It’s increasingly clear that very little has changed since then.
It was all Post Malone, and in retrospect it served as the first post-“White Iverson” warning that the music industry had a behemoth on its hands. “Wow.,” it would appear, is a successor to “Congratulations,” a drone-y collaboration with Quavo that had barely any of the Migos in it. Regardless of the reason, the simple fact remains that Post Malone is more or less bulletproof right now, presumably months away from any sort of official new album release. House money, as always, is on race: America loves a white rapper, though that’s likely not the full takeaway here. It’s tough to say with any certainty what’s behind Post’s rabid popularity. Last week, the song grew by 1,700 plays - a strong number that’s only likely to rise, given to radio’s susceptibility to momentum narratives (and its overwhelming love for Post Malone). According to Nielsen BDS, which tracks radio play, the song is getting bigger by the minute. What’s more, “Wow.” is picking up steam where things really matter: radio.
The only song being streamed more on the platform is - you guessed it - “Sunflower,” the other recent Post Malone song. As of this writing, it’s the second most-played song in America on Spotify, handily outpacing “Going Bad,” the recent high profile collaboration between Meek Mill and Drake. What it does have is more Post, right up front and center, over a West Coast-indebted elastic beat. “Wow.” is, in every way, a less charming song than “Sunflower.” It doesn’t have the falsetto acrobatics of Swae Lee, or the association with the charming Miles Morales.
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