Drake’s claims that “Not Like Us” lyrics were defamatory dismissed because they are opinion
On Thursday, Federal Judge Jeannette A. Vargas dismissed Drake’s lawsuit against Universal Music Group (UMG) over Kendrick Lamar’s song “Not Like Us”. The lawsuit alleged that UMG intentionally promoted the song even though it contained false and defamatory pedophilia allegations against Drake, Lamar was not named in the suit.
Drake mentioned that the song tarnished his reputation, decreased the value of his brand overall, and encouraged violence against him. The song’s cover pictured Drake’s house, which he believed led to the multiple attempted break-ins at his house last year, as well as the shooting of his security guard at his Toronto home.
The suit was filed in January, and in March UMG filed to have the motion dismissed stating that Drake “lost a rap battle that he provoked and in which he willingly participated” and “instead of accepting the loss like the unbothered rap artist he often claims to be, he has sued his own record label in a misguided attempt to salve his wounds”. UMG is the parent label for both Interscope Records, Lamar’s record label and Drake’s record label, Republic Records. The judge acknowledged the feud, which began in April 2024, marking that Drake mocked Lamar’s height and shoe size and questioned his success in “Push Ups,” while Lamar insulted Drake’s fashion sense in that same month on “Euphoria” and with the insults escalating from then becoming “vicious, personal” attacks.
Drake’s “Family Matters” accused Lamar of domestic violence and claimed that Lamar’s music producer was the biological father of Lamar’s son. Lamar’s response, “meet the grahams” accused Drake of being a sexual predator, lying about Lamar’s family, and having a second secret child. Lamar dropped “Not Like Us” a day later, accusing Drake of pedophilia. Drake responded quickly, denying all of Lamar’s accusations, but at that point, it was too late.
Lamar was widely regarded as the winner of the feud, and the information spread quickly, as “Not Like Us” continued to grow in popularity, garnering five Grammys and a spot in Lamar’s Super Bowl halftime show lineup, which was the most-watched halftime show ever.
Drake’s concern over “Not Like Us” revolves around the song falsely accusing him of being a sex offender and pedophile. Lamar’s track has multiple lyrics regarding this point, including “I hear you like ‘em young”, and in reference to Drake’s album “Certified Lover Boy? Certified pedophiles”. While the judge acknowledged that “the accusation that Plaintiff is a pedophile is certainly a serious one” within “the overall context in which the statements in the recording were made, the court holds that it cannot” be taken as factual statements.
This ruling marks the concerning statements as “non-actionable opinion” because “Not Like US” is “replete with profanity, trash-talking, threats of violence, and figurative and hyperbolic language” and would not be taken by a reasonable person to be fact. The ruling absolves UMG of responsibility for promoting “Not Like Us”. Upon the dismissal of the lawsuit, UMG released a statement in agreement with the ruling, stating that “from the outset this suit was an affront to all artists and their creative expression and never should have seen the light of day”. Drake’s only response to the ruling was a statement from a spokesperson stating, “we intend to appeal today’s ruling and we look forward to the court of appeals reviewing it”. Drake’s spokesperson conveyed “we intend to appeal today, ruling and we look forward to the court of appeals reviewing it” through a statement.
Drake is again walking away holding an L(oss) from a battle involving Kendrick Lamar. On Thursday (October 9), a judge dismissed the defamation lawsuit Drizzy filed against Universal Music Group (UMG) over the hit song, ‘Not Like Us.’ The federal official ruled that Kenny’s lyrics were opinion, per the Associated Press. While Drake hasn’t spoken out yet, others involved in making the track, including Mustard, seemingly have!
Judge Explains Why She Tossed Drake’s Lawsuit Against UMG
As previously reported, Drake’s and Kendrick Lamar’s rap beef exploded in the spring of 2024. The superstars traded shots from the booth for several rounds. Then, in May, Lamar put a nail in Drizzy’s metaphorical coffin with ‘Not Like Us.’ The song became a cultural phenomenon and ate the charts up—same energy for the music video he released in July. Even celebrities once tight with Drake, such as LeBron James, picked sides. And, spoiler alert, it often wasn’t the Canadian rapper’s!
‘Not Like Us,’ which calls out Drake by name, attacks him as “a colonizer” of rap culture. It also makes serious allegations about his sex life, including “I hear you like ’em young” — a claim Drake has rejected. This week, Judge Jeannette A. Vargas acknowledged in her written opinion that ‘Not Like Us’ explicitly branded Drake as a pedophile. However, Vargas said a reasonable listener could not have concluded that the song revealed objective facts about Drake.
“Although the accusation that Plaintiff is a pedophile is certainly a serious one, the broader context of a heated rap battle, with incendiary language and offensive accusations hurled by both participants, would not incline the reasonable listener to believe that ‘Not Like Us’ imparts verifiable facts about Plaintiff,” Judge Vargas wrote.
An aerial photo depicting Drake’s mansion doubles as the song’s cover art. The photo, per the judge, had “an overlay of more than a dozen sex offender markers,” but Vargas said it was “obviously exaggerated and doctored.”
“No reasonable person would view the Image and believe that, in fact, law enforcement had designated thirteen residents in Drake’s home as sex offenders,” Judge Vargas wrote.
Judge Vargas also pointed out that Drizzy, too, took low blows in the rap beef. Before ‘Not Like Us,’ she said Drake mocked Kendrick Lamar’s height and shoe size. Additionally, he questioned Lamar’s success in the April 2024 track ‘Push Ups.’ Meanwhile, Kendrick Lamar insulted Drizzy’s fashion sense that same month in ‘Euphoria.’ Judge Vargas wrote that the insults escalated from there, becoming “vicious, personal.”
Considering the medium the rappers used to insult each other, Judge Vargas concluded that the average listener knows better. She said listeners would not consider a diss track “a product of a thoughtful or disinterested investigation, conveying to the public fact-checked verifiable content.”
Per AP, Vargas wrote that ‘Not Like Us’ was “replete with profanity, trash-talking, threats of violence, and figurative and hyperbolic language, all of which are indicia of opinion.” A reasonable listener, she added, “would conclude that Lamar is rapping hyperbolic vituperations.”
Drake’s Team & UMG Reacts To Lawsuit Dismissal
After the decision, Drake’s legal team issued a statement: “We intend to appeal today’s ruling, and we look forward to the Court of Appeals reviewing it.”
For context, Drizzy filed the lawsuit in January. It does not name Kendrick Lamar. Instead, the paperwork alleges Universal Music Group (UMG) intentionally published and promoted ‘Not Like Us,’ despite knowing the lyrics contained false and defamatory allegations. The lawsuit claims the song messed up his reputation and decreased the value of his brand. Additionally, Drake alleged that the song encourages listeners to use vigilante justice against him. He even blamed ‘Not Like Us’ for attempted break-ins and the shooting of a security guard at his Toronto home.
UMG immediately denied the allegations. Interestingly, Universal Music Group is the parent record label for both Drake and Kendrick Lamar. It released a statement following the lawsuit dismissal.
“From the outset, this suit was an affront to all artists and their creative expression and never should have seen the light of day,” UMG said. “We’re pleased with the court’s dismissal and look forward to continuing our work successfully promoting Drake’s music and investing in his career.”
Mustard Shares THIS Post After Dismissal
It’s no debate that ‘Not Like Us’ was one of 2024’s biggest songs. Even Judge Vargas described it as having a “catchy beat and propulsive bassline.” Outside of court, Kendrick Lamar’s diss won record of the year and song of the year at the Grammys. It also helped make this year’s Super Bowl halftime show the most-watched ever, as fans speculated whether Lamar would actually perform it. He did, but with altered lyrics and the acknowledgment of the UMG lawsuit!
Mustard, who produced the diss, joined Kenny on the Super Bowl stage. He’s stuck by the artist’s rivalry with Drake. After the dismissal news on Thursday, Mustard took to X with a post that has fans thinking it’s a response to the legal update!
Summer began with one definitive truth: if you thought you were a hater, you’re not a hater like Kendrick Lamar is a hater. I’ll admit: Drake has won his share of rap beefs. In 2015, he got into it with Meek Mill over claims that Drake doesn’t write his own songs. He emerged victorious, though he’s never beaten those ghostwriting allegations. Still, he took the crown, and “Back to Back” is still one of my favorite of his songs. However, we can’t forget that he’s taken some big hits and some super public losses, too.
In the summer of 2018, he and Pusha T started a fire that culminated in the revelation that Drake had a son, Adonis. While now, Adonis is frequently at his father’s side at public appearances like basketball games and even appeared on his album, being forced into claiming your son by a Soundcloud diss track is crazy.
But what’s crazier is how Kendrick shut this summer down for Drake. For a pop star who usually spends summers at the top of the charts, he’s spending this one in hiding. All because Kendrick decided to instigate probably the greatest rap feud of our generation and win it. I want the next season of Ryan Murphy’s Feud to be about this. I want to take a class at a liberal arts college about the ethics or psychology or marketing behind it. I want political scientists to write think-pieces about what this says about the political and economic state of the world. But until then, here’s the Popdust take on Kendrick’s war on Drake — and why there’s one obstacle that keeps me from celebrating his victory lap.
First things first: The history of Kendrick Lamar starting beef
For context: Kendrick Lamar is the greatest rap artist of our time — decorated with Grammy wins, American Music Awards, and even a Pulitzer Prize for the album DAMN. He is also a Gemini. Unpredictable. Opinionated. Occasionally, arrogant. It’s what makes him great and why we love him. Other famous Geminis include Gwyneth Paltrow and Kanye West. You get it. Figures who are unstoppable when they use their mercurial madness for good, and problematic at best when they get a tad too unhinged. The question is: on which side of this line does Kendrick Lamar’s latest venture fall?
The braggadocious rapper is known for taking shots at his peers. His message is always clear: I’m the greatest rapper of our time, but it would be nice to have some competition. In 2013, he issued this direct challenge when he appeared on Big Sean’s “Control” with Jay Electronica. This verse is the equivalent of Nicki Minaj’s verse on “Monster.” It’s so fire that most people forget whose song it was in the first place. When you talk about “Monster,” you talk about Nicki. When you talk about “Control,” you talk about Kendrick and the shockwaves he sent through the industry.
The year before, he dropped his career-defining concept album good kid, m.A.A.d city. Knowing he’d just released one of the most dynamic rap albums of all time, he appeared on “Control” to make sure everyone else on the planet knew it too. In a three minute verse, he issued a challenge to every rapper in the game, name-dropping 11 of the biggest rappers at the time (like the good old days) — including J.Cole and Drake.
“Jermaine Cole, Big KRIT, Wale, Pusha T, Meek Millz, A$AP Rocky, Drake, Big Sean, Jay Electron’, Tyler, Mac Miller — I got love for you all but I’m tryna murder you,” he rapped. “What is competition? I’m tryna raise the bar high,” he continued.
The verse was a wake-up call. Kendrick was banging on everyone’s doors and telling them to get to work. And, to his credit, they did. Every rapper felt like they had to prove themselves, and the music we got in the verse’s wake was their attempt. From Drake’s If You’re Reading This It’s Too Late mixtape, which took him finally from R&B to full rap star, to J. Cole’s Forest Hills Drive, some of these rappers released their best work.
But while there was love in “Control” — especially since Kendrick had collaborated with and even toured with some of the artists mentioned a few years prior — the past decade certainly changed things.
A definitive timeline of the Kendrick Lamar and Drake beef in 2024
The Big Three? Kendrick, Cole, and Drake
Though some say Kendrick started the current iteration of the feud, it actually goes back to Drake’s album For All the Dogs. In “First Person Shooter,” J. Cole actually gives Kenny props — describing him, Ken, and Drizzy as the “big three.”
But in March 2024, Lamar appeared on “Like That” alongisde Future and Metro Boomin We Don’t Trust You album to say: “motherf**k the big three, n*gga, it’s just big me.”
In response, Cole released “7 Minute Drill” in early April. He went album for album, giving a pretty ungenerous take on Kendrick’s albums, insinuating he is washed up, irrelevant, and jealous — mad talk from someone who’s just called him part of the “big three.”
“Your first shit was classic, your last shit was tragic / Your second shit put niggas to sleep, but they gassed it / Your third shit was massive, and that was your prime / I was trailin’ right behind, and I just now hit mine / Now I’m front of the line with a comfortable lead / How ironic, soon as I got it, now he wants somethin’ with me.”
However, in a surprising move, Cole soon took himself out of it. At the Dreamville Festival in North Carolina just days later, Cole publically apologized on stage — not a common occurrence in the rap world. Calling it “the lamest shit [he] ever did in [his] f**king life,” he said that though the internet seemed to “want blood,” he didn’t. While the decision was met with an overall groan from fans and the rap community — tapping out of beef so soon made him look like he couldn’t handle the heat. However, now, it seems like Cole knew something Drake didn’t: when to quit.
At first, critics pointed to other times Kendrick has thrown shots. It didn’t have to be personal, they said, and a rap battle is distinct from rap beef. Rap battles are integral to the genre, and the fire is always friendly. But J Cole was soon proved right when Drake put his two cents in, and the battle went from a tiff about artistry to something increasingly more personal.
Drake v Kendrick, one on one
On April 19th, Drake released his first response: “Push Ups.” Its notable lyrics included digs on Kendrick’s height (even though short kings are up right now) and on his TDE (Top Dawg Entertainment) record deal — namely for making him do that verse on Taylor Swift’s “Bad Blood.”
The most incensed lyrics, however, were about Kendrick’s legacy. “What’s a prince to a king? He a son. / Get more love in the city that you from.” Drake implied that he was bigger physically and career-wise, “Sonning” Kendrick. But it was implying that Drake was more popular in the West Coast, where Kendrick is Regal, that really took this beef to another level.
Known for his “Back to Back” disses, Drake doubled down days later with “Taylor Made Freestyle” — with Swift catching strays again. The title implies that Kendrick pushed back his latest release out of fear of Taylor Swift’s Tortured Poets Department and says that Taylor’s running the music industry (kinda true).
However, the song’s controversy doesn’t end there. Drake used AI to take on the voices of Kendrick’s West Coast idols and make more jokes about Lamar not being the “West Coast savior” he thinks he is. However, the Tupac Shakur Estate threatened to sue if Drake didn’t delete the track. For those counting at home, that’s two diss tracks wiped from the internet before Kendrick could even respond.
Still with me? This is where it really gets interesting.
“Euphoria” et al
Kendrick released “Euphoria” on April 30, 2024. One of the definitive two tracks from this feud, “Euphoria,” is a six-minute saga that essentially says you wanted to get personal? Let’s get personal. Up until this point, Kendrick’s jabs were about the music. But in “Euphoria,” he takes shots at everything imaginable about Drake: his fashion sense, his friends, his hip-hop credentials, and even his Blackness — saying no one wants to hear him say the N-Word anymore.
The more hateful the bar, the better. The most-quoted lyrics were even a reference to a DMX interview about Drake from a few years ago, implying that hip-hop legends don’t respect Drake or his posturing. “It’s always been about love and hate, now let me say I’m the biggest hater,” he said before going on a tirade that put all other haters to bed and crowned Kendrick the biggest hater ever. “I hate the way that you walk, the way that you talk, I hate the way that you dress / I hate the way that you sneak diss, if I catch flight, it’s gon’ be direct / We hate the bitches you fuck ’cause they confuse themself with real women / And notice, I said “we,” it’s not just me, I’m what the culture feeling.”
Early in the morning 3 days later, Kendrick released another track: “6:16 in LA.” This song is about OVO, Drake’s team and brand, and how there might be disloyalty in the ranks. He rapped: “Have you ever thought that OVO was working for me?/ Fake bully, I hate bullies / You must be a terrible person/ Everyone inside your team is whispering that you deserve it/Can’t Toosie Slide up out of this one, it’s just gon’ resurface.”
Hours later, Drake responded to the claims about his team with claims about Lamar’s family in “Family Matters.” This, again, took the beef to another level. He made claims about infidelity and even domestic abuse in Kendrick’s relationship. While the jury is still out on whether or not these claims are true (Kendrick denied them), like anything, words are about impact, not intent. And these words got Kendrick riled up.
Now that they were talking about family, literally minutes later Kendrick released “Meet the Grahams”, making good on the line in “Euphoria”: “Don’t tell lies about me, and I won’t tell no truths about you.” He confirms that this beef won’t end with an apology, though it started with one. It’s for life. Petty king. “F**ck a rap battle, this a lifelong battle with yourself,” he raps.
“Not Like Us”: The Finisher
And in quick succession, Kendrick released the defining song of the beef — a real contender for song of the summer. “Not Like Us” compares Drake’s OVO crew to Kendrick’s West Coast crew, specifically calling them sex offenders. The cover art is an aerial photo of Drake’s Toronto hellscape of a mansion with a cluster of sex offender symbols over it. Scathing. Humiliating. And when the lyric of the summer is about your penchant for grooming young women? How will Drizzy ever recover?
He put in a valiant effort with his next track, “The Heart Pt. 6.” He came back at Kendrick’s family and even asserted that he’d fed Kendrick false information — a goofy move for a goofy man. But maybe it would’ve worked the way he wanted if not for “Not Like Us.” As it was, there was nothing he could say to top that. Kendrick was at his most spiteful, most hateful, and most talented. And the song became an instant anthem. What could Drake really do about that?
Kendrick won. Now he’s on his victory lap
For a minute, rap fans were divided. With each new track showcasing the rappers at their best, some were divided about who was winning. From the salacious revelations to the actual bars, everyone was talking about the beef and what it meant. But after the release of “Not Like Us,” even Drake fans had to agree that their man was cooked.
Even worse, they started playing “Not Like Us” and “Euphoria” on the radio. That’s how you know you’ve lost a rap battle: they play one person’s songs on repeat but never spin yours. And these were serious plays. Serious enough that “Not Like Us” debuted at No. 1 on the Hot 100 and “Euphoria” climbed to No. 3. Two songs of the summer? Sabrina Carpenter and Kendrick Lamar behavior — our short stars!
And if that weren’t enough, “Not Like Us” might even win a Grammy. When TMZ asked Recording Academy CEO Harvey Mason Jr. about the track, the music mogul said: “That’s a relevant record that’s impacting on so many levels. So much creativity and talent.”
All summer, I’ve been saying that if I were Olivia Rodrigo, I’d be sick seeing the girl who stole my boyfriend top the charts with the most infectious songs of the summer (Sabrina supremacy … hope Olivia gets her driver’s license or whatever that song was about). Similarly, if I were Drake, I’d be ill at the thought that a song so scathing was doing numbers on the charts. Especially since Drake is used to sitting pretty at No.1 in the summer. Sorry, man, not this year.
The significance of Kendrick’s Pop Out show
We’ve established that Kendrick Lamar is the most petty person that ever exists. So it should have been no surprise when he announced a show in Los Angeles on Juneteenth. To double down on the fact that, despite Drake’s claims, he does get love from his city, he dedicated the night to the West Coast by bringing out, you guessed it, his friends.
With the Pop Out concert, Lamar proved that the feud wasn’t just about taking personal shots, it was about territories. Teams. Friends. And the love you get from your city. After his status as the definitive West Coast rapper was challenged and his ties to his city were questioned, Kendrick Lamar brought out not just West Coast artists but also united members from rival gangs on stage. It was an incredible show of unity and the power of culture on Juneteenth. But imagine being Drake, and people are literally ending beef just to dance on your grave? And to make matters worse, it’s streamed live online for the world to see?
The show — and the rap beef in general — was also about proving how embedded in Black culture Kendrick is, as opposed to Drake, according to his claims. It was ultimately about the difference between pop versus rap. Pop, where Drake falls, according to Kendrick, is about individuality and topping charts. That’s why all of Drake’s shots were about making hits and having a lot of fans. Kendrick even let him have his flowers for that on “Euphoria,” saying: “I like Drake with the melodies, I don’t like Drake when he act tough.” Hop-hop, as Kendrick demonstrated, is about the culture. “This ain’t been about critics, not about gimmicks, not about who the greatest,” he continues.
And Kenny is not the only person in the hop-hop community who feels that way. In January, Yasiin Bey — the rapper formerly known as Mos Def — called Drake a pop artist, not a hip-hop artist. In later statements, he clarified his critique but didn’t retract it, saying: “I require more of myself and others than just talent or charm or charisma — particularly in times of urgent crisis.” As a rapper who was prominent during the 90s and early 2000s, Bey sees the artform as connective, capable of having an impact outside of a club or Target shopping aisle. “What I would like to see, in terms of creators or creative people in the world as it relates to our culture, is for people to connect with us beyond the jukebox or the dance floor.”
Kendrick’s impact has always been felt in his music. From showcasing the realities of life in Compton in Section.80 to analyzing the cultural impact of gang violence in good kid, m.A.A.d city, and talking about Black culture in To Pimp A Butterfly, his music, videos, and performances are always reflective of Black culture and life. The Pop-Out Show showed he walked the walk, too.
Until it didn’t.
The only flaw of Kendrick’s Pop Out show: Why Dr. Dre complicates Kendrick’s legacy
There are two main headlines from The Pop Out: Ken & Friends show. The first was how Kendrick broke the record for how many times he played the same song in succession. To close the show, he played “Not Like Us” not once, not twice, but FIVE times in a row. He’s petty! He’s a hater!
During the course of the show, and including during the encores, he also brought out West Coast artists to show his connection to his city. The surprise guest list included: YG, Tyler, The Creator, Roddy Ricch, Jay Rock, Ab-Soul, Ty Dolla $ign, Dom Kennedy, Russell Westbrook, ScHoolboy Q, Steve Lacy, Mustard, and Tommy the Clown.
However, one surprise guest tarnished the legacy and made a hypocrite out of Kendrick. Dr. Dre. Kendrick brought out Dr. Dre to perform one of his songs. Introducing Dre, he said: “It’s only right that we start from day one, you know? So where would we be without our legends?”
However, although Dre was a fixture in 90s California rap, his legacy has become problematic over the last few decades. Dr. Dre has been accused by multiple women of physical assault, from writer Dee Barnes in 1991 to singer Michel’le, who was in an abusive relationship with Dre between 1990-1996. This is extra ironic because Kendrick uses a sample from Michel’le in “Like That,” but is still platforming her abuser? Rightfully, critics have pointed out this hypocrisy in the wake of spending all that time on his diss tracks rapping about the abusers in Drake’s circle.
Bringing out Dre complicated the entire message of the Pop Out. Does solidarity only exist for Black men? Does calling out abuse only matter when it’s to knock someone down a peg — not to actually hold anyone accountable or get justice? At the end of the day, what good is a community gathering that celebrates Black culture when it’s still invested in some of the same toxic protections of misogynoir?
While I’ll still be playing “Not Like Us” for what it stands for, I will continue to hope that Kendrick takes his own words to heart so I can more wholly celebrate his victory.
Each new song is claiming to be the song of the summer. This is not random TikTok singers doing their obligatory self-promo with the tried-and-true hook: “Did I just write the song of the summer?” But don’t blame them. Blame the labels that are vying for a number-one hit. Blame TikTok for making songs viral overnight. Or blame each and every one of us who exclaims “song of the summer!” whenever our favorite songs come on the radio. There’s even a Spotify playlist power ranking all of this years contenders.
Everyone’s seeking the perfect summer soundtrack. I make a new playlist once time April hits (overeager, I know) with all the songs I have on repeat for the season. It ranges from UK Drill to Alt-Pop bangers. If you don’t have Central Cee and Clairo playing back-to-back this summer, what are you even doing?
But yet, come summer one song stands out as the song of the season. It’s the song that’s on everyone’s mind and everyone’s playlist. It’s the song everyone requests at parties, that plays every hour on the hour at the club, and the song we find ourselves humming mindlessly at the pool and on the beach.
Some years, it’s obvious. But this year, we’re spoiled for choice.
Dare I say it: we’re having a Summer 2016 Replay. For Gen Z and younger Millennials, Summer 2016 has taken a mythical quality online. Fall and Winter were when everything started to go wrong — some even say the killing of Harambe that May was the catalyst to all the ceaseless tragedy that’s happened since. If you’d told us then what the world would look like now, I would not have believed you. It was the rise before the fall. It was a summer of possibility, incredulity. And it was a summer of really good music.
Leading up to Summer 2016, we had new albums from Beyonce ( Lemonade), Rihanna (ANTI, her last project), Drake (Views), Justin Bieber (Purpose), and Ariana Grande (Dangerous Woman). Those albums gave us summer hits like “Sorry,” “Work,” “One Dance,” “Controlla,” “Love Yourself,” “Into You,” and so. Much. More. Not to mention, right at the end of summer, Frank Ocean finally dropped “Blonde” and changed music forever. He ushered in the genre-less, experimental sound to mainstream music and is on the inspo board of everyone you love, I promise.
The radio was also blasting singles that still get regular play at clubs. Mike Posner’s “I Took a Pill In Ibiza,” “This is What You Came For” by Calvin Harris, Dua Lipa’s first hit “Hotter than Hell,” “Cheap Thrills” by Sia, and “Panda” by Desiigner. Doesn’t that take you back?
Since then, no other summer has matched the vibes and the soundtrack of Summer 16. Last summer was the summer of cinema — with OppenBarbie taking over the box office and the planet. It was the summer of the girl, too. But summer 2024 is promising to have it all.
The summer festival circuit is in full swing with lineups that people are actually excited about and performances that are making and reigniting stars. Chappell Roan at Coachella blasted her way to success, going from a niche, “gay famous” singer to a mainstream hitmaker. Lana Del Rey is so back in a big way after headlining Coachella with a special appearance from Billie Eilish. Billie released her best album yet, full of summer bangers and ballads alike.
But we can’t talk about Summer 16 without talking about Sabrina Carpenter. “Espresso” has been sitting pretty at the top of the charts since spring. It’s everyone’s hyperfixation song. It’s been played and played and I’m not even close to tired of it. While Sabrina has been writing music for years, her 2023 album emails I can’t send has been a gamechanger for her career. Her mainstream success was slowly climbing with hits like “Nonsense” and “Feather” but nothing can compare to the level of fame she’s seeing in the wake of “Espresso.”
Out of nowhere, the lead single from her upcoming album became the unexpected song of pre-summer. But as we head into the season’s later months, can it keep up its momentum? Only time will tell. We’re spoiled for choice this summer with a bevy of hits from artists of every genre. Of course there are expected summer stars like Dua Lipa, Billie Eilish, and Post Malone, but other more surprising contenders are vying for the Song of the Summer Title.
Here’s what we think of all of summer’s most infectious songs:
Espresso — Sabrina Carpenter
The perfect summer anthem. “Espresso” is a feel-good bop that I can listen to on repeat. I doubt I’ll ever get tired of it — no wonder it won’t exit the Billboard chart. The only thing keeping it from being the definite song of the summer is that it came out in early Spring. But don’t worry, Miss Sabrina has more than one card up her sleeve.
Please, Please, Please — Sabrina Carpenter
After announcing her next album, Sabrina released her latest single, “Please, Please, Please,” alongside the video with her boyfriend, Barry Keoghan. “Don’t embarrass me, motherf*cker,” she croons in the song — talk about relatable. Taking a different tone than “Espresso” but no less infectious, Sabrina’s close-to-Country crooning displays that she’s a versatile star who won’t be banging out versions of the same song forever.
I Had Some Help — Post Malone ft Morgan Wallen
Speaking of Country Music, Post Malone’s country era is going swimmingly for the former-rapper with his new song, “I Had Some Help,” featuring Country star Morgan Wallen. Post Malone is no stranger to songs of the summer with hits like 2017’s “Congratulations,” 2019’s “Circles,” and his Spider-Man: Into the Spiderverse song “Sunflower” in 2019. This summer, he’s switching up genres but still racking up streams. Be prepared to hear this at every barbecue, beach house, or lake house or this summer.
II Most Wanted — Beyonce and Miley Cyrus
When Beyonce released her own Country album, it came with the infectious hit, “TEXAS HOLD EM.” The song’s opening line, “This ain’t Texas,” was on the tip of my tongue for months. Now that the album’s finally out, the surprising hit is her unexpected collaboration with Miley Cyrus, “II Most Wanted.” Miley had the song of the summer last year with “Flowers” and teaming up with Beyonce on this emotional ballad is pure magic.
Nasty — Tinashe
Tinashe has been toiling for years aiming for a hit, and now she finally has one. A true TikTok song, this summer anthem went viral in a hilarious video of TikTok user Nate Di Winer when he posted a video of himself dancing to Hey Choppi’s “Blind.” Tinashe took the video’s success, overlaid her own video and audio over it, and it went crazy-crazy-viral. The rest is history. Now it’s a sneaky, sleeper hit of the summer. And the TikTok sound “I’ve been a nasty girl” is sure to outlive it and head into the golden days of Autumn — at least.
Million Dollar Baby — Tommy Richman
We can’t talk about TikTok songs without mentioning Tommy Richman’s “Million Dollar Baby”. No, not the 2004 brutal boxing film starring Clint Eastwood, Hilary Swank, and Morgan Freeman. It’s a viral hit that instantly became an earworm. Who is Tommy Richman, you might ask? The 24-year-old singer and rapper is brand new to the scene — and what a debut. I wish it really was 2016 so everyone’s Instagram captions could be “Million Dollar Baby.” Simpler times.
Too Sweet — Hozier
TikTok is also responsible for Hozier’s first #1 hit in the US. Hozier’s been bringing his Irish accent-tinged voice to the charts since his massive debut single, “Take Me to Church.” But it took a post-album EP to skyrocket him to #1. After releasing Unreal, Unearth in late 2023, Hozier dropped a 4-song EP this April with some extras that didn’t make the album. And thank goodness he didn’t let these songs languish because “Too Sweet” is the folksy summer anthem we need.
Good Luck Babe! — Chappell Roan
The gays won with this song. Chappell Roan has been belting out her ballads and bops of yearning since her extended album promotion in 2020. Finally, The Rise and Fall of a Midwest Princess, her debut album came out in late 2023 but it took until her 2024 single “Good Luck Babe!” to get people to tune in. But now that the masses are listening, they cannot stop. This unapologetically queer hit has transcended the gay pop genre and is a chart-topping summer anthem for all of us entering our eras of yearning.
LUNCH — Billie Eilish
Speaking of unapologetically queer, this new Billie Eilish era is unmatched. Billie’s brand-new album, HIT ME HARD AND SOFT, is a masterpiece and already gaining Grammy buzz. Album of the Year? Probably. And she deserves it. She traverses genres and moods with this album, managing to create a sound that’s refreshingly unique and a album that feels cohesive despite its leaps and bounds. “LUNCH” is the sapphic song of my dreams, and “BIRDS OF A FEATHER” is a pop ballad that shows her range and her ability to create pop songs that last forever. [Read our full review of HIT ME HARD AND SOFThere.]
Cinderella — Remi Wolf
Remi will always be on my summer playlist so it’s exciting to hear her getting mainstream play. “Me and the boys in the hotel lobby,” is an infectious hook. And paired with her belting the chorus, it’s a textured song that I want to scream along to in my car with the windows down. [Read out interview with Remi Wolf at Spotify’s Lorem party here.]
Houdini — Dua Lipa
Queen of Vacationing. Queen of Red Carpets. Formerly, Queen of Summer. After 2017’s “New Rules” made her a certified pop girl, and “Levitating” was the post-covid anthem, we all expected Dua to have the Song of the Summer with hits from her latest album, Radical Optimism. Although hits like “Houdini” and “Training Season” have charted moderately well, they didn’t seem to stick. The vibes are good though, earning them a spot on my summer playlist despite everyone falling asleep on the job.
Houdini — Eminem
While Dua’s “Houdini” remains in the middle of the charts, Eminem’s return to music with his song, “Houdini” is climbing up the charts. It debuted at number #2 and is reaching for #1. This is his best showing on the charts in over a decade and bodes well for his upcoming album, The Death of Slim Shady (Coup de Grâce). The song is classic Slim Shady controversy bait. If cancel culture were actually real, Shady would be canceled for this one for sure — there’s a line about Megan Thee Stallion being shot (can rappers leave her alone?) and calling everything “gay.” But it’s catchy so it’s definitely going to stay in the charts for a while.
Not Like Us — Kendrick Lamar
By far, the most buzz-worthy rap hit is Kenrick Lamar’s diss track, “Not Like Us.” One of the final songs in the weeks-long saga that was his beef with Drake, it’s the final nail in the Drizzy coffin. You know you lost a rap war when one of the diss tracks becomes the song of the summer. Ouch!
BAND4BAND — Central Cee, Lil Baby
Wanna know who else is beefing? The US and UK rap scenes. The collaboration from Central Cee and Lil Baby isn’t bringing the two countries together, but tearing them apart. Each side is claiming their country carried the song. The British claim Lil Baby doesn’t sound as tough or “hard” as Cench, while Americans are making TikToks dancing to Cench’s verse in Bridgerton-like garb. I just want everyone to have fun. After Central Cee teamed up with Dave for my personal favorite song of last summer, “Sprinter,” they could never make me hate him.
places to be — Fred Again.. Ft Anderson .Paak and CHIKA
I wanna hear this at the club. I wanna hear this on a rooftop. I wanna hear this while sprinting through a field or rolling down a hill or doing something else to fix my inner child. “places to be” is fun, refreshing, and sounds like the endless possibilities of summer. [Read our review of Fred Again..’s Stanford show here.]
