Chart Review: 8th November 2024

Making sense of a nation’s musical tastes.

Not as much new gear to tear into this week, but Tyler, The Creator has managed to get another tune into the charts in the form of “Like Him”, landing at (33). To evidence further that this is his most measured and mature record to date, it’s a song about his dad that longtime fans of the artist would never have expected to hear. Tyler’s absent father has been ever present in his music from day one - his first album was called Bastard, as a clue - but on “Like Him” he has moved past the often violent, bubbling anger; instead he’s searching for a connection he knows he’ll never make, “chasing a ghost” per the evocative chorus, wondering if he looks like his old man in lieu of any other connection. 

I’ll confess I lean towards the more aggy, in your face Tyler material in the main, but I can absolutely see why this would be one of the stand out tracks from the record. Everything about it speaks to a degree of care and sensitivity that the artist didn’t seem capable of for the majority of his career, from the melancholic but hooky ‘90s R&B production to the new angle of approach on a familiar topic. The song is book ended by voiceover from Tyler’s mother (I think his actual mother rather than an actor) urging forgiveness. Perhaps this is the last catharsis he needed. 

At (22) is “Sao Paolo” by The Weeknd featuring Brazilian singer Anitta (the charts list it as and rather than feat, I’m not sure what’s what). I approached this with the usual trepidation I have when sticking on one of Abel Tesfaye’s tracks, because I’m pretty confident in what I’m going to get, i.e. a very thin, reedy voice singing over a boring, chilly R&B track for three minutes. What a fantastic surprise the start of this track is. Anitta opens things up, rapping in Portuguese over a super stripped back track, nothing but buzzing bass and a truly thumping kick drum. It’s sinister and weird and uber modern; you could imagine walking into a very frightening club in which you’re not at all welcome with this blasting for scary fashionistas to ungulate to. 

Then, The Weeknd comes in and it’s business as usual. He is so boring. He is just mumbling away. He manages to dull a pretty solid backing, too, by adding his usual lathers of lifeless synths. Right towards the end, he shuts the fuck up and everything gets great again. A fire alarm of a synth fades up and Anitta snaps back into her crazed and clipped hook. Get rid of the middle and this is a blinder. 

Dropping back down for a moment, “Stick Season” has crept back to (40) after a few weeks out of contention. The fact it is, in fact, the season of the sticks probably has something to do with this. I have a residual fondness for this song because it was the longtime Number One when I started off this project but listening to it again, I can’t help being annoyed all over again by the same stuff - the line about drinking “alcohol” until his friends come home for Christmas, the COVID on the planes, the little croak he does as he starts singing. I still think he seems a nice chap though. 

After threatening to do so for the longest time, Gracie Abrams has hit the top spot, unfortunately with “The Secret Of Us” rather than the good song. I really don’t like this one very much I’m afraid, but evidently plenty of people do. Too breathy, too Taylor, lacking the lyrical intrigue and emotional effectiveness of “I Love You, I’m Sorry”, which is probably up there with my singles of the year, against my better judgement. 

Pick of the week: The Weeknd feat. Anitta - “Sao Paolo”