Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
This week: Gunna changes the conversation with a new viral hit, Lana Del Rey brings fans back to “Radio” days, a new viral hit revives the rapper who first had the internet going nuts and more.
Gunna’s New Album Is More ‘Gift’ Than ‘Curse’ With Viral ‘Fukumean’
Last Friday (June 16), all eyes were on Gunna as the Grammy-nominated rapper returned with his first full-length project since his release from jail. Titled A Gift & A Curse, the album finds Gunna addressing his tumultuous past year, including his decision to plead guilty to a single racketeering charge after being included in a 56-count RICO indictment alongside fellow rapper Young Thug.
Like “Pushin P” from Gunna’s last album, “Fukumean” has emerged as an early fan-favorite and potential defining hit from A Gift & A Curse. According to Luminate, “Fukumean” collected 10.3 million official on-demand U.S. streams during the period of June 16-20. From Sunday, June 18 to Monday, June 19, “Fukumean” experienced a 20.4% increase in streams, and the following day that tally increased further to 2.2 million streams on June 20 — the song’s biggest streaming day yet.
From the irresistible “QP, QP-ski” ad-lib to the earworm that is the looped “eyuh” vocal in the production, “Fukumean” has garnered praise from fans and music listeners across social media. The official “Fukumean” sound has been used in over 17,000 videos on TikTok in just six days of availability, with the most popular caption being some variation of “me still listening to Gunna even though he snitched.” Widespread misunderstandings of what an Alford Plea is aside, “Fukumean” is undoubtedly the song to watch from A Gift & A Curse. — KYLE DENIS
Lana Del Rey’s ‘Radio’ Edit Takes Over TikTok
Three months after issuing her ambitious studio album Did You Know That There’s a Tunnel Under Ocean Blvd, Lana Del Rey has already watched two songs older than that album go viral on TikTok and gain in streams. First there was “Say Yes to Heaven,” a dreamy outtake from her Ultraviolence era that leaked online and became such a fan favorite that Del Rey released an official version in May, resulting in “Heaven” reaching No. 54 on the Hot 100. Now, “Radio,” the pillowy anthem that was an album cut on Del Rey’s 2012 major label debut Born To Die, has taken off on TikTok and nearly doubled in weekly streams over the past month — although this time, Del Rey’s new album is partially responsible.
In addition to selecting the original “Radio” to soundtrack clips — like Hailey Bieber did a few days ago to show off her stunning gown — TikTok users have adopted a mash-up of the track with the Ocean Blvd song “Taco Truck x VB” (which is itself a mash-up of sorts, re-contextualizing her 2019 song “Venice Bitch”). Dozens of TikTok clips feature the “Taco Truck” line “I know, I know, I know, that you hate me” leading directly into the “Radio” hook “Now my life is sweet like cinnamon,” often to crystallize a luxury-lifestyle flex (think a lavish wedding reception, rendered in slow-motion).
In any context, “Radio” is running hot: the song earned 1.71 million U.S. on-demand streams during the week ending June 15, up from 864,000 streams from three weeks prior, according to Luminate. Although “Heaven” is still earning more weekly streams, the rise of “Radio” demonstrates Del Rey’s continued power with Gen Z listeners: in the same way that Taylor Swift fans keep getting non-current songs to go viral and re-chart, Del Rey has a sprawling fan base ready and willing to champion decade-old deep cuts. – JASON LIPSHUTZ
“Dang” Good Streaming Growth for That Mexican OT Viral Jam
The early TikTok tease still has power. 24-year-old Bay City, Texas rapper That Mexican OT posted a snippet of the then-unreleased “Johnny Dang,” which also features Houston stalwart Paul Wall along with DRODi, on the app May 9th. Commenters were quick to respond with urgent requests — “Someone just give me the song name;” “I need it” — and rave reviews: “Anyone else’s mini obsession rn?”
In the week following the track’s official release through Cinematic Music Group on May 26th, it earned more than 2.5 million official on-demand U.S. streams, according to Luminate. The three rappers toss rollicking, rat-a-tat lines back and forth over a somber synthesizer loop, paying tribute to the Texas jeweler Johnny Dang. “Got me feeling like a baby that’s fiending, so where my bottle at?” That Mexican OT jokes. “I’m just rhymin’ words, I don’t even know how to rap.” Rhymin’ words is more than enough: On-demand streams have nearly doubled since the track’s release, rising to more than 4.5 million, good for a No. 44 debut on the Hot R&B/Hip-Hop Songs chart. — ELIAS LEIGHT
Jey One’s “Onana” Makes Major Gains
Even though the season technically started yesterday (June 21), the hunt for an indisputable song of the summer has already commenced. Jey One, a rising Dominican singer and rapper, is the latest artist to enter the ring.
With its thumping dembow riddim and the endlessly catchy “Uh, na-na-na” hook, Jey One’s “Onana” has been making steady streaming gains thanks to its virality on TikTok. According to Luminate, “Onana” has had three consecutive weeks of double-digit streaming gains. The song earned 226,000 official on-demand U.S. streams during the week of May 19-25, and that tally increased by 36.5% for a total of 309,000 streams during the week of May 26 – June 1. The following week, streams rose by 19.2% for a total of 368,00 0 official on-demand U.S. streams, and for the week of June 9-15, “Onana” streams rose by a further 25.6%, bringing its tally to 463,000 official on-demand U.S. streams for the period.
On TikTok, the official “Onana” sound boasts over 200,000 videos. Although there does not appear to be a consistent trend for videos using the song, some users have taken to mimicking Jey One’s dances with his baby daughter using everything from their own children to their pet cats. Currently, “Onana” ranks within the top 25 of Apple Music’s New York City chart (which is updated daily); the track also ranks at No. 7 on the platform’s Top Reggae Songs chart. – KD
Q&A: Kimmy Summers, Artist Partnerships Lead at Spotify, on What’s Trending Up in Her World
Frequency is Spotify’s content brand for amplifying Black artists and creators. How would you describe its day-to-day operations and goals?
No two days are the same as our team is very malleable with their job functions. From providing marketing support, advising on artists to include in campaigns, to tapping partners on how we can better invest in and build equity within the community – we’re never not thinking about how to further the narrative of Black artistry.
On a daily basis, we’re collaborating on how we can highlight Black artists and creators on platform. We’re not only speaking to Black audiences, but to the company’s global audience via our social handle @OurFrequency, and strategizing on how we show up as a brand in a meaningful and authentic way. Our goal is to continue to find unique ways we can increase Spotify’s investment and visibility of Black talent through Frequency.
How has Frequency showcased Black voices during Black Music Month?
I’d be remiss if I didn’t point out that Frequency was created specifically to highlight Black creativity all year round— not just on a holiday or designated month. From brand campaigns to targeted partnerships, we generally focus on spreading content, investment and editorial support on our hub on an ongoing basis vs funneling it into certain timeframes.
For Black Music Month, we wanted to redefine what Black artistry looks and sounds like to the average listener. We were really proud to feature and celebrate three Black, alternative-rock artists, collaborating with Meet Me @ The Altar, Zulu, and Jean Dawson to reimagine one of their original songs and a cover of another artist’s single in partnership with Spotify Singles, a program that has driven over 7 billion streams since its 2017 launch. This special edition of Singles was promoted on and off platform via several marketing initiatives, including exclusive BTS social content, a billboard in L.A., and on-platform support driving to the content.
Why was it important to spotlight Black artists outside of hip-hop and R&B in those programs?
It’s important to show that Black artistry is not a monolith and it’s not just represented by a singular genre. I think this industry has been hyper-focused on defining artists by one genre and putting them into a box which limits creativity and expression. That’s why I work closely with Carl Chery [Spotify’s Head of Urban Music] and other members of the artist partnerships team to identify a diverse group of artists. Across every genre, there’s an array of talented Black creatives whose contributions deserve to be celebrated.
Fill in the blank: to emphasize user interest and engagement even (and especially) when social activism is not front-page news, music platforms must _________.
Continue to invest in all Black creators and amplify their voices. Music platforms have to remember that they are a vehicle and have the responsibility and power to not only amplify the voices of artists and creators, but empower them as well. – JL
Season’s Gainings: Father Streams Best
While we looked at Mother’s Day bumps in Trending Up last month, it’s Dad’s turn now, as several classic paternally themed songs saw big gains this Sunday (June 18). Cat Stevens’ “Father and Son” — which we also just covered in TU thanks to its Ted Lasso finale synch – was a predictable big riser, up 50% to 185,000 daily official on-demand U.S. streams on Sunday (according to Luminate), helped by its placement atop Spotify’s official Father’s Day playlist. Harry Chapin’s “Cat’s in the Cradle,” another ‘70s father-son classic, was also up 28% in daily streams to 163,000. And a pair of Father’s Day jams from Daddy’s Girl Beyoncé Knowles also saw major gains: 2003’s “Daddy” was up a whopping 398% to 38,000 streams, while 2016’s “Daddy Lessons” rose 45% to 46,000. — ANDREW UNTERBERGER
