by Ian Gualtiere ’27 on October 9, 2025

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Arts & Entertainment

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When the Leaves Change, So Do the Playlists

What defines a summer of sounds? Flashy, jumpy pop songs that swoon over summer romances and beach getaways to anthemic rock pieces that pierce the current artist’s tours. But what hits the charts when the leaves begin to color, the air becomes crisp, and several layers have to cover the body? As the world begins to brace for a long winter’s nap, radio waves and streaming sites become dotted with songs that offer a reflective quality, a sense of twilight in the year, and a warm, intimate sensation to the listener’s moods. Fall music has a characteristic that immerses a listener in the “fall vibe,” where music slips into an acoustic and quieter form, as opposed to the sunny, hard-hitting, and loud songs of summer. What makes fall music so special to those who avidly partake in it is that it is a full endeavor filled with compilation playlists with no boundaries and no rules; there is no defined term for what makes fall music. The sounds are in the ears and minds of the beholder, wishing to parallel the moods of the changing landscapes into music. 

An example of a “gateway” artist into the world of autumnal music would be Neil Young, not in the sense of his proto-grunge sounds or anti-establishment lyrics, but in his sweet-sounding love songs that ripple through his discography, offering a sense of peaceful reflection as the year draws to a close. One natural notion that fall has arrived is the presence of the harvest moon, which appears in the night sky every mid-September or early October. What better way to celebrate the close of summer than with Young’s own 1992 song “Harvest Moon?” A soft-sung, richly tuned, and prolonged love song that strikes at every listener’s heart, signaling a mood shift for the year. Or look no further than his famous 1972 album Harvest, which not only brings in a fragile sound and sense of isolation but also lays the groundwork for other indie artists to explore the nature of themselves as we take to the insides of our homes and our minds when autumn arrives. 

The artists that bring a broken, almost somber feature to their music are sometimes where people tend to gravitate towards in searching for fall music. Artists like Elliot Smith, Nick Drake, Phoebe Bridgers, Jeff Buckley, and Radiohead tend to attract those longing for quiet and sometimes downright sad music. Though these artists are critically renowned and have large fan bases, they could also lead listeners into more moody yet hopeful spirits when looking back on the year. Thoughts flow through the lyrics of intimate relationships, bright futures, and the riveting beauty of the changing nature of the world. 

Fall music does not necessarily equate to quiet sounds, again sticking with this prolonged theme of the listener being able to interpret the music in their own sense. It allows the addition of extremely famous pop stars who could sometimes not be recognized for the reflective and brooding quality of their songs. Or English rock bands like Arctic Monkeys with “Mardy Bum,” The Kinks with “Waterloo Sunset,” and even The Beatles with “Here, There and Everywhere” and “Dear Prudence” bring a jamming and loving but sullen sound that creates a rich addition to anyone’s definition of what fall music truly is. 

The beginning of fall brings a feeling of change, whether for good or for worse, natural or emotional, even warm or cold, the days begin to fluctuate in mood. Fall music is the attempt to characterize these feelings into sound; it is your sound, your attitudes, and the feeling you get when you see the first hint of yellow leaves on the trees.

by Thomas Marinelli ’26 on October 2, 2025

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Arts & Entertainment

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It’s 1976. Strung out from being on the road and countless days in the studio recording their latest album, Hotel California, the Eagles were nothing short of burnt out. Hotel California became one of the most popular albums of all time, going on to sell 32 million records worldwide and cementing the band as one of the best of the decade, commercially and artistically. The Eagles never intended to be like most bands, and their lyrics matched their image. Hotel California was not meant to be about living the American dream; it was actually quite the opposite. Even for successful musicians, the picture-perfect reality connoted by the album title was far from what most people had in mind. America was heading into a society of excess in the late 1970s, and it was seeping into the music industry and Hollywood. Soon, music would no longer be about spreading a message of anti-conformity and following dreams, but rather about pursuing materialistic desires and whatever sold best. Knowing this, knowing that it would be hard to follow up their previous album, and with tensions rising by the minute in the band, the Eagles prepared their next release. It would take nearly three years before they put out The Long Run in 1979, a chapter closer to a decade riddled with tensions following Vietnam, Watergate, Hollywood’s rise, and rock’s slow death. All of this was captured in the album, which also marked the end of the Eagles for the time being.

Through 1977 and 1978, the band’s two leaders were at odds. Don Henley, the drummer and vocalist, and Glenn Frey, the guitarist and singer, were constantly clashing over creative differences. Coupled with a new member, Timothy B. Schmit, the presence of ongoing member Joe Walsh, and heavy drug use, the band seemed doomed to remain stagnant in popularity. Punk was on the horizon, and the disco craze was in full effect; rock was starting to show its age, and the California dream was dying. The Eagles had profited greatly as a Los Angeles band with a country-rock feel, but in this changing atmosphere, they had to adjust somehow.

In a way, the Eagles did what they did best: they told stories. The first song on the album, “The Long Run,” is an instant classic, and its message spoke volumes. It’s a song about uncertainty, but played upbeat—addressing fame, the struggle to keep the band alive, or perhaps rock itself. It’s something easier said than done, destined to fade over time. The second song, “I Can’t Tell You Why,” which brought more of a yacht-rock feel to the record, is about a struggling relationship that carries on without knowing how, or if, it can end—sensing a theme. Another track, “Heartache Tonight,” is more celebratory and upbeat, an instant single hit, though it’s about the inevitable end of another relationship. The final song, “The Sad Café,” reflects on the band’s early glory days, now gone with time, almost a final word before shutting down for good.

The album went on to sell over eight million copies—nowhere near the success of Hotel California, but that was expected. By 1980, the band had broken up, nearly ending in a fight on stage between Frey and Don Felder, the band’s guitarist. It was not the glamorous end one might expect, but how many endings are? It was the end of an era, reached by a rough road, but it did something music today rarely does: it didn’t hide anything. Not the way the band felt toward each other, the industry, or the direction of rock. It was disillusionment, fatigue, and nostalgia—but it was all true, and it was all out in the open.

There will always be times at the end of any chapter when one gets burnt out, frustrated, and feels like running away or starting over. But that comes with acceptance—acceptance that it’s okay to feel like that, to let others know, but never to give up. It would be a disservice not to leave everything on the field, even when you think you can’t take it anymore. The Eagles knew it was over, but they also knew there was one last run in them before they could walk away and start something new.

by Georgina Gamble ’29 on October 2, 2025

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environment

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How Much is Too Much?

Everyone’s favorite showgirl is on the verge of dropping her twelfth studio album—what does this mean for the environment? 

The short answer: nothing good. During her last era, The Tortured Poets Department album, Taylor Swift managed to sell 36 vinyl and/or CD variants for an album that had only 31 songs. Each variation has its own special qualities: a new deluxe song, a collectible album sleeve, or a different black and white album cover. We’ve all seen the TikToks—the completely absurd Swiftie shrines, the crazy, over-the-top merch, and vinyl unboxings. I feel it is safe to say Swift officially has world domination in both pop culture and landfills. 

It is important for me to say that I really do love Swift. Having the opportunity to see The Era’s Tour completely changed my life. Over the past few years, she has sparked a new meaning of girlhood for me and others across the world. As much as I love the glitter and screaming the bridges at the top of my lungs, I also have a lot of concern for the lack of sustainability at hand. 

Vinyls and the plastics used to create them are bad for the environment as it is. This, combined with the frantic feeling of exclusivity and novelty that comes along with owning every part of Swift’s anthology, is a complete recipe for environmental disaster. The overconsumption of the Swiftie community is real, and the carbon footprint is high. How many Taylor Swift albums can (or should) a person really own? How much Swift can we (the planet) handle? It’s easy to say many (at least a good handful) of these collectibles will end up in landfills at some point. However, it is also worth mentioning that while sustainability is being lost to the well-earned frenzy, a sense of artistry is losing its way as well. A perfect album cover should encapsulate the energy and aesthetic of the songs all inside one photo. It should be the most accurate snapshot of the music, like you know what you’re about to listen to just by looking at the cover. If it takes an entire collection of photos to even try to capture the vibe, then what’s the point? More so, what’s the point in hurting the planet in the process? This idea has been most prevalent to me more recently as Swift has been releasing new vinyl variations for The Life of a Show Girl. From the standard orange and green to the “Shiny Bug” and “Tiny Bubbles in Champagne” editions, it feels as though Swift is trying to let the Swifites pick their own aesthetic for the era. This push for fans to make the album their own seems genuine, but at the same time, it feels like another play that will keep consumption at an all-time high and leave the environment in the trenches.

by Mia Gasbarro ’26 on September 18, 2025

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Arts & Entertainment

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The Album That Defines Pop in 2025

When the cover of Sabrina Carpenter’s seventh album, Man’s Best Friend, surfaced online, it quickly sparked debate. The imagery drew strong reactions and garnered conversations about gender and power. Instead of letting the controversy overshadow her work, Carpenter transformed the backlash into buzz. Beyond the controversy, Man’s Best Friend is making headlines as it showcases everything from disco-infused pop songs to beautiful, sad ballads, all of which work cohesively to turn bold imagery into equally bold music. The album has proven to be one of Carpenter’s most ambitious and dynamic projects yet, blending sharp wit with polished pop to secure her place at the center of today’s music conversation. 

Carpenter has come a long way since her debut during her Disney Channel days. Now, she is steadily creating a place in pop music with her strong songwriting and playful energy. Her 2024 album Short n’ Sweet, featuring the viral hit “Espresso,” earned her three MTV VMAs and secured her position as a rising pop star. Building on that momentum, her seventh album, Man’s Best Friend, appears as her boldest and most talked-about project yet, with the album debuting at No. 1 on the Billboard 200. 

Musically, Man’s Best Friend is a bold and vibrant blend of disco-pop and R&B, developing a sound that feels both retro and fresh. Carpenter balances catchy hooks with witty, self-aware lyrics to create songs that are playful and flirty. The album showcases everything from upbeat dance anthems to slower reflective ballads, highlighting her versatility as an artist. Standout tracks like “Manchild” emphasize her ability to blend humor with a polished pop production, while other tracks explore themes of love, control, and self-discovery, adding a surprising element of depth to the album. Overall, the album’s sound reflects Carpenter’s growing confidence and willingness to experiment, making it a cohesive yet unpredictable listening experience. 

Carpenter’s Man’s Best Friend is more than just another chart-topping album—it’s a cultural moment that reflects how today’s artists use music, visuals, and even controversy to start bigger conversations. For students, her rise feels especially relevant: she’s a young artist navigating fame, creativity, and public opinion in real time, much like our generation navigates its own identity in a fast-changing world. This album reminds us that pop culture isn’t just background noise, it’s part of the story of who we are right now. In the end, Man’s Best Friend isn’t just a win for Carpenter, it’s a reminder that pop culture moments shape how our generation connects through music. 

by Ian Gualtiere ’27 on September 18, 2025

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Arts & Entertainment

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The world was introduced to the Gallagher brothers in April 1994. Their band, Oasis, had just released “Supersonic,” a single that would define British music for the next decade. A string of hit singles, EPs, and albums would propel the Manchester band into the stratosphere. Helmed by creative lyricist and deadpan older brother, Noel, and brought to life by the nasal voice and erratic behavior of younger brother Liam, Oasis would take to the top of global charts thanks to the anthemic songs of “Live Forever,” “Rock N’ Roll Star,” “Slide Away,” “Wonderwall,” “Don’t Look Back in Anger,” and “Champagne Supernova.” Several years of tabloid headline news, apparent legendary stories, and notable fights between the brothers would continuously follow the band after every tour, rowdy night out, and family get-together. Yet the two would make up and continue playing in the band. 

By the turn of the century, Oasis had cemented themselves as one of the most popular bands in the world with over 49 million copies sold with only three albums: Definitely Maybe (1994), (What’s The Story) Morning Glory? (1996), and Be Here Now (1997). For the next seven years and four albums, sales would begin to dwindle, and audience and critical reception would start to turn. The band would see various lineup changes, and the brothers would continue to take their frustration out on each other, despite being in high demand for concerts and festivals. The end of Oasis occurred in the summer of 2009, after Liam contracted laryngitis and canceled a show in Chelmsford, England. Several days later, on Aug. 28, another canceled appearance in Paris would prompt Noel to release a statement on the band’s website declaring that he was leaving Oasis, stating that he “simply could not go on working with Liam a day longer.” The next 15 years would see bitter tensions between the brothers, public call-outs on television and social media, and proposed reunions for a hefty cost. For the time being, Oasis had remained a pleasant memory for those who experienced their popularity, and an incredible jewel to newcomers who discovered past performances on streaming, television, and documentaries. These sentiments would culminate in a new generation of Oasis fans, calls for a reunion, and overall popularity starting to surge by the early 2020s. Almost 15 years to the very day of the breakup, a new generation was able to witness the announcement of the band reforming and going on tour. All of the band’s social media accounts posted a message with a new image of the brothers on Aug. 27, 2024, stating, “The guns have fallen silent. The stars have aligned. The great wait is over. Come see. It will not be televised.”

The Gallagher brothers’ travel itinerary started in Wales on July 4, and then headed across the border to play shows in London and their hometown of Manchester. The brothers went north to Scotland and then across the Irish Sea to finish the Europe leg of their tour in Dublin, on Aug. 17. The much-anticipated reunion touched down in Toronto for two shows just a week after Dublin and the tour rolled through the American border towards Chicago for a single concert on Aug. 28. The final three locations for Oasis would be held in East Rutherford, NJ; Pasadena, CA; and Mexico City to finally close the curtain on the North American leg of the tour on Sept. 13. Liam, Noel, and company will eventually travel back to London to play two shows in their home country that were added to the tour due to such high demand. The debaucheries, however, do not end in the Western Hemisphere as the band ships off to South Korea, Japan, and Australia for shows in Oct. and Nov. The tour finally ends in South America as the brothers look to play shows in Argentina, Chile, and eventually Brazil. 

Up until this point, nearly 1,917,000 avid fans have lined up for security clearances, bought pints of their favorite beverages, and held their closest friends and relatives to sing along to the reunited Gallagher brothers. I was in attendance for their Dublin show on Aug. 17 in Croke Park. The city was tense, like a family about to host highly esteemed guests for a dinner. Painted murals of Noel and Liam sporting their famous Adidas tracksuits and bucket hats were strewn on nearly every street corner; pubs descended into intoxicated sing-alongs, filled with people trying to belt their hearts out to decades-old songs; and lines of people arrived early to Croke Park, dressed in heavy parkas and John Lennon-esque glasses, in the hopes that they can stand closer to the rock stars than everyone else. My brother and I bought tickets nearly a year ago to stand in the pit of hundreds of avid supporters—drawing deep breaths and personal space were ideas of the past that simply did not matter to us. As the brothers walked out onto the stage, holding hands of reconciliation, utter chaos and jubilation erupted from the nearly 80,000 fans. Many threw their beverages into the air with fervor and started to jump on beat with the music being played. These concerts are not what some critics have called “a money grab from two bitter middle-aged men;” they are the release and relief of a tense world. They have been a refuge for communal love, excitement, and pure rock. As messages of enjoying life, reflecting on the love of music, and defiant individuality (and perhaps a few pints in the middle) were highlighted throughout the Gallaghers’ songs, everyone in the crowd knew that there is a beauty in the experience of life. These concerts are a celebration of life and the promise of living forever. As Noel and Liam flew out of Mexico City this past weekend, fans chanted “¡Viva por siempre!” and “¡Viva Oasis!”

by Ian Gualtiere ’27 on September 19, 2024

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Music

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The world was introduced to the Gallagher brothers in April 1994. Their band, Oasis, had just released “Supersonic,” a single that would define the era of British music for the next decade. A string of hit singles, EPs, and albums would propel the Manchester band into the stratosphere. Helmed by the creative lyricist and deadpan older brother Noel and brought to life by the nasal voice and erratic behavior of younger brother Liam, Oasis would take to the top of global charts thanks to the anthemic songs “Live Forever,” “Rock N’ Roll Star,” “Slide Away,” “Wonderwall,” “Don’t Look Back in Anger,” and “Champagne Supernova.” Several years of tabloid headline news, apparent legendary stories, and notable fights between the two brothers would continuously follow the band after every tour, rowdy night out, and family get-together. One notable explosion would come in 1996 at a taping of the popular concert television series MTV Unplugged, an event where Liam did not show up to rehearsals until a mere hour before taping, eventually arriving heavily intoxicated and unable to sing and prompting Noel to command the stage alone. The image heavily associated with the event would be Liam sitting in the balcony seats with the audience, badgering Noel on stage.

Yet the two would make up and continue playing in the band, even with constant flare-ups and personality clashes. By the turn of the century, Oasis had cemented themselves as one of the most popular bands in the world with over 49 million copies sold with only three albums: Definitely Maybe (1994), (What’s The Story) Morning Glory? (1996), and Be Here Now (1997). For the next seven years and four albums, sales would begin to dwindle, audience and critical reception would start to turn, the band had various lineup changes, and the brothers would continue to vent their frustration out on each other, despite being in high demand for concerts and festivals. The summer of 2009 signaled the end of an era for Oasis after Liam contracted laryngitis and the band dropped out of a festival performance in Chelmsford, England. Several days later, another canceled appearance in Paris would prompt Noel to release a statement on the band’s website declaring that he was leaving Oasis, stating that he “simply could not go on working with Liam a day longer.” With Noel gone, Liam would front the band with remaining members under the name Beady Eye for the next five years until their breakup, which prompted a successful solo career for Liam. Noel would create the band Noel Gallagher’s High Flying Birds, which is still active today. The next 15 years would see bitter tensions between the brothers, public call-outs on television and social media, and proposed reunions for a hefty cost. For the time being, Oasis had remained a pleasant memory for those who experienced their popularity, and an incredible jewel to newcomers who discovered past performances on streaming, television, and documentaries.

These sentiments would culminate in a new generation of Oasis fans, calls for a reunion, and overall popularity starting to surge by the early 2020s. A new generation can witness the announcement of the band reforming and going on tour almost 15 years to the very day of its breakup. All social media accounts of the band posted a message with a new image of the brothers on Aug. 27, stating, “The guns have fallen silent. The stars have aligned. The great wait is over. Come see. It will not be televised.” The news soon followed with announced performances throughout the United Kingdom and the Republic of Ireland with shows in Cardiff, Manchester, London, Edinburgh, and Dublin, all set for the summer of 2025.

Tickets were set to be open for purchase on the morning of Aug. 31. An estimated number of 14 million people applied for a total of 1.4 million tickets that morning, with a mere 10 percent chance of obtaining at least a single ticket. The high volume of traffic across ticket sites caused many websites to crash, expelled people waiting in line, and accused hopeful buyers of being robots. Another issue was the apparent use of dynamic pricing within these systems that caused the price of tickets to drastically increase due to high demand. A statement released by the band claimed they were unaware of this issue, which caused many fans to give up their place in line due to extremely high prices.

These issues have caused many fans to voice backlash against Oasis. Ticket sites such as Ticketmaster, and the overall sequence of events that happened that morning caused almost all tickets to sell out in less than 20 minutes. As for those who were able to obtain tickets, they will be able to enjoy the new Oasis tour that will sweep across the United Kingdom and the Republic of Ireland next summer while many more here in the United States are left to hope for their return from across the pond.

by Chelsea Adonteng '25 on April 20, 2023
Opinion Staff

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Opinion

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Regarded by many as a popular music icon with over 90 million records sold worldwide, Ariana Grande has been in the limelight since she was 13 years old performing on Broadway. With time comes experience, and Grande is well aware of the public scrutiny that accompanies fame and fortune. Recently, Grande posted a short video to TikTok addressing people’s overwhelming concern about her body. In it, she addressed how people often compare her current body to the body she used to have, which she mentioned was during a period of her life when she was at her lowest and unhealthiest. While Grande doesn’t owe her audience an explanation, the fact that such a successful artist felt the need to record an explanation is something that her audience should contemplate. 

Living as a celebrity and even living as a human being in general brings judgment, whether it be from other people through a screen or from people in one’s daily life, especially in a time where all people have some form of social media, leaving them vulnerable to negative comments regarding their appearance. While the Internet has proven itself to be a positive place where people can come together to discuss shared interests and learn about situations around the world, there’s also plenty of evidence to show how people often feel comfortable body-shaming other people because of the confidence they get from being behind a screen. 

Ariana puts it perfectly when she says, “People need to be gentler about commenting on other people’s bodies.” No one is entitled to speak about other people’s physical characteristics, especially when they are unaware of the journey that person has taken to get to the stage of life they’re currently in. Even though celebrities share a large portion of their lives with the media, people need to remember that it doesn’t give them the ability to speak on their personal business or comment on their appearance without knowing what they’re going through physically and mentally, simply because they seem so open. 

Every person’s journey with their body is different, and that journey affects them in different ways, good and bad. Even if a comment might be well-intentioned, focusing on people’s bodies reinforces the idea that one’s physical characteristics are a defining factor to who they are, when in reality, one’s character is just as important. Instead of commenting on people’s appearances, people should work to give comments that aren’t appearance-based and praise other beautiful attributes, such as their creativity or their resilience. Positive compliments about a person’s good qualities can brighten someone’s day, rather than a compliment about appearance, which can be hurtful to one’s self-esteem.  

by Fiona Clarke '23 on March 2, 2023
Portfolio Staff

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Featured Slider

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It is as if water and leaves were muddling at the storm drain,

And I have come to realize

That everything is not enough.

Even here it is all both having and wanting,

And it is as if each bow drawn across the strings were sawing across the heart,

Making a new course through which this desire can run.

It is as if my blood has always run too slowly;

It is as if I had been a bronze bust, darkening,

Against copper trees and blue-washed sky.

It is as if my ear heard nothing before

This harmony—Suttree, tell me,

Are the planets rounder? Can knots be tied in the wind?

Here, it is how we thought riding horses would be,

And us high and weightless and mighty;

It is how running down a steep hill is,

And us frail and all too heavy.

Satisfied that this is everything, I am satisfied:

Everything is not enough.

by The Cowl Editor on April 8, 2022

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Features

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Artists We Should’ve Had For Spring Concert

• Pitbull 
• The Rock 
• Will Smith (ft. Chris Rock) 
• Machine Gun Kelly 
• Frank Sinatra (hologram version)
• Macklemore 
• Doja Cat 
• Kanye West (featuring Skeet)
• Travis Scott 
• Dr. Taylor Swift 
• Shawn Mendes (post breakup tour?)
• Rihanna (post hiatus tour?) 
• Ed Sheeran 
• My Chemical Romance 
• Big Time Rush (without Dixie D’Amelio) (sans Carlos)
• R. Kelly (from prison)
• The Hillbilly Thomists

by John Downey '23 on March 26, 2022
A&E Co-Editor

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Arts & Entertainment

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Old Songs Find New Life on TikTok

How the App Celebrates Multiple Generations of Music

Olivia Riportella ’25

TikTok, one of the world’s most popular social media apps, has proven to be more than just a platform for dancing and silly skits. It has evolved into a bridge between generations, connecting them through music that holds meaning in both the past and the present. Many classic hits, along with lesser-known songs from past eras, have recently been revitalized by young people on the app. Indeed, this new generation of TikTokers is taking these songs to new heights of popularity.

One such song that has found new life on TikTok is “Love Grows (Where My Rosemary Goes).” The 1970 tune from one-hit-wonder Edison Lighthouse was an unlikely pick to resurface 52 years later, but has exploded across the app. To embody the “Rosemary aesthetic,” TikTok users have used the song to post clips of themselves over its opening lyrics, “She ain’t got no money/Her clothes are kinda funny/Her hair is kinda wild and free/Oh but love grows where my Rosemary goes…” As a result of this trend, the old-school pop song saw an astounding growth of 1,490 percent in streams in the 10-day period between Dec. 25, 2021 and Jan. 3. “Love Grows (Where My Rosemary Goes)” even broke into Spotify’s U.S. top 200 Chart, sitting just outside of the top 100. 

Another classic 70s track that has found new life thanks to TikTok is the iconic hit “Dreams” by Fleetwood Mac. When TikTok user “Dogg Face,” whose real name is Nathan Apocada, stole everyone’s hearts with a clip of him skateboarding while holding a bottle of cranberry juice and singing along to “Dreams,” the tune was brought back to life. A whole new generation became enamored with the sweet melody of Stevie Nicks’ soothing serenade. After Apocada’s clip went viral, the song returned to number two on the Rolling Stone 100 chart, reentering commercial charts for the first time in over 40 years. Apocada even received a shoutout from Stevie Nicks and Mick Fleetwood themselves after the reemergence of their hit song prompted the superstars to create their own TikTok accounts. 

A more recent “throwback” that has caught the attention of TikTok users is sister band Aly & AJ’s “Potential Breakup Song.” This 2007 single from the duo, whose full names are Alyson and Amanda Michalka, made an exciting return to popularity due to its angsty teen breakup lyrics that resonated with Gen Z-ers. Clips of young people lip-syncing to the song went viral across the app, bringing about an epic comeback for the Michalka sisters. There was such a resurgence in “Potential Breakup Song” across TikTok that the artists were prompted to re-record the single a decade later—this time, featuring explicit lyrics. One year after their return to the spotlight, the duo dropped their first album in 14 years. 

TikTok has proven to have the uncanny ability to launch songs new and old into the stratosphere. The app’s unique power, combined with Gen Z’s fascination with bygone eras and the proliferation of streaming services in the music industry, makes it possible for even just a song clip to go viral and bring the entire tune to unprecedented popularity.