IDENTIFYING THE SUSPEX

Since the release of “Right Now” in 2000, Mitch Allan has been responsible for some seriously catchy tunes. Although “Right Now” may not be as ubiquitous as other power pop songs from the same era, like “All The Small Things” or “My Own Worst Enemy,” it’s equally strong in terms of craftsmanship. As part of the band SR-71, Allan co-wrote and produced “Right Now” with a name that might be even more familiar, Butch Walker. “Right Now” was included on SR-71’s debut 2000 release, Now You See Inside, which also included production from John Shanks. Along with Max Martin and Dr. Luke, Walker and Shanks helped define pop/rock music throughout the 2000s, writing and producing hits for A-list artists like Avril Lavigne, P!nk, Katy Perry, and Kelly Clarkson.

During that time, Allan also churned out some (hugely underrated) singles for artists like Jessie James and Katharine McPhee, contributed to platinum albums from Daughtry and Disney’s successful Camp Rock and Hannah Montana soundtracks, and was perhaps best known for writing Bowling for Soup’s ultimate guilty pleasure hit, “1985.” He also wrote American Idol’s 2009 coronation single, “No Boundaries,” with two equally talented songwriters, Kara DioGuardi (“Ain’t No Other Man”) and Cathy Dennis (“Toxic”). While on paper that sounds like it should have been an absolute smash, DioGuardi later admitted the song almost “destroyed” her career, so we’ll just leave it at that.

Although never quite reaching the status of superstar hitmaker like some of his contemporaries, even if he stopped there, Allan still would have achieved more success as a songwriter and producer than most could ever dream of. Lucky for us, he didn’t.

If you’re unfamiliar with The Suspex, that’s okay. I didn’t know exactly who–or what–it was until today. I heard the name associated with Demi Lovato’s “Heart Attack” and Fifth Harmony’s “Miss Movin’ On,” but never bothered to Google it. The best surprise is when you look something up you know nothing about and end up finding something familiar–which happens a lot in this industry. It’s even better when that something familiar is Mitch Allan, who has long deserved the kind of success as a songwriter and producer that he’s about to get. Paired with Jason Evigan, similarly from the alternative rock scene, the best pop music of the year is coming from a somewhat unlikely source. While the name might not yet sound familiar, unless you’ve been living under a rock, you’ve definitely heard their work.

“Heart Attack” (co-written with the phenomenal Nikki Williams), dominated the pop charts this spring. From the explosive opening (complete with strings!) to Lovato’s impressive layered vocals, the song is filled with hooks and legitimized her standing as one of the reigning teen queens in pop music. “Miss Movin’ On,” Fifth Harmony’s debut single following their third place finish on The X Factor, follows a similar sonic blueprint and looks to make them the first success story from the U.S. edition of the show–a female One Direction, if you will. Taking a page from other reality show successes, the single is reminiscent of Jordin Sparks’ powerful “Battlefield” and Kelly Clarkson’s sassy “Miss Independent” (maybe they were all screwed over by “Mr. Know It All”?), while still maintaining a fresh energy. Like Allan’s earliest pop/punk productions, the song kicks off with an intensity that builds throughout, complete with “we mean serious business” stomps on the bridge. The lyrics are also pretty clever and the way “So call me, call me, call me miss movin’ on” is structured will be stuck in your head for days, believe me.

Although not yet a single, “Save the Day,” The Suspex’s track on Selena Gomez’s new album, is the clear standout. Gomez apparently won “Save the Day” over J.Lo, and it’s clear to see why they both wanted it. The track has a similar world dance sound to some of J.Lo’s most recent work with RedOne (and even evokes the pinnacle of her dance pop material, “Waiting for Tonight”) except… it’s better. The guitar and drums remain prominent against a throbbing dance beat, elevating the song from the tired crop of rehashed, uninspired electropop tracks. And, thankfully, there are no jarring dubstep breaks.

Already responsible for three of the best pop songs of the year, according to their Facebook bio, the duo is currently working on tracks with Cassadee Pope, MKS (a.k.a. Sugababes 1.0), Lea Michele, Rita Ora, and Sia–just to name a few. Perhaps the go-to songwriting/production team for this decade have been positively identified?

THE WORD OF THE LORDE

I was recently tipped off on New Zealand singer-songwriter Lorde, who I have a feeling we will be hearing a lot more from in the near future.

Although her music may best be described as alternative, in the same vein as artists like Ellie Goulding, Lana Del Rey and Florence and the Machine, there’s certainly a radio friendly, melodic element to the tracks posted on her site. She has a haunting, ethereal tone and unique singing voice, but also shows off a competent flow on songs like “Million Dollar Bills” and “Royals.”

Although most of the songs on her debut EP have relatively sparse instrumentation, there’s something about them that sounds epic. What’s even more impressive, at only 16-years-old, she wrote the tracks herself. If they’re any indication of what’s in store for her debut, we have a lot to look forward to. Lorde strikes the balance between cool and accessible, in terms of lyrics, sound, and image–hitting the sweet spot for pop success. With the buzz growing in New Zealand, it’s only a matter of times before she breaks internationally. Watch this space.

THEY’VE GOT THAT BOOM BOOM

Once every few years, I stumble upon a new artist that I truly get excited about. There are many up-and-coming artists I enjoy, but only a few that I can feel in the pit of my stomach. It happened when I first listened to Katy Perry’s “Ur So Gay” EP. And again after seeing Lady Gaga’s “THE FAME: Part One” video and hearing a clip of “Poker Face” for the first time. We all know how it turned out for them.

This week, I came across The Boom Boom. I recognized the band’s female singer, Kara Lane, from a previous pop project, but this group feels different. It’s more honest, raw, and there’s an undeniable chemistry between the three self-described “perpetual underachievers.” In addition to Kara, The Boom Boom consists of Bobby Boom on turntables, synths, and vocals, and Alex the Rockstar on drums and keys.

As the group’s primary vocalist, Kara possesses an intangible star quality. It’s not something that can be taught or learned over time. You either have it or you don’t–and she does. Her voice not only packs a punch, but she also has a great tone. It’s unique, but still radio friendly, and she already has a signature “thing” (listen for the little yelps and growls that can be heard on quite a few of their originals and covers). Bobby and Alex, two super talented musicians in their own right, complete the group, bringing everything together to create the dynamic pop sound of The Boom Boom.

The Boom Boom have already won Perez Hilton’s “Can YOU Sing???” contest three times, and one of their first videos I saw was a cover of Phillip Phillips’ “Gone, Gone, Gone.” Interesting choice for a group that likes their synths and leans electropop, but their dream pop soundscape takes the track to an entirely new realm. The climax comes during the bridge when Bobby joins Kara on vocals for an incredible melodic blend. Backed by Alex’s rhythms, it’s a combination that can’t be beat.

More recently, their cover of Tegan and Sara’s “Closer” won Perez’s cover contest. In the description of that video, The Boom Boom declare their love for the song’s producer, Greg Kurstin. As a pop music junkie, I’m very familiar with Kurstin’s incredible work. But, I think you’d be surprised at how many artists and professionals in the industry have no idea who he is (or at least not what he’s responsible for). That kind of awareness on The Boom Boom’s behalf bodes very well for their future. In fact, I could totally see them on something like the Kurstin-produced “Catch You” by Sophie Ellis-Bextor.

Although their covers initially drew me in, The Boom Boom’s original material really sealed the deal. Their original tracks are just as well-written and expertly crafted as the pop hits they’ve covered. “It’s Not Love (But I Love It)” and “Toy” are full throttle electropop smashes with cheeky lyrics that match the equally clever production. A softer sound is displayed on songs like “Imagining” and “Stoned on the School Bus.” But don’t let the dreamy keys and strings fool you. The honesty and angst are still very present in the lyrics. “They misunderstood me my whole life,” Kara laments as the middle 8 of “Stoned on the School Bus” reaches its peak. If you happen to enjoy unique, relatable lyrics, infectious melodies, a proper build and song structure, and original production, I suggest you check out their stuff (that means all of you are listening right now, right?).

One of my favorites, “Do About Me,” seems to sum up The Boom Boom. The peppy production makes it an absolute ear worm, but the lyrics are much deeper than the sound would suggest. The best pop songs are ones that still sound like pop songs, but actually have something to say. “Do About Me” achieves that and the light/dark dichotomy can also be see in the band’s image. The dark cartoon that precedes many of their YouTube videos sums it up perfectly. They are part superhero and part underachiever–which essentially defines our generation.

I’m not big on making comparisons, but there’s also something about them that’s early No Doubt. Most of their original material leans electro, but I can also hear some garage rock and alternative influences seeping in. Perhaps they’re the middle ground between No Doubt and another group that helped define 90s pop: Aqua (while on the subject of cheesy 90s music, would it be too much to ask for The Boom Boom to somehow incorporate Vengaboys’ appropriately titled #1 hit “Boom, Boom, Boom, Boom!!” into one of their songs?!). From their sound, to their look, to their performances, The Boom Boom seem very unaffected. I hope that wherever this industry takes them, that remains intact. Although they currently list their location as “mom’s basement,” I don’t think that will be accurate for too long. These unlikely superheroes may just save pop music…

THE RIGHT WAY

I love it when something exciting happens on the charts and a new(ish) artist makes an unexpected debut. Without much promotion beyond social media and next to no radio airplay, Ariana Grande’s “The Way” shot to #1 on the iTunes charts within hours this week. It’s also placed within the top 20 on many iTunes charts worldwide. Granted, she has over 5 million Twitter followers, but artists with double that have released singles that have failed to do even half of what “The Way” has already accomplished. But before we get to that, let’s rewind a little bit.

At the end of 2011, Grande released “Put Your Hearts Up.” The juvenile single butchered a sample of 4 Non Blondes’ “What’s Up” (I don’t know in what world that made any sense) and came complete with incredibly cheesy artwork and an equally terrible video. Everything about this single release has been a stark contrast from that. Even though the video for “The Way” is a low budget affair, it’s not something that looks like it would better suit a 12-year-old. It’s age appropriate and she makes out with Mac Miller at the end, which, at the very least, provides a memorable scene that will get people talking (and speculating). A juicy rumor is always helpful when jumpstarting a career and it’s the kind of thing that will send her young fans into a frenzy.

The song itself is sexy, but subtle enough in a way that it’s not desperate. Teen acts, especially coming from Disney or Nickelodeon, seem to never strike an appropriate balance as recording artists. It’s either too cheesy (see: Selena Gomez “Who Says”) or too overt (see: Miley Cyrus circa “Can’t Be Tamed”). Looking at the most recent crop of Disney stars that have released extremely juvenile material and maintained similarly vanilla images, it’s hard to imagine that Britney Spears released “…Baby One More Time” at sixteen-years-old. In 1998, she seductively cooed and showed her midriff and everyone survived. In fact, that’s why she became one of the biggest pop stars on the planet and why Hilary Duff, Selena Gomez, et al. will never be.

“…Baby One More Time” didn’t sound like a sixteen-year-old was singing it, and “The Way” doesn’t exactly sound like a nineteen-year-old’s record (at least in the post-2001 era, where everything has been significantly toned down for teen acts). Grande’s voice and delivery (the breathy vocals, mixed with some powerhouse moments, and those whistle notes!) is reminiscent of Mariah Carey and that makes people pay attention. If the song came on the radio, I’m sure people would listen a little closer and wonder, “Who is this?” While sounding like another singer can be both a blessing and a curse, I think it’s a good thing for Ariana. Besides, if you have to be compared to another female vocalist, Mariah Carey isn’t too shabby. It’s the kind of comparison her PR people can really milk for some extra attention.

Beyond the lyrics and delivery, “The Way” is also a welcome throwback to the late 90s (or mid-2000s) pop/R&B and doesn’t follow the Dr. Luke-produced electropop trend (it’s on the way out, believe me). It’s a light, refreshing jam that sounds perfect for spring and summer, complete with a Big Pun sample (yes, the same one that Thalia used on her one and only crossover single). Miller also adds a bit of a “cool” factor that will further legitimize Grande as more than a Victorious cast member trying to launch a singing career. Like “…Baby One More Time,” it’s just sexy enough that it will reach an audience beyond 12-year-old girls and hopefully establish Grande as an actual recording artist, and not just a Nickelodeon star.

With Z100 and KIIS already on board, it doesn’t look like her quick ascent to the top of the iTunes chart will be a flash in the pan (a la Tamar Braxton’s “Love and War.”) She needs to continue visiting radio stations across the country and secure some high profile performance spots. She certainly has the chops to pull off a solid performance and hopefully her stage presence is equally impressive. A slutty Rolling Stone cover might also help, but I digress. If not, she will go the way of Leona Lewis, who is doing something, somewhere right now. On a similar note, Jordin Sparks co-wrote this song, so I hope she enjoys the royalty checks.

I also hope Grande has a killer ballad to include on her album. She definitely has the voice to do it. Mariah Carey built her early career on ballads and released “Vision of Love” at 20-years-old. I understand that we’ve been conditioned over the past decade to accept 20-year-olds singing about sleepovers and Barbie dolls, but with ballads also making a comeback on pop radio, Grande could really seal the deal with a modern slow jam.

Ariana’s got people talking, listening, and buying. Here’s to hoping they don’t drop the ball and keep the forward momentum going. I think she’s got what it takes…

BREAKING & ENTERING

Havana Brown had a hit this summer with “We Run the Night,” but we could be hearing from another female Aussie in 2013. Samantha Jade won this season of The X Factor in Australia, but isn’t’ exactly a stranger to the music industry. She’s written songs for JoJo and Ashley Tisdale, was signed to Jive Records, and is featured on David Guetta’s album “One Love.” However, I’m all for not-so-amateur contestants appearing on singing competition shows (see: Cassadee Pope) and getting a second shot at success. Samantha’s winning single, “What You’ve Done to Me,” is far better than what most winners get to release following their coronation. The song was co-written by Jörgen Elofsson, who, by no surprise, is Swedish and a product of Cheiron Studios. He’s been penning hits for well over a decade, spanning from Britney Spears’ “(You Drive Me) Crazy” to Kelly Clarkson’s “Stronger (What Doesn’t Kill You).” Samantha’s song is the catchy pop we’ve come to expect, with a carefree electropop sound reminiscent of “Call Me Maybe.” Of course, the track has already hit #1 in her native Australia–but is the rest of the world next? This definitely sounds like it could be a hit worldwide, so it will be interesting to see if Sony gives it a push in 2013. She’s also really hot (see above) and the kind of commercial artist that wouldn’t have a shot in hell at winning The X Factor in the US, so it will be interesting to see how this plays out.

BREAKING & ENTERING

I’ve been following Nikki since hearing her music on MySpace a few years ago (back when MySpace was still relevant). Yes, this is the same girl who wrote Lauren Alaina’s “Like My Mother Does” and appears on the Country Strong soundtrack. However, it’s been quite a few years since then, and her music has certainly evolved. Her first single, “Kill, Fuck, Marry” written by Sia and produced by StarGate, is a very solid introduction. The song sounds like something Lana Del Rey, Neon Hitch, or even Rihanna would record, but Nikki’s voice really makes the track something special. Like the aforementioned artists, she has a great tone, but with some real power behind it (she sounds just as good, if not even better, in this acoustic performance of the track). Nikki’s also been in the studio with Max Martin, Rodney “Darkchild” Jerkins, Toby Gad, and Dallas Austin, and judging by the quality of this song and video, Island Def Jam has high hopes for this girl. Get to know Nikki Williams before everyone else does–I guarantee you’ll be hearing a lot about her in 2013!

WHERE HAVE ALL THE GIRL GROUPS GONE?

Last July, I asked, “Where have all the boybands gone?” Nine months later, I think we know the answer to that. Now, I’m left wondering, what about the girls groups?

Pop girl groups usually come off as trampy (The Pussycat Dolls), cheesy (Spice Girls), or a unique combination of both (Danity Kane). That’s not to say they don’t have their place, but they’re much more of a gamble. As long as there are hormone-crazed teen girls, boybands have a market. However, girl groups have to work harder (and make some changes) for that same kind of adoration.

There are a few ways for an ordinary pop girl group to become, well, CrazySexyCool. You can go only go so far with lifting your leg in the air and singing “I’m hotter, more famous, and richer than you” songs. Take, for example, Destiny’s Child and TLC. Both groups were built on female empowerment. From “Independent Women” and “Survivor” to “No Scrubs” and “Unpretty,” they made themselves relatable to female fans. Destiny’s Child and TLC prove that good things come in 3s. Although it took Destiny’s Child a few times to figure that out, three members allows for each to have an identity and not get lost in the shuffle. While boyband members can get by on looks, it’s essential for girls to be able to relate to female group members. Combining pop with R&B also gave Destiny’s Child and TLC some edge. Sure, they had their matching outfits (thank you Tina Knowles) and choreographed dances, but the music was good. Although One Direction has its faux pop/rock and The Wanted is riding the electropop wave, I think the next great girl group will follow in the footsteps of The Supremes, En Vogue, TLC, and Destiny’s Child, with a fusion of pop, R&B, soul, and hip-hop. This will also allow for multi-format radio support–another key to girl group success.

I think the market is ready for another girl group. But, it has to be done right. The perfect girl group is empowering but relatable, sexy without being lewd, and edgy rather than cheesy. Oh, and talented. So, let’s keep partying like it’s 1999 and bring back a girl group to compete with the new batch of boybands.

BREAKING & ENTERING

Keeping with the tradition of the last post, another British artist, Emeli Sandé, is set to make her American debut next month. “Next to Me” impacts April 17th, coming off the heels of its #2 peak in the U.K. Being a British, female recording artist will obviously garner comparisons to Adele, whether fair or unfair. With that said, I’m going to compare her to Adele. “Next to Me” is sonically reminiscent of “Rolling In the Deep.” It builds in a similar way and fuses elements of soul with modern pop. Thematically, however, it’s more similar to Joan Osborne’s 1994 hit, “One of Us.” Like the aforementioned singles, will Sandé get her breakout hit in the U.S. with this track? I’d say so. A year ago, I was unsure about Adele’s prospects for Top 40 radio success, but she’s undoubtedly opened the doors and changed radio’s climate over the past year. “Next to Me” sounds like it would fit perfectly among “We Are Young” and “Somebody That I Used to Know,” showing that we are truly in a new era of pop radio.

Two for the price of one today. European artists are really killing it lately, and this track is no exception. There’s been buzz building around Marina and the Diamonds for the past couple of years, but she still hasn’t scored a true breakout hit. “Primadonna” could change that. Having been produced by Dr. Luke, it obviously sounds like another Dr. Luke production. This time, it borrows from “Hold It Against Me,” with hard hitting, electropop verses accompanied by a melodic, glistening chorus (check out that acoustic guitar). The lyrics, however, are a step up from “Hold It Against Me,” and actually would have been fitting for Britney. Alas, it’s a Marina track and she delivers it perfectly, complete with throaty Katy Perry-esque vocals. All in all, it’s a perfectly crafted pop song and I would expect nothing less from this pairing. However, I’m not so sure of its hit potential. It reminds me of Sky Ferreira’s ill-fated, Ryan Tedder-produced “Obsession.” Hopefully radio’s more receptive to this one.

THE NEW MUSIC TELEVISION

Before banking on newlywed pop stars, drunken guidos and pregnant teens, MTV actually lived up to its name and offered music programming. I grew up during the TRL era, where I could count on coming home from school and being exposed to new artists and music on a daily basis. Without TRL, we may not be still enjoying artists like Britney Spears, Eminem, Justin Timberlake, and Beyoncé. But, with the rise of streaming video sites and interactive social media platforms, TRL’s novelty wore off.

Since the rise of the internet, MTV has all but abandoned music programming. I get it. People can go on YouTube and watch whatever they want, whenever they want. While I don’t necessarily miss the abbreviated music video clips played on TRL, I do miss MTV as a tastemaker. I miss Carson Daly and the VJs who facilitated discussion about music and allowed viewers to call in and send messages. The scrolling comments at the bottom of the screen acted as Twitter before Twitter. Yes, while the majority of them may have been, “I love Backstreet Boys!! *NSYNC sux!,” it was nice to see people interacting and talking about music. But, who’s to say a similar platform can’t exist online? While the internet may have killed traditional music television, it’s the perfect place to usher in a new wave of music programming.

MTV could have easily moved some of its music programming online. Shows like TRL, or even Say What? Karaoke, would have thrived as steaming, interactive online programs that integrated social media sites like Twitter and Facebook. But, when it comes to music, MTV’s the old model–stuck in the past. They’ve certainly adapted to make money, with successful reality shows like The Hills and Jersey Shore, but have undoubtedly lost sight of the music in music television. That’s where YouTube comes in. Much like MTV in its prime, YouTube is the place where people go to watch music videos and discover new artists (Justin Bieber, anyone?). It only makes sense that with YouTube launching 100 new digital channels this year, one of the first would be dedicated to discovering what’s next in music: myISH.

The recently launched myISH YouTube channel already has lots of promising content. Their hosts, or VJs (maybe we should call them YJs, YouTube jockeys?), post daily ISHpicks, featuring both established and undiscovered talent, ranging from Madonna and Nicki Minaj to Chairlift and John West. While the hosts, Elliott Aronow, Anthony Hull, and Hesta Prynn shine individually, it’s even more fun when they’re together. On the first installment of Open Mic, they shoot the shit about J.Lo’s “supposed” nip slip at the Oscars. Beyond discussing famous areola, these guys really know their music and make a great team. They’re likable, witty, and have good taste. It’s nice to see people actually discussing music and serving as tastemakers again. Sure, you can read blogs (much like this one) to discover new artists. But, seeing the videos and getting to know the hosts, adds another dimension of personality and entertainment to the mix. For some comedic relief, YouTube sensation Michael Buckley countdowns the top 7 “I am beautiful no matter what they say” songs on the first ISHlist. Considering we’ve been inundated with with these songs over the past year or so, it’s a timely feature that’s a great pick-me-up when you’re feeling like a plastic bag.

myISH also has active Twitter, Facebook, Google+, and Tumblr pages, adding even more interactivity beyond YouTube’s platform. The hosts encourage comments and actually engage in discussion beyond the videos. Essentially, myISH takes what killed music television and uses it to its advantage. People are still interested in music-related content. However, where and how they get it has changed. myISH capitalizes on that, combining the best of music programming, with the interactivity of the internet.

THE NEXT WAVE OF POP RADIO

The tides are turning at pop radio. Over the past few months, different sounds have infiltrated the charts. Electropop has dominated the top 40 for almost the past three years and it’s starting to feel like it’s run its course. Here are some of the next trends I can see making a splash:

House
Although house music is often associated with the cheesy, one-hit wonders of the early 90s, I can see it making a comeback as a natural progression from electropop. Rihanna delved into synth-heavy, house territory on “Only Girl (In the World)” and the influences are all over Lady Gaga’s new album (particularly on “Marry the Night” and “Scheiße”). Max Martin also tried it out on Britney’s “Up N Down,” only a bonus track on “Femme Fatale,” but one of the most downloaded cuts on iTunes. I’m just waiting for a big-voiced diva (think Whitney’s “It’s Not Right But It’s Okay”) to really hit it home.

Ballads
Sure, there have been a few one-off ballad hits on pop radio over the past few years, but they’re few and far between. Rihanna couldn’t even score a big hit with “California King Bed,” following a string of number ones. However, if anyone can bring them back, it’s Adele. Coming off a massive hit and the number one album of the year, “Someone Like You” should have no problem at least getting noticed. Hopefully pop radio gives “Someone Like You” a chance and Adele doesn’t follow in the footsteps of Cee Lo Green and Amy Winehouse (R.I.P.), with only one big (novelty) hit in the U.S. It will also be interesting to see how radio responds to “Yoü and I,” a very different sound for Lady Gaga and after ten singles, her first ballad.

Alternative Rock
Before it was even officially announced as a single, radio jumped on Rihanna’s “Cheers (Drink to That).” You may be wondering why I’m mentioning that under this category. I’ve seen quite a few people say “Cheers” reminds them of the alternative rock crossover hits of the late 90s. At first, I didn’t hear it either. But, after going back and listening to songs like Semisonic’s “Closing Time” and “Save Tonight” by Eagle-Eye Cherry, I get it. It’s definitely a different sound for her and I’d love to see alternative rock make a comeback as opposed to more disposable pop/rock. I don’t think Rihanna’s the artist to bring back alternative rock, but hey, you’ve got to start somewhere.

Eastern Europop
Another natural progression from electropop is the Eastern European-influenced dance sound. Enrique Iglesias and Jennifer Lopez both scored comeback hits with Eastern European dance-tinged songs (“Tonight (I’m Lovin’ You)” and “On the Floor” respectively) and new artists have also recently made their debut on the pop charts with a similar sound. Romanian singers Edward Maya and Vika Jigulina had a surprise hit with “Stereo Love” earlier this year and Alexandra Stan (a fellow Romanian) is poised to break the U.S. with her international smash, “Mr. Saxobeat.” Keep it coming from Romania, because I like what I’m hearing.

R&B
R&B hasn’t gone anywhere, but it’s certainly not dominating the pop charts like it was in the early 2000s. However, songs like Nicole Scherzinger’s “Right There” and Jennifer Lopez’s “I’m Into You” are getting more attention on the pop charts now than they probably would have a few months ago at the height of the electropop craze. Most surprisingly is Kelly Rowland’s “Motivation,” which just entered the top 40. Her track record on pop radio is less than stellar and this song sounds tailor-made for rhythmic/urban radio. Is top 40 radio finally ready for more R&B jams?