The making and the meaning of pop music
A$AP Rocky’s latest album, Don’t Be Dumb, is a wild ride through a cacophony of sounds — punk, industrial, drum ‘n’ bass, indie rock, and of course, hip hop. But on one track, “Robbery,” he and the rising superstar Doechii sample the world of jazz, specifically Thelonious Monk’s 1955 cover of Duke Ellington’s “Caravan.” In the process, Rocky and Doechii don’t just loop and flow, they create a whole narrative of jazz age victors and villains inspired by the rhythms and harmonies of jazz greats. The result is a song, and album, that makes the case for why hip hop matters more than ever in 2026.
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What makes Weird Al songs so indelible? Why is Bo Burnham more than just a comic? How do the biggest pop hits make us crack up in the middle of a somber ballad? Humor is always present in music, but we rarely confront it head on. Until now. With the help of Comedian Chris Duffy, author of the book Humor Me: How Laughing Can Make You More Connected, Present, and Happy, and a series of lyrical submission from our listeners, we try to answer the question once posed by Frank Zappa, once and for all: Does humor belong in music?
Songs discussed:
Sabrina Carpenter – Manchild
Marcia Belsky – 100 Tampons
Bo Burnham – From God’s Perspective
Snoop Dogg – Gin and Juice
The Gourds – Gin and Juice
Taylor Swift – All Too Well (10 Minute Version)
“Weird Al” Yankovic – Amish Paradise
“Weird Al” Yankovic – My Bologna
Stevie Wonder – Pastime Paradise
Coolio – Gangsta’s Paradise
Bo Burnham – That Funny Feeling
Bo Burnham – FaceTime With My Mom
Elaine Stritch – Are You Having Any Fun?
Barenaked Ladies – If I Had $1,000,000
Kendrick Lamar – Not Like Us
Eminem – The Real Slim Shady
2 Chainz – Birthday Song
Lil Jon – Snap Yo Fingers
Olivia Rodrigo – Get Him Back
Chappell Roan – Casual
Audrey Hobert – I like to touch people
Audrey Hobert – Bowling alley
Jensen McRae – Immune
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The ultimate gauntlet of popular music is upon us once again: it's Grammy season, and this year, the competition is pretty tight across the board. Big ticket A-listers like Bad Bunny, Sabrina Carpenter, Kendrick Lamar, and Lady Gaga occupy three of the four big categories (Song, Record, and Album of the Year), while folks like Olivia Dean, Lola Young, Leon Thomas, and Addison Rae duke it out in Best New Artist.
On this episode of Switched on Pop, Charlie, Nate, and Reanna take a look at the "big four" categories, and stump for their respective frontrunners in order to predict who will be taking home a golden phonograph (or two).
Links: Newsletter, YouTube
Songs discussed:
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Swedish pop star Robyn emerged as a phenomenon in the mid 1990s, an ingenue whose work with Max Martin presaged the R&B crossover hits of acts like Britney and the Backstreet Boys. Since her debut, she’s released a string of albums that have shaped the sound of dance music as we know it.
Now, Robyn is releasing her first new album in eight years, Sexistential, and she’s given us three singles made up of her signature combination of thumping bass and ethereal vocals, while innovating into new personal –and vulnerable — territory. With raps about IVF, references to Blondie, a return to her collaboration with Max Martin, and our introduction of “drum n grace” to the lexicon, this episode is manna for Robyn fans and tyros alike.
Stick around as we unveil a new feature, “Quick Hits,” a down-and-dirty carousel ride through the most interesting new releases, from ASAP Rocky to Zach Bryan.
Songs discussed:
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Two years ago, Audrey Hobert had never written a song. She was a staff writer on a Nickelodeon series and had recently moved in with her childhood friend Gracie Abrams in Los Angeles. About six months later, a phrase spoken by a heartbroken acquaintance caught their attention; Hobert and Abrams sang it back to each other and wrote a complete song that night. Within the following year, Hobert co-wrote songs including “I Love You, I’m Sorry” and “Risk” for Abrams’s number-two album The Secret of Us. When the television show she was working on was later canceled, Hobert made a hard pivot into her own music.
What happened was Who's the Clown, a debut album where every track came from Hobert's own pen. In this live conversation recorded at NYU Steinhardt's Music and Performing Arts Professions program at Chelsea Studios, Hobert traces her path from dance classes choreographed to One Direction to eight-hour writing sessions that yield two good lines on a lucky day. She explains why she can't write in front of anyone, why she refuses to repeat a chorus three times, and why the Steve Martin documentary made her open her album with the disarmingly strange declaration: "I like to touch people."
The conversation moves from craft to confession as Hobert reflects on what it means to finally be looked at, and whether the view from inside the spotlight is everything she'd imagined.
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SONGS DISCUSSED
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It’s a brand new year, and what better way to ring it in than with the second annual Switched On Pop bingo? Like last year, Charlie, Nate, and Reanna polish their crystal balls and play Popstradamus, each throwing out eight outlandish pop predictions for the coming months. This time, there’s piano ballads, cover songs, and what Charlie calls the impending “death of auto-tune.”
Get your own bingo card to play along through our Newsletter!
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Songs discussed:
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A scientist asked people to sit in a silent room for 15 minutes. Almost half of them decided to give themselves a painful electric shock instead. What is it about our brains that makes our relationship with silence so strange? And should we learn how to listen to it?
This is the third episode of the four-part Unexplainable series, The Sound Barrier.
Links: Newsletter, YouTube
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Every Christmas season, pop stars far and wide throw their Santa hats into the ring to see who has the next "All I Want for Christmas Is You," and this year is no exception. It's a yearly tradition on Switched On Pop to explore the deluge of holiday hits, and 2025 sees formidable entries to the canon from folks like Kylie Minogue, Leon Bridges, and Willie Nelson.
Links: Newsletter, YouTube
Songs discussed:
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From big-ticket albums by Taylor and Gaga, to a revival of the stomp-clap revival – 2025 had it all, for better and for worse. Now that the year has come to a close, it's time to take a look back at the past twelve months: what happened in the zeitgeist, what we loved listening to, and what we missed here on the show. Reanna, Charlie, and Nate talk about it all, including a look back at our predictions from January to check off boxes for Switched On Pop bingo.
Links: Newsletter, YouTube
Songs discussed:
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Grammy-winning songwriter Amy Allen joins NYU Steinhardt students live to trace her path from early pitch songs to co-writing some of the decade's defining hits. She explains why Halsey's "Without Me" needed an extended chorus but no pre-made chord loops, how Harry Styles' "Matilda" required character-driven writing for emotional safety, and what made the hypnotic groove of Tate McRae's "Greedy" demand a rare third verse. Allen also unpacks the spoken hook in Rosé and Bruno Mars' "APT" and the three-step key change powering Sabrina Carpenter's recent work. The result is a masterclass in why songs work—and why the rules worth breaking are the ones you've already learned.
SONGS DISCUSSED
Halsey "Without Me"
Harry Styles "Adore You"
Harry Styles "Matilda"
Tate McRae "greedy"
Rosé and Bruno Mars "ATA"
Sabrina Carpenter "Please, please, please"
Selena Gomez "Back to You"
Justin Timberlake "Cry Me A River" (Interpolated in "Without Me")
Olivia Rodrigo "Driver's License"
Sabrina Carpenter "Espresso"
Sabrina Carpenter Short and Sweet (Album)
Sabrina Carpenter Man's Best Friend (Album)
Beyoncé "Love on Top"
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Sombr went from crafting raw, reverb soaked songs alone in his Lower East Side bedroom to finding his life shifting in ways he never could have predicted across 2024 and 2025. His biggest tracks kept their imperfections even as world class players at Sound City added new layers, and a disco groove he began as a late night joke transformed into a breakout moment that changed his career’s trajectory. He explains how he writes, why distortion carries emotional weight for him, how he navigates the pull between bedroom recordings and studio polish, and what it felt like to watch childhood dreams come true on national stages. The result is a portrait of an artist whose rise has been so quick and so unlikely that even Sombr is still piecing together how it all happened.
Watch the interview on YouTube: https://www.youtube.com/@Switched-On-Pop
Songs Discussed
Sombr “12 to 12”
Sombr “Back to Friends”
Sombr “Undressed”
Lizzo “About Damn Time”
Chic “Good Times”
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