had Some Help,” one of the most popular songs of this summer, which spent six weeks atop Billboard’s Hot 100.The CMAs have not always recognized Wallen’s achievements and contributions to the genre. In 2023, when Wallen was considered one of the favorites, he walked away empty-handed after losing album of the year, male vocalist of the year, and the top category, entertainer of the year. In response to completely being shut out, Wallen said on Instagram that he, “Walked in tonight a winner, didn’t leave no different.”The entertainer of the year award last night was presented by Jeff Bridges, who announced Wallen’s win to a resounding round of applause and cheers.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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      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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      The 15 Songs That Hit No. 1 This Year (So Far)

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      Hear tracks by Shaboozey, Sabrina Carpenter, Kendrick Lamar and more.Shaboozey reached No. 1 on the Hot 100 this week for the first time with “A Bar Song (Tipsy).”Daniel PrakopcykDear listeners,It’s Caryn the editor here again, seizing control of the playlist one more time (don’t worry, you’ll have Lindsay back next week).On Monday, Shaboozey reached the top of Billboard’s Hot 100 with “A Bar Song (Tipsy),” making him the second Black artist to hit No. 1 on both the all-genre singles chart and Hot Country Songs. Somehow both milestones came this year: Beyoncé did it first with “Texas Hold ’Em.”The news got me scrolling through what’s topped the Hot 100 so far in 2024 — over the last 27 weeks, 15 songs have done it. And we’re going to listen to all of them in The Amplifier today.It’s always interesting to see how the official chart stacks up against cultural vibes. It may feel like the summer of “Espresso,” but Sabrina Carpenter’s Certified Bop hasn’t hit No. 1 in the United States (yet). It doesn’t just seem like Taylor Swift’s “The Tortured Poets Department” is dominating 2024: It is, with 11 straight weeks at No. 1 on the Billboard 200 album chart. But only one of its songs — its opener, “Fortnight,” featuring Post Malone — has spent any time atop the Hot 100. Ariana Grande’s “Eternal Sunshine” has had two songs summit the singles chart; Beyoncé’s “Cowboy Carter” had the one. Billie Eilish and Chappell Roan haven’t hit No. 1 yet this year, but I wouldn’t count them out.The longest run belongs to “I Had Some Help,” by Post Malone featuring Morgan Wallen (six weeks, five of them consecutive). Two songs from the Kendrick Lamar vs. Drake beef hit No. 1; perhaps unsurprisingly considering the outcome, they were both Lamar’s.So let’s take a trip through the recent past together — and for fun (or counterprogramming), see how the biggest songs of the year (so far) compare to our critics’ best songs of the year (so far).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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      Popcast (Deluxe): The Kendrick-Drake Beef Ends + Zendaya & Post Malone

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon Music | YouTubeThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:The seeming conclusion of the beef between Drake and Kendrick LamarThe way in which Kendrick Lamar used the tools that Drake had long perfected against him, especially in the hit “Not Like Us,” now the No. 1 song in the countryHow the meme ecosystem turned on Drake, long its most effective weaponizer, owing in part to the crowdsourced takedowns recorded to Metro Boomin’s instrumental song “BBL Drizzy”What might be next for both Drake and Kendrick LamarZendaya’s star turn in the tennis film “Challengers”Whether Zendaya’s emergence as a red carpet fixture trumps her actingZendaya’s Disney pastSongs of the week from Post Malone featuring Morgan Wallen (“I Had Some Help”), plus Ian’s “Figure It Out” and Central Cee’s “CC Freestyle”Snack chat about hip-hop jewelry and blown-out mixesConnect 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