All episodes
Ticketmaster Under the Magnifying Glass
Jazz’s Year of Reckoning With Tradition
The Year of Bad Bunny
Year-End Listener Mailbag: Your 2022 Questions, Part 2
Year-End Listener Mailbag: Your 2022 Questions, Part 1
2022: The Songs of the Year
The Best Albums of 2022? Let’s Discuss.
2022: The Year in Atlanta Rap
Separating Big Business and Bad Behavior in ‘Tár’
50 Years of Stevie Wonder’s ‘Talking Book’
Taylor Swift’s ‘Midnights’: Listener Mailbag
Taylor Swift’s ‘Midnights’: Let’s Discuss
Remembering Loretta Lynn
The Young Women Who Make TikTok Weep
The Sudden Rise of Zach Bryan
Popcast Live! The New Faces of 2022
The Perseverance of Megan Thee Stallion
What Is a ‘Fake’ Artist in 2022?
Rage Against the Machine, Roaring On
Beyoncé’s ‘Renaissance’: The Speed Round
EA Renaissance in American Hardcore Music
The Robust Return of Beyoncé
Lizzo’s Complicated, Joyful Pop
‘Elvis’ vs. Elvis
What’s Next for Jack Harlow?
Where Is Jazz Most at Home?
Drake Hits the Nightclub
Digging Into Bob Dylan and Lou Reed’s Archives
Mailbag Madness: Adele, Jack Harlow, the State of Rock’s Return
Can Harry Styles’s Music Catch Up to His Fame?
Kendrick Lamar’s Anxiety Era
How Gossip Is Remaking Online Hip-Hop Media
Why We Collect
A Decade of Drill Rap
Machine Gun Kelly’s Pop-Punk Pivot
Will Smith, Before the Slap
The 2022 Grammys: Let’s Discuss
Charli XCX’s Ever-Evolving Pop
The Many Worlds of Rosalía
The Sounds of Ukrainian Pop
Reggaeton’s Global Expansion and Wide-Open Future
The Enigma of Big Thief
Remembering Betty Davis, a Futuristic Funk Force
Mitski, In and Out of the Spotlight
Spotify’s Ongoing Joe Rogan Problem
Remembering Greg Tate, Critic and Catalyst
A Killing Jolts Sweden’s Rap Scene
What’s Left for the Weeknd to Conquer?
2021 in Jazz: Intimacy and Conversation
Bonus Episode: Lana Del Rey’s American Fever Dreams
What We Forgot to Talk About in 2021
TikTok’s Music Critics Reflect on 2021
The Best Albums of 2021? Let’s Discuss.
Remembering Stephen Sondheim, Musical Theater Visionary
Adele Returns, From Beyond Space and Time
The Emotional and Financial Business of Taylor Swift’s ‘All Too Well’
Remembering the Velvet Underground Through the Mirror of Film
How the Mosh Pit and ‘Raging’ Came to Hip-Hop
Popcast Mailbag! Halsey, Nicki, TikTok and, of Course, Taylor
glaive and Hyperpop’s Breakthrough Moment
The Music Lost to Coronavirus, Part 3
The Reporters Who Covered R. Kelly on His Trial and Conviction
Bringing Aaliyah Into the Streaming Era
Kacey Musgraves, Country Music Chameleon
Is Drake Tired of Drake?
Miss the Old Kanye? Try the New Kanye.
Lorde Steals Her Sunshine Back
The Style of Kanye West’s ‘Donda’ Era
The Lox, Triumphant at Verzuz
Billie Eilish’s New Pop Perspective
Lil Nas X in the Pop Stratosphere
When Pop Music Trolls Grow Up
The (Not So?) Tentative Return of Live Music
Britney Spears Takes On Her Conservatorship
In the Weeds of ‘In the Heights’
Olivia Rodrigo’s ‘Sour’ Breakthrough
J. Cole, Triumphant (at His Own Pace)
The Beatific Re-emergence of Beverly Glenn-Copeland
Where Is Country Music Making Room for Women?
The Sing-Rap Generation Branches Out
The Telling of DMX’s Life Story
Taylor, Billie, Demi, Blackpink: The Pop Star Documentary Boom
The Grammys, Improbably, Made It Work
TikTok and the Pop Music Rough Draft
New Jazz That Agitates for Change
Remembering Sophie, Architect of Future Pop
The Music Lost to Coronavirus, Part 2
Olivia Rodrigo and ‘Drivers License’ Aren’t Going Anywhere
Inside the Bull Market for Songwriting Rights
How Zev Love X Became MF Doom
Taylor Swift’s ‘Evermore’: Let’s Discuss
The Best Albums of 2020? Let’s Discuss.
Saweetie, City Girls and the Female Rapper Renaissance
Who Will Control Britney Spears’s Future?
Ariana Grande, a Pop Star for the Post-Pop Star Age
The Many Mariah Careys
Luke Combs’s Country Stardom and the Remaking of the Bro
Will Pop Music of the Future Rely on Actual Musicians, or Avatars?
Is TikTok a Music Industry Friend or Troll?
Lady Gaga and Katy Perry, Preserving Pop’s Old Guard