Best Songs of 2021! (3/3)
20-1
Todo De Ti by Rauw Alejandro
Covered more in-depth on the Best Hit Songs of 2021
There’s a sense of lovestruck nostalgia that only a song like “Todo De Ti” is capable of replicating. Production that’s so tight and perfect, every instrument and texture feels like it was made for this song. The steady heartbeat of the song over the joyous synths and Rauw Alejandro’s magnetic voice, the lyrics that show its heart on its sleeve and indulges in its most romantic instincts, an infectious hook that fills you with so much love and excitement that it reminds you of what true love feels like, I can’t say enough good about this song. Yet the way it ends has just the right amount of melancholy for that high to come down naturally. Lightning in a bottle moment that creates unforgettable memories.
Best two seconds: Instrumental drop on the chorus
Doing Life With Me by Eric Church
Of the many, many songs Eric Church has released this year, this is the one that ended up resonating with me the most. And he did so by making a song so simple and earnest that I didn’t need much more from it. One of my favorite Eric Church songs is “Holdin’ My Own” from Mr. Misunderstood. An underrated gem of a song where Eric Church finds peace in settling down with his family while not taking for granted his younger, reckless days. “Doing Life With Me” does something similar. He appreciates his partner for sticking by him this whole time, and how much her dedication and love for him powers him through the worst days. A message that even extends out to his fans, who have seen him at his best and at his worst, and yet are still here listening intently. The guitar is gentle and whimsical in a way that always puts me at ease, and when it swells into a bigger moment of relief at the bridge, I could feel the soaring romance at the heart of this song. The comfort of companionship being there to help you through the hard times is one of my favorite feelings in the world, and few artists can capture that bliss quite as well as Eric Church, a country music legend.
Best two seconds: “Doing life with meeEEEEEeeeeee.”
Younger Me by Brothers Osborne
Earlier this year, TJ Osborne came out as gay, and that was one of the more exciting, validating moments of my year. I’ve been a fan of Brothers Osborne since their first hit, “Stay A Little Longer”, a song that in retrospect had a lot of queer subtext I never considered until TJ came out. As did a lot of their songs, actually. “21 Summer” and its fleeting romance and the way it impacted TJ’s life (“You made a man of me”), the whole “Skeletons in your closet” motif from their last album, even “I’m Not For Everyone” turned out to have the implication that TJ won’t let along with certain people because of who he is. “Younger Now” is the most direct about TJ’s sexuality, addressed to his younger self when he was at his lowest and feeling unaccepted by the world around him. The wording is vague enough to be broader in its message, but it’s undeniably clear why TJ used to feel so lost and finding himself at rock bottom. “Younger Me” is such an inspiring piece of music. TJ sounds so liberated to be singing about his identity, and the roaring guitars truly make it feel like better things are on the horizon. Being queer can be a bleak, tiring existence, but few things feel as incredible as certainty in your identity and knowing that you’re going to be okay. That all the heartache and bad days mean moments like these taste all the sweeter. You have your younger self to thank for being so strong.
Best two seconds: “Youth, AIN'T WASTED ON THE YOUNG!!”
Taking Up Space by Jetty Bones
CONTENT WARNING: Themes of depression and anxiety
This has been a really good year for me, but it didn’t really start out that way. My anxiety got the best of me around March and as my days as an undergrad was coming to an end, I was starting to feel left behind or ignored by people I trusted. In reality, that was never true, and I was sabotaging myself in ways I didn’t notice until it was laid out in front of me. It’s ultimately that anxiety that connected me to a song like “Taking Up Space”, which a year prior was a spot below this one at #16. It’s the only song from last year to resonate as strongly with me this year, if not, more so. A runaway train of anxiety where Jetty Bones mulls over her presence in people’s lives and wonders if she really does belong in this world, or if she’s just taking up space. The driving tempo of this song and its ridiculously catchy chorus kept me listening as the full album dropped, but what stuck with me was just how exhausted and terrified the lyrics are. The kind of panic that swarms your brain when something really bad happens or you’re reflecting on a past mistake. Like fuzz in your brain as all the reassuring comments are overtaken by loud, frustrated negativity. Part of me wishes I was over that, but in a new environment, my self-deprecating comments get caught by friends who tell me I need to be kinder to myself, which is a step at least. But sometimes this song resonates in my worst moments, and I find some twisted comfort in it. Maybe one day I can grow enough to where this song could be a pleasant marker of how far I’ve come.
Best two seconds: “I always worry when you tell me not to worry about you”
RAPSTAR by Polo G
CONTENT WARNING: Themes of depression, anxiety, black death, and poverty
Covered more in-depth on the Best Hit Songs of 2021
There’s something poetic, yet tragic about this being Polo G’s biggest hit, and the biggest rap hit of the year behind “Astronaut In The Ocean”. It’s a victory song that feels hollow and defeated. Finally reaching the top and finding no big fanfare. Just a bitter ukulele and the quiet rumble of the bass. Fame gets boring so fast you wonder if this was even worth it. You’re free from the streets, but the pain still lingers in your mind. You can’t trust anyone, all you have is the money. Which people will try to bleed from you, whether it’s through meaningless sex or simply letting you live for the day. It kinda sucks, but you’re so resigned to it you don’t have much choice. A haunting omen of how this trap life isn’t nearly as fun as it's made out to be. To see a lot of these types of songs get this big, especially “RAPSTAR”, shows that we’re growing more conscious of the systemic issues that break people like Polo G and Lil Durk, and just because the system is willing to throw you a bone, doesn’t mean you’ll be protected.
BURN TO ASHES by Backxwash ft. Michael Go
CONTENT WARNING: HEAVY themes of suicidal thoughts and references to suicide attempts, intense music
Backxwash has opened up about her suicide attempts in the past, and she’s comfortable with opening up about it as she’s grown emotionally from her darkest moments. Still, it’s hard to listen to a song like “BURN TO ASHES” and not feel concerned over how vivid the imagery is. I LIE HERE BURIED WITH MY RINGS AND HER DRESSES is full of songs about her unstable mental health, but this is the one that most explicitly details her plans to kill herself, describing the noose she ties around her neck and bracing for the moment where she kicks the chair and watches the world fade to black. It’s dark, and I don’t blame anyone who feels immensely uncomfortable with how intense this song can be. Especially with the blaring Godspeed You! Black Emperor sample and Michael Go of Code Orange’s drumming. But it’s exactly that intensity that gives me a rush like no other song this year. A rapid-fire hellstorm of misery and anger where the flames swarm everything around you and threaten to swallow you whole. This song is relentless, and as soon as it's over, you need to sit down and catch your breath. Backxwash’s resignation with her mental health is tragic but honest. She tried to keep herself alive, but in the end, there was nothing else she can do. She has to end it now and burn to the ground with the rest of her existence. Thankfully, Backxwash is alive and well, and she uses this song as a way to open up about her experiences with suicide rather than a genuine threat to end her own life. But still, with how gruesome and intense this song can be, I can only hope she’s going to live long and prosperous.
Best two seconds: “Boom, I spark is as I turn to ASH…”
Sand In My Boots by Morgan Wallen
CONTENT WARNING: Discussion of systemic racism
Covered more in-depth on the Best Hit Songs of 2021
I want to emphasize again that my love of this song and its placement on this list is not an endorsement, nor an excuse of his actions earlier this year. I said my piece on this on the best-hit songs list, so if you want a more detailed understanding of my position, look over there. That said, I’d be lying if I said this song didn’t take up such a huge chunk of my year. The blend of steel guitar and piano is utterly gorgeous, the story of romance turned heartbreak that Morgan tells is very human and devastating. The amount of detail in the time they had together is tremendous, I cannot say enough great things about this song. And while my patience with Morgan Wallen right now is very thin, I do sincerely hope he’s changed since that day. Becoming sober is a big step for someone as reckless and self-destructive as he is, and I hope the black people in his life are guiding him in the right direction rather than trying to pretend it didn’t mean anything. Because this incident will follow him for the rest of his career, no matter how many times his team tries to sweep it under the rug. Evidently, our hopes that Wallen would take full accountability for that day has failed, and I blame the industry pretending to be on black people’s side while accommodating white artists who clearly don’t know better. I just hope Wallen is aware of this. He’s in a very privileged position, and with that privilege comes responsibility. I hope he’s wise enough to use it for the better.
Best two seconds: “Yeah, I still thought that maybe she’d show up…”
Canola Fields by James McMurtry
Twenty-two is a weird age. You’re right in between being old enough to be past your high school melodrama, but still young enough that you constantly make mistakes and haven’t fully matured into a real adult yet. As much as I relate to songs about being young, dumb, and in love, I also tend to gravitate to songs about being older and settling down just as often, maybe more. “Canola Fields” is the perfect marriage of both. Very much a song about being old and experienced, but still has the childish instinct that makes love feel so incredible. James McMurtry thinks of an old friend and the memories they’ve had together, yet part of him wonders if something could still happen between them. They may be older and have different lives, but the connection they had then and even now is undeniable. It’s certainly a hail mary, but it’s one with the romantic sincerity that makes you think, yeah, maybe it could work. Maybe they could spark a whole new angle in their relationship now that they’ve grown older and understand each other a little better. I adore the lyric, “Cashing in on a thirty-year crush/You can’t be young and do that”. It’s such a great lyric detailing just how different love can be when you’re younger vs when you’re older. When you’ve gone through so many different phases and learned many things from different partners, and as such, you might still have a chance with someone you’ve grown up with and after you’ve both dated several partners before you. It helps that the song has such a grand, romantic hook that always makes me smile every time it comes on. A tremendous entry into the great love songs of the decade.
Best two seconds: “Cashin’ in on a thirty-year crush; You can’t be young and do that”
good 4 u by Olivia Rodrigo
Covered more in-depth on the Best Hit Songs of 2021
Of course, we still have to come back to Olivia Rodrigo, an artist whose immaturity is her greatest strength. I think the reason these songs resonated so much with people is that at the end of the day, Olivia Rodrigo is just a normal girl. She just happens to be incredibly good at putting her feelings into words in a way that never feels excessive or passé. Something that I’ve thought about a lot near the end of the year is the bridge on Taylor Swift’s “Nothing New”, where Taylor thinks about a future where she meets a girl who has it all figured out and excels in the ways Taylor did at that age. The girl will tell her that she learned it all from Taylor, and the moment it happens, she’s going to break down. It’s eerie that this song was written ten years ago, where someone like Olivia Rodrigo turns out to be exactly who Taylor dreamed about. Someone who followed in her footsteps and is bound to reach the same heights Taylor did all those years ago. But I think Taylor doesn’t see that with dread anymore. I think she’s excited to see where Olivia Rodrigo goes from here. “good 4 u” is merely the start.
Best two seconds: “LIKE A DAMN SOCIOPATH!!!”
Another Day In The Life by Cole Chaney
Around the time I first heard Mercy, I was expecting this to be around where “Coalshooter” landed. Obviously, I still love the song enough to put it on the list, but I wasn’t as drawn to the technically impressive songs I heard this year. I loved the stories they told, but more often than not, I came back to the songs that I sought out for comfort. Whenever I’m out and about, walking through my town, or admiring the scenery around me, the song in my earbuds isn’t “Coalshooter”, it’s “Another Day In The Life”. A wonderful song about enjoying the simple things in life and reconnecting with those you love. I’ll admit, a huge part of why this song became a sleeper favorite is because of its gorgeous production. The fiddle alone makes this song stand out as one of the best songs of the year. It aims high and soars through the wind like a falcon, and the acoustic guitar melodies are just as bright and beautiful as they paint the picture of gorgeous landscapes and a feeling of peace you can’t get anywhere else. Another song I really loved this year, “It’s Good To Be Back (Round Here Again)” by Flatland Cavalry, had a similar vibe, but I think “Another Day In The Life” wins out for me because of how even in its comfort, it struggles to keep itself on its feet. Occasional stumbling blocks or bad days always happen, but Cole Chaney finds its best to brush it off and keep going. For as many problems as we have in our lives, it’s just part of life. And getting through those days means getting to experience the days when you’re genuinely happy, even if it’s for a moment. And until your time is up, might as well embrace every day and see what happens. Not only is this song gorgeous and deeply moving, but it appeals to my own personal philosophy of appreciating the little things and taking life one step at a time. As such, it became an easy favorite of mine all year.
Best two seconds: Every time the fiddle reaches a high note
Street Runner by Rod Wave
Covered more in-depth on the Best Hit Songs of 2021
It’s been nine months since I first listened to “Street Runner”, and I’m still just as blown away by it as I was that day. I guess it's the process of seeing the potential within an artist and seeing them not only live up to it, but deliver a song so fantastic I don’t think he’d be able to replicate it again. And he’s tried! Songs like “Time Heals” and “By Your Side” evoke a very similar feeling to “Street Runner”! As much as I love those songs though, it’s too special of a song to recapture a second time. You’d need a sample as inspired as “Mixed Feelings”, you’d need new melodies that capture the same melancholic whimsy without being too close to the original song, and you’d especially need something that’s as emotionally powerful as that voicemail to close out the song and deliver that resonance home. But that’s okay. I don’t need Rod Wave to make another “Street Runner”. Because we already have “Street Runner”, and it continues to be one of the best trap songs, maybe of all time.
Best two seconds: “I hope and I wish you were doing okay”
Renegade by Big Red Machine ft. Taylor Swift
Taylor Swift and Aaron Dessner have become one of the most powerful duos in pop music. Kinda the same with Taylor Swift and Bon Iver, but that’s mostly for “exile”. Get all three of them together, and you get one of the best songs all three artists have ever made. Yet, “Renegade” is very different from what you usually expect from the folklore/evermore era. It’s certainly grounded in organic instrumentation, but this song also blends in a very glitchy, electronic backbeat that gives it just enough of a digital touch to keep one foot off of reality. It’s a fascinating blend of the two, where neither sound overpowers the other. It’s a quiet song, one that keeps itself close to the ground as the soft synths hum below the scattering percussion and fluttery guitars. I love that! I love how the production feels almost arrested in place as if it’s trying to get out, waiting for the right moment to truly blossom. It makes the one big swell at the very end, which isn’t huge, but is still beautiful, all the more worth it.
That restraint is reminiscent of the relationship at the core of this song. One where the mental health of Taylor’s partner is falling apart, and walls are coming up every time Taylor tries to get close. Normally these kinds of songs would lead to Taylor showing her support and reassuring her partner that she loves him and will always be there for him. Except, it doesn’t. Instead, Taylor is actively frustrated with her partner, because she recognizes how many of his patterns are self-sabotage. He’s so caught up in his trauma he doesn’t realize how much of his instability is affecting Taylor. “Is it insensitive for me to say get your shit together so I can love you” is such a powerful sentence. It knows this conversation isn’t pretty, but she’s not going to coddle him for the rest of his life. At some point, he has to put in the same effort she puts into him in bettering himself and making this relationship more than a feedback loop. It’s a brutal realization that sometimes, people can’t be saved because they don’t want to be saved. But that’s always a hard line to cross because abandoning someone still hurting weighs so much on your conscience. “If I would’ve known how many pieces you’ve crumbled into, I might’ve let them lay”. “Is it really your anxiety that stops you from giving me everything, or do you just not want to?”. It sucks because, at the end of the day, it’s no one’s fault. It’s just a failure of communication where one party is too broken to allow other people into their life. But at least Taylor Swift is smart enough to realize it might not be worth it. I don’t see an ending where this couple could make it out. Sometimes, that’s for the best.
Best two seconds: “Is it insensitive for me to say get your shit together?”
INDUSTRY BABY by Lil Nas X ft. Jack Harlow
And we cap off the hits I already talked about last time with “INDUSTRY BABY”. Not gonna lie, I’m still wrestling with whether or not I should have this over “Street Runner”, which is such a pitch-perfect song that defined my year. Then again, “INDUSTRY BABY” also defined my year, and it’s a song I went back to just as often. It may not be as emotionally affecting as “Street Runner”, but it’s still a triumphant tour de force that always gets me excited whenever it comes on. I remember writing about this song on that best-hit songs list and feeling so excited just listing off all the moments I loved in the song. Plus, it gave me a whole new level of respect for Jack Harlow, all because of one guest verse that blew me away. I just love this song! It’s a masterclass of pop music that feels bigger than life. The ultimate victory lap.
Best two seconds: “City talkin’ we takin’ notes”
Put On A Smile by Silk Sonic
In case it wasn’t obvious by now, An Evening With Silk Sonic is my album of the year. It’s not really a spoiler when 1/5th of this list is from this album. I’ve already gushed about the singles of this album, but I wanted to see what this duo could do with their deepcuts. The songs that weren’t made for public consumption and would instead be the test to see how truly dedicated Bruno Mars and Anderson .Paak were to this idea. The answer was something to behold. “Put On A Smile” immediately captures your attention by bringing the strings down to a lower octave. Bootsy Collins introduces the song as a sad, heartbreak ballad for the ages, and the song kicking off with that guitar note followed by the downpour of dark pianos lets you know you’re in for a magnificent storm. “Put On A Smile” is exactly the over-the-top, cheesy breakup ballad I needed in 2021. So many little moments in the production that absolutely floor me, such as the way the pianos kick off the chorus with a steep drop, the subtle rain effects to oversell the true sadness both men are going through, the melody on the strings as they blast through the angsty guitars and trailing piano, and the way the drums escalate the pre-chorus before slowly falling back down like a teardrop on their face. The breakup in this song is absolutely shallow, but it’s exactly why this song’s excessive drama is so compelling and fun to sing along to. The party guys try to keep up their image while hiding the fact that they’re genuinely torn over the one that got away. Putting on a smile so excessive and fake just because they’re expected to.
This was already a fantastic song to begin with, but then the escalation in the second pre-chorus goes even faster. The drums speed up and the key changes, as Bruno bursts into a falsetto belt that leads into a hurricane of strings and emotions. This key change is so exciting to hear the first time, but nothing could prepare me for what came next. When the production builds again, and as soon as it hits its apex, it stops, leaving Bruno to belt out, “I’M DYYYYYYYYYYYIIIIIING” before the production comes back and bursts like a shooting star across the track. The first time I heard that note, I wanted to stand up and cheer. Best two seconds in music this year, bar none. An incredible moment where everything the song was building up to was released in one, cathartic yell. And it just kept going with one last hurrah before fading out into the night! Holy shit! Holy SHIT!!! Career-defining moment. I truly believe that one note officially cemented Bruno Mars as a legend in pop music. I cannot gush about this song enough, it is a marvel!
Best two seconds of the year: “I’M DYYYYYYYYYYYIIIIIING”
Hour On The Hour by Mike and The Moonpies
It feels weird to go from such a momentous song like “Put On A Smile” to one that’s a lot more lowkey in its presentation. Then again, “Put On A Smile” is a great song elevated by an incredible moment. “Hour On The Hour” is incredible all the way through, and still somehow finds a moment to transcend itself to greater heights. In “Hour On The Hour”, the performance of the band is just as crucial as the vocalist’s performance. Because yeah, Mike Harameier’s voice sounds excellent on this album, but it’d be nothing without the band contributing their own personality into the production. The electric guitar has the refined crunch to give that outlaw feel while still keeping its melodies intact, the steel guitar is playful and breezes across the track like leaves in the wind, and the drums keep the song grounded at a steady pace while still letting the other instruments breathe. I love the little moments where Mike’s lyrics give the instruments a chance to shine, like how when he describes that he doesn’t mind a wailing steel guitar, the steel guitar actually gets a brief little solo before the song whips back into focus. The full solos in the second half of the song are excellent too, but I want to get back to that part later.
I LOVE the journey Mike and the Moonpies go through on this song. Trying to get your mind off of an ex, but constantly getting foiled by the radio playing a breakup song felt particularly fitting this year where most of our hits were about breakup songs. There’s no resentment for the songs themselves, but Mike still has a constant frustration of being unable to escape his feelings with songs like these constantly coming on every hour on the hour. You can hear that frustration building in this voice too, as he begins the song relatively calm, but every chorus feels more agitated and desperate. He’s trying so hard to keep it together, but by the time we get to the bridge, you can tell something in him is about to burst. In comes my absolute favorite moment of the song, where the instrumentation switches into a piano-driven swirl and Mike starts raising his volume as he yells out he doesn’t want another cowboy to sing about a breakup as a sad reminder of his own state of mind. The way he finally belts out “OF SOMEONE WALKING THROUGH THE DOOOOOOOOOOOR”, followed immediately by the steel guitar solo kicking in and later the electric guitar, is one of the most musically satisfying moments in music all year. The emotion is powerful, the solos are incredible, and it leads into the final chorus where Mike is at his most passionate, and the song is at its catchiest. It’s the desperate breaking down and submitting to your emotions as that breakup song on the radio plays you out, and every time I get to it, I feel my heart elate with emotion. It’s one of those songs I consider to be genuinely perfect. Every moment in just the right place, every lyric says exactly what it should, when it should. Every dynamic is perfectly placed and builds the song up in just the right way at the right time. Essential listening for country fans, maybe even non-country fans!
Best two seconds: “OF SOMEONE WALKING THROUGH THE DOOOOOOOOOOOR”
Fervent For The Hunger by Adeem The Artist
Being non-binary is weird. Life expects you to fit some kind of category that determines what type of person you are. What are the terms that best describe you? What do those terms mean in terms of who you are as a person? What is the path that life has given you, and how are you going to use what you have to its advantage? But being non-binary means that path just isn’t appealing to you. You can’t follow it because something in your gut tells you it’s not the path you want. But the other path isn’t the ideal option either. You essentially reject the idea that you can only stick to one path, and should the opportunity arise, you will gladly take both in some capacity. And that makes life really hard. Because that means you experience life differently from the ones who just stick to one path. You may find some connection with one side, but you may also find a connection from the other you can’t find in that first path. In a world content to categorize itself and stay in its lane, keeping a foot off that lane is always going to give you a strange, disconnected feeling.
In Adeem The Artist’s “Fervent For The Hunger”, Adeem relates their experience as a non-binary person to hunger. It could be a literal hunger for certain kinds of foods or a metaphorical hunger to explore something they can’t quite describe. The guitar melody is simple and pleasant, but it’s spare enough that its focus is on the lyrics and Adeem’s story of how they came to discover their identity as a non-binary person. They will go back and forth gendering themselves using terms like “dame” and “blue-collar boy”. They aren’t afraid of dysphoria. They just want to find the meal that suits them the most. Whether that’s leaning hard on their femininity, or finding comfort in their assigned gender regardless of what they’re wearing. I didn’t have a lot of songs that struck me personally this year, but this was probably the one that hit the deepest. And though I’ve connected with songs that related to my gender identity in the past, this song made me feel seen. My experience with being non-binary doesn’t really involve wishing I was something else. Because when I do try to see myself as the other gender, my gut immediately tells me this isn’t right. But I don’t feel happy with my birth gender either. And over the years, I’ve tried on different terms, identities, pronouns, names, essentially going through my own charcuterie of gender. But I don’t like categorizing myself like that. Because genderfluid means I jump between two genders more than I actually do. Because being even slightly associated with one gender like demiboy/girl means I prefer one identity over the other. I may prefer to present as feminine, but it’s still femininity that has a masculine, unassuming presence. And I could spend all my time searching for the right answer, but like Adeem, sometimes the answer just comes to you. Sometimes, that image of God you’ve been dreaming about finally shows its face, and she looks like you. You are the same thing. What does that mean, exactly? Well, nobody knows but you.
Best two seconds: “We are the same thing.”
The Air Between by Cole Chaney
My favorite country songs of any given year happen to be the most romantic ones. Maybe that’s just me being a romantic at heart, but I also believe country is probably the best avenue for love songs because it’s inherently so intimate. Yeah, acoustic folk can get there too, but there’s something so specific to the sounds of a romantic country song that always makes me feel warm. Like how the specific guitar texture on “The Air Between” is just worn out enough to give it a homegrown, welcoming feeling. There’s not much else to the song, so it has to carry the emotion of Cole Chaney’s words all on its own. Its gentle melody is kind, understated, and honest. Much like Cole Chaney himself, whose strong voice carries across the sky, dedicated to reaching his lover's ear no matter how far away they are. I never thought of this as a lockdown song, but it makes a lot of sense. It’s a long-distance relationship, after all. Cole is trying to reach out to a distant partner and yearns to see them again. I’m sure a lot of couples experienced this when the pandemic was at its strongest, and though some were able to see each other again and close that air between their faces, some fell apart and that air between became a sad reminder of what could have been.
But things will be fine between Cole and his partner. If only because he’s such a fantastic writer that these lyrics are sure to move anyone. There’s something so comforting and beautiful about the lyric, “This early holler sunset sure could use your smile”. Just the simple image of a smile, a smile you hold near and dear to you, is one of the most romantic things I can think of. Cole Chaney’s imagery is fantastic. I love the image of someone dancing in a field at nighttime as a swarm of fireflies lights up the sky, sparking a glimmer in their eyes that reminds you why you fell in love with them in the first place. And though Cole and their partner are far apart, he can see that image in his mind so clearly. He’s quietly infatuated with the person he chose to share this life with, and he just hopes he’s able to capture that infatuation in this song. Personally, I think he succeeded.
Best two seconds: “This early holler sunset sure could use your smile”
Phoenix by Big Red Machine ft. Fleet Foxes & Anais Mitchell
Sometimes a song comes along at the right place at the right time. I didn’t expect to put “Phoenix” this high. I’d been big on “Renegade” for so long I figured it wasn’t going to overtake it by the end of the year. Still, “Phoenix” has been highlighted as a standout from How Long Do You Think It’s Gonna Last? for a good reason. The first thing you notice is that this song is GORGEOUS. This is going to be the song I think of when I think about the soundtrack of my 2021. Soft, quietly joyful, brisk, and so full of life in every melody. I love the way the whirling synth opens up the song to a beautiful piano melody as if you’re watching someone walk through the falling leaves on a clear path. There’s also a lot to be said about the drums, which give the song a very brisk, steady pace while knowing when to push up the atmosphere and have all the elements blend together beautifully. Robin Pecknold’s voice is perfect for this sort of patient cruise, and though I know Justin Vernon’s falsetto can be a dealbreaker for a lot of people, he and Anais Mitchell in the chorus sound fantastic belting out their messy, yet endearing honesty with an incredible vocal melody. Something about the way Robin leads into that chorus is one of the most euphoric things I’ve ever heard.
For such a kind and beautiful song on the surface, I find the conversation it’s based on very interesting. It’s apparently a real conversation that happened between Robin and Justin once, where Robin asks Justin how he’s able to navigate with the hand life dealt you. The wording of this song is pretty vague, but it gives you enough information to know that it’s about someone in a very particular position. Likely a time when Justin Vernon fucked up and has to deal with the consequences of what happened. “How do you reckon your own power” is an especially powerful lyric because as we’ve learned from Billie Eilish, your power can affect others in ways you can never understand. It’s a responsibility you have to deal with, and the way Vernon responds is that he’s just trying to find his way. Admitting that sometimes, he doesn’t know the answer, and people like Robin remind him that he oughta get out of his head more often. It’s not really an optimistic song, nor is it a pessimistic one. It’s one that just admits that everyone’s human, and we all have our ways of trying to survive in this life. But along with that gorgeous production, I find that sentiment very comforting. I remember the day this song cemented itself as an all-timer for me. It was sometime in the fall, I want to say late August/early September. I was coming back from hanging with some friends after class, and I walked up the hill that leads to my apartment. That hill has a lot of trees next to it and looking at those fall-ready trees as the sun shines on a clear sky and I feel happier than I’ve ever been, I’m listening to “Phoenix” and realizing that things are looking up for me. And since then, this song has captured my happiest memories this year. I found my way.
Best two seconds: “How does the wheel not turn hour on hour on hour?”
Never Will Know by McKinley Dixon ft. Micah James & Gold Midas
CONTENT WARNING: Themes of depression, suicidal thoughts, black death, poverty and systemic racism
Not gonna lie, I was ready to name this the best song of the year by the time I was first assembling this list. And that would have been so cool! Despite my love of rap music, I’ve never had a rap song actually top my favorite songs of the year, at least not in written form. This would have been a cool first! Of course, one song had to come in at the literal last minute to completely steal the spotlight, but I’d still say for most of the year, this is the crowning jewel in music this year. It has such a memorable start, kicking in with a snare hit and starting with a single guitar melody. It noodles for a few bars before it abruptly stops and is interrupted by the three rappers chiming in with, “WHAT YA SAY TO ME???”. From there, the song builds upon its excellent groove by adding in drums and a backing groove, the guys chime in every other measure, and slowly but surely, it builds into the full song, when the horns kick in and breathe new life into this already infectious song! If nothing else, this song deserves a listen for its incredible jazz arrangement. Full of blasting horns, catchy rhythms, slick production, and one of the most memorable, catchiest compositions of the year.
The first verse is from Gold Midas, who does an incredible job with the ways he copes with the death he has to face every day. Though that death mostly comes from him, as his suicidal thoughts and fears of getting killed in the streets haunt him every day. He tries to cope through drugs, but those thoughts still come back, and sometimes he has to step up in order to protect his friends, even if it means his own life is at stake. It’s brutally honest and direct about how much pain he’s in, but it keeps an optimistic note by promising to face God head-on rather than cower back to his comfort place. The next verse comes from Micah James, who delivers easily my favorite rap verse of the year next to Jack Harlow on “INDUSTRY BABY”. Although, while Jack Harlow’s verse was just a fun brag session where he makes his mark on the current moment (as well as someone’s girlfriend’s asscheek), Micah James is a more pointed verse where he becomes disillusioned with the religion he grew up with. He’s become radicalized by the systemic injustice and lack of satisfaction he gets from prayer. What especially grips me about his verse is how he’s isolated from so many of his friends who don’t understand his anti-capitalist stance. He’s abandoning a lot of comfort and joy in his life to pursue real change, and you can tell that, while it doesn’t bother him that much, he does realize he’s not in an ideal place. Then again, America isn’t ideal either. Especially with how often black people are killed and discriminated against in a system that claims to tolerate them. He’s sticking to his guns despite the fact that it makes him lonely. He could only wish to unteach the toxic ideals that religion and America have taught his peers so that he wouldn’t be alone in fighting for what’s right. It’s one of the most honest and powerful things I’ve heard about black extremism I’ve ever heard, and I find it genuinely inspiring to see someone stick to their guns, even when the world keeps working against them.
It ends with McKinely Dixon, who focuses the most on the death he sees around his community. I love how he immediately opens up repeating the word “phantoms”, leading you into thinking it’s referring to the luxury cars rappers are always bragging about, but then twisting it to be about the friends he’s lost to violence in his neighborhood. If they’re not already dead, they’re on the verge of it. His verse feels actually very hopeless as if he’s just accepted the fact that one day your neighborhood will just disappear and you’ll either be the only one left, or the next target. And there’s nothing the authorities will do about it, because most of the time, they’re the ones killing people in your neighborhood. His verse is catchy, but it’s bleak. It ends with the description of another black man dying, falling onto his knees, and muttering that he never wanted to be God. He just wanted to make it out of his neighborhood before death caught up to him. From there, the song plays out with one last trumpet crescendo before ending on one last snare hit. This whole song is one massive journey through the dreary lives of black men trying to survive in a cruel, hateful world. Gold Midas is running from himself, Micah James is running from the system that refuses to help him, and McKinley Dixon is trying to run, but who knows if he’ll succeed in getting out. All three rappers are running from death in some way, and all of them lead to this unknown image of God who might not be as benevolent as they were led to believe. But either way, all they want to do is survive. They’ll embrace whatever comes next just as long as they don’t end up as a meaningless hashtag on Twitter. A symbol of how things never change. Truly a masterpiece of a song that I will never forget.
Best two seconds: Final crescendo to the end of the song
After Last Night by Silk Sonic ft. Thundercat & Bootsy Collins
If anyone had to come out of nowhere and take the crown last minute, it’d be Silk Sonic. I was floored the whole time listening to An Evening With Silk Sonic for the first time, but getting to “After Last Night” was one of the most rewarding and exciting things I’ve ever experienced in music this year. I love the slow burn start with the easy groove and the post-coitus monologue at the beginning of the song. As you listen to this woman happily reminisce on the great sex she just had, it builds into a big swell of synths and slap bass from the one and only Thundercat, and from there, the song truly starts. This production is PERFECT. It captures the flash and glory of this era of funk so perfectly, and in some ways excels it! Every instrument sounds INCREDIBLE, and Thundercat adds so much to make this song all the sexier! The drum work is also incredible, giving the song the right pace and stopping at just the right moments to let its best moments shine. And the horns, holy shit! The guitar solo on the bridge of the song right before the key change makes this love of sex all the more emphatic! Not a second of this song is wasted!
Of course, none of this would be nearly as good without its performers. And I don’t just mean Anderson .Paak and Bruno Mars! Bootsy Collins also deserves recognition for hamming up the swagger of this song! He could’ve so easily ruined the song by overstaying his welcome, but he’s on here the perfect amount of times with so many great little quips I always find myself smiling at. The intro alone when he tells this girl that he normally doesn’t stutter, but she d-d-d-d-does it to him is so charming! Especially followed by the duo coming into the song with a confident, “Silk Sonic!”. From here, every artist on this song shines. Anderson .Paak has the charming slickness to make the more sensual moments of the song enticing and fun, Bruno has the playful, wild voice to drive home the passion of his love, and the two always sound phenomenal together! I adore the pre-chorus where the instruments flash for a moment before falling to silence and letting one-half of the duo sing about the joy they feel over their connection with their partner. “That gushy gushy, girl, I want some more! (OOH!)”. It’s so goofy on the surface, but when you’re sold into this song’s incredible theatrics, you find yourself singing along to the lyrics, “Sweet, sticky, thick and pretty” anyway! The final chorus especially with that subtle key change feels like the climax of a song literally about the day after sex. An incredible moment where every instrument, every lyric, every performer builds into one, single, incredible moment where Bruno and .Paak sing, “WHEN I’M GON’ SEE YOU AGAAAAAAIIIIIIN” and the song plays itself off!
You want to know why this is the best song of the year? Because every second of this song brings me a joy I haven’t felt in music in YEARS. Honestly, it might legit be the most genuine euphoria a song has given me since… Fuck, “Uptown Funk”? Back in late 2014 when I just stumbled upon it when Apple Radio was still a thing? Guess it’s only fitting that Bruno Mars is the one to bring me back to that pure love of music. Alongside another new favorite of mine, Anderson .Paak delivering the best music of their careers. I love “Uptown Funk” with all my heart, but it’s a song that has definitely aged weirdly, and I don’t go back to it as often as I used to. “After Last Night” officially surpassed it as a moment of retro perfection with memories I will cherish forever. That intense excitement and love I had for it the first time I heard it was undeniable! I love all the songs on this list, and I genuinely wanted to put a song as potent and catchy as “Never Will Know” at #1. But at the end of the day, I love the bursts of creativity and inspiration that come out of the music I love. The kind that I listen to and think, holy shit. I want to make something as transcendent and incredible as this. “After Last Night” is an instant fucking classic.
Best two seconds: “WHEN I’M GON’ SEE YOU AGAAAAAIIIIN”
Part 1
Part 2