Welcome to the Grammy week edition of Mason’s Observations, looking back at some of the highlights from Sunday night and the songs that could be future hits because of it!
Lady Gaga – “Abracadabra”: Debuted in full during a Grammys commercial break, sponsored by MasterCard. The next day, it debuted at #8 on Spotify and has already garnered over 11 million views on YouTube. Her new album “MAYHEM” comes out March 7, with the first two singles being “Die With A Smile” (still #1 in the world) and “Disease” (which flopped). It is currently #37 on the Top 40 chart with over 50 different stations playing it at least twice. It’s very reminiscent of 2020’s “Rain on Me” featuring Ariana Grande, which has become an anthem for the LGBTQ+ community. No requests on Liveline yet (it has only been two days).
Doechii – “DENIAL IS A RIVER”: “What It Is (Block Boy)” really seemed like a radio record, as we never got many requests for it or saw true listener passion on streaming. It peaked on Billboard but made it to #3 on Top 40 and #1 on Rhythmic. But Doechii’s Grammy performance was one of the night’s highlights. She performed this song and “Catfish”, both from her album “Alligator Bites Never Heal” released on August 30, 2024. It was lingering on the USA Spotify Top 50 for a few weeks, but now it’s #7. It’s #16 on Shazam, #34 on Top 40 and #18 on Rhythmic. We’ve gotten requests for it too and expect it will make it into our Top 20 next week.
The Weeknd – “Cry For Me”: In a surprise return to the Grammy stage, The Weeknd ended his four-year boycott of the award show by performing “Timeless” with Playboi Carti and his new single “Cry For Me”, both from his spectacular 22-track album “Hurry Up Tomorrow” which just came out Friday. For those who don’t remember, there was massive public outrage after the Recording Academy failed to nominate Abel for a single award in 2021, following the earth-shattering success of “Blinding Lights” which has since become the most-streamed song of all time and arguably one of the top 5 of this century.
This year’s controversy was over “Cowboy Carter” winning both Best Country Album and Album of the Year, especially among the Country fans. That album produced no sustained hits on either Top 40 or Country! She was trying something new, but the statistics prove that “Texas Hold ‘Em” was a passing novelty. While it was amongst the most-talked-about albums of 2024, it was also one of the most polarizing not only to Country fans, but even by her loyal BeyHive fans. The same could be said about 2022’s “Renaissance” which brought us “Break My Soul” and “Cuff It”.
Overall, the Grammy’s production and presentation this year were heralded as absolutely fabulous. It was actually suspenseful to see who would win in these categories, all filled with true hits that deserved an award, unlike years past when only one major hit was nominated and yet would lose to Jon Batiste. Many artists saw their discography increase in streams after the show. It had great reviews, and the pop queens of 2024 delivered stunning performances, outfits and speeches. The glam and glitter of Sabrina Carpenter, Chappell Roan, Billie Eilish and Taylor Swift is a replica of the talent and charisma seen in 2010, the peak of superstar women in popular music. Rihanna, Lady Gaga, Katy Perry, and Taylor Swift, all dominating at the same time! How lucky radio was to have them.
Buried Treasures of The Week
Post Malone – “White Iverson”: Going back to where it all started for Austin Post who was only 19 years old when he recorded this song in 2015. It only got to #27 on Top 40, but peaked at #1 on Rhythmic and #14 on Billboard. Many stations still play “rockstar”, “Better Now” and “Psycho” which are all just as “rap-oriented” as “White Iverson”, though they all hit #1. Unfortunately Post Malone wasn’t being worked to Top 40 by his label in 2015, but that didn’t stop John Garabedian’s listeners from requesting it on Open House Party, where it became a Top 3 request and got lots of airplay. We STILL get calls for it all the time as it continues to get bigger as the years go by and people re-discover it. No Top 40 station in America has played this in the past two weeks, while only 7 Rhythmic stations have played it.
J-Kwon – “Tipsy”: Everyone knew this a year ago, but Shaboozey’s chart-topping, record-breaking, Grammy nominated “A Bar Song” samples lyrics from J-Kwon’s 2004 hit “Tipsy”, an all-time party classic which still gets a lot of requests today. It’s the definition of a “crunk anthem” and features a hilarious music video, so fitting of those times. I was surprised to see the small number of stations who actually brought this back as a gold when the “new version” blew up. We saw many requests to go with its massive Spotify numbers early on.
Rooting for “Pink Pony Club” to crack wide open too ^_^ I didn’t realize it had just entered the top 10 at CHR since I’ve only just started hearing it on air. On CHR in the 2020s, a current is either in power or barely heard at all!
Putting Renaissance on equal footing with Cowboy Carter is underselling it a little. I know CHRs barely stomached playing it any longer than they did “Break My Soul” (and that you radio pundits think nothing matters other than CHR and H/AC), but “Cuff It” was a real hit! The album overall was certainly not very “polarizing” among the LGBTQ+ contingent of the BeyHive — that community was the only one in which “Break My Soul” was a real lasting hit, alas. (Though that is something!) Anyway, I didn’t watch this ceremony but interpreted Cowboy Carter’s AOTY win as delayed acknowledgment of the quality of her several past deserving releases that were snubbed over milquetoast boomer/AC music. (It’s my personal least favorite of her AOTY-nominated works, Sasha Fierce excepted, though it’s still a good album.) As for the album’s country bonafides, it’s pretty normal for the Grammy category to have some isn’t-this-more-folk/”Americana”/”AAA”? inclusions, with this not even being the only one this year, but whatever. She’s very “popular” among the Breitbart News comment section, I’m sure they can explain highly objectively what makes her nomination and ultimate win in this category uniquely illegitimate compared to other recognized works! (You could also ask the last on-air talent to have been dismissed from your favorite conglomerate’s News/Talk outlets for expressing the opinions encouraged by this “infotainment” a little too directly.)