The latest single from Breland is a head-turner — and it just may be a contender for song of the summer. “In My Truck,” the first release from the country singer in two years, is an upbeat earworm that interpolates 50 Cent‘s immortal 2003 blockbuster “In Da Club.” The entire song rests on swapping out the word “club” for “truck,” a move so obvious that it’s almost genius.
“In My Truck” has all the hallmarks of a summer country hit: tight jeans, country boys, rhyming the word “truck” with “mud.” But its main precedent (and clear template) is a song that traveled far past country radio: “A Bar Song (Tipsy),” the 2024 Shaboozey single that transformed another early aughts hip-hop hit (J-Kwon’s “Tipsy”) into a crossover country-pop phenomenon. Like “Bar Song,” “In My Truck” trades hip-hop lyrical tropes for country signifiers (In this truck we drink whiskey, not Bacardi), while also inserting its own name brand to juxtapose with the down-home lyrics (In “Bar Song” it’s a Birkin; in Breland’s latest it’s a Rado watch).
But as much as it’s impossible not to view “In My Truck,” in part, as an attempt to follow the same path to crossover success as Shaboozey’s breakthrough, the song is also the culmination of Breland’s long and fascinating journey within country music. Over the past half-dozen years, the New Jersey native has become one of the most thoughtful artists (and in-demand collaborators) in country, unafraid to both speak his mind or experiment with genre. See his 2024 song “Grandmaman’em,” a song that offers an entirely fresh take — both sonically and lyrically — on the grand country tradition of songs that pay homage to ancestors.
But Breland’s new song is also a sequel to his 2019 debut, a trailblazing country-trap anthem with virtually the same title: “My Truck.”
“There are certain songs of mine that may make you say, ‘This is a country song.’ You may say, ‘This is a hip-hop song,’ he told Rolling Stone in 2020. “Ultimately, I think that’s a good thing. It’s progress. I think the less we feel the need to put labels on music, the less we feel the need to put labels on people. That’s how we move forward in culture.”
Last year, during an appearance on the Nashville Now podcast, Breland talked about the influx of pop artists into country and why some find success and others don’t. “I think that country music is fine with certain artists coming over here if they do it with the artists that they trust,” he said. “For BigXthaPlug, and I don’t know what he might feel like — ‘Nah, I haven’t been accepted here at all …,’ I don’t want to assume — but what it looks like to me is that BigXthaPlug started doing some of these collabs with much success and then decided, ‘Hey, I’m going to lean all the way in and do a whole collab album with all of these pop and country artists, and it’s gonna work.’”
Breland teased “In My Truck” earlier this month on Joe & Jada, the podcast from Fat Joe and Jadakiss, who both raved about the song’s hit potential and emphasized how hard it was to get permission to use 50 Cent’s enduring hit (Breland says he also got the approval of Dr. Dre, who co-produced “In Da Club”). “He made history” raved Jadakiss, “he got something cleared that’s almost impossible to clear. That’s telling you it’s going to be a hit.”
Whether or not it catches on and becomes the song of the summer, “In My Truck” stands as one of the most obviously catchy songs we’ve heard in a long while.













The Edge, Larry Mullen Jr, Bono and Adam Clayton (from left) in 1978 Patrick Brocklebank
Class photo from Mount Temple Comprehensive School in Dublin, 1978. Bono is in the front row, third from left; his future wife, then Ali Stewart, is to his left. The Edge is in the back row, center, in jacket and tie. Courtesy of U2
U2 in Berlin circa Achtung Baby Anton Corbijn
Anton Corbijn
Bono, the Edge, and Clayton perform at the Sphere in Las Vegas in 2023, with Bram van den Berg filling in for Mullen on drums Kevin Mazur/Getty Images
U2 shooting the “Street of Dreams” video in Mexico City in May Eloisa Sanchez
Michael Schwartz

Did ‘The Life of a Showgirl’ Need an Encore? And Where Is Taylor Swift Going Next?
Taylor Swift has always loved a story. It’s what has set her songwriting apart for 20 years now — and what she has used to maintain her almighty superstar status. Both in her work and in the presentation of it, Swift has woven strong narratives of heartbreak, success, redemption, torture, and glory where all of the pieces fall into place and it’s easy to root for her.
With her latest album, The Life of the Showgirl, Swift presented a sequined tale of triumph. Finally, finally, the girl who spent her whole life trying to put the feeling of love into words had changed the prophecy by getting engaged (and now married) to Travis Kelce. Professionally, Swift was at her peak, too. She’d just bought back her masters with the earnings from her historic Eras Tour, an all-encompassing career feat that inspired the project.
But there’s no debating that the musician’s 12th album was her most polarizing yet (yes, even more than the 2017 LP, Reputation). Some critics and fans alike didn’t appreciate the execution of the “showgirl” idea sonically or thematically. But hate it or love it, Showgirl was the perfect way for Swift to revel in her success — and set the stage for her next show-stopping move.
That’s why it’s so confusing that the expert storyteller decided the show wasn’t over when she released The Life of a Showgirl: The Encore with four bonus tracks. One of the strongest elements of the original album was that Swift delivered a tight 12, and only 12, songs. “There’s not a 13th, there’s not other ones coming,” she said last year. “Every single song is on this album for hundreds of reasons, you know, and you couldn’t take one out and it’d be the same album. You couldn’t add one. It’s just right.”
Now, there is suddenly more to the story with the addition of “Patient Zero,” “Cleveland!” “Pink Clouding,” and “Babylon.” Unfortunately, as many fans have pointed out, none of the songs add to the narrative set forth in Showgirl.
Swift said she wrote the bonus tracks last year following the success of the album. “We just wanted to reflect and take in how grateful we were for the moment we were in,” she said, referring to the project’s collaborators, Max Martin and Shellback. That moment found Swift newly engaged, yet her lead single back, “Patient Zero,” looks back at a past relationship. “Pink Clouding” also reflects on a former flame, but without the regretful yearning that made “Ruin the Friendship” a standout. Meanwhile, “Cleveland!” takes the gushing over-the-heels joy from “Honey” and “Wood” and adds an almost spiteful twist. And then there is the new curtain-closer, “Babylon” where Swift hands out more pearls of wisdom over an acoustic cut that would fit better on Folklore or Evermore. In fact, all four songs sound like they were plucked from previous albums like Midnights or The Tortured Poets Department. With these four tracks, she has not only confused the story of Showgirl, she’s also muddled that of Taylor Swift™.
Swift is a known mastermind, who has planned her next career move years in advance, and she’s been celebrated for her expert marketing power moves. But where does the showgirl go from here? The Encore has unleashed more questions about Swift’s next chapter rather than offer a clear path forward.
On Sunday, Swift premiered the cinematic music video for “Patient Zero” at the 2026 MTV VMAs. It’s a chilling thriller, and one of her most impressive visuals to date. Was that the point of it all, to highlight her full-throttle pivot to film? We know that the musician has a directorial debut on the way with Searchlight Pictures. Maybe she finally found the time to finish it, and that’s why she worked on the Toy Story 5 soundtrack.
The Encore could also just be a way for Swift to get her 12th album back into the conversation, just in time for the first round of voting for the 2027 Grammys. One would expect the singer-songwriter to submit the project for all of the major categories, including the coveted Album of the Year and Song of the Year. It’s unclear whether Swift will submit both “The Fate of Ophelia,” which became Swift’s longest-running Number One song atop the Billboard Hot and her new shining single “I Knew It, I Knew You” for Song of the Year — the songwriting-focused Grammy she has yet to win.
Swift has spent the last six months riding on the high of “I Knew It, I Knew You.” The song dominated on country radio — and led the musician to drop a ton of Easter eggs hinting at her big return to the genre. She could honor her songwriting legacy with a country music return timed to the 20th anniversary of her debut in October. Now that would be a great story.