Switched on Pop

Taylor Swift isn't just a world-conquering pop star at the top of her game, her approach to songwriting has also proven massively influential for an up-and-coming generation of singer-songwriters. Gracie Abrams, Maisie Peters, and Phoebe Bridgersall of whom opened for Swift during her Eras Toureach owe a debt to Swift's hyperspecific lyrics, minimal melodies, and bombastic bridges. We break down the key aspects of Swift's songcraft and how we can hear them manifest in the work of her young acolytes, and we speak to another burgeoning artist, the brilliant Jensen McRae, to learn firsthand why Swift's style has been so resonant.

Songs Discussed

Taylor Swift - All Too Well (10 Minute Version) (Taylor's Version) (From The Vault) Gracie Abrams - Thats So True Maisie Peters - There It Goes Taylor Swift - Style (Taylor's Version) Taylor Swift - You're On Your Own, Kid Phoebe Bridgers - Motion Sickness Taylor Swift - Our Song Beyonc - Sandcastles Katy Perry - Unconditionally Taylor Swift - cardigan Dua Lipa - Levitating Taylor Swift - You Belong With Me (Taylors Version) Taylor Swift - Dear John (Taylor's Version) Jensen McRae - Praying For Your Downfall Jensen McRae - Savannah Jensen McRae - Immune Taylor Swift - Would've, Could've, Should've

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Specialized platforms and social media have empowered musicians to tap into niche audiences, igniting a quiet revolution in the music industry. Despite the dominance of viral hits, a new wave of artists, labels and businesses are redefining success by building dedicated fanbases with focused, niche strategies. This conversation, live from SXSW, features Charlie leading a conversation with:

LP Giobbi, a producer, jazz-trained pianist, and activist who spends 300 days a year touring between festival stages, club floors, and studios.

Nabil Ayers, president of Beggar's Group, home to multiple indie labels including 4AD, Matador Records, Rough Trade, and XL Recordings.

Dani Deahl, a DJ, producer, and head of communications and creator insights at BandLab, the most popular digital audio workstation worldwide.

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Miley Cyrus just released three singles from her ninth studio album, Something Beautiful. Inspired by Pink Floyd's The Wall—specifically the 1982 feature film based on the album—Cyrus is not just sharing new music but a whole visual album, each song accompanied by a music video shot by director Panos Cosmatos. We last heard from Cyrus in 2023 with her massive smash "Flowers," which found the industry veteran finding some kind of inner peace. With her new songs, Cyrus is turning from healing herself to healing the world. She described the project as "a concept album that’s an attempt to medicate somewhat of a sick culture through music." What does such an endeavor sound like? For one, a lot of surprising textures and collaborators: Shoegaze guitarists, jazz saxophonists, indie rock producers. At least, sounds that are surprising to those who only know Cyrus from "Flowers," "Wrecking Ball," and "Party in the USA." The true Miley stans expect the unexpected from an artist who, it turns out, has always been weird.

Songs Discussed Miley Cyrus - Flowers, Prelude, Something Beautiful, End of the World, Dooo It!, Malibu, Cattitude (feat. RuPaul), Plastic Hearts Blank Banshee - Eco Zones Caroline Polachek, Oneohtrix Point Never - Long Road Home D'Angelo - Send It On Alice Coltrane, Pharoah Sanders - Journey In Satchidananda Whitney - Forever Turned Around ABBA - Mamma Mia, Dancing Queen Alvvays - Easy On Your Own? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Why was Chappell Roan's band dressed like an 80s hair metal act during her Grammy performance? The answer unlocks the surprising secret behind her #1 country hit "The Giver." This musical detective story connects glam rock aesthetics to modern country through an unexpected lineage involving AC/DC's producer, Shania Twain's revolution, and men who inadvertently dressed in drag. Between fiddle licks and gated reverb drums lies a brilliant subversion of country traditions that proves the genre has always been about musical drag while revealing what "rhinestone cowgirl" really means.

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Songs Discussed:

Chappell Roan – "The Giver"

Chappell Roan – "Pink Pony Club"

Big & Rich – "Save a Horse (Ride a Cowboy)"

Bon Jovi – "Living on a Prayer"

Guns N' Roses – "Sweet Child of Mine"

AC/DC – "Back in Black"

Def Leppard – "Pour Some Sugar on Me"

Nirvana – "About a Girl"

Bryan Adams – "Everything I Do (I Do It for You)"

Shania Twain – "Any Man of Mine"

Shania Twain – "Man! I Feel Like a Woman!"

Toby Keith feat. Willie Nelson – "Beer for My Horses"

Carrie Underwood – "Before He Cheats"

Trace Adkins – "Honky Tonk Badonkadonk"

Glen Campbell – "Rhinestone Cowboy"

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The Who's "My Generation" wasn't born from inspiration—it was commissioned. In a rare interview, Pete Townshend reveals how six fans at London's Goldhawk Club in 1965 directly asked him to write an anthem for their post-war generation. This conversation uncovers how a simple request transformed into rock's definitive youth statement, complete with its rebellious stutter and blues foundations. As Townshend releases his solo anthology during our own era of generational flux, the story behind rock's most famous declaration of youth proves more relevant than ever.

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Songs Referenced

"My Generation" by The Who

"Can't Explain" by The Who

"Anyway, Anyhow, Anywhere" by The Who

"Smokestack Lightning" by Howlin' Wolf

"For Your Love" by The Yardbirds

"Pinball Wizard" by The Who

"I'm a Boy" by The Who

"Pictures of Lily" by The Who

"I Can See for Miles" by The Who

"Stuttering Blues" by John Lee Hooker

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