Best Songs of 2023 (100-51)
Part one of my list of the best songs of 2023!
Last year I decided to turn my annual Best Songs of the Year list into a zine form rather than a straightforward blog. I’d been in a master’s program for comics for the past two years, and having been given a lot of positive feedback for my music-centered webcomics, I figured I would combine the two more often and maybe even have them in a print form for the near future. While I’m still proud of my Best Songs of 2022 zine and will definitely be making another music-centered webcomic in the very near future, I also felt like I didn’t format it as well as I could have. The texts were too long for a short form zine, the drawings added extra work on top of the writing and assembly (some of which I could have tried harder with, I admit), and I ended up not writing about half my list and leaving them on the back in very small, cramped text.
It’s a work in progress for me I think. I have trouble keeping things short and sweet and end up doing too much for what should be a breezy read. So while I will revisit the idea of a zine format for these lists at a later date, for now, I’m gonna stick to the basics. We’re back to one hundred of my favorite songs of the year, all with short blurbs about why I loved them and came back to them so many times this year. The only qualifying factor is that it has to be in some way relevant to 2023. Older songs that were on albums released this year are allowed, hit singles that reached their peak relevance this year are allowed (Except “See You Again” by Tyler The Creator and “Cruel Summer” by Taylor Swift cuz I’ve already had them on a list like this in the past), and of course, any song released between January and December of this year.
Before I begin, I’m going to shout out a few specific honorable mentions for this list. “PARANORMAL” by Tainy ft. Alvaro Diaz, “Femininomenon” by Chappell Roan, “Deep Satin” by Zach Bryan, and “5 Leaf Clover” by Luke Combs were initially on the list, but I already had way too many repeat artists on my list and I wanted to make some room for artists who deserve some recognition that Tainy, Chappell and Luke will already get plenty of. I also want to shout out “Old money bitch” by underscores, “Daddy” by Nourished By Time, “Astronaut” by Wyatt Flores, and “Welcome To My Island” by Caroline Polachek. I just got into these songs too late into the year for them to really settle with me for the rest of 2023. Yes, I know “Welcome To My Island” has been out for like two years. Some songs just take a while to grow on you! Finally, I’d like to issue a formal apology to “Ditto” by NewJeans, which was on the list until I ended up swapping it with another song I decided I liked more. Sorry!
100. Frizk - “ALL MY FELLAS”
There’s something so infectious about the phrase, “All my fellas”. It’s almost communal the way the voice in this song invites you, the fellas, to jump into this bouncy jersey club beat and racing piano. The twists and turns of the beat never let out, as little melodies come in to fill the air and keep you moving and smiling with every bounce. The song isn’t long at all, only barely passing a minute. Still, I can’t help but smile whenever I hear this on a TikTok or if it just comes across on shuffle on my playlist. This piano is so incredibly fun, and so much electronic wizardry is packed into this little viral package. All my fellas!
99. Gorillaz ft. Adeleye Omotayo - “Silent Running”
“New Gold” was deathly close to making my year-end list last year, and in retrospect, maybe it should have. Part of me considered it for this list too, but ultimately I ended up liking “Silent Running” a lot more than I ever did “New Gold”. Gorillaz songs are always cryptic and tense, but this one especially feels haunting. Adeleye’s ghostly backing vocals alongside 2D’s slithering voice really complement the carousel of synths, whistles, and guitars that keep the song catchy while never losing its spooky atmosphere. I went back to this a lot at the beginning of the year, and it kind of crept up on me and became one of my favorite modern Gorillaz songs.
98. Tainy ft. J Balvin, Young Miko, Jowell & Randy - “COLMILLO”
CW: Sexually explicit content in the video. It’s blurred but you can tell.
This song was added late to DATA’s tracklist. Not sure if it was because J Balvin is really polarizing in the Latin American music industry or if there were clearance issues, but either way it took a couple of months for it to actually get here. Normally I’m not a fan of late additions to already completed albums, but this hooked me enough that I not only forgave it, but it surpassed a lot of my other favorites on DATA! Young Miko is the MVP of the track, with her seductive, domineering snarl over the chorus of the first third and her hornier, blatantly sapphic verse on the second. To my surprise, J Balvin really brings his A-game to this song! He’s the weakest performer admittedly, but he plays well opposite of Young Miko and delivers a level of swagger and confidence I hadn’t heard from him in a LONG time. Jowell & Randy’s rowdy and frantic final third sells the song for me. Every escalation of the beat is so subtle, but it’s SO satisfying!
97. Kiana Ledé & Khalid - “Where You Go”
Full disclosure, I never actually listened to Kiana Ledé’s album. She’s crazy talented and I’ve been interested in her music for a few years now, but even if I did listen to this album, it was never going to top “Where You Go”. This is exactly the kind of R&B music that makes my joy receptors light up. The harmonies between Kiana and Khalid are a perfect match, they have a crazy amount of chemistry together. I can practically envision the intimate dances they do together, staring into each other’s eyes and waiting for the other to make their move. On top of that, the production is absolutely stellar. Sensual, and soft, yet still full of momentum thanks to the percussion. Again, I should look more into what Kiana Ledé can do. With this song alone, she’s made one of my favorite R&B songs of the past couple of years.
96. Oddwin (Kash Krabs & Sauceward) - KRUSTY KREW ANTHEM (BACK ON THE GRILL)
My favorite kind of memes are the ones where the artist puts an excessive amount of effort into what is ultimately kind of a stupid joke. A Spongebob parody where Mr. Krabs and Squidward rap in the style of Future and Youngboy Never Broke Again should be the hackiest, dumbest idea imaginable. And yet, Oddwin put an insane amount of effort into not only making this beat sound like Future with the blown-out horns, burbling bass, and thin trap hi-hats but also making genuinely impressive Mr. Krabs and Squidward impressions that reference the show in clever and funny ways! There’s no AI on this unlike its lesser imitators, it’s a real-deal impression with lyrics that mesh the rapper lifestyle with Spongebob episodes. And it’s ridiculously catchy and fun! Genuinely something I can listen to over and over again beyond the novelty! Shout out to the follow-up “SECRET FORMULA”, the song that introduced me to this phenomenon and barely missed the final list.
95. The Murlocs - “Common Sense Civilian”
I don’t have a lot of knowledge of King Gizzard and The Lizard Wizard. In fact, I have a weird track record of getting really into their side projects more than the actual band. Though, in all fairness, The Murlocs indulge in a sound that I deeply love. The kind of rowdy, saloon-esque baroque pop where the lead singer yelps about their reckless cynicism over a pounding piano, slick bass groove, and absolutely explosive chorus. Not to mention a harmonica solo in the middle of a song!! I will ALWAYS love a song with an out-of-nowhere harmonica solo. But I will love a song with TWO out of nowhere harmonica solos even more.
94. Quevedo - “Columbia”
It is incredibly easy for me to love a song like “Columbia”. Release it right in the middle of the summer, give your already catchy reggaeton beat some sunny synths, and gradually build your chorus piece by piece until you get this splash of good time waves and warm sunshine when the full production comes together. There’s not much more to this song other than the usual “young, wild, and free” platitudes, but Quevedo’s passionate performance and the sheer joy bursting out of the production make this song feel like you’re living the greatest days of your life. The cover art to this song is maybe the perfect encapsulation of what this song makes me feel. A blurred memory of friends in swimsuits running across the blacktop, surfboard in hand. What a time to be alive.
93. Caroline Polachek - “I Believe”
One of my pet peeves in pop music is when an artist tries to show off their pipes through overly loud, directionless, excessive vocal flexing. American Idol fully convinced people that yell-singing in tune makes you a great vocalist, and D-list pop stars have abused this power BADLY. What truly makes a great vocalist is when they sound amazing and pull off impressive notes/melodies without me even noticing. Caroline Polachek is GREAT at that, and it’s a huge reason why “I Believe” is my favorite track on the album. She goes to such great heights on this song, casually floating through high notes and gorgeous vocal passages through a massive, catchy pop hook. It truly feels angelic, which is appropriate for the song’s subject matter. A song about the immortality of love, dedicated to the late producer and friend of Caroline’s, SOPHIE. Honestly, the euphoric highs of this song do remind me of SOPHIE in many ways, especially her love of ascending emotions and pure, shining bliss.
92. redveil ft. JPEGMAFIA - “black enuff”
I feel like I didn’t give redveil enough flowers last year, so let me reprimand that right now. A lot of people lamented the mediocrity of mainstream rap this year, but they should really be looking to the new school who have the cosigns and potential to be huge hitmakers in the future. Just based on “black enuff”, redveil’s got it. This beat KNOCKS, shaking the room with its clanking production and explosive bass. The hunger in redveil’s voice makes the chorus burst like a firework. I imagine this goes crazy hard live, albeit with an uncomfortable amount of non-black people screaming along with the lyrics. It’s gotta be cathartic for the black artists rapping along though, as the industry notoriously micromanages their image as “presentable” for a white audience. redveil and JPEGMAFIA don’t give a shit though, as their true expression has them as unapologetically black as possible. You can tell there’s real anger and frustration in their voices as they’re here to make music for themselves and their community, not some broader demographic.
91. Gabe Lee - “Even Jesus Got The Blues”
You don’t have to do a lot to win my heart as a country artist. But it helps a lot if your song’s lead instruments are a mandolin and a fiddle, and both of them sound PHENOMENAL in “Even Jesus Gets The Blues”. The breezy strumming of the mandolin and its synergy with the free-spirited fiddle make for one of the most irresistible country songs of the year. Gabe Lee himself does a lot to make that even more true with his cheeky, soaring voice. He sings about a struggling woman whose addiction and disheveled appearance puts the locals off but she’s so much more than just her struggles. Even if it’s kind of a sad story, there’s still a sense of kind optimism that reminds you of the true beauty of humanity. I also just love the way he snarls the words, “wESTerrn CROCodiiile”.
90. Jason Isbell & The 400 Unit - “King Of Oklahoma”
One of my favorite Jason Isbell songs is “Songs She Sang In The Shower”, a lament where Isbell is a constant fuck up whose partner finally dumps him, leaving him to sit in the silence of his mistakes. “King Of Oklahoma” is… pretty much the same thing, but it takes place during the fallout rather than the aftermath. Isbell paints the picture of someone slowly losing himself to drug addiction and nihilism. His wife is quickly getting sick of his shit, threatening to leave him and make him a stranger to his future kids. What makes this song particularly gutting to me is that Isbell as said king of Oklahoma just… doesn’t care. There’s at least some remorse and regret in “Songs She Sang In The Shower”, but here it just kinda feels like giving up and letting the failure wash over him. Not like he feels anything anymore. Not even from the drugs he’s addicted to. It’s a downfall that’s almost too pitiful for words. He remembers the little moments, he misses them, but even if they continued now… he wouldn’t feel anything. He’s just numb.
89. Gunna - “rodeo dr”
Part of me considered making this a joint entry for both “fukumean” and “rodeo dr”. I consider “fukumean” essential to what makes “rodeo dr” such a terrific song. Not just because of the clean transition between both songs, where the creaking, tense beat of “fukumean” slowly morphs into “rodeo dr’s” whirring bursts of synths. Gunna’s flow is also a compliment to “fukumean”, using the same cadence with more focus and determination. The childlike “yep!” in “fukumean” has become a somber “yuh” from Gunna. It’s such a seamless transition that they might as well be from the same song. In a year where so many mainstream rappers try to pull off the beat switch and just come off as clunky and tryhard, I’m honestly shocked that Gunna was by far the best one to utilize it. Ultimately I separated “rodeo dr” from “fukumean” because while I love “fukumean”, I’ll admit, the main reason I listen to it is because it’s the opening act to “rodeo dr’s” main course.
88. Laufey - “From The Start”
I usually get annoyed by discourse regarding artists/songs I like, but I don’t mind having the “Is Laufey truly jazz” conversation. I think it’s fair to say that despite her clear passion and love for jazz, her music is a very poppy, commercialized version of jazz music, and publication writers should exercise more caution in calling her “the savior of jazz”. You know what else is true though? Laufey is fucking awesome, and “From The Start” deserved to be a huge hit that defied expectations. I’m already an incredibly easy sell for wholesome songs about unrequited love, but Laufey takes the extra step of being an endlessly charming performer. I love that she has a deep, husky voice that never loses its softness. She sounds infatuated, but she’s also burdened by melancholy. Exactly what it feels like to be in love with someone who doesn’t feel the same way. That on top of the sickeningly organic, twinkly production makes a jazzy, yet catchy love song that sounds as timely as it is timeless. Also, she does a scat solo before the second verse. Literally could not be better.
87. Rema ft. Selena Gomez - “Calm Down”
A consistent issue I’ve had with Selena Gomez’s career was how often she was put on songs that were explosive, loud, or anthemic when her voice never really lent to that. Obviously, we’d come to know that’s not her fault, but my favorite Selena Gomez songs were always the much more lowkey, quieter, even sultry songs that kept her voice soft and husky. That is exactly why “Calm Down” is the best song she’s ever been a part of. The original was already a fantastic afrobeat jam with a catchy rhythm and Rema’s charismatic poise. For once, however, the American pop star remix actually builds upon what worked from the original by turning the dance floor flirting into a dialogue. Rema and Selena clearly have the hots for each other, and the little inflections in their voice make their chemistry irresistible. I know some radio listeners grew tired of this song over the past year and a half, but in a weird twist, this one kept growing on me little by little. Every time it came on in a playlist or even heard it in the wild, I always tuned in. Now I actively choose to go back to it, no matter the season.
86. Lizzy McAlpine - “ceilings”
I’m kicking myself for not getting to Lizzy McAlpine sooner. Turns out, five seconds flat is one of the best pop albums of the decade so far and is filled to the brim with smash hits. To the point where I’m not even surprised “ceilings” popped off on TikTok and became a legitimately big hit this year. Predictable as it feels to say, it’s also my favorite song on the album. I do love the cinematic scope of “doomsday” and the driving hook of “orange show speedway”, but sometimes the simple love and heartbreak stories over a soft guitar and yearning strings are all I need. This one feels particularly gutting, as so much of the song spends time in this lovely, adorable little meet-cute. Fawning over their first kiss, the moments of silence as the two reckon with their feelings for each other, and that familiar warm feeling you get from the best parts of a rom-com. Which is why the sudden reveal that it’s all made up in Lizzy’s head, and all those great memories are just empty daydreams struck me in the heart. There could be a multitude of reasons why she can only imagine a relationship. Loneliness, yearning, being so scared of actually being in love that she can only live through it in a fantasy… Maybe that one’s me projecting a little, but I can’t lie that the song’s twist hits a personal spot for me. It’s not a love story, it’s a tragedy.
85. Sampha - “Suspended”
Sampha is unlike any other R&B/Soul artist I can think of. He has such a creative, tense, unique way of approaching ballads. He can certainly keep things soft and quiet, but his best material is paranoid and frantic. “Suspended” hit me IMMEDIATELY with its incredible production. Pianos that swarm the skies in all sorts of directions, Sampha’s haunting vocals, and the unusually fast ticking percussion make this song feel like you’re falling in slow motion. The lyrics are romantic, but they’re also riddled with doubt. It almost feels like the question “Do you love me” slows down time and starts a panic within Sampha. A relationship teetering on the edge, as fragile and chaotic as the production. There are so many things about the production of this song I absolutely adore. The layering of Sampha’s vocals sounds so cool, especially in the backing vocals. My favorite is on the third verse where Sampha loses his cool and yells, “I DON’T KNOW WHO YOU ARE!!!”, and the word “are” gets chopped into digital pieces. It happens again with the word “reality” in the following line. It’s mesmerizing.
84. Taylor Swift - “You’re Losing Me”
You know how in last year’s list I put “Mastermind” from Midnights just below the Top 50? And how I expanded upon it for Valentine’s Day zine talking about how powerful it is as a love song and testament to Taylor Swift and Joe Alwyn’s relationship? “You’re Losing Me” is the yin to that song’s yang. A powerful breakup song that’s a testament to why Taylor Swift and Joe Alwyn didn’t make it. Taylor’s insecurities are louder than usual, and it feels like she can’t rely on her partner to quell them. The constant stalemates and desperation for him to reach out or notice that things are falling apart, and yet it feels like every day he’s ignoring you more and more. When the music quiets down and lets nothing but Taylor’s heartbeat play, you can hear the sadness and desperation in the words, “Stop, you’re losing me”. It reminds me a bit of her song with Big Red Machine, “Renegade”, where she puts her foot down and asks her partner to get their shit together. A loss of patience where it feels like the next wrong step could spell the end. But nothing gets across that better than this song’s final bridge, where the drums start coming in really hard and Taylor’s voice escalates over her emotional breakdown. Self-deprecation that stops being endearing and starts being concerning (calling herself a pathological people pleaser and that she wouldn’t marry her either), and right as I thought it was gonna go into the chorus one more time, Taylor shouts, “DO something babe, SAY something” and everything starts crumbling to the floor. Genuinely made my heart stop. Incredible depiction of the panic settling in as you realize that he’s not going to step up. He lost her.
83. Wyatt Flores - “Life Lessons”
Honestly, if you had given me another month or two to come up with this list, I would have included way more from this album. “Astronaut” barely missed this list, and was initially the leading contender for the best song on Life Lessons. But the title track snuck up on me for its spectacular chorus. I think what really cemented was that quick little guitar escalation into the title drop. It’s so distinct and catchy, especially accompanied by this song’s incredibly charming band of guitar, mandolin, and banjo. Wyatt’s voice has that nasal Southern charm that makes his reminiscence on his family’s past mistakes and virtues all the more endearing. It’s a humble little song acknowledging that he’s not the smartest person out there, and his premature leave from college may come off as slacker behavior to others, but maybe that’s just not his speed anyway. Life can bring you lessons in its own way, and as a wandering soul, Wyatt’s ready to just take on whatever life throws at him. The optimistic shine of this song makes that future journey sound worth it. As someone who’s had to start over multiple times throughout the past couple of years, this one hits.
82. Tyler, The Creator - “DOGTOOTH”
I know a lot of people mourned that we didn’t get an entirely new Tyler album this year, but I still think saying that is selling CALL ME IF YOU GET LOST: THE ESTATE SALE short. CALL ME IF YOU GET LOST is already my favorite Tyler album, so getting more of it is only a good thing for me. “DOGTOOTH” in particular became a staple of my summer. Those familiar pianos over the beaming synths and skippy drums are such a perfect summer vibe. You can practically feel the sun on your face as the synths and Tyler’s backing vocals wash over you. Tyler himself is also fantastic. Without the burden of the relationship from the original album, Tyler feels so much looser and relaxed. I love how he opens the song with a crass offering to ride on his face, but he doesn’t ask for that same satisfaction in return. It’s kind of romantic in a horny way, and that shit is my jam! The song overall is mostly just flexing and indulging in that vacation aesthetic, but Tyler is so ridiculously good at it that I don’t need much else from him.
81. Lainey Wilson - “Watermelon Moonshine”
I wish I highlighted Lainey Wilson more in my year-end lists last year. I listened to her album Bell Bottom Country at the tail end of that year and a lot of my favorite songs there were either too late to make my songs list or transferred over early into the following year. For the longest time, my favorite song off that album was the aggressively catchy and flirtatious “Grease”, but since it became a hit, “Watermelon Moonshine” became Lainey’s definitive song for me. A simple story about when she first fell in love and spent an incredible night with the boy of her dreams. Lainey’s storytelling is so vivid and beautiful. Just the detail of how her first time tasted like the watermelon moonshine she drank out of a Mason jar is so nostalgic. But she even goes as far as to describe the roads and greenery that she and her ex drove through. Young love at its purest, where love feels enormous and forever feels like heaven. But of course, that was years ago, and the song is framed as a reminiscence of that moment. Lainey isn’t regretful or even sorrowful over that night. She gives it a gentle appreciation, laughing at how young and naive they are, but also reliving the joy that came with being young and in love. You can never capture that again, but the memories last forever.
80. Tokischa ft. Sexyy Red - “Daddy”
The latest release on the list and one that hooked me the instant I heard it. I’m such a sucker for songs with this kind of piano and bass-driven bounce. This song could have had no lyrics except for the titular “Yo soy tu daddy” and I would have been completely satisfied. Thankfully, we’ve also got Tokischa’s nasty bars playing sugar daddy with her girlfriend as they go on party, drug, spending benders. Complete with kinky sex, of course. Normally these kinds of lyrics with someone referring to themselves as “daddy” can be kind of gross, but Tokischa’s tongue is so firmly in her cheek, especially when you watch the absurd but brilliant video. Sexyy Red’s verse is admittedly a little basic, but I actually think this beat is a great fit for her. It helps her stay more on-beat and she plays GREAT opposite Tokischa as the “calmed slut” in question. It’s been a big year for her, and the fact that she’s willing to play along with weird songs like this is a great sign for her future.
79. SZA - “Nobody Gets Me”
Part of me rolls my eyes at the publications that named S.O.S., a 2022 album, the best album of 2023 (you should have held off on your lists for another week or two!), but in a sense I also get it. A lot of these songs crossed over and became big hits this year, and we had way more time to let the album sit throughout 2023. “Kill Bill” and “Snooze” are great, but “Nobody Gets Me” was always the one after my own heart. A deeply painful, lonely song mourning the loss of a breakup and realizing that the low-stakes hookups aren’t working. SZA lets her voice shine here, bellowing at the top of her lungs as she realizes how much self-worth she attached to this guy. Without him being there to support her, she spirals and just sees herself as a useless toy. The production sounds huge, but there’s not even much to it. It’s just the guitar and some cavernous synths. But that’s the magic of this song. There isn’t much to it, yet every element from SZA herself, the lyrics, and that little guitar is giving it their all. Like a final gambit before she well and fully gives up on what could have been. This is a song to cry and scream along to. Except I can’t because I’m in on the bus and everyone will look at me weird. But I really want to.
78. Lil Uzi Vert - “Just Wanna Rock”
I have a soft spot for Lil Uzi Vert’s big event album from this year, PINK TAPE. It’s kind of an incomprehensible mess of an album, but I respect their artistic ambition to try as many different unique styles as possible and blend them in with their usual trap sound. Honorable mention to the wild and unhinged trap metal banger “Suicide Doors”, but ultimately the big hit is the song that kept up with me most throughout the year. I touched upon Jersey club earlier with “ALL MY FELLAS”, and while this is a more commercial version of that sound, I think Uzi gives it the respect and craftsmanship it deserves. This song is short, barely has a chorus, and mostly consists of quick flows and a bouncy beat, but god DAMN what a catchy beat it is! The gothic synths and subtle knock of the bass are incredibly catchy, and once you get over your pop bias of wondering why there’s no chorus or melody anywhere, it’s much easier to take the song for what it is and have fun with it. The music video does a great job exemplifying the power of Jersey Club, with a massive crowd jumping and dancing to the beat as Uzi keeps up the energy breathlessly exhaling. It might be easier to see this as a dance song over a trap song. It’s so unusual for this kind of song to become a worldwide hit, but the fact that it was is honestly pretty awesome.
77. Zach Bryan & Noah Kahan - “Sarah’s Place”
Zach Bryan and Noah Kahan are such an obvious match for each other. Both blew up last year off of their homegrown, folk/country sound with stories of struggling relationships and the love they have for their hometown. I wasn’t even remotely surprised to learn they made a song together, and it’s a lovely tribute to an old friend moving out to greener pastures. One of my favorite Noah Kahan songs, “You’re Gonna Go Far”, has a similar premise, but I prefer “Sarah’s Place” because the backdrop of this person being part of a friend group drifting apart really hits a soft spot for me. Despite both singers’ longing for the good ol’ days where they hang out and talk all night at their friend Sarah’s place, they’re also mature enough to know that this person is off to a brighter future. She’s gonna be okay, and even if maybe some lingering feelings may be bubbling within Noah in particular, they’re both happy for her. There aren’t enough songs about friendship out there, and it’s something I really love about Zach Bryan’s music specifically. Whether feelings are reciprocated or not, the connection you have and the memories you share can be just as meaningful as a romantic relationship, and I think that’s captured beautifully in this song.
76. Hot Country Knights ft. Darla McFarland - “Herassmeant”
CW: Black comedy involving sexual harassment. Likely not for everyone.
This is probably the hardest song to sell on the list. A 90s country parody band led by Dierks Bentley got together with Lainey Wilson to make a song about her ass and Dierks’ incredibly inappropriate advances toward her. I feel like some people raised their eyebrows or lost faith in me upon hearing that concept, but I’m honestly kind of amazed by how genuinely funny and not offensive this song ended up being. Lainey has already embraced the fact that she went viral off of having a fantastic ass, but it could have been so incredibly bad if Direks wasn’t careful with making unambiguous sexual harassment a joke. This song manages to avoid crossing that dicey line by making Dierks the butt of the joke (HA!). His absurd ass puns and gross voyeurism is clearly putting “Darla” off, even if she was initially willing to go along with it. But when the guy keeps making these gross comments like “If I was a pirate I’d dig that booty up on the beach”, “My anaconda’s lonesome as hell”, and my personal favorite, “When I hear ‘Fat Bottomed Girls’ I shed a tear”, it doesn’t take long for Darla to dismiss him and call him out for his bullshit. It firmly places Darla as a victim and doesn’t give Dierks the satisfaction of getting what he wants. When the song ended with Lainey responding to Dierks saying he misses her with “I wish I could say Me Too”, followed by Dierks’ panicked, “Y-uh don’t say that. Don’t say that…” I genuinely cackled. This song is so absurd, stupid, and tongue-in-cheek while still sounding like a gorgeous 90s country ballad that it comes together to make an unbelievably funny and enjoyable song.
75. underscores w/gabby start - “Locals (girls like us)”
I am waaaaaaay late to this one, I’ll admit. I didn’t listen to Wallsocket and by extension this song until December. But I’m here now, and I gotta say; holy fuck. I get it. This is the unhinged girlie anthem for trans people we’ve been waiting for. A glitchy maelstrom of hooks that goes through so many teenage girl tropes of the modern era. From the obsession with body parts and appearances to trying to get the same results as each other on personality quizzes. When the chorus fully explodes and all the girls chant together, “Stop me if you’ve heard this all before/Girls like us are rotten to the core”, it feels like the battle cry of chronically online trans teenagers embracing their messy, weird, isolated selves. Considering how not in tune they are with the panicked neighborhood, it makes sense that all of these girls are kind of outcasts. But they don’t care. They’re young and free, and they embrace their weird reputation with open arms. That’s what makes the sentiment of “girls like us, we’re rotten to the core” so cathartic. It’s young queer euphoria that no one else will ever get, but those who know, know.
74. Kelsea Ballerini - “Penthouse”
Kelsea Ballerini upgraded her songwriting prowess this year. Honestly, she’s been steadily improving as a songwriter for a few years now, but I felt like her poppier instincts weren’t lending to that. A song like “Penthouse” still toes the line between pop and country, but the piano and steel guitar give her way more room to breathe and let these lyrics sink in. There are a lot of beautiful metaphors Kelsea makes about her divorce throughout the EP, but the penthouse is the most striking. Buying this big, extravagant house and fantasizing about her future forever, but in reality, it feels empty, soulless, and boring. Her husband was constantly out of the house, the promise of kids never really materialized, and the longer she was left to reflect on where she was now, the more unhappy she felt. This especially hits knowing that Kelsea likely believed in the conservative, Christian ideal of marriage being the ultimate end goal in life, and the curtain is slowly being pulled in how it’s not as glamorous as the empty platitudes make it out to be. In the end, after they’ve separated, she chooses to go back to a smaller house that her husband didn’t approve of, starting a new independent life that prioritizes her feelings over his. She updated the song in a deluxe rerelease of Rolling Up The Welcome Mat, where the line “I kissed someone new last night, but now I don’t know where you’re sleeping, baby” is swapped out with “I kissed someone new last night, and now I don’t care where you’re sleeping, baby”. Just that little moment of growth warms my heart. She’s moving on, and she’s happier now.
73. Ryan Gosling - “I’m Just Ken” (From Barbie)
The Barbie movie gave us a lot of pop songs specially made for the movie. And honestly, most of them are pretty great! Billie Eilish’s terrific ballad “What Was I Made For?” was a contender for this list. But as much as I liked all those pop songs, “I’m Just Ken” was not only the one that stuck with me the most, it’s easily my favorite sequence of the entire movie. I am non-binary with a preference for feminine presentation, so I haven’t really been in touch with my masculinity for a few years now. But Ken’s character throughout Barbie was such a great look into how patriarchy affects the men who by their rules should be in charge, but they can’t get there without poisoning themselves and giving them expectations that turn them into monsters. “I’m Just Ken” in particular is a soliloquy to Ken’s unrequited love for Barbie, his need to put himself in competition with his fellow Ken, and slowly coming to realize his own identity outside of Barbie. It’s a level of empathy towards men that I haven’t seen enough mainstream feminist media care for. Ken won’t get the girl, but that’s because he needs the self-confidence to find the self-fulfillment he thought he’d get from Barbie. And to present all that in a cheesy, yet massive rock ballad set to dudes fighting in a toy war and transitioning into an all-male ballet performance that blows me away every time I watch it? One where all the Kens indulge in their machismo, yet share sensitive moments to show that men being soft and effeminate can still be manly and badass? Holy shit.
72. Megan Thee Stallion - “Cobra”
CW: Themes of suicidal depression
Megan is independent now (and has a distribution deal with Warner), so she’s not gonna be as much of a hitmaker as she was early in the decade, but as long as she has a dedicated fanbase and a lot of hype, this is only a good thing for me. Especially as her label was REALLY holding her back with these forced pop crossovers and exploiting her for every penny. “Cobra” has only made me more sure that Megan has nowhere to go but up. It’s a DARK song, one that’s very frank about her spiraling mental health and desperate need for support. She opens up about her depression and even suicidal thoughts, which keep getting juxtaposed with knowing she’s the baddest motherfucker alive. Normally that would be a total tone clash, but the snarling guitars and harsh beat make it obvious that she’s trying to keep herself afloat, even when her life is getting worse and worse. She’s gonna vent about her troubles, but she’s still gonna look hot as hell doing it. This is one of Megan’s best EVER beats, with some of the best implementation of electric guitars in a trap beat I’ve ever heard. It sounds as triumphant as it does dangerous. Megan as a rapper is sharp as ever, maybe even sharper! What she has more than anything is resilience. Moving through the bitter feelings and shitty exes to keep living and getting better. Even if no one else has got her, she has herself.
71. Genesis Owusu - “Leaving The Light”
Holy shit, that synth bassline! I could stop there if I wanted to. The thrumming synth bass against the frantic percussion is PERFECT in capturing the song’s anxiety-ridden, apocalyptic nightmare. STRUGGLER is an album centered around a cockroach constantly running from God and the inevitability of being stepped on. Even if that by itself sounds insane, you absolutely feel it listening to “Leaving The Light”. The song always seems to be on the run, thanks to said bassline and percussion, Genesis Owusu’s desperate rapping and multi-layered shouting, and the constant scale of the song feeling so huge and helpless. It doesn’t waste your time building to its climax, it throws you in and tells you to RUN. Not by accident, this is probably the best workout song of the year (not that I did a lot of it this year). Just that constant pulse and feral need to move, move, move is enough to get my blood pumping! And maybe fearing for my life.
70. Eslabón Armado & Peso Pluma - “Ella Baila Sola”
In this year’s boom for Mexican regional music, “Ella Baila Sola” is by far the biggest one, and it’s pretty easy to see why. In a genre that otherwise doesn’t focus on hooks that much, this has by far one of the stickiest melodies and instrumental passages of the year. That opening guitar line alone had me coming back to this song over and over. It feels like an entrance to an unforgettable night full of drinks, laughs, and maybe some romance along the way. The band’s lead singer, Pedro Tovar, sings alongside Peso Pluma like banter at a party, where the two fall in love with the same girl at the same time. But there’s not any jealousy or fighting between them. It’s a comradery where the two are mostly just happy to get their chance with her, and if one doesn’t get the girl, there are plenty of others at the party worth flirting with. The two sound phenomenal together, but this song wouldn’t be what it is without the band themselves. The guitar synergy is wonderful, providing that distinct Mexican texture that flutters and tangos all over the track, all the while the trombone player gives the performance of their life. Some bands mix their horns to be a bit too loud and raw, but this song has the perfect balance of strong yet elegant and melodic. It’s one of my favorite solos in any song this year.
69. Gabe Lee - “Merigold”
The fiddle is one of my all-time favorite instruments, and it’s a major reason why country music has become one of my favorite genres. Gabe Lee ran away with the best use of fiddle this year. I already mentioned how gorgeous it sounds on “Even Jesus Got The Blues”, but it EXCELS on my favorite song on the album, “Merigold”. This song is incredibly tragic. A story of loss where the narrator slowly watches a loved one fade away from cancer. He wishes that he could go out with her and relive the happy memories that could have been, but all it does is make him sad. There’s such gutting lyrics throughout the song that say so much in just two short lines. “Last night you cleaned out the cast-iron and hung it up/I’ve been hungry ever since”. “But please pick up the phone/I want you to know, you can take me when she goes”. You can hear the devastation in Gabe Lee’s voice, and that sadness is all the more pronounced by the production. The fiddle is where it truly shines, as I’ve mentioned before. It wafts, glides, and weeps across the bitter guitars and echoes of steel. It’s almost medieval in a way. Like an old funeral song that plays as the casket is lowered into the ground.
68. Ed Sheeran [ft. Luke Combs] - “Life Goes On”
Click here for the version with Luke Combs
I reviewed this album a few months ago and I’m still really proud of it. For an album that ultimately didn’t have much mainstream impact, I think it resonated with the people who needed it most. Including myself. I mentioned in the review how my Abuela passed away earlier this year, and this is probably the song that I related to the most. Having to keep going after experiencing such a massive loss in your life is surreal. You’re expected to keep going, and only have a brief period of mourning, but it’s not really that simple. Ed does a fantastic job painting the scene of that constant grayness that surrounds you during your grieving period. As much as you want to keep going and stay strong for everyone else around you, you still miss them. There’s a distressing intensity in the way he snarls “I am so afraid/I need you now” right before the final chorus. Like everything piling on all at once and the only thing you can think about is how fucking badly you want to see your lost loved one again. I’ve had that instance more than once. It always brings me to tears, even as I write this. I want to also shout out to the remix of this song with Luke Combs, where Luke takes over the second verse, harmonizes with Ed for the final chorus, and even adds a bit of steel to the production. I wouldn’t say it’s better than the original for me, but Luke knocks his performance out of the park, and the upgrades in the production make it just as worthwhile as the original.
67. That Mexican O.T. ft. Paul Wall & DRODi - “Johnny Dang”
There was a lot of discussion this year about how bad hip-hop was in the mainstream this year. Not that I don’t disagree, but I do think certain artists who didn’t have massive hits, but still sizable ones get overlooked in the conversation. That Mexican O.T. especially deserves his flowers for his viral hit “Johnny Dang”. A ridiculously fun Texas hip-hop banger with a sprinkle of Mexican outlaw swagger. That Mexican O.T. is a stellar rapper, delivering a catchy rapid-fire hook and unflinching confidence while still showing a ton of personality in his over-the-top delivery and punchlines. Bringing along 2000s Houston legend Paul Wall and Houston newcomer DRODi adds even more personality and bravado to an already excellent song, and each performer brings their A-game. Sharp flows, gritty beat, and hooks for DAYS. By far one of the catchiest rap songs of the year, mainstream or otherwise.
66. Flatland Cavalry - “Oughta See You (The Way I Do)”
This is one of my favorite straightforward love songs of the year. Flatland Cavalry has always been great at this, especially as Cleto Cordero frequently collaborates with his wife, Kaitlyn Butts. But something about the carefree, optimistic bounce of “Oughta See You (The Way I Do)” makes it stand out above even the band’s best like “A Life Where We Work Out”. I think it helps that the band brings out their jauntiest and cheesiest selves on this one. I can almost envision this being the song played in a corny romcom where the lead tries to win the love interest’s heart with a song. It sounds like I’m being mean when I call this “corny” and “cheesy” but it’s quite the opposite. I live for this kind of incredibly earnest, adorable love song. It’s all the best parts of “What Makes You Beautiful” by One Direction but with a bit more Southern charm, especially with the guitars, fiddle, and organ leading the charge. Just that ending where the other band members sing the chorus over some brief solos is enough to make me swing along and fall in love.
65. Young Thug ft. Drake - “Oh U Went”
I don’t care for how many big rap albums this year were just unreleased scraps clumsily cobbled together into an album. Just seems like a really bad practice that deprives your audience of your best and most improved work. I can’t entirely blame them for doing this with Young Thug though, who is currently in prison on RICO charges. Besides, one of those scraps turned out to be my favorite song from both Young Thug and Drake in years. That might be kind of true for Metro Boomin too. He had some good stuff this year (shout out to his song with Coi Leray “Self Love”), but the beat on “Oh U Went” is something magical. A soft organ melody paired up with a pitched-up and chopped-up soul sample, complete with the occasional strings and an incredibly catchy hook from Young Thug. It is WAY too easy for me to love this song. It doesn’t go as wild as I usually like Young Thug to go, but his unique voice and flow still make me smile whenever I hear it. Not to mention Drake comes in with a legit great guest verse, full of his usual bravado and luxurious status, but without the insecurity that frequently brings him down otherwise. He sounds on point in this song, and he breezes through his verse so quickly I almost wish he was on it longer. Then again, there was no better way to end his verse than with “Fuck a wedding dress, I’m tryna merk it and skrrrrrrrrrrt!”.
64. Amaarae - “Co-Star”
Amaarae’s Fountain Baby coming out on the same day as Janelle Monae’s Age Of Pleasure was a one-two punch of perfect summer vibes. The two albums dominated my life for three months. “Co-Star” is one hell of a summer hook-up jam with its African rhythm paired up with the harp leading the beat. It sounds immaculate, keeping up the energy but keeping the vibe sensual and dreamy. Amaarae’s high-pitched voice swims naturally against the quick, yet soft production as she blows through the many different girls and their signs trying to find the right one for her. It takes the fun of finding compatibility with a partner’s star sign while also throwing some lighthearted jabs at the most incompatible signs. They’re fun for the night, but long term it could never work. It’s clever how in the chorus she goes through the different elements of each sign and ultimately concludes that she needs an air sign to make it last. Not to shoot my shot but I am an air sign myself. It’s fun, sexy, and incredibly easy to dance to regardless of whether you believe in astrology or not.
63. Jason Isbell & The 400 Unit - “Save The World”
Weathervanes has a lot of really dire, anxious moments where Jason Isbell finds himself on the brink of instability. A lot of it has to do with the outside world and how increasingly scary it is for his daughter. “Save The World” in particular is about the increase in mass shootings and how it’s becoming normalized in the United States. There’s so much fear and anxiety in Isbell’s voice, to the point where even in the grocery store he’s looking for exits. I love the second verse where Isbell gets a compliment from a stranger about how lovely his child is, but Isbell is too scared to even speak. What will happen if she becomes a victim of an increasingly hostile country? That’s what makes the chorus so powerful to me. A plea to future generations that they’ll make the world a better place, even if Isbell grows old, cynical, and completely lost to his paranoia. He wants to believe that the kids will be alright, but that uncertainty is what’s killing him. In the decade of the pandemic, it’s hard not to feel that same anxiety. I appreciate that a song can be this open about not just a fear of the future, but knowing that they’re no longer in control of what happens. It’s up to the newer generations now. We can only hope they can save the world.
62. Junior H - “MILES DE ROSAS”
I’ve mentioned earlier that regional Mexican music, especially those in the corridos tumbados camp, doesn’t tend to rely on hooks or variety in their music. I don’t object to this, of course, as there’s plenty of uniqueness you can find in the way the songs are performed, their subject matter, and how they play with their eclectic selection of instruments. “MILES DE ROSAS” is my default choice to show how truly inventive and incredible that hidden talent can be. The guitars on this song are strummed in a darker tone, riding along the bass and the echoes of Junior H’s heartbroken croon. I’ve never heard a song sound the way “MILES DE ROSAS” does. It’s like a slow, ominous boat ride through a bed of roses under the moonlight. The lyrics are romantic, yet aching with heartbreak and yearning. It’s that perfect middle ground between melancholy, infatuation, and sadness that just leaves you stewing in your feelings. You can’t get this kind of texture anywhere else. I love just putting this on during late nights when I’m tired, maybe a bit stuck on a feeling. Completely and utterly hypnotic.
61. Ed Sheeran - “Dusty”
I called this my favorite song on Subtract in my review, and by the end of the year, that stood true. It’s a steady song where Ed wakes up in the morning and spends the day with his daughter. He spins his favorite Dusty Springfield record for her and watches her fall in love with the music as he did the first time he heard it. What makes this such a beautiful song is knowing that this comes after a rough night of grief. By this point, Ed has lost his best friend, he’s uncertain about the future of his wife and second child, and the lawsuit is weighing heavy on his mind… all of that is a lot for one person to take in. But this little moment between him and his daughter, the gorgeous scenery of a stale winter day, the sun bursting through the window, the smile on his daughter’s face… It’s such a small little moment, but it means the world to Ed. This is what Ed Sheeran is best at that I never see acknowledged. His ability to take small, human moments, and make them feel like the most important moment of your life. The bridge to this song really takes to this as it builds into this bigger, cavernous, almost ascendant beat that swells around you and warms the room. It’s euphoria in its most subtle, quiet form.
60. Aidan Canfield - “Seein’ Straight”
Aidan Canfield is probably the smallest artist on any of my lists this year, but if you’ve heard any song of his, even by happenstance, it was probably this one. What I like about Adian Canfield in comparison to his “raspy-voiced indie musicians following in Zach Bryan’s footsteps” contemporaries is that he has an incredibly good ear for hooks. “Seein’ Straight” is an angry, bitter song about fighting through depression and repeatedly losing. The way his band delivers on this fierce, marching melody with hints of harmonica and electric guitar keeps the song moving forward. All the while, Aidan delivers that haggard, fed-up snarl that shows not just frustration with his burdened mind, but desperation to break out of it. To me, it’s most evident in my favorite part of the song, the bridge. The sharp strums that abruptly start and stop let Aidan’s voice become the star of the show. He puts his all into his performance, and it either motivates you to get the hell out of that hole, or you sing along to your own sense of frustrated bitterness.
59. Chappell Roan - “After Midnight”
An important part of Chappell Roan’s backstory is her need to break out of the heteronormative, conservative traditions she grew up with. It’s most evident in her breakout hit “Pink Pony Club”, which directly references how finding true freedom ultimately betrays her family and hometown’s values in a possibly irreparable way. That song is fantastic, but I can’t help but be drawn to the lower stakes, but still freeing “After Midnight”. An incredibly slick disco bass groove set to the vibrant, carefree vibe of the club. This song more casually references how her mother wouldn’t approve of how she acts in the club, all promiscuous and more than a little freaky. My favorite lines are when she gets the urge to make out with someone’s girlfriend OR boyfriend. Doesn’t have to mean anything, she’s just getting lost in the vibes. That kind of queer liberation is really important for a lot of people coming out of their shell. To break out of the shackles of the shit you’ve internalized and just live your fucking life, fuck the consequences. I can’t lie, this hit a particularly vulnerable spot for me as I’ve had my own moments of queer liberation that would go against a lot of people’s perception of me if they knew me growing up. I just hope they realized these moments are the happiest of a young queer person’s life.
58. 100 gecs - “I Got My Tooth Removed”
I’m not gonna front, I did not get 100 gecs when they were first popping off. I just did not understand why this abrasive, obnoxious, sloppy garbage was appealing to anyone for any other reason than to be different. I snapped out of that mentality relatively quickly, and that was mostly thanks to their ska banger “stupid horse” suddenly becoming my obsession for a few months. I never got to put that song on a list like this, so I see including “I Got My Tooth Removed” as penance for that. Starting unassuming with a slow, aching ballad about a bothersome tooth, only to immediately break into this chaotic blast of horns, ska rhythms, and the emphatic shouts of “I GOT MY TOOTH REMOVED!!”. This song is stupid. A lot of 10,000 gecs is, but the lengths this song especially goes to over the constant, painful fiddling with a toothache is so excessive and unnecessary, it wraps around to being truly brilliant. I know that feeling of being too irritated and impatient with trying to get something out or get something fixed, and the constant ramping chaos of this song is exactly what plays in my head. You could call it ironic, but Dylan’s autotuned wailing and overt sadness over having to get that tooth removed is too honest and real to just write off as a joke. This is a real funeral song for a tooth long since removed. Godspeed you magnificent bastard.
57. Post Malone - “Mourning”
You’re gonna be surprised to see just how much Post Malone I have on this list. The fact that “Mourning” is the lowest of the FOUR Post Malone songs I have on here should tell you just how much he knocked it out of the park this year. An exhausted, sluggish, hungover morning anthem where every ray of light beaming on your face is the most irritating thing in the world right now. There’s a lot of jaded bitterness in the song, living through the Hollywood lifestyle and just not enjoying it whatsoever. Your friends are fake, you get shot down, you drink so much alcohol to numb the pain, and every day you just wake up like you’re mourning your own life. Unlike most hangovers though, there’s a hypnotic bliss to this song that’s so alluring to me. This is one of the best blends of pop and trap I’ve ever heard in a song, keeping the brittle hi-hats skittering but enough shimmer in the guitars and echoes in Post’s voice that you can still sing along to it. I guess it matches the hypocrisy of the song, complaining about this shitty lifestyle but still going through with it every time. “Paid a little too much for the time of my life” is such a powerful image. You’re living the greatest day of your life over and over again. It was great at one point, now it just feels like waking up every morning.
56. Gretta Ray - “Nobody Here”
Break-up songs aren’t unique, it’s the scene you paint that makes it so. I heard this song off of a recommendation from a friend, and on first listen I was completely awe-struck. The phenomenal fluttering guitar against the soft ambiance of the pianos and pounding timpanis was one thing, but hearing Gretta Ray describe the specific scene of going to a party to find someone to mend your broken heart, yet all you can find are boring people who never live up to your expectations is a painfully real sentiment. Your expectations are already so high, that these people have no chance of filling the hole left in your heart. So you go home alone because nobody there is him. It’s such a simple image, but the scope of this song is what grips me. The constant reverb throughout the song, the pounding of the drums sounding like heartbeats, Gretta Ray’s breathless delivery and cadence. The whole thing is suffocating, just like the party that offers no respite from your heartbreak. When it all comes back in the chorus, especially as the frantic strings get louder and louder, the whole thing coalescing into that final chorus only to suddenly quiet down on the final word, it makes my heart stop. A phenomenal work in pop craftsmanship.
55. Jason Isbell & The 400 Unit - “Death Wish”
CW: Themes of suicidal depression
I’m a little shocked that Jason Isbell chose “Death Wish” as his lead-off single, but in retrospect, maybe it’s not that surprising. It’s not a secret that he and his wife Amanda Shires have had a lot of hurdles in their marriage over the past couple of years, but this is probably the most dire that the stakes have gotten. “Did you ever love a woman with a death wish?”. Just off that first line alone, you know what’s going on. The fear of your life partner, the person you swore your life to, is on the brink of breaking her limit. The eerie stream of guitars, plinking piano, and increasing percussion ramps up slowly but surely throughout the song, as Isbell desperately wants to reach out to his partner and console her. Try to convince her not to go through with it and that life is worth living, but at some point, you realize you’ve done all you can. That last part is particularly gutting to me. I’ve had to talk down a lot of friends before, and while you can offer up your kindest words and utmost support, there’s a point you reach where the decision is no longer yours. It never was. And watching your words bounce off of them like nothing is horrifying. This song captures that creeping anxiety. Especially by the end when all the production has arrived at its hurricane of strings, guitars, and clapping percussion. Jason Isbell is pleading over and over again, “I wanna hold her until it’s over”. It’s scary how much this song just creeps up on you. One of the most devastating depictions of having a relationship with someone suicidal I have ever seen.
54. Luke Combs - “Joe”
Luke Combs is no stranger to drinking songs. Hell, my favorite song of this before this year was “1, 2 Many”, an anthem to getting wasted at the bar and having the time of your life. But Luke is smart enough to know that alcohol can lead to addiction and that addiction isn’t nearly as glamorous as the good times on songs like “1, 2 Many” or “Beer Never Broke My Heart”. Which is why he made “Joe”, a lovely ode to those who stay sober and don’t have a beer to raise at his concerts. There’s no shame directed at those who choose to stay sober, especially as he knows that some could be violent and awful when they’re drunk. So staying on that sober path, keeping yourself out of trouble, and keeping yourself happy, is one of the bravest things you can do. Behind the expectedly excellent traditional production lies a story of living a good life on the path to recovery. The struggles don’t end, and some don’t like talking about their worst stories with others out of shame or fear, but no matter what, everyone has their stories, and it’s important to treat them with respect and love. Everyone is welcome in Luke’s eyes, and that’s what makes a song like this so beautiful. It shows the extent of Luke’s empathy and care in a way that I rarely hear from other country artists, mainstream or not.
53. Jessie Ware - “Freak Me Now”
NOTE: There is a very good remix with Róisín Murphy that has a video, but I elected not to share it as Róisín was outed as a TERF.
It’s too fucking easy. It’s too fucking easy to make me love a disco throwback as clean and fun as this. I literally heard this playing at a bar I stopped by at once and it gave me the biggest smile on my face. What do you even want me to say? Just listen to this! Listen to the bright, bubbly guitar, string accents, and sparkling synths swirl around you in a perfect storm of phenomenal disco vibes! Listen to the amount of energy and enthusiasm in Jessie Ware’s voice. Her quick, tappity flow on the chorus is so infectious, inviting you to the dance floor so you can be your nastiest, most liberated self. Songs like this are the hardest to review properly because so much of my enjoyment comes from that raw, immediate joy receptor that blares in my head whenever the song plays. Why explain to you why this song is so great when I can just listen to it and you can watch me dance along like an idiot?
52. Carin Leon & Grupo Frontera - “Que Vuelvas”
As much as I grew up with Mexican music from my parents’ adolescence, I didn’t exactly grow up with the Mexican music that’s gotten popular this year. My parents don’t like corrido music at all, and cumbia walks a bit of a thin line between Mariachi and pure banda that’s more class-based than I think some expect. But “Que Vuelvas” took me back immediately to the kind of music I would hear when I was in Mexico or whatever would come up in my parent’s playlist. I love the prominent accordion lead against the relaxed conga beat and gentle strum of guitars, playing over Carin Leon’s experienced, crooning voice and the communal synergy that Grupo Frontera always brings to the table. The band plays so wonderfully with each other, letting the accordion really let loose with its stringy melodies and passionate yearning. Carin Leon is such a natural fit for Grupo Frontera’s style too, desperately aching for their girl to come back and love them again. This is one of my favorite choruses in Mexican music all year, one that’s so filled with the romantic, melodramatic passion that is true in every Mexican song, regardless of region. It’s a serenade in the truest sense of the word.
51. NewJeans - “OMG”
You could probably argue that this is a 2022 song and not 2023, but it didn’t start taking off in the States (where I live) until earlier this year. And as such, this was probably my first-ever contender for this list! It’s the most simple of the initial NewJeans breakout hits, mostly following the typical pop structure with some skittering trap hi-hats, but I found myself most drawn to this song and its lovestruck, quick-footed energy. It’s got one hell of a catchy hook but never loses sight of what makes NewJeans so unique in the K-pop sphere. I love how whenever one of the girls gets the lead, the rest of them have fun little background phrases that play off of the lead’s primary emotion. From the infatuated to the anxious, every little emotion feels amplified just through every girl making their little adlibs. I want to give huge props to the percussion too, which keeps the song moving in a skippy bounce. One minute you’re swaying to the steady chorus, next you’re tapping your feet to the quicker tempo change. Having cute little zippy synths helps too. This is one that just makes me smile. NewJeans always sounds like they’re having a blast with the music they are making, both vocally and production-wise. I’d love to see more K-pop girl acts follow in their footsteps.