A song of the summer is an unofficial designation of a song that is dominant both culturally and commercially between the end of May and the beginning of September in a given year, primarily in the United States. Although the idea of a song of the summer had been around as early as the 1910s, it became a common term in the 1990s. By the early 2000s, achieving the label of "song of the summer" became a competition urged on by media outlets. In the 21st century, the growing fragmentation of musical sources has made it more difficult for a single song to become overwhelmingly pervasive.
The common characteristic of a song of the summer is that there is universal awareness: it is a song that people hear everywhere they go, [1] [2] and is a viral phenomenon. [2] The song of the summer can be so ubiquitous that many get sick of hearing it. [3] It is the dominant song between Memorial Day and Labor Day, [4] the song that "defines the season on the charts and in listeners' memories". [5] The determination of the song of summer is achieved by popular consensus, [6] but is often the song that ranks longest at top of the Hot 100 between June and September. [5] [7] The song of the summer is a question open annually to public debate, not an objective description. [8]
In The Washington Post , Chris Richards describes the song of the summer as "that magical megahit capable of changing the nation's psychic temperature". [8] In 1995, New York declared that a true song of the summer had to be released in the summer, be easily turned into a slogan, and be so catchy that people cannot get it out of their heads. [9] Variety 's designation of song of the summer is based primarily on audio streams between the weekend after the June equinox and Labor Day. [10] In The Wall Street Journal , John Jurgensen proposed that the number of covers a song inspires can be an indicator of the song of the summer, pointing out more than 40,000 videos of Daft Punk's "Get Lucky" made by fans. [3]
The song of the summer is generally a high-energy song. [11] Music journalist Greg Kot describes the song of the summer as energetic, catchy songs that "rule their summer", such as 1989's "Lambada" by Kaoma, 1999's "Livin' la Vida Loca" by Ricky Martin, 2002's "The Ketchup Song" by Las Ketchup, and 2012's "Gangnam Style" by Psy. [12]
An examination of the history of the song of the summer in Vox notes that a 1910 article in the New York Tribune says "About this time look out for the summer song", in the days when songs were primarily distributed as sheet music, and cites as an example the hit song of the summer of 1923, which was "Yes, We Have No Bananas", selling a million copies in three months. [13]
In 1979, a Canadian newspaper described "My Sharona" by the Knack as "the runaway song of the summer". [14] Hits such as "Summer in the City" by the Lovin' Spoonful (1966), had dominated their summers, but public attention to naming a song of the summer began in the 1990s. [15] Music critic Ann Powers introduced a bracket-style competition for song of the summer of 1999 in The New York Times. [14] [15] The bracket-style tournament was later used by MTV's Video Music Awards for its "Song of the Summer" category. [16]
Billboard started its Songs of the Summer chart in 2010, and published retroactive charts back to 1985. The Billboard Songs of the Summer chart was originally based on sales and radio play; streaming data was added to its calculations in 2012, and YouTube streams in 2013. [17] The first song of the summer on Billboard's chart was "California Gurls" by Katy Perry and Snoop Dogg. [4]
Achieving song of the summer became competitive in 2013 and 2014. [18] Publications began publishing articles in June to label contenders and offer predictions. [19] In 2013, Stephen Colbert satirized the song of the summer competition on The Colbert Report . [15]
Summer lends itself to a shared musical experience: people are outside more often, exposed to communal music and open-air listening. [8] [20] Before the 21st century, the song of the summer was widely heard throughout common spaces. [1] People would hear the same songs on car radios blasting in traffic, in stores and malls, at clubs and parties. [2] [11] The monoculture of Top 40 radio became fragmented as radio formats expanded and multiple avenues of music streaming became available, leading to wider musical choices but also making it more difficult for a single song to permeate popular culture. [17] [2] Ontario music writer Joel Rubinoff says, "If a song can break through the din and clamour of our fragmented selfie universe to connect on a universal level, we can, for an instant, feel like we're part of something bigger." [1]
Time magazine noted the difficulty of identifying a song of the summer in 2020, when the COVID-19 pandemic and the isolation social distancing reduced the opportunities of a shared musical experience. It also observed the impact of TikTok on popular music. Fragmented music experiences produce multiple contenders for song of the summer. [21]
Wilco is an American rock band based in Chicago. The band was formed in 1994 by the remaining members of alternative country group Uncle Tupelo after singer Jay Farrar's departure. Wilco's lineup changed frequently during its first decade, with only singer Jeff Tweedy and bassist John Stirratt remaining from the original incarnation. Since early 2004 the lineup has been unchanged, consisting of Tweedy, Stirratt, guitarist Nels Cline, multi-instrumentalist Pat Sansone, keyboard player Mikael Jorgensen, and drummer Glenn Kotche. Wilco has released thirteen studio albums, a live double album, and four collaborations: three with Billy Bragg and one with the Minus 5.
Steps are a British dance-pop group consisting of Lee Latchford-Evans, Claire Richards, Lisa Scott-Lee, Faye Tozer and Ian "H" Watkins. They were formed in May 1997 and achieved two number-one albums in the UK, 14 consecutive UK top-5 singles including two number ones. The group has sold over 22 million records worldwide, 15 million albums worldwide. In-addition to earning a BRIT Award nomination in 1999, for Best Newcomer, the group would be an opening support act for Britney Spears on her debut American tour the same year. When Richards and Watkins departed to form a recording duo, the group disbanded, on 26 December 2001 (officially). Their penultimate single reached No. 5 on the UK charts, while their final album of greatest hits, Gold (2001), was the group's second No. 1 album in the UK.
"Frozen" is a song by American singer and songwriter Madonna from her seventh studio album, Ray of Light (1998). Maverick and Warner Bros. Records released it as the album's lead single on January 23, 1998. "Frozen" was written by Madonna and Patrick Leonard, who both produced it in collaboration with William Orbit. The downtempo electronica ballad, which has a layered sound enhanced by synthesizers and strings, lyrically addresses a cold and emotionless man.
The Billboard charts tabulate the relative weekly popularity of songs and albums in the United States and elsewhere. The results are published in Billboard magazine. Billboard biz, the online extension of the Billboard charts, provides additional weekly charts, as well as year-end charts. The two most important charts are the Billboard Hot 100 for songs and Billboard 200 for albums, and other charts may be dedicated to a specific genre such as R&B, country, or rock, or they may cover all genres. The charts can be ranked according to sales, streams, or airplay, and for main song charts such as the Hot 100 song chart, all three data are used to compile the charts. For the Billboard 200 album chart, streams and track sales are included in addition to album sales.
"I'll Be There" is the first single released from Third Album by The Jackson 5. It was written by Berry Gordy, Hal Davis, Bob West, and Willie Hutch.
"I Don't Wanna Cry" is a song recorded by American singer Mariah Carey for her first album Mariah Carey (1990). Written by Carey and producer Narada Michael Walden, Columbia Records released it as the album's fourth single in March 1991. A Latin soul–influenced pop ballad, the torch song describes the end of romance. It features drums, guitars, digital synthesizers, and a classic song structure with highly delineated section roles. Modulations occur between these segments that emphasize the singer's emotions. Varying from whispering to belting, Carey's vocal range spans more than two octaves.
"Someday" is a song by American singer-songwriter Mariah Carey from her self-titled debut studio album (1990). It is a dance-pop, new jack swing and R&B song. Prior to Carey signing a record contract, she and producer Ben Margulies had written and produced a four-track demo which included "Someday". After signing a contract with Columbia Records, Carey began work on her debut album and she reached out to Ric Wake to ask if he would produce the song, to which he agreed. The composition of the demo recording was changed during the recording process, most notably replacing the horns with a guitar, which Carey disapproved of.
"Always Be My Baby" is a song by American singer-songwriter Mariah Carey from her fifth studio album, Daydream (1995). Written by Carey, Jermaine Dupri and Manuel Seal, and produced by Carey and Dupri, It was released by Columbia Records on February 20, 1996, as the album's third single in the United States and fourth single internationally. A midtempo pop and R&B ballad, "Always Be My Baby" describes the attachment the singer feels towards an estranged lover, while confidently asserting that they will eventually reunite. Described by critics as both a love song and a breakup song, its composition is characterized by piano keyboards, drums, acoustic guitars, and layered background vocals.
"Bitter Sweet Symphony" is a song by the English rock band the Verve, released on 16 June 1997 by Hut Recordings and Virgin Records as the lead single from their third album, Urban Hymns. It was produced by Youth at Olympic Studios, London.
"Genie in a Bottle" is a song by American singer Christina Aguilera from her self-titled debut studio album (1999). It was written by Pam Sheyne, Steve Kipner and David Frank, and produced by Kipner and Frank. The song was released on 22 June 1999, by RCA Records as the album's lead single. It is a soul-pop, teen pop and dance-pop song with elements of R&B. "Genie in a Bottle" uses sexual references to address the themes of self-respect and abstinence.
"I Still Believe" is a song written and composed by Antonina Armato and Giuseppe Cantarelli, and originally recorded by pop singer Brenda K. Starr for her eponymous second studio album, Brenda K. Starr (1987). It is a ballad in which the singer is confident she and her former boyfriend will be together again one day. It is Starr's biggest hit in the United States, reaching the top-twenty on the Billboard Hot 100 and being considered her signature song. "I Still Believe" was covered by American singer Mariah Carey, a former backup singer for Starr before she achieved success, for her #1's album in 1998 and released as a single in 1999. It was also recorded by Cantopop singer Sandy Lam in 1989.
"Soul Meets Body" is a song recorded by the American rock band Death Cab for Cutie for their fifth studio album Plans (2005). It was released as the lead single from Plans in 2005, through Atlantic Records. Death Cab for Cutie emerged from the Pacific Northwest in the early aughts and built a following with its confessional lyricism and straightforward indie rock sound. "Soul Meets Body" was their first single for Atlantic, the major label with which they signed in 2004. The song is thematically existential, examining the intersection of soul and body though a relationship metaphor.
"(I Can't Get No) Satisfaction" is a song by the English rock band the Rolling Stones. A product of Mick Jagger and Keith Richards' songwriting partnership, it features a guitar riff by Richards that opens and drives the song. The riff is widely considered one of the greatest hooks of all time. The song's lyrics refer to sexual frustration and commercialism.
"One in a Million" is a song recorded by American singer Aaliyah for her second studio album of the same title (1996). It was written by both Missy Elliott and Timbaland with the latter producing the song. It was released to Rhythmic contemporary radio as the third single from One in a Million by Blackground and Atlantic Records on November 12, 1996. Musically, the song is an R&B and club ballad with trip hop and drum and bass influences. While Lyrically, it is about the narrator (Aaliyah) professing her love for a man whom she identifies as being her "one in a million".
"Love in This Club" is a song by American singer Usher featuring American rapper Young Jeezy. It was released on February 22, 2008, as the lead single from Usher's fifth studio album, Here I Stand. The song was written by Usher, Polow da Don, Jeezy, Darnell Dalton, Ryon Lovett, Lamar Taylor and Keith Thomas, and produced by da Don, with a Las Vegas-inspired synth-driven beat. Its lyrics refer to seducing someone in a nightclub. The song was originally leaked by da Don prior to its release.
"You Belong with Me" is a song by the American singer-songwriter Taylor Swift and the third single from her second studio album Fearless (2008). Big Machine Records released the song to radio on April 20, 2009. Swift was inspired to write "You Belong with Me" after overhearing a telephone call between a touring band member and his girlfriend; she and Liz Rose wrote the lyrics, which discuss an unrequited love. Swift and Nathan Chapman produced the track, which has a banjo-led country pop production and incorporates fiddle, mandolin, and rock-influenced bass and electric guitars. Although the single was promoted on country radio, some critics categorized it into 1980s pop subgenres such as pop rock and power pop.
"California Gurls" is a song recorded by American singer Katy Perry. It served as the lead single for her third studio album, Teenage Dream (2010). The song features verses from rapper Snoop Dogg. Both artists co-wrote the song with Bonnie McKee and its producers Dr. Luke, Benny Blanco, and Max Martin. According to Perry, "California Gurls" is an answer song to "Empire State of Mind" (2009), by Jay-Z and Alicia Keys. Its mid-tempo production incorporates disco-pop and funk-pop with influences of new wave and electropop. Its lyrics are an ode to the state of California, in which both Perry and Snoop Dogg were born and raised.
Thomas Benjamin Grennan is an English singer and songwriter from Bedford, based in London. Grennan found fame as the guest vocalist on Chase & Status's "All Goes Wrong" in 2016. His debut album, Lighting Matches, was released in July 2018. The album peaked at number five on the UK Albums Chart and includes the single "Found What I've Been Looking For".
"Drivers License" is the debut single by American singer-songwriter Olivia Rodrigo. It was released on January 8, 2021, by Geffen and Interscope Records, as the lead single from her debut studio album Sour. She wrote the song alongside producer Dan Nigro. Containing poignant lyrics detailing heartache, "Drivers License" is a power ballad blending bedroom pop, alt-pop, and power pop styles. It is characterized by a minimalist, piano-led production, incorporating kick drums, harmonies, syncopated hand-claps, and a dreamy bridge. One of 2021's most successful songs, "Drivers License" launched Rodrigo's music career.
"Big Energy" is a song by American rapper Latto. It was released through Streamcut and RCA Records on September 24, 2021, as the lead single from Latto's second studio album, 777 (2022). It was written by Latto, A1 LaFlare, Jaucquez Lowe, Randall Hammers, Theron Thomas, Dr. Luke, and Vaughn Oliver, with the latter two handling the production. Adrian Belew, Chris Frantz, Steven Stanley, and Tina Weymouth received songwriting credits since the song samples Tom Tom Club's 1981 song "Genius of Love". "Big Energy" has been described as pop and funk-rap.