What these 13 No. 1 Songs of 2024 have proven thus far
Hot Takes
A first quarter analysis of the vital hits that have reached the top spot and what each one means from the star-studded cast of musicians.
BY HARPSICHORD
MARCH 18, 2024
Digital illustration of Ariana Grande, Benson Boone, Kanye West, Megan Thee Stallion, and Beyoncé.
As the first quarter of the music year has proven to be action packed and super competitive on charts such as Global Spotify, radio, and Billboard, Harpsichord takes a look at the most important ones’ narratives of importance.
“Carnival” - ¥$ (Kanye West & Ty Dolla $ign)
Proves that Big Three labels and blacklising doesn’t matter when you have a solidified legacy.
Kanye West seemed like he had finally met his downfall after making anti-semetic comments about the state of business. However, that seemed not to matter for his supporters, and really those streaming around the globe. He escaped cancel culture by having his pulse on what’s trending in today’s hip hop: the sound of stadium induced grime from Britain. Ironically, “Carnival” plays into the aesthetic of skinhead culture which has become a hot button topic on that scene. After climbing to No. 1 on the Global Spotify chart, and reaching the summit of the Billboard Hot 100– despite no backing from a major label or distributor— Kanye, who now legally goes by Ye— became the first rapper to secure a No. 1 hit in three decades: the 2000s, ‘10s, and ‘20s. He is now the top hip hop artist in the game, disrupting the idea that his money needs to be divided amongst Universal, Warner, or Sony when releasing future projects. People thought it couldn’t be done, and once again Ye proved them wrong.
Album Review: Vultures 1
“Like That” - Metro Boomin’ & Future featuring Kendrick Lamar
Proves that Drake disses done right will sell records and that Kendrick meant what he said on “Control”
For a while hip hop fans and bloggers noticed a brewing tension between Metro Boomin’ and Drake. What was unexpected for most, was that one of Drake’s collab brothers, Future also felt a way. Throughout the No. 1 trending and streaming album— which is poised to debut atop the Billboard 200 a week after this article’s publishing— WE DON’T TRUST YOU — there are clear shots being thrown at the Canadian MC who has dominated for a decade straight.
But listeners were even more surprised to hear that Kendrick Lamar had a guest spot on “Like That.” Imagine listening to this album stunned by Future’s subliminals, and then on the convenient 6th track, Kendrick comes on with an ominous “these n!ggas talking out their neck.” Then in the verse which many are taking as a direct jab at the 6 God, he goes “Motherf*ck the Big 3, n!gga it’s just me!” Now he’s taking a shot at J. Cole’s guest role on the No. 1 hit, “First Person Shooter,” where Cole saluted Drake and Kendrick as the Big Three of Mainstream Rap, but also kind of disses them both by saying he’s the Muhammad Ali.
While Kendrick is busting a warning at Cole, it’s really Drake who he is gunning for. And for hip hop, it’s always something when someone comes for Drake. But Kendrick is like an equal that hip hop fans can support (or hide behind) when it comes to taking Drake down. This has been on-going since that 2013 “Control” verse— except we never got an official battle of disses. Could 2024 be the time? Who knows?
But it’s also being reported by hip hop curators, journalists, and influencers, that “Like That” happens to go up at the clubs. And there is nothing more lethal than a diss record going up in a club, and on streaming charts at the same time. People are picking sides and now it’s a waiting game. But one thing’s for sure, a different Big Three got people a buzz…
“Texas Hold ‘Em” - Beyoncé
Proves that she’s on a quest to collect genre infinity stones.
Beyoncé’s main goal seems to be to surpass herself. And she did that once again by collecting a No. 1 on Billboard’s Hot Country Songs chart— simultaneously becoming the first Black woman to ever do so. As the song reached No. 1 on the Billboard Hot 100 and topped Global Spotify charts, it mirrored what had been accomplished by “Break My Soul” in 2022. Beyoncé’s album trilogy seems to be about reclaiming genres pioneered by Black artists where that history has been erased. Act I, entitled, Renaissance , used house and other forms of EDM to do that. Now her newly named, Cowboy Carter Act II will be in the direction of country. However it seems as though just as she gets the No. 1’s they burn out the top spot while maintaining Top 10 success. Will she be able to capture a new No. 1 that maintains from Cowboy Carter ? Only time will tell upon the March 29 release…
“Hiss” - Megan Thee Stallion
Proves that Nicki Minaj hatred is the epicenter of today’s female rap.
Megan Thee Stallion seemed like she was poised for a top 10 debut on the Hot 100 upon dropping her scathing diss towards her rap industry foes. But then, Nicki Minaj went on an Instagram live and frantically called out the rapper. Then she tweeted disses by her fans and talked more trash with them on Stationhead. Then she dropped “Big Foot” — a response that was poorly received by the public at large. This helped fuel another Nicki hate train, with just about anyone supporting Megan through the messy situation. Roc Nation released remixes and discounted the original on iTunes, and streams went up just to secure the No. 1. However, as weeks passed, “Hiss” continued dropping on all formats— showing that the interest in the song was feigned. Meg is still struggling with gaining the full attention and support she needs to thrive in the top spot— as people move on from her music rather quickly. While she is for sure an influencer that’s bound to go viral at any given moment, the reality is Nicki helped her get that No. 1.
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“Yes, And?” - Ariana Grande
Proves that Ariana Grande still matters on the pop scene.
When news came that Ariana Grande would be dropping Eternal Sunshine , fans rejoiced and naysayers had no choice but to pay attention. Three years since her last solo era, Positions , Ariana Grande had one of the most anticipated albums to be released. The house influenced pop song went No. 1 on the Hot 100 and global Spotify charts, as expected (with the help of multiple discounts that is). Even with the lukewarm reception the song generated, it at least showed that her moves were anticipated and that she could come back at any time to cause disruption. Now, Eternal Sunshine is poised to debut at No. 1 on the Billboard 200, and audiences who didn’t get it the first time are simultaneously giving “Yes, And?” a second chance.
“We Can't Be Friends (Wait for Your Love)” - Ariana Grande
Proves that ‘Eternal Sunshine’ is yet another Ariana Grande album that can produce multiple number ones.
After performing the song on ‘Saturday Night Live’ during the release weekend of Eternal Sunshine , audiences started to notice that this was the more viable hit. It went No. 1 on Global Spotify and is poised for a No. 1 debut on the Billboard Hot 100. Is it the fact that it is reminiscent of Swedish dance sensation Robyn (particularly “Dancing On My Own”)? Or is it the vocals that mirror Imogen Heap? The timing of this release couldn’t be perfect as fans are craving pure pop music from the mainstream divas who provide them best. Borrowing what she’s done on Dangerous Woman cuts such as “Into You,” Ariana Grande has a successful singles release formula that proves she can have multiple albums that can amass multiple No. 1’s.
Album Review: Eternal Sunshine
“Lovin’ On Me ” - Jack Harlow
Proves that white male rappers can still be a competitive problem.
Just as it seemed like hip hop culture was trying to dismantle the notion of white rappers dominating, here comes Jack Harlow. As Eminem is not being taken as seriously with his new music from today’s younger generation of streamers and buyers, and Post Malone practically got bullied into switching genres (and Iggy, what is she even doing musically nowadays), Jack Harlow is proving to be the silent killer. He’s still keeping pop rap intact, and releasing bops that people can universally get behind. With a positive message in the song, Jack Harlow is getting supported by the biggest radio formats: pop and rhythmic. The song stayed at No. 1 for five weeks on the Hot 100 in 2024, adding on to an additional sixth week from December 2023.
“Saturn” - SZA
Proves that she is still the main R&B girl.
When SZA previewed this bonus track reissue of her three-time winning, SOS , as a Mastercard commercial for The Grammy’s, she already had the coveted title of “main R&B girl.” You know, the spot usually given to a Black woman that records R&B music but also happens to have pure pop crossovers, but still in the eyes of society at large is regarded as R&B. For the longest, Beyoncé and Rihanna swapped that title for the longest. But now that Beyoncé has forayed into other genres such as EDM and country, and Rihanna is practically on a music hiatus, SZA has substantially filled that role.
“Saturn” itself is a cloudy R&B ballad that picks up where “Snooze” left off. While the song has peaked at No. 5 and No. 6 on Billboard’s Global 200 and US Hot 100 respectively, it went No. 1 on the R&B Songs chart, meaning that anything she can drop as an official single will catch fire.
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“Lose Control” - Teddy Swims
Proves that soul songs don’t need to be desperate to reach No. 1 and that people will still respect the original talent
As “Lose Control” earns the No. 1 spot on the Billboard Hot 100, there is a bit of irony. Chart accounts on Twitter alleged that the publication had to filter purchases that were deemed fraudulent. The trend of labels releasing multiple remixes and versions (slowed, drill remix instrumental, etc) is starting to be exposed amongst the crowds of chart obsessed and monitors. However, despite that brewing controversy, the song got in the heated races of topping Global streaming and US sales charts because it evokes nostalgia. People are still going to appreciate a song where soulful singing exists, as long as it’s marketed a certain way. With the rise of traditional country and folk music coming back, and music that delves into raw talent without much gimmick, “Lose Control” was still able to rise. It also doesn’t hurt that Teddy Swims happens to be a white man doing the soul singing, but that’s a conversation for another time…
“End of Beginning” - Djo
Proves that Stranger Things is starting to become a new hub for discovering music
Ok, it’s kind of not fair to necessarily declare that the Netflix supernatural series, ‘Stranger Things’ is the “new hub of discovering music.” After all, “End of Beginning” never appeared on the series, as, say, Kate Bush’s art rock staple from 1985, “Running Up That Hill (A Deal With God)” did. The series helped the 80s song reach new global peaks in 2022– making it one of the year’s highest selling records.
“End of Beginning” is a bit different, as its popularity is from Tik Tok, under a band name that isn’t instantly recognizable as the series’ star Joe Kerry— unless you’re tuned into the alternative rock scene. The strongpoint seems to be the lyrics, with the song peaking at No. 1 on the Global Spotify chart, and with potential to rise up to the eventual summit on the Billboard Hot 100 should its power grow more. Now that the world has figured out that the 2022 track is from the ‘Stranger Things’ star, the song is receiving more attention. And who knows, it might appear in the upcoming fourth season just cause…
“Beautiful Things” - Benson Boone
Proves that folk and rock blends will be essential genres resurging in 2024.
In his ballad about the meaning of life, the former American Idol contestant and Tik Tok star delivers raw emotion that recalls the power rock music can have on a generation. Folk and mall rock is essentially making a comeback in today’s market thanks to younger generations— particularly his of Generation Z (Boone is 21)— gravitating to those emo sounds. The song remains at No. 1 on Global Spotify charts, and with increased airplay before other major releases he’ll probably earn himself a No. 1 on the Billboard Hot 100. It’s a matter of time where he gets another hit. Best New Artist Grammy nom in 2025 possibly?
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“Agora Hills” - Doja Cat
Proves that she is incapable of not providing a radio hit from each of her albums, and that she’s the leader of the new school.
When “Agora Hills” went No. 1 on pop radio, it increased her lead of having the most on the format at eight. This is her second from Scarlet which critics labeled a flop for her standards— the first being “Paint The Town Red.” With her capabilities of blending pop with R&B and hip hop, she is essentially what the new era of artists who are pushing out strong content in the 2020’s is striving for. At this point, Doja Cat is in a league of her own.
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“Get It Sexyy” - Sexyy Red
Proves that people still want to have fun in hip hop while rooting for a people’s champ.
Following Megan Thee Stallion’s “Hiss,” Sexyy Red became the second female rapper in 2024 to reach the No. 1 spot on Apple Music. The promotion for the song played on nostalgia— with an album cover contest where fans had to generate a MySpace type of cover, and of course dancing videos that resembled Soulja Boy’s “Crank Dat” days of 2007. It also helps that the melody sounds like Hurricane Chris’s 2009 viral hit “Halle Berry (She’s Fine).”
Sexyy Red was one of the most influential hip hop artists in 2023— in terms of Pop Culture popularity— and she’s carrying that momentum in 2024. She’s still deemed the fun, likable, and relatable icon of the hood who is enjoying her come up. Even though her presence is controversial to some, and even judged by others, Sexyy Red has proven that she can provide nonsensical bops that can allow for people to let go and have fun. Even Sexyy Red is aware that people don’t listen to her music for serious guidance, as she’s staying in her lane of having a good time. But also being sort of unpredictable with it at the same time.