75. Megan Thee Stallion — Girls in the Hood
After going viral with the hit ‘Savage’, followed by its chart topping, critically acclaimed remix with Queen Bey herself, Megan Thee Stallion found herself in the general public’s consciousness. The Houston rapper had finally been brought to the spotlight, and suddenly, the world was at attention. Two months later, she released her follow-up single, ‘Girls in the Hood’, and it was a worthy successor indeed. The track is a flipped narrative of Eazy-E’s ‘Boyz-n-the-Hood’. It samples the song itself, this time remixed with modernized trap percussion and heavy bass, but done so tastefully without losing the charm of the original’s very 80’s hip hop production. The song has a killer beat, and Megan’s bars are hard-hitting, funny, and full of bravado.
Megan flips the machismo and misogynoir narrative of the original, and the result is a female-empowered, sex-positive banger. She talks about taking some hating hoe’s man, reducing him to a side-piece that she will take to the mall with her, bring into the lingerie store (an often hated store for men to shop with their girls), but she refuses to call him “daddy,” lie about an orgasm that she didn’t have just to make him happy, or anything to feed their ego and make them feel more dominant. She details how she will make her man eat her out while watching anime, and even makes reference to the popular anime show Naruto (Megan has been very open about her love for anime).
Megan exudes confidence. She knows what she has and she knows how to flaunt it, but not in a way that looks like a fake display for attention, especially compared to many of her peers. Instead, she has a natural charisma and swagger that feels very real, as if she doesn’t have to try too hard to flaunt herself. There’s something oddly comforting about hearing Megan Thee Stallion talk sh*t; she’s kind of like an older sister who’s gassing you up and teaching you how to have the confidence to be That Bitch.
Despite not reaching the sales and popularity levels of ‘Savage’, ‘Girls in the Hood’ is one of Megan’s most universally loved songs. It is chock-full of witty one-liners, braggadocious bars, and it never loses the 80s gangsta rap charm. If you still haven’t listened, do yourself a favor and check it out. You’ll be singing “I’m a hot girl, I do hot shit” to yourself for days. — kevjc03
74. MARINA — Man’s World
‘Man’s World’ is a song of liberation: a rallying battle cry to right injustices and demolish the patriarchal strangleholds on women in society. A song where Marina righteously declares her freedom: “I don’t wanna liiiiiiive in Clean Bandit’s basement anymore!”
In all seriousness, it’s hard to jump into ‘Man’s World’ without first acknowledging its predecessor, Love + Fear. Call it what you want, (probably some combination of “funny negative word starting with L” + “funny negative word starting with F”) but it’s no secret Marina’s last album wasn’t received as one of her best. Many had claimed she had lost her touch, had sold out to make generic Spotify playlist music you wouldn’t even pay attention to during a car ride, took one too many Introduction to Psychology courses in between her flower arranging… the list of explanations for the album’s sparklessness goes on. Whatever the reason, the wittiness, character, and charming lyricism that epitomized Marina’s first 3 albums was sorely missed on Love + Fear, and the absence of such stuck out like a sore thumb. While I can appreciate the concepts she aimed for and enjoy the album for what it is, it easily felt like the music was written by (ironically) a robot trying to ascertain human emotion instead of by the Marina we knew and loved. For a personal “and the Diamonds-less” album about intrinsic human qualities, it was extremely detached, and the project was lackluster at best as a result.
So when Marina took to Twitter just 2 months after the album’s release announcing her search for an all-female team of artists, writers, and producers to create her next project, it couldn’t help but feel like “reverse Uno card” on the Love + Fear era. Hopefully, this past era was just a fluke for Marina and this was going to prove she never lost her touch. Right?!
Well, ‘Man’s World’ was what we got, and it served a much-needed return to form. In what is probably more inspired than the entirely of L+F, Marina taps into imagery from 18th century French painting and the Salem Witch Trials, shouts out the ecofeminism movement, challenges the idealism of masculinity in the form of the Sultan of Brunei and drags him for murdering gay men all within the first minute. The chorus is biting, the transition to the post chorus — an urging appeal to male listeners to consider the world from a woman’s point of view — is absolutely beautiful, and it all fucking bops. Marina’s embracement of inclusive femininity, evocation of it as divine and beautiful, and her simultaneously longing, scornful, and tongue-in-cheek address of the world’s structure as we know it results in a striking, shimmery, and overall stunning lead single.
The single cover can’t help but remind me of a “Wish you were here!” postcard, and goddamn it I wish I was there! ‘Man’s World’ is a kind reminder of the captivating Marina that fans fell in love with and a fantastic introduction to the new world she has prepared for us: the upcoming all-female created project that I absolutely cannot wait to hear. — TMB
73. Carly Rae Jepsen — Comeback (feat. Bleachers)
Carly Rae Jepsen first worked with Jack Antonoff on 2012 bonus track ‘Sweetie’, but it wasn’t until this year that we were treated to a proper vocal collaboration between the two. ‘Comeback’ may be easy to miss at the back end of outtake compilation Dedicated Side B, but it’s been a firm grower. It begins at a chilled-out pace which evolves into a groovier rhythm before an old-school fade-out into the night. On top of this, the lyrics capture the complex feelings of losing yourself in a love that keeps coming back, and deliberating over whether to make a “comeback/back to me”. The track isn’t anything too extravagant but, just as with her best pop bangers, this song is fun. There’s enough going on in its lyrics, production and performance to keep it interesting and worth listening to repeatedly.
Echoes of Dedicated closer ‘Real Love’ show up in its imagery (“All those travelling years/’Til we said our goodbye/And I show up to your place/You don’t even ask me why”). There’s no anthemic saxophone-charged chorus here, however, just bubbly summer-evening synths. Antonoff features under his solo project Bleachers, and while last year’s ‘Want You in My Room’ (also produced by him) showed how perfectly his blasts of nostalgic warmth could blend with Jepsen’s pop coolness, ‘Comeback’ tones it down while keeping what both artists do best. This is a track where Jepsen’s vocals and songwriting get to shine — pay attention and you’ll notice “I’m thinking ‘bout making a comeback” shift to “I’m thinking that maybe you’ll come back”. Subtlety is probably the defining feature of this track — Antonoff’s vocals could easily have been overpowering, but instead offer a little extra backing spice and act as a gentle compliment to Jepsen’s.
Dedicated Side B might not feature chart toppers or the no-holds-barred experimentation of hyperpop, but Comeback makes it clear how Jepsen maintains her cult popularity. Perhaps in a year when we’ve all been facing uncertainty, this song’s themes resonated and gave us a soothing sound to keep us going. — whizzer0
72. 100 gecs — hand crushed by a mallet (Remix) [feat. Fall Out Boy, Craig Owens, Nicole Dollanganger]
The most iconic 100 gecs songs are the ones which take a fistful of completely different ideas that should not make sense at all together, put them through a hyperpop blender and spit out something incomparable to anything you’ve heard before, or probably ever hear again. Mixing Patrick Stump’s huge deranged a capella vocals, Craig Owens over a wonky distorted guitar, Nicole Dollanganger on a creepy clicking trap beat, and a scream rivalling Phoebe Bridgers’ ‘I Know The End’ which gets chopped and distorted so much it pushes the boundaries of music, ‘Hand crushed by a mallet’’s remix turns what was already a uniquely weird song into the most fittingly manic song of an incredibly manic year. — wryn_
“100 gecs - hand crushed by a mallet (Remix) [feat. Fall Out Boy, Craig Owens, Nicole Dollanganger]”
71. Beyoncé — BLACK PARADE
In a summer of unrest, protest, and a distinct lack of justice and care for Black people, Beyoncé’s ‘BLACK PARADE’ offers a beautiful and anthemic salve for the soul. Coming at the tail end of the album THE GIFT, this song is almost the twin mirror for ‘Formation’, released in a similar way. It’s far from a simple song, full of complex layers and vocals that only Beyoncé could pull off. The chest-thumping bass and ethereal flutes, the echoing of the sampled vocals, the driving, fluid hi-hats give way to an angelic vocal from the Queen. It’s bombastic and cocky, but it’s also a solemn reminder of the work we still have to do. This is a song that is referential of gospel, trap, and many other genres. In other words, it isn’t out of place in her discography.
But BLACK PARADE is still special. After weeks and weeks of mourning and protesting, the release of this song in particular was a moment of explosive joy in the Black community. King Bey shows once again that she’s always got her community on her mind and her back. The references to art, ancestors, and prayer speak to the history of the Black community; the shout out to community legends like Malcom X and Curtis Mayfield, and a refusal to adhere to Euro-centric beauty ideals are all part of a greater message. The release of ‘BLACK IS KING’ showed once again that she is one of the greatest performers not just of this generation, but of all time. This is just one of the many reminders that she does all that she does with an adoration for her community.
The choice to release this song on June 19th was not an accident; June 19th is Juneteenth, which is a joyous holiday for Black Texans. It celebrates the freedom of enslaved people. This song dropped within the same time period as George Floyd and Breonna Taylor’s murders at the hands of the state, and the ensuing lack of justice in both cases. Many Black people took to the streets to protest on behalf of the fallen. The references to rubber bullets in a time when Black people were being blinded and permanently injured through police brutality is one that isn’t taken lightly. With lyrics that are endemic of protest chants and pleas for justice, she embraces her history and community, and calls for the Black community to embrace its culture, love, and care for each other. We are more than what violent oppressors think of us; we are the motherland, we have drip for days, we are Black.
As a Black woman from the Dirty South, I am always going to be protective of Beyoncé. I’m a proud card-carrying, merch owning member of The Hive. Hearing her reference us, knowing that while we irk her nerves, she knows we have her back, is something that I don’t think anybody truly understands. The love for Bey isn’t just simple fandom, she’s a symbol of resilience and community. ‘BLACK PARADE’ is just one of her many songs that makes me feel an unspeakable joy for my community. TL;DR? Listening to this song reminds me that ain’t nothing I’d rather be than Black. — plvstvcbvrds
70. HAIM — I Know Alone
One of the most curious HAIM songs of 2020 and maybe of their whole career is ‘I Know Alone’ which trades in their sunny guitars-and-harmonies LA disposition for something more bizarre and understated. The trio are maybe more chameleonic than people realise, of course, and a cursory look over some of their other songs (‘The Steps’, ‘Summer Girl’, ‘Now I’m In It’) actually does confirm it even if they make it sound totally natural, the disparate stylistic choices unified by sisterly collaboration. So once the shock of HAIM doing Miami bass via UK garage via Baths wears off, you realise they actually do it very well indeed. — Rai
69. Grimes — 4 ÆM
Grimes is a solo project. This is something that Claire Boucher has made very clear over the years. She writes, sings, and produces every track on her albums by herself. Hell, she even does most of her own mixing/engineering for this stuff. Everything she releases on her albums she considers to be pretty much entirely made by her, with maybe a feature or two included.
That changed with two songs on Miss Anthropocene. The first was ‘Violence’, a collaboration with the late i_o that wasn’t initially intended for Miss Anthropocene, but is very strong in its own right.
The second is ‘4AEM’.
‘4AEM’ samples the song Deewani Mastani from the Bollywood film Bajirao Mastani, supposedly one of Boucher’s favorite films. The track was one of the first written for the album and, I’d argue, one of the best/most distinctive.
Supposedly the intent with the song was to make a “sci-fi version” of the Deewani Mastani song, and I think this does that well. Despite the relatively small use of the sample (the only part used, to my knowledge, is melody of the “na-na-na-na” bit), the ethereal feeling of that song is retained throughout ‘4AEM’.
But unlike the original track, this song is very much electronic, pretty left of center, and deeply Grimes. The propulsive drums in the chorus are probably my favorite part of the track, although I don’t think there’s a second I don’t love. Grimes has said on many occasions that she hates singing and recording vocals, but I don’t think anyone else could sing for the track. Her almost twee, elven vocals make the song feel that much more sinister and delightful.
This is an excellent example of how to use a sample. Despite the fact that the song was initially created as some kind of futuristic update to the original song, you get something completely different and unique from ‘4AEM’. This is, in my mind, one of the most unique, well-produced, and yes, best songs of 2020 (well, December 2019, but I discovered it in 2020, so who’s counting?). — akanewasright
68. Phoebe Bridgers — Chinese Satellite
‘Chinese Satellite’ starts out not with a bang, but with a deep thrumming. The thrumming recalls sounds associated with aliens from countless science fiction movies through the lens of an indie pop sensibility. This is especially appropriate for a song that is largely about the feeling of being stuck in your head and wishing you could be anywhere else.
‘Chinese Satellite’ takes place in Phoebe’s head, as she takes a walk late at night, and looks up at the stars. She spends the length of the song detailing her feelings of longing to be in someone else’s head for a while. This is shown not through lyrics clearly about her experiences with depression but through the common threads between the thoughts constantly running through her head. She wishes she could have been the person to write the songs she’s currently listening to. She wishes she could be abducted by aliens. She wishes she could see a star to wish on, but is left only with a “Chinese satellite”.
Which brings us to the other major theme of the song, “belief.” Intertwined with lyrics about her depression is a story about seeing her ex scream at some evangelical Christians. While she sympathizes with the anger, Phoebe also notes that she would be willing to join that same group if it meant that she could go to heaven with that ex. Phoebe wishes that she could join a community, whether it be those evangelicals, or aliens, who take her to “where I’m from.” The two major themes of the song, longing and belief, are intertwined to form a portrait of intense loneliness. All in the course of Phoebe’s nighttime walk.
It should be noted, however, that with due respect to the lyricism, the real star of ‘Chinese Satellite’ is the production. In a nod to the outerspace motif that permeates much of the song, there is an almost omnipresent echo of Phoebe’s already sometimes eerie voice. This is kicked up a notch on lines like when she says “it’s just a matter of time before I’m hearing things.” A personal favorite moment as well is when the song leaves the present and enters the evangelical memory in the second verse, and that is shown by the drums coming in. Not only does that moment have symbolic meaning, but it also really helps the song’s momentum.
Overall, ‘Chinese Satellite’ is, for me, one of the standouts of Punisher not just because of the quality of lyricism, but for its dreamlike, slightly ominous, depiction of dissociation and depressive loneliness. It turns a nighttime walk into an eerie meditation. — AcidBettyNeedsASpank
67. ITZY — WANNABE
JYP Entertainment’s latest girl group, ITZY, started the year strong by releasing the lead single of their mini-album It’z Me, ‘Wannabe’.
If you’re familiar with the group’s sound, you’ll notice that the track isn’t breaking any new ground for them, as it’s built very similarly to their debut single, ‘Dalla Dalla’, a bass-heavy, abrasive song with a bright, chantlike chorus. Even so, ‘Wannabe’ differentiates itself by turning every knob to the maximum.
On first listen, the song can be pretty jarring, as it sounds like an action movie trailer, with sounds effects sprinkled all over it, from the toy piano and clock intro to the voice screaming “ACTION!” at the beginning of the second verse, which will take most listeners aback, however, like most K-Pop singles, the visual element is fundamental to get a full picture as to why it sounds like this. This is a track that was clearly built around the choreography, making sure that every production element emphasizes the members’ perfectly synchronized dancing. The first verse and the bridge breakdown are two instances where the performance enhances the overall experience of the song, and the group’s high energy builds up excitement to the overpowering chorus, making the “I don’t wanna be somebody, just wanna be me” hook hit even harder.
ITZY doesn’t seem interested in stopping releasing songs that sound like cheer anthems, but as they keep on filling up their discography with Demi Lovato-core confidence boosters, I’m pretty sure Wannabe will stand out, because with its maximalist instrumental, extremely catchy chorus, and some of the best dancing from a current K-pop group, there’s no way it doesn’t catch your full attention. — rickikardashian
66. The Chicks — Sleep at Night
Do y’all remember that week or so that this subreddit was super stoked for The Chicks’ comeback? There was a lot of earnest excitment over Gaslighter, mostly fueled by Jack Antonoff being on board and the girl group’s reputation of being that one country act that dragged Bush in 2003. While it was nice to observe that fervor over a group that absolutely deserved it, that all noticeably trailed off as their album cycle wore on. This wasn’t contained to just Popheads though, and I think the biggest issue was best represented by their Pitchfork review that bemoaned how their album was not the political statement that we wanted and, to a degree, needed in 2020 — and indeed, there were politically flaccid moments on the album like ‘March March’ that made that criticism valid. But the album as a whole was not concerned with politics; it was concerned with divorce, specifically that of lead singer Natalie Maines, and with exploring the various emotions and pains that that uncoupling entailed. So while Gaslighter’s title track could be retconned into a political statement about how Trump was bad and stuff, the same couldn’t be done for much of the actual album, and when you throw in veritable country stylings instead of the typical Jack Antonoffing that people still cream over, people are going to tune out.
‘Sleep at Night’ is one such divorce anthem, but as it starts off, you wouldn’t think it’s wielding any particularly deadly subject matter. It sounds a bit hokey, almost humorous, with a twiddling banjo and upbeat percussion undergirding Maines as she describes her situation: “My husband’s girlfriend’s husband just called me up — how messed up is that?” It’d be a funny situation to her if she weren’t living through it, and if her children weren’t also entrapped in this tangled web, and so when the chorus comes over, that hokey facade is washed away with an orchestral swell that reveals pure agony hiding underneath. ‘Sleep at Night’ comes after the tears and fights and separations and everything has been undergone, only leaving one final question: How can you live with yourself after doing all of that? It’s a question born half out of despair, half out of incredulity, and completely out of visceral pain, and the way Maines bellows it out remains one of the most emotional moments of not just the album, but of the whole year. — letsallpoo
65. Bad Bunny — Safaera
‘Safaera’, featuring reggaetón legends Jowell y Randy and Ñengo Flow off of Bad Bunny’s second studio album YHLQMDLG, is a musical epic dedicated to the history of reggaetón and Benito’s influences. Throughout the song, you can hear all three reggaetón stars sing about drugs, sex, and partying (“si dio’ lo permite”, of course).
But what sets ‘Safaera’ apart from the rest is the fact that it interprolates several reggaeton classics — such as the “lalalala”s sung by Randy Nota Loca interpolating their 2011 collaboration ‘Perréame’ with Wisin y Yandel, or Ñengo Flow interpolating the late Blanco Flake’s “choca con bicho, bicho con nalgas” lines from ‘The Noise Live (El Comienzo)’ and the “porque está’ bien buena” lines from ‘Tírame el ritmo’ — and samples several hits spanning across several genres — such as the drums from DJ Nelson & DJ Goldy’s 1999 track ‘Sueños Mojados’, or the guitar line from Missy Elliot’s 2001 hit “Get Ur Freak On”. Produced by DJ Orma, known for his impeccable tour live mixes, and frequent Bad Bunny collaborator Tainy, known for being a contemporary genre producer giant, these musical references date back over several decades providing some nostalgia and celebration of reggaetón and perreo culture. A pure celebration of the genre, mixing the best of studio recordings and live shows, is what becomes of these two giants working together.
Spanning at nearly five minutes long, the song packs a mighty punch with full force too. And while its length may be daunting, the song feels insanely replayable as it keeps your attention with several tempo, key, and beat switches throughout. This song is, as Pitchfork put it quite simply, “equal parts reggaetón symphony and perreo megamix [… and] a technical masterpiece” for the ages. ‘Safaera’ manages to feel fresh yet timeless, all without being dated, over-the-top, or as if it’s trying too hard.
As a final note before I close this out, in Bad Bunny’s verse he sings this:
“Si tu novio no te mama el culo
Pa’ eso que no mame”
“If your boyfriend doesn’t eat your ass
He better fuck off”
and all I have to say is.. thank you for spreading the gospel, Benito.
— frogaranaman
64. Troye Sivan — IN A DREAM
Aptly titled, ‘IN A DREAM’ gives the listener a feeling that is timeless, yet encapsulates the emotional toll that 2020 has taken; evoking an existential atmosphere of uncertainty and longing, wrapped in swirling, synth-pop package. Titling the accompanying EP, this track captures the weariness of a world at the end of its rope, with the lyrics “there’s only so much I can give” as the tagline of this tumultuous year. Sivan evokes sincere nostalgia, bringing the elder millennials back to simpler days of being able to escape bad news without seeing it everywhere. ‘IN A DREAM’ feels like an homage to the youth in all of us, with lyrics that underscore the difficulty of trying to find what you need in spite of what you want, and looking towards a hopeful future despite the unknown. Sivan lays his heart and all his cards on the table, alongside 80’s inspired production that is energetic and warm, yet blurry, as if you’re trying to dance through the tears. In this track and the corresponding EP, Sivan has composed a perfect marriage of a mature sound and a youthful air, taking the listener to the past, present, and future. — endcreditouilles
63. Niall Horan — Heartbreak Weather
‘Heartbreak Weather’ is one of the most charming songs of 2020. The song is full of Niall reminiscing about the begins of a relationship and looking back at the troubles he had before she was into his life. It’s another 80s throwback song, but it’s not by Jack Antonoff, so people can’t complain about his reductive producing. Plus, it sounds really good! It wakes you up with synths as Niall wakes up to the realization of how smitten he is with this girl. Its got lyrics that remind me of a boyfriend writing a quick song for his girlfriend on Valentine’s Day, and it’s got me blushing along with her. The final part of the bridge when he just shouts “but it feels different, when you’re with me,” and the guitars come in is one of my favorite 10 seconds of music of the whole year. In another timeline where this song got proper promotion… it honestly most likely would’ve only peaked at 65 and lasted 3 weeks on the hot 100, but then I could say that this song was the monster hit that we deserved to get. — ImADudeDuh
62. Billie Eilish — my future
Although she had been making music for a few years, in 2019 Billie Eilish took the world by storm with the release of her debut studio album When We All Fall Asleep, Where Do We Go? Add to that a number one hit with ‘Bad Guy’ and her sweeping the Grammys, and it was clear that Billie Eilish was going to be one of the biggest pop stars of the start of the new decade. And this year she released ‘My Future’, one of her most personal and introspective songs yet, a far cry from singing about seducing your dad. In the song, Billie personifies her own future, singing “I’m in love with my future, can’t wait to meet her,” asserting her eagerness to see what the future holds. She grapples with what it means to be alone, with the lyric “know I’m supposed to be unhappy without someone, but aren’t I someone?” boldly asserting that she only needs herself to be happy, which she’s struggled with growing up. And it’s a lesson with much more relevance this year, as quarantine has affected all of us leaving many of us isolated and lonely. The song manages to be uplifting and hopeful without feeling too preachy or cheesy, and instead feels calm and reassuring.
Of course, while the lyrics and Billie’s performance are fantastic, the reason why the song works so well has just as much to do with Billie’s brother Finneas, who co-wrote with Billie and produced the track. The first half of the song uses soft lush chords on a keyboard creating a calming atmosphere, and after the first chorus, a beat kicks in, giving the song a pulse and a more optimistic feel. And unlike a typical pop song, Finneas uses a wide variety of jazz style chords throughout the song, far beyond a typical four chord progression one might expect. It’s another win for the Finneas-Billie duo that we’ve come to know and love. We may not know what’s in the future for Billie Eilish, but let’s hope it includes putting out more songs as great as this. — jsonphile
61. TWICE — I Can’t Stop Me
60. Conan Gray — Wish You Were Sober
59. Hayley Williams — Simmer
Somewhere in a warehouse sits a crate of dusty records, untouched and unloved, remembered only as a quirky fun fact or a marketing gimmick: for some time this was the fate of solo albums — a quick ploy for more money or to promote the band’s ‘proper’ album. Not for Hayley Williams. Hayley Williams has an agenda, a vision and a passion — and she’s damn well going to get it across. Across the diverse project Petals For Armor, from the glam-pop of ‘Sugar On The Rim’ to the defeated balladry of ‘Why We Ever’, opener and lead single ‘Simmer’ stands as a powerful thesis statement. Effortlessly poetic at times, gut-wrenchingly blunt at others, Williams’ narrative is contextualised by tumultuous yet hopeful lyrics that are both a surprise to the Paramore fan and an obvious and satisfying progression from the similar concepts displayed in After Laughter. As is typical of a debut solo single, the track is deeply personal, almost voyeuristic, and although the song is a product of Williams’ high-profile divorce this is not a song about someone else: this is Hayley Williams’ exhibitionistic vision, her side of the story.
Musically, the song is much darker than many fans expected — a U-turn used to a thrilling effect. Wails of distortion, gasps for air and airy synths give the claustrophobic production a sense of uneasiness and menace, a perfect complement to its far from jovial lyrics. But this is Hayley Williams — a woman whose impeccable songwriting could make anything catchy — and so by adding some gritty guitars and hammering drums she injects an exciting and energetic burst of pop into the otherwise shuddering, motion sick track. Placing this track at the forefront of Petals For Armor (and her solo career as a whole!) both sequentially and chronologically is a deliberate yet daring decision. This is no ‘Cinnamon’ or ‘Over Yet’ — the track’s rejection of conformity to pop sensibilities along with its thinly-veiled traumatic lyrics beckon it away from karaoke bars and into careful, almost analytical, reflection. The track’s single f-bomb is used to a jolting effect, an electrifying blow of passion very scarce in today’s expletive-dominated lyricism.
But beneath the pain of ‘Simmer’ lurks something oddly triumphant. There are “so many ways to give in”, and yet, Williams has not faltered. In fact, she’s just getting started — being the first song from her first solo album and the first of her tracks to deal with her pain so bluntly, this feels less like Hayley falling to her knees as first implied and more of a victory lap for things to come. The song’s bridge begins her world-building, both musically as it sets the scene for the album to follow, and more tangibly as she describes, in poetry and avant-garde beauty, her newfound coping mechanisms. Despite the daunting and sombre texture of the track, this is not an out-of-breath pant but rather a big breath in before facing the world, and much like the driving and relentless bassline, Hayley will push on.
‘Simmer’ is not a Paramore song. But ‘Simmer’ couldn’t be performed by anyone other than the Hayley Williams we know and love. It’s clear that Petals For Armor couldn’t be further from the nine-or-ten-track manufactured gimmick of the stereotypical solo album; from ‘Simmer’’s haunting and ethereal music video to its unpolished, genre-mutilating sound palette, you couldn’t see this as anything other than a labour of love. Mirroring (but never derivative of) the spluttering guitars of Phoebe Bridgers, and the blunt wit of Fiona Apple and the pop harmony of Kate Bush, critic darling ‘Simmer’ might just be the best solo debut since Bjork’s ‘Human Behaviour’. — LuisNHewitt
58. Róisín Murphy — Murphy’s Law
The first thing that brings attention in ‘Murphy’s Law’ is its very name. Róisín Murphy is definitely someone who works under her own laws. Much was said about the 2020 disco revival, but for her it feels like it never left, and the house disco of this track feels like a natural extension of what she’s already been doing her whole career. But it’s the old saying, “Anything that can go wrong will go wrong”, that is front and center. When the single was released in February, the lyrics “But I won’t be a prisoner, locked up in this house” didn’t hit the same way they do now, did they? Be it an awkward encounter with an ex in a small town, doing our day to day routines, or just going out dancing, there is much we all lost in this catastrophic example of Murphy’s law showing us just how wrong things can go. But maybe the first meaning is not totally lost yet. Put on the song in a moment of privacy (check out the Cosmodelica Remix too, and don’t dare listen to the shorter edited version), dance your ass off, and you can get just short of 8 minutes of Róisín’s Law: Our stories are still untold. — lucazm
57. BLACKPINK — Lovesick Girls
One of the most anticipated K-Pop releases of the year, ‘Lovesick Girls’ is the third single and “title track” of BLACKPINK’s first full length album. While one of the tried-and-true criticisms of “the world’s biggest girl group” has been their formulaic song structure (not an entirely inaccurate observation considering their perennial use of beat drops, instrumental choruses and onomatopoeia), ‘Lovesick Girls’ instead powers into a refreshingly off-trend, yet chaotic existence on the strengths of pop-punk acoustic guitar riffs and a shimmering, chanting, dance-pop chorus that harkens back to the high energy teen crush hits of the early 2000s. All this wrapped up in an effervescently looping electro beat and all the hallmark frills of producer Teddy Park’s indelibly slick hip-hop-infused EDM production, make ‘Lovesick Girls’ a sugary confection that begs to be devoured over and over again.
Lyrically, the four girls harmonize through a hazy, neon-tinted lament, exploring sentiments of heartbreak, loneliness and the bleak foreboding of a doomed love. The execution and imagery is simple but clever, managing to evoke the innocence and melodrama of high school romances gone wrong, while bearing a certain timeless wisdom and relatability that speaks to romantics of all ages. Combined with polished choreography and high-fashion 80’s ensembles, the music video creates a juxtaposition of ideas that appear, at once, both fresh and young, while also wistful and nostalgic. ‘Lovesick Girls’, may be far from BLACKPINK’s most iconic record, but it’s become a cornerstone of their discography and perhaps their most coolly immersive yet. — Default_Dragon
56. Billie Eilish — Therefore I Am
In the beginning of 2020, Billie Eilish seemed to have it all — in January, she was announced as the singer of the title track for the next James Bond film, joining the likes of Adele, Louis Armstrong, and Carly Simon, among numerous other legendary artists (Madonna! Paul McCartney and Wings! Shirley Bassey!). In February, she swept the major categories at the Grammys with her debut album, walking away with Best New Artist, Record of the Year, Song of the Year, and the coveted Album of the Year, though not without controversy.
And then, March. For a young woman who has had little rest since she had her first licks of popularity three years ago, the emptiness of the year must have been deafening. In the fourth interview in her yearly series with Vanity Fair, she admonishes herself for wanting a break, for letting the monkey’s paw curl too tightly.
After the relentlessness of 2019, Billie only ended up releasing three songs in 2020, one of which is the aforementioned Bond theme, ‘No Time to Die’. ‘Therefore I Am’ is the last of these songs, and is tonally very different from her mid year release, my future, a melancholic Billie ballad. Therefore I Am is purpose-built for TikToks and shouting the chorus, like her biggest hit to day, ‘Bad Guy’.
With its title and chorus taken from the philosopher René Descartes’ ‘cogito, ergo sum’, the philosophical nature of ‘Therefore I Am’ is hidden beneath aggressive lyrics and production to match, but its there. Billie admonishes an unnamed individual who ‘thinks they’re the man’ — or perhaps, all of us, myopically referencing her fame and the impossibility of being truly known when so many people know your name.
‘Therefore I Am’ is a perfect introduction to Eilish and her music, with the same shallow-deep teenage sensibilities and strange production as the rest of her output. —(Anonymous Contributor)
55. Victoria Monét — Experience (feat. Khalid & SG Lewis)
You’d be forgiven for thinking ‘Experience’ is purely a feel-good piece of disco-infused pop. Between SG Lewis’ shimmering production, Victoria Monét’s sultry delivery and Khalid’s smooth crooning it hits all the right spots, bubbling with an infectious energy that warrants being packaged with glitter and rainbow lights. Read into the lyrics however and you get a rather different story. The vocalists take on the role of ex-lovers confronted by past failings that they look to escape; Victoria’s means of escape being distraction and Khalid’s being reconciliation. Despite their struggles there is an air of optimism in the refrain of “I’m hoping that experience can get you to change”. We’ll never know if their narrative finds a happy ending but there’s plenty of joy to be taken from this irresistible tune. — Travo
54. Hayley Williams — Dead Horse
It’s possible Hayley Williams’ Petals for Armor project wasn’t for everyone. If you’re a big Paramore fan, you likely won’t find anything familiar on the album; Hayley doesn’t sing like in Paramore, and the songs bare only passing resemblance to any of the subject matter the band has touched before.
But where cuts like ‘Simmer’ might feel a little downtrodden (though still great), one of the album’s best, most well-written tracks is ‘Dead Horse’. Hayley’s Blondie fandom is clearly audible in the instrumentation, but the lyrical perspective is distinctly hers.
For one thing, ‘Dead Horse’ is a deeply personal story of Hayley’s. It details how her longest relationship was started with an affair. But the song is distinguished from other cheating songs, not really ever glorifying or condemning the act. It merely states that, “this is what I’ve done, this is a part of me.” After dealing with the guilt of it for a decade or so, Hayley finally finds peace accepting that about herself.
Musically, the song is straight out of the 80’s but in a way not much like the other 80’s throwbacks dominating the pop music landscape. Instead of sounding like a-ha or The Talking Heads, it sounds like the aforementioned Blondie, or maybe even something like The Pretenders or No Doubt. It has a low-key but tropical sounding verse with a pulsing, half-chanted chorus. “I beat it like a dead horse, I beat it like a drum” sticks in your mind after as little as just one listen.
Like much of the album, ‘Dead Horse’ is a big “fuck you”. In this case it’s to ex-husband Chad Gilbert specifically, but it fits the greater theme of not just beating one’s self up over mistakes or shortcomings, and allowing the liberating feeling of self-forgiveness and righteous anger at the forces that’ve gaslighted you into unrelenting guilt. In other words, not beating yourself like a dead horse. Clearly Hayley’s done with all that, and she wears it just as well as any bright orange hairstyle. — gamedemon24
53. Mac Miller — Good News
I wish I could say that I was a big fan of Mac, and that I was on it right away when this song came out. That sadly isn’t the case, as for the start of the year, I was still very close-minded in what I listened to. No, the way I found out about this track was from Anthony Fantano, the internet’s busiest music nerd. He uploaded his reaction to hearing the song, and by the time the time lapse of his immediate emotions was over, he was already sobbing. That was the moment I decided that, perhaps, that was something worth listening to.
By the time the song was over, I had reached a similar reaction to the melon — emotions swirling up inside, as I tried to put to words what I was feeling. It was a beautiful tragedy, considering the context of it being the lead single to a posthumous album. Lines such as ‘Maybe I’ll lay down for a little, yeah //’Stead of always trying to figure everything out’ and ‘I’m running out of gas, hardly anything left // Hope I make it home from work // Well, so tired of being so tired’ put in a clear image of someone who had their struggles with mental health, but the further you got into the song, the bigger gut punch was there- how much it was costing on his mental health. That song sat at the back of my head for a while.
Then, the world fucking exploded. And I kept going back to this song.
As the months passed me by, I felt the abyss stare back, and more and more understanding- no, relating to the lyrics. And more and more with time, I grew fond of the other details of the song as well — the plucking instrumentals, Mac’s own vocals that sound both tired but almost complacent. He’s come to accept that, sadly, this is just the reality he lived in, even if he had hope that it’d change in the future. And that hope is the one I carried throughout the year, and still carry in this new one. — CrimsonROSET
52. Tkay Maidza — Shook
2020, for all its flaws, did one thing right — it gave attention to the upcoming talent of many female rappers that not only do hip-hop to the highest degree of quality, but can also take influence from whatever genre they please and do it extremely well. One of these artists that received critical acclaim and attention was Tkay Maidza, whose EP Last Year Was Weird, Vol. 2 topped the RYM EP charts for the year and made waves across Popheads. Perhaps best displaying Tkay’s talent and versatility is ‘Shook’, an electro-trap-pop-rap song that is equally a hard-hitting rap banger and an immensely catchy song filled to the brim with hooks. From the insane warbling bassline that backs the majority of the song to the stabs of synth that come in and out to the subtle descending plinks in the background, the song’s production is as infectious and bombastic as the lyrics and their fantastic delivery. Confidence and bad-bitch-energy is what ‘Shook’ displays absolutely perfectly in its lyrics, with the song’s title and its repetition in the chorus being a summation of that. She’s got ’em all shook, and she’s right — everything about this song shakes me to my core and I’m happy to say it immediately made me a fan. — hikkaru
51. Roddy Ricch — The Box
Mention ‘The Box’ and people will probably think of the “ee err” vocal sample. Slipped in by Roddy Ricch himself at the tail end of an overnight recording session, it’s catchy, fun, and so simple it’s almost unbelievable. But to focus on that alone would be to undersell the grandiose strings and synths underlying the vocals, the savvy production choices by producers Dat Boi Squeeze and 30 Roc, and Roddy’s own knack for writing clever, even funny bars. The accompanying music video, which debuted over a month after the song’s first #1, is just as infectiously fun as the song, and feels like a victory lap for Roddy: the cherry on top of a great moment in his career.
On a meta level, ‘The Box’ feels very modern. Its runaway chart success (taking Billboard’s #1 position for 11 weeks, a length of time that no other #1 even came close to this year) was spurred in part by the song going viral on TikTok and other social media (thanks again, “ee err”!) The fact that ‘The Box’ beat Justin Bieber’s ‘Yummy’ to #1 shows a vision of a future where a B-side can outperform a heavily promoted single from a major established artist through organic support and interest alone. — bigbigbee
Intro & Honorable Mentions | 100–76 | 75–51 | 50–26 | 25–1 | Full List | Stats & Numbers