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Alex Warren’s “Ordinary” is now the sole longest-leading hit ever on Billboard’s Pop Airplay chart as it adds a record-rewriting 15th week at No. 1 on the list dated Oct. 4. The song surpasses Ace of Base’s “The Sign,” which ran up its 14-week reign consecutively from February through March 1994, for the longest No. 1 stay since the ranking began in October 1992. “Ordinary,” on Atlantic Records, first topped Pop Airplay in June and has led for all but one week since; Sabrina Carpenter’s “Manchild” interrupted its No. 1 run earlier in September. The Pop Airplay chart ranks songs by weekly plays on more than 150 mainstream top 40 radio stations monitored by Mediabase, with data provided to Billboard by Luminate. Here’s a look at the longest leading Pop Airplay hits, all enduring smashes, from bops to ballads, over the chart’s 33-year history: 15 weeks at No. 1, “Ordinary,” Alex Warren, beginning June 21, 2025 14, “The Sign,” Ace of Base, Feb. 12, 1994 13, “Stay,” The Kid LAROI & Justin Bieber, Sept. 4, 2021 11, “Closer,” The Chainsmokers feat. Halsey, Oct. 8, 2016 11, “Over and Over,” Nelly feat. Tim McGraw, Nov. 6, 2004 11, “Torn,” Natalie Imbruglia, April 25, 1998 11, “I Love You Always Forever,” Donna Lewis, Aug. 31, 1996 11, “One Sweet Day,” Mariah Carey & Boyz II Men, Dec. 9, 1995 “Ordinary” previously dominated the all-genre, multimetric Billboard Hot 100 for 10 weeks and finished at No. 1 on the Songs of the Summer chart. Among its other coronations, it led the Billboard Global 200 for 10 weeks and Billboard Global Excl. U.S. for eight frames. Warren recently discussed the song’s mass appeal with Billboard, saying, “When you write a song, you want it to apply to as many people as possible.” All charts dated Oct. 4 will update Tuesday, Sept. 30, on Billboard.com. It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here. Get weekly rundowns straight to your inbox Sign Up Source link

Billboard ranks every song off Mimi’s first studio album in seven years, ‘Here for It All.’ 9/26/2025 Mariah Carey Ethan James Green* Mariah Carey is here for all the triumphant and turbulent times on her 16th studio album Here for It All, which dropped on Friday (Sept. 26) via gamma. On her first album in seven years, she turns up the braggadocio on “Mi” and “Type Dangerous,” luxuriates in confections on “Sugar Sweet” (featuring Shenseea and Kehlani) and “Confetti and Champagne,” and gives glory to the Highest One on “Jesus I Do” (featuring The Clark Sisters) and the closing title track. Since 2018’s Caution, she’s kept her finger on the pulse of the hottest singles by hopping on remixes of Latto’s “Big Energy” (which flips Tom Tom Club’s “Genius of Love,” like her own “Fantasy” did), Ariana Grande’s Billboard Hot 100 No. 1 “Yes, And?” and Muni Long’s “Made For Me.” She’s also released anniversary editions of past albums on an almost yearly basis, including The Emancipation of Mimi (20th Anniversary Edition) earlier this year. And while she still doesn’t subscribe to the passage of time, Carey’s latest addition to her legendary catalog showcases a tried-and-true auteur who’s not concerned with chasing charting hits or critical praise (because she’s had more of both than most artists will get in their entire lifetimes) but rather chasing the high of doing the thing she loves most and is best at. The elusive chanteuse’s new album was preceded by two singles: “Type Dangerous,” which samples Eric B. & Rakim‘s 1986 track “Eric B. Is President,” and “Sugar Sweet.” And the rollout for Here for It All has run parallel to the separate red carpet that’s been rolled out for Carey and the iconic career that’s gotten her to this point. In March, she received the Icon Award at the 2025 iHeartRadio Music Awards. Then she performed “Type Dangerous” alongside Rakim and Anderson .Paak at the 2025 BET Awards in June, when she received her first BET Award ever: the Ultimate Icon Award. And earlier this month, she performed “Sugar Sweet” at the 2025 MTV Video Music Awards, when she received the Michael Jackson Video Vanguard Award. Carey still has nothing left to prove, but she insists on getting back in the booth and recording another reminder of who she is and why she gets to make such an eclectic, free-wheeling album 35 years in. Read Billboard‘s preliminary ranking of all 11 songs from MC’s Here for It All below. “Mi” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘b7dab6e5-7a62-4df1-b1f4-3cfa99eea709’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } “I don’t care about much if it ain’t about me/ Let the money talk first, conversations ain’t free/ I’m the D-I-V-A that’s MC” is a hell of a way to start the album. The Songwriters Hall of Fame inductee never ceases to find cheeky ways to position herself above the rest. However, the song’s subtle drill production and “I like my ice cold/ I like my wrist froze” line feel like contrived ways of conforming with the times, much like her appearance on Kai Cenat’s stream to promote the parent album. Sonically, “Mi” is a perplexing opener for an LP that spends the rest of its approximately 40-minute runtime paying homage to Philly soul, disco, soft rock and other nostalgic genres. “Confetti and Champagne” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘b7dab6e5-7a62-4df1-b1f4-3cfa99eea709’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } The trap-tinged “Confetti and Champagne” calls for an exquisite celebration but doesn’t quite live up to its title. It’s not as satiating as the album’s second single, “Sugar Sweet.” And her trademark whistle tone is awkwardly sprinkled into the second chorus. But her deliciously biting delivery of the “Cheers, cheers, cheers, cheers, cheers/ To me, not you, just me” line takes the cake. “In Your Feelings” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘b7dab6e5-7a62-4df1-b1f4-3cfa99eea709’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } Carey confronts her reservations with a former flame who acts too hot and cold on “In Your Feelings,” which has .Paak’s retro touch all over it. Her hasty vocal pacing on the “I think you might be getting a little bit tooooooooo in your feeeeliiiiiiings” hook might throw listeners off. But when she lets her signature belting range rip right before the final chorus, it’s one of the few times on the project when MC brings out an old trick from up her sleeve — it just sounds much better on a power ballad like “Here for It All.” “Jesus I Do” (feat. The Clark Sisters) Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘b7dab6e5-7a62-4df1-b1f4-3cfa99eea709’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } After proudly proclaiming “I was never all alone/ The spirit lives in my soul” on “Nothing is Impossible,” the spirit takes over Carey and The Clark Sisters on the funky gospel cut “Jesus I Do.” You can’t help but tap your feet to its thumping bassline or hum along to The Clark Sisters scatting “Jesus I dooooooo-oo-oo-ooo” or “Jesus I-I-I-I do!” Can I get an “Amen”? “My Love” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } },

Redacción Panamericana Milett Figueroa rompió su silencio tras su separación de Marcelo Tinelli y arremetió contra los periodistas de LAM. ¡Se cansó de callar! Después de que Marcelo Tinelli confirmara públicamente el fin de su relación con Milett Figueroa, la modelo peruana rompió su silencio y protagonizó un tenso cruce con los periodistas de Los Ángeles de la Mañana (LAM) en Argentina. Milett responde a críticas en vivo Durante la última edición del programa, los conductores comentaron detalles sobre la separación. Esto generó la furia de Milett, quien decidió escribirle directamente a un reportero del espacio. En sus mensajes, la actriz dejó clara su indignación por lo que consideró una falta de respeto. “Imagínate que yo cancelé un evento y dicen que hice el feo. Lo que dijeron hoy me parece una injusticia total y carece de toda veracidad”, expresó inicialmente. Te puede interesar Marcelo Tinelli confirma ruptura con Milett Figueroa y asegura: “Hoy es definitivo” Dardos contra Yanina Latorre En medio de la transmisión, el periodista reveló chats donde Milett apuntó directamente contra la conductora Yanina Latorre. “Nunca fui mala persona, nunca insulté a nadie. Me han llamado trepadora y oportunista, y nunca les respondí. ¿Yanina cree que necesito fama? Ya conocí la fama y eso no me mueve”, lanzó tajante. Milett llama “cobardes” a conductores de LAM La molestia no quedó ahí. Según los mensajes leídos en vivo, la modelo fue aún más contundente: “Me gustaría que todos esos que hablan lo que dicen, me lo digan en la cara, cobardes. A mí me llamaron por mi trabajo, no para estar con Marcelo; eso lo harán ustedes. Me mueve lo auténtico, no gente que hable en mi ausencia”, expresó molesta. El quiebre entre Tinelli y Milett sigue generando titulares en Argentina y Perú. Mientras el conductor argentino aseguró que el cariño por ella “no cambiará”, la modelo prefiere defender su nombre ante quienes, según afirma, buscan desacreditarla. @riclatorrez 25.09/10: #MilettFigueroa explota y se pelea en vivo con #AngelDeBrito y #YaninaLaTorre . #lam #milett #marcelotinelli #fyp #parati #riclatorrez #riclatorre #chollywood #farandulaperuana #magalytvlafirme #magalymedina #amoryfuego #destacame #americahoy #lanochehabla #evdlv #elvalordelaverdad #foryou #fy #Viral #Peru #peruanos ♬ sonido original – Ric La Torre Source link

¡Se cansó de callar! Después de que Marcelo Tinelli confirmara públicamente el fin de su relación con Milett Figueroa, la modelo peruana rompió su silencio y protagonizó un tenso cruce con los periodistas de Los Ángeles de la Mañana (LAM) en Argentina. Milett responde a críticas en vivo Durante la última edición del programa, los conductores comentaron detalles sobre la separación. Esto generó la furia de Milett, quien decidió escribirle directamente a un reportero del espacio. En sus mensajes, la actriz dejó clara su indignación por lo que consideró una falta de respeto. “Imagínate que yo cancelé un evento y dicen que hice el feo. Lo que dijeron hoy me parece una injusticia total y carece de toda veracidad”, expresó inicialmente. Te puede interesar Marcelo Tinelli confirma ruptura con Milett Figueroa y asegura: “Hoy es definitivo” Dardos contra Yanina Latorre En medio de la transmisión, el periodista reveló chats donde Milett apuntó directamente contra la conductora Yanina Latorre. “Nunca fui mala persona, nunca insulté a nadie. Me han llamado trepadora y oportunista, y nunca les respondí. ¿Yanina cree que necesito fama? Ya conocí la fama y eso no me mueve”, lanzó tajante. Milett llama “cobardes” a conductores de LAM La molestia no quedó ahí. Según los mensajes leídos en vivo, la modelo fue aún más contundente: “Me gustaría que todos esos que hablan lo que dicen, me lo digan en la cara, cobardes. A mí me llamaron por mi trabajo, no para estar con Marcelo; eso lo harán ustedes. Me mueve lo auténtico, no gente que hable en mi ausencia”, expresó molesta. El quiebre entre Tinelli y Milett sigue generando titulares en Argentina y Perú. Mientras el conductor argentino aseguró que el cariño por ella “no cambiará”, la modelo prefiere defender su nombre ante quienes, según afirma, buscan desacreditarla. @riclatorrez 25.09/10: #MilettFigueroa explota y se pelea en vivo con #AngelDeBrito y #YaninaLaTorre . #lam #milett #marcelotinelli #fyp #parati #riclatorrez #riclatorre #chollywood #farandulaperuana #magalytvlafirme #magalymedina #amoryfuego #destacame #americahoy #lanochehabla #evdlv #elvalordelaverdad #foryou #fy #Viral #Peru #peruanos ♬ sonido original – Ric La Torre La entrada Milett Figueroa explota tras romper con Marcelo Tinelli: “¿Creen que necesito fama?, cobardes” se publicó primero en Radio Onda Cero. Source link

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The 2026 Grammy telecast is more than four months away, but the In Memoriam spot is already filling up. In fact, at least four music legends have died this year who could easily justify a separate spot on the show: Brian Wilson, Ozzy Osbourne, Sly Stone and Roberta Flack. (All four received lifetime achievement awards from the Recording Academy – Wilson as part of The Beach Boys; Osbourne as part of Black Sabbath.) In recent years, the Grammys have put an extra spotlight on one or more recently deceased artists per year, sometimes as part of the In Memoriam spot and sometimes apart from it. Last year, Quincy Jones got a six-song tribute. In 2024, the In Memoriam segment included extended tributes to Tony Bennett, Sinéad O’Connor, Clarence Avant and Tina Turner. In 2023, Loretta Lynn, Takeoff from Migos and Christine McVie from Fleetwood Mac got extra shine in the In Memoriam spot, as did Broadway legend Stephen Sondheim the year before. In 2021, Little Richard, Kenny Rogers, John Prine and Gerry Marsden of Gerry & the Pacemakers got extra attention in the In Memoriam spot. (The latter group had a hit in 1965 with Rodgers & Hammerstein’s “You’ll Never Walk Alone,” which was a natural for the spot.) In 2020, Boyz II Men sang “It’s So Hard to Say Goodbye to Yesterday” in tribute to basketball legend Kobe Bryant, who had died in a helicopter crash the morning of the Grammy ceremony. The In Memoriam spot that year put extra focus on Nipsey Hussle and Dr. John. In addition to the four music legends named at the top of this article, the list of music greats who have died since the Grammy telecast on Feb. 2, 2024 includes songwriter Alan Bergman, who received a trustees award from the Recording Academy (the equivalent of a lifetime achievement award for behind-the-scenes talent) in 2013, along with his late wife, Marilyn Bergman. Eddie Palmieri and Lalo Schifrin were both honored by the Latin Recording Academy. Palmieri received a lifetime achievement award in 2013; Schifrin was voted a trustees award in 2017. Other noteworthy artists and behind-the-scenes talent who have died since the last Grammy telecast include Brett James, Bobby Hart, Jeannie Seely, Flaco Jimenez, Tom Lehrer, Cleo Laine, Chuck Mangione, Connie Francis, Bobby Sherman, Lou Christie, Rick Derringer, Charles Strouse, Johnny Rodriguez, Johnny Tillotson, Angie Stone, Alf Clausen and Robert John. The roster also includes numerous people best known for their work as part of groups, including Rick Davies of Supertramp, Mark Volman of The Turtles, Clem Burke of Blondie, Jesse Colin Young of The Youngbloods, David Johansen of New York Dolls, Chris Jasper of The Isley Brothers, Brent Hinds of Mastodon, Bobby Whitlock of Derek and the Dominos, Walter Scott Jr. of The Whispers, Mick Ralphs of Bad Company and Mott the Hoople, Wayne Lewis of Atlantic Starr, Michael Sumler of Kool & the Gang, D’Wayne Wiggins of Tony! Toni! Tone!, and Les Binks of Judas Priest. That is by no means a list of everyone of note who has died this year. For a fuller list, go here. Award show producers are perennially criticized for leaving people out of the In Memoriam roll, but as you can see, there are always many names to contend with and only so much time in the spot. Not everybody can make it unless the segment runs for 25 minutes – in which people would complain the show was too long. Who do you think will get extra love on the 68th annual Grammy Awards on Feb. 1? Osbourne, Wilson and Sly Stone seem like sure things, but we hope Flack isn’t overlooked just because she died so long ago (on Feb. 24, just three weeks after last year’s show). Flack made Grammy history in 1974, becoming the first artist to win back-to-back awards for record of the year. Andra Day sang Flack’s “Killing Me Softly With His Song” on the BET Awards on June 9. (On that same show, Brittney Spencer performed in tribute to Angie Stone.) Steven Tyler, Joe Perry, Yungblud and Nuno Bennencourt performed a three-song tribute to Osbourne on the MTV Video Music Awards on Sept. 7. Source link

Jeremy Strong can be a little intense. The Succession star who has established a reputation for being hyper dialed-in to his roles proved it again on Thursday night (Sept. 25) when he told The Late Show host Stephen Colbert that not only does he play Bruce Springsteen‘s legendary manager, Jon Landau, in the upcoming biopic Deliver Me From Nowhere, but he embodied him so completely that when the real Landau was on set he wasn’t sure who was whom. “You are famous for going deeply into character,” Colbert said to Strong, who revealed that Springsteen and Landau were on the set of the film “almost every day” during the shoot. “Jon has been a friend, mentor, manager, producer, co-pilot for nearly 50 years,” Strong said as Colbert held up a shot of the actor on set with Landau, Springsteen, director Scott Cooper and the film’s star, Jeremy Allen White. Wondering if method man Strong even realized that Landau was on set most days, Colbert asked, “did you notice him? Or did you notice him more because you were so him?” Strong said he was able to relate to Landau “as Jon,” explaining that as an actor, “you walk out on this limb. You find ways to believe in what you’re doing.” And then he dropped the Strong sauce, adding, “And in a way, if Jon Landau… if I’m Jon Landau, who’s that guy over there?” Colbert had to laugh at that Jedi acting mind trick, comparing it to the famous Star Trek season one episode “The Enemy Within,” in which a transporter malfunction creates two contemporaneous Capt. Kirks. For real, though, Strong said Allen really had to do the heavy lifting in the film that chronicles the then about-to-be-even-more-massive singer’s interior retreat to write the stark, story-cycle Nebraska album. For example, he said, Allen had to perform “Born in the U.S.A.” at the Power Station studio in Manhattan where it was originally recorded by the Boss while Springsteen and Landau were watching. “It’s a movie about integrity and authenticity and healing,” Strong said. “It’s a story about a time in Bruce’s life in 1982 where he was, I would say, trying to find, in James Baldwin’s words, ‘an honest place to stand.’” Strong also noted that even before he signed on to the film that is due out on Oct. 24, he was a Springsteen superfan, revealing which Boss song he played at his wedding. “[The album] is about someone struggling with the feeling of being unfit to live, which is a lyric in the album,” said Strong. “I’m someone who… I had a song of his played at my wedding, ‘If I Should Fall Behind’ [from 1992’s Lucky Town] and Nebraska is an album I’ve always loved, so to give back even a modicum of something to give back to someone who has given so much to all of us was a real privilege.” Strong also talked to Colbert about his new documentary, The White House Effect, which zooms in on the origin story of the climate crisis at a time in the 1990s when climate science began to get politicized. Watch Strong on The Late Show below. Source link

MGK is gearing up for a major fifth anniversary celebration of his homage to pop-punk, 2020’s Tickets to My Downfall. And he’s getting Saga Blade in on the action. In an Instagram post on Thursday (Sept. 25), Kelly roped his six-month-old daughter with former fiancée Megan Fox into the action in an adorable pic in which the little one is rocking a onesie emblazoned with a pink guitar while chilling out on the floor with a stuffed animal. Kelly (born Colson Baker) and Fox welcomed Saga — whose face is obscured in the post — in March. “5 years ago pop punk came back to life. the rest of this year we’re gonna be celebrating the 5 year anniversary of this album,” Kelly wrote in the post, which opens with the album’s cover shot of him standing near an empty swimming pool while sullenly holding a pink electric guitar with the LP’s name scrawled across the front. The album, which dropped on Sept. 25, 2020, topped the Billboard 200, giving MGK his first-ever No. 1 on the tally. It spun off the singles, “Bloody Valentine,” which hit No. 50 on the Billboard Hot 100 and “My Ex’s Best Friend,” the blackbear collab that topped out at No. 20 on the Hot 100. Kelly said that celebration will include the upcoming drop of five previously unreleased songs from the sessions that are being “mixed rn to release asap,” as well as a coffee table book of behind-the-scenes images, merch and a tour. “TICKETS TO MY DOWNFALL I LOVE YOU,” Kelly wrote. The album’s producer and co-writer, Blink-182 drummer Travis Barker, was there for it, writing in comments, “Our baby is 5️⃣ years old.” Good pal and frequent collaborator Mod Sun also weighed in, saying, “I’ll look back on that chapter of life with u in the highest regard. Best friends vs the world forever n ever. Proud doesn’t do it justice.” The rest of the reel included snaps from that era, including Barker pounding out some beats as Kelly looks on, the whole crew hanging in the studio, close-ups of Kelly playing the pink guitar and smoking what looks like a joint, another shot of Barker at his full kit and a cameo from Trippie Redd. The series ends with a text from Barker wishing MGK a “happy tickets anniversary my brother.” “5 years later i still can’t believe it. living like a maniac gave us some really good songs [crying laughing emoji],” Kelly texted back. “change my life forever. love you big bro.” In the meantime, Kelly is gearing up to launch the tour in support of his most recent album, Lost Americana, which is slated to kick off at the Grammy Museum L.A. Live in Los Angeles on Oct. 1. Source link

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The U.K. musician’s sophomore album features intimate and impactful stories around affairs of the heart. 9/26/2025 Olivia Dean Gwen Trannoy After a gloomy period, 2025 is looking to be something of a golden year for U.K. and Irish artists: Central Cee’s debut Can’t Rush Greatness achieved U.K. rap’s highest-ever placement on the Billboard 200; Lola Young saw “Messy” become a global smash; and Wet Leg, Fontaines D.C. and Sam Fender all levelled up for their largest-ever live shows. Olivia Dean is fast becoming the leader of the pack. The London-born musician, who melds pop with a soulful influence, is currently working her way up the Hot 100 with “Man I Need,” (No. 30) the second single from her sophomore LP, The Art of Loving. A U.K. arena tour for spring 2026 is completely sold out, including four dates at London’s 20,000-capacity O2 Arena. A clean sweep at the 2026 BRIT Awards feels somewhat inevitable. Her story will be a reassuring one for the British industry having hit familiar benchmarks: she attended the BRIT School (famed for producing Adele and Amy Winehouse), and won a devoted audience with Mercury Prize-nominated debut LP, 2023’s Messy. She’s also toured far and wide, including well-earned slots at Glastonbury and, more recently, with collaborator Sam Fender. But it’s Dean’s talent and personality that shines. Her vocals are perfectly balanced – never overpowering, but unmistakably memorable. She writes succinctly and powerfully on love and relationships, side-stepping clichés and favoring specificity in her songs. The Art of Loving is full of both, a record that looks set to elevate her from rising prospect to a true superstar. These are the 12 songs from The Art of Loving ranked in order of greatness. “The Art of Loving” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } Despite clocking in at just 41 seconds, the opening song is a revealing vignette of the journey Dean is about to take the listener on. Birds tweet in the distance and strings swell as Dean muses that hard-won lessons about relationships are valuable lessons all the same: “It wasn’t all for nothing / Yeah, you taught me something.” Pull up a pew, she’s about to spill… “Let Alone The One You Love” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } On an album that smartly pushes Dean’s sound and songwriting forward, “Let Alone The One You Love” feels a touch too familiar and muted compared to the LP’s stronger tracks. That said, Dean’s vocals are particularly mesmeric on this one, even if the song floats by without leaving much of a mark. “I’ve Seen It” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } The Art of Loving’s closing track arrives with a level of perspective. Over a gentle acoustic riff, Dean recounts the ways she’s witnessed love, from the long-lasting relationships, to the fleeting moments of romance on the London Underground which ends up missing “a stop or two,” such is its power. It’s a woozy, understated finale to an otherwise head-spinning LP. “Lady Lady” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } Dean’s subtle piano playing is at the core of most songs on The Art of Loving, and harks back to some of her earliest material. “Lady Lady,” an impactful piano ballad, is written from the perspective of someone who has altered their personality to suit a new partner, but is left directionless when the relationship crumbles: “All the things I couldn’t live without / I don’t need ‘em now.” “Loud” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } We’re still some way off the next James Bond flick – the titular character is yet to be cast – but Dean could well be in the running for singing the franchise’s next theme tune. That’s if “Loud” if anything is so to go by, which features Dean’s gorgeous vocals holding their own amidst a swelling orchestra, and a heady mix of danger and intrigue. “Something Inbetween” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: ‘4057afa6-846b-4276-bc63-a9cf3a8aa1ed’, playlistId: ‘190d23fd-88b6-41bd-92b4-50d96f566e9a’, }).render(«connatix_contextual_player_div»); }); } else { // This should only be get called when page cache is not cleared and it’s event time. window.pmc.harmony?.switchToHarmonyPlayer(); } The Art of Loving was never going to be a straight-forward fairytale love story, because no relationship ever is. “Something Inbetween” acknowledges the tough moments in the middle, when the end isn’t inevitable, but not far off. “They say the grass is green where you water it,” she ponders to herself, “But I don’t know If I can grow here.” “A Couple Minutes” Trending on Billboard if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } }