Canadian Hot 100 Breakdown 5/18/24 - Rate Your Music
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Canadian Hot 100 Breakdown 5/18/24

A list by Alexsuniverse

[List1318369] | heart+2


The Taylor Swift die down continues, and beef ensues with new debuts from Gracie Abrams, Sam Hunt, Imagine Dragons, Dua Lipa, Marshmello, Drake & Kendrick Lamar, all on this edition of Canadian Breakdown!!
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Introduction + Top 10

Heyo!! I'm Alecks, and welcome to another edition of Canadian Breakdown!!! This week is pretty straightforward. Taylor's album continues to fizzle out slowly, and Kendrick & Drake's beef has peaked, at least regarding how much I will likely be covering. But let's get to that quickly and start with our Top 10...





To my surprise, A Bar Song (Tipsy) by Shaboozy managed to secure a second week at number one. It's not too surprising, considering it was on top of streaming and sales this week, and even if the radio hasn't picked up on it entirely, it had the gap to come out on top. This is despite our new entry, Not Like Us by Kendrick Lamar, being a lot closer than you'd expect, with it trailing right behind in streaming and sales being pretty close. It was a close race, and I'm shocked that Kendrick lost, in all honesty. Then we have a second new entry to the Top 10 in MILLION DOLLAR BABY by Tommy Richman, up to number three with a significant boost in streaming and sales to back it up. Likely could've been a number one contender had circumstance been different. This pushed back Beautiful Things by Benson Boone down to number four. It's still stable on radio and sales, but you will fall back when you need more streaming where the competition above you is at its strongest. It's only natural at this point. This brings us to our next new song in the Top 10: euphoria by Kendrick Lamar, up to number five. The streaming went up, and so did the sales, even if not by much; getting a whole tracking week would boost it no matter what, in this case, even if it's only a matter of how long it will hold. Then we have our second debut of the week with Family Matters by Drake. This is similar to most of our gains this week: robust streaming and competent sales. It was a running race, and your placement was based on how much you could survive. This takes us to the rest of our Top 10 this week, starting with Espresso by Sabrina Carpenter at number seven, with sales falling back despite manageable streaming considering this week; then to Fortnight by Taylor Swift featuring Post Malone taking a considerable hit down to number eight as the radio can only do so much when streaming and especially sales are taking hits; even if impressive it can only hold this song up for so long. Then we have Lose Control by Teddy Swims at number nine, which is on top of the radio, but even with a minor sales gain, the streaming suffered, causing it to fall a few slots. Then, to close out, we have Too Sweet by Hozier at number ten. It's similar to Fortnight, where the radio is gaining, but the streaming and sales are less substantial than its competition, forcing it back regardless.
Heyo!! I'm Alecks, and welcome to another edition of Canadian Breakdown!!! This week is pretty straightforward. Taylor's album continues to fizzle out slowly, and Kendrick & Drake's beef has peaked, at least regarding how much I will likely be covering. But let's get to that quickly and start with our Top 10...





To my surprise, A Bar Song (Tipsy) by Shaboozy managed to secure a second week at number one. It's not too surprising, considering it was on top of streaming and sales this week, and even if the radio hasn't picked up on it entirely, it had the gap to come out on top. This is despite our new entry, Not Like Us by Kendrick Lamar, being a lot closer than you'd expect, with it trailing right behind in streaming and sales being pretty close. It was a close race, and I'm shocked that Kendrick lost, in all honesty. Then we have a second new entry to the Top 10 in MILLION DOLLAR BABY by Tommy Richman, up to number three with a significant boost in streaming and sales to back it up. Likely could've been a number one contender had circumstance been different. This pushed back Beautiful Things by Benson Boone down to number four. It's still stable on radio and sales, but you will fall back when you need more streaming where the competition above you is at its strongest. It's only natural at this point. This brings us to our next new song in the Top 10: euphoria by Kendrick Lamar, up to number five. The streaming went up, and so did the sales, even if not by much; getting a whole tracking week would boost it no matter what, in this case, even if it's only a matter of how long it will hold. Then we have our second debut of the week with Family Matters by Drake. This is similar to most of our gains this week: robust streaming and competent sales. It was a running race, and your placement was based on how much you could survive. This takes us to the rest of our Top 10 this week, starting with Espresso by Sabrina Carpenter at number seven, with sales falling back despite manageable streaming considering this week; then to Fortnight by Taylor Swift featuring Post Malone taking a considerable hit down to number eight as the radio can only do so much when streaming and especially sales are taking hits; even if impressive it can only hold this song up for so long. Then we have Lose Control by Teddy Swims at number nine, which is on top of the radio, but even with a minor sales gain, the streaming suffered, causing it to fall a few slots. Then, to close out, we have Too Sweet by Hozier at number ten. It's similar to Fortnight, where the radio is gaining, but the streaming and sales are less substantial than its competition, forcing it back regardless.

Losers + Dropouts

We had two dropouts of note this week. Never Lose Me by Flo Milli reached its 20 weeks and will safely make the year-end list, and Sun To Me by Zach Bryan, which also hit its 20 weeks but unfortunately will not be making the year-end.






Then, I'll get Taylor Swift out of the way first for our losers. Down Bad to 19, Who's Afraid of Little Old Me? to 26, So Long, London to 27, But Daddy I Love Him to 31, My Boy Only Breaks His Favorite Toys to 32, Florida!!! with Florence + the Machine to 33, The Tortured Poets Department to 36, The Smallest Man Who Ever Lived to 47, loml to 49, Fresh Out The Slammer to 51, The Alchemy to 53, I Can Fix Him (No Really I Can) to 55, So High School to 56, imgonnagetyouback to 59, Clara Bow to 61, The Black Dog to 62, The Prophecy to 66, How Did It End? to 70, thanK you aIMee to 79, The Albatross to 85, I Hate It Here to 87, Chloe or Sam or Sophia or Marcus to 93, The Bolter to 94, Peter to 95, and I Look In People's Windows to 98. The only other losses this week were Feel It by d4vd falling to 84, and La Fin Du Show by Les Cowboys Fringants naturally losing to 71 after its debut last week.
We had two dropouts of note this week. Never Lose Me by Flo Milli reached its 20 weeks and will safely make the year-end list, and Sun To Me by Zach Bryan, which also hit its 20 weeks but unfortunately will not be making the year-end.






Then, I'll get Taylor Swift out of the way first for our losers. Down Bad to 19, Who's Afraid of Little Old Me? to 26, So Long, London to 27, But Daddy I Love Him to 31, My Boy Only Breaks His Favorite Toys to 32, Florida!!! with Florence + the Machine to 33, The Tortured Poets Department to 36, The Smallest Man Who Ever Lived to 47, loml to 49, Fresh Out The Slammer to 51, The Alchemy to 53, I Can Fix Him (No Really I Can) to 55, So High School to 56, imgonnagetyouback to 59, Clara Bow to 61, The Black Dog to 62, The Prophecy to 66, How Did It End? to 70, thanK you aIMee to 79, The Albatross to 85, I Hate It Here to 87, Chloe or Sam or Sophia or Marcus to 93, The Bolter to 94, Peter to 95, and I Look In People's Windows to 98. The only other losses this week were Feel It by d4vd falling to 84, and La Fin Du Show by Les Cowboys Fringants naturally losing to 71 after its debut last week.

Gains + Returns

There were only two returns this week. Whatever by Kygo & Ava Max returning at number 99 as it's likely going to fluctuate for at least a little bit longer, I guess, and Cowgirls by Morgan Wallen & ERNEST at 48 as despite making the year-end last year it's strong enough to be getting a second run I think.






Then, for our gains, we had Dua Lipa get a boost for a couple of singles thanks to her album with Illusion up to 42 and Houdini up to 25. Then we had our up-an-comers get gains with Get It Sexyy by Sexyy Red up to 82 and Slow It Down by Benson Boone up to 38. Then we have established minor hits getting a natural rebound thanks to Taylor losing with Bandit by Don Toliver up to 72, Home by Good Neighbours up to 69, act ii: date @ 8 by 4batz & Drake up to 68, and Where It Ends by Bailey Zimmerman up to 63.





We have reasonable new arrivals, so let's start with...
There were only two returns this week. Whatever by Kygo & Ava Max returning at number 99 as it's likely going to fluctuate for at least a little bit longer, I guess, and Cowgirls by Morgan Wallen & ERNEST at 48 as despite making the year-end last year it's strong enough to be getting a second run I think.






Then, for our gains, we had Dua Lipa get a boost for a couple of singles thanks to her album with Illusion up to 42 and Houdini up to 25. Then we had our up-an-comers get gains with Get It Sexyy by Sexyy Red up to 82 and Slow It Down by Benson Boone up to 38. Then we have established minor hits getting a natural rebound thanks to Taylor losing with Bandit by Don Toliver up to 72, Home by Good Neighbours up to 69, act ii: date @ 8 by 4batz & Drake up to 68, and Where It Ends by Bailey Zimmerman up to 63.





We have reasonable new arrivals, so let's start with...
Risk

Gracie Abrams

Risk (2024) [Single]


#100








I've been aware of Gracie Abrams for a bit up to this point. I covered her album last year, and it was pretty good. I also liked her feature on Noah Kahan's song, which ended up charting a few months back. So I was interested to see that she managed to get a track off her recent album to chart, even at the bottom. And this is very good. Gracie Abrams has this whispery tone despite the power she expresses here at times, and even if it took a minute for me to click with me on this track, she sounds excellent here. I also love this instrumental's guitar; it is subtle enough not to take over the track but enough to stand out pleasantly, and I actively enjoy it here. I also love the sentiment of the track where she's going through everything that could go wrong with trying to jump at this guy, but she's willing to take the risk because she feels the reward, if it succeeds, is worth it. It's a highly catchy track, and I'd love to see it catch on and grow from here because it's a solid song. I think it's worth checking out.
#100








I've been aware of Gracie Abrams for a bit up to this point. I covered her album last year, and it was pretty good. I also liked her feature on Noah Kahan's song, which ended up charting a few months back. So I was interested to see that she managed to get a track off her recent album to chart, even at the bottom. And this is very good. Gracie Abrams has this whispery tone despite the power she expresses here at times, and even if it took a minute for me to click with me on this track, she sounds excellent here. I also love this instrumental's guitar; it is subtle enough not to take over the track but enough to stand out pleasantly, and I actively enjoy it here. I also love the sentiment of the track where she's going through everything that could go wrong with trying to jump at this guy, but she's willing to take the risk because she feels the reward, if it succeeds, is worth it. It's a highly catchy track, and I'd love to see it catch on and grow from here because it's a solid song. I think it's worth checking out.
Outskirts

Sam Hunt

Outskirts (2023) [Single]


#96








It's wild to think I've only ever covered Sam Hunt one other time in this series, and that was two and a half years ago. I feel like I only started this series right at the end of his being relevant in the country scene before he fell off to that minor status, even if he'll occasionally still have something from time to time. It's also telling that this single from over a year ago is only charting now, but that means there's some radio to it, which finally gave it the leeway to chart. This is an odd case because it's looking back at what could've been. He was so close to settling down, and all of these things could've and likely would've happened, but instead, he chose city life, which cost him. It's funny cause he puts himself at blame here almost entirely, and how he wishes he was smart enough not to stray away from what could've been a better life. It's nice, and Sam Hunt sounds authentic here so I can give him a pass here. It's a lovely song, and Sam Hunt could have some redemption after years of people pulling out the pitchforks, even at his name. It's nice. I like it.
#96








It's wild to think I've only ever covered Sam Hunt one other time in this series, and that was two and a half years ago. I feel like I only started this series right at the end of his being relevant in the country scene before he fell off to that minor status, even if he'll occasionally still have something from time to time. It's also telling that this single from over a year ago is only charting now, but that means there's some radio to it, which finally gave it the leeway to chart. This is an odd case because it's looking back at what could've been. He was so close to settling down, and all of these things could've and likely would've happened, but instead, he chose city life, which cost him. It's funny cause he puts himself at blame here almost entirely, and how he wishes he was smart enough not to stray away from what could've been a better life. It's nice, and Sam Hunt sounds authentic here so I can give him a pass here. It's a lovely song, and Sam Hunt could have some redemption after years of people pulling out the pitchforks, even at his name. It's nice. I like it.
Eyes Closed

Imagine Dragons

Eyes Closed (2024) [Single]


#89








This song has had such an interesting existence up to this point. Originally promoted via Fortnite Festival, of all things, and then a week or so back, it got a J Balvin remix, which I'm sure was part of why it's charted now. I'll be honest, though; I more often than not enjoy when Imagine Dragons gets "darker," so to speak. The production has a more haunting vibe, and Dan Reynolds gives himself more warble at specific points of the track. This works for me to an extent. The chorus breakdown has a solid impact, and the bass works for me. The song isn't deep or anything; most Imagine Dragons songs aren't nowadays, but it does what it's trying to do better than I'm sure most people will say, and for that, I'll come out and throw them a bone. This is good. I wouldn't mind it sticking around.
#89








This song has had such an interesting existence up to this point. Originally promoted via Fortnite Festival, of all things, and then a week or so back, it got a J Balvin remix, which I'm sure was part of why it's charted now. I'll be honest, though; I more often than not enjoy when Imagine Dragons gets "darker," so to speak. The production has a more haunting vibe, and Dan Reynolds gives himself more warble at specific points of the track. This works for me to an extent. The chorus breakdown has a solid impact, and the bass works for me. The song isn't deep or anything; most Imagine Dragons songs aren't nowadays, but it does what it's trying to do better than I'm sure most people will say, and for that, I'll come out and throw them a bone. This is good. I wouldn't mind it sticking around.
Radical Optimism

Dua Lipa

Radical Optimism (2024)


These Walls #65








So, as expected, the new Dua Lipa album did not leave an album bomb simply because Dua has never been an album artist, mainly a singles artist. So, to my surprise, we got what is currently a deep cut onto the chart this week. So far, I've been on and off when it comes to the singles of this album. Houdini & Illusion being good and Training Season being okay, but not one of my favorites. This one's nice. I think Dua is going too strong for how light this production is, but other than that, I like this track's vibe. The production gives a lovely, airy vibe, and while again Dua comes off a little too strong on it at times, she still sounds acceptable as a whole. The song discusses a failing relationship and how they'd say to end it if the walls could talk. It's a lovely song, and even if I wouldn't call it the best track I've heard from this album, it's still good enough, so I'll take it.
These Walls #65








So, as expected, the new Dua Lipa album did not leave an album bomb simply because Dua has never been an album artist, mainly a singles artist. So, to my surprise, we got what is currently a deep cut onto the chart this week. So far, I've been on and off when it comes to the singles of this album. Houdini & Illusion being good and Training Season being okay, but not one of my favorites. This one's nice. I think Dua is going too strong for how light this production is, but other than that, I like this track's vibe. The production gives a lovely, airy vibe, and while again Dua comes off a little too strong on it at times, she still sounds acceptable as a whole. The song discusses a failing relationship and how they'd say to end it if the walls could talk. It's a lovely song, and even if I wouldn't call it the best track I've heard from this album, it's still good enough, so I'll take it.
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Miles on It

Kane Brown & Marshmello

Miles on It (2024) [Single]


#45








Kane Brown's career trajectory continues to confuse me to no end. Somehow, we've reached a second collab with Marshmello after 'One Thing Right' mainly received negative reviews. I still like that song, but the facts speak for themselves. This song is funny, too, because it starts as a song about running with a new truck, but then it just switches up into some more explicit shit out of nowhere. I'm amused by it all. I think Kane Brown is a little saturated on this track, but Marshmello does give this a nice groove, so it's not all bad. It's not exceptional, but it's fine enough, and I can see it being a tolerable summer jam if it sticks around.
#45








Kane Brown's career trajectory continues to confuse me to no end. Somehow, we've reached a second collab with Marshmello after 'One Thing Right' mainly received negative reviews. I still like that song, but the facts speak for themselves. This song is funny, too, because it starts as a song about running with a new truck, but then it just switches up into some more explicit shit out of nowhere. I'm amused by it all. I think Kane Brown is a little saturated on this track, but Marshmello does give this a nice groove, so it's not all bad. It's not exceptional, but it's fine enough, and I can see it being a tolerable summer jam if it sticks around.
meet the grahams

Kendrick Lamar

meet the grahams (2024) [Single]


#16








And now, we've reached the meat and potatoes of this rivalry, and we start with what is likely the most grim of these tracks. This is a six-and-a-half-minute death sentence for Drake. Four verses. One for Adonis, one for Drake's parents, one for a hidden daughter that people are still figuring out whether it's true, and finally one for Drake himself. The first verse is Kendrick giving Adonis advice to not become like his father and how he might not understand it now, but he will. The second is Kendrick telling Drake's parents how they've raised a horrible person and how they should be ashamed of themselves. The third is for the apparent daughter Drake is hiding, how he apologizes to her for what his father did to her, how she should have a father in her life, and how he does what he does to try and right those wrongs. Then, finally, he gets to Drake. He starts by saying that it wasn't supposed to come to this, and how it was supposed to be an exhibition in the rap game, but then Drake decided to make it personal, so now he feels like he has no other choice, and then he goes through everything he can. There's so much to talk about, but honestly, I don't think I have to. One listens, and you understand everything because it's straightforward and in your face. All of it over this eerie production and Kendrick's haunting flow. It's not a song that's meant to be returned to. You listen, and you understand everything, and there's no reason to go back to it. It's fantastic, and there's a reason it's gotten the most acclaim out of everything we've gotten out of this.
#16








And now, we've reached the meat and potatoes of this rivalry, and we start with what is likely the most grim of these tracks. This is a six-and-a-half-minute death sentence for Drake. Four verses. One for Adonis, one for Drake's parents, one for a hidden daughter that people are still figuring out whether it's true, and finally one for Drake himself. The first verse is Kendrick giving Adonis advice to not become like his father and how he might not understand it now, but he will. The second is Kendrick telling Drake's parents how they've raised a horrible person and how they should be ashamed of themselves. The third is for the apparent daughter Drake is hiding, how he apologizes to her for what his father did to her, how she should have a father in her life, and how he does what he does to try and right those wrongs. Then, finally, he gets to Drake. He starts by saying that it wasn't supposed to come to this, and how it was supposed to be an exhibition in the rap game, but then Drake decided to make it personal, so now he feels like he has no other choice, and then he goes through everything he can. There's so much to talk about, but honestly, I don't think I have to. One listens, and you understand everything because it's straightforward and in your face. All of it over this eerie production and Kendrick's haunting flow. It's not a song that's meant to be returned to. You listen, and you understand everything, and there's no reason to go back to it. It's fantastic, and there's a reason it's gotten the most acclaim out of everything we've gotten out of this.
Family Matters

Drake

Family Matters (2024) [Single]


#6






Now, we get to the track that caused 'meet the grahams' and 'Not Like Us' to be released. Drake went off the deep end to try and take out Kendrick. To be fair to Drake this is pretty good. Seven and a half minutes with two different beat switches throughout, and Drake does try to be serious about the situation, which is likely why he threw out what he did while still having fun with it in the first and final parts of the track. He also throws shots at The Weeknd, Metro Boomin, and A$AP Rocky, which makes it seem a little misfocused, but I can excuse it mainly cause he's mostly on point. I could go into the points that Drake goes into, but it's a little more scattered than what Kendrick would do, so I can't go into it like that. He does try to throw shots that Kendrick initially threw at him on 'euphoria' and then add onto it from there, including abuse allegations, which have it's implications if true. Still, then again, Kendrick would throw much worse stuff at Drake, so how effective is it in the whole battle? As a track, this is good, as I like all the beats, and Drake goes off to a considerable degree. As a diss though? Well, I get why people said Kendrick won after the one-two punch he'd release after this came out.





And finally...
#6






Now, we get to the track that caused 'meet the grahams' and 'Not Like Us' to be released. Drake went off the deep end to try and take out Kendrick. To be fair to Drake this is pretty good. Seven and a half minutes with two different beat switches throughout, and Drake does try to be serious about the situation, which is likely why he threw out what he did while still having fun with it in the first and final parts of the track. He also throws shots at The Weeknd, Metro Boomin, and A$AP Rocky, which makes it seem a little misfocused, but I can excuse it mainly cause he's mostly on point. I could go into the points that Drake goes into, but it's a little more scattered than what Kendrick would do, so I can't go into it like that. He does try to throw shots that Kendrick initially threw at him on 'euphoria' and then add onto it from there, including abuse allegations, which have it's implications if true. Still, then again, Kendrick would throw much worse stuff at Drake, so how effective is it in the whole battle? As a track, this is good, as I like all the beats, and Drake goes off to a considerable degree. As a diss though? Well, I get why people said Kendrick won after the one-two punch he'd release after this came out.





And finally...
Not Like Us

Kendrick Lamar

Not Like Us (2024) [Single]


#2








I can tell that this was Kendrick's victory lap, and he decided to prove Drake wrong in various categories. Got Mustard on the beat and made one of the catchiest diss tracks I've heard in a long while. He did not have to release this as everything he says here is covered on 'meet the grahams', but he did because it made a statement. Drake said Kendrick couldn't play the club game and make a catchy hook, so he made a track where you could point to multiple notable lines that could get stuck in your head at various points of the track. It's great, though. You could question the morality of having so many fucked up allegations put on blast onto a track that has already proven that it could be a summer jam that's going to be blasted from speakers for the next few months, but when most of them are proven and justified, and I can get it. Kendrick lightened things up for the audience after dropping one of the darkest tracks of the decade, and he did it masterfully. I look forward to seeing how this song's staying power will last.
#2








I can tell that this was Kendrick's victory lap, and he decided to prove Drake wrong in various categories. Got Mustard on the beat and made one of the catchiest diss tracks I've heard in a long while. He did not have to release this as everything he says here is covered on 'meet the grahams', but he did because it made a statement. Drake said Kendrick couldn't play the club game and make a catchy hook, so he made a track where you could point to multiple notable lines that could get stuck in your head at various points of the track. It's great, though. You could question the morality of having so many fucked up allegations put on blast onto a track that has already proven that it could be a summer jam that's going to be blasted from speakers for the next few months, but when most of them are proven and justified, and I can get it. Kendrick lightened things up for the audience after dropping one of the darkest tracks of the decade, and he did it masterfully. I look forward to seeing how this song's staying power will last.

Conclusion

That's our week, and it was something else. Best of the week will be a tie with meet the grahams & Not Like Us by Kendrick Lamar both getting it for very different reasons, and Risk by Gracie Abrams will be getting the honorable mention. It deserves the shoutout.






Next week, we'll see what happens cause it can go multiple ways, but until then, I've been Alecks, and I'll see you all in the next edition of Canadian Breakdown!! Buh bye!!!
That's our week, and it was something else. Best of the week will be a tie with meet the grahams & Not Like Us by Kendrick Lamar both getting it for very different reasons, and Risk by Gracie Abrams will be getting the honorable mention. It deserves the shoutout.






Next week, we'll see what happens cause it can go multiple ways, but until then, I've been Alecks, and I'll see you all in the next edition of Canadian Breakdown!! Buh bye!!!
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