end

“Touchdown Trent Mosley.”

It’s understandable that the P.A. announcer at St. John Bosco High on Friday night misspoke after seeing Mosley’s brother, Grant, catch a 49-yard touchdown pass for Santa Margarita and run like Trent in a showdown game between the No. 1 Eagles and No. 2 Braves.

“Pretty good,” Trent, USC’s star freshman receiver, said on the sideline when asked about Grant’s touchdown. “He’s healthy.”

As if unbeaten Santa Margarita (8-0) didn’t have enough weapons, the return of Grant Mosley after two seasons of dealing with a shoulder injury means it’s time for opponents to start feeling very uncomfortable.

“I’m back,” Grant announced afterward.

Santa Margarita won its 15th consecutive game in defeating St. John Bosco 21-7.

“He looked great,” coach Carson Palmer said.

“We knew when as he got healthier, he was going to be a threat,” St. john Bosco coach Jason Negro said. “He’s a dynamic player like his brother.”

Santa Margarita High sophomore Rayshawn Brandon returns an interception 51 yards for a touchdown Friday night against St. John Bosco.

(Craig Weston)

The touchdown pass happened during a trick play, in which quarterback Fletch Palmer handed the ball to Adrian Petero, who lateraled the ball back to Palmer, who threw a perfect spiral down the middle to Mosley. That play was Santa Margarita royalty at its best — a Mosley catching a touchdown pass from a Palmer, the son of the head coach.

It gave Santa Margarita a 21-7 lead in the third quarter.

“What a pass,” Carson Palmer said. “What execution. What protection.”

Santa Margarita came up with two interceptions in the first half leading to two touchdowns and a 14-7 halftime lead.

After St. John Bosco (6-2) had taken a 7-0 lead on a 28-yard touchdown catch by Kuika Moaalii, sophomore Rayshawn Brandon picked off a pass by quarterback Koa Malau’ulu, who was rolling to his left under pressure, and returned it 51 yards for a touchdown. Then Ca’ron Williams came up with another interception deep in Braves territory, leading to a one-yard touchdown run by Petero.

At the end of the half, Jaion Smith of Santa Margarita deflected a possible third-down touchdown pass in the end zone and Jake Martin followed by blocking a St. John Bosco field-goal attempt.

If anything was learned about Santa Margarita last season in its first year under Palmer, it’s that the Eagles have one of the best coaching staffs in the state and keep improving each week. By the end of the 2025 season, Santa Margarita was 35 points better than its closest opponent.

Could a similar situation be occurring now?

“I just feel we have the best staff in the nation,” Grant Mosley said. “So every week, we’re just developing. And we’re still not at our highest state. Once we get to the playoffs, that’s when we’ll be at our best.”

With Trinity League wins over St. John Bosco and Mater Dei, the Eagles have moved into the driver’s seat to win the league title.

Before the game, Carson Palmer was walking around the field feeling excited and confident.

“We’re ready,” he said.

He wasn’t kidding.

As for his brother getting initial credit for the touchdown, Grant said, “Oh well.”

“I’m still not even at my full state yet,” Grant said.

That’s scary coming from a brother with the Mosley genes.

When No. 21 UCLA football faces off against No. 13 Oregon on Saturday afternoon at Autzen Stadium, defensive coordinator Colin Hitschler wants the Bruins to toe the line between playing with emotion and playing emotional.

“Big-time environments tend to bring a little extra out of your guys, and when you do a little bit extra, you tend to do too much,” Hitschler said. “Football is a hard game, but you can’t make it harder than it already is. Sometimes when you press, you tend to give up big mistakes. In the Purdue game, looking back, we definitely pressed a little bit too hard and got a little emotional. … Got to play with emotions, but we can’t play emotional. We’re in a good spot of growing and understanding that. But this is a new atmosphere, a new environment.”

Aside from the national rankings, the long history between these former Pac-12 rivals and both teams’ chances to contend for the College Football Playoff, the memory of Oregon knocking James Madison out of the Dukes’ first playoff appearance last December remains fresh for many of their players and assistants who followed coach Bob Chesney to the Bruins.

And the 51 points and 514 total yards the Ducks garnered against Hitschler’s defense left a chip on his shoulder.

UCLA safety Malik Hartford trips Purdue receiver Asaad Waseem at the Rose Bowl on Sept. 19.

(Ronaldo Bolaños/Los Angeles Times)

“We’re going to continue to be aggressive and continue to find a way to create opportunities for our offense to get the ball in a positive field position,” Hitschler said. “But we got to be on top of our game because they will make you pay no matter who it is at quarterback. They are going to make you pay for your mistakes, and they’re going to find a way to create the explosives they always have, and we got to limit them.”

Although Oregon quarterback Dante Moore — who tallied 313 passing yards and five total touchdowns against Hitschler‘s defense in the playoff — was ruled out for Saturday because of a head injury suffered against USC on Sep. 26, the Ducks’ Dylan Raiola is not a typical backup.

He threw for 4,819 yards and 31 touchdowns in two years as Nebraska’s starter, then went 11 for 11 with three touchdown passes in his Ducks debut before stepping up with 289 yards and two touchdown passes after replacing Moore in a 41-27 win over USC at the Coliseum.

“When you watch him come in and complete that game and do what he did, there’s not a giant drop-off between the two of those guys. They’re both really, really good,” Chesney said. “Dylan obviously had a chance at the end of that USC game to really put himself in position to gain confidence in his teammates and teammates to gain confidence in him, and I thought he was on time. I thought he was accurate. He let those guys compete for footballs, and I’m sure there’s a lot of buy-in in that program right now in him.”

While Raiola is a proven passer, his impact is amplified by the weapons around him. In the backfield, Hitschler touted Dierre Hill Jr. and Jordon Davidson as the best running back duo in the country. While the Bruins have gone toe-to-toe with formidable tailbacks thus far, they have yet to face a one-two punch like Hill and Davidson, which could pose problems for an otherwise staunch run defense.

Raiola’s arsenal includes potent pass catchers, particularly the Ducks’ top two wideouts, Dakorien Moore and Evan Stewart, who have combined for 512 yards and seven touchdowns.

Chesney tabbed Stewart as a matchup “nightmare,” adding that Oregon is going to get him the ball in a multitude of ways by utilizing him in the slot and creating mismatches for Hitschler’s defense. Chesney also said that Dakorien Moore’s extreme speed allows him to take the top off the defense, and that the Ducks will not be afraid to take shots downfield, testing the Bruins’ secondary.

And if the Bruins let emotions get the best of them, like they did against Purdue — when quarterback Ryan Browne threw for 378 yards and two touchdowns — then it may be a long day for Hitschler’s secondary.

The Bruins’ biggest headache could be 6-foot-5 tight end Jamari Johnson, who caught seven passes for 159 yards against USC, particularly with all three of UCLA’s starting cornerbacks shorter than 6 feet.

“The tight end we faced last year, and he’s special. They do a really good job of getting into different personnel packages, and then if you go to a bigger group, they’re going to spread you out. They’re going to try to find a matchup with that tight end,” Chesney said. “He can catch everything in his general vicinity; he’s absolutely phenomenal.”

With an explosive Ducks offense set to perform in the friendly confines of Autzen Stadium, the Bruins trusting the playbook may be most important.

“Football is football no matter where we are,” fifth-year offensive lineman Hall Schmidt said. “We don’t have a magic potion for Oregon, but we definitely have ourselves, and we have the tools that we’re going to use.”

ATLANTA — As the Dodgers mull potential lineup changes for Game 3 of the National League Division Series, manager Dave Roberts said he is “open” to moving Shohei Ohtani lower in the batting order.

In his three seasons with the Dodgers, Ohtani has batted first or second in every game he has started. However, as he has admitted he is trying to “manage” in the aftermath of knee and arm injuries, and as Roberts has acknowledged Ohtani is “not 100%,” the lack of success could compel the manager to replace him at the top of the lineup with a more productive hitter at some point.

“I would,” Roberts said Monday. “I would. I think it’s something that, you know, I think moving him from 1 to 2 — but going further than that? I’m open to it.

“And it’s something that if I do, I would obviously have the conversation with Shohei to explain why. And at the end of the day every conversation I’ve had with him is whatever’s best for the team, he’s all-in on. So I know that undoubtedly.”

The Dodgers are batting .215 through the first two games of the NLDS, with the Atlanta Braves scheduled to pitch left-handed ace Chris Sale in Game 3 on Tuesday. If the Dodgers lose, they would need to win back-to-back elimination games to advance beyond this series.

Roberts said the lineup changes he would consider include starting Kiké Hernández and Miguel Rojas, both of whom hit well against left-handers. That could mean infielders Max Muncy (0 for 7 against Sale, with five strikeouts) and Tommy Edman (0 for 11 against Sale) might not start.

Center fielder Andy Pages, who batted so poorly last October he was benched for the final three games of the World Series, is hitless in seven at-bats in this series, with four strikeouts.

“I’m gonna continue to give Andy leash,” Roberts said. “I believe in him. I feel that for us to win the World Series this year, we’re gonna need him to be an active part of our team.

Roberts said he did not envision benching catcher Will Smith, who is 0 for 8 in the series. The Dodgers’ backup catcher, Hunter Feduccia, is a career .205 hitter with no postseason experience.

But, even with the Dodgers’ star-studded lineup, the spotlight shines brightest on Ohtani.

Ohtani has not homered since Aug. 18. He hit .157 between then and the end of the regular season, striking out in 41% of his at-bats. In this series, he has two hits and two strikeouts in eight at-bats, and his inability to refrain from swinging at pitches outside the strike zone has become a glaring weakness.

“He’s not 100%,” Roberts said. “But, at the end of the day, he can still do a better job of staying in the strike zone.”

Ohtani hasn’t given the Braves a reason to challenge him within the strike zone.

“Everything orbits around Shohei, in the sense of his talent,” Roberts said. “And the Braves are going to enter with caution. And, so, knowing that, they’re going to continue to expand as long as we keep giving that to them. So until we show some discipline, they’re going to continue to kind of use that playbook.”

The knives were already out. The boos were already ringing.

At the end of an already brutal week at USC, during which the nation was ready to dance on the graves of the Trojans and their coach, it seemed for much of Saturday that any last shreds of faith in coach Lincoln Riley might melt away in the beating Southern California sun. Not only had the aftermath of their Oregon loss gone as poorly as possible, but now the Trojans were tripping over themselves again, trailing Washington, a middling Big Ten team down to its fourth-string running back, and a chant began to rise above the fray, from the USC student section.

“FIRE LINCOLN!” they roared.

That refrain had only been heard in hushed tones until this past week. But Saturday, before the No. 18 Trojans pulled away with a 25-21 victory, it felt as if their embattled coach stood at the edge of a certain Rubicon, one he may not return from with one wrong step.

That tension still hung thick over the Coliseum until late in the third quarter, when linebacker Elijah Newby came roaring around the edge toward Washington quarterback Demond Williams Jr. He swatted the ball out of his right hand, and defensive tackle Jahkeem Stewart scooped it up. He sprinted 48 yards on a sore foot for a go-ahead score — and joked afterward that he hit 22 mph on his scoring scamper.

Just two minutes earlier, the Trojans had been down 21-10, and it wasn’t hard to envision how their season could continue spiraling from there. One mistake, one missed opportunity, one penalty after another brought them to this point, despite the fact that the Huskies actually struggled to move the ball on USC’s defense throughout.

It looked, for most of Saturday, like that unit took a step forward after the past two weeks, when both Rutgers and Oregon marched on them. Through one half, USC held Washington to just 44 passing yards. Through three quarters, Washington was averaging fewer than six yards per play.

“The bounce back was huge for us,” freshman defensive end Luke Wafle said.

Washington quarterback Demond Williams Jr., left, tries to fend off USC linebacker Elijah Newby during the second quarter Saturday at the Coliseum.

(Ronaldo Bolaños / Los Angeles Times)

USC’s defense nearly came apart in the fourth quarter, though, at the worst possible time. Washington hadn’t converted a single third down until its final drive, when Williams converted a third-and-11 pass, then hit a fourth-and-two bomb for 43 yards. The Huskies got as close as the USC 12-yard line, before the Trojans finally shut the door.

“We had to dig deep for this one,” Riley said. “Especially as sloppy as we played.”

USC (5-1, 2-1) did try something a little different on defense, with defensive coordinator Gary Patterson calling the game from the press box instead of the sideline. Riley said the decision was akin to “trying to just move the chess pieces to get everyone in the right position.” He also added that Patterson’s former staff at Texas Christian had a lot more familiarity with Patterson’s scheme, and thus he handled things differently with that staff.

But the communication issues of past weeks appeared less of a problem on defense. The real concerns Saturday actually came on offense, where the Trojans uncharacteristically sputtered. Jayden Maiava was 21 of 34 for 245 yards, with a touchdown and an interception.

Still, judging by the box score alone, you’d be hard-pressed to understand how USC could have nearly squandered a game in which they piled up far more yards (360 to 319) and had the ball for far longer (34:58 to 25:02) and dominated on third down.

“We’re gonna fix it,” Stewart said. “No team comes out perfect. It takes time.”

After a disappointing few weeks on the defensive end, USC actually opened the game by forcing Washington (3-2, 0-2) into back-to-back three and outs.

But the Trojans managed a measly three points from those stops. Their first drive, stalled in the red zone. The next one backed up USC to the one-yard line after wideout Terrell Anderson muffed a punt.

Washington took advantage of the field position on its next drive. Faced with a fourth and seven in USC territory, Williams slipped past pressure and scampered to a first down. It was the first sign of life from the Huskies’ offense, which found its way into the end zone four plays later.

Then, USC gave the ball right back. On the run, Maiava launched a pass off his back foot under heavy pressure. It fell well short of its target and was picked off.

USC’s defense held strong, forcing a third three and out in the Huskies’ first four drives. And its offense finally held up its end of the bargain, with Waymond Jordan punching in an eight-yard touchdown.

USC quarterback Jayden Maiava scrambles during the first half against Washington at the Coliseum on Saturday.

(Ronaldo Bolaños / Los Angeles Times)

Washington continued to struggle moving the ball, but mistakes from USC helped its cause. An illegal formation penalty wiped away a deep Trojan touchdown pass to Kayden Dixon-Wyatt. Then on the ensuing possession, Wafle grabbed Williams’ face mask as he pulled him down for a sack.

USC had more penalty yards (50) than Washington had passing yards (44) in the first half. And those penalties gave the Huskies life at the end of the half, as they drove the length of the field and scored again.

“We felt like we were outplaying them,” Riley said. “We just couldn’t get out of our own way a little bit. That’s probably going to be a defining thing for this team going forward, how much we can do that.”

With a chance to regroup, the Trojans tripped over themselves out of the half too. An unsportsmanlike penalty killed their opening drive. Then, Washington tight end Decker DeGraaf caught a pass and took off down the sideline, running through two feeble-arm tackles on the way to an inexplicable 42-yard touchdown.

After that, the Riley chants rang out from the student section. But the Trojans’ offense mounted a 13-play scoring drive in response. Tanook Hines tore the ball away from a Washington defender in the end zone.

USC coach Lincoln Riley walks back to the sideline after speaking with his players during a timeout in the first half Saturday.

(Ronaldo Bolaños / Los Angeles Times)

Less than two minutes later, Stewart scooped up the fumble and took off. His 48-yard return completed a 12-point swing for the Trojans.

“To overcome all that and still win shows me some of the guts and toughness and culture in this room right here,” Riley said. “We could’ve folded.”

Still, USC couldn’t put Washington away. Down to their last drive, the Huskies converted a third and 11 and two fourth downs to drive deep into Trojan territory late.

But Kameryn Crawford pulled Williams down for a sack — the Trojans’ fifth of the game — and the defense held. And USC, at the end of a long, brutal week, breathed a sigh of relief.

“Tip Toe,” a fine new drama from Russell T Davies premiering Friday on Starz, begins at the end, with Leo Struther (Alan Cumming, phenomenally good), a gay Manchester bar owner, hanging dead from a streetlight outside his house, as a woman screams and his neighbor Clive Goss (David Morrissey) stands breathing heavily on his porch. Then, as so many series do nowadays, it goes back in time — 10 days here — to tell the tale that got them there.

And so you are prepared from the beginning for tragedy, though not everything that happens in its five episodes will be tragic — some of what we see will be sweet and even celebratory — and one might forget for a moment where this is all heading, and even believe that what we’ve already seen will turn out differently.

The series sets off in a comparatively light mood. Chasing a one-night stand who’s stolen his laptop, Leo finds he’s locked himself out of his house, and, dressed only in his underwear, goes next door to ask if he can borrow a phone to call his friend Stephanie (Elizabeth Berrington) to bring him a spare key; here we meet the Goss family, Clive, an out-of-work electrician; his wife, Marie (Pooky Quesnel), who doesn’t like Clive; 16-year-old son George (Jackson Connor), gay and closeted; and 25-year-old son Saul (Joseph Evans), an easygoing hunk who lives at home, secretly makes money on OnlyFans and accepts everyone for who they are. Leo and the Gosses have been living amicably at arm’s length for 14 years, though their lives are about to become closely entwined, with disastrous results.

In an act of something like willful, somewhat disturbing friendliness, or a desire not to have to deal with Leo the next time he’s locked out, Clive makes a copy of Leo’s key and installs a lock box by his door. (By the Chekov’s gun rule, a key copied in Episode 1 is bound to be turned in a lock in whatever later act Davies deems advantageous.) Then, Leo gives Clive work at his bar.

Alan Cumming and David Morrissey play neighbors whose relationship escalates to violence in “Tip Toe.”

(Ben Blackall / Starz)

Leo’s bar, Spit and Polish, sits on Canal Street in Manchester’s long-established “gay village.” It’s a safe space for his employees and regulars, including Zee (Iz Hesketh), who’s been sleeping hidden in the bar, frightened of new flatmates since coming out as a trans woman, and Melba (Paul Rhys, brilliant), a former drag performer who holds down the end of the bar like Norm from “Cheers” and carries a torch for Leo.

Things will go generally downhill from here, in a narrative of escalating misunderstanding — not in the sense of an innocent mistake, of simply getting the wrong end of the stick (though that’s part of it), but as a contemporary habit of mind, blinkered, closed to facts but open to conspiracies. (Clive, a consumer of social media disinformation, believes that AIDS and COVID are fake); he lives in fear.

Directed by Peter Hoar, it’s a rough watch, yet beautifully wrought and delicately performed, inspiring and depressing, hopeless and hopeful by turns Davies has points to make — hanging your protagonist is not subtle — but his dialogue carries a lot of weight lightly; long conversations ebb and flow and rise and fall like compressed playlets. If there is something schematic about the arc, the characters within it, Clive as much as Leo, are completely human. They stand for something bigger than themselves, but they also stand for themselves.

Davies brought gay life in its infinite variety to television with the 1999 series “Queer as Folk” (also set on Canal Street) and gender fluidity to “Doctor Who,” the series he revived in 2005 and returned to in 2023. (The Tardis is currently in limbo.) His “Cucumber,” about middle-age gay men, and “Banana,” about young LGBTQ+ people, are also set in Manchester, where Davies has lived since the late 1980s. “Tip Toe” has been crafted for an age of surging homophobia and anti-gay violence. “The president of America has given these men permission to attack us,” says Melba, as he sits with Leo late one night by the canal. The series’ dark prophet, he gives it its title.

“It’s a storm, it’s a tide, it’s a great big tsunami. We’re in the middle of it right now … If you’d asked me in 1996 what do you think 2026 will be like, I’d have said ‘glory days’ … But they tricked us didn’t they? They let us all come out, so now we’re standing in he open ready for them to shoot us down. I used to walk into a room and just go, ‘Ta-da!’ Now I tip toe, just in case.”

Earlier this summer, Akriila flew to Los Angeles and played two nights at the Roxy in West Hollywood. At 22, the Chilean singer-songwriter, most identifiable by her fire engine red tresses, is one of the most visionary newcomers in the latest wave of post-urbano Latin artists.

Fittingly, Akriila kick-started her career with a trap mixtape. The most-streamed tracks on her debut, 2024’s dazzling “Epistolares,” favor a progressive reggaeton vein. She also collaborated with Milo J on “Llora Llora” — a folksy lullaby off the Argentine rapper’s masterpiece “La Vida Era Más Corta.”

“Hot gays listen to Akriila” became a celebrated slogan on social media.

Turns out she was just getting started. Released Sept. 3, her latest album, “Lucy Miró al Mundo y Notó Que Está Girando” — its title a delicious riff on Beatles lore — eschews reggaeton altogether, in favor of a hallucinogenic collage of shoegaze, electronic glitch pop and South American roots sounds.

A guidepost of Chilean hyper-pop, it is also a heart-wrenching mash of tenderness and distortion. The lyrics describe the trauma of a recent transition, after she left her father’s home and ventured to live on her own — and though she’s now an established artist signed to Atlantic Records, her music is still aching and vulnerable.

“She is a reference point for all of us in contemporary music,” says producer Diego Raposo, a Dominican tastemaker who featured Akriila on his 2023 debut album. “I believe we’re witnessing something that we’ll probably never see again. Her music reminds me of Björk, Aphex Twin, even Shakira — but it’s also incredibly fresh and original.”

A few days before traveling to London for her inaugural European tour, Akriila spoke to De Los about the seduction of second verses, her obsession with ’90s dream pop and the growing pains of living alone.

This is such a dreamlike record. Was that intentional?
I wanted it to feel not necessarily ethereal, but hazy, like you’re inside a bubble. I love the way my voice is processed, sharing the space with so many layers. It’s really cool when the vocals are part of a track instead of lying there in the center of the mix.

I was your age in the ’90s, and this album has a very strange emotional effect on me: It reminds me of what it felt like to be in my 20s, listening to dream pop for the first time.
That makes perfect sense, and it connects with a favorite exercise of mine: Every week — ideally, every day — I listen to a full album from beginning to end. I started with new releases, but then set my sights on the classics.

The Sundays’ [1990 masterpiece] “Reading, Writing and Arithmetic” was the album that opened up the space mentally for what I wanted to do. I always say that I make alternative pop. I start with something that’s catchy and easily digestible, and then mix it with sounds that feel uncomfortable. As I was starting to work on this album, I listened to the Sundays, the Cardigans, and every single record that Prince ever made.

I can definitely feel the ’90s vibe in the closing track, “Lucy.” It’s gorgeous.
That’s inspired by the Sundays’ “Gone,” and the drums sound like Cocteau Twins. I love the art of collage — stealing from different artists, but doing it my way. There are samples of PJ Harvey, Patti Smith, but also Rosalía. When I make videos, I’m always thinking of something that MTV would have played back in the day.

I keep thinking of this record as a concept album, even though the actual concept is more of a feeling than anything else.
I totally get you. It’s not an album like the Who’s “Tommy” — an actual musical that takes the conceptual deal to another level. I feel we’ve forgotten the art of making albums now that we’re so focused on playlists and TikTok. I invest a lot of effort in making my albums conceptual, since I’m not into records that are random collections of tracks. “Epistolares” was all about sending letters and dedications. The deluxe version was more sentimental. This one is a concept album for sure. I could outline in detail why every moment of the record happens when it does.

The bridge on “Abrázame” is incredibly romantic.
That bit really freaked me out in a good way. It was shorter at first, but then I asked [producer] Vinco to make it longer. Those guitars on the bridge are the most beautiful thing he’s ever done. The contradiction of “Abrázame” is that everyone kept telling me that it should continue going up and explode at the end, but I had already overused that device on “Epistolares.” So I did the opposite and gave it a happy ending. That ethereal, ambient thing at the end kills me.

Talking about songwriting devices, here’s a trademark Akriila move: A song may be moving forward, and suddenly there’s a fracture — everything breaks and decomposes. Why?
I think I have ADHD and need things to be constantly changing. I’ve tried to make songs that are plain, but I just can’t do it. My favorite part of songwriting is working on the second verse. You’ve already presented the main idea and shown what the chorus is like. On the second verse you can change the beat or the lyrics, and do anything you like. [Producer] Clemente is just like me in that respect. Sometimes we take things to the limit, and then step back. It’s one of the great things about my creative team: We’re not married to the demos. We may do five versions of the same tune until it sounds right.

Your Chilean roots shine through on “Partedemipartedeti.” I listened to those folk bits and thought: Here’s someone who grew up listening to Los Jaivas and Inti-Illimani.
When I first started obsessing about music, the stuff that I liked was all in Spanish. I listened to tons of records from Chile, Argentina and Mexico. “Carta a Mi Papá” is like a traditional balada from Chile. I stole those chords from “Quizás, Porque” by [Argentine supergroup] Sui Generis. I listened to a lot of Pescado Rabioso when I was a teen. My partner has a cassette deck in her car, and she’s always playing [Charly García’s] “Piano Bar.” I don’t identify only with Chilean music. It’s more of a música latinoamericana thing. I don’t think gringos are that good in the lyric writing department. Artists like Bandalos Chinos, Alex Anwandter and Zoé are really great composers.

Do you think you’re an old soul?
People always tell me that [smiles]. We’re a team of three; I think Clemente is a really young soul. Vinco and I are the old ones.

Before making this record, you stopped living with your dad, moved to a place of your own, and experienced a time of profound loneliness. What does your father think of the finished album?
He loves it. He is a musician himself, and it must have been hard for him when we started living apart. It was also difficult for me to get home and feel so lonely because there was no one waiting for me anymore. My dad still comes to my place once a week; he doesn’t want to bother me, so he leaves food in the reception area. It’s his way of making sure that I’m doing fine.

Over the years, the concept of the “song of the summer” has been well-contested: Is it merely based on statistics? Is it the song that has become so omnipresent that many have become sick of it? Does this mean that “Happy” by Pharrell Williams and “Fancy” by Iggy Azalea count?

Last year, it was likely somewhere between Sabrina Carpenter’s “Manchild” and “Luther” by Kendrick Lamar, featuring SZA. Just based on numbers, it was Alex Warren’s “Ordinary,” but this is a strong case for why metrics don’t always matter.

On Sept. 23, the autumn equinox will arrive, officially bringing an end to the summer season and countless attempts at giving it an anthem. This year, there was a plethora of choices. So much so that we couldn’t narrow it down to a definitive tune.

However, you can find our potential picks below.

“The Peace,” underscores

“I don’t speak unless I’m spoken to / And I won’t smoke unless you’re smoking too.”

Underscores, the artist that you are. After “U” dropped in March, “The Peace” was one of the first tracks to go viral across social media. It’s since maintained its cultural relevancy, with the artist performing it as part of her DIY pop-up sets, staged from the back of a U-Haul truck.

Historically, underscores hasn’t written much about her personal life, opting for conceptual work. However, “The Peace” offers a rare, intimate glimpse into the artist’s love life and the feeling of sacrificing basic boundaries in order to satisfy someone else.

Beyond its storytelling, the song’s melody and chopped vocal riff are unforgettable on this track, standing out from the rest of the album. This isn’t a jab at the project — “U” is an incredible album and the song is just that good.

“stupid song,” Olivia Rodrigo

A song from Olivia Rodrigo’s third album, “You Seem Pretty Sad for a Girl So in Love,” was always going to make this list, given the strong reception it’s received and its incredible replayability. As further evidence of this, within weeks of its release, the song hit 300 million streams.

The album’s third single, “stupid song,” just makes it in over “the cure,” its second single. Though the latter has one of the best bridges of the year, its undeniably melancholic and macabre nature is what put it out of contention.

Though “stupid song” has its somber moments, it’s easier to scream in a crowd without catching concerned glares. This call for catharsis is ever-present in Rodrigo’s discography, but this last album is the artist in full stride.

“Dance…,” Slayyyter

Speaking of artists in full stride, Slayyyter has been the breakout act of the summer, which is incredible considering that her debut mixtape released in 2019. She’s got skin in the game but hasn’t really been able to crack the mainstream until the release of “Worst Girl in America” and a subsequent, viral Coachella set.

“Dance…” is the opening track of that album and also arguably the best song on it. After about a full minute of pensive, progressive, electronic buildup, listeners get a taste of bliss, sewn-in synths and heavy bass.

When one individual made the bold claim on X that it was “one of the best album intros ever,” Slayyyter was quick to respond with a simple “TRUE.” Shortly after its release, it went viral on Instagram reels and TikTok as creators used the song in a trend where they’d act fatigued before bursting into motion on beat.

“Caught in a Jam,” Portraits of Tracy

This is easily one of the most fun, captivating tracks of the summer — it’s funky, bouncy, buzzy and everything in between. Solidifying its cool is the reassuring note at the end of the music video description: “No generative AI was used at any stage in the production of this material.”

It features — without a doubt — one of the best bridges and refrains of the year, and perhaps onward. Not to mention, its lyrics are equally as enjoyable as the production.

“Oh, something changed in me, I felt it instantly / I had to hit the club so they could all see / Now I’m the dancing queen / F-f-f-far far from 17”

“Caught in a Jam” would an impressive feat from any artist, but it’s exciting to hear it coming from a 22-year-old. Hopefully, the future is bright and groovy for Portraits of Tracy. Reception of the artist’s latest EP, “Q: From Where Do Our Primal Instincts Originate? A: MTV! EP,” has been overwhelmingly positive, with Pitchfork placing it a 7.6 rating.

“BbY Wow,” Karol G, Judeline, rusowsky

The 2026 Coachella headliner is back at it again. This time around, Karol G released “BbY Wow” at the tail end of July, allowing it just enough time to seep into the brains of all its listeners.

Realistically, it needed no time at all. It didn’t take long for the song to hit No. 1 on Spotify global charts, receiving over 3 million streams within a week of its release.

The song is a masterclass in production, pulling and syncopating a sample from iconic dance hall tune “Coolie Dance Riddim,” released by Jamaican producer Cordel Skatta Burrell in 2003. In this, a lot of the heavy lifting is done, and all three artists are left to ride the smooth beat.

Naturally, Karol G really shines here, but Judeline and rusowsky provide an interesting dynamic to the song, making it an instant hit.

“Girl Like Me,” PinkPantheress

“Girl Like Me” is an odd entry for potential song of the summer. The track was released back in May 2025 as part of her second mixtape, “Fancy That.” However, it didn’t receive much buzz until April 2026, when PinkPantheress performed at Coachella.

Not long after, she released the official music video for the song, which blew up almost as soon as it landed on YouTube. The video, made in collaboration with faceless director Lauzza, features buildings shuffling on beat and other excerpts of British culture.

It would soon witness the same treatment on streaming, garnering a 165% increase in streaming activity over a four-week period, Billboard reported.

But it’s not all about numbers in the world of music and, thankfully, “Girl Like Me,” delivers sonically, as well. The song flips both “Romeo” and “Always Be There” by aughts-defining electronic duo Basement Jaxx and turns it into a thumping dance pop tune.

“Dine N’Dash,” the Strokes

As plainly stated in our coverage of the Strokes’ appearance at Just Like Heaven in August, the band is “currently riding the high” of its first Coachella performance in 15 years. “Reality Awaits” is an incredibly polarizing album. What’s dividing fans is Julian Casablancas’ insistence on using Autotune, as many prefer his raw vocals.

However, Autotune or not, “Dine N’Dash” is reminiscent of the best of the band, confirming that they’ve still got the juice to make hits 25 years after their debut. The chorus is the key here, as its smooth riff pauses for Casablancas to softy wail out “We could never afford it / So we dine and dash / I would always go last.”

Hello, 2001!

“brand new chanel$,” Slayyyter

It’s always difficult to give an artist a double entry on a list, but in the case of Slayyyter, it was mandatory. “Brand new chanel$” is poised to be a song off of a potential upcoming project, which is expected to be an inverse, “brother album” to “Worst Girl in America.”

In that, it completely lives up to her promises, taking the route of a more traditional pop song, while still delivering on all fronts. Notably, her vocal ability really shines through on this track, as she belts out “I‘m holding it alone just for tonight / I wonder if you / got her in your room / I call you on the phone to start a fight” during the chorus.

The song’s outro is equally as intoxicating, referencing the lyrics and melody of its apparent brother track, “Beat Up Chanel$.”

Like “Dance…,” the song was quick to go viral on social media, and the artist revealed that the song was made to process romantic trauma. Just two days before “WGIA” dropped and during rehearsals for her Coachella set, Slayyyter found out she had been cheated on by her then-boyfriend.

“Choosin’ Texas,” Ella Langley

It’s been 22 weeks since Langley’s “Choosin’ Texas” first appeared on top of the Billboard 100, tying Mariah Carey’s seasonally ubiquitous “All I Want for Christmas Is You.” Whether you like the song or not, its appeal is officially undeniable.

On Spotify, it’s racked up more than half a billion streams and on YouTube, nearly 100 million. Not to mention, it’s impossible to crawl into any dive bar in the country without being ambushed by “She’s from Texas, I can tell by the way / He’s two steppin’ ‘round the room,” delivered in a Southern drawl.

Is it the “Happy” or “Fancy” of 2026? We leave that with you to decide.