
How to crack the code on the song of the summer
After years of writing music for brands, bands, and everything in between, I've realized it's not just about vibe. It's also math (yes, really), great marketing, strategic timing, a lyric with a seasonal tinge, and most elusive of all—bottled lightning.
Let's break down the necessary elements that can determine whether or not the song will be the one for the summer. 1. The math: BPM (Beats Per Minute) is the foundation
When I crunched the numbers from the biggest summer tracks of the past five years, tempo was one of the common denominators.
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There are two lanes. Swagger tracks generally groove below 112 BPM. They're confident and cheeky, they don't beg for attention, and they wink. Think of BTS's 'Butter,' Taylor Swift's 'Cruel Summer,' and Sabrina Carpenter's 'Espresso.' These tracks carry a retro or breezy confidence, which leans back rather than forward. On the other hand, shimmer songs punch in at 125 BPM or higher. These are your danceable, effervescent tunes that make you want to move. Think Harry Styles's 'As It Was' and Calvin Harris's 'Blessings' with Clementine Douglas.
Now, songs that are between 112 BPM and 124 BPM are on tempo no man's land. They're too sluggish for shimmer, too hyped for swagger. If your track's stuck there, odds are you won't be creating this summer's anthem. Sorry. Maybe next year. 2. The marketing: TikTok or bust
Whether we like it or not, TikTok is the new radio. If you're not soundtracking a transition video, a get ready with me, or releasing solid remixes, you're missing out on potential. Just look at Sabrina Carpenter's 'Manchild': Over 4 million TikTok users propelled it to No. 1 on the Billboard Hot 100. Last year, Carpenter's 'Espresso' sparked choreography and creator remixes before the full track was even officially out. 'Blessings' by Calvin Harris got traction from remixes. 'Love Me Not' generated mashups and retro dance clips that boosted it to a Hot 100 top ten.
3. The summer cred: seasonality sells
Of course, a summer song has to sound like summer. A familiar groove, or even a single lyric line, can seal the deal. 'That's that me espresso' is a fun hook that feels sun-drenched.
Even 'Love Me Not,' despite its retro DNA, sparkles with heatwave heartbreak. It feels like cool lemonade spilled on a vintage cassette tape. Contrast that with Zara Larsson's 'Midnight Sun' or PinkPantheress's 'Tonight.' They're catchy and vibey, but have no visceral summer tag. 4. The intangible: bottled lightning
Some songs just hit a nerve. It's the undefinable quality that blows up influencer feeds, festival sound systems, fashion week playlists, and even Facebook timelines.
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Sometimes it's a surprise. Harry Styles's 'As It Was' is heartbreak disguised as pop candy. Sometimes it's a mystery ('Love Me Not' breaking through a slow chart year with retro-swagger). Sometimes it's perfect timing ('Espresso' landing right as spring needs a caffeine jolt). 'Blessings' also caught the perfect club season wave. Potential summer song of 2025
Based on this, who's winning summer 2025?
'Manchild' checks nearly every box: BPM? Check. Viral? Over 4 million uses. Lyrics? Skirts the lightness of the summer. Magic? You bet. Where I'm not so sure is whether or not it delivers on bottled lightning, which generates staying power.
'Love Me Not' is a stealth contender. You have viral TikTok edits and a retro freshness. However, it's on the cusp of 'no man's land,' so it's dangerously sitting on no man's land.
'Blessings' by Calvin Harris has big shimmer energy. It's danceable, has international reach, and is poolside playlist ready.
Alex Warren's 'Ordinary' might be the big sleeper hit, but it's not a song of summer. Sure, it's a great song released in the summer. It was initially slow on the digital marketing front, but suddenly exploded, and it topped U.S. and global charts for weeks. It's the perfect groove tempo and an irresistible anthem, but unlikely to make anyone think of bikinis or mai tais by the pool.
Bottom line: I don't see one clear winner—yet. Currently, I'm seeing a lot of great songs that check some boxes, but not others. Perhaps we can expect that due to the fractured nature of the media. It has never been more difficult to create that singular song of summer across all audiences unless a song comes along with a heavy checkmark in all four boxes.
We've yet to see a song with the jolt of 'Espresso', but summer is far from over. And until then, there's still a top spot open on the charts and on my mom's Pilates playlist.
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Yahoo
12 minutes ago
- Yahoo
From Tyler, The Creator to CMAT: Euronews Culture's Songs of the Summer 2025
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'Don't Tap The Glass' may not be an immediate stone cold classic like 'Chromakopia', but its opening track certainly made my Summer of 2025 all about not sitting still and wanting to hit the dancefloor. DM Joé Dwèt Filé & Burna Boy - '4 Kampé II' Raise your hand if you're the kind of person who stops dancing in the middle of the club to google lyrics in the hopes of finding a song's title. Yes, I know that Shazam exists, but I am who I am. This is exactly what I did when I first heard Joé Dwèt Filé's '4 Kampé' in late June. The French-Haitian singer, known for his heavy Afro-Caribbean influences, released the song as a single in October 2024. A cover from a Haitian classic, it quickly found great success and crossed borders through Tik Tok. Even Madonna posted a video of herself dancing to the beat. In March 2025, Joé Dwèt Filé hit even harder by releasing a remix, '4 Kampé II', with Nigerian star Burna Boy. The new version has been played over 25 million times on Spotify. 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AB Kokoroko - 'Da Du Dah' With the weather in London being especially good this year, I've been spending a lot of the long evenings cycling around the city, exploring, headphones on, music blasting, pretending I'm in a low-budget music video... And lately, the song I keep coming back to is 'Da Du Dah' by the London-based collective Kokoroko, from their newly released album 'Tuff Times Never Last'. The whole project is a delightful mix of Afro-jazz, funk, soul and gospel goodness, but this track in particular has legitimately cast a spell on me. The bassline is one of the funkiest I've heard all year and the joyous horns and catchy vocal lines bounce off each other in a playful call-and-response that alters my brain chemistry in the best possible way. The accompanying music video for the song, directed by the supremely talented Akinola Davies Jr., is equally charming - offering a slice-of-life glimpse of London while imagining the seven-piece band as kids wandering the streets - all shot on gorgeous 35mm film. I can't get the track out of my head. And honestly? I'm more than ok with that. TF Solve the daily Crossword


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Forbes
15 minutes ago
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The A List Writer Launching An Alternative To AI Song Creation
In theory at least, 'writing' a song has never been easier. Instead of spending hours or days hunched over a guitar, keyboard or digital workstation, all you need to do is open up a generative AI app, provide a few prompts and then sit back while the clever software does all the heavy lifting. Within hours, your creation can be vying for the attention of music consumers on a streaming platform, with AI also providing a cover picture and brand identity. But what happens when you score that inevitable multi-platinum hit record? Who actually owns the copyright? Is it you? Is it the Generative AI provider? Or more problematically, is it one or more of the countless musicians, songwriters and singers whose work has been diced, sliced and analysed to provide the software with the wherewithal to produce music tracks to order? And will you perhaps enjoy success with a song, only to be faced with a succession of lawsuits from artists who have noticed a certain similarity with their own work? 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Carlsson sees a historic precedent here, noting that the MP3 revolution was kicked off by Sweden's Pirate Bay and then Napster before a second Swedish company stepped in to bring order to the market. 'What Spotify got right was that you have to tick two boxes, namely attribution and control,' he says. In between that, you also need the consent of artists.' So who gains here? For instance, why should a major record label put its valuable music assets in the hands of a Generation Z creator? Well, at one level, it can be used for fan outreach. A way to engage music consumers more deeply. Something that can be quite difficult in the streaming age. However, Carlsson believes it is also a means to revive and monetise dormant sections of music catalogues by opening them up to be revisited and manipulated. And for bedroom musicians? Well, they get a chance to sell their music to creators. This isn't a new idea. Either offline or online, entrepreneurial musicians are already selling instrument and voice sample packs, either directly or through third parties. 'You should look at tech in terms of how it gives you the ability to scale your assets,' Carlsson says. You build a bank of assets that you can scale, and if you are a bedroom producer, you can play on a thousand songs.' Carlsson says his motivation is to provide a route to monetisation for those who struggle to make a living in today's music industry. The big names are fine. They generate millions of streams, not only for new releases but also for back catalogue work that might otherwise be dormant. In addition, they cash in on big-ticket shows, VIP access and merchandise. Further down the ladder, artists don't have those opportunities and per-play revenues for streaming are pretty paltry. 'I'm thinking of the self-releasing artists. The people who were like me when I was just starting out,' says Carlsson. The app was originally launched in Scandinavia, with backing from high-net-worth investors, with music stems supplied on a pay-for-work basis. The full launch takes place in September. In the future, he hopes to sign distribution deals with streamers while establishing its own distribution channels. It will be monetized through subscriptions - for professional users - and in-app purchases. Will this help musicians make money and will it prove to me more than a toy? That depends on whether the app can scale and that its alternative monetisation plan, involving active rather than passive consumption, will provide a big enough market. Carlsson thinks it will. 'Everyone is looking for the new format. If you look at the Zeitgeist and what is happening with youth, everyone wants to lean into what they're doing. It makes sense that everything becomes interactive,' he says.