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For the past couple of weeks, there’s been a lot of chatter about a lack of rap songs in the top 40 of the Billboard Hot 100 chart. Since the publication changed the rules to promote more movement on the chart, a bunch of hip-hop tracks fell off after hanging out for truly ridiculous runs.

But the hand-wringers and worrywarts can slow down their heart rates: Megan Thee Stallion has arrived to save the day. Her new single “Lover Girl” has brought rap back to the top 40 after a two-week absence, landing at No. 38 despite a less-than-enthusiastic reception from many listeners.

The last rap song in the top 40 was Kendrick Lamar and SZA’s “Luther,” which spent 13 weeks at No. 1, and became both artists’ highest-charting, longest-running hit at 46 total weeks. But Billboard had been fretting the lack of turnover on the chart, with few new songs entering because of long-tail recurrent hits from nearly a year ago.

There are probably questions to be asked about why any of this stuff matters (there are literally billions of songs available across like eight streaming services, and you can listen to whatever you want, whether it’s a hit or not, to say nothing of the hundreds of classic rap tracks that never reached top 40 status), but the kerfuffle can at least die down a bit, thanks to in part to Klay Thompson, who has helped end rap’s top 40 drought the way he helped end Golden State’s championship drought. The universe is funny like that.

Welcome to another installment of Ask A Music Critic! And thanks to everyone who has sent me questions. Please keep them coming at [email protected].

What do you consider the first great indie album? — Scott from British Columbia

Short and to the point. I like it! However, my answer will be anything but.

First of all, while there aren’t many words in your inquiry, the ones that are there are subjective. “Great,” obviously, is in the eye of the beholder. But so is “indie.” Does it describe a business situation, a specific sound, or merely a general vibe? Even “first” is open to question, depending on how you define the other two words.

This requires careful consideration. Let’s walk through my thought process.

The Velvet Underground — The Velvet Underground & Nico

This was the album that immediately came to mind when I read your question. And that’s because it’s the most common answer. It’s what you say when you don’t want to think too deeply about the “first great indie album” because it just sounds correct. “Oh yeah, Lou Reed! Sunglasses! Dark clothes! New York City! Drones! Drugs! Sadomasochism! The beautiful, icy blonde woman singer!” The Velvet Underground is credited with inventing the look, sound, and feel of non-mainstream “hip” music, even after the point when so-called indie bands stopped looking, sounding, or feeling all that much like The Velvet Underground. It’s why Charli XCX can wear a Max’s Kansas City t-shirt on Saturday Night Live in 2025 and have it resonate as a signifier of cool taste for at least half the audience. (Meanwhile, the other half will assume that it’s a reference to Kansas City Chiefs tight end Travis Kelce.) Not bad for a record that came out nearly 60 years ago.

It might be the obvious answer, but it’s also probably the best one. There’s only one problem: The Velvet Underground & Nico came out on Verve, which at the time was owned by MGM Records, a subsidiary of the legendary film studio. Which means it was hardly an “indie” record in the business sense.

How much does that matter? I’m not sure. Let’s think more about this.

The Modern Lovers — The Modern Lovers

The second album that came to mind when I read your question. The Modern Lovers was a band fronted by Jonathan Richman, a Lou Reed acolyte who once wrote a song about how much he loved The Velvet Underground titled, conveniently, “Velvet Underground.” He was part of the first generation of musicians who were influenced by The Velvet Underground while also being genuinely independent from the corporate music world. Their self-titled 1976 LP — featuring the song “Roadrunner,” which is most associated in the “normie” world with the Anthony Bourdain documentary of the same name — was put out by Beserkley Records, an indie label launched in 1973 and based in Berkeley, California. For the next 11 years, they were known for putting out various proto-punk records. The first Modern Lovers album is their most famous and important release, though they also had success with the underrated power-pop artist Greg Kihn in the early ’80s.

This is the less obvious answer, but it’s a good one. Here’s the problem: It might be a little too indie, in the sense that it’s not quite famous enough to represent the genre on the whole.

How much does that matter? I’m not sure. Let’s think more about this.

R.E.M. — Murmur

The third album that came to mind. It came out in 1983, which part of me thinks might be too late and a different part of me suspects could be exactly right on time. The question isn’t “what is the first indie album?” but “what is the first great indie album?” Greatness in this context, to me, means more than just the quality of the music. It also suggests a record that means something greater than just a record, in the sense of being an historical placeholder for a sound, style, and movement. And that certainly seems true for Murmur, a bellwether for the early days of the American indie rock scene of the ’80s, which was more widespread and impactful than the more insular ’60s New York and ’70s Boston scenes the previous two suggestions represent. Plus, the guys in R.E.M. still resemble the sorts of bookish, scruffy, street-clothes individuals you see form indie-rock bands today. Unlike the first two choices, Murmur is a record that could have come out in any other year since 1983 and still done well on year-end critics’ lists.

This was not my original answer, but it might be most logically sound. Here’s the problem: For the average indie fan under the age of 40, R.E.M. does not necessarily scan as “indie.” They scan instead as a major-label, mainstream rock band. The one that made “Losing My Religion” and “Everybody Hurts.” While their indie era is their most celebrated, it was also relatively short-lived, lasting only five years.

How much does that matter? I’m not sure. Let’s think more about this.

Pavement — Slanted And Enchanted

The fourth album that came to mind, after I thought about this for way too long. As a middle-aged man whose beard is rapidly losing melanin, the suggestion feels heretical. Slanted And Enchanted came out in 1992, well after countless other “great” indie albums were released. But that’s the perspective of someone who was alive when Slanted And Enchanted was new. History feels a certain way when you’re living through it. But that’s not the only (or even most common) way to experience history. Much of the time, people approach these things in retrospect.

If I strain my brain and try to imagine how a person born in 2000 might look at this, Slanted And Enchanted makes the most sense. Think of it this way: What band from history is most quintessentially indie? What would the average person on the street say if you asked, “Tell me the name of an indie group off the top of your head?” Who would you expect to come up first in a Google Images search for “indie musician”? I think it’s fair to assume that the answer, in each instance, is Pavement. And if the answer is Pavement, the older records I mentioned only count as preamble to Slanted And Enchanted, which is otherwise the “beginning” of indie rock as we currently know it.

This is not an answer I even like, but it might make the most sense to a person who is not me. How much does that matter? Actually, it matters quite a lot, since I’m the one writing this column.

I think I’m done thinking about this.

The Velvet Underground — The Velvet Underground & Nico

This is it. The right answer. I am officially done thinking about this.

With the creation of Nebraska getting the big-picture treatment, what are some recordings of albums you’d like to see depicted as a film or — even better — as a limited TV series? Exile On Main St. comes to mind as an obvious choice, but thinking of the Joe Strummer quote on the recording of “Straight To Hell,” I might go with Combat Rock. This scene as an ending would be brilliant. “I’d written the lyric staying up all night at the Iroquois Hotel. I went down to Electric Lady and I just put the vocal down on tape, we finished about twenty to midnight. We took the E train from the Village up to Times Square. I’ll never forget coming out of the subway exit, just before midnight, into a hundred billion people, and I knew we had just done something really great.” There are tons and tons of more entries. What are some of yours? — Shea from Pelahatchie, Miss.

I like your answer! My only fear is who they might cast to play Strummer. It would be difficult — impossible, even — to find an actor as cool as him. I don’t really want to see, say, Eddie Redmayne sing “Rock The Casbah.”

I think the making of Exile On Main St. would be an incredible movie, but it would have to be done Richard Linklater-style, where there’s no plot and you’re just hanging out with the characters as they do progressively larger amounts of drugs. A mellower version of the Linklater approach — the Everybody Wants Some!! to the Dazed And Confused movie that is Exile — would be the making of Tom Petty’s Wildflowers, which has been described by the participants as one long clubhouse hang with loads of laughs (and great music, obviously). But I must go with my stock answer to this question, which I have shared elsewhere: A fictionalized remake of I Am Trying To Break Your Heart, with Peter Sarsgaard as Jeff Tweedy and Phillip Seymour Hoffman as Jay Bennett.

Now, Philip Seymour Hoffman has been dead for 11 years, which (I concede) is a complication. Maybe we go with Cooper Hoffman as Bennett and Gabriel LaBelle — who has already played real-life people like Steven Spielberg and Lorne Michaels — as Tweedy. Can we make this happen, Hollywood? I am working on the screenplay as we speak.

New Radicals’ “You Get What You Give” is one of the great ’90s songs, but it has also positioned the band as a one-hit wonder. (Singer Gregg Alexander has avoided that fate personally, however, as he co-wrote Sophie Ellis-Bextor’s “Murder On The Dancefloor,” as well as Santana and Michelle Branch’s Grammy-winning 2002 collaboration “The Game Of Love.”) The song continues to re-emerge, though. It regularly pops up on TV and in movies, and the band reunited to perform it at Joe Biden’s inaugural parade in 2021.

Now, Geese have once again brought the song to the forefront by covering it during a BBC Radio 1 Live Lounge performance that was shared yesterday (November 4). They took the song in less of an overtly pop-rock direction than the original recording, starting the performance as an understated slow burn. Towards the end of the track, they finally pick up the intensity and it’s a very good and very Geese spin on the song.

They also performed “100 Horses” and “Cobra”, so watch the full session above and find Geese’s upcoming tour dates below.

Geese’s 2025 Tour Dates: Getting Killed

11/05 — Austin, TX @ Scoot Inn^
11/06 — Houston, TX @ White Oak Music Hall^
11/08 — Atlanta, GA @ Terminal West^
11/09 — Asheville, NC @ The Grey Eagle Music Hall^
11/10 — Carrboro, NC @ Cat’s Cradle^
11/12 — Washington, DC @ 9:30 Club^
11/13 — Philadelphia, PA @ Union Transfer^
11/14 — Boston, MA @ Paradise Rock Club^
11/15 — Woodstock, NY @ Levon Helm Studios^
11/20 — Brooklyn, NY @ Brooklyn Paramount
11/21 — Brooklyn, NY @ Brooklyn Paramount*^

^ with Dove Ellis
* with Racing Mount Pleasant

Getting Killed is out now via Partisan Records. Find more information here.

It finally happened: Radiohead just performed live for the first time since 2018. They announced the comeback tour in September and it kicked off in Madrid, Spain last night (November 4).

Notably, they opened the show with “Let Down,” the now-viral hit that Thom Yorke didn’t even want on OK Computer. The setlist pulled from across the band’s discography, most frequently Hail To The Thief, OK Computer, In Rainbows, and Kid A.

Of the tour, Philip Selway previously said in a statement:

“Last year, we got together to rehearse, just for the hell of it. After a seven year pause, it felt really good to play the songs again and reconnect with a musical identity that has become lodged deep inside all five of us. It also made us want to play some shows together, so we hope you can make it to one of the upcoming dates. For now, it will just be these ones but who knows where this will all lead.”

Check out the setlist (via setlist.fm) and Radiohead’s upcoming tour dates below.

Radiohead’s 2025 Tour Setlist

1. “Let Down”
2. “2 + 2 = 5”
3. “Sit Down. Stand Up.”
4. “Bloom”
5. “Lucky”
6. “Ful Stop”
7. “The Gloaming”
8. “Myxomatosis”
9. “No Surprises”
10. “Videotape”
11. “Weird Fishes/Arpeggi”
12. “Everything In Its Right Place”
13. “15 Step”
14. “The National Anthem”
15. “Daydreaming”
16. “A Wolf At The Door”
17. “Bodysnatchers”
18. “Idioteque”
19. “Fake Plastic Trees” (encore)
20. “Subterranean Homesick Alien” (encore)
21. “Paranoid Android” (encore)
22. “How To Disappear Completely” (encore)
23. “You And Whose Army?” (encore)
24. “There There” (encore)
25. “Karma Police” (encore)

Radiohead’s 2025 Tour Dates

11/05 — Madrid, Spain @ Movistar Arena
11/07 — Madrid, Spain @ Movistar Arena
11/08 — Madrid, Spain @ Movistar Arena
11/14 — Bologna, Italy @ Unipol Arena
11/15 — Bologna, Italy @ Unipol Arena
11/17 — Bologna, Italy @ Unipol Arena
11/18 — Bologna, Italy @ Unipol Arena
11/21 — London, England @ The O2
11/22 — London, England @ The O2
11/24 — London, England @ The O2
11/25 — London, England @ The O2
12/01 — Copenhagen, Denmark @ Royal Arena
12/02 — Copenhagen, Denmark @ Royal Arena
12/04 — Copenhagen, Denmark @ Royal Arena
12/05 — Copenhagen, Denmark @ Royal Arena
12/08 — Berlin, Germany @ Uber Arena
12/09 — Berlin, Germany @ Uber Arena
12/11 — Berlin, Germany @ Uber Arena
12/12 — Berlin, Germany @ Uber Arena

JID and fellow ATLien Anycia star in a ghetto fairy tale in the video for “Sun,” from JID’s new album, God Does Like Ugly.

The video opens similarly to The Princess Bride with a woman reading a fairy tale to her young children. However, she’s surprised by the book they request, which opens to reveal a modern tour of the Atlanta streets JID and Anycia grew up on. The two rappers display some solid chemistry, with JID’s hyperactive delivery bouncing nicely off of Anycia’s laconic flow, and both finding fascinating pockets in the slinky beat from Christo, Childish Major, and Jetsonmade.

Alongside fellow GDLU standouts like “Community” with Clipse, “Glory,” “Sk8” with Ciara and Earthgang, and “WRK,” “Sun” continues to demonstrate JID’s versatility and rap virtuoso, making God Does Like Ugly a sleeper pick for one of 2025’s best rap albums.

In addition to appearing at Outkast’s upcoming induction into the Rock & Roll Hall of Fame, JID is currently enlightening fans across North America about his impressive new album on his God Does Like World Tours spin, which runs through December 15 in New York, before hopping the pond for its European and Australian dates next spring.

Watch JID’s “Sun” video featuring Anycia above.

God Does Like Ugly is out now via Dreamville/Interscope. You can find more info here.

The weather’s turning, the holidays are creeping up, and music is how everyone gets in the spirit. But we’re not just listening in our cars on long drives or through headphones while shopping — we’re watching. YouTube and connected TV are where holiday music dominates, soundtracking parties, online shopping marathons, and last-minute gift-wrapping sessions.

Research shows that, starting in mid-November, UPROXX managed holiday channels on YouTube begin to surge. By December, they explode. Videos featuring beloved artists like Michael Bublé, Sia, Ed Sheeran, and Trans-Siberian Orchestra see up to 1500% more views than their yearly averages. Our channels with deep holiday catalogs see substantial spikes in viewership during the winter window (Michael Buble’s channel sees a 912% viewership jump and 1870% watch time surge in December) proving that even in the era of on-demand everything, nostalgia still wins.

Viewers are streaming everywhere too: families gather in living rooms on smart TVs, co-viewing the classics; offices are filled with pop-infused holiday jams; and parties, game nights, and virtual meetups are all underlined by visual playlists that have become as much a part of the ritual as the eggnog and mistletoe. You can see it in the numbers:

– Sia’s “Snowman” has pulled in more than 357 million YouTube views
– Michael Bublé’s “It’s Beginning to Look a Lot Like Christmas” is nearing 150 million
– Ed Sheeran and Elton John’s more recent “Merry Christmas” clocks in above 90 million watches.
– Coldplay’s “Christmas Lights” and Trans-Siberian Orchestra’s “Christmas Canon” continue to dominate as well, bridging pop, rock, and cinematic holiday drama.

These songs don’t just get played, they get put on repeat, the soundtrack for countless seasonal get-togethers.

The Takeaway

UPROXX sits at the center of this seasonal surge, with our exclusive access to Warner Music artists whose channels collectively hit 200 million+ monthly views in-season and a quarter of all those views happening on CTV — the biggest screen in the house. That audience spans almost every age demo and gender, splitting evenly between male/female listeners (52/48) with a reach driven by Millennial music lovers (25-44 year-olds) while spanning from Gen Z TikTok-savvy fans to nostalgic Boomers.

Holiday music is broadly enjoyed, a shared viewing ritual, and one of the most content-safe, emotionally impactful spaces in media.

Whitney’s next few months are about to be busy. The duo has a new album, Small Talk, out this week, and after the release, they’ll presumably be getting ready for their world tour that kicks off in February 2026.

Ahead of all that, though, they’ve shared “Evangeline,” a new song and the album’s only collaboration (with Madison Cunningham). The band’s Julien Ehrlich says of the song:

“The most crucial moment of writing ‘Evangeline’ came when, after weeks of failed experiments, we leaned into the theatricality of the chorus. Max put midi timpanis and string pads underneath the vocals and the whole sentiment of the song clicked into place for us. In hindsight it was probably the main instance where having a producer in the room could have led us to the finish line a bit quicker but nevertheless we got there. It wasn’t until almost a year later that we had the idea to make it a duet and we are beyond grateful that we got to feature Madison Cunningham as the other half of the vocal. To say that this song is special to us is an understatement.”

Cunningham also offered a statement:

“I’m a genuine fan of Whitney. When the band sent me this song, it was a no brainer that I wanted to sing on it. It’s not often that I’m stopped in my tracks by a song. In fact, the sound of this whole record from front to back is staggering to me. It’s the most beautiful wall of sound where every piece is considered, and the through line is clear. My memory is colored with it being one of the easiest, most joyful sessions.”

Listen to “Evangeline” above. Below, find the Small Talk cover art and tracklist, as well as the band’s upcoming tour dates.

Whitney’s Small Talk Album Cover Artwork

Whitney’s Small Talk Tracklist

1. “Silent Exchange”
2. “Won’t You Speak Your Mind”
3. “The Thread”
4. “Damage”
5. “Dandelions”
6. “Islands (Really Something)”
7. “In The Saddle”
8. “Evangeline” Feat. Madison Cunningham
9. “Back To The Wind”
10. “Small Talk”
11. “Darling”

Whitney’s 2025 & 2026 Tour Dates

02/06/2026 — Paris @ Gaite Lyrique
02/07/2026 — Lyon @ Epicerie Moderne
02/08/2026 — Milan @ Magnolia (main room)
02/10/2026 — Geneva @ Antigel Festival 2026
02/11/2026 — Munich @ Hansa 39
02/12/2026 — Berlin @ Lido
02/14/2026 — Copenhagen @ DR Studie 2
02/15/2026 — Hamburg @ Knust
02/17/2026 — Brussels @ AB Ballroom
02/18/2026 — Utrecht @ Tivoli Vredenburg (Pandora Hall)
02/19/2026 — Cologne @ Gebäude 9
02/21/2026 — Dublin 1 @ The Academy Dublin
02/22/2026 — Manchester @ Band on the Wall
02/24/2026 — Glasgow @ The Art School
02/26/2026 — Bristol @ Electric Bristol
02/27/2026 — London @ Hackney Church
02/28/2026 — London @ Hackney Church
03/07/2026 — Seattle, WA @ The Showbox
03/08/2026 — Portland, OR @ Revolution Hall
03/11/2026 — Felton, CA @ Felton Music Hall
03/12/2026 — San Francisco, CA @ The Fillmore
03/13/2026 — Los Angeles, CA @ Lodge Room
03/14/2026 — Los Angeles, CA @ Lodge Room
04/07/2026 — Kingston, NY @ Assembly
04/08/2026 — Brooklyn, NY @ Music Hall of Williamsburg
04/09/2026 — Brooklyn, NY @ Music Hall of Williamsburg
04/10/2026 — Cambridge, MA @ The Sinclair
04/11/2026 — Cambridge, MA @ The Sinclair
04/12/2026 — Portland, ME @ The State Theatre
04/14/2026 — Ardmore, PA @ Ardmore Music Hall
04/15/2026 — Washington DC @ 9:30 Club
04/16/2026 — Pittsburgh, PA @ Thunderbird Cafe
04/17/2026 — Toronto, ON @ The Concert Hall
04/18/2026 — Montreal, QC @ Théâtre Beanfield

Small Talk is out 11/7 via AWAL. Find more information here.

Gunna is held hostage in his latest visual, but he doesn’t seem too stressed out about it. In the video for “WGFT” with Burna Boy, the inaugural Uproxx Visionary is tied up and taken to a second location by a group of gorgeous women, ending up in the sort of dungeon that suggests the kind of torture he might end up wanting more of. The video was directed by Spike Jordan and shot in London.

“WGFT” is the latest single from Gunna’s new album, The Last Wun, which also spawned videos for “Won’t Stop” and “Just Say Dat.” Later this month, Gunna kicks off his Wun World Tour promoting the album, which will take him across North America, South Africa, Australia, and to Europe and the UK. Over the course, he’ll headline festivals such as Afronation, Milk & Cookies, and Rolling Loud. You can see the full schedule below.

You can watch Gunna’s “WGFT” video featuring Burna Boy above.

Gunna World Tour Dates 2025-2026

NORTH AMERICA 2025 DATES

11/17 – Boston, MA @ MGM Music Hall
11/18 – Philadelphia, PA @ Liacouras Center
11/20 – Washington, DC @ The Anthem
11/22 – New York, NY @ Madison Square Garden
11/24 – Toronto, ON @ Coca-Cola Coliseum
11/29 – Virginia Beach, VA @ The Dome
11/30 – Charlotte, NC @ Bojangles Coliseum
11/04 – Miami, FL @ FPL Solar Amphitheatre
11/06 – Tampa, FL @ Yuengling Center
11/07 – Atlanta, GA @ State Farm Arena
11/10 – Houston, TX @ 713 Music Hall
11/11 – Irving, TX @ Pavilion at Toyota Music Factory
11/14 – San Diego, CA @ Viejas Arena
11/16 – Los Angeles, CA @ YouTube Theater
11/17 – San Francisco, CA @ Bill Graham Civic Auditorium
11/19 – Seattle, WA @ WAMU Theater

AFRICA 2026 DATES

01/03/26 – Cape Town, South Africa @ Milk & Cookies Festival^
01/10/26 – Johannesburg, South Africa @ Milk & Cookies Festival^

AUSTRALIA + NEW ZEALAND 2026 DATES

03/07/26 – Sydney, Australia @ Rolling Loud^
03/08/26 – Melbourne, Australia @ Rolling Loud^

EUROPE + UK 2026 DATES

03/20/26 – Paris, France @ Adidas Arena
03/22/26 – Cologne, Germany @ Palladium
03/23/26 – Berlin, Germany @ Uber Eats Music Hall
03/25/26 – London, UK @ The O2 Arena
03/26/26 – Manchester, UK @ AO Arena
03/28/26 – Amsterdam, NL @ AFAS Live
07/03/26 – Portimão, Portugal @ Afronation^

^Festival Date

The Last Wun is out now via Young Stoner Life Records / 300 Entertainment. You can find more info here.

Three decades later and the Scream franchise is still going. There were a couple decade-long breaks in the mix, but regardless, we have a new one, Scream 7, on the way (after some bumps in the road) and it’ll be the third film in four years.

In a sense, the series is going back to its roots here: Kevin Williamson is directing, and while it’s his first time leading a Scream film, he’s written or co-written a bunch of the movies, including the first two. Speaking of OG’s, David Arquette, Neve Campbell, Courteney Cox, and Matthew Lillard are all back for the new film, too.

Ahead of the movie’s release, keep reading for everything you need to know before it hits theaters.

Plot

The logline reads, “When a new Ghostface killer emerges in the quiet town where Sidney Prescott (Neve Campbell) has built a new life, her darkest fears are realized as her daughter (Isabel May) becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.”

In a recent interview, Arquette told Men’s Journal:

“I was really excited to work with Kevin Williamson again. I mean, he’s the writer of Scream, and he’s directing this one. It’s a really great 360 moment. I can’t really say too much about the movie, but I was really excited to work with Kevin. We’ve had such a history, and he wrote the original and created this entire world, and he just knows it better than anyone.”

Cast

The movie stars Neve Campbell, Courteney Cox, David Arquette, Matthew Lillard, Mason Gooding, Jasmin Savoy Brown, Scott Foley, Joel McHale, Anna Camp, Mckenna Grace, Isabel May, Michelle Randolph, Ethan Embry, Mark Consuelos, Jimmy Tatro, Celeste O’Connor, Asa Germann, and Sam Rechner.

Lillard said to ComingSoon.net, “It’s like old friends, right? And Neve’s on set, and working with Neve and seeing her is great. I think that we’re all really hopeful that… look, I think the journey continuing, I think fans are gonna be excited. It’s got that vibe of like old school Scream, and so I just think we’re all really hopeful that we’re building what the fans will love and appreciate.”

Release Date

The film is set to hit theaters on February 27, 2026.

Trailer

Check out the Scream 7 trailer below.

Kehlani’s new single “Folded” was already one of the singer’s most successful songs when they released the Homage Pack remix EP in late October. Thanks to Kehlani’s commitment to seeing the song’s release cycle all the way through, though, the Bay Area singer has their first-ever Billboard Hot 100 top ten appearance.

Originally released in June, followed by the “(Un)folded” remix in July, and powered by a range of remixes, cover versions, and fan-made videos on social media, “Folded” has reached the No. 7 spot on the latest chart update, after a total of 20 weeks. It last landed at No. 14, jumping seven spots to reach its latest milestone. On Monday (November 3), Kehlani performed the track on Jimmy Kimmel Live! after telling fans via her social media that her “gratitude is endless.”

While “Folded” is Kehlani’s first top ten single, the Bay Area native is no stranger to the chart, racking up 18 Hot 100 hits over the course of a 15-plus-year career. “Folded” tied Kehlani’s previous longest-running stay on the Hot 100 via their 2018 Cardi B collaboration “Ring“; their latest collab with Cardi, “Safe,” from the rapper’s long-awaited second album, Am I The Drama?, released earlier this year, peaked at No. 26, and has been on the chart for six weeks. Kehlani’s last highest-charting solo track was 2016’s “Gangsta,” which peaked at No. 41 and spent 12 weeks on the chart.

You can watch Kehlani’s “Folded” performance from Jimmy Kimmel Live! above.