Best Songs of 2021! (1/3)
100-51
These are always my favorite lists to write and assemble, but they also get harder to get right every year. Making a list will always be reflective of the moment, even with all the hindsight and consideration you can give it. Even after finalizing the list, I felt that I put some songs lower than what’s properly reflective of my opinion. That’s why this list isn’t technically ordered. I didn’t give these songs number placements, and one being above the other doesn’t necessarily mean I like it more or think it’s a better song. Think of these lists as a group, all songs I love and hold near and dear to my heart. Some I like more than others, but the order could honestly flip on any given day.
I think that’s why I actually really love how this list turned out. Keeping myself from seeing this list as a strict order makes me more understanding of which songs defined my year and which ones just happened to be in heavy rotation and thought for me this year. Obviously, I made some hard cuts, you can take a look at this thread here for the honorable mentions, but for the most part? This feels right. I’m satisfied with my choices here. And I hope you all find something new to enjoy! :)
Blame It On The Backroad by Thomas Rhett
I think it’s pretty obvious that I’m a big fan of Thomas Rhett when he stays in a country lane rather than trying to be a pop star. He has the voice to pull off some truly excellent pure country sounds, and until he gets pop production that can live up to at the very least Lizzo tier, I don’t think he fares very well as a pop star. But that doesn’t mean he has to stick to ballads or mid-tempo songs. He can absolutely make something lively and fun using traditional country production! Take “Blame It On The Backroad” for example, the catchiest song he’s ever made. I am in LOVE with the fiddle on this song! It’s so lively and full of energy, nailing the bliss of driving down the road without a care in the world. But all the credit in the world also has to go to the waning steel and driving guitar, all coming together with the excellent drum work that keeps the song’s momentum, not a dull moment in sight. You can tell Thomas Rhett truly loved making this song. His voice is so expressive and genuinely happy, you find yourself getting swept up in the energy right along with him. One of his best.
Best Two Seconds: “Go on and blame it on the backroad!”
family ties by Baby Keem ft. Kendrick Lamar
Covered more in-depth on the Best Hit Songs of 2021
I can’t stop going back to this song. Not only is it super catchy and quotable, but it’s the kind of star-making moment that shows all the potential Baby Keem has while proving that he can keep up with a veteran like Kendrick. Even if Kendrick is easily the highlight of the song, Baby Keem deserves just as much credit for being his own unique, expressive rapper. Plus, it’s great to hear Kendrick again! He’s still as sharp as ever with so many changeups and great punchlines that it’s easy to forget that his last studio album, DAMN., turns five years old this year. Hoping we get a new Kendrick album this year, and if this is the teaser for it, I am more than excited!
Best two seconds: “Let me jump in this bitch (Let me jump in this bitch!)”
hookup scene by Kacey Musgraves
Safe to say that no song from star-crossed is as good as the best from Golden Hour. If anything, I find it harder to find star-crossed’s greatest strengths in its individual songs. The album is at its best taking it all together and experiencing the journey of heartbreak and recovery. Still, the position of a song within an album and its narrative can make the song stand out on its own, which is what makes “hookup scene” (as well as honorable mention, “camera roll”) such an incredible song. It puts Kacey in a very specific situation where after her divorce, she takes up casual dating and realizes she hates it. She’s so used to the genuine love and security of a long-term relationship that trying to replicate it through shallow sex feels, well, shallow. She respects it, but she still yearns for something more. To the point where she even regrets letting an otherwise toxic relationship go. Just so she can feel what it’s like to be truly loved again. Delivered with a spare acoustic guitar and her angelic voice, this song stopped me in my tracks the first time I heard it. One of the saddest and most heartbreaking songs she’s ever made.
Best two seconds: The lonely humming after the chorus.
THAT’S WHAT I WANT by Lil Nas X
Covered more in-depth on the Best Hit Songs of 2021
From proving his status as a superstar in the making to celebrating that status in the face of those who doubted him, now Lil Nas X is free to make the songs he wants to make. In this case, a pop-rock adjacent bop where he yearns for romance that gives him a sense of comfort and intimacy he’s been missing all his life. Lil Nas X has a lot of love to give, with a passionate performance that makes singing along to this song an absolute blast. It helps that Ryan Tedder’s ear for great hooks makes this song especially memorable! Catchy guitars, anthemic hook, one of the most quotable moments of the year, what’s not to love?
Best two seconds: “THAT’S WHAT I FUCKING WANT!!!”
Standing Ovation by Little Simz
There’s a lot to love on Little Simz’s Sometimes I Might Be Introvert, and while I was close to picking the excellent battle between Little Simz’s complicated feelings about her father, “I Love You, I Hate You”, it was ultimately the triumphant “Standing Ovation” that won me over. A song like “Introvert” would probably beat it in terms of scale, but I prefer the blasting horns and gospel cries that allow Simz to be proud of how far she’s come for once. She’s humble, but she’s also worked too hard for that work to go unnoticed. That confidence is absolutely earned, not just in her writing, but the power of the music itself. Every time I hear those trumpets go off, I feel the need to pump my fist in the air from excitement! It’s such a big, celebratory song that fuels me with fierce confidence, and convinces me that Little Simz really is on top of the world.
Best two songs: “I think I need a standing ovation!”
love nwantiti (ah ah ah) by CKay
Covered more in-depth on the Best Hit Songs of 2021
One of the best songs to come out of the dancehall resurgence this year, even if this is technically two years old. Still, it’s easy to recognize why this blew up on TikTok and beyond. It’s incredibly catchy, the instrumentation is textured and hypnotizing, and CKay evokes the exact atmosphere needed to bring upon the feeling of getting lost in the club and looking to bring someone home by the end of the night. Sensual, fun, and endlessly replayable. One of the best hits of last year, and inevitably, this year.
WUSYANAME by Tyler The Creator ft. Youngboy Never Broke Again & Ty Dolla $ign
Covered more in-depth on the Best Hit Songs of 2021
For as much as CALL ME IF YOU GET LOST is at its best when taken all at once, “WUSYANAME” is a song that can work in any circumstance. A bright, summertime instrumental that evokes the image of a burning sun and clear skies, Tyler and Youngboy trying (and failing) to capture a girl’s attention through silly flirts and bouncy flows, Ty Dolla $ign in the background singing his lungs out like he always does, all wrapped up in a short, but delightful song that always makes me smile every time it comes on.
telepatia by Kali Uchis
Covered more in-depth on the Best Hit Songs of 2021
It’s always validating to have a song you’ve been rooting for ever since you first heard it, only for it to suddenly blow up and make its mark on the year. “telepatia” is a gorgeous song with one of the best melodies and performances in any pop song this year. The soothing, dreamy atmosphere paired with Kali Uchi’s flirty cooing is enough to make this a rewarding listen. It’s the kind of song you put on in your best of moods, and yet it somehow gets better every time you hear those little inflections in Kali’s voice and the way the production fades in and out of the background. It was the easy stand-out on the album, and I’m thrilled that it’s charting a path for Kali Uchis to maybe surpass it in the future.
Best two seconds: “You know I got a lot to say,”
4 Da Gang by 42 Dugg ft. Roddy Ricch
Covered more in-depth on the Best Hit Songs of 2021
LIVE LIFE FAST came out too late in the year to have any of its songs considered for this list, but I don’t think any of them would have made it anyway. I like the album more than most, but even I can tell it’s not Roddy’s A-game and I wish he was a bit more inventive with his own material. Especially when his best song this year was a trap rock banger that suited his melodic flow insanely well. All the credit in the world to 42 Dugg for using his unique voice to find the balance between trap star and rockstar, indulging in materialism and loving every minute of it. Roddy really is the highlight of the song though. A relentless flow with untouchable charisma puts this song over the top as a standout moment for both artists.
Best two seconds: “Me and 42, pullin’ up, twin Bentleys!”
LEMONHEAD by Tyler The Creator ft. 42 Dugg
While on the topic of 42 Dugg, though Roddy Ricch stole the show on “4 Da Gang”, 42 Dugg made up for it by stealing the show on Tyler The Creator’s “LEMONHEAD”. I’m a sucker for horn-driven bangers that blast brassy melodies and make the song sound bigger than life, and it’s what initially made “LEMONADE” my favorite song on CALL ME IF YOU GET LOST. It’s short, but that blasting beat over the murky trap knock and Tyler’s fierce rapping made this a workout staple. One full of grimy energy that I couldn’t look away from. And that’s before that foreboding whistle signaled the arrival of 42 Dugg’s nastiest, catchiest verse. He’s a perfect fit for this kind of monstrous beat, and though his time is short, it’s a verse I want to revisit again and again! The monologue from Frank Ocean at the end is nice too.
Best two seconds: 42 Dugg’s whistle
Shivers by Ed Sheeran
Covered more in-depth on the Best Hit Songs of 2021
One of Ed Sheeran’s best pop songs. One that I feel hasn’t been given the credit it deserves for being such an excellently crafted song. The plucky guitar groove and catchy rhythm are already immediately hypnotizing, but Ed Sheeran going full “wife guy” and falling head over heels for his wife makes the song all the sweeter. I kept coming back to this song just because I love its infatuated energy! Fun, vibrant, and so deeply in love you can’t help but fall in love right alongside him.
Best two seconds: “… then we bring it right back!”
Stop Making This Hurt by Bleachers
In the current wave of the omicron variant threatening another round of lockdown and isolation, I’ve found a bit of anxious comfort in the groovy mess of “Stop Making This Hurt”. On top of being an incredibly catchy song that stands up with the best on Strange Desires, it’s the kind of upbeat song with darker implications that I’m always a sucker for. It feels like the good time Jack Antanoff is having is forced, desperate to reclaim some memory of what life was like before lockdown. Sure, it’s fun, groovy, and undeniably anthemic, but it’s riddled with little irritations that build and build as Antanoff finds himself surrounded by similarly anxious people. Being stuck in the same room with them for too long is enough to worsen that anxiety and lead to Antanoff blowing up. “Stop making this hurt!” A desperate, but honest plea to make the most of a bad situation rather than making every moment worse. As someone who deals with so much tension and worsening communication every day on places like Twitter, which has become especially insufferable since the pandemic forced us to doom scroll and feel the need to find a scapegoat for all our sadness… Yeah, I get it.
Best two seconds: “Stop! Making this hurt!”
Have Mercy by Chloe
Covered more in-depth on the Best Hit Songs of 2021
Chloe and Halle have a bright future ahead of them, whether they’re together or just doing their own thing. “Have Mercy” is pure 2000s R&B worship, taking all the best elements of that era and making it just modern enough to be enjoyable in any year! It’s fun, sexy, unbelievably catchy, and full of potential for where the future of R&B may take us. I like the toxic crooning popularized by SZA and Summer Walker a lot, but I tend to go back to the brighter, bouncier songs that revel in its deviance and sexual prowess. Hence why this became a frequent favorite of mine towards the end of the year.
Best two seconds: “Lord! Have mercy!”
Rumors by Lizzo ft. Cardi B
Covered more in-depth on the Best Hit Songs of 2021
The triumphant comeback single that’s been forgotten far too quickly. Maybe it’s just in Lizzo’s nature to have all her new hits ignored until they go viral years later, but I still think this song deserved to break the curse. The g-funk groove coupled with the revving electric guitars and explosive horns plays perfectly with Lizzo’s rambunctious personality, clapping back at all the petty assholes who treat her like shit and realizing she’s better off without them. If anything, the things they criticize her for are things she oughta be proud of. Hell yeah, she’s outwardly sexual and proud of her body! She’ll fuck anyone she wants, including Drake! Cardi B also deserves love for her powerful verse, but now I’m just waiting for that full project to really blow us away. Banger all around.
Best two seconds: “No ain’t fuck Drake… yet!”
make a poet Black by McKinley Dixon
CONTENT WARNING: References to suicide and black death
For as much as I loved listening to music that simply made me happy, there are those occasional songs where I can’t deny the sheer impressiveness of their craft, maybe even connect to it in my darkest moments. What makes “make a poet Black” such an incredible work of art is how it captures an artist’s anxiety in the most realistic, yet haunting way possible. The stalking strings and discordant piano creep along with the song in such an unstable, unpredictable pace that simply hearing Dixon flow over it without stumbling once leaves me in awe. No matter how chaotic and evil the production is, Dixon can still fill it to the brim with detailed thoughts and insecurities that on their own rise and rise in severity. The fear that no one will take your words seriously if you don’t deliver your words just right. That you haven’t experienced the real trauma you need to make something truly impactful. That people will look at your work, no matter how sincere, and scoff at it. Dixon’s pain comes from not just his own insecurities, but the constant lingering trauma of dead friends and systemic poverty that, even if his art does make an impact, won’t save countless people from dying at the hands of police. Hell, it might not even save Dixon himself as he nearly falls into a suicidal breakdown, only for the music to grow quiet, just for a moment. At least until that mortifying chorus comes back one last time. A monster of a song. One that I stare in awe, and in fear of.
Best two seconds: Final chorus after the instrumental bridge
drivers license by Olivia Rodrigo
Covered more in-depth on the Best Hit Songs of 2021
Our first introduction to Olivia Rodrigo as an artist separated from her High School Musical show. We’re used to teen stars getting their own music careers, but I don’t think one has ever had as promising of a start since Ariana Grande. The brilliance of how car sounds are implemented into the production fits perfectly with how the song takes its time to really hit that emotional release. It stays in its melancholic lane and gives Olivia the space to paint this story. A story that’s very clearly young and naive, but no less gutting thanks to her incredible voice. Even now, it shocks me to hear a pop song so layered and carefully put together, enough so that the moment it finally lets loose has incredible payoff and cements itself as a landmark song of the 2020s. From this one song, I knew Olivia Rodrigo was the future.
Best two seconds: “But I still FUCKING love you, babe!”
Kiss Me More by Doja Cat ft. SZA
Covered more in-depth on the Best Hit Songs of 2021
Maybe I was too harsh on Planet Her. Not that I fully like it now, but there are a handful of really good songs on it that ended up going viral, and at the very least I know Doja can make a truly great project if she’s just given more artistic freedom. I’m wholeheartedly rooting for “Woman” as it begins its single run, but the album was never going to get better than “Kiss Me More”. It’s exactly what I wanted out of Doja Cat. Sugary-sweet, catchy, but still full of personality and playfully sexy. That shimmery hook makes me smile every time it comes on. Plus, SZA knocks it out of the park playing into the brighter production and bringing a more aggressive, but no less exciting verse. Delightful tune that deserves to be Doja Cat’s new signature song.
Best two seconds: “All on my tongue I want it!”
I Was On A Boat That Day by Old Dominion
Covered more in-depth on the Best Hit Songs of 2021
I ended up liking Old Dominion’s new album way more than everyone else, but if you need harmless, charming songs about making the most of the day, I’d heartily recommend it. It will certainly end up on my albums list, so stay tuned for that. That said, it makes “I Was On A Boat That Day” stand out as a bit of an outlier. While the good vibes on Time, Tequila, and Therapy come from a place of comfort and mental stability, “I Was A Boat That Day” comes from a place of spite. A kiss-off to an ex that’s so joyfully callous he essentially burns a bridge that probably could have been salvaged, but who cares? That bouncy self-satisfied hook is so fun and petty you can’t help but join in the fun! It’s as if all the worst aspects of “Break Up With Him” were actually the song’s best aspects. Stupid, brainless, mean-spirited, and absurdly fun!
Best two seconds: “The river was rolling, I was getting my float on!”
I LIE HERE BURIED IN MY RINGS AND MY DRESSES by Backxwash ft. Ada Rook
CONTENT WARNING: Heavy themes of depression and sonically intense music
On the complete opposite end… This is one of the harder songs on my list to stomach, but Backxwash has a way of captivating me in her darkest moments, and I’ve been floored by this song ever since I first heard it. Backxwash and Ada Rook had a star-making banger last year with “Black Magic”, but “I LIE HERE BURIED WITH MY RINGS AND MY DRESSES” is a whole other beast. One where Ada’s vocals shatter the earth with her monstrous hook on the verge of collapsing in on herself. The song depicts Backxwash’s frustration and desperation to find solace in the awful world she lives in. One full of hypocrisy and oppression that lives in all corners, especially the corners that claim to keep women like her safe. She practically accepts her fate in hell because she feels it’ll be no different than the hell she already lives every day. Not an optimistic song, and certainly not easy to listen to with its blown-out, fierce production. But there’s a cathartic release in that anger and sadness. One that isn’t pretty, but it's necessary to pull through and hopefully come out the other side alive. Maybe not well, but alive.
Best two seconds: The brief burst of distortion at the beginning of the last chorus
SAVE YOURSELF by Trippie Redd & Travis Barker
I go back and forth on Trippie Redd. For as much potential as his melodic trap sound has, more often than not it’s a crapshoot whether or not we get something genuinely inspired. But I always appreciate when he gets it right, and despite his pop-rock album with Travis Barker being kind of a misfire, “SAVE YOURSELF” stuck as one of his best-ever songs. One that takes advantage of Trippie Redd’s unhinged vocals, but keeps it tight with a sharp guitar melody and blazing drums to form one of the catchiest and most cathartic hooks of the year. It feels genuinely dangerous, like a looming storm blasting lightning bolts at every surface. But that storm has its own allure to it, and that mix of danger and desperation is hard to pull away from. That pre-chorus building into the explosive chorus is one of the catchiest and most cathartic moments of the year. A true moment of pop-punk that few artists dipping their toes in the genre were truly capable of hitting this year. Probably the one song that compelled me to defend the album as a whole, even if it never got as good as this.
Best two seconds: “I promise that I’ll make it to the end (AAHHHH)”
All We Have Is Time by SUNDAYS
SUNDAYS’ Inner Coasts has been a quiet winner for me all year. I dunno what it is about these guys, but it’s so easy to come back to them whenever I need a song to fill my ears. Their brisk, organic instrumentation always sounds great, but there’s that soft sense of whimsy and melancholy that I’m such a sucker for, and it’s present in all their best songs. “All We Have Is Time” is an obvious standout from the album, mainly because its more uplifting, adventurous nature is reminiscent of their signature song, “Shade Of The Pines”. This is not nearly as good, but it’s still an excellent song that soars through the air as the acoustics and woodwinds flutter and deliver yet another great hook that feels bigger than itself. In an otherwise meditative album, this is the one song that reaches the romantic bliss this album is desperate to find. Clinging on to a past love and pushing for a declaration of love to try and recapture that magic. It’s not a particularly good idea, but it’s a swing for the fences that has its own sincerity that keeps it from being too skeevy. It’s a fun, charming little love song!
Best two seconds: When the instrumental kicks in after the chorus
Cookie Scene by The Go! Team
Sometimes I worry about putting late-year favorite songs on these lists because I’m not sure how much I can justify putting a song I’ve only had for less than a month on a list meant to recap the full year. It might hold more resonance with me next year, who knows! I was very close to putting this song on my songs list last year, but with the album dropping this year, this ended up being a big part of my 2021 anyway. I’ve adored this song since the day I accidentally stumbled across it. A sickeningly sweet song with one of the most cartoonish, goofy instrumentals I’ve ever heard. This is a massive compliment! I LOVE all these weird sounds jumping around the main flute melody, and little moments like the trumpet interlude and the way the beat quiets when it gets to the hook, only to jump back in on the second half is so much fun! Massive props to the return of Ninja, who delivers a super charming performance in keeping with the cheerleader spirit of The Go! Team. I could listen to her brag about how phenomenal and unstoppable she is all day! She brings this song to life, and though I didn’t love Get Up Sequences Part One as much as their previous albums, I’m happy to see The Go! Team back in action.
Best two seconds: “Muh nuh, uh, phenomenal!”
Hell Of A View by Eric Church
Covered more in-depth on the Best Hit Songs of 2021
It feels weird to have this so low. I know these rankings aren’t set in stone, but part of me wonders if it’s really all that just to only have a song as good as “Hell Of A View” this low. Hell, in terms of Eric Church songs on this list, this is only one of four. Then again, that’s more of a testament to just how much music I enjoyed this year, and position doesn’t mean shit when the song is still undeniably excellent. The spiritual successor to “Springsteen”, it’s a song that lives on the edge and lives in the moment. Seen as an outsider to those who want to settle, but it doesn’t matter when you’re living your best life. Your partner knows this too, because she’ll go anywhere you go, and you’ll both get to experience the incredible moments life offers you. That rebellious happiness is likely what pushed this to be Eric Church’s biggest hit in years. It’s an anthem for those making their best memories right here and now. What’s not to love?
Best two seconds: The pianos building into the final chorus
Break The Bough by Yola
I’m so excited to see Yola breakthrough as a new critic favorite thanks to Stand Up For Myself. I had been rooting for her ever since her great little Americana album, Walk Through Fire, but she really found her niche with a more Southern soul twang sound on this album. It’s certainly made her music a lot more fun, which takes us to “Break The Bough”. A rowdy banger where Yola asks the listener to break past the expectations set on them by others and be their truest selves. The blasting horns and shuffling percussion already kicks the song into high spirits, and though the song is insanely catchy, Yola is the reason this song is so inspiring. Her infectious energy and optimism allow her to let loose on the song. Every time I come back to this song, I am in awe of how boisterous and liberating it is to listen to. The groove is steady, but the production still has the scale and power to strike you in the heart and free that soul desperate to get out. And of course, having the reassurance and kindness of a person like Yola is enough to make listening to this song a borderline religious experience. The bridge especially, where Yola really digs deep into her own insecurities and lets her more wild side fly out of her. And yet, it’s acknowledging those deeper insecurities that give her power over them. She’ll power through, and so will you. Delightful from every single angle.
Best two seconds: “YOU’RE FREE MY LOVE, MY HEART!!!”
Thot Shit by Megan Thee Stallion
Covered more in-depth on the Best Hit Songs of 2021
Megan has given us classic after classic at this point, but I don’t think any of them stack up to the brilliance of “Thot Shit”. It’s honestly just the quintessential Megan song. Abrasively sexual, an audacious personality who is easy to root for, and maddeningly catchy in the best way possible. The best part of this song is how it’s not even that different from Megan’s discography. It’s a trustworthy formula that reached its greatest heights with “Thot Shit”. Taking all the best parts of her music and creating one of the catchiest, nastiest, most fun songs of the year. It stands out simply because it’s her best work to date! I can’t wait to see where Megan goes next, even if all she does is top “Thot Shit” again and again.
Best two seconds: “I’m the shit, per the Recording Academy”
MONTERO (Call Me By Your Name) by Lil Nas X
Covered more in-depth on the Best Hit Songs of 2021
I’m always caught off guard realizing just how much I listened to this song. Spotify Wrapped had it in my Top 10 most listened to songs this year, and even Last.fm which tracks the whole year landed it as high as #11. Then again, why am I surprised? I’ve loved this song since it was first teased on Twitter. I guess now that we have a full album where Lil Nas X proves his potential and has made plenty of excellent songs on his own, a song like “MONTERO (Call Me By Your Name)” might look like just another song on the album. And yet, with one exception, I don’t think any of his songs captured my attention the same way. It is the definitive Lil Nas X song. No one else could have made this instrumental work. No one else could have made a gay seduction song as funny, charming, and enticing as Lil Nas X. This song is his and his alone, and that’s what makes it so special.
Best two seconds: “CAAALL MEEE BYYY YOOOUR NAME!!!”
Take Me Home by SUNDAYS
“Take Me Home” isn’t that different from “All We Have Is Time”. If anything, it has the same premise. A desperate declaration of love that may or may not work, but still has a lot of love that it needs out there for the narrator’s own sake. But while “All We Have Is Time” is much more romantic and windswept, “Take Me Home” is defeated. This really feels like the last rope that the narrator is clinging on to, ending the album on a somber, unfulfilled note. The twinkle of the keys over the soft acoustics drifts down the track as the quiet vocals struggle to let go of this girl as she charts her own path. Because the narrator doesn’t have his own path. He planned his whole future around her. He begs her to take him home, which is really just a way of asking her to take him back. After all, “The truth is just a paraphrase”. That lyric in particular is what made this song resonate beyond its calming, beautiful composition. A lot of SUNDAYS’ music plays into melancholic, lonely romanticism, and a lyric like that takes that romanticism to task. An admittance of selfishness that maybe isn’t a good look, but it’s as honest and true as they can give her. Which is what makes this otherwise pathetic attempt at regaining what was lost tragically beautiful. It’s hitting rock bottom, but hoping for an escape that was never there. That’s brutal. But it’s the truth they don’t want to face.
Best two seconds: “The truth is just a paraphrase”
You Should Probably Leave by Chris Stapleton
Covered more in-depth on the Best Hit Songs of 2021
Starting Over the album has the potential to be just as beloved as Traveler as a modern country classic in the coming years. But unlike that album, it seems the response is more immediate and this album is racking up hit after hit. I honestly didn’t consider “You Should Probably Leave” a favorite of mine at first, but I ended up coming back to this song a lot this year. It’s one of the easiest comfort songs you could ever get into, whether you’re single or have someone to flirt with. Reliving the regrettable hookup that’s also too good to let go, yet watching them sleep after the deed is done is the reward you need to get you obsessed. The calming guitar chords and Stapleton’s great storytelling voice makes this song so incredibly easy to like, even in its unassuming nature. Just a straight excellent song with no strings attached.
Let ‘Em Burn by Emily Scott Robinson
Emily Scott Robinson seems to finally be getting the recognition she deserves. Getting signed to Oh Boy! Records was already a huge step in her publicity, but seeing this song included in the Top 20 of NPR’s best songs of the year list was incredible to see! It wholeheartedly deserves it too! “Let ‘Em Burn” is the kind of song that stops you in your tracks when you first hear it. A powerful piano ballad where a woman lives a seemingly perfect life. She has a family she loves dearly, with the security to settle down and ride out the rest of her years. And yet, something doesn’t feel right. There’s some primal urge inside of her that begs to be free. A lone wolf desire that will risk the security of her perfect family… but what if that family isn’t what she wants? It’s a feminist anthem that dare asks what you’re willing to risk to live out the life you truly desire. That the traditional family structure that country music loves so much maybe isn’t for a woman like Emily. And that intense desire is captured perfectly in her best-ever vocal performance. Melodies so potent and powerful, where the higher notes are hit so beautifully it shakes you to your core. The audacity of this song is what makes it so special. A blazing storm that country music has never seen before.
Best two seconds: The final note she hits on the last “burn”
Diamond Studded Shoes by Yola
There’s plenty to love on Yola’s magnificent album Stand For Myself, but I think my favorite remains the lead-off single. A groovy, jaunty anthem with a righteous spirit, “Diamond Studded Shoes” is the catchiest song on the album. The fun frolic of the glam guitar and wailing steel paint the picture of old-school R&B, complete with the backing vocal trio and nostalgic touch perfect for 50s diner aesthetics. And of course, Yola knocks it out of the park with her incredible voice. Perfectly capturing the energy and spirit of this sound and having the most fun she can out of it, especially when the song’s subject matter can be so bleak. It’s a song in solidarity with the working class, knowing they’re busting their ass off to survive while not getting paid nearly as much as the higher-ups there by birthright. It pushes back on the idea that things are going to get better because, well, they aren’t. Those above them will always try to make things go their way, and it’s not enough to just rely on promises. It makes the ending line of the chorus “That’s why we gots to fight” so inspiring. It’s a declaration that in order to get our way, we have to reclaim that power. Seeing the recent victories from union strikes has made this song feel especially anthemic. Maybe things are gonna turn out alright after all!
Best two seconds: “Cause the promise is never gonna be enough, oh yeah!”
Something Comforting by Porter Robinson
If there’s one song I regret not including on my 2020 list, it’s “Something Comforting”. Then again, I expected nurture to release a lot sooner than it did. Still, the song had a lot of resonance with me in both years, so it’s only fair I give it the credit it deserves. “Something Comforting” is nostalgic in a very strange way for me. Maybe it’s because the chiptune melody reminds me a lot of Pokemon Black and White, but in general, this electronic whimsy has always felt like something I might have listened to when I was younger. It makes me comfortable, in a sense! “Something Comforting” is in itself looking for some sort of comfort from Porter Robinson’s depression. The inescapable feelings he goes through every day, are characterized by his voice going in and out of his normal pitch and a higher-pitched, more feminine voice. The waltz of the two voices over the melancholic beauty of this instrumental has always captivated me. It’s catchy and infectious, but so full of emotion and sincerity that it never feels suffocating. It’s a sadness that’s hopeful, even if the feelings around it feel hopeless. Porter Robinson himself said that the song gave him comfort whenever he had doubts over his next album, and I think that’s exactly what makes it so magical. It’s here for you because it knows how hard it can be just to exist.
Best two seconds: The drop
Sticky by Grove
A while back I read this great article by Emma Madden taking to task this idea that sapphic music can only be accepted through the lens of chaste, white yearning made by soft-voiced young girls like girl in red and Clairo, when sapphic music can be so much more varied and deviant. While I love that brand of sapphic folk as a sapphic person who yearns, I also agree that the spotlight should be shared with more daring, explicit artists, especially BIPOC sapphics. So let me introduce you to “Sticky” by Grove; An abrasive club banger about Grove (a black non-binary queer person) taking a girl home to fuck her brains out. Not only is the song incredibly catchy and amazing to witness, but the detail of their encounter is exactly the kind of riveting, sexually freeing experience that can only come from the lust of lesbian love. The mix of passion and intensity as Grove goes through fierce flows and glitchy beats, describing all the ways she’s playing with her partner is the kind of energy I would love to see more of in sapphic music like this. As much as I love sapphic yearning, the liberation and passion of lesbian sex is just as vital in the experience.
Best two seconds: “Sticky sticky like candy”
The Only Heartbreaker by Mitski
This will very likely be on next year’s list too, but it still defined my end of the year. Despite being a very online LGBTQ music fan, I haven’t really gotten into Mitski yet. It’s nothing against her, I like what I’ve heard, I think I’m just waiting for that upcoming album to really get to know the internet’s favorite pop girl. Still, if there was any song that told me I needed to get on board right now, it’s “The Only Heartbreaker”. A phenomenal pop song with the sheer power of a burning wildfire. A driving synth and bass combo that leads to a massive chorus, complete with thrumming bass, electric guitar, and a huge piano crescendo that always knocks me off my feet whenever I get there. Mitski’s voice, despite being otherwise soft and gentle, has the scope and poise to sound just as grand as the instrumentation, and it makes for one of the most liberating hooks of the year. One that stands its ground and demands control over the relationship. It’s one that’s clearly on the road to ruin, but Mitski being the one to control the shots tells me she isn’t ready to let this failure bring her down. She’s going out on her own terms, even if it’s in a blaze of fucking glory. If this is what I can expect from the rest of her discography, consider me a fan!
Best two seconds: The loud synth squeal before the bridge
The End Away by Tenant From Zero
This is probably the most obscure song on my list, but it’s one that I think everyone needs to listen to if they love indie pop. Tenant From Zero’s Flight is an out-of-this-world journey through romance and heartbreak, and “The End Away” was the song that won me over. What an absolute delight this song is! The saxophone opens up the song into cruising synths and an upbeat rhythm, as Tenant From Zero tries to navigate the end of a relationship and landing as softly as possible. I ADORE the sound of this song. It’s so spacey and atmospheric but never loses its pop energy. It straight up feels like a pink sky on another planet, and Paul Darrah has the passion in his voice to make this song as melodramatic and beautiful as it is. The way he and that backing choir sing the chorus over the clanging bells and soothing bass is a burst of euphoria that always enraptured me in the atmosphere. As if the song couldn’t get any better, a saxophone and electric guitar duet is thrown in the mix, building into one final, cathartic chorus. I implore you not to skip this song or this album! It’s genuinely incredible, and one of my earliest favorites of the year!
Best two seconds: Saxophone solo building up to the final chorus
How Not To Drown by CHVRCHES ft. Robert Smith
I’ll talk about his more on the albums list, but Screen Violence might legit be my second favorite CHVRCHES album. If Every Open Eye shows what CHVRCHES could do at their best, Screen Violence shows what CHVRCHES could do when they branch out and try something new. “How Not To Drown” is an especially great example of this. A genre switch up to pure rock while still keeping the synth-driven hooks they’re best known for. Lauren Mayberry’s voice is a PERFECT fit for the brutal, toxic love at the center of this song. She sounds incredible over the ferocious guitar shredding and blasting drums, but the verses deserve credit for knowing how to slowly build that dark, imposing atmosphere. It makes the chorus hit all the harder, almost as if you yourself are being swallowed by the darkness in Lauren’s mind. Getting Robert Smith of The Cure on your song is also a huge power move. One that gives the song more gothic cred, playing in similarly toxic vibes that make the song that much more imposing and dangerous. I love how the atmosphere never lets up, even at the end as the song closes so very slowly. Letting all those dark thoughts settle in your mind, the final transformation into your darkest, saddest self… Haunting.
Best two seconds: “TEEELLL MEEE HOOOWW!!!”
The Feels by TWICE
On the other end of the spectrum, a song so sweet and adorable it brightens up your day whenever it comes on. I’ve heard a lot about TWICE through social media, but I never thought to check them out until this song had the groundswell to chart. But once I had this song, I knew I wanted to hear more. They have the k-pop polish to make this pop production distressingly perfect. A catchy, thumping beat, lots of bright synths, groovy bass, and nonstop energy, and every member of TWICE putting on their brightest smile as the choreography forms in your head with ease. It’s a very basic love song that takes the idea of “catching feels” for someone and turning it into a big explosive declaration of love. By all means, the song should be corny as hell, but the girls clearly have so much fun with this song and the hook is good enough to justify all of it. This got me to check out their newest album, Formula Of Love: O+T=<3, and it is full of delightful bangers like this. But as always with these kinds of albums, the favorite tends to be the one that introduced you to the dance.
Best two seconds: “You have stolen my heart, oh yeah! (AW YEAH!!)”
Toxic by Ashnikko
Ashnikko has gone viral like, three separate times, and it amazes me that she hasn’t had a full-on pop hit yet. In the year where TikTok became the defining tool for music exposure, I think we should start letting Ashnikko’s chaotically horny personality shine through in our charts. Ironically though, I wasn’t much of a fan of her ode to lesbian slumber party sex. It’s funny, but not very catchy or all that fun. I much prefer the deepcut “Toxic”, one of my sleeper favorite pop songs of the year. It’s a kiss-off to an ex who tries to leech Ashnikko’s fame because she let him hit that, but Ashnikko completely BURIES the guy by exposing his jealousy and shrinking him down to a pathetic little asshole. Her gleeful bravado shows off her personality perfectly. Tongue in cheek enough to be silly and fun, but also intimidating enough to know you can’t fuck with her even if you tried (and that’s kinda hot). The production is probably the secret sauce that makes this song so special. It’s abrasive, haughty, and flexible enough to hit with gusto or lure in the shadows. The little sound effects corresponding with the lyrics like the hissing after “You three-headed snake” and goofy scream after “Scare you like a skeleton” gives the song so much character! My favorite part is easily right before the final chorus where the lyric, “You’re the man” gets hit with a gunshot every word, followed by a loud guitar rev blasting into that final chorus. A moment of pure catharsis that blows my mind every time I hear it again.
Best two seconds: Loud guitar rev right before the final chorus
Lows by Pink Sweat$
A song coasting on “vibes” has to do a lot more than just sound nice and stay in its lane. The sound has to be just right, evoking a specific feeling that brings a level of comfort for you to sink into. In the case of “Lows”, its gentle guitar strumming and ghostly synths make you feel like you’re on a cloud. The cloud may be raining beneath you, but the air above is still and calm. You don’t feel great, but you’re feeling better. It’s a warm hug coming from Pink Sweat$’ gentle voice, and the reassurance that he’ll always be there for you is nice. “Lows” is an excellent vibe not just because it sounds AMAZING, but because it feels like a safe space. Somewhere for you to just take a deep breath and relax. Your head is clear, the world around you is settled down, and you’re okay. You can come back when you’re ready. It’s so easy to come back to after a bad day, and I think I need that kind of therapeutic love in my life whenever my mood gets really down. I’m glad that “Lows” is here for that.
Best two seconds: Instrumental interlude before the end of the song
Coalshooter by Cole Chaney
This was the song to convince me that Cole Chaney was a star in the making. I loved how “Ill Will Creek” sounded, but the boldness of tackling the coal industry and its abuse of workers head-on was the power move that captivated me and never let go. The production is already perfect, with the creaking fiddle and shuffling acoustic guitar giving off the sense of danger lurking in every corner. But it’s the story of a coal miner's son that makes this such a haunting tale. A young man who wants to help his father provide for his family, not realizing how his father constantly risks his own life in order for his family to survive. They live in poverty, and this is the only line of work someone of their status can have. But Chaney warns the kid that if he’s going to go through with it, he has to make sure he does everything perfectly, lest he becomes a corpse buried under the rubble. Chaney’s raspy voice is especially incredible here, as its weariness makes the threat of looming death even more sure in the kid’s eyes. But when the coal industry is so important to the Appalachian areas… Well, the only thing you can do is live with it. Or, try to live. With it. But maybe it shouldn’t be that way after all. Maybe we don’t have to bear the sight of a mother grieving her child. All for the sake of mere survival. Chills.
Best two seconds: The ascending note on “mama crying”
Ya Heard by Thomas Rhett
Part of me feels cynical over Thomas Rhett’s shift to neotraditional country music because I could tell it was partially motivated by Luke Combs and Morgan Wallen making traditional instrumentation more popular than the pop-country Rhett based his career on. But then again, I get the impression that Thomas Rhett has more passion for traditional country regardless, both outside his career and even within it. “Ya Heard” is the kind of song Thomas Rhett is capable of without the pressure of Nashville radio or a label looking for another “Die A Happy Man”. Dedicated to the ups and downs in his life when he wasn’t sure if God listened to his prayers, and realized all he needed was patience for him to live his best life. The harmonica is the first thing you notice over the skippy acoustics, and it sounds GREAT. Freeing and soaring across the track like a voice in the wind. It alone makes it one of Thomas Rhett’s best-sounding songs, but the sincerity of the song is what draws me to it. I’m not a particularly religious person, but that’s because the worship I tend to prefer is more personal rather than serving some larger purpose. Rhett’s journey of getting to marry his high school sweetheart and being able to make it as a music star is big for him, but the moment that gets me on “Ya Heard” is the third verse about being a father. Rhett and his wife struggled to have a child, and that kind of thing can threaten your relationship with God if it meant they couldn’t conceive. But I love the lyric, “You got a way of being funny while you make us wait” is excellent, because it reminds Rhett that God is in fact listening, things just take time. Which is why they eventually did give birth to a baby girl, but right after they adopted their first daughter. Again, I love this narrative when it comes to religion! It’s having the faith that God will guide you down your path no matter how long it takes, and that heart is what draws me to Thomas Rhett even when the label wants him to go elsewhere.
Best two seconds: The harmonica solos
Be Sweet by Japanese Breakfast
Maybe it’s a bit predictable that Japanese Breakfast’s only appearance on this list is “Be Sweet”, but it wouldn’t be predictable if it wasn’t true. In an album full of lust and trying to find the right balance in your relationships, “Be Sweet” is by far the catchiest and most inviting. A slick bass groove riding along the glam-rock synths as Japanese Breakfast beckons the listener to come and get her, but treat her delicately. A love song about trust and dedication, and full of great little moments that build into one of the best-made pop songs of the year. It’s hard to really find things to talk about with this song that don’t resort to just pointing out the excellent instrumental solos and Japanese Breakfast’s lovestruck voice. It just sounds like being in love, with the euphoric highs that make you feel like you’ve transcended to a higher plane. I love the way Japanese Breakfast sings “I wanna belIIEEve in you” with a flighty inflection, followed by a quick and fun little “(be sweet!)” adlib in the middle of the chorus. Every moment of this song is perfect, not a single minute wasted. A purely fun pop song for the ages.
Best two seconds: “I wanna belIIEEve in you”
Quicksand by Morray
Covered more in-depth on the Best Hit Songs of 2021
Morray has a lot of potential in his future, and I look forward to the day he makes a song better than “Quicksand”. This just checks all the right boxes for me. Great, catchy beat, elastic flows that show off his intensity while still being lighthearted enough to be fun, full of personality and charisma, and just an overall memorable song that alone got me looking out for an artist I’d never heard of until now. He’s had some other great songs this year like the bitter breakup banger “Nothing Now” and his recent storm of a song with Benny The Butcher, “Never Fail”, but nothing has quite balanced his charming and impressive debut single. I know he’ll top it eventually though. Can’t wait for that day!
Best two seconds: “Betty Crocker showed me how to bake a cake, bruh!”
honey by Halsey
Halsey making a song about the great sex she has with an ex-girlfriend sounds like something that was tailor-made for me. And for that song to also be another pop-rock banger like my favorite song of hers, “3am”, now she’s just spoiling me! Part of me wishes Halsey rocked out more on If I Can’t Have Love, I Want Power, and when I say that, I mean I want more of the driving energy of a song like “honey”. A thrilling adventure where Halsey describes the ways an old fling took her to the wildest places. Whether that means unhinged adventures in the real world, or tasting the “honey” between her legs in the bedroom. It’s probably the most explicit Halsey has ever been regarding her relationship with women, but it has that mix of danger and excitement to tell you that even if it was brief and mostly a distraction, her taste still lingers on her tongue. It took me an embarrassing amount of time to realize what the “blood in [their] mouth” was supposed to mean, but that intimate detail is exactly what makes a song like this so thrilling. It’s the fun distraction of a hookup that maybe wasn’t built to last, but was so, so sweet in the moment. This song feels especially great as the album builds towards the possibility of Halsey settling, now that she has the child she always wanted and found someone else willing to play in the long run. So one last memory for the road! Make it as raunchy and queer as possible!
Best two seconds: “Down the back of my throat and out the front of my mind!”
Thumbs by Lucy Dacus
CONTENT WARNING: Themes of parental abuse and trauma
Sometimes a song is so personal that it’s hard to really turn it into a performance. You can certainly write the poetry needed to make that part of your life vivid in your listeners’ minds, but sometimes you have to tell the story as straightforwardly as you can. Which is what floors me about “Thumbs”. Where Lucy Dacus accompanies a friend seeing her estranged father after years of abuse caused her to cut ties. The production is near nonexistent, only serving as a low hum over Lucy Dacus’ voice. Describing the meeting with its forced smile awkwardness while Lucy Dacus has every violent thought in her mind screaming at the top of her lungs is so realistic that you can feel the tension in the air as it's described. Lucy did an incredible job with the little details that paint a full picture, like seeing her friend's eyes in her father’s and how quiet and shaken her friend is over seeing him again. The trauma floods back to her in full force, and though she plays nice with him, her friend is clearly terrified and reliving the pain her father gave her. In a sense, Lucy’s anger is very justified, but she can’t act on it when the victim herself is still clinging on to the benefit of the doubt. That last verse is what breaks me every time. Just the mere phrase, “You don’t owe him shit” is such a raw, brutal truth that the friend needs to hear, but is understandably hard to swallow. Hell, it might be as true for Lucy’s friend as it is for Lucy herself. Simply phenomenal.
Best two seconds: “You don’t owe him shit”
This Is Heaven by Nick Jonas
Something that disappointed me about the reuniting of the Jonas Brothers is that it meant we might not get another Nick Jonas solo album. He can be hit or miss, but his imagination and more inspired moments ended up sticking with me in my early years of music criticism, so I was pretty excited to see that he would come back for another round while still being with the Jonas Brothers. The album was… not great, unfortunately, but it did host one hell of a hidden gem in “This Is Heaven”. It’s not the darker, edgier material of his older solo work, but he ended up surprisingly credible reviving the kind of overindulgent 80s anthem with a big hook and lively gospel choir. Nick Jonas has always had the charisma to make even the most generic love songs a little bit enjoyable, and that’s no different here with his big declarations of being high on love. The hook is huge and insanely catchy, and it’s built on some excellent production with lively 808s, bright synths, and the joyous gospel choir to help elevate Nick Jonas’ voice. But it’s really the saxophone solo on the bridge that won me over. Holy shit, what an incredible moment of euphoria! It’s huge, fun, and takes the song even higher into its final, big chorus, hitting the same emotional high that can only come from the best of the 80s. Amazed to see that Nick Jonas still has that incredible moment of artistry even in his sell-out years.
Best two seconds: Saxophone solo
My Best Friend by Jason Eady
Jason Eady is one of the most reliable country artists I know of. Even if the album he drops that year isn’t among my absolute favorites, I can always count on at least one or two songs sticking with me and becoming a big part of my year. Though I’m not sure “My Best Friend” would have hit as hard if I wasn’t in a similar position myself. It’s a patient ballad consisting of country’s bread and butter (guitar, fiddle, and steel) where Eady reminisces on an old friend and wonders where she is and how she’s doing. He thinks about her all the time, and though they live very separate lives now, he still cherished the moments they had together. Eady’s soothing voice over the production that’s always stellar alone makes this an easy comfort song, but I’ll admit, this topic is something I’ve really been ruminating on this year. I haven’t seen most of my high school friends in years, and that includes the two best friends I made there. Part of me wishes I could see them again and catch up on our lives, but I also know that we’re both living very separate lives. Who knows if we have room for each other in the future? But either way, I’m glad to have had them in my life, and even if I’d only talk to them in bursts, I’ll still cherish them as the best friends I’ve ever had. So that bit of personal context definitely made this song hit all the harder for me. Whenever I listen to this song, I think about them. I hope they’re doing well.
Best two seconds: “I want you to know, you were my best friend”
Seventeen Again by Charli Adams ft. Novo Amor
It makes sense for this song to resonate with me on the year I moved away from my hometown. Because coming back to where I grew up always leaves me with an odd sense of sadness. Maybe I'm just wondering where the time has gone and if I’m even able to make new memories now that my new life is elsewhere. What guts me about “Seventeen Again” is how its nostalgia is so sad. Not even for any real reason, it just lingers on the memory and yearns for that simpler time. Well, maybe not simpler, but still a time when Chari Adams had different worries or memories she had yet to experience. Now it feels like a ghost town, almost unfamiliar to her. On top of everything though, this song is utterly gorgeous! The soothing guitar that builds the base for the brilliant synths and thick, melancholic atmosphere is hypnotizing. Charli Adams and Novo Amor sound AMAZING over it. Their harmonizing on the hook is easily the highlight of the song, and it’s why the song stuck with me from the beginning. It’s the incredible middle ground between earnest and tragic nostalgia. A feeling like no other.
Best two seconds: “Laaaa lalala la…”
Heart On Fire by Eric Church
“Heart On Fire” is the current single for Eric Church’s album rollout, but I don’t think I’m going to re-add this to my songs list next year, even if it becomes a hit. This was too integral to my Spring/Summer 2021 rotation to work for me the same way in my Winter 2022 rotation. “Heart On Fire” is still a phenomenal song though. One whose rebellious energy and burning passion always resonated with me, even when Heart had other great gems like “Russian Roulette” and “Crazyland”. The overall energy of the song with its flaming guitar melodies and the spark of the piano is wonderfully balanced and fun, especially with Eric Church and his backing choir going all in with the loose growls and anthemic lyrics. It has the adventurous spirit of “Hell Of A View”, but through a more energetic, dangerous edge that makes it a lot catchier and more fun to sing along to. The kind of song I’d imagine sounds incredible live! It’s hard not to imagine yourself blazing through the highway with the person you love and feeling the air breeze past your face. You’ve never felt so alive.
Best two seconds: Guitar solo right before the bridge
Cheap Seats by Emily Scott Robinson
Emily Scott Robinson has a way with words that always sneaks its way into my heart. In the case of “Cheap Seats”, it’s an incredibly charming song that talks about Emily’s hopes for a bright career as she moves on from her minimum wage job and becomes the one on that stage, singing to the future creatives who will be inspired by her music the same way other artists inspired her. Aside from the delightful instrumentation full of lively steel and fiddle, Emily’s voice brings a bubbly kindness to the song that matches its wide-eyed optimism. I love the little stories of her getting in trouble at her waiting job because she snuck out back to write down the melodies and lyrics that come to her head. It’s small working-class moments that show how much more important chasing that moment of creativity can be when you’re stuck surviving a lousy thankless job. The final chorus is especially delightful, as it comes full circle and shows Emily well on her way to being the star she's dreamed of being. And with how charming and adorable the song is, it makes me excited to see how much bigger she can get. How many more of those cheap seats could she fill up with people who also struggle and just want to chase their passion. It’s a rise to fame story that clearly loves what it’s doing.
Best two seconds: “Here’s to the cheap seats!”
Rich Off Pain by Lil Baby & Lil Durk ft. Rod Wave
CONTENT WARNING: Discussions of black death and poverty
Something I feel too many music critics haven’t really touched upon is how the recent rise of trap soul is built upon a lot of systemic trauma and how becoming famous off of that trauma can be taxing. It’s hard to admit that as consumers, we may be contributing to the marketability of people risking their lives and mental health for the sake of art. “Rich Off Pain” makes that obvious off the title alone, and the way it relates to all three rappers is devastating. Rod Wave has made countless songs about his heartbreak, his traumatic childhood, and deteriorating mental health. On the hook, he knows that pain is what unites him and his fans, but it’s also something he still lives with. That fame and sympathy doesn’t do enough to dispel it. I feel especially bad for Lil Durk, who lost countless friends and family this past year alone. His verse about how hard it is to support his family, knowing one wrong encounter could leave him or them dead at any minute. Brutally honest about the way they were raised, and taking to task about this idea that those deaths are somehow his fault. As if we can understand the pain he went through to get to where he is now. Lil Baby closes out the song on a more optimistic note though. Promising to stay strong for the younger fans who look up to him, and giving them a future where they don’t have to go through what he did to gain success. I wish all three of these men a kinder future. For their sake, and the future Rod Waves, Lil Durks, and Lil Babys.
Best two seconds: “I’m just trying to show my young [kids] they can ball too.”
Part 2 (50-21)
Part 3 (20-1)