Tomorrow’s Tracks Today for the Week of October 11, 2026

By Steven Mills | On The Dial

I’ve always believed that one of the most exciting parts of being a Program Director is hearing a record before everybody else figures out what to do with it. You listen to the production, the hook, the artist’s delivery, and that certain something that makes you want to hear it again. Sometimes the record practically announces itself as a hit. Other times, you have to get beyond what the artist did last time, forget what everybody else is playing, and trust what your ears are telling you. That’s the part of radio programming I’ve always loved, and it’s exactly what we’re bringing to another edition of Tomorrow’s Tracks Today.

This week, there’s plenty happening across the formats. Pop radio has a tremendous amount of new music competing for attention, Rhythmic is finding some interesting crossover opportunities, Alternative continues embracing everything from electronic textures to guitar-driven releases, and Country has a collaboration that deserves a serious listen. Meanwhile, Urban, Adult Contemporary, Rock, and Latin each have records worth examining for very different reasons.

Before we get into the music, remember that this feature isn’t a recap of the biggest songs already dominating the charts. I’m looking for records with developing momentum, interesting programming potential, or a sound that could deserve more attention. Some already have meaningful airplay, while others are still working their way into the conversation. Not every selection is appropriate for every station within its respective format, and that’s where good programming judgment comes into play.

Here are my eight selections for the week.

URBAN — Jhené Aiko Featuring Kendrick Lamar — “So Good”

Jhené Aiko has always possessed something that doesn’t require a tremendous amount of production to get across. There’s a warmth to her delivery, an intimacy that can make even a carefully produced record feel like a personal conversation. Pairing her with Kendrick Lamar creates another dimension, bringing two distinctive artists together on a record that’s beginning to demonstrate meaningful Urban radio potential.

“So Good” has already attracted attention at Rhythmic, where it moved into the Top 10 discussion during the October 9 chart preview. The record also appeared among the faster-growing titles in global Urban radio monitoring at the beginning of the month. That’s the kind of activity I’d be watching closely, particularly when a song demonstrates appeal across more than one audience segment.

For Urban programmers, I’d be paying attention to how this record complements the station’s current music balance. Aiko’s recognizable identity and Kendrick’s presence give it name familiarity, but the real opportunity is determining whether the audience connects with the song strongly enough to support continued rotation growth.

I wouldn’t automatically assume that a collaboration between two established artists deserves a power rotation. I’d listen carefully, examine the early response, and see how the record develops. But this one belongs in the conversation, especially for stations trying to maintain a healthy balance between familiar stars and records that bring something different to the format.

RHYTHMIC TOP 40 — KAROL G, Judeline and rusowsky — “BbY WOW”

One of the most interesting changes in Rhythmic radio has been the increasing opportunity for records to cross linguistic and cultural boundaries without losing their musical identity. KAROL G has become an important figure in that evolution, and “BbY WOW,” featuring Judeline and rusowsky, is another example of a record capable of attracting attention beyond a traditionally defined Latin audience.

During the October 6 reporting period, the single collected 21 new Rhythmic station commitments, placing it among the format’s strongest additions. By October 9, it was moving into the Top 20 conversation. That’s significant activity, particularly for a format where programmers are constantly balancing Hip-Hop, R&B, mainstream crossover material, and emerging sounds.

What interests me is the programming opportunity. Rhythmic radio doesn’t need every record to sound identical, and listeners are increasingly comfortable discovering music that moves between genres and languages. That doesn’t mean every market will respond the same way, but it does create an opportunity for stations willing to evaluate the music rather than make assumptions about where it belongs.

KAROL G already has considerable audience recognition, and the combination of artists gives this particular release an identity of its own. I’d be watching its continued airplay growth, especially in markets where Latin and Rhythmic audiences overlap.

MAINSTREAM TOP 40 — Ashe — “Stop the Wedding!”

Mainstream Top 40 is having one of those stretches where the volume of new material is enough to make a Music Director wish there were a few extra hours in the day. Established stars are competing with developing artists, and radio has to decide which records deserve immediate attention and which ones need additional time.

Ashe’s “Stop the Wedding!” is one I’m particularly interested in hearing develop.

The single generated 29 early Top 40 adds in the September 29 reporting period, followed by another 11 on October 6. By October 9, it was among the titles expected to enter the format’s chart. That progression is worth noting because it suggests the record isn’t simply receiving a burst of attention and disappearing.

There is something to be said for a song that gives programmers a distinctive alternative amid a crowded release schedule. Ashe brings an established artistic identity, and the title alone provides an immediate point of curiosity. Of course, curiosity isn’t the same as listener acceptance, but it can help give a developing record the opportunity to be heard.

I’d be examining early airplay patterns, the markets responding, and whether the song continues gaining support once the initial promotional push settles down.

My advice to Top 40 programmers would be to avoid allowing the sheer volume of superstar releases to prevent worthwhile developing records from getting a fair evaluation. Every major artist was unfamiliar to listeners at some point, and radio still has an important role in helping audiences discover what comes next.

ADULT CONTEMPORARY — Miley Cyrus — “Bass Persuades”

Adult Contemporary has evolved into a considerably more interesting format than some people give it credit for. The audience still values familiar artists, strong melodies, and music that fits comfortably into everyday listening, but the boundaries have shifted as newer generations bring their own musical histories into the format.

Miley Cyrus is an artist whose music can make sense in several different programming environments, provided the song fits the particular station’s sound.

“Bass Persuades” has begun showing activity on adult-oriented playlists. On Billboard Canada’s Adult Contemporary chart dated October 10, the song climbed from No. 17 to No. 11 in its third week on the chart. That’s a strong move, although Canadian AC activity doesn’t automatically establish that the record will perform similarly on American stations.

And that’s why I find it worth watching rather than immediately declaring it a format hit.

The crossover possibilities are interesting, but Adult Contemporary programmers should be particularly careful about the musical fit. A record that works beautifully on Hot AC or Top 40 may not necessarily belong in the same rotation environment as the established music on a softer AC station.

I’d want to hear how it sounds alongside the station’s core library, examine the target audience, and evaluate whether its familiarity and developing momentum justify an opportunity.

That’s what makes AC programming interesting. The format may sound comfortable to the listener, but getting that balance right requires considerably more thought than simply playing a collection of recognizable artists.

ALTERNATIVE — CHVRCHES — “Roses”

Alternative radio has always been at its best when programmers understand that the format is bigger than one particular guitar sound or musical trend. There is room for electronic influences, indie rock, harder-edged material, and artists whose records don’t fit neatly into the categories that dominate mainstream music programming.

CHVRCHES belongs in that conversation, and “Roses” is developing into one of the records I’d be watching most closely this week.

The single was identified as the most-picked song by Alternative programmers in an October 5 industry selection roundup and continued attracting radio support during the October 6 add period. By October 9, it was making its debut on the Alternative chart.

That’s the kind of development that gets my attention.

I’ve always liked records that help a station distinguish itself without forcing the audience to abandon the musical identity it already enjoys. Alternative listeners have historically demonstrated an appreciation for distinctive production and artists who bring something different to the format, and a release from CHVRCHES gives programmers an opportunity to explore that side of the audience.

I’d be interested in hearing how “Roses” performs in different markets, particularly those where Alternative stations have developed a broader musical identity rather than concentrating almost exclusively on heavier guitar-driven material.

This is the kind of record that reminds me why Alternative remains one of radio’s most creatively interesting formats.

ROCK — Beartooth — “Beautiful Again”

Rock programmers have spent years trying to determine how to maintain the loyalty of established listeners while developing relationships with audiences discovering newer artists and heavier musical styles. It’s a difficult balance, particularly when familiar catalog records remain so important to the format’s overall listening experience.

Beartooth’s “Beautiful Again” is one of the developing titles that deserves attention.

The record appeared as a new entry on the October 7 Shapers Active Rock Top 50, arriving at No. 46. That doesn’t make it an established hit, and the chart represents a composite of several monitoring sources rather than a single official radio chart. But it gives us a useful indication that the song is beginning to show measurable activity.

For programmers, Beartooth represents an opportunity to evaluate contemporary rock material without assuming that every new artist has to sound like the format’s biggest heritage acts.

I’d pay particular attention to how this record fits alongside the station’s established currents and recurrent titles. Active Rock audiences are not identical in every market, and the tolerance for heavier or more contemporary material can vary considerably.

But I also believe the format has to continue developing new music rather than relying indefinitely on the artists who established its identity twenty or thirty years ago.

The audience needs familiar records, certainly.

It also needs a reason to believe rock music is still moving forward.

COUNTRY — Miranda Lambert and Ella Langley — “Snakeskin Boots”

Now here’s a collaboration that ought to make Country programmers pay attention.

Miranda Lambert and Ella Langley have teamed up for “Snakeskin Boots,” the opening track from Lambert’s new album Crisco, released October 2. The record also received its Country radio premiere that day, making it a timely selection for this week’s feature.

What I particularly like about this pairing is the combination of an established artist with a younger performer who has been building tremendous momentum of her own.

Lambert has spent years establishing herself as one of Country’s most recognizable voices, while Langley has become an increasingly important name in the format. Bringing those artists together creates a natural connection between different generations of Country listeners.

The song draws on a retro-Western musical and storytelling approach, giving it an identity that stands apart from much of the contemporary Country material currently competing for attention.

That distinction is worth exploring.

Country radio has always benefited from strong storytelling, recognizable personalities, and records that evoke a sense of place. But the format has also been willing to experiment with different production styles and musical influences when the artists and songs make those choices convincing.

“Snakeskin Boots” presents an opportunity for programmers to evaluate that balance.

I wouldn’t select the record simply because it features two important names. I’d listen to how the musical approach works within the station’s current sound, examine the audience response, and give it room to establish whether the collaboration has staying power.

But there’s enough here to make it one of my Country selections for October.

SPANISH / LATIN — Quevedo and Elvis Crespo — “La Graciosa”

One of the things I enjoy most about following Latin music is the willingness of artists to bring different generations and musical influences together without treating those differences as obstacles.

Quevedo and Elvis Crespo do exactly that with “La Graciosa,” a collaboration that’s already showing substantial activity in Spain.

On the October 6 radio airplay ranking published by Ritmo, the song held the No. 3 position, following Ana Mena and Lola Indigo’s “Pa Ti Toa” and KAROL G’s “BbY WOW.” That’s a meaningful position in that particular market, although it should not be mistaken for evidence of equivalent airplay on American Latin radio.

And that distinction matters.

Spanish-language radio in the United States is not one uniform format. A successful Tropical station in Miami may approach new music very differently from a Regional Mexican operation in Texas or a Spanish Contemporary station in Los Angeles.

But the collaboration itself makes “La Graciosa” worth examining.

Elvis Crespo brings an established identity associated with Tropical and merengue music, while Quevedo represents a newer generation of Spanish-language performers. That combination offers a musical connection between audiences whose interests may overlap more than traditional format labels suggest.

I’d be particularly interested in how the record develops in American markets, especially among programmers who have room to incorporate contemporary Latin releases alongside familiar artists.

It’s an opportunity worth watching, not a declaration that the song has already become a United States radio hit.

And that’s exactly the kind of distinction we intend to maintain in this feature.

There you have it, eight records across eight very different radio formats, each offering something worth considering as programmers prepare for another week of music decisions.

The most important thing I can tell you after more than three decades in programming is that charts, research, streaming numbers, and promotion reports are valuable tools, but none of them should replace the experience of actually listening to the music.

I’ve watched records arrive with enormous promotional support and disappear just as quickly. I’ve also watched songs that initially received very little attention develop into significant hits because a programmer somewhere heard something special and gave the music a chance.

That doesn’t mean we should abandon research or ignore what audiences are telling us. Quite the opposite. Great programming requires using all the information available while maintaining the judgment necessary to understand what those numbers mean.

What interests me about this week’s selections is the variety. There are established artists exploring new opportunities, developing releases beginning to attract attention, and collaborations that could introduce music to audiences beyond their traditional format boundaries.

Not every record will become a major hit. Some will find an audience and remain there, while others may struggle to gain enough traction to justify continued rotation.

That’s part of the business.

But without giving worthwhile music an opportunity to be heard, we can’t expect radio to remain an important part of music discovery.

We’ll continue following these records and introducing additional selections in future editions of Tomorrow’s Tracks Today, with an emphasis on songs that deserve consideration rather than simply repeating what’s already dominating every chart.

And as always, I’d like to hear what the programmers, Music Directors, personalities, and music professionals reading On The Dial are discovering.

If there’s a record you believe deserves a closer listen, let us know. Some of the best programming conversations begin when somebody brings a song into the office and insists that everyone stop what they’re doing long enough to hear it.

I’ve been that person more times than I can count.

And I still love doing it.

Tomorrow’s Tracks Today — where the next hit might be waiting for somebody to press play.

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