Apple Music Reveals Top Music in 2022 and Listener Charts 

The Kid Laroi. (Getty Images)
The Kid Laroi. (Getty Images)
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Apple Music Reveals Top Music in 2022 and Listener Charts 

The Kid Laroi. (Getty Images)
The Kid Laroi. (Getty Images)

“Stay,” the smash hit by The Kid Laroi and Justin Bieber topped Apple Music's global song chart in 2022 as the giant music streamer released its end-of-year lists and provided listeners with data on their own most listened-to tunes. 

“Stay,” which stayed atop the Billboard Hot 100 for seven weeks this summer, was No. 1 on Apple Music's top 100 global songs chart, staying on top for 51 days straight. Elton John and Dua Lipa's “Cold Heart (PNAU Remix)” was No. 1 on the streamer's Shazam chart and “We Don't Talk About Bruno” from the movie musical “Encanto” was the song with the most-read lyrics in 2022 on the platform. 

Joining “Stay” at the very top of the global songs list were “As It Was” by Harry Styles, “Wait For U” by Future featuring Drake and Tems, “Super Gremlin” by Kodak Black, “Easy on Me” by Adele, and “Heat Wave” by Glass Animals. Hip-hop continued to lead the different genres on the global top 100 with 32 songs, followed by pop with 23 songs and R&B/soul in third place with 11 songs. 

The data shows the growing presence of non-English-language tunes, with African songs on the rise on the Shazam chart as well as the global daily 100, while Japanese-language songs made big gains on the most-read lyrics chart. 

“It’s really the rise of what was once very niche genres creeping into the mainstream, which is an exciting new development on the platform,” said Rachel Newman, global head of editorial. 

Twenty-one non-English songs were in the global Top 100, more than double the number of songs last year. Fifty-five Latin songs reached the Global Daily Top 100 in 2022 — up 22% from 2021. In 2022, six of the 50 J-pop songs to reach the chart placed in the top 10; last year none were in the top 10. 

The streamer began notifying users Tuesday that Apple Music Replay was ready. The feature lets users see and hear their favorite songs, albums, artists and playlists from the past year as well as total minutes on the service. One new feature is that superfans can discover whether they are in the top 100 listeners of their favorite artist or genre. 

Replay — Apple's alternative to Spotify’s Wrapped playlist — has been redesigned with new, sleek functionality and optimized for sharing on social media like TikTok or Instagram. The charts are dynamic all year, so listeners can check any time to see how their music is charting. Eligibility is based on a threshold of plays and time spent listening. 

In November, Apple Music crowned the Puerto Rican reggaeton superstar Bad Bunny its Artist of the Year, thanks in large part to his latest album, “Un Verano Sin Ti,” which became Apple Music’s most streamed album of 2022 and its biggest Latin album of all time. 

Apple Music had a big 2022 itself, hitting a milestone in October when it recorded its 100 millionth song on the streaming service. That's more than YouTube Music’s 80 million songs, Spotify’s 82 million tracks and podcasts, and Amazon Music’s 90 million songs. 

“One hundred million songs for us is really significant because I think it is such a kind of great reflection of just how diverse and enormous the music world is these days,” Newman said. “It’s the largest and most diverse collection of music in any kind of format ever in the history of music, which is just pretty astounding.” 

Streaming service Pandora also revealed its top songs Tuesday: “Wait For U” was its top track of 2022 and Bad Bunny had the most songs on the top 100 list with five. 



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.