Best Hit Songs of 2021 (4/4)
Going higher, and higher, and higher.
This list isn’t in order, half because these songs grow and shrink on me so often I’ve made changes to this list in the midst of writing it, half because I feel a Top 10 isn’t enough to fully capture my favorite hits of the year. Hell, sometimes, a Top 20 isn’t enough. I know which songs stuck with me the most, and they usually can’t fall into one condensed group of numbers. Consider this the spiritual “Top 10”, even though there are thirteen songs on here. Just know that these are the hit songs I hold nearest and dearest to my heart. All of them can be considered the best hit song of the year.
my ex’s best friend by Machine Gun Kelly ft. blackbear
It’s always hard to rank these songs. It’s honestly part of why I’m retiring hit lists from now on. When a song is more prominent to you in the previous year, that’s usually when I consider it higher on my personal lists. I put this song at #29 on my favorite songs overall last year, so naturally, this had to be REALLY high on this list, right? Well yeah, I still enjoyed this song through part of the year. But when new songs come in and overshadow the old ones, a song like “my ex’s best friend” is always gonna get lost in the shuffle. Plus, I’ve already talked about this song on that previous list. And honestly, I don’t have that much new to say about the song itself. It’s a ton of fun, it’s got an infectious hook, it’s endlessly replayable, and blackbear’s verse has only grown on me more and more. It’s the trashy pop-punk banger that frankly a lot more of the mainstream should be embracing. Which, to their credit, they have! But it’s not trashy enough I feel. It’s mostly been teenage angst over crunchy guitars, and it’s kinda been hit or miss since then. Still, it’s certainly made pop music a lot stronger in its hooks, so I’d call this a good change so far!
I will say, if there’s one thing that’s been a constant negative since Machine Gun Kelly blew up, it’s the fact that he’s now the primary target of rock fans bitter over the fact that he now represents the genre they hold near and dear to them. Despite my passive-aggressive tone, I can’t entirely blame them for that. MGK is kind of a moron and heavily playing into the outdated “rock and roll” lifestyle. Plus, coming from another genre makes him out to look like an industry-pushed phony, and rock fans are SUPER annoying about authenticity in their rock music. Honestly, I kinda wish you guys would embrace some of the phoniness. Rock music has always been a commercialized version of DIY startups. What, did you forget that Green Day’s most beloved eras came from a major label signing that got them shunned by the scene that brought them up? Or that rock radio is so stuck in the past that they’ll only play music from legacy acts who stopped making their best music a decade ago? Plus, I don’t think Machine Gun Kelly’s personal drama is any less personal than what you fell in love with from My Chemical Romance or Green Day.
Look, I know what it’s like to be invested in a genre that’s constantly eating its own tail. Country music is also being run by a soulless industry despite being a genre built on authenticity. But I think it’s worth allowing shallow, fun music like this into your lives if you’ve done it for your favorite bands in the past. Not your thing? Can’t get past the obvious pastiche? Fine. That’s your prerogative. But at least learn to adapt to this new form of rock music, no matter who becomes the face of it. Because a lot of your own favs are REALLY not cutting it as of late.
Best Two Seconds: “WE DON’T GOT NOTHING TO SAY! HEEEEEEYYYYYYY!!!”
traitor by Olivia Rodrigo
There’s this misunderstanding I see in a lot of critical circles, including pop music circles, that a song being complex, deep and introspective is automatically better than something that appeals to the “lowest common denominator”. God, I hate that term. I know it’s not supposed to be condescending, but it always feels like it. I wish more people understood that “simple” songs that are straightforward can be just as good as complicated, layered songs. In some cases, they can even be better than those complicated songs. Sometimes the pure, heightened emotion hits you more immediately than something you’d have to sit with before truly understanding it.
“traitor” is an undoubtedly excellent song, but not because it’s particularly complex or finds a deeper meaning in its storytelling. If anything it’s very basic. Olivia Rodrigo is the poster child of “Not Over It”. SOUR is an album hung up on a past love that was so emotionally taxing that Olivia has a hard time thinking about anything but that relationship. Which, I can speak from experience, is very normal for teenagers first getting into romance. It’s dramatic, sure, but it’s no less real in its angst. Because when you go through that first breakup or have your romantic dreams crushed by some other circumstance, you look for reasons to process and understand your emotions. No matter how theatrical your angst may be, we’re all just trying to make sense of a cruel world.
“traitor” isn’t a sad song, it’s an angry one. Of course, Olivia is torn up over the end of their relationship, but what really breaks her heart is seeing him date someone else so soon after their breakup. Not just someone else, but someone that he had already been showing feelings for while he and Rodrigo were in a relationship. It’s like getting your worst fears confirmed all at once, and being forced to watch it unfold every single day. Olivia’s performance on “traitor” is a masterclass in balancing music and performance. You can tell she sounds distraught over this situation, through her desperate cries and cracking voice. But it’s never excessive to the point of being ugly. It’s still painful and heartbreaking, but her voice is still gorgeous over the soft thunderclaps of the drums and crying strings. The acoustic guitar, soft enough to not intrude on the emotion, but still prominent enough to provide that subtle melodic flutter at the core of this song’s beauty. It’s a quiet storm of distress and anger, watching someone you loved and trusted turn his back against you for someone he liked more this whole time. What even were you to him? Did he ever care about you? Were you just a distraction? Doesn’t matter that he didn’t technically cheat, he still left you to die with no remorse. The way Olivia goes up the scale on that final note of the last chorus legit sends chill’s down my spine. A standing ovation moment where she builds and builds until her breaking point and lashes out, “YEAH, YOU’RE STILL A TRAITOR!”. Fucking incredible.
Best Two Seconds: “You’re still a traitoooooOOOOOOOOOOOOOR”
Easy On Me by Adele
I gotta be honest, I’m surprised that Adele has endured this long. Then again, maybe I’m not. Regardless of the changing trends and the ways we consume music, Adele has always had a universal appeal that no one else could match. She has the songs and albums to back up her legacy. She doesn’t have to rely on trends or chart success to stay relevant. We all love Adele. Still, a lot has changed within pop music since 25. Pop is no longer the dominant genre, and more and more it’s taking cues from hip-hop over classical genres. The rise of TikTok and playlists have made individual singles harder to promote. Without warning, a random song from your discography suddenly surges in popularity and could even overshadow your newer material. Hell, “When We Were Young” unexpectedly became the most popular Adele song leading up to “Easy On Me” because Tik Tok picked it up. It’s happening again with that viral mashup of “Water Under The Bridge” and “Body” by Megan Thee Stallion. Plus, we’ve gotten so many new names in between Adele’s most recent albums, all in different genres and styles of popular music. Travis Scott’s entire mainstream career began and (arguably) ended since Adele began her hiatus. Could she still have that same dominance over pop music all these years later?
Then “Easy On Me” dropped and I realized what a stupid question that was. Of course, she could. She’s Adele. It doesn’t matter what’s trending in pop music right now, Adele will always be here because she’s that fucking good. In all fairness though, you’d be forgiven for thinking “Easy On Me” was an underwhelming lead single. It doesn’t really have a climax or a strong hook to catch you immediately. But its secret lies in its details. A soft piano ballad is a safe bet for Adele, whose voice continues to be a marvel. It’s powerful, it’s magnetic, and the melodies she sings are utterly beautiful. It’s well documented that 30 is about her recent divorce, one that was amicable but still heartbreaking. We’ve heard a ton of breakup/divorce projects throughout the year, so it makes sense that we wrap up this year of heartbreak with the queen of heartbreak. But Adele takes a very different approach to her big divorce song.
Artists like Olivia Rodrigo and Carly Pearce go straight for anger and distress, Kacey Musgraves deals with frustration and melancholy over the mixed feelings she has over her ex, Silk Sonic keep it lighthearted enough to make their venom fun rather than emotionally draining, and Taylor Swift has the distance to pinpoint where things went wrong and acknowledge the ripple effects that haunt her even now. Adele simply gives up. There’s no anger, no relief, no compromise, it’s just bracing for the worst. That’s the saddest breakup of all. Putting in the effort for someone to make it all work, only to come to the conclusion that this was inevitable. So all you can do now is ask your soon-to-be former partner to let you down easy. Minimal pain, minimal tears, just end the endless cycle. “Easy On Me” doesn’t need a climax. That’d rob the song of the exhausted sadness at its core. It’s not unsatisfying to listen to, of course, but you’re still left with an empty feeling of disappointment. And that feeling is so hard to pin down, especially in an inherently performative art like music. But again, it’s Adele. Of course, she was going to pull it off.
Best Two Seconds: “I give up.”
Starting Over by Chris Stapleton
Chart performance aside, I think it’s an inarguable fact that Chris Stapleton is the face of country music this century. Regardless of if Nashville is willing to throw him a bone, he has the streaming presence and insane longevity that no other country artist in recent memory has been able to achieve. “Tennessee Whiskey” especially has been a marvel of endurance, still being one of the most consistently streamed and sold songs of all time. You’d never guess the song only cracked the Top 20 for one week and then immediately left the charts. You don’t even need to be a country fan to recognize Chris Stapleton as a one-of-a-kind talent. He has the voice and the writing to make it all seem so easy.
I wrestled with myself over this for a while, but now I think I’m confident enough to say it: “Starting Over” is Chris Stapleton’s best song. It’s a tough fight between it and “Broken Halos”, but “Starting Over” is so deceptively good that you find yourself coming back to it out of pure instinct. It’s a comforting song, with Dave Cobb’s sweet guitars and a likable melody that always puts you in the mood for a brisk walk outside. Stapleton doesn’t show off like he usually does in this song, but that’s also what’s so impressive about it. He has a naturally strong voice, yet he has the poise and control to make a quieter, more subtle song like this work perfectly. His wife Morgaine on the backing vocals certainly helps too. She’s always there in a lot of Stapleton’s big hits, and she deserves more attention for being a powerhouse vocalist of her own! She adds so much to Stapleton’s music, especially on this song which is explicitly about their relationship after Chris Stapleton’s rise in popularity.
“Starting Over” comes from a spontaneous decision to hit the reset button on your life. You spend too long in the same town and you desperately want a change in scenery. In this case, Stapleton had been so far away from his family through touring and the industry life that he’s gotten sick of it. The luxuries are nice, but he’s worried it’s not the best life for his family, so why not retreat to somewhere small and safe? One where they can enjoy nature and find comfort in the little things that make life worth living. It’s a huge risk, especially since Stapleton doesn’t really have a plan, but he still asks his wife to trust him and take that leap of faith with him. They can weather through the bad days together because their bond is that strong. It’s a very romantic sentiment. Just abandoning all the stress of life and settling down in a nice little place with nothing going on but the day-to-day events to keep you going. I guess I kind of ended up in that spot myself as I moved from a bigger city to a town so small it only exists as a bridge between two states. And yeah, I can relate to just finding peace in the little moments where events only happen occasionally instead of every day. And again, that quiet appreciation is what makes this song so engrossing, even if it’s not the firestorm you get from other Stapleton songs. Then again, I always felt this kind of song was his true strength all along. I’m happy to see the general public acknowledge that.
Best Two Seconds: The acoustic guitar solo on the bridge.
Drunk (And I Don’t Wanna Go Home) by Elle King & Miranda Lambert
Wasn’t really banking on an Elle King comeback this year. “Ex’s And Oh’s” came right at the start of the 2010s transitional period where pop music was essentially fair game before trap began its world domination, so a big rockabilly anthem made sense as a big radio hit. Since then, Elle King hasn’t really done much to win back the public conscience. I’m not sure she ever wanted to anyway. As much as I would have liked to see “America’s Sweetheart” dominate the following summer, this was as good as it was gonna get.
And yet, by some miracle, she finally managed to find that second hit a whole six years later, teaming up with Miranda Lambert to release the barnburner of the year. And I mean “barnburner” with all my heart, cuz no other country song this year went as hard as “Drunk (And I Don’t Wanna Go Home)”. It’s pretty reasonable to assume a Southern girl like Elle King would fit naturally into country music (see also how she collabed with Dierks Bentley a few years ago), but the country sound is clearly meant to depict the kind of honky tonk party where everyone’s had too much to drink and entirely too much confidence to do whatever they want. Elle King’s aggressive flirting is a ton of fun! It has all the energy of an overconfident drunk person in karaoke trying to send signals to the guy they’ve been hitting on the entire night. Plus, her rough and rowdy voice plays wonderfully alongside Miranda Lambert’s cleaner, but still snarling voice that’s always made her a great artist for this kind of sly, cocky character who's just here to have a party and take someone home.
“Drunk (And I Don’t Wanna Go Home)” greatest strength is its unhinged energy. There’s immense power in the stomp of the percussion and the blazing banjos in the chorus. Elle King and Miranda Lambert are clearly having the time of their lives singing along to this, and the jovial atmosphere of this song puts you right into that bar that reeks of alcohol and the musk of creepy guys who are definitely too old to be hitting on you. Granted, not all of this sounds like a good idea, none of it does, but when you get so swept up in the smiling faces and anthemic vocals, you just want to live in those good vibes forever! I couldn’t get enough of it all year!
Best Two Seconds: “We don’t gotta wait until the WEEKEND!!!”
Happier Than Ever by Billie Eilish
I’ve seen a couple of chart watchers lament that Happier Than Ever didn’t have as many hits as WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, and I think over time it’s become pretty obvious why. Happier Than Ever just isn’t a singles album. Or at least, it’s not an album that fares well in a radio or playlist setting. A lot of it is very sad and contemplative, not a lot of catchy moments so much as vibey moments stuck in one emotion and unsure of where to go from there. “Lost Cause” probably could have been a hit, but they gave up on it kind of quickly. And I’m amazed they even considered pushing “Your Power” to radio. That was a bold move that was never going to pay off.
It makes sense why the one song that did breakthrough was the title track. 2021 has been the year of the break-up, and while we have our fair share of sad, angry, and even melancholic breakups, none were as cathartic as the explosion of fury that this song brings. I know a lot of people get bored by the first half of this song, but I don’t think this would be nearly as good without it. The slow and gentle harp over Billie’s soft voice finding comfort in where she is now is the calm before the storm that ties most of the loose ends the album left her with. But of course, this ex just keeps trying to squeeze back into her life, and now that she’s in a healthier mindset, Billie is smart enough to push him away when he gets too close. But one drunken incident where he calls her directly to try to get back with her is the spark to light the fuse that’s been lingering inside of her this whole time. It’s truly incredible to hear the song transform from this quiet, unassuming ballad to a blowout of guitars and drums as Billie starts screaming and shrieking about all the damage this ex ever did to her. It feels like this is less for her ex to hear and more for Billie herself to remind herself of the pain he caused her, and though the production is incredibly sloppy, that’s kind of the point. It’s a lashing out where every pent-up emotion is released at once, and the pure energy of that moment is what makes this song so fucking incredible. It’s the release that’s been building up the whole album, and the shaky breath, when it’s all over, is a breath of relief. Thank God that’s over.
I actually find this song like this becoming a big hit really encouraging. We’ve always thought of singles as the songs that get sent to radio or teasers for an upcoming album meant to drum up interest. I like the idea of a song just being so resonant with people that it becomes a single in spirit. They’ve tried turning “Happier Than Ever” into a condensed version for radio, but it doesn’t work nearly as well. You need that slow build-up to the second half in order for it to hit, you can’t just jump into it. Plus, I love how “Happier Than Ever” is essentially an album hit. It relies on the context of its album, but that’s also exactly what makes it resonate the most. This is Happier Than Ever’s breaking point, the moment where Billie finds it in herself to let out every negative emotion she’s been holding in. It’s where every song you’ve heard up until now is channeled into that shouting chorus and for once, Billie is clear on her feelings about something in her life. No matter how confusing and frustrating this newfound fame could be, at least she’s moved on from the person who made her miserable for so long. Being dependent on the album doesn’t have to mean it can’t stand on its own! I still remember hearing the album for the first time and getting to this song. I’m just here to re-experience it all over again. I want more hit songs like that! I want more songs to become popular not because the label picked it to send to radio, but because its emotional resonance delighted its fans and made it the most popular song on the album. The best part is, this has now happened twice this year. Here’s to many more!
Best Two Seconds: “And I don’t talk SHIT about…”
Heartbreak Anniversary by Giveon
I love this title. I just want to say it right off the bat, this is legitimately one of my favorite titles in any media ever. It’s a universal concept depicted in two opposing words that come together to create a very specific feeling of heartbreak. The aftermath of heartbreak is always a popular topic in music, but I’ve found the hindsight of heartbreak to be more interesting. Being fresh off of a breakup is always going to hurt at that moment, but as time passes on, you feel the weight of that sadness linger on your soul, and it leaves such an imprint on you that you remember the very day your heart split in half. It’s a vivid memory, one you know every word to. It’s not a celebration you particularly enjoy, but part of you does anyway. Because remembering a time before that day is what helps you heal from the love that was lost on that fateful day. And now you’re left to wonder if she remembers that day too. If it really meant that much, surely she’d come to your own little pity party… right?
That’s what’s deceptively brilliant about “Heartbreak Anniversary”. It evokes a feeling so specific, yet delivers it in such a relatable, beautiful way that you can’t help but relate it to your own experiences. The smoke of the guitars over the drowning pianos are slow and reflective, and Giveon’s voice has an incredible emotional range that feels every single emotion you can think of. I’m always amazed by what a unique voice this guy has. It has a deep, sexy bass while having the range and expressiveness of a tenor. I’ve grown to be a big fan of him throughout the year, but he hasn’t topped “Heartbreak Anniversary” and I don’t think he ever will. It’s too perfect of a breakup song. I can see it being considered one of the all-time R&B classics in the coming years.
Though I’d be lying if I said this song didn’t also resonate so much for me over personal reasons. I’d also be lying if I said it wasn’t related to the same personal reasons I’ve enjoyed a lot of songs over the past several years. Though I guess this one hit me because I actually have a day I consider to be a “heartbreak anniversary”. And for the longest time, I was kind of embarrassed to say that. It wasn’t even the end of a relationship, it was just a moment of rejection that I hadn’t really experienced until then. Plus, it made me feel clingy. Like I was putting on some show of melodrama to boost my ego to essentially nobody. But again, that’s what’s so powerful about heartbreak in hindsight. It doesn’t hurt like it used to, but sometimes it still hurts. Sometimes you cling to that date because it gives you some selfish illusion of peace and closure. Is it a good look on you? No, but does it have to be? We cling to these dates for a reason. Funnily enough, my heartbreak anniversary happens to land on the date this is posted. December 11th.
Best Two Seconds: “IIIII… get like this everYY TIIIIIIME…” (last chorus)
Todo De Ti by Rauw Alejandro
I don’t follow the year-end for my best lists anymore, but I still felt a wave of validation over “Todo De Ti” making it at the very bottom of the list. It was a streaming giant for months and one of the biggest hits of the year globally, but the lack of radio support put it right on the fringes of making the American year-end. I was always going to include this on my best list though, because not only does its global domination qualify it as a hit regardless, it’s one of the most delightful pop songs we’ve had in recent memory. “Todo De Ti” has sugary sweet pop production that’s surprisingly nostalgic, reminiscing on the best parts of early 2010s pop music. A catchy thumping beat, bright keys, a slick guitar to make up the groove, and a memorable chorus that goes into a wonderful little instrumental breakdown. Above all else, this song sounds AMAZING!
Rauw Alejandro himself is one of the most magnetic performers I’ve heard come out of Latin pop. He has a breathy, high-pitched voice which should probably be more annoying than it is, but his voice is elastic and controlled enough to bring life to the song without distracting from the groove itself. Plus, he has a ton of charisma! I just like hearing him sing with all his heart, passionately throwing himself to this girl and wanting every part of her in his life! It’s a big declaration of love set in what I assume is an 80s-inspired colorful skating rink, colored spotlights roaming the fuzzy walls with swirl designs, and the smell of expensive concession stand food that honestly isn’t that good but you’re hungry so you buy it anyway. It’s that nostalgia factor that isn’t drawing upon anything specific but is still vivid enough for that memory to be engrained in your psyche.
I also really love this as a crush song, because as much as it’s about the infatuation of meeting someone new and falling for every part of them, it also feels like a fleeting romance that’s not always built to last. It’s not in the text, but that burning outro at the end always felt like coming down from a high to me. The song could have built to a bigger climax, but I actually really love how it ends so quietly. As if Rauw is laying next to her and really contemplating whether this relationship is going to work. It can work as a subtle appreciation or a sign that the infatuation is over and she isn’t who he’s been looking for this whole time. And yeah, that’s all subtext, but I think it makes the song work beyond its initial catchiness! And also because I don’t have much else to say about it other than it makes me incredibly happy.
Best Two Seconds: “Y yo me gusta todo de ti!” *instrumental breakdown kicks in*
RAPSTAR by Polo G
I’ve had my eye on Polo G ever since his breakthrough song “Pop Out”. I knew he had a ton of potential with his melodic flow and emotional honesty, he just needed a little push to really bring out the best of his sound. Last year’s The GOAT was a great start, but I think he really hit his artistic peak with Hall of Fame, and “RAPSTAR” is the crowning jewel. It’s so simple in concept, yet so perfect in its execution. We’ve heard plenty of songs about how unfulfilling fame could be, but “RAPSTAR”’s approach is equal parts tragic and imposing. The way the song starts with that eerie ukulele melody, only for the piano to drop in as Polo G begins the chorus immediately catches your attention. Even if it’s something as mundane as buying a BMW. Well, it’s mundane to Polo G. An easy nitpick of this song would be to point out how bored he sounds describing all his wealth and easy access to money, but then again, that’s kind of the point.
“RAPSTAR” is a song that looks at all the success Polo G has been working towards and asks, “Is this it?”. Is this really what it sounds like when you’re at the top? Trading money, clinking chains, flying planes, crowds of cheers, that’s the sound of victory? Polo G raps a lot about his time in the streets, being unable to turn a corner without worrying that he might die for pissing off the wrong person. Getting famous was his ticket to getting out of that dangerous cycle of poverty and finally feeling at peace. Problem is, even if he managed to leave that gangsta lifestyle, the trauma he experienced never left. He spends so much of the song reliving the damage done to him through betrayal and crippling anxiety, having trust issues with women, and forcing himself to tell people he’s fine when he’s clearly having another episode. He can turn to the wealth he now has to distract him, but that’s all they are. Distractions. Because eventually, he’ll fall back into the habits his old self developed. He’ll take pills to keep the pain from hurting more, even if there’s the threat of relapsing into his old Xanax addiction.
I’m frankly amazed that this song was so resonant with people that it became a #1 hit out of sheer will. I mean yes, it’s a catchy song with memeable moments like “Only bitch I give a conversation to is Siri” and “Shut the fuck u- I mean, please don’t talk”. But the song itself is so bleak. One that really confronts what fame means to rappers like Polo G, especially if they came out of poverty and gang violence. That shit still haunts them, and it’s taken a while for trap to be truly honest about how broken they are. It’s become more popular as of recently thanks to Lil Baby, Lil Durk, Rod Wave, and other artists, but I’ve yet to hear someone put words to that trauma as eloquently as Polo G. Last year, he made one of my favorite songs of the year with “I Know”, an ode to a past friend headed down a dangerous path due to past trauma and severe depression. I speculated how much of that song was actually about a friend and how much of it is a subtle acknowledgment of Polo G’s own experiences. “RAPSTAR” is Polo G being more honest about his own trauma, and it’s easily the best song he’s ever written.
Best Two Seconds: “Copped a BMW…” *piano drop*
Sand In My Boots by Morgan Wallen
I’ve thought about Morgan Wallen too much this year. Guess this is what happens when you get excited for an artist who starts guiding country music in a brand new, exciting direction, only to derail his career by exposing himself as a self-destructive, privileged, racist moron. I wrote about Morgan Wallen’s n-word debacle earlier this year, and I was tempted to follow it up with an addendum about the aftermath. But one, I don’t think it’s really my place to talk about it as someone who isn’t in a position to forgive Morgan Wallen (or even not forgive him), and two, it’s not really about Morgan Wallen himself anymore. Despite having the biggest album of the year, he went off the grid for most of the year after apologizing for what happened, announcing that he’s gone sober, and is aware of how hurtful it was for him to use that word so casually. Whether or not he’s truly learned his lesson or could be forgiven isn’t really the conversation anymore. You just have to draw the conclusion yourself, and even if you do forgive him, you have to accept the fact that some people will not, and that’s okay. Especially if they themselves are black and have seen this happen time and time again.
There’s another conversation to be had about what this means for Nashville as a whole, who were bold enough to bar Morgan Wallen from radio play for months, but still seemed to slowly accept him back and give careful interviews trying to soften the blow of the incident by showing that he’s really changed. And yet, they still banned him from their shitty award shows, even if he’s nominated. Because they’ll put all their effort into boosting Mickey Guyton and Brothers Osborne, showing that Nashville really is inclusive, but when it comes to real action, “Sand In My Boots” gets more traction as a single than “All American” and “I’m Not For Everyone” gets their whole runs.
This is why I dreaded talking about this song. Because as much as it represents a system that continues to discriminate against black and queer artists while pretending they’re not, it was also my most played song of the entire year. I love “Sand In My Boots”, with all my heart. Morgan Wallen tells a beautifully tragic story of a magical day at the beach with a stranger who captured his heart. Yet when it came time for him to leave, she wouldn’t go back with him. It was all a fling, even if Morgan was convinced it was forever. It’s full of romance, but that romance also washes away in as that potential becomes merely a memory. The production of this song is also incredible. The steel guitar over the pianos is such an incredible sound that evokes the best parts of “Colder Weather” by the Zac Brown Band, and Morgan Wallen’s voice has the passion and power to sell this grand, romantic, heartbreaking story. It’s genuinely one of the most impressive displays of talent I’ve ever seen in a mainstream country act. Right up there with “Colder Weather”, “Sunday Drive”, “Marry Me”, “Need You Now”, and so many other phenomenal country songs from otherwise industry acts. But this does have the burden of being from an artist I have very complicated feelings about. A friend of mine was actually surprised that this was my most played song because they were under the impression that I’m very critical and negative on Morgan Wallen. They weren’t wrong, really. Wallen continues to be one of the more disappointing artists in my life. And regardless of how I feel about him, I have to accept that someone who isn’t the person I wish he was made a song so special to me that it defined my year. If you have a problem with that, I don’t blame you.
Best Two Seconds: “But I still thought that maybe she’d show up…”
good 4 u by Olivia Rodrigo
I’ve been singing Olivia Rodrigo’s praises all year, so of course, I have to finish it off with her biggest and best song. I’ve been waiting for pop-rock to make its mainstream return for some time now, and while “Mood” and “my ex’s best friend” certainly started the movement, “good 4 u” was the song to landmark it. A blazing fury of guitars and Olivia Rodrigo’s fierce voice, staying quiet and menacing on the verses while going all-out on the chorus. I LOVE how this song sounds! It’s reminiscent of the pop-rock of the mid-2000s that’s just reckless enough to bring the energy while still having clean melodies and plenty of memorable moments to keep the song accessible and endlessly replayable. There are so many great little moments that floor me every time I come back to this song. I love how the song opens up with a quiet bass groove and Olivia’s vocal harmonies leading into the first verse! I love how the drums kick into the first chorus and let Olivia explode with her angsty, powerful vocals! I love how Olivia nervously laughs in the middle of the second verse as her petty snark builds into genuine anger and frustration! I love the way “I’ve lost my mind, I’ve spent the night” sounds like she’s jumping up and down like a toddler throwing a tantrum! I love the way the bridge starts with a little guitar flair before blasting into those same vocal harmonies and letting the instruments jam for a little bit! I love how the final chorus starts out quiet and acoustic before Olivia shouts, “LIKE A DAMN SOCIOPATH”, and brings back the furious energy of the song! There are so many incredible little moments in this song, it blows me away!
Yet, the more I think about “good 4 u” and its place in the Olivia Rodrigo Canon, the more it stands out to me in a very strange way. Really think about it: In “good 4 u”, Olivia Rodrigo is expressing hatred and betrayal at her ex for… being happy. I mean yeah, finding someone else so soon after the breakup definitely stings, but then she goes on to chastise him for being a better person after meeting with his new therapist. One that Olivia herself recommended to him. So now he can be a better man for his new girlfriend. That’s a little weird, isn’t it? I mean, sure, the relationship didn’t work out, but shouldn’t it make you happy to see someone you struggled to love finally take the steps to become a healthier person? It actually reminds me of an episode of The Good Place where Eleanor resents her mother for being a changed person and giving love and support to a new daughter. After being neglected and uncared for all her life, Eleanor is seeing the life she always wanted given to someone else, and it tears her apart. “If Donna Shelstrop has really changed, that means she was always capable of change, but I just wasn’t worth changing for.”
That’s what makes the drama at the core of “good 4 u” so brilliant! As selfish as it is to be angry at someone for moving on without you, there is something really tragic about only experiencing the worst part of someone you knew could be better. And seeing them not only reach that goal you wanted them to aim for, but also cut you out of your life in the process as if you weren’t a part of their growth as a person… Yeah, that stings. It’s why this song is so cathartic for Olivia Rodrigo. It doesn’t matter that it’s immature, it’s still a release that Olivia Rodrigo needs to move on. Either he never cared about her and all of her love and effort was for nothing, or she’s just emotional because she feels betrayed by her ex’s indifference towards their relationship. This adds so much to the story brought upon through “driver’s license”! Because yeah, teenage relationships are messy, but that doesn’t mean there isn’t real emotional depth in that teenage angst. Because we all go through the growing pains of learning to move on and taking what we learned in previous relationships and using that to be better in future relationships. For Olivia’s ex, they figured it out pretty quickly, and are better off than they used to be. For Olivia herself… she still needs time to let off some steam.
Best Two Seconds: “LIKE A DAMN SOCIOPATH!!!”
Street Runner by Rod Wave
“Street Runner” blew me away the first time I heard it. I mentioned earlier when talking about “Tombstone” how Rod Wave met the potential I saw in him last year, but “Street Runner” is the one song that exceeded my expectations. I knew this brand of trap soul had potential, but “Street Runner” is transcendent in a way no other song this year was, trap or otherwise. Using Ruth B’s “Mixed Signals” as the heart of this song’s emotional core was a brilliant move. Even pitched-up, the song’s gorgeous melodies and wide-eyed passion sound incredible alongside the clean piano melodies, brisk trap percussion, and of all things a wailing steel guitar. Just the way this song starts, with its complicated feelings of love and need for validation, hits so perfectly. Rod Wave also sounds incredible on this song. His voice is patient, kind, and honest that’s always soothing to listen to. He’s got the pipes to show off, but he also has the control to make a melancholic song like this work.
I’ve often heard complaints that Rod Wave tends to make the same song and cover the same topics over and over again. Which, in some ways I get. If this sound doesn’t grip you immediately, albums like SoulFly could leave you wanting more. But to me, what always grips me about Rod Wave is less the content itself, and more the emotion behind it. The hurt in his trauma and the romantic scale of his love songs. His voice does a lot to carry that, but his honesty and vulnerability are what draw me to Rod Wave, no matter how many times he talks about his come-up. That vulnerability is what makes “Street Runner” such a potent song. It’s addressed to a long-distance girlfriend who he doesn’t see much of anymore due to his time on the road, and though he misses her, he also knows that every day he’s growing as an artist and as a person. And sometimes, that growth means you have to leave some things behind. But the street runner has to stop running sometimes and take a look at the lights that take him higher every day. It’s a hard decision for him to make, but ultimately he has to chase what’s in his heart. Which is implied to be his rising fame and desire to free himself from the poverty and violence he grew up with.
And all of that would be great by itself, but the song ends with a spoken word poem from Sarah Lyoness. It’s played over the sample of “Mixed Signals” and Rod Wave’s harmonization, and it’s one of the most beautiful interludes in any song I’ve ever heard. Sarah’s poem is in the form of a voicemail where she calls someone just to hear their voice, talking for an extended period of time just because she’s afraid to admit it’s over. The happy memories they had are just memories now, and the only way she can feel his love again is through his voice on the voicemail. The song played alongside the complicated love on “Mixed Signals” is such a wonderful contrast of the struggle of falling in love, whether that love is good for you or not. The poem itself is also incredible on its own, with so much emotion and heartbreak in her voice that it genuinely moved me with how vulnerable it was. But the way it connects to Rod Waves’ story, one that I’m sure is real and from his own heart, is truly magical. It ends the song on a somber, heartbreaking, yet beautiful note and the few seconds of silence afterward does so much to let the song sit with you. It’s not a long song, only one verse, and chorus plus the outro. But it still leaves such an intense impact on you.
Best Two Seconds: “I hope and wish you were doing okay”
INDUSTRY BABY by Lil Nas X ft. Jack Harlow
If “MONTERO (Call Me By Your Name)” confirmed to me that Lil Nas X was a superstar, “INDUSTRY BABY” was the victory lap that cemented it. I honestly have no idea where this song came from. It sounded fun from the previews he shared on Tik Tok, but I was worried it was gonna lean in too hard to his extremely online, memey persona rather than actually flesh him out as an artist. Turns out, it did the opposite! That cheeky internet humor is still there, but it’s meant to be a celebration of how far he’s come since “Old Town Road”. The journey has only just begun, and there’s plenty more to look forward to no matter what the pearl-clutchers say. It’s such a bratty, obnoxious, taunting attitude, but Lil Nas X delivers it with so much charisma and charm that you can’t help but celebrate alongside him. Especially because this song sounds immaculate! Daytrip really outdid himself with those triumphant horns and firecracker bass! Lil Nas X’s ear for melody is also on full display with maybe the best chorus of the year. I couldn’t stop coming back to that delightful vocal effect on the chorus, plus the way the beat constantly punches with such force and enthusiasm that every new bar is better than the last.
I could make a whole Top 10 of my favorite moments in this song. It’s one of those anthems where every little moment is so good that every replay is an excuse just to recite that moment again! From the horns introducing the song (alongside TakeADaytrip’s producer tag ofc) to Lil Nas X’s mumbling on the first verse about needing a Nicki Minaj feature, to “I don’t fuck bitches I’m queer, unh, but these boys bitches like Madea, yuhyuhyuh!”, to Lil Nas X introducing the pre-chorus with “And this one is for the champions!” and those snare drums coming in like a giant marching band, to the adlibs on the second chorus (“I got what they waiting on!”), the way the beat punches in sync with Lil Nas X’s singing throughout the chorus, those bassier harmonies giving the vocal melody more meat in its bones, the awesome little outro right at the end that changes the key and gives you a new melody before ending triumphantly, and all of this is only in half the song! Because the other half of this song is Jack Harlow. You know what? Fuck it! This is the best guest verse of the year, hands down! What a star-shining moment in music this year. Delivered with all the laid-back cool of someone who KNOWS he’s the shit and so many quotable lines that made me laugh and smile every time it comes on. He easily has the best moments of the song by the way. “I sent her back to her boyfriend with a handprint on her asscheek” made me cackle the first time I heard it, and it’s followed up with other classic lines like “I didn’t peak in high school, I’m still out here getting cuter” and “I don’t clear up rumors, where’s your sense of humor”?
Though my favorite moment in the entire song is “City talkin’ we takin’ notes”. It’s such a specific moment, but Jack Harlow’s delivery of that line coupled with the punch of the bass into the horn melody is one of the most thrilling moments I’ve heard in music all year. It fully kicks Jack Harlow’s verse into gear and continues delivering hit after hit after hit. And even when it ends, I’m not sad! Because the chorus from Lil Nas X is back, and it plays one more time before going into that beat switch up for the finale! And then I just want more! So I play it again and again and somehow I never got sick of it. I stopped adding it to my rotation eventually, sure, but that just meant whenever I came back, I was hit with the same euphoria the song gave me the first twenty times I listened to it. Enough so that in writing about this song and relistening to it, I just kinda realized it was my favorite hit of the year. I don’t have a concrete favorite I guess. It’s not like last year where “Blinding Lights” just dominated my entire year and far surpassed everyone else. I like this song as much as “good 4 u” and “Street Runner”. But if I had to order them for list reasons, I figure, yeah. “INDUSTRY BABY” wins. It’s the one that made me the happiest and the one I never really got sick of or had complicated feelings about. Guess it really was one for the champions after all.
Best Two Seconds: “City talkin’, we takin’ notes!”