Best Hit Songs of 2021 (2/4)

Maybe some things last forever after all.

deja vu by Olivia Rodrigo

In case it’s not obvious yet, I throw my full endorsement and support towards the Olivia Rodrigo train. Writing about teenage angst is hard because teenagers are messy and messiness is hard to get right without coming off as obnoxious. The thing about Olivia Rodrigo is that she not only gets teenage angst, she gets angst in general. “deja vu” is admittedly not my favorite song of hers, but it’s one that I’ve grown to appreciate more and more since its release. It’s watching an ex make the same moves on their new partner that they pulled on you, and while Olivia is clinging on to those memories because they mean so much to her, seeing them repeated with someone else is making her realize how much of that was a lie. It’s why the song goes from a wistful, nostalgic twinkle to a roller-coaster of tension. The more she sees this girl go through the same memories she had, the more she realizes the love she felt and everything they went through meant nothing to him. They’re just tricks he uses to get girls to do what he wants. I LOVE how the second half of this song sounds like it’s falling apart. It’s not an angry song, it’s a desperate one. Desperate for closure and answers, but not willing to accept that those answers tell a truth she’s not ready to hear. And that’s something both teenagers and adults experience with relationships that have gone past their honeymoon period. When you look at someone through rose-tinted glasses, all the red flags just look like flags.

No More Parties by Coi Leray ft. Lil Durk

Coi Leray became 2021’s punching bag for misogyny Twitter for really no reason. I guess because she’s cocky on social media and happens to have family in the industry? As if her male counterparts aren’t just as cocky and don’t have industry connections that got them in the door? I like Baby Keem, but that guy is literally Kendrick Lamar’s cousin and I never saw people get as mad at him over that the same way they have for Coi Leray. I’m sure someone will try to “well, actually” me for saying that, but from the songs I have heard from her, I actually think Coi Leray has a ton of potential. “No More Parties” is an excellent introduction to her as an artist. It’s breezy and catchy in the best ways possible. Coi sells this song off her flows and charisma alone. She dances around the toxicity in her life and promises herself better things with a fun little adlibby hook that always makes me smile whenever I hear it. I can’t help but get swept up in the joyous energy of this song, especially when Lil Durk comes out and rags against the haters for trying to split him and his partner apart. Despite being a mean and nasty song, it’s one that still finds optimism in its own lane and flourishes in it. Because that energy should be saved for the best moments in life, not the worst.

m y . l i f e by J. Cole ft. 21 Savage & Morray

Remember when this was almost a #1 hit? It’s easy to forget considering J. Cole doesn’t really promote his albums beyond their initial release. He’s gotten big enough that he doesn’t really need to. Just the sentence “new J. Cole dropping” is enough to send his fans into a frenzy. Normally I would dread the discourse that would follow a new J. Cole album dropping, especially fresh off his embarrassing feud with Noname, but turns out when J. Cole sharpens his focus on proving himself as the greatest rapper alive (his words, not mine), we get a song as anthemic and badass as “m y . l i f e”. Taking a cue from a previous hit, “a lot”, the gospel sampled production sounds great over J. Cole’s relentless flows and musings about escaping poverty and finding himself appreciating what he has while sticking to his roots. His struggles weren’t in vain. If anything, they helped him get to where he is today. But he also knows he would never go through them again. The pain wouldn’t be worth it, especially now that he and his family are finally secure in the lives they lead now. Plus, a great verse from 21 Savage, focusing on his time in the streets and learning to keep his true friends close and the rats as far away as possible. And of course, Morray belting over the organ build-up and gospel vocals is a throne-defining moment. We better hear more of this guy in the near future.

Permission To Dance by BTS

Everyone should have treated this song better. “Permission To Dance” joins the ever-growing list of #1 hits that don’t make the year-end Hot 100 of their respective year, BTS’ second after “Life Goes On”. And I’m kinda bummed about that because while it’s not BTS’ strongest retro banger as of late, I’m a huge sucker for this grand romantic sound. Especially with the way this song uses a big string choir to lead the melodies. The hook is also incredibly infectious and full of life. I always get swept up in that little start-and-stop melody right before the title drop. It’s one of those charming, cinematic production tricks that make the song burst with theatrical romance. I guess you can call it generic, but it’s the kind of generic that always lights up my soul whenever it comes on. I forgot about this song for a good chunk of the year, but coming back to it made me realize it might be my favorite BTS song from this year. On their own at least.

Dynamite by BTS

Which of course, comes back to BTS’ hit from last year, “Dynamite”. Not much new to say about this song. It’s still just as fun and vibrant as it was last year. I kinda hope the band doesn’t recycle this song for the rest of their careers, but if they do I won’t complain too much. I have yet to hear a song of theirs since that I don’t like.

Pick Up Your Feelings by Jazmine Sullivan

“Pick Up Your Feelings” was one of the more surprising sleeper hits of the year. It wasn’t as big as it could have been, but it was still nice to see Jazmine Sullivan gain another hit nearly two decades into her career. In a year of many breakup songs, “Pick Up Your Feelings” is one of the most scathing. Jazmine gives little room for her ex to make excuses or try to win her back. Her voice sounds tremendous, with the perfect amount of anger and confidence to make it clear she really is over it. The lyrics are venomous too. It makes the guy who broke her heart look totally pathetic, and she’s taking every opportunity to stomp in his grave with every desperate call and empty promise. It’s delightfully petty, but it’s the kind you can root for!

Positions by Ariana Grande

A few years ago, the idea of cute little pop angel Ariana Grande making a sex song was laughable to some people. Thankfully time has since then told us to shut the fuck up. What makes Ariana Grande so good at being sexy and seductive is that she knows how to make it look easy. Her charisma and effortless voice are utterly gorgeous to listen to, and this kind of breezy pop sound aligns with her flighty melodies incredibly easily. Ariana doesn’t have to try as hard as she does to make a song like this catchy and admittedly enticing, but she still tries just enough for it to stand out on the radio. It’s delightful, playful, but still has the sexual prowess to make you sweat.

Things A Man Oughta Know by Lainey Wilson

Despite the promise of more women in country getting hits last year, this year they’ve been mostly shut off again. We got a whopping two women getting #1 hits on the radio, and one of them was Gabby Barrett’s flaccid ode to monogamy. Thankfully Lainey Wilson has much more potential, and unlike “The Good Ones”, “Things A Man Oughta Know” is actually really good! Beautiful, elegant production that soars in the wind in its best moments, Lainey Wilson is a fantastic singer with a gorgeous voice, and I like the way she subverts traditional gender roles by using them to depict her own journey in separating herself from a toxic ex. There’s a lot of hurt in her voice from the way this ex emotionally neglected her, failing at the most basic steps of being a partner and exposing himself as a coward who either didn’t know how to express his love for Lainey, or didn’t have any in the first place. But rather than being a sad or angry callout, it feels more like the moment where you stand up and wipe your tears away. The first step in learning to move on and accept that he wasn’t who you thought he was. I think that’s what made this song hit so hard for me. Beyond its windswept hook and Lainey’s soft beautiful voice, it’s a triumph in the face of heartbreak that makes managing it that much easier. I really hope her duet with Cole Swindell goes places soon, I really like that song too!

willow by Taylor Swift

I swear, I thought about Taylor Swift at least once a day in 2021, yet she’s only represented here once (“All Too Well”’s ten-minute opus debuted after the Billboard cutoff so I’m not counting it). In all fairness, Taylor’s activity in 2021 has been limited to her rereleases of Fearless and Red, but she was still a notable figure in music regardless this year. I think she’s just in the same boat as Kanye and Beyoncé where she doesn’t really need hits anymore. I’m amazed “willow” made the year-end at all, considering its sister “cardigan” failed to make last year’s. But I’m also not surprised. “willow” is more agreeable to radio, with a soft guitar rolic and Taylor falling into her usual lovestruck songwriting, just over Aaron Dessner’s folklore-esque production. “willow” is far from the best song on evermore. In fact, I’d consider it bottom five of the album. But evermore is also an incredible album that only gets better with every listen, so that means nothing. I still love the soft, understated, but still romantic sentiment of this song. It frolics in the fields with such grace and poise, but still has the giddy infatuation of a young girl in love. Taylor’s attention to detail will always make even her least noteworthy songs something special.

Meet Me At Our Spot by THE ANXIETY (WILLOW & Tyler Cole)

Part of me considered saving this for next year, but fuck it. I’m listening to it in 2020, it charted for several weeks in 2020, I can talk about it now. I’m a huge sucker for love songs that aren’t big romantic gestures but instead focused on the little moments that make being around each other so exciting. “Meet Me At Our Spot” reminds me most of “Best Day Of My Life” by American Authors, which to most sounds like an insult. To me, it’s a huge compliment! As sanitized and corporate as that type of happy-go-lucky coffee shop music can be, there’s still a pure, joyous soul to the song that left that song in a soft spot for me. “Meet Me At That Spot” satisfies the same itch. A breezy bass rhythm, some fun interplay between WILLOW and her then-boyfriend Tyler Cole, and a messy, but endearing edge in the lyrics that Gen Z experiences most of all. I just like honest love songs like this. Gen Z tends to tilt toward irony in their declarations of love, and while there’s still a kernel of sincerity in those songs, I just like hearing songs that are just happy to have someone in their life.

Tombstone by Rod Wave

Rod Wave intrigued me in 2020, but he had my full attention in 2021. His “trap soul” sound has always been promising since I first heard him on “Heart On Ice”, but I was waiting for him to really elevate it more in the future. Refine his sound, beef up his writing, really get to the potential I knew he had. He met that potential in 2021, and I am more than happy to see him become one of the cornerstones of this era of trap. “Tombstone” isn’t quite my favorite song on SoulFly, but it’s one that’s always stood out to me as one of his most bleak. He’s been in the trenches for so long that he’s already accepted his death long before it happens. But he’s at peace with that in a morbid way. Even in the worst conditions, he lives in, he’s accepted that this is where life peaks, and should the streets finally get him in a moment of weakness, he’s happy going out on his own terms. Which, again, is DARK. Kind of depressing, actually. But the way he sings alongside that gospel choir behind him makes me at least happy that he’s found some shred of peace from his trauma. If only it didn’t have to be like this.

Therefore I Am by Billie Eilish

I think I considered this better than “bad guy” at one point. I’m not sure if I stand by that anymore, mostly cuz “bad guy”’s playfulness is a lot more fun than “Therefore I Am” which is just plain mean. At the same time though, “Therefore I Am” is much more cathartic in its pettiness. In an era where parasocial relationships, especially with celebrities, are all the more pronounced and toxic, I think we need a song like this. Especially someone whose privacy is constantly violated by fans and press like Billie. She gets real snarky on this song. It’s the kind of playful bullying that’s clearly being serious but indulges in its own humor to at least lighten the mood and show just how unbothered she is by the people who gossip about her. The production is great too! It has a menace that sounds sinister while still having the lighthearted bounce to keep the mood from getting too dour. I wasn’t sure if it was going to fit on the album at first but since a big part of the album is learning to cope with paparazzi and everyone analyzing every little thing she does, having a song this cathartic near the end actually made it better in my eyes. As good as “bad guy”? Ehhhh I dunno. Let’s just say on par.

Ain’t Shit by Doja Cat

I mentioned earlier that Doja Cat had several songs off of her album go viral, and this was the first one to do it after the album dropped. This was delightful news to me, as this was without a doubt my favorite song on Planet Her other than “Kiss Me More”. I always saw Doja Cat put on this quirky, silly persona on Twitter that loves memes as much as she loves dick. Admittedly, it could get kind of annoying, but I also wished I saw more of that quirkiness in her own music. Cuz otherwise, she comes off as really airy and boring. “Ain’t Shit” completely makes up for it, mocking an ex and flying between different voices and insults over a fun tropical beat. “Ain’t Shit” is hilarious! It’s so petty and stupid in the most childish, but fun way possible. I love hearing her high falsetto sing about how “[boys] ain’t shit” and complaining about he doesn’t pay rent, followed by rap verses where instead of expressing anger, she’s just exasperated by how incompetent he is as a person. He may be cute, but he’s dumb as a rock. The third verse is the highlight of the song where she just goes off over his cheating and berates him in a high-pitched voice. “I’ll call your fucking mom! You should have paid my rent! Go get a fucking job!” is one of the funniest lyrics of the year.

Hold On by Justin Bieber

Easily my favorite Bieber song this year, and honestly my favorite Bieber song since “What Do You Mean?”. You can definitely hear Jon Bellion’s fingerprints on this one, but it’s absolutely for the better! There’s a passionate energy to this song that’s mirrored in the tight groove and explosive percussion, making for one of Bieber’s catchiest ever songs. The way the song builds into the chorus is fantastic! I ended up using this song a lot during workouts because the drop gives you a burst of energy that can only be let out through running. There are so many great melodies and instrumental flourishes in the song that make it stand out over the rest of Bieber’s music up to the point. The last thing I appreciate is that throughout Justice, Bieber constantly ruminates on his past mistakes (ie being a douchebag during his late teens early 20s) and attributes his growth to his belief in God. My issue with that is more of a personal thing, but in general, I find it hard to connect to people whose “growth” isn’t based on what they’ve learned or how others have guided them through that dark era, but instead just learning in a higher power that “absolves” them of their guilt for simply believing they exist. But while “Hold On” still has those religious things, instead Bieber’s past is used as a way to connect to the listener who themselves are lost and unsure of their direction in life rather than trying to serve Bieber’s own idea of redemption. It’s lending a hand out to someone who needs it, and I find that much more admirable and enlightening to how Bieber’s changed since 2014 than all the religious fluff.

Diamonds by Sam Smith

Remember this song? Maybe this should have been on the best list last year, but I was pretty confident it was going to be a bigger hit this year only for that prediction to not come true. Which is a huge shame, because this might be Sam Smith’s best hit song to date! I respect that ballads are their bread and butter, and I’m not one of those people who dismisses them outright, but I’ve always thought Sam Smith had immense potential in dance music, all the more prevalent on “Diamonds”. It’s a wonderful little kiss-off to a materialistic ex where Sam Smith breaks up with the ex, AND their own riches because they really do value the connection over the glamour. The zippy production and prominent groove is incredibly catchy, and Sam Smith’s elastic voice works wonderfully against the bitter, angry explosion of synth and bass. There are so many great crescendos and cathartic moments in the song that shows off a snarl in Sam’s voice that I wish they exercised more often. Huge shame the rest of their album last year was so tepid and rushed because I would buy a thousand copies of an album full of “Diamonds”.

Golden by Harry Styles

The curse of the late album single. I expected this to do a lot worse than what it did, but even then it was obvious the Fine Line moment had passed by. Admittedly, I wasn’t super enthused about this being the late album single over “Falling” or “Cherry” (They would never pick “Canyon Moon” so I gave up there). But over time I’ve really grown to like it, especially after the Fleetwood Mac revival reminded me how good this kind of sweeping guitar-driven pop anthem can be. It’s a catchy hook with a great groove and the kind of whimsical romanticism that Harry has always been really good at. It’s hard to even describe without just settling on, “it’s great”. Just the feeling it gives me as if I’m running towards a love I’ve been searching for, feeling the breeze on my face and watching the blue skies ahead of me. It’s a wonderful feeling.

I WANNA BE YOUR SLAVE by Maneskin

I’m kind of bummed that this song didn’t have the same success in the US it had everywhere else in the world, but I get it. “Beggin’” is the more commercially acceptable version of Maneskin’s music, and this may be too deviant for some audiences afraid of sex. As much as I love “Beggin’” though, I adore “I WANNA BE YOUR SLAVE”. Aggressively horny, but still undeniably sexy. The melody constantly gets stuck in my head along with the guitar accents on the verses. Plus, lead singer Damanio David hits the perfect balance of desperate, but irresistible to make this both a perfect top AND bottom song for the ages (the perfect switch song?). It lets loose and indulges in its worst habits, tempting you to join the fun no matter how much you regret it when it’s all over. Even in the age of Megan Thee Stallion and Drake, this pushes itself over the line just enough to get you weird looks whenever you sing along, which is also what makes it fantastic.

Head & Heart by Joel Corry x MNEK

The UK seems to have never really gotten over the 2015-2016 era of club music. Once the EDM boom was over, a lot of dance music kept a similar structure but stuck to typical pop grooves (namely in the tropical side of pop) as opposed to the larger-than-life drops that dominated 2011-2013. That’s why “Head & Heart” reminds me less of “Titanium”, “Feel So Close” and “Clarity”, and more like “Lean On”, “Don’t Let Me Down” and “Never Forget You”. The latter is especially relevant as MNEK himself was on that song with Zara Larson. Turns out, he’s had a pretty solid career as a queer pop star since then, with this being his biggest hit since “Never Forget You”. Honestly, I actually like this song a lot more! There’s something to these kinds of lovestruck, dorky love songs where the vocalist is so clearly infatuated with someone and is doing their best to express their true feelings to them on the spot. The bouncy groove of this song and Joel Corry’s wirey bass help drive home that feeling of your heartbeat going a mile a minute, and I adore MNEK’s infectious charm and how deeply in love he is in this new crush. I actually once drew fanart that was directly inspired by this song and the feeling it evokes in me. Once I like a song enough to inspire me to make art based on it, that usually cements it as a personal favorite.

Nevada by Youngboy Never Broke Again

I used to be really skeptical of one Youngboy Never Broke Again. In all fairness, I had a hard time accepting any trap rapper who didn’t write about anything other than the checklist materialism I was so used to in the mainstream, but since then I’ve outgrown that mentality of needing every song to be about something. Ironically, that, in turn, made me rethink my opinion on Youngboy as one of those artists who did write about more than just drugs, money, and women. He was cliché, sure, but he was among the first to really tap into depression, trauma, and substance abuse in a way that was earnest and not glorified. I don’t think I consider myself a fan just yet, he makes music at such an alarming pace that his lack of consistency always puts me at a distance, but I will say “Nevada” is my favorite song of his to date. TNT has become my favorite producer of the year, and he once again nails the distant loneliness that Youngboy is really good at. The electric guitar against the sparkling keys is absolutely gorgeous, painting the scene of a long night drive in the deserts of Nevada, maybe passing by the busy lights of Vegas along the way. Youngboy’s crooning over navigating his feelings about old flames, dead friends, and current lovers give off a lone wolf-type atmosphere that clearly has a lot of hurt and emotion bubbling inside of him, but his constant fear and uncertainty leave him to isolate himself from everyone else. In a way I kinda get it. Sometimes too many things unravel in your mind and you just need a break from all of it. A moment to just get lost somewhere and give your heart a moment to heal before you can go back and face your future.

My Boy by Elvie Shane

Every year we get a country newcomer who ends up getting a major hit on country radio, and it means they either become part of the Nashville roster or slink away into obscurity besides their one lucky break. Last year’s winner was Jameson Rodgers (who got a second hit this year thanks to Luke Combs), and this year we have Elvie Shane, who to my surprise, wrote a really unique song about his developing relationship with his step-son. A concept that isn’t new to country music, but one that isn’t explored very often in any genre, really. The way Elvie Shane writes about it is truly beautiful. It confronts how much work a step-parent has to put in for their kid to trust them. Elvie acknowledges how different they are while still finding a connection between them that’s tough to build, but once the kid calls him “dad”, it really hits Elvie how important it is for him to hear his kid say that. He came into this boy’s life a stranger, and now he accepts him as his parent. The part in the second verse where Elvie’s partner tries to comfort him in case the whole situation is overwhelming, and Elvie responds by putting that picture of them as a family on the fridge is such a moving moment that really cements how ready Elvie is to be a father to this boy. It’s a beautiful song. One of the best written Nashville debuts we’ve gotten in a long time.

Laugh Now, Cry Later by Drake ft. Lil Durk

Despite Drake releasing a new album this year that I actually really liked, “Laugh Now, Cry Later” remains my favorite song of his from this era. It’s deceptively simple yet effective. A triumphant horn beat as Drake runs a victory lap after his greatest success yet, willing to take the good days with the bad as he continues doing what he loves. He brought along Lil Durk too, who was in need of a profile boost after being in the game for so long and is only now seeing the fruits of his labor. We saw a lot of him this year, and we’re all the better for it.

Forever After All by Luke Combs

Speaking of deceptively simple, yet effective! I always think about the fact that this could have very easily been a #1 hit had Ariana Grande not dropped the same day this song did. For a country song, that’s pretty unheard of, especially upon its debut week. It’s pretty easy to dismiss this song as yet another addition to the boyfriend country canon of sappy wedding songs, but Luke Combs has such an excellent voice that coupled with his natural charisma makes this proclamation of love to his wife one of the most charming and sweeping love songs we’ve had in recent memory. The wailing steel guitar over the optimistic shine of the guitars feels like the biggest day of your life, where all of your love for someone is at its strongest and ready to take on anything life throws at you. The lyrics are beautiful too, to the point where they remind me of an optimistic version of Jason Isbell’s “If We Were Vampires”. It acknowledges that time is fleeting and at some point, one of them will leave before the other, but instead of taking quiet solace in spending the time they do have together, Luke Combs believes their love will persist beyond that day. Their bond is that powerful, and that’s something to celebrate. This song kept sneaking up on me all year. I kept forgetting to list it among the good country hits we had this year, but every time I came back to it, I’m reminded of what a genuinely fantastic song it is. Luke Combs has a bright future ahead of him. I’m so glad he’s the face of country music at this moment in time.

Martin & Gina by Polo G

This is probably the biggest stretch of what should be considered a hit on this list, but that’s only because the song was never actually a single and just happened to be one of the biggest streaming hits of this year. It had a solid run on Rolling Stone at least, and it was also big enough for it to show up on the recurrent charts on Billboard, so I say it counts. “Martin & Gina” is probably the most essential “thugs need love” song of this current era, and it highlights Polo G’s strengths as a rapper and a songwriter incredibly well. A gentle guitar melody against the swimming trap skitters that keeps the tough gangster persona, but gives enough soft, romantic moments to show him as approachable and genuinely grateful for the girl he has. The vocal melodies on the hook is incredibly good. It’s hard not to just sing along to that cadence and put your own soul into it. Something about the way he describes his girl dancing in the middle of the club is so slow and romantic that you envision everything happening in slow motion as your infatuation takes over and you just appreciate that this person is in your life. And that they appreciate you too.

Take My Breath by The Weeknd

Mild hot take, but I think this song is really generic. Or at the very least, it’s exactly how I expected The Weeknd to follow up After Hours. A blatant throwback to 80s synthpop where The Weeknd once again tries to be this generation’s Michael Jackson with a big hook and production that sounds straight out of a robot future. But of course, “generic” is merely a neutral term. Because no matter how little this song does anything new, it doesn’t change the fact that The Weeknd is insanely good at it. The arpeggios and futuristic synths sound crisp and immediately recognizable, with one of the catchiest hooks The Weeknd has made to date. The song itself is already great, but personally, I’m more of a fan of the extended version which lets the production breathe a little more to set up the atmosphere. Not only does it make the crescendos far more satisfying, but it’s more true to the 80s pop style that loves to overindulge in its own brilliance.

Way Less Sad by AJR

When I put “Bang!” on my best list last year, I made it a point to not point out that it was a “controversial” opinion within my circles. Centering your discussion of a song or artist on the fact that it’s a hot take is usually just performative self-congratulating that doesn’t give the song the proper respect it deserves. That said, since it was made by a band as hated as AJR, it’s pretty easy to get defensive of these guys when you find yourself liking their music. I’m very confident in my stance for “Way Less Sad” though, cuz it’s nothing new from AJR, yet shows a ton of improvement in execution! For one, the production is much cleaner and less crowded. The horns don’t constantly overwhelm the rest of the instrumentation, so it’s able to keep up its jovial, dorky personality without coming off as obnoxious. This way, the melody can be strong and memorable without feeling like it’s blasting in your face trying to sound big and exciting. The writing is a huge step up for them too! I like how this song takes solace in the fact that things aren’t worse. They’re still struggling, and I can see how the otherwise bubbly production would make people think this is cynical or mocking the idea of being happy, but I think it’s more just taking what it can and celebrating the little victories. “I’m not so mad at Twitter now” hits a surprisingly personal spot for me as someone whose mental health is constantly worsened by social media discourse. So to wake up one day and realize you’re not as worn out by it anymore, that’s a comforting feeling!

Made For You by Jake Owen

I always root for Jake Owen whenever he has a single on rotation, but I’ll admit, his most recent album had me worried. The promotion for it was awful, dropping with little fanfare and singles that didn’t do as well as they should have despite surprising streaming attention. Did you know “Down To The Honkytonk” has well over 110M streams despite only peaking at #65? You’d think it would have done better based on those stats, but nope! Not to mention Greetings From… Jake dropped over three years ago, and “Made For You” ended up being the last single despite being a fan favorite since the album dropped. For good reason! It’s very simple in its lyricism, sure, but Jake Owen is so naturally charismatic that I can overlook it for how sweet the sentiments of the song are. The production is also very simple, but I’m always happy to hear such warm acoustic textures against the gentle plink of the piano. Sometimes, all I need from a song is a simple melody and a passion for love that’s quiet, but no less beautiful.

Buy Dirt by Jordan Davis ft. Luke Bryan

Not gonna lie, the success of this song kind of shocks me. I guess it was only a matter of time before Jordan Davis had an inescapable hit, but I didn’t expect it to be, I dunno, good. I really haven’t liked any of Jordan’s singles until now. In fact, I kind of hated how much he kept leaning into that vaguely bro-country style without having the personality to distract me from it. So him settling down and simply giving advice about finding your own place to grow and appreciating what you have was a surprising move, and he pulls it off really well! The production is simple, yet beautiful, the stories he tells are moving, I like the general advice of taking advantage of what you have rather than chasing a dream you can’t achieve, and the addition of Luke Bryan’s mesmerizing baritone makes this song a huge stand out in country music this year. I really hope Luke Bryan continues in this more settled down, wise version of himself. He pulls it off incredibly well! As for Jordan Davis, I hope the success of this song encourages him to stay more in this lane rather than trying to chase the radio fluff. Keep it up!

Leave Before You Love Me by Marshmello x Jonas Brothers

You know what this song reminds me of? “Heal My Desires” by Emotional Oranges. I doubt Marshmello took any cues from it, he probably doesn’t even know it exists, but it’s still startling how similar the guitar texture and groove of these two songs are. And when I make this comparison, let me make it clear this is a HUGE compliment! My favorite songs of 2019 list had it all the way up to #11, and this does a lot of similar things right! The guitar groove is vibrant and mesmerizing, the bass beat that’s steady with the occasional reverbed handclaps is undeniably catchy, the hook is fantastic, Nick and Joe Jonas sound great over the production, and I love the melancholic lust this song brings as it tries to distance itself from a one night stand before they start developing feelings for one another. It’s not bitter or mean, but it does have a jittery anxiety that’s equally thrilling. All the high of a hookup, but fearful of the climax that could reveal more than what they want to know. Where did this version of Marshmello come from? The same year as “Heal My Desires” he was the worst thing to ever happen to EDM, and now he’s made two bonafide pop gems two years in a row. Good on him, I guess!

My Universe by Coldplay ft. BTS

For as often as Maroon 5 are berated for still being popular after several decades of mixed results, not enough people have noticed that Coldplay have been doing the same thing for even longer. Honestly, I thought people finally got sick of them after 2019’s Everyday Life was ignored by everyone except the Grammys for some reason. Guess it makes sense that they’d be thrust back in the spotlight thanks to the newer, cooler band BTS. I feel like I predicted this song near exactly since the day I heard the rumors. It was gonna be a big pop anthem with space-like production and a triumphant hook that was gonna be classified as generic but still ends up kind of awesome in execution. That is exactly what happened. This is a big pop anthem with space-like production and a triumphant hook that could be classified as generic but is still kind of awesome. Honestly, it gets better with every listen. This is a PERFECTLY crafted pop song. The production is lush and vibrant, the chorus is exactly as anthemic as I hoped it was, I love how Chris Martin gives the members of BTS their own moments to shine while still making the sound definitively Coldplay, and there’s a burst of happiness within me whenever the song is about to end, but quickly come back for an instrumental dance breakdown. I’ve always had a soft spot for Coldplay, and it’s nice to see them still kicking after all these years.

34+35 by Ariana Grande

You know, in retrospect, it’s actually really weird that one of the biggest radio hits of the year was a song literally named after the sex position 69. It’s also kind of weird that a song this filthy and horny could be described as “cute”. But I mean, it kind of is? Ariana’s delicate voice cooing over the Disney-like strings as she promises to make every minute with her partner worth it is charming in a domestic sort of way. Like the sex has more to do with the admiration and love for her partner rather than filling in some sort of animalistic lust inside of her. One of my favorite lyrics is right at the beginning where she promises that she’s been eating healthy and drinking coffee just so she has the energy to make tonight especially good. Of course, part of what makes this song so charming is how blunt it is. It’s not coy, she outright describes the way she wants to be fucked. Not in a gross way, but like, we’re still talking about sex. You know what? I welcome it! Sex is natural, and sometimes you don’t want something super fetishized and over the top. Just gimme good vibes while hitting it from behind! I love the remix of this song with Doja and Megan too! Probably the first time I was really into a Doja verse.

Up by Cardi B

I’m not sure why Cardi B is taking her time with her next era. For as big as this and “WAP” were at the time, her team hasn’t really capitalized on them and they’re taking their sweet sweet time releasing singles. I guess to be fair, Cardi is pregnant at the time of writing this, so she can’t really hop into the booth and make a full album. Still, every time I come back to “WAP” and “Up”, I’m just left wanting more. Cardi is so naturally talented that a song like “Up” comes incredibly naturally to her. Her tour de force personality alongside some raunchy, comedic lines, her unbridled confidence in knowing who she is and why she matters, the fact that harsh piano beats never fail to make her look like the biggest badass in the room, the return of the train whistle!? I just love her! I don’t even think I have a favorite Cardi song because I just love Cardi in general. Anything she puts out, I love, and her streak with songs as a lead has been especially strong as of late. I liked Invasion of Privacy a lot, but I can tell that her best is yet to come.

Calling My Phone by Lil Tjay ft. 6LACK

I’m a sucker for songs that you listen to late at night when you’re tired and lonely. “Calling My Phone” really nails the feeling of exhaustion. In this case, exhaustion from someone who did you wrong and is trying to make things right, but you’re too hurt to let them back into your life. The twinkle of the piano against the steady trap beat is utterly gorgeous. It’s the sound of stars twinkling in the night as your body slowly sinks into the bed you lay in, just waiting for your body to fully rest and refresh until tomorrow. The pitched-up chorus where the line “I can’t get you out my mind” plays over and over again is hypnotizing. Maybe it’s that infatuation you can’t fully get rid of even when you’ve sworn off this person forever. Maybe it’s the voice of that same ex trying to get you back. But the lingering trauma is what makes it feel that much more painful. And I love how both Tjay and 6LACK present their bitterness with enough sympathy to avoid coming off as callous. And yet, they don’t hide from the pain they’ve experienced through this breakup. They want what’s best for both of them, which is essentially just being left alone so they could heal. In its darkest moments, it hits.

Down To One by Luke Bryan

My favorite Luke Bryan single to date. It’s a wonderful blend of country and pop that keeps the sheen and spectacle of pop music while still being at its core a country song. The perfect night that Luke Bryan describes is nostalgic and beautiful, really falling into the romance of being so happy with someone that every night feels like fireworks bursting in the air. Thank god Luke Bryan’s producers remembered to tone down the drums for this one, cuz it makes the synths and the banjo shine brighter than ever. Plus, with the song being more sincere and earnest than leaning into the swagger, it gives Luke Bryan the chance to really show off just how good his voice really is. The confidence in his baritone as he reminisces on the moment he fell in love is something that I can truly believe even when this man has long ago settled down. Luke Bryan is on the path of settling down within his own music, and I can only hope his label allows him to make more songs like this.

Knowing You by Kenny Chesney

Starting to think one of the most underrated genres of breakup songs is “post-summer yearning”. When the summer ends and you’re stuck reminiscing on the memories and reflecting on what could have been. Could have been a fling or a long-term relationship that stopped after that summer. Last year we had “7 Summers”, this year we have “Knowing You”, the best single Kenny Chesney’s released in a WHILE. Beautifully organic with the steady guitar melody, the crash of cymbals symbolizing the waves crashing on the beach, the laid-back atmosphere that still has a lingering sense of loneliness, and Kenny Chesney being just lowkey enough to sell the muted heartbreak while still appreciating the time they had. I love fun beach anthems in the vein of Zac Brown Band and Old Dominion, but the beach can also represent longing and watching scattered memories fade across the waves as you stand in front of that sunset. That’s the feeling “Knowing You” gives me.

Lemonade by Internet Money ft. Don Toliver, Gunna & NAV

I remember the first time I listened to “Lemonade”. I think I was at a ski lodge or something. It was rising up the Spotify charts at the time, so I figured that especially with that group of artists that maybe something good could come out of it. Pretty much instantly I knew this song was going to be a hit, and lo and behold, it was! Part of me wonders how much of this is just carried by Don Toliver’s incredible hook, but I think Internet Money still deserves credit for the languid, cruising production built off of a song demo from Jozzy. The melody is so infectious, and the groove makes even NAV’s sleepy verse sound cool and relaxed! I’m kind of impressed by Gunna too, who had a pretty fun, jumpy flow and kept the song interesting as it started reaching its end. But really, it’s all about that hook from Don Toliver. He had a pretty good year, actually! Between this and his hook on Kanye West’s “Moon”, he’s kind of on a roll!

Bang! by AJR

This song holds a weird place for me nowadays. I think it’s good that this blew up around the time that it did, cuz if it waited a year I probably wouldn’t have been as high on it. Not that the song has shrunk on me or anything, but every time I come back to “Bang!”, the more I’m confronted by how weird it is. It’s a cartoon circus of horns and janky pianos and goofy voices that’s borderline cabaret. In a way that’s what I love about it though. I love that a song this strange and unconventional could become a huge pop hit. It’s actually addicting to listen to! As of now, I don’t really relate to the content. I’m in a better place now and I’ve gotten through college and am currently in a grad school that I genuinely love working in. But maybe I can at least credit this song for getting me ready for this next chapter of my life. So, not my favorite AJR song, but I still have a soft spot for it.

Cry Baby by Megan Thee Stallion ft. Dababy

This song gets a lot of hate in some of the circles I associate with, and I really don’t get why. Okay, I kinda get why. The beat specifically is just uncanny enough to startle people and have them write this off as annoying or unlistenable. But honestly, you guys should learn to embrace ugly beats more. I think it gives the song a goofy personality that doesn’t take itself too seriously, but the punch of the bass and fierceness of Megan’s flow reminds you that she’s still in charge. She plays a great contrast to Dababy, who has the usual masculine confidence that convinces himself that he’s just that good of a lover that he doesn’t even have to try. Yet, Megan is the one who’s really using him and making herself the center of pleasure. Guys are intimidated by her, and that makes sex for the both of them all the better! Megan and Dababy were such a great power duo. It’s a huge shame we’re never seeing them collaborate again. All Dababy had to do was stick with the hot, badass, successful rapper with several number one hits. Instead, he stuck with the loser whose only talent is making Meek Mill songs slightly better. Garbage.

Body by Megan Thee Stallion

Thankfully, Megan on her own is just as good, and in most cases better. I went back and forth on whether I preferred this or “Cry Baby”, but I think I like the audacity of this song a little more. I don’t usually have songs that make me embarrassed to listen to them in public, but I always worry about putting on my playlist in the car with my parents only for the sounds of a woman getting railed to echo in the car. But then again, that’s what makes this song so good! The moans paired with the fast-paced percussion and bass sound like you’re right in the heat of that moment. There’s no way to describe it without being outright pornographic, but if anyone’s going to make me sweat with this kind of sex song, it might as well be Megan. Her empowering voice and the way she describes her body has the confidence and assertive presence to keep your ears glued to every word. Her flows are nasty, but still catchy enough to make you want to twerk along to it. I remember people having problems with the chorus at first, with how repetitive and “annoying” it is. But I also can’t imagine the song without it. It’s such a good, memorable rhythm! Makes me wish I had the flexibility to shake my ass to it.

Love Again by Dua Lipa

I knew this would happen. I knew “Love Again” would be released as a single too late for it to be a hit beyond radio. Somehow, a different Dua Lipa song blew up instead, and it’s so much less inspired and charming than “Love Again” is (Am I talking about “Cold Heart” or “We’re Good”? You decide!). But since this is my list, I’m allowed to call this one a hit anyway. Because “Love Again” is awesome. It’s not the flashiest song of Dua Lipa’s career, but it is one of the catchiest and well-produced of her singles. I love the way they built that “Your Woman” sample around a disco beat, complete with its own sweeping strings and a fantastic build-up to the chorus. Dua Lipa does a wonderful job portraying the frustrated, yet joyous feeling of falling in love after you promised yourself it would never happen again. There’s just the right amount of tension in her voice and the production to avoid coming off as naive, but still so full of love and excitement that you end up falling for it anyway. There’s something so great about the phrase, “Well god damn, you got me in love again!”. Cheesy enough to look silly on paper, but delivered so perfectly that it still speaks to you.

Afterglow by Ed Sheeran

Kind of bummed that this might end up as one of Ed Sheeran’s forgotten singles. Essentially his “quarantine song” where the production is stripped back to just a guitar and some vocal effects that took notes from Bon Iver. Addressed to his newly born daughter, Ed paints a beautiful picture of the world around him, and how little of it matters compared to this very moment. After a tough period of everyone’s lives, Ed finds solace in holding on to the brighter moments he shares with his family, and his simple composition is still beautiful and mesmerizing that Ed has always been good at, but the experimentation in mixing makes it stand out among his sea of ballads. In the quiet orange hues of the fall or the muted colors of the winter, this song really hits.

Good Days by SZA

SZA deserves so much better than what she’s getting. How is an artist so talented and beloved by the world over have her career so constantly fumbled over? Obviously, she’s still getting hits, she’s literally #1 on Spotify right now, but her label seems really skittish about letting her release music. They were so late in capitalizing off the immediate success of “Good Days” that the song wasn’t as big as it should have been, at least by chart standards. What’s most disappointing is that “Good Days” is easily her best song. An utterly gorgeous flutter of strings and guitars that float in the sky like fireflies as SZA clings on to her optimism and the belief that she’s gonna make it out alive. Her beautiful voice and the ethereal production combined make for one of the most hypnotizing songs of the year. One that always leaves me breathless by its incredible outro (thanks to music prodigy Jacob Collier). Seriously, what an incredible song. One that deserved more than what its label gave it.

Mr. Right Now by 21 Savage ft. Drake

I know this album dropped in October of last year, but it still blows my mind that Savage Mode II had such a short shelf life. I guess since rap projects move faster than pop projects, this just went with the one-and-done single, but it still deserved way better than what it got. “Mr. Right Now” turned out to be one of my favorites on the album, and one of the last cuts I made for my best songs list of last year. It’s a sex jam that makes a romantic situation out of an encounter that’s really just for the night. Savage and Drake do a lot of posturing, and while a lot of it can seem a little phony, I think it works for the overeager charm of this song. These guys are clearly just horned up and want to convince the girl that this will be worth it, really! It’s telling that the song ends with a monologue from a woman who clearly has more agency in her sex than the guys do. She’s essentially leeching off their money and giving them what they want for her own benefit, and I actually like how Savage and Drake take the fall for it. Especially Drake, whose flirting can be pretty ridiculous especially when he references dating SZA for no real reason. But again, it’s the charm of the two men flaunting their wealth and sex appeal that really makes the song for me. That, and the gorgeous trap production from Metro Boomin.

brutal by Olivia Rodrigo

Olivia Rodrigo’s debut album, SOUR, did this cool thing where it became such a huge hit that its deepcuts became hits by proxy. Singles-wise, there are only four singles, but “favorite crime”, “happier” and “brutal” still had strong enough runs on the Hot 100 to be considered hits. “favorite crime” and “happier” are also great songs, but I wanted to highlight “brutal” as easily my favorite deepcut on the album. I don’t think there’s any other song out right now that depicts the crushing anxiety that Gen Z lives every single day as effectively as this song. Sporadic guitar-shredding against the squeals of feedback and Olivia’s angsty vocals as the pressure she feels from everyone around her caves in. It’s a suffocating song to open the album, but it hits you immediately and just blurts out, “I’m upset”. It’s not just the breakup she’s gone through or the expectations she has now that she’s become a huge pop sensation, it’s just basic life shit that piles on one by one and causes her to explode. Never has the sentiment, “I’m trying my best” hit so hard. It’s easy to view this as petulant whining, but “brutal” is smart enough to realize how much of this is personal. It’s not like she isn’t trying, but having to juggle all of that in her mind while still trying to live out her “golden years” only stresses her out more. And once things get a little too dark, she deflects with a goofy little, “God, it’s brutal out here!”. Gen Z deflects with irony and humor a lot, but in this instance, it’s very clearly done to avoid thinking about the darker implications of her stress which border on suicidal ideation. Again, bold way to open up the album, but its one that resonates more and more as the pressure to be your best self gets heavier and heavier.

Prisoner by Miley Cyrus ft. Dua Lipa

I was so sure that this was going to be a bigger hit than it was. I’m honestly appalled that it wasn’t. One of my favorite songs of last year, Miley Cyrus teamed up with Dua Lipa to make one of the sexiest, most badass songs of each of their careers. The fierceness in their voice over the darker bass groove and disco influence gives a “love-hate” relationship that’s as enticing as it is irresistible. I especially love the video where Miley and Dua indulge in a punk-horror aesthetic while still flirting with each other in sensual, provocative ways. Of course I’m gonna read this song in a sapphic context. Have you seen the video? I love how trashy and overindulgent the song is. It’s edgy, but not in a try-hard, embarrassing way like Miley used to be. In a way, it feels more authentic to how they live recklessly and still wrestle with themselves over relationships and hookups that will be mistakes in the future but are incredible in the moment. They can’t let go, cuz that means that thrill goes away and you’re off to the next mistake. It’s a cycle that’s unhealthy to be sure, but no less exciting!

pov by Ariana Grande

Those who followed my previous blog into this one know that “pov” was among my Top 100 favorite songs of last year. The best song on Positions and one of the best songs Ariana Grande has ever made. But it’s weird ranking a song you listened to a lot the previous year into the next one. Especially in “pov”’s case, which was so clearly a winter single that was for some reason pushed in the middle of the summer. It hit for me so much more when there was snow on the ground to match the elegance and poise of the strings and gentle tap of the percussion. Ari is absolutely the highlight of the song, with her soft incredible voice and the way her voice rises and falls on the hook. It was true last year and it’s still true this year; the little descending melody on “I’d love to see you through my point of view” is one of the most inspired moments in pop music this year. I guess you can say this shrunk on me because I wasn’t as “wowed” by it this year? Then again, these rankings are arbitrary and I still adore the hell out of this song.

HOLIDAY by Lil Nas X

It’s easy to forget about “HOLIDAY” now that Lil Nas X has released more music and fleshed out his style, but I’m always going to have a soft spot for it for being the first Lil Nas X song to show us his hidden potential. It’s a bit of a throwaway song, sure. Meant to capitalize on the coming holiday season and drive up social media hype as Lil Nas X continues to tease the release of “MONTERO (Call Me By Your Name)”. Actually, for a while, I kinda preferred “HOLIDAY”. It’s the perfect amount of fun and goofy that’s super catchy while still holding some of the most memorable lyrics of the year. The sneaky double entendre of “I bottom on the low, but I top shit” and “Tee hee! I feel like Michael Jackson!” constantly play in my mind, even long after we’ve moved on to MONTERO. Can’t forget about the highlight of the song and probably the best two seconds of last year, “dun dun dun”. Seriously, that little adlib delaying the chorus is so fucking satisfying and fun that I kept looping the song just to hear it again. I guess because it was limited to winter of last year it shouldn’t count for this year, but its chart run bled into 2021 anyway. It counts.

Save Your Tears by The Weeknd [& Ariana Grande]

A friend of mine said this song was better last year than it was this year. Which I kinda agree with. It was one of the last songs I cut from my fav songs of last year, and in retrospect it should have been there. “Save Your Tears” is an excellent song, one that takes its retro flash and actually downplays it to drive home the lingering melancholy of an irreparable relationship. In the context of the album, it’s a song that shows The Weeknd tempted to react callously against his ex being happy without him, but there’s a twinge of sympathy within him that makes him confront his shitty habits and ruining a relationship that in the long run could have finally filled the hole in his heart. I love how torn this song is between wanting to be catchy and wanting to wallow in its own sadness. It feels like a party, but the feeling’s off, much like how you would feel if you were enjoying yourself and saw your ex across the room. It’s one of the best hooks on the album too. It still holds up this year as it did last year, though that did also mean it was a bit more prone to burnout. Not helped by the remix with Ariana Grande, which is good, but she didn’t sound as natural on this song as I thought she would. Still an excellent song though. One of the best songs on After Hours, and by extension, one of the best hit songs of the year.

Pepas by Farruko

A common criticism I hear about Latin music (one that I kind of share sometimes) is that the genre tends to stay in its comfort zone a little too often. Especially reggaeton which always sticks to the same rhythm and song structure. It’s not a bad thing, really. The rhythm is the most recognizable aspect of reggaeton and Latin music as a whole. I do wish they would play a little more with it sometimes, like how Bad Bunny experiments upon the beat with other genres while still keeping it authentically Latin. I think that’s why “Pepas” stands out so vividly. It’s an interesting fusion of reggaeton and EDM of all genres that nails the grand swell of electronic dance but still has the colorful party vibes to make this incredibly catchy and perfect for crowd-chanting events. I can see this becoming a football (non-American) staple with that anthemic chorus and the bouncing drop of squeaky synths and explosive horns. I never really took the time to figure out the lyrics to see if there’s anything beyond standard party fare, but I don’t think I need to. The song is so much fun that just the production and Farruko’s knack for big melodies is enough for this song to be on my rotation all the time. I kinda hope he becomes a staple in Latin crossovers in the same way Bad Bunny and Myke Towers are! I’m also a big fan of his smaller, but no less great hit, “La Toxica”.

More Than My Hometown by Morgan Wallen

I wish I gave this song the time of day last year on my best list. Mainly so I could gush about this song without having to put an asterisk next to it. I really underrated how well this sells the turmoil of choosing between your roots and a love that will change your life forever. You’d think it’s an easy choice, but it’s a very country sentiment to be attached to your hometown. Hell, it’s actually something my family has experienced with their own hometown in Mexico. On top of the gorgeous sea of guitars playing that homely melody, Morgan Wallen’s sincerity in this song shows just how hard this decision really is for him. Or rather, it isn’t hard at all, and that’s the hard part. When you’ve grown so attached to someone who makes you endlessly happy, but they have bigger dreams than you do, sometimes you gotta follow your own heart if you’re not ready to risk it all for another. There’s something so… specific about that feeling. One that I think you can’t fully relate to if you don’t have a personal relationship with where you grew up. And you don’t have to! Some people hate their hometowns! But I appreciate how genuine this song is in discussing Morgan Wallen’s love for his roots, enough that he’s willing to break his heart just so he can keep the comfort that his home brings to him every day.

Mood by 24kGoldn ft. Iann Dior

There’s a reason I said that this list is very loosely ordered. If I were to actually follow a strict ranking, this and the next song would be in the Top 10. Obviously, I still love both of these songs to their very core, but they’re all songs I associate with last year. And I already covered them on my best list the previous year. So I’ll keep them super brief. “Mood” is my favorite kind of pop song. The kind you listen to over and over again because the hook is so perfect you can’t get enough of it. It also makes me so happy indulging in its brattiness and memorizing the little moments that make it so good. Like the way the guitar hits on “I ain’t trying to tell you what to do”, the little cadence on “I’m talking sit back, kick back, gang sippin’ Forties”, and the way the production pulls back on the final chorus, only to hit one last time on the same line I referenced earlier. I fucking love “Mood” so fucking much. What an incredible song!

Blinding Lights by The Weeknd

I predicted that when this song came out, it was gonna have a similar run to Ed Sheeran’s “Castle On The Hill”. Not as big as the actual single (in this case “Heartless”), but still has a strong chart run and is considered a big hit anyway. Instead what happened was that “Blinding Lights” became one of the biggest hit songs of all time. Of course, it did. There was no way this song was going to be allowed to be anything but a monster hit. It’s too perfect to not be! It almost speaks for itself. Incredible production that borrows from the 80s enough to know what works, but still builds upon it to sound modern and unique, the culmination of The Weeknd’s arc as he finds himself in the most vulnerable position in his life, and an aesthetic so recognizable that people have started using it as a lazy comparison towards any artist that tries make a dance song in a colorful suit. It’s fucking “Blinding Lights”. What more do you want?