By Nell Geraets
If you were, well, alive between May and September this year, chances are you couldn’t escape Sabrina Carpenter’s Espresso or Billie Eilish’s Birds of a Feather. Both songs dominated airwaves and TikTok feeds so heavily that they were deemed official Songs of the Summer by Billboard.
But while Americans were blasting Carpenter during sunny backyard barbecues, Australians were shivering along to her in the depths of winter.
From Kendrick Lamar to Chappell Roan, there were many contenders for the Song of the Summer in the US this year.Credit: Compiled by Marija Ercegovac.
In today’s social media age it’s no wonder this American cultural phenomenon made its way Down Under. But what about Australia’s own summer music traditions? Are we missing out?
What is a Song of the Summer?
While the concept can be traced back to the 19th century, the official contest didn’t begin until Billboard launched its Songs of the Summer chart in 2010.
For a song to make it on the chart, Nic Kelly, host of radio show The Hot Hits, says it must be up-tempo, “hooky” and broadly appealing. The preferred genre, however, has diversified over time.
“Dance has traditionally lent itself to the Song of the Summer as it matches the summer lifestyle, particularly in metropolitan areas of festivals, clubs and beaches. But recently country like I Had Some Help by Post Malone and Morgan Wallen, or A Bar Song by Shaboozey, is also part of the sound. But it’s also the pristine pop of Sabrina Carpenter,” Kelly says.
Originally based only on sales and radio play, the chart took streaming data into consideration in 2012, and YouTube streams in 2013.
There’s often disagreement over Billboard’s chart. For example, this year’s list placed Chappell Roan’s Good Luck, Babe! lower at No.11, a decision some found puzzling given her skyrocketing popularity this year.
Ultimately, it’s a marketing tool created by the industry, notes Dr Liz Giuffre, a senior lecturer in communications at the University of Technology Sydney. “These songs are clearly marketed to be a Song of Summer – to get certain artists to listeners and to monetise certain songs … The more charts there are, the more songs can reach No.1, or the more charts one song can top.”
Does Australia do Songs of the Summer?
Though certain songs cut through each summer, Giuffre says there’s no official equivalent Down Under.
“In the States it’s very strategic – things like eligibility, peak interest and the Grammys are considered. Whereas in Australia we’ve just had our awards season. The ARIAs have wrapped up. Christmas and New Year’s, which is our summer, is a bit of a downtime for the music industry in terms of new releases.”
Further, given the US’ global reach, many Australian A-listers like Troye Sivan release their music through American-based labels and therefore prioritise the US seasons.
“If you have the means and desire to be part of that chart or sales chain then you’re absolutely going to think about how to work it,” Giuffre says. “But a local indie label may not think about it as much.”
The closest Aussie equivalent is Triple J’s Hottest 100, a countdown of our favourite songs from the year held every January.
“The countdown is synonymous with summer, with many young people hosting parties for it and celebrating music with their mates,” says Ash McGregor, host of Triple J’s Home & Hosed.
However, the countdown reflects Australian listeners’ favourite songs from the entire year, not just summer releases. The top contenders for this year’s countdown, which takes place on Saturday, include Roan’s Good Luck, Babe! (released in April) and Sydney band Royel Otis’ Like a Version cover of Murder on the Dancefloor (which went viral last January).
“It’s voted on by listeners, which gives the competition a unique cultural legitimacy and connection to the Australian zeitgeist,” McGregor says. “The No.1 track reflects what resonated most during the year.”
Unlike the US’ Songs of the Summer, which tend to be by major artists or labels, Giuffre says the Hottest 100 is usually more diverse, allowing greater space for a range of genres and local musicians.
“I love when novelty acts get up that nobody expected,” she says. “For example, Back Door Man [by comedy character Pauline Pantsdown], which played on Triple J for about a week.”
Does it still matter?
The popularity of a song can no longer be determined simply by its radio play and physical sales. McGregor says social media, streaming platforms and hyper-specific algorithms have fragmented the cultural landscape, making it more challenging for one song to resonate on such a broad scale.
Kelly agrees, adding that cultural moments often trump seasonality now, too: “Carpenter’s Espresso came out the night before she played at Coachella, so it was something to tie fans into that moment”.
If a song is catchy, it’ll find its audience – summer or not.
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