The 100 Best Songs Of The 2020's (So Far)
Five years of amazing tracks.
I always love adding up how many minutes I listened on Spotify at the end of any given year, and through five years of the 2020’s, the app tells me I’ve listened to 282,349 minutes of music. And as per usual, I think it took every single one of them to formulate what I thought were the best songs of the decade so far. Here are 100 tracks I’ve deemed essential listening, from veteran returns to viral stars to breakout artists and everything in between. A YouTube link to every track is included with each description, and a Spotify playlist of all 100 songs is located at the bottom of this article. Happy listening!
At his best, Playboi Carti forcibly drags you into the drug-fueled worlds he raps about. “Sky” is a trippy experience filled with weed, lean and god knows what else, and it sounds the part with some of his most otherworldly production to date. It sounds like if Castlevania had a drugs level. LISTEN
“Espresso” is the kind of hit artists of all levels dream about dreaming about making. It’s genetically engineered to be addicting, supremely smooth on all levels from its breezy Italo-disco beat to the nonchalantness of its lyrics. The amount of quotable lyrics is ridiculous. “I’m working late because I’m a singer”? “My give a fucks are on vacation”?? Silly lyrics like only work when your vocalist is as charming as Sabrina is, and she catapulted herself into our hearts and ears with them. LISTEN
With one of the most soothing jazz instrumental in recent memory, Cassandra Jenkins takes us on a ride through the human experience on “Hard Drive”. The title has multiple meanings yet it all comes back to unique experiences about the people you meet in this wild ride we call life. Jenkins steers you through her talks with strangers about phenomenal nature, the 45th president, therapy and more, and it’ll no doubt bring you back to those singular experiences in your life meeting new people and wondering what impact they’ll have on your life. LISTEN
In a way, Kesha’s songs have always been bonkers, but in a very forced manner up until now. Her party girl persona was a corporate one, and now that we have the fully unhinged version of Kesha, her music has truly gone bananas. “JOYRIDE” uses a damn accordion to create the backbone of a pop song few would dare make, one that’s wildly unique and never boring. It could be the dawn of a new era for an artist that’s deserving of a fresh start. LISTEN
When they burst onto the scene with “OMG”, you could just tell there was something different about NewJeans. The group takes all the best bits of k-pop and meshes it with early 2000’s pop and girl group sounds, staying low key but never sacrificing catchiness. It’s one of many earworms that’s made them a new force in a genre I feel has become very stagnant. LISTEN
In his quest to fully explore the sounds of the 1980’s, Abel Tesfaye found his best success with a true blue sample. “Out Of Time” doesn’t change much about “Midnight Pretenders”, the 1983 city pop smash by Tomoko Aran. Rather it allows that song to thrive in a new way, providing a perfect backing for his typical croons for a lover he’s let down. It’s sensual, introspective and one of the best songs The Weeknd has ever released. LISTEN
Chemistry goes a long way, and that’s what carried “Leave The Door Open” to titanic heights back in 2021. Bruno Mars & Anderson .Paak understand not only what works about the smooth funk music they shamelessly mine, but also how their voices work together. It all comes together into an irresistibly corny hit, one that’s so sexily unsexy you can’t help but love it. LISTEN
TikTok virality can only take you so far, and hemlocke springs definitely took her virality and ran with it. “girlfriend” is a peppy yet unsettling little piece of internet pop that sees springs playing several different kinds of obsessive lover, with all of them being super engaging. As this little romance gets deeper and deeper, hemlocke matches the vibes with some sinister cadences. It’s raw but still a ton of fun, and she’s got nowhere to go but up with songs like this. LISTEN
Every star-making turn needs a moment to declare its intentions, and “You Better Believe!!!” was that moment for Declan McKenna. He quickly thrusts us into an apocalyptic experience, filled with glam-rock stylings that’d make Bowie and Elton John proud. McKenna’s performance is gripping, and the thrilling bridge will shoot you into the stratosphere with high-flying cries and a starry-eyed disposition. LISTEN
Did Kendrick Lamar win his beef with Drake, or was Tommy Richman the real winner? He dropped “MILLION DOLLAR BABY” during one of hip hop’s most vitriolic feuds and came out a star. It’s easy to see why, with his strong flow and simple but stupidly catchy production making him easy to like. He might not be doing Super Bowl halftime shows any time soon like Kendrick, but with his own fame catapulting, he’s on the right path. LISTEN
April 2020 was when a lot of us started to break, with a month of isolation cracking the foundation of the world for the first time. “pink diamond” is a ball of energy that destroys its shackles, desperate to break free and get out some pent up energy. The jagged production mirrors the restlessness we all felt back then, with Charli becoming the voice for the people well before BRAT introduced her to the masses. LISTEN
As KKB explored subjects in their songs past waking up and taking pictures, their most interesting journey was to an apocalyptic future. Sarah Bonito claims “We will be well rested when the ascension comes” as synthesizers crash and the world around her crumbles. It’s a far cry from their earlier, much happier work, but no matter how uncertain the future may be, Kero Kero Bonito will chart their own path. LISTEN
One of my favorite things about Taylor Swift is the unending amount of rumors and lore her fans have created around her. One of those rumors is that the follow up to 1989 was to be titled Karma, and be centered around her feud with Kanye West. Obviously that didn’t happen, but years later we get this song with that title on Midnights. Even if it doesn’t approach any sort of direct drama, it addresses people in her past and how karma will come for them even if she doesn’t. It’s one of the slicker pop songs in Taylor’s recent catalog, and its approach to the concept of karma is mature in a way younger Taylor wouldn't have been able to pull off. I do love Taylor Swift drama, but I think I love her great songs like this more. LISTEN
When Perfume Genius takes the mic, the distance between art and pop is nonexistent. The melodies of Hadreas’ music are immaculately beautiful with a glittering sheen that high-end producers dream over. The best of his latest batch of masterpieces is “On The Floor”, where underneath the jaw-dropping instrumental is Hadreas at his most vulnerable. He’s waiting for the addiction to a former lover to pass, and finds his way through the aforementioned masterful mix of sound. It’s a showstopping song from one of art pop’s most celebrated musicians. LISTEN
We’ve reached the point in the career arc of Los Campesinos! that they’re making festival-ready, wave-your-lighters type anthems. And they absolutely nail it. Frontman Gareth David positioned “Feast of Tongues” as something for a massive crowd to sing along to, but with all the style and flair of a LC! song. Still present are antifascist politics and sometimes confusing soliloquies that are that way on purpose. David brings the track to a Herculean climax that earns its status as the closer of a setlist, screaming along to fight forward, even if the country doesn’t survive along the way. It’s crazy to think those plucky little Brits from the Bush era are still putting out music this essential, but I’m here for it. LISTEN
Britt Daniel and company played around with synths for a few years, but “The Hardest Cut” went back to the basics. It’s rock’n’roll at its finest, hard nosed and bullish on the guitar. With an emphasis on the rough and tumble, “The Hardest Cut” was a sign the band was returning to their roots, ready to make their most rock‘n’roll record in a career that’s filled with plenty of great ones.. LISTEN
The big voiced pop of Dehd’s music never sounded bigger or better than it did on “Desire”. Emily Kempf’s trademark husk bellows from the moment the track begins, and her cries of “desiiiiiiire” that percolate throughout the song bring a longing of your own out. The band’s intentions are simple and pure, and a tight melody and Kempf’s earnest vocals are enough to keep their desires in your head for years to come. LISTEN
In a year when uprising and chaos were commonplace, it was fitting that New Order released this b-side from Music Complete. It’s about standing up to that which is wrong, and the catchy synthpop instrumental makes you wonder how it didn’t make it onto a New Order album before. But perhaps it was fate for it to be released during a wild year like 2020, and thank goodness it was. LISTEN
While Billie has grew her fame on her understated vocals, the title track to her sophomore LP broke that mold. It begins innocently enough, as Billie questions why her lover has been so shitty to her. These feelings have clearly been bubbling (“You made me miserable”), and you just know the tipping point is coming. Finneas’ production slowly crescendos into a fiery climax of crashing drums and slurred guitars. Billie matches that energy with her most scorching, direct and hurt lyrics she’s ever appeared. “Just fucking leave me alone” is a searingly honest end to a song that redefined Billie in the pop sphere, and a song that, mark my words, will soundtrack a great film someday. LISTEN
Meg Remy had written songs about plenty of odd things before, but never before had she taken on the persona of a sentient tuxedo. And after hearing “Tux (Your Body Fills Me, Boo)”, I have no idea why she waited so long to do so. Such a bizarre idea is made whole by a delectably funky disco beat, full of hard-nosed synths, sharp bass guitars and piano keys to tie it all together. It’s a 6-minute cosmic force of an instrumental, but Remy is no slouch. Her clever lyrics from the tuxedo’s perspective poke fun at clothing double standards in a way only she is able to. Unconventional is the name of U.S. Girls’ game, and this highly unconventional effort is definitely one of her best. LISTEN
Annie Clark has presented herself as many characters throughout her career, but the mad woman she plays on “Broken Man” might be her best. The choppy synths that open the track hint at something sinister, and Annie only adds to the hysteria with her raspy vocals. She’s a lover, a king-sized killer and an earthquake all in one, and the closer she gets to you, the crazier the production becomes. It culminates in near-unintelligible shouts from Clark, asking the listener what the hell you’re looking at. The scary thing is, the closer she gets, the more you might realize you’re not all that different from the mad woman in front of you. LISTEN
There’s a powerful melancholy to the music Future Islands make. Listening to “Peach”, originally a loosie from 2021 but eventually finding its way onto their 2024 album People Who Aren’t There Anymore, is as if you’re sitting on a coastline, pondering your past, present and future. With a gorgeous melody and Sam Herring’s always excellent vocals, it’s one of their more understated synthpop songs since their rise to fame, but one of their best. It’s one of many remindersof how good Future Islands are at their craft. LISTEN
Love is a kooky thing, ain’t it? Róisín Murphy knows this all too well, and to encapsulate that feeling, she enlisted DJ Koze to cook up a matching beat. The result is “CooCool”, a song about how whimsical love can be but also how necessary it is. The “silly season” the song brings about is brought to life by DJ Koze’s silly little strings, celebratory horns and Róisín’s natural coo. It’s as if she’s taken away with the entire concept of love, as she sounds truly elated to be lost in the feeling. Her idiosyncratic style is a perfect match for Koze’s production style, and for an artist that’s been burned by love plenty of times in her past music, here it felt like it was time to embrace the feeling. LISTEN
You know that dude who’s in the comments section of every tweet, YouTube video, or Facebook post? “Very Online Guy” lampoons that type of individual over one of Alvvay’s fuzziest (and best) indie instrumentals. “He’s only one filter away” sings Molly Rankin, but what is he one filter away from? The meaning of life? Actually having a life? It remains to be seen, but this strange little opus to those dudes is a ridiculously catchy and memorable offering from Alvvays. LISTEN
The most ridiculously exuberant song a ridiculous band has ever produced, “Feels Like A Different Thing” belongs in so many places. It belongs on a VHS aerobics tape that backs a spandex-laden instructor. It belongs in a 90’s discotheque to sweat your ass off. It belongs on any party playlist you’d make of music from this decade. And most importantly, it belongs in your ears as you lose your mind to the bouncy synths and Janet Planet’s dancefloor demands. LISTEN
Yes, in the year of our lord 2023, a new Beatles song was released. Paul & Ringo sought to finish an existing John Lennon demo with the power of technology, and honestly, it’s kind of incredible to hear a murky demo turned into something so Beatlesesque. Lennon’s chilling lyrics make it a pseudo-goodbye to his band members years after he passed, and Paul’s backing vocals add an extra layer of oomph. There’s a great tune at its core, and “Now And Then” is a continuing sign of how the Beatles legacy will carry on forever. LISTEN
Finding catharsis through music on her return to pop, “Rain On Me” was Gaga’s greatest musical achievement in quite some time. It’s as escapist as pop music could be in 2020 where everything went off the rails. As the world around her fell to pieces, the rain of groovy synths washes away Gaga and Ari’s pain. It’s danceable and personal, but the struggles of the year make “Rain On Me” more of a universal anthem than Gaga could’ve imagined. “I’d rather be drunk but at least I’m alive” is as 2020 of a positive phrase as there could be. LISTEN
“Classical” takes me back to my favorite Vampire Weekend album in 2013’s Modern Vampires of the City, but with an even more mature take than they had back then. Ezra Koenig examines the relationship between societal classes in a way only he can, blending indie rock, jazz, and of course classical music into a cacophonic melody that just works. He’s sounding as youthful as ever, which is insane given that he’s in his 40’s now. Something about that youthful face and youthful disposition continues to power he and his band’s music, and it makes “Classical” one of their best in a career full of hits. LISTEN
We live in a world where mass shootings have become all too common. It’s never an easy thing to talk about, so instead of dancing around this reality, Viagra Boys confront the topic with blunt force on “Troglodyte”. It lampoons how small-minded mass shooters are, and how they’re lucky they weren’t born in the age of apes, because their stupidity would’ve gotten them killed long before they could do any harm. With its rampant Devo references across its punky instrumental, it’s a great take on a topic few can eloquently tackle. LISTEN
As with all things Adam Granduciel does, “I Don’t Live Here Anymore” is filled with uncertainty. He worries about the past, if the choices he’s made have been the right ones. After all, “We’re all just walking through this darkness on our own”. But the gorgeous, Springsteen-worshiping instrumental brings a brightness the song needs. By the end, Granduciel is soaring to the 80’s synths and mega-drum beats around the chorus, and undoubtedly you will be too. LISTEN
Britain’s best rapper took a lot of time looking inward on Sometimes I Might Be Introvert, and “I Love You, I Hate You” is as direct and powerful as she gets. Simz struggles with not only the success she’s brought to herself, but the family situations she had to deal with grow up. Delivering line after line of impactful poetry and backed by an expectedly opulent instrumental, this is Simz operating at her highest. Eventually, she comes out on top of the fears that live inside her, and it’s an impressive statement and better song. LISTEN
“Boy’s a liar Pt. 2” isn’t a true sequel but an expanded version of one of the decade’s best TikTok hits. PinkPanthress’ original hit is fully intact with its jittery synthpop beat, and now it’s aided by an Ice Spice feature that ranks among her very best. It strikes that fine line between the anger you feel when you’re wronged by a love interest and the longing you still feel for their company. LISTEN
“Walkin” is a stroll through the thoughts of one of rap’s finest voices. Denzel’s typically gruff delivery provides a barrier from the issues that seek to keep him down, and in his own words, he’s “gotta keep walkin’”. The stream-of-consciousness nature of the track intrigues from beginning to end, and the light instrumental allows Denzel’s voice to shine through. It’s tracks like this that show why Denzel keeps walkin’ towards the top of the rap world. LISTEN
“No Reason” is one of the Chemical Brothers’ finest tracks since their 90’s heyday. An unforgettable bass line permeates through the track, with synth-y twists and turns at every corner. The paranoia of the lyrics infects the instrumental, creating a stirring atmosphere that, while admittedly surface level, still makes for a highly memorable cut. For a duo that’s been making music for almost 40 years, they still have plenty of tricks up their sleeves. LISTEN
As far as horny club songs go, “Rush” is up there with the best. Troye Sivan wastes little time in letting his intentions be known: he has a target and he’s going to get what he wants. The brisk, groovy synth beat carries you through the sweaty crowd of the dancefloor, finding euphoria in the experience. It’s simple, direct, and catchy as hell. LISTEN
Heaven to a Tortured Mind doesn’t take long for Yves Tumor to show us what kind of rock star they are. An experimental masterstroke, “Gospel For A New Century” scuzzes up the conventions of the rock music you know and love. You truly don’t know what’s going to happen next at any moment, be it blaring horns, sizzling guitars, crashing drums or any other number of sounds Tumor presents to us. The eclectic mix is only strengthened by Tumor’s cries, their most memorable vocals on an album full of them. It’s never likely music like Tumor’s could truly rule the rock world, but songs like this are why we should give it a chance. LISTEN
An artist’s relationship with their fans is often a complicated one. Without them, a superstar is nothing, but how do you manage a rabid fanbase that might draw you making out with other men? That’s the question Porter Robinson tackled on “Cheerleader”, his entrance into synthpop stardom. It’s a glitzy piece of pop that starts off on fire and only gets stronger as it goes on, with Porter perfectly fulfilling the persona of a Top 40 chart leader. He goes back and forth about his biggest fan, his cheerleader, ultimately deciding he can’t go without her after she moves on to another star. With an absolutely electric chorus and an incredibly catchy melody, this was the superstar turn for Porter we were all waiting for. LISTEN
It’s difficult to separate Thom Yorke’s work with Radiohead from anything he does outside the band, but The Smile’s “You Will Never Work In Television” is unlike anything his main band has done in a long time. It’s vibrantly active unlike Radiohead’s more melodic recent work, with a ripping guitar accompanied by clangorous drums and Yorke’s typical falsetto croons. It’s lyrically as sharp as any of Thom’s latest tweets skewering British politics, and the raging instrumental only serves to heighten the stress. The song culminates with some of Yorke’s most pointed anger ever put to recording, and it’s a stamp of greatness for his best side project. LISTEN
Conventional pop music became more and more important to Kevin Parker’s music as he rose from indie darling to producing Dua Lipa albums. As far as his own music is concerned, “Breath Deeper” is the fruit of his laborious obsession with the genre. It’s a sonic masterpiece, with the spacey synths, shuffling drums and rolling pianos effortlessly combining elements of psychedelic rock with disco and EDM. Partially inspired by Parker’s first experience with ecstasy, it’s a song about being easy that’ll help your ears be easy. It’s a far reach from where Tame Impala began, but a beautiful picture of where Tame Impala continues to go. LISTEN
“Beyond adventure!” With those two words, M83 plunged you into one of the most incredible sonic journeys of decade so far. “Oceans Niagara” is a fantasy world beyond your wildest dreams, a landscape full of cascading synths and galactic melodies. Anthony Gonzalez’s project has long been a conduit for fantasy worlds, but “Oceans Niagara” is on another level for doing so much with so few lyrics. The electric guitars that fly in at the song’s climax send chills down my spine every time. Allow yourself to drift away in this song and you’ll find fantasy nirvana. LISTEN
There’s a certain nymph-ish quality to Spellling’s voice that reminds me of FKA twigs. They’re both beautiful yet fleeting, and “Always” is the former’s best fantasy from The Turning Wheel. Like she’s sitting by a sacred pool in a mystical forest, Spellling begs her lover to let their love fly free. The string instruments make this song seem straight out of a fairy tale, and the bits of harp that flutter in and of “Always” further the fantasy theme of the record on the whole. There’s no stronger moment of whimsy Spellling delivered on The Turning Wheel than this one. LISTEN
Relying on simplicity to lead us to complexity, “Dying Breed” is one of their most exhilarating songs to date. Things start out quietly enough, like a slow trot through Western grandeur on the horse on the album art. But the soaring spirits that power Imploding the Mirage, coupled with Brandon Flowers singing of stained glass mountains and wicked winds, turn the song from a trot to a gallop. He builds us up to a most stunning climax, a blast of powerfully pure Springsteen-ian joy that’ll have you racing across mountain vistas and desert skies. The coda is a suitably grand ending, topping off an amazing track I didn’t think the Killers had in them. LISTEN
Cobra Man have long been a favorite of mine, but I wasn’t prepared for the level of cheese they rose to on “Cadillac”. This is one of the greatest 80’s pastiches ever assembled. From the drum patterns to the glittery synthesizers to the over the top vocals, everything is spot on, and a perfect imitation of every 80’s trope you know and love. And most of all, it’s catchy, and the way it’s sung makes it seem like the stakes have never been higher. “Cadillac” is one of those songs you can create an entire movie scene out of, full of explosions, high-stakes romance, and probably a Kurt Russell appearance. In other words, it’s incredibly fun stuff. LISTEN
If you’re going to try and imitate one of the greatest bands of all time, it’s not a bad idea to have one of the original band members help you. The inimitable Peter Hook lends his iconic bass guitar to “Aries”, leading to it sounding like a New Order song that never was. Even Damon Albarn’s vocals sound like Bernard Sumner at times, especially on the hook. But even with all these comparisons, this is still a Gorillaz song, and one of their best in a long time. Fitting lyrics about the want for connection in an age of separation hit close to home, and with only Albarn singing, this feels like a true sequel to the fantastic “On Melancholy Hill” from Plastic Beach. Don’t forget newcomer Georgia’s great drum sequences either. Albarn nailed so many genres on the first season of Song Machine, but none will stick with me quite like “Aries” will. LISTEN
2020 took many legends from us, and John Prine was one of the saddest. Taken by COVID-19, his legacy has long been cemented, but his final song he recorded might be one of his best. Over a twangy, poignant guitar, Prine appreciates the little things in life like blades of grass and butterflies, lyrics that become even more poignant now that he’s gone. Prine’s legend was established in the small details in his music, and “I Remember Anything” is more than a fitting sendoff. RIP. LISTEN
A meeting of the minds of two of Latin pop’s biggest stars, “Igual Que Un Ángel” found room for both Kali Uchis and Peso Pluma to shine their brightest. Kali continues her role as a fervent goddess of love, professing her love for her partner in both English and Spanish, flipping between the two with effortless precision. Peso Pluma is a little more heartbroken, but his Spanish vocals reach home no matter if you can understand him or not. By the time the two harmonize on the chorus, you’ll have already been enveloped by a plush instrumental that is as lovingly crafted as the lyrics Kali sings. It’s the type of song sent from heaven down to earth, or in this case, from their minds to our ears. LISTEN
From releasing a smash hit album, teaming with Cardi B for one of that year’s most viral bangers, and getting shot in the foot by Torey Lanez, 2020 was quite the year for Megan Thee Stallion. Most artists would dream of just one of those things happening to them across an entire career! To really understand her explosion in popularity, do no more than listen to the remix of “Savage”. The original is a fun bop, but adding Beyoncé adds another layer of excellence. The two have great chemistry, celebrating female independence in a series of lyrics you’ll be hearing in your head for days. It takes gravitas to add someone like Beyoncé to your own song and go toe to toe with her. LISTEN
A few days in quarantine felt like an eternity, let alone a full year like we experienced in 2020. Many of us spent hours staring up at the ceiling, questioning whether the pandemic or your sanity would disappear first. These feelings are what the reclusive Parannoul perfectly encapsulates on “White Ceiling”, a shoegaze epic that’s constantly teetering on the edge. Over ten minutes, the clangorous drum machines and fuzzy guitars (all instruments played by Parannoul himself) grow in size and scope, with Parannoul’s Korean wails get louder and more frenzied. It’s as if his sanity is disappearing by the second, a product of inherent loneliness made worse by a virus forcing isolation. It comes crashing down in the end in a series of screams, both samples and the singer’s own anguish. To feel this mountain of emotion without understanding a word of what he’s saying is a testament to the incredible music Parannoul can create, and “White Ceiling” is the best of his best. LISTEN
In his quest to find the perfect mixture of rap and rock, “Heavy Heart” is Bartees Strange’s current crown jewel. It’s his mechanism to cope with the loss he experienced as the world descended into the pandemic, right as his career was peaking. As he let go of his heavy heart, he swaps between rapping and singing with ease over one of the more triumphant instrumentals of the year. The song peaks with an epic horn section, like the final cavalry arriving to push the heroes to victory. It’s a gleaming achievement, one spurned by dark times that brushes them away with beams of light. LISTEN
Passage Du Desir’s closer is an amalgam of everything that makes Sturgill Simpson great. The cinematic presentation of the end of a relationship is complete with soulful guitar solos, a cosmic sense of longing and regret, and an harrowing outro that takes four minutes to usher itself out the door. It’s almost 9 minutes of pure wonder, hand-crafted by a master and without a single moment that’s untouched or unloved. It was a spectacular close to a rebirth of one of country music’s most underrated stars. LISTEN
Every invasive thought you’ve had about that cute girl across the bar is put into “Red Wine Supernova”. It’s awkward, it’s lovey dovey, it’s horny, and it’s hilarious, sold by Chappell Roan’s earnest pipes and a rocking synthpop instrumental. Chappell is so desperate she ignores her target’s stoner habits and stretches the truth about her bed size. But who among us hasn’t been a little dishonest to get what they want? Nothing about Chappell’s rise to fame has been dishonest, evidenced by the massive success songs like this one have deservedly gotten. LISTEN
Ever think you’d imagine two rappers getting ready to joust on a rap track? If not, you haven’t heard “Burfict!”. The horn samples evoke images of Roman gladiators getting ready for battle at the Coliseum. It’s a perfect backdrop for Peggy & Danny to unleash their wild styles of rapping. Danny sounds classically unhinged, while Peggy references everyone from Ruth Bader Ginsburg to famous heroin traffickers to Joe Rogan. It all makes for a truly madcap affair, fitting for a song named after one of the National Football League’s dirtiest players. LISTEN
For as memed on as BCNR are (Arcade Fire for incels, anyone?), their sophomore effort produced some truly moving post-rock. The most memorable of their long ballads is “The Place Where He Inserted The Blade”, a winding piano-driven epic that stretches the limits of what the collective is capable of. Isaac Wood’s trembly voice narrates the pain of losing one’s first love, and it’s backed by gentle pianos, warm guitars and a chorus of backing vocals from the rest of the band. Wood can’t even make lunch without thinking of this person, and the metaphors of lunch and love are some of the most poetic words BCNR has put out to date. You can’t help but recall your own first love and helplessly romanticize it as Wood does here. As they shift into a new stage with Wood’s departure from the band, this track remains the pinnacle of Black Country, New Road’s fleeting first era. LISTEN
The first ever title track in Paramore’s long history as pop punk heroes sees Hayley Williams showing cracks. Her persona as the frontwoman to a massive band leaves her under constant stress and pressure, and that heft is apparent in her lyrics and the track’s crunchy instrumental. The pratfalls of fame and the constant monitoring the world is always under threaten to break Williams, but she and her bandmates use that pressure to create one of their best songs. LISTEN
In a stunning turn of events, The Strokes allowed Julian Casablancas to sing his heart out and dominate a track. It’s as stripped back as The Strokes have ever been, and the results are absolutely amazing. There’s no grizzly guitars, no vocal distortion, just a fat synth line and an epic vocal performance. It’s unlike anything else on The New Abnormal, and I don’t think songs like this would make up a great Strokes album, but as it stands “At The Door” is an unusual but incredible highlight in the band’s storied discography. LISTEN
Tyler, the Creator’s transformation from musical bad boy to soulful poet laureate has been quite the journey. He’s found his calling as a purveyor of love, be it tragic or gleeful, and this double track from CALL ME IF YOU GET LOSE is an excellent mixture of both. The “SWEET” part is all about infatuation, with Tyler musing about his love over a bouncy beat. His lyricism, much improved from his Odd Future days, might make you fall in love with this person, but the comedown is quick. The swap between parts is seamlessly produced, and the confidence in this love plummets just as seamlessly when the second half begins. Though the song is a hefty 9 minutes, the longest of any Tyler two parter, the way he guides us through this roller coaster of love could be endless and still masterful. It’s like Tyler is challenging himself to top his previous two parters, and boy did he succeed. LISTEN
The early 2000’s have been a popular source for artists to mine for inspiration over the last few years, and on Rina’s genre-domination campaign, it’s a logical source. Sounding like the love child of System of a Down and Britney Spears, “XS” is a nu-pop banger celebrating the joys of excess. The incredibly melodic instrumental mixes shrill guitars and drums with dramatic strings, topped off by Rina’s clean pipes and clever puns. It’s so good sounding it’s almost too much, a fitting fact given the subject of the song. She set a high bar for her career with songs like this, and I can’t wait to hear her try to reach these heights again. LISTEN
The stark guitars that open this punk rock rager could almost tear the song apart with their disjointedness, but Sarah Tudzin just won’t let that happen. The seemingly gibberish title turns into an anthemically gibberish chorus as Tudzin shreds everything in her way. Start-ups, the Democratic National Convention, and more are no match for Tudzin’s spirited delivery, and you can feel the smile on her face as she screams “If you’re not laughing baby, than you’re not making money!” “MMMOOOAAAAAYAYA” is the song that finally delivers on the promise that illuminati hotties has been hinting at for years, and it came with a title that a 4th grader could’ve made up. Go figure! LISTEN
“YA YA” is one of Beyoncé’s most electric songs ever recorded, and that’s high praise for an artist of her caliber. But it’s deserved praise, and just listening to this COWBOY CARTER highlight, you can tell the titanic amount of effort it must’ve took to hold everything together. Sounding like a song that could soundtrack a Tarantino film, “YA YA” combines everything from country music to action films to political action and more to make something wholly unique. She celebrates the artists who toured the Chitlin Circuit like Aretha Franklin and Little Richard, who put Beyoncé on her own path by forging their own. There’s never a moment to pause, with Beach Boys interpolations and calls to twerk it and jerk it frequently appearing. If it sounds like a lot, it absolutely is, and it’s essential that it is. Beyoncé has the resources and the want to make something like this work, and it’s the biggest and best celebration she could’ve thrown. LISTEN
The song that spurred a year's worth of Gizz-verse music, "The Dripping Tap" is an outburst of pent-up pandemic energy. The lads of King Gizz were finally able to record in the same space again after months of separation, and the energy that came with it is truly electrifying. At no point across this 18-minute rager will you be bored. The jam sesh for "The Dripping Tap" also inspired the recording styles used for the band's three October 2022 records, making it not only amazing on its own but a real trailblazer. In a canon filled with great tracks, this one stands near the top. LISTEN
Eschewing the club-ready beats that made her famous had Avalon Emerson slowing down and taking time to smell the roses. “Sandrail Silhouette” is Balearic bliss at its finest, peacefully drifting through the sands of time. Emerson provides a calm guide as she comes to terms with how time affects her, like her friends all being old enough to have children. Such an existential crisis is made palatable by the plush synths and occasional string interludes. It goes to show any type of dread can be assuaged through calming pop music. LISTEN
What better way is there to portray the memories of a lost love than with the sounds of something abandoned? “Wounds of Love” is built around a lovely analog synth melody and carried by Ian Richard Devaney’s longing voice. “Can I ever get past the wounds of love?” he cries, knowing the pain might never leave him. But in a way, it’s cathartic, lessening the pain of memories he’d like to forget with a sound we could all use a little more of. LISTEN
“June” is the thesis statement of LABYRINTHITIS, a sprawling epic even by Destroyer standards that features spoken word, rapping, singing, and some of the best Bejar-isms in years. Some of my favorites include “You have to look at it from all angles, says the cubist judge from cubist jail” and “A snow angel’s a fucking idiot somebody made/A fucking idiot someone made in the snow”. Throw in the band’s typical excellence in sophistipop sound and you’ve got a song that can (and will) launch you into a lifetime of Destroyer fandom. LISTEN
Every song on Animal is alive like a feral beast in the woods, and its title track was the leader of the pack. Simple in its wordplay yet infectious like all hell, the track prowls around your eardrums like a creature of the night. Through the simple carnal desires Laura Marling sings of, you get a sense of exactly what kind of beast she’s describing. It’s driven by simple desire, a primal sense of need. The mixture of punchy drums and fleeting synths in the background create the animal’s layer, never lacking for intrigue. It’s deceptively simple, and much like the wild creature envisioned here, “Animal” can sneak up on you and render you speechless. LISTEN
A new year is meant for new beginnings, and for Let’s Eat Grandma, that meant a new beginning to their friendship. Written during a particular rough patch in their relationship, “Happy New Year” provides a new spark for the pair of synthpop starlets. The rekindling of Jenny & Rosa’s friendship through their memories is beautiful and heartfelt, a hallmark of the duo’s songwriting. The nostalgia is elevated by a truly magnificent set of synth explosions that shape the rhythm. It’s as big of a sound as the duo has produced, and showcases their massive talent for big time pop songs. “Happy New Year” is a double whammy, a return to normalcy for some best friends and a career highlight. May it welcome in many new years to come. LISTEN
You’ve heard blues rock before, but not in the way that Mdou Moctar presents it on “Afrique Victime”. They introduce you to the title track with his impressively passionate Tuareg delivery, but once the singing stops, the real song begins. Moctar plays his guitar with such reckless abandon you’ll see images of a stampede of water bison across the sahara. There are so many highs with “Afrique Victime” that it’s hard to pick a favorite. It’s easier to just be impressed by the skill of the musicians and lose yourself in this endless African landscape. LISTEN
Doesn’t it seem like everyone wants to attend parties just to complain about them? That’s the crux of “Angelica”, where Wet Leg have a time poking fun at the constant drag that is party culture. Meeting shitty people, drinking shitty beer, it all gets old time after time, yet we keep doing it. Hester and Rhain dream about the titular Angelica blowing the whole thing up with ray guns, capped off by a raucous indie rock climax that promises to push forward to better parties in the future. LISTEN
Easily one of the best pure pop songs of the decade so far, “Levitating” is the ultimate showcase of why Dua Lipa has become a premier pop star. The light, floaty instrumental is built for radio domination and is more than up to the task. Dua’s confidence is so infectious you’ll start levitating too, cementing her status as a generational talent of pop music. The best pop stars can take tired tropes and turn them into something fresh and exciting, and “Levitating” knocks it out of the park for pop escapism. LISTEN
While Imaginal Disk expanded the realm of what a Magdalena Bay song can be, my favorite track from it ended up in a similar lane to their earlier work. “Image” is a mesmerizing piece of straightforward synthpop, bursting at the seams with creativity. As Mica Tenenbaum counts down to something, little elements embed themselves in to the background, like heavier percussion and rippling synths. The continued intricacies coupled with a dynamite bassline keep you locked in to find out what happens next, and the duo delivers a huge final chorus where the seams finally burst. In a discography full of bangers, “Image” might bang the hardest, and it was my most listened to song in 2024 for good reason. LISTEN
The plain, honest questions Sufjan Stevens asks on “Will Anybody Ever Love Me?” are what set him so far above his compatriots as a songwriter. Beyond that, it’s his ability to turn these straightforward questions about love into something wholly beautiful and heartbreaking. Accompanied by an airy instrumental and gorgeous background harmonies, Sufjan delivers one of the best ballads he’s ever made. LISTEN
The more Ghost gage in to their pop ambitions, the higher they flew. No band can combine occult worship with Top 40 stylings like these devilish Swedes, and “Spillways'' instantly became their greatest mixture of genres and styles yet. It’s an impeccably catchy banger about the darkness within only they could make, with a chorus so sticky it’ll never escape the spillways of your soul. Papa Emeritus IV’s typically ghoulish vocals are backed by some truly epic choruses, and the singalong lyrics only get better and better the more replays the song gets. This is like if ABBA became a metal band, and the only thing left to wonder is if Ghost will start to mine from Madonna or Bruce Springsteen next. LISTEN
Always ones to have their finger on the pulse of the moment, The 1975’s best song of the 2020’s (and there are plenty to choose from) is one about connection. In a year where online interactions became more important than ever, the boys from Britain use a lavish synthpop instrumental to comment on the uncertainty of Zoom calls and romance in the digital age. It’s positively 1975, full of lyrics about the uncertainty of your relationships through a computer screen, but that uncertainty is what Matty Healy does best. It’s also got the best saxophone solo I’ve heard on a pop song in a long time. Whatever the feelings of the times are, you just know these guys are gonna put it into words for all of us. LISTEN
In the midst of PUP's 2022 record The Unraveling Of PUPTHEBAND, a robot learns what love is. He hates it. “Robot Writes A Love Song” is a left turn from the rest of the record, but it sees the Toronto band operating at their absolute peak. The first chorus (The first time I saw you I confess/you nearly put me into cardiac arrest) is so raw, so emotional you truly feel like the singer has never felt the pain of love and heartbreak before. It’s a mini unraveling in the midst of an album of unraveling, with our mechanical narrator opting for the disassembly line rather than experience whatever the hell he just went through again. Leave it to PUP to find the worst in nuts and bolts and turn it into their best song. LISTEN
By the end of Here In The Pitch, some of the haze has cleared, and “The Last Year” offers the clearest picture of Jessica Pratt herself. It’s melancholic as all get out, with only a guitar and some sparse piano chords settling in together to make a lovely melody. But that melody masks the fears of aging and loneliness that plague Pratt. Is there any hope for her? Is there any hope for any of us? Yes, yes there is. It’s the logical conclusion to Pratt’s magnificent fourth album. It may not happen when you want it to, but you’ll get to your own happy end credits sequence at some point, and “The Last Year” will make fine backing music for your own perfect ending. LISTEN
One of the most blistering pieces of emo rock I’ve ever heard, “motions” hits every hallmark of the genre within the first 30 seconds. The drums clatter as melodic riffs fly by your head, and J McClendon’s mumbly vocals perfectly articulate the struggles to find your place in modern society. Those mumbles turn into a roar by the song’s climax, an incredible, electric maelstrom of everything that makes emo rock great turned up to 11. “motions” is an emo banger like no other, and the pinnacle of glass beach’s attempts to climb to the top of the genre. LISTEN
When Kendrick speaks, we listen. Mr. Morale was full of the grandiose statements we expect from one of rap’s foremost poets, but his strongest statement this year was the preceding single. “The Heart Part 5” is as exhilarating of a song as Kendrick has ever made, a masterclass in both wordplay and production. In five and a half minutes, Kenny goes through his thoughts on the pandemic, the continued struggle of African Americans in the US, the death of his close friend Nipsey Hussle and more with the cutting lyricism he’s known for. His tone streams through panic, aggression, and forgiveness seamlessly as he breaks down “the culture”. It’s almost suffocating in a way, as Kendrick’s bars come rapid fire as the flawless instrumental fills in with drums, pianos, a gaudy bassline and more. That suffocating feeling mirrors the trials and tribulations he speaks of, and it culminates with his heartfelt tribute to Nipsey, placing himself into the shoes of his slain friend. It’s perhaps the cleanest example of his growth as a musician, effortlessly creating something impactful and moving before he effortlessly shredded Drake to bits. LISTEN
Within Lana’s catalog, there’s plenty of stories of her being the other woman in a relationship. On “A&W”, she takes that story up to a whole new notch. Harrowing pianos carry the song’s first half, one that details a sex addicted woman who, despite her best attempts, seems resigned to her fate. She’s down bad but she likes it that way, to the point where even if she’s been abused, she couldn’t find her way out of it. Lana’s ghostly voice adds an even more chilling element to the lyrics, paralleling this story of an American whore with how the American woman is often the secondary party. It never becomes rambly, with every lyric holding some weight in the twisted life of this character. Then, the song switches its beat midway through, turning into an almost techno folk banger, where she finally finds a way to stand up to her abuser. It’s an epic production held together by Jack Antonoff’s magic touch, and another reminder of how Lana has grown into one of our generation’s premier American songwriters. Her stories may not be happy ones, but they drag you in whether you like it or not. LISTEN
Alan Palomo created an album full of incredible pastiches of the 1980’s, and no song truly captures that imaginary magic like “Nudista Mundial ‘89”. It’s a debaucherous dream of paradise at nude beaches, told in multiple languages with a deliciously aggressive synthpop beat to match. The way Palomo makes such a deranged fantasy sound so effortlessly fun is a testament to his craft, and it’s hard not to get sucked into a song that’s as musically accomplished as this. The music video is the cherry on top. Nude beaches might not be your thing, but a song that oozes with fun like “Nudista Mundial ‘’89” might make it your thing. LISTEN
The existential dread of Natalie Mering’s music has only become more immediate since her last record, thanks to COVID, election denials and more mass shootings. Despite this, the highlight of her latest record “It’s Not Just Me, It’s Everybody” takes a slightly hopeful approach, albeit one of near nihilism. It’s a realization that you’re not the only one adrift in this thing we call life, and taking solace in the fact that we’re all suffering in our own ways. Mering’s voice is a soothing guide through this abyss, as is the gorgeous collection of pianos, harps and more that define her music. The slight tweaks in the theming of her music only serve to make it more relatable than ever that yeah, we’re all screwed, but at least her soundtrack to the doom is amazing. LISTEN
There’s an eeriness to Low’s music unlike any band. With just Alan Sparhawk and Mimi Parker’s voices to open “Days Like These”, you’d be remiss to think of it as nothing more than a camp singalong. That image is shattered by a heavy layer of distortion on the second verse, paralleling the difficulty of the times we live in. Yet through the distortion, the beauty of what Sparhawk and Parker sing about is still in place. It’s a harsh balance that Low is incredibly good at finding, and in this late career renaissance they’re in, “Days Like These” stands out as a career best. Rest in peace Mimi. LISTEN
On long drives on the road, all of your thoughts are liable to spill out at any time. They can be messy and raw, which is exactly what Jeff Rosenstock excels at putting into song. The finale to his 2020 masterpiece, “Ohio Tpke” sums up the feelings of loneliness and longing while traveling with an epic power pop instrumental to boot. Written pre-pandemic but perfect for those isolated times, Jeff’s relentless push forward ensures the song is never bogged down by suffering. The song’s breakdown hits the hardest: “Nobody wishes for the things that they already have/We relive every misstep that we've made in our lives/And hoard our scary secrets 'til they wake us at night/And we think we can't escape from it/But maybe we might/If we try to just acknowledge we can do anything right.” They were wise words to live by in those trying times and they still hold serve today. LISTEN
“Girl, so confusing” was absolutely a highlight from the original version of BRAT. It got everyone wondering who Charli was talking about in the lyrics, and as many suspected, it was indeed about her pop compatriot Lorde. Charli even playfully said “the internet would go crazy” if they ever collaborated, so what does she do? She gets Lorde for a remix to engage in some musical therapy, and the results are stirring. Charli’s original lyrics about how the industry loves to pit female stars against each other still ring true, but it’s Lorde who elevates this track to godlike levels. She spills her guts about her body image issues, her anxieties about living up to the expectations the industry put on her after “Royals” and Melodrama, and her own hesitations about getting closer to Charli. It’s unburdened and freeing, a totally different Lorde than the one we heard on the letdown that was Solar Power. In the end these two stars have much more in common than they thought, and their combined power not only made the internet go crazy, but it created one of the most iconic collabs of the 2020’s. LISTEN
It’s rare for a singer to wholly encompass any subject. So for three of them like Phoebe Bridgers, Lucy Dacus and Julien Baker to so wholly encompass the angst of never feeling like you’re enough is a miracle. “Not Strong Enough” is one of the most moving indie songs of the last couple years, something so raw and powerful that it’s impossible not to insert yourself into the song. Their voices range from confident and about to collapse, delivered over a gorgeous indie melody. It’s the pinnacle of all three artist’s work, both solo and collectively. LISTEN
"At some point you’d have to live as if the truth was true." That’s a line Tamara Lindeman heard while working on Ignorance, and it became the centerpiece for the album’s masterpiece. “Loss” intertwines fears of heartbreak and climate change like they’re made for each other, crescendoing on the chorus of “Loss is loss is loss”. It’s blunt yet effective, followed by a typically gorgeous piano melody. For a song lamenting the change in life and in the world, “Loss” beams with a brightness unseen on the rest of the record. It’s a ray of light through the clouds of change, assuring you that you’ll move on and be better for it. LISTEN
The feeling of pain in Nilüfer Yanya’s voice is her calling card, and the sensation is never stronger than on “shameless”, the peak of a record full of peaks. It’s a stunning portrait of the aftermath of a relationship’s end, and every piercing lyric is only heightened by Yanya’s celestial delivery. The electric guitars and pianos as the song crescendos make for a perfect backdrop to these feelings of despair, a feeling Nilüfer can portray better than almost any artist living today. LISTEN
Ready to feel like the baddy on the floor? Jamie xx has just the song for you. You will feel like the center of attention when you turn “Baddy On The Floor” on, no matter if you’re at a club or dancing in your room. The innovative beatmaker’s penchant for smart sounds lends itself perfectly to a more pop-inspired rhythm, and Honey Dijon’s helping hand brings this track to ecstatic levels of bliss. The horns that directly follow the drop are some of the catchiest put to any track of any genre this decade, and it’s the crown jewel of Jamie xx’s shift into a more popular form of artistry. LISTEN
Always a great storyteller, Taylor Swift took her talents to new levels when she started exploring folk sounds on both folklore and evermore. The crown jewel of her newfound sound was “betty”, a story of a high school romance that’s brought to life by some of Swift’s most vivid and arresting storytelling ever. By keeping things relatively plain from a story perspective, Taylor allows herself a blank canvas to give the titular Betty and James the narrator vibrant life. Aaron Dessner’s production follows a similar path, keeping things straightforward but building to an instrumental flourish as the story reaches its climax. No matter your age, it’s the kind of story that’ll tug at your heartstrings, the young love we all dreamed of or experience ourselves that’s timeless when written by a master like Taylor Swift. LISTEN
As Jessie Ware conquered dancefloors everywhere in the early part of the 2020’s, she did so with force. “Free Yourself” sees her assuming the role of a military figure, demanding you move and groove to her all-consuming brand of nu-disco euphoria. It’s like if a dirge could dance, powering its way forward while recruiting new faces to an ever growing army of dancers, prancers, and music enjoyers. It’s the kind of army worth fighting for, spreading the good vibes of peak nu-disco to those in need. LISTEN
The majority of Japanese Breakfast’s music centers itself around grief, and “Be Sweet” definitely isn’t a happy-go lucky kind of song. Michelle Zauner is in need of some sweetness from her lover, but she isn’t begging for it, she’s demanding it. The engrossing synthpop beat hides these darker feelings, and the balance it strikes is delicate. These emotions are universal and relatable, and when produced in such a memorable fashion, it elevates “Be Sweet” to synthpop and songwriting royalty. LISTEN
Fetch The Bolt Cutters is an incredibly organic experience, filled with sounds that most other artists wouldn’t dare include on their music. Its most spellbinding song it “Shameika”, a maelstrom of handclaps, table slaps, whirling pianos and thundering percussion that tells the tale of Fiona’s original source of self-worth. “Shameika said I have potential” are five simple words that launch this song into the stratosphere of indie rock. Its tornadic melody is held together by Fiona’s clever lyricism and her memory of that fateful moment with her classmate, whirling around in harmony instead of potential discord. It’s a powerful, tour de force type of track that was well worth the near decade we had to wait to hear it. LISTEN
Caroline Polachek creates fantastical worlds with not just her stirring synthpop production, but her voice as well. Her pipes are an instrument to their own, and the wails at the beginning of “Welcome To My Island” paint a stirring picture of Caroline’s world. She’s expressive and captivating as she guides us around her island, a wonderful place full of melodies and choruses only a creative like her could whip up. The vocals are the brightest star on a track that shines brightly, and even on an island filled with angst about her late father, Caroline’s musical genius makes it a destination worth repeat visits. LISTEN
There will likely never be a song that balances schoolyard insults with commercial viability quite like “Not Like Us”. Kendrick puts Drake and all his friends in the grave with some of the most gleefully spiteful jabs you’ll ever hear. Who else could straight up call their rival a pedophile and have it turn into the biggest song in the world? The real venom is what makes “Not Like Us” work, but it helps that Mustard’s beat gives it a level of catchiness the masses could enjoy. For as childish as it can be, it’s still a phenomenally written track that digs deep at Drake in enough ways that he had to sue Spotify to get them to stop spreading it. It didn’t work, by the way. LISTEN
Originally I thought the sentiments of “4 American Dollars” would come to define 2020, what with an election and questions about the economy coming up. Little did I know about that little pandemic dealeo that stole all that campaign’s thunder, but I do know that U.S. Girls’ best song still holds up all these years late. Meg Remy’s unapolagetically political in her dissection of money and power, but the song never feels overbearing. That’s thanks in part to an art pop instrumental that’s up there with the best of them, a true earworm in all senses of the word. The extended outro just lists out several kinds of international currency, a fitting way for a song all about capitalistic cruelty to trail off. LISTEN
For a hardcore band like Turnstile, the beauty behind the madness is often left as an afterthought. “MYSTERY” shows its beauty right off the bat, kicking off one of the decade’s best rock albums with twinkling synth arpeggios that sound more Beach House than PUP. It’s a sentiment that carries throughout a song that no doubt gets intensely loud, but one that deftly balances the harshness with a beautiful melody and Brendan Yates’ captivating vocals. The lyrics are steeped in uncertainty, but it’s certain that you’ll find no rock song from the first half of the 2020’s that’s just as much of a rager as it is a gorgeous composition. LISTEN
Nobody writes a better modern ballad than Olivia Rodrigo, and she’s never written a better song than “vampire”. All the hallmarks of her past work like the biting lyrics and the suave approach to modern pop music are here, but it’s bigger and better. The song builds slowly but surely, and so does Olivia’s rage at her ex. In a lesser artist’s hand these jabs could be juvenile, but her wit and vocal chops ensure each skewering line is nothing less than enrapturing. It’s a pop pinnacle few of her contemporaries have reached or could ever even dream of reaching. LISTEN
Why wouldn’t a song about junk food be one of my favorites in a decade that makes less and less sense by the year? “Doritos & Fritos” is the pinnacle of 100 gecs’ maximalized vision of hyperpop. The bassline is so sharp it’ll cut you if you aren’t careful. The chorus is so insanely sticky you’d think a collection of the best minds in pop music created it as opposed to two weirdos like Dylan Brady and Laura Les. Even the lyrics, beyond their facade of popular chip brands, hint at a loss of connection in an age of technology. But beyond all that, it’s just catchy as hell, and a marvelous example of what happens when you let two basement dwelling gremlins get a semblance of a budget. LISTEN
Though you never see a picture of the character Geordie Greep plays on “Holy, Holy”, you can picture exactly what he looks like. A cheap suit that’s a size too large, shoes with too much shine, and so much hair gel it’s practically dripping off his head are just a few of the things I see as Greep takes us on a tour de force tale of one of his most unsanctimonious characters. He sings like he’s a multi-billionaire with the charisma to match, promising his romantic target everyone around the world (and the ladies at the bar) know his stature. The insane jazz rock instrumental makes Greep’s character seem larger than life, but it’s only after one of this decade’s most electric choruses that the cracks start to show. He starts offering to pay and to direct their romance, and by the end, his pathetic self is finally exposed. But there’s never a moment where Greep isn’t fully invested in playing up this loser, and his performance is as captivating as any I’ve heard this decade yet. The instrumental never lets up too, and it’s a complete package apart from the morals of our main character. LISTEN
One of the most explosive portraits of grief ever put to song, Dave Grohl and his Foo Fighters bandmates express themselves in the only way they know how on “Rescued”. Their brand of stadium rock hadn’t felt this full of life in years, which makes it even sadder that it deals with death. There’s something so incredibly raw about Grohl’s lyrical earnestness, like there’s no point in hiding the immense pain Taylor Hawkins’ death put him through. It’s catharsis through crashing drums and charged up guitars, and a track that takes Foo Fighters into lands unknown. I think Taylor would be proud. LISTEN
Ah, modern dating. It’s like throwing your best qualities into a black hole and hoping something interesting comes back out. Sometimes you throw your entire self into that black hole, only to get spit back out worse for wear. Roisin’s been through it like the rest of us, and “Murphy’s Law” is a tribute to that struggle. Over one of the most sublime nu-disco beats you’ll ever hear, Roisin goes through it all. The chance meeting, the spark and the heartbreak we’ve all felt are here, but ultimately it’s not about the pain. Murphy’s smooth croon gets back up and tries again, continually throwing herself back in the mix, because if you don’t try, what’s the point? Her refusal to let her past failures hold her back powers “Murphy’s Law” forward, and even though she and the rest of us are doomed to experiences failure in the dating pool time and time again, her line “I feel my story’s still untold/But I’ll make my own happy ending” is enough to keep me up and at em till I get mine. LISTEN
Sometimes, a song comes out and you just know it’s an instant classic from the moment you first hear it. That’s the feeling that struck me the first time I hit play on “Like I Used To”, and that sentiment has only gotten stronger the many, many more times I’ve listened to it. The gorgeous Springsteen-ian instrumental evokes the past but stays in the present, creating the perfect soundscape for Angel and Sharon to harmonize over. They sing of a return to normalcy, one we were all craving post-lockdowns, and their electric performances are as good as either of them have ever sounded. Sharon’s deep drawl and Angel’s nasally cries weave together like the thread of destiny, making things like lighting up a joint, sleeping in late and falling in love feel like major motion picture events. It’s those most mundane tasks that get the biggest life, and by the song’s final chorus, Angel & Sharon’s voices harmonies will send chills down your spine. “Like I Used To” is an anthem for everyone, relatable and comforting yet grand in a way only these two singers could bring to life. It’s my favorite song of the decade so far. Go listen to it! LISTEN
More of my Best Of The 2020’s (So Far) lists:
