Switched on Pop

Listen closer to pop music — hear how it moves us. Hosted by musicologist Nate Sloan & songwriter Charlie Harding. From Vulture and the Vox Media Podcast Network.

  1. Is there a Disney curse?: Demi, Selena, and Miley

    7 HR AGO

    Is there a Disney curse?: Demi, Selena, and Miley

    This year, there were a few records that delivered less-than-optimal returns on either the Hot 100 or the Billboard 200 – and they all came from former Disney pop stars.  Demi Lovato’s latest album peaked at number nine on the Billboard 200, where it spent one week and then fell off; Selena Gomez’s record with Benny Blanco peaked at number 2 on the Billboard 200, but no songs cracked the top 40; and Miley Cyrus’s album is her shortest charting project to date. On this episode of Switched On Pop, Nate and Reanna try to get to the bottom of the so-called “Disney curse,” and why these artists are unable to recapture their past commercial success. Songs discussed: Demi Lovato – Here All Night Selena Gomez, benny blanco – Sunset Blvd Miley Cyrus – End of the World Demi Lovato – Sorry Not Sorry Demi Lovato – Heart Attack Demi Lovato – Skin of my Teeth Demi Lovato – Fast Kesha – JOYRIDE. Demi Lovato – Frequency Demi Lovato – Kiss Todd Terry, Martha Wash – Keep On Jumpin' Demi Lovato – Sorry To Myself Selena Gomez, A$AP Rocky – Good For You Kygo, Selena Gomez – It Ain't Me Selena Gomez, Marshmallo – Wolves Selena Gomez, benny blanco, Gracie Abrams – Call Me When You Break Up benny blanco, Selena Gomez, J Balvin, Tainy – I Can't Get Enough J Balvin, Willy William – Mi Gente Selena Gomez, benny blanco – Bluest Flame Selena Gomez, benny blanco, The Marías – Ojos Tristes Miley Cyrus, Big Sean – Love Money Party Miley Cyrus – Flowers Miley Cyrus – Easy Lover Miley Cyrus, Naomi Campbell – Every Girl You've Ever Loved Learn more about your ad choices. Visit podcastchoices.com/adchoices

    48 min
  2. Rosalía's 'LUX' brings the symphony to the club

    11 NOV

    Rosalía's 'LUX' brings the symphony to the club

    Spanish pop star Rosalía is back with her new album, Lux. Over eighteen tracks, she trades in the dembow beats that filled her last record Motomami for maximalist orchestral sounds more in line with Björk than Bad Bunny.  The album is dense: there's four movements, thirteen languages, arrangements by Caroline Shaw, and a wide breadth of influences – from Benedictine saints to Patti Smith. But despite (or because) all of this, Rosalía has gone on record referring to Lux as, ultimately, a pop album.  That's where we come in. On this episode of Switched On Pop, Nate and Reanna put on their tour guide hats to talk all things Lux: its sonic genre-bending, Rosalía’s poetic lyricism, and her hyper-local flamenco influence.  Check out Bella Freud's interview with Rosalia on Fashion Neurosis Songs discussed: Rosalía – Berghain Rosalía – Bizcochito Rosalía – De Madrugá Rosalía – Mio Cristo Rosalía – La Yugular Björk – Joga Caroline Shaw, Roomful of Teeth – Partita for 8 Voices Rosalía – Sexo, Violencia y Llantas Rosalía – Divinize Rosalía – Porcelana Rosalía – Dios Es Un Stalker The Police – Every Breath You Take Rosalía – La Perla Johann Strauss II – The Blue Danube Drake – Push Ups Rosalía – Sauvignon Blanc Lady Gaga – Grigio Girls Adele – I Drink Wine Rosalía – Focu ‘Ranni Rosalía – Novia Robot Rosalía – La Rumba del Perdón Learn more about your ad choices. Visit podcastchoices.com/adchoices

    44 min
  3. What do John C. Reilly and Taylor Swift have in common? The Great American Songbook

    14 OCT

    What do John C. Reilly and Taylor Swift have in common? The Great American Songbook

    John C. Reilly joins to discuss Mr. Romantic, his theatrical tribute to the Great American Songbook that treats Irving Berlin and Tom Waits as equals in the canon of timeless American song. Reilly recorded live in one room with his band using vintage ribbon microphones, embracing the squeaks and imperfections while layering in cinematic sound effects—crickets outside a lover's window, a collect call from prison—to transform each standard into an immersive scene. But what makes a song from the 1920s feel eternal? Music data scientist Chris Dalla Riva, author of the forthcoming Uncharted Territory and the newsletter Can't Get Much Higher, breaks down how composers like the Gershwins wrote for amateur musicians playing sheet music at home, creating universal lyrics and AABA structures where the hook comes first. That accessibility is precisely what draws Reilly to this repertoire. He sees himself in the lineage of interpreters like Sinatra, not selling his own story but passing along music that already belongs to all of us, like holding up a seashell and saying, "Isn't this one beautiful?" More Get Chris Dalla Riva's book Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves Subscribe to Chris Dalla Riva's Can't Get Much Higher Songs Discussed Taylor Swift "The Last Great American Dynasty" George Gershwin "I Got Rhythm" Village People "Y.M.C.A." Billie Eilish "Bad Guy" Frank Sinatra "On the Sunny Side of the Street" Judy Garland "Over the Rainbow" Ella Fitzgerald "My Romance" George Gershwin "But Not for Me" Elvis Presley "Are You Lonesome Tonight" The Beatles "We Can Work It Out" The Beatles "Get Back" The Beatles "Yesterday" John C. Reilly "Moonlight Serenade" John C. Reilly "Dreams" John C. Reilly "Johnsburg, Illinois" John C. Reilly "Falling in Love Again" John C. Reilly "What'll I Do" John C. Reilly "Picture in a Frame" John C. Reilly "Just Another Sucker on the Vine" Randy Newman "Ragtime" John C. Reilly & David Garza "What's Not To Love" Harry Nilsson "Coconut" Judy Garland "Somewhere Over the Rainbow" Dooley Wilson "As Time Goes By" The New Vaudeville Band "Winchester Cathedral" Andy Williams "The Days of Wine and Roses" Nat King Cole "The Frim Fram Sauce" Learn more about your ad choices. Visit podcastchoices.com/adchoices

    57 min
  4. Taylor Swift’s Showgirl Sound: How to actually listen to the album

    7 OCT

    Taylor Swift’s Showgirl Sound: How to actually listen to the album

    Taylor Swift's twelfth album has sparked endless speculation about who each song is "really about," but that might be the wrong question entirely. The Life of a Showgirl isn’t biography, it’s polyphonic auto-fiction, where Swift writes from multiple character perspectives while blurring the lines between autobiography and theatrical performance. The album's "showgirl sound" traces from Shakespearean tragedy (Ophelia's drowning rewritten as salvation) through Golden Age Hollywood orchestration to contemporary pop production with Max Martin and Shellback. Unusual musical choices like the jarring five-measure phrase in "Fate of Ophelia" reinforce the album's central theme: the tension between public performance and private reality. By treating the album as a theatrical show rather than a celebrity tell-all, listeners can finally hear what Swift is actually saying… or can they? Vote for Switched On Pop in this year's Signal Awards! We're nominated for ⁠Best Music Podcast⁠ and ⁠Best Original Score/Music⁠, linked here. Thank you! Songs Discussed Taylor Swift "Love Story" Taylor Swift "Blank Space" Taylor Swift "The Fate of Ophelia" Taylor Swift "Elizabeth Taylor" Irving Berlin "A Pretty Girl Is Like a Melody" Fred Astaire "Puttin' on the Ritz" Taylor Swift "Opalite" George Michael "Father Figure" Taylor Swift "Father Figure" Taylor Swift "Eldest Daughter" Taylor Swift "Tim McGraw" Taylor Swift "Ruined the Friendship" Weezer "Beverly Hills" Pixies "Where Is My Mind" Charli XCX "Sympathy Is a Knife" Charli XCX "Everything Is Romantic" Taylor Swift "Actually Romantic" Mean Girls "Meet the Plastics" Taylor Swift "Wi$h Li$t" Stevie Wonder "Superstition" The Jackson 5 "I Want You Back" Taylor Swift "Wood" Nirvana "Lithium" Nirvana "Something in the Way" Taylor Swift "Canceled" Taylor Swift "Honey" Taylor Swift feat. Sabrina Carpenter "Life of a Showgirl" Learn more about your ad choices. Visit podcastchoices.com/adchoices

    1h 9m

Ratings & Reviews

3.6
out of 5
5 Ratings

About

Listen closer to pop music — hear how it moves us. Hosted by musicologist Nate Sloan & songwriter Charlie Harding. From Vulture and the Vox Media Podcast Network.

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