Welcome to our Best of 2019 series, in which we explore the year’s best albums, songs and extended plays.
Music is flirty and thriving in 2019. The industry itself is a trash heap, just ask Taylor Swift. But the art continues to be the conduit to explore issues of love, loss, mental health, death and joy ⏤ a balance that is hard to achieve without sacrifice. Of course, the singers, songwriters and musicians give of themselves to move the needle of time and what songs can mean for surviving life as it stands this year. From folk to pop and R&B, songs are the bedrock foundation of our everyday lives, whether you commute to work and tune into the radio or go for a run with the latest playlist. Music and art is more accessible than ever, and songs are finding audiences in ways never before imagined.
Below, B-Sides & Badlands has hand-picked the 60 best songs of 2019.
Note from our EIC: I’ll be honest with you. Doing any kind of year-end list was the last thing on my mind this year. 2019 has sucked, quite frankly. There were so many fantastic releases, and I ran out of steam to review them all. So, here are a slew of honorable mentions – songs that I truly connected with and were on consistent loop throughout the year.
“The Devil Haunts You” by Suzy Callahan; “Resentment” by Kesha, Sturgill Simpson, Brian Wilson & Wrabel; “I Came for the Band (For Show)” by Lillie Mae; “Portrait of Your Life” by Kelly Hoppenjans; “We Were Rich” by Runaway June; “Bluebird” by Miranda Lambert; “L.O.V.E. Me” by Hayley Kiyoko; “The World Keeps Spinning” by Kalie Shorr; “Jersey on the Wall – I’m Just Asking” by Tenille Townes; “Fluids” by Michael Medrano; “Easy Love” by Leon Else; “Town by the Sea” by Simon Lunche; “Sad Boy” by Julian Daniel; “Put Me Back Together” by Caitlyn Smith; “When I Wasn’t Watching” by Mandy Moore; “Of Love and Life” by Caamp; “Happiness is a butterfly” by Lana Del Rey; “The Smoke and the Stars” by Jason Hawk Harris; “The Dress” by Emily Scott Robinson; “Cold Rain and Snow” by Stephen Artemis Jr; “Heal” by Allison Moorer; “No Way to Talk” by Hannah & Falco; “Bones” by the Bergamot; “Shakes (Falling in Love)” by the Magnettes; “Killed a Man” by Steel Blossoms; “I’m Not the Fire” by Michaela Anne; “Don’t Start Now” by Dua Lipa; “fake smile” by Ariana Grande; “After the Fall” by Matthew Pinder; “C’mon Utah!” by Shovels & Rope; and “All I Ever Wanted” by Dori Freeman.
CXLOE, “Devil You Don’t” (buy)
Genre: Pop
Album: TBD
Label: Independent
It’s not so easy to look the man in the mirror in the eyes. We all have demons and angels through which we portray a false sense of ourselves. The world only sees what we want them to see. Sometimes, that spills over into our cognitive ability to separate fantasy and reality. Dark-pop diviner CXLOE meets her match within her self, tearing away the facade she constructed inside her own brain, with her new song. It’s spooky and deliciously chilly, but that’s just her way. “Devil You Don’t” destroys each mental compartment like taking gasoline to a bonfire. “It’s hard to put your hands on a ghost,” she draws parallels of blurred reality to paranormal activity. Elusive and throbbing, it’s the kind of elixir that emanates a pungent odor and slime-green fluorescence. CXLOE simply cackles her truth and swallows down what is left. Bewitching! [Taste Test review] – Jason Scott
Aaron Taos, “Closure” (buy)
Genre: Pop
Album: TBD
Label: Independent
We all deserve a little closure in a breakup. Whatever form that might take, it’s all cathartic in the end. Pop charmer Aaron Taos drops to his knees to plead for redemption, an ounce of resolve as the scorching flames seek to consume him bit by bit. “Closure” refracts his heart’s beams, a filter that blurs the lines in his head, just so he can make it through the curling smoke clouds. “We had good times / But not good enough,” he confides, a moment of introspection than anything else. He screams his lungs out, metaphorically of course, but once the liquor coats his lips, his inhibitions fade away. “You act like a stranger / And I don’t blame ya / Until I’m drunk….,” he sings. And the song quickly escalates into a all-out brawl with the past, tearing away his chest and letting his heart finally speak its truth. [Taste Test review] – Jason Scott
Lizzo, “Tempo (feat. Missy Elliot)”
Genre: Pop
Album: Cuz I Love You (Buy)
Label: Nice Life / Atlantic
It’s been an explosive few months for Lizzo. After years of biding her time just to the side of the limelight, the Detroit-born trailblazer smacked 2019 on the ass and made it her bitch with the release of her first major-label album, Cuz I Love You. The LP, which was met with critical acclaim, has catapulted Lizzo into fame at lightning speed and solidified her as a household name. If my own father name checks you during Sunday dinner, you know you’ve made it. The album is brimming with genre-bending innovation and unabashed confidence, exemplified to a T on the self-love anthem, “Tempo” featuring the only logical choice, Missy freaking Elliot. Blazing electric guitars kick the track off with a warning: Lizzo is storming the dancefloor, and if you’re in her way, you won’t be for long. The body-positive movement has spread far and wide, but it’s still invigorating to see a woman embrace all of her curves without shame. “I’m a thick bitch, I need tempo…” she demands during the chorus. Lizzo may love you, but one thing is for damn sure – she loves herself even more. – Joe Kadish
A Great Big World, “Boys in the Street” (Buy)
Genre: Pop
Album: TBD
Label: Independent
Middle America has much to learn about compassion. As the world reels from near-daily tragedies, of splattered blood from senseless acts of violence, music operates as a healing agent for many of us. Known for their treacly ballad “Say Something,” the pop boys of A Great Big World heave out an astonishing performance of “Boys in the Street,” a Greg Holden original from 2015. Where Holden’s verse drives the lyrics like rusty nails into the earth, Ian Axel and Chad King polish up the melody with thumping gallops and the weepy tickle of ivories. But the bedrock of devastation rips through their composition just the same; you feel the misery swelling in their ribcages before it cracks as the song erupts into its emotionally-grueling climax. “My daddy’s dying, and he’s finally realized I’m not lying,” Axel unlocks his heart for a performance of a lifetime. And it’ll surely drop you to your knees in agony, too. – Jason Scott
Genre: Pop/Flamenco
Album: TBD
Label: Sony
Hailing all the way from Spain, singer-songwriter Rosalía has quickly become a cross-cultural phenomenon due to her next-level visuals, unique crossover sound and high-profile cosigns from musicians such as Madonna, Pharrell Williams and James Blake. On her most recent single, Rosalía uses the imagery of luxury to assert her feminine dominion over, well, everything and everyone. “Aute Cuture” is a braggadocio anthem; throughout the track she lyrically visualizes herself in head-to-toe designer apparel with hair and nails to match, and she becomes more powerful the more she fulfills her self-indulgent fantasies. The title itself is a purposely ironic spelling of the term “Haute Couture” because it’s not really about the clothes or the look, it’s about the strength and the attitude she channels through that illusion. You hear her opening the track singing, “Te conjuro, te prenda’o,” which roughly translates to: “I’ll have you under my spell.” By the looks of her rise to fame, she’s not wrong. – Galvin Baez
Julian Lamadrid, “Die Young”
Genre: Pop
Album: Mala Noche (buy)
Label: Arista Records / Sony Music
The magic of someone’s life lingers on the fabric of time as stardust. We’re trapped between who we were and who we were supposed to be. Some of us may never know what that means. Amy Winehouse. Janis Joplin. Kurt Cobain. Candles snuffed out completely. Journeying through his own cosmic blanket, synth-pop newcomer Julian Lamadrid feels his heartbeat pick up speed and throb mercilessly in his throat. “Die Young” destroys the senses, as Lamadrid’s metallic distortion rips through your eardrums right into the membrane. The anger frosts his vocal cords until he absolutely busts as the seams. “I think you wanna die young,” he spits through clenched teeth. It’s the kind of razor sharp lyric that is altogether moving and drop kicks you squarely in the chest. And Lamadrid is both imposing and charming. [Taste Test review] – Jason Scott
Lauren Eylise, “Peaks & Valleys” (buy)
Genre: Soul/Pop
Album: TBD
Label: Black Honey Entertainment
Self-love isn’t just about cherishing the good parts of yourself. It’s about it all: the jagged edges and the downright devastating. It’s a life-long journey, but once you tap into that heavenly light even just a tidbit, you’ll find yourself entering enlightenment. Soul singer and songwriter Lauren Eylise has crossed such a threshold, and on her new song “Peaks & Valleys,” tinged with broiling electric guitar and a heart-pounding gospel choir, she descends up into the clouds. “I’ve been heavy on myself / I took my pride down off that shelf,” she confides, pulling the listener closer before taking them to church. The Cincinnati native soon explodes with a vibrant pair of wings, and there’s no way you won’t be knocked to the ground from her sheer vocal power. [Taste Test review] – Jason Scott
Maggie Rogers, “Retrograde” 
Genre: Alternative
Album: Heard it in a Past Life (Buy)
Label: Capitol Records
I found out the other day that Maggie Rogers was raised on a farm, which absolutely feeds into my theory that she harnesses the power of the wilderness to create her music. I’ve always heavily romanticized growing up on a farm as being this sort of magical experience filled with adventures and freedom, taking your free time to wander through plains, forests and mountains, to experience the countryside on an intimate level. And that’s how Rogers song “Retrograde” feels, the pinnacle of her
phenomenal debut album, Heard it in a Past Life. Maggie writes about sinking into the passionate, chaotic romance of an on-and-off relationship, but sings like she’s standing on a mountain top, arms stretched out to the rolling hills below, letting the icy wind sting her face and her palms. And maybe that is intentional, maybe Rogers wanted to make a song about love so uncontrollable and expansive that it feels like throwing oneself into the throes of nature. – Chris Will
Carly Rae Jepsen, “Want You In My Room”
Genre: Pop
Album: Dedicated (Buy)
Label: Schoolboy / Interscope
Somewhere between the dawn of her career and the present, Carly Rae has transformed herself into the gold standard for what pop music should sound like, in both quality and merit. The candy-eyed princess of “cool pop,” if you want to get technical. Though there has been, and will continue to be, times where even she herself cannot live up to the hype, there are shining moments that exceed all expectations placed upon her. Such is the case with the Jack Antonoff-produced “Want You In My Room,” lifted from her latest release, Dedicated. Antonoff is the yin to Jepsen’s yang, making you wonder why the two haven’t teamed up earlier. The sugar-coated confection reaffirms the singer’s ability to create a sound that is both deliciously retro and refreshingly new, like a modern-day Cyndi Lauper, dancing on a CGI beach with a juul in her mouth. She coos over hollow drums and distorted synths, seducing her lover with an innocence only she can pull off. If such whimsical pop doesn’t warm your soul, you probably don’t have one. – Joe Kadish
Bror Gunnar Jansson, “Body in a Bag” (Buy)
Genre: Americana/Blues
Album: They Found My Body in a Bag
Label: Playground Music
The dark and disturbed will always captivate the human consciousness. With 2019 being the year of Ted Bundy ⏤ whose 30th anniversary since execution was commemorated with Netflix’s Conversations with a Killer: The Ted Bundy Tapes and the Zac Efron-leading Extremely Wicked, Shockingly Evil and Vile ⏤ you begin to question from where this bloodlust comes. Well, the thrill is best left with the unknown. And so is the way with Sweden’s blues-rock fire-starter Bror Gunnar Jansson, who stages a hypnotic, truly macabre tale of his own death inside a heart-pounding new song. On the grisly bone-crusher “Body in a Bag,” which will send chills down your spine, he attempts to unravel the mystery surrounding what can best be described as a disgusting act against humanity. “My killer kept my head / Maybe he put it in a box under the bed,” he howls, a mucky blackness pouring out of him. Say what you will, Jansson is a masterclass singer, storyteller and musician, and your blood will surely run cold. [Taste Test review] – Jason Scott
Miranda Lambert, “Holy Water”
Genre: Country
Album: Wildcard (buy)
Label: Vanner Records / Sony Music
Miranda Lambert is a songwriting force. Her new album Wildcard drowns the body in genre-pushing styles and offers up some of her most biting lyrics to-date. “Holy Water” floods with gospel ripples and a cathedral-sized backing choir, as strings spin an earthy, dusty front-porch yarn behind her. “They’re sellin’ snake oil from the pulpit at the church on Main / They’re makin’ deals with the Devil in the good Lord’s name,” she sings, a callout of much of institutional religion and its hypocrisy. She continues letting her hiss be known: “I’m stuck at home missin’ a dirty soul cleansin’ / Ain’t got a dime for the tithe / I believe amusing personal communion can lead you right to the light.” It’s a redemptive, soul-craving baptismal that springs from humanity’s deep ache to be found – situating such a thirst as the driver behind our inevitable crash. – Jason Scott
Karen & the Sorrows, “Guaranteed Broken Heart”
Genre: Americana
Album: Guaranteed Broken Heart (buy)
Label: Ocean Born Mary Music
There are few bonafide guarantees in this life. We’re born. We live. We work. We die. That’s about all we can expect, really ⏤ oh, and taxes, too! That’s on the surface, at least. Queer Americana band Karen & the Sorrows dig below the crust and hollow out their hearts with the pointedly-titled “Guaranteed Broken Heart,” a boot-scootin’ ditty culled with a wry smile. “Don’t touch my face / Don’t say my name / Don’t smile that smile / Don’t look at me that way,” front-woman Karen Pittelman spits off a list of warnings. While she clutches her shattered heart in her hands, rough-edged and throbbing, she somehow uncovers humor in her situation and lets the sorrow rise from her chest. In doing so, she guards herself from a completely devastating and brutal bottoming out. [Taste Test review] – Jason Scott
Michael Medrano, “No More Tequila” (Buy)
Genre: Pop
Album: TBD
Label: Independent
Rising artist Michael Medrano set out to write the song of the summer, and with “No More Tequila,” he hit the nail on the head. The track follows the Los Angeles singer on a night of adventures fueled by having a little too much (you guessed it, tequila) to drink. “Why did I do this again? We’re gonna do it again,” he slurs. Medrano self-produced the high-energy track and sonically captures what a night full of alcohol-induced shenanigans feels like. “’No More Tequila’ is important to me because it’s the first time I allowed myself to have a lot of fun writing a song. I’m so used to pouring my deepest thoughts into music, which is always great, but it was nice to relax and let my angels see a different, more fun side of me. I hope everyone gets wasted to this song all summer!” If you needed a boost to live your best life this summer, search no further. – Galvin Baez
Charly Bliss, “Young Enough” 
Genre: Alternative
Album: Young Enough (Buy)
Label: Barsuk Records
There’s a heavy pain that comes with losing someone or something that you thought was special. It can be a person, a group of people, a job, a lifestyle, and years ahead you can still look back and feel a lingering sense of loss, a kind of ache that makes you feel tired and old. The hurt comes from the things you lost, but it also in a way comes from the you that you lost, the person who saw things differently, saw the world through a brighter lens. I’m not sure how long it was after Eva Hendricks experienced loss that she wrote “Young Enough,” but that same multi-layered pain feels omnipresent throughout the entirety of the track. The opening lines find her arresting voice cracked and heavy, soaked in a wistful sadness that feels less pointed at her subject, be it a lover, a friend or something else, and more on who she was, how she felt. And my god, does she talk about how she felt. She weaves an odyssey of emotion over the almost five and a half minute span of the song, the climax coming in like a head rush towards the end of the bridge, calling out the final line to the cosmos like a gut-wrenching confession to the gods, just before the track dips back into a thrumming baseline for the final verse. – Chris Will
Peking Duk & Jack River, “Sugar” (Buy)
Genre: Electronic
Album: TBD
Label: Sony
If you’re a Nineties baby like me, you know the instant rush of warm nostalgia you feel when listening to early 2000’s pop music. All at once, you’re immersed in a world of blow-up furniture and dial-up internet, and for a brief moment, you feel like a kid again. Somehow, Australian duo Peking Duk seem to capture that sentimentality perfectly on their single “Sugar,” a joint effort with fellow Aussie, Jack River. The sonic resemblance is no coincidence: creating a song that encapsulates the sentiment of millennium pop was the entire goal of the project. With ease, the trio rummage through the back catalogue and cherry pick the best bits from the soundtrack of our childhood. From the fade-in vocals to the staccato guitar riffs of the chorus, the song is syrupy sweet and fuels the urge to walk slow-mo down a high school hallway with wind blowing through your hair. Do yourself a favor and add this one to your summer pool party soundtrack immediately. – Joe Kadish
Lola Blanc, “Angry Too” (Buy)
Genre: Pop
Album: n/a
Label: We Are: The Guard
Not a day goes by that entitled mother fuckers don’t get my blood boiling. And now, we’ve got that appropriately venom-spewing anthem that taps into that maddening rage of a system that remains so hellbent on destroying women. Lola Blanc is a vision, as she snarls her lips and locks her jaws over the industrial-sized thumb-biter. “Angry Too” upends the #MeToo movement in employing the pain of all women who have ever been victimized or harassed or completely ravaged and tossed as a rag doll on the side of the road. Blanc’s vocal cords are as icy as they are ignited by a vulnerability that’s so rare these days in much of pop music. “It gets my blood boiling / And I’m coming unglued / It would hit you like poison, if you knew what I knew,” she pours out gallons upon gallons of sticky and yellow gasoline in a sloshy, yet calculated, trail before letting the flames consume everything in her wake. It’s a monstrous and devilishly crucial moment in time, and Blanc emerges as a beacon. – Jason Scott
Suzy V, “The Bird” (acoustic)
Genre: Folk
Album: Acoustic Sessions EP (buy)
Label: Independent
Lovesick and outcast, Dutch/Sicilian folk singer-songwriter Suzy V stumbles into romance’s entrancing flames – but is quickly consumed with a love that fades violently from summer into autumn. “You’ll be the song inside my head / You’ll be the one I won’t forget / You’ll be my untainted man until the day I love again,” she sings on a crackling, devastating performance. “The Bird” is wrought with only a piano, whose sharp edges sever her heartstrings and suck out her very life force. Her voice, fragile and chipped, is a lone little sparrow who must carry the misery for the rest of her existence, or until it is washed clean anew. [Taste Test review] – Jason Scott
Gavin Haley, “Show Me”
Genre: Pop
Album: Long Game EP (buy)
Label: Red Bull Records
Young love exists somewhere between child-like wander and looming adulthood. It can all come crumbling down around you, if you let it, but perhaps, you fight for it a little bit and endure for the long game. Silky pop dreamweaver Gavin Haley mines the emotional turmoil of a budding romance with “Show Me,” which has been paired with an opulent, twinkling visual (directed by Carla Dauden). Clocking it at just over three minutes, the song treks through the vast psychological expanses of what it means to be in love, yet finding yourself struggling to be heard. Haley becomes tangled in every fevered emotion, valiantly combating the ugly rashes of it all as much the beauty. Video co-star Cherish Waters, of America’s Next Top Model, proves to be a worthy counterbalance to the storyline, which nearly collapses onto both of them, and an essential focal point onscreen. Will they emerge unscathed or die trying in the process? [Taste Test review] – Jason Scott
Zara Larsson, “Don’t Worry Bout Me” (Buy)
Genre: Pop
Album: TBD
Label: TEN/Epic
Swedish superstar Zara Larsson has much to live up to after the massive success of her 2017 LP, So Good. But if second single “Don’t Worry Bout Me” is a glimpse into what’s to come, then Zara will easily maintain her superstar status and fans will have nothing to worry about. The pop-trop track produced by The Struts is a luscious, uptempo banger that brings Zara’s sassy personality to the forefront. “Don’t worry bout me, you should worry ‘bout you / That’s your problem so fix it, ‘cause I ain’t none of your business,” she lays out on the hook. Although the original track is stunning on its own, it’s also worth mentioning that the accompanying remixes provide new dimensions for the song that allow you to appreciate the song’s melodies and structure. All in all, another strong release from one of pop’s newest stars. – Galvin Baez
Stefan Alexander, “Thunderclap” (Buy)
Genre: Pop
Album: TBD
Label: Independent
You can survive this life if you’re lucky; it’s something we take for granted far too often. But for queer-pop returnee Stefan Alexander, he doesn’t take any of it lightly. Following his debut single in 2016, he succumbed to a mysteriously debilitating illness that left his body quaking with pain that he had never felt before. His ability to make and perform music slipped from his fingertips for three long years, and he could very well have thrown in the towel right then and there. Now, having walked through the fire and stepped back over the threshold into the light, he makes a cannonball splash with his comeback single “Thunderclap.” Through glittering disco-doused synths, he not only stares down his past in bittersweet retaliation but learns to embrace who he is in this moment. “No, this life isn’t easy / But I’m giving it all I got,” he avows on the titanic, Sia-esque hook. It’s the kind of underdog pop gem, complete with a soulful backing choir, that makes you reflect, groove and dance way into the night. [Taste Test review] – Jason Scott
Ellen Krauss, “On the Bus”
Genre: Pop
Album: First Take EP (buy)
Label: Tiller / BMG
Unrequited love is one of the worst aches you can ever experience. You’re heart has swollen three times its normal size, and your cheeks flush blood-red at just the thought of kisses in the rain. Synth-pop newcomer Ellen Krauss plucks her multi-colored heartstrings as she navigates the waters of young adoration, sticky with promise and a thrill she could never have anticipated. “On the Bus,” accompanied with a vibrant, scrapbook of a visual, directed by the ever-talented Gemma Yin, wrangles the full array of her unwieldy emotions. Acoustic at the base, but quickly zip-lining with a creamy, gooey beat, the brisk wind-swept tune encompasses both the intoxication and the melancholy of a love that’ll never bloom. “I won’t show you my scars, no,” she sings, sweetly and delicately wrapping herself up to ward off any ill feelings. But the sting is potent, nonetheless. [Taste Test review] – Jason Scott
Bad Flamingo, “The House is on Fire” (buy)
Genre: Americana/Blues/Alternative/Folk
Album: TBD
Label: Independent
Acclaimed author Oscar Wilde once wrote in his 1891 essay, “The Critic as Artist,” on the implications of anonymity in revealing one’s true self. “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth,” he offered. Such a statement has taken on new meaning in the digital age, particularly in the advent of social media through which we all can build our own manufactured facade. Shrouded in their own mystery, nameless avant-garde duo Bad Flamingo pocket this notion with a jangle of Americana, a bluesy stomp and a haunted smokiness. With their new song called “The House is on Fire,” they swing their voices through the dust of the old west, as is their trusty way, and stage an entrancing cinematic piece that paints with tortured harmonies and flashes of the Golden Age of Hollywood. Their voices swirl, siren-like, gorgeous and pointed, and their fantastical world immerses the body with a deceptive charm. [Taste Test review] – Jason Scott
Sigrid, “Don’t Feel Like Crying”
Genre: Pop
Album: Sucker Punch (Buy)
Label: Island Records
Sigrid made a vibrant pop career for herself by using her brawny, punchy voice as a detonating force in hooky power-pop anthems about ankle-biters of all shapes and sizes. “Don’t Feel Like Crying,” the second single to her debut album Sucker Punch, shows the Norwegian pop extraordinaire can create just as much power in subtle, sadder songs. Instead of shouting to the heavens in every hook, she’s a bit more grounded, singing distractedly about trying to work through the initial shock and pain of a breakup. The track feels incredibly self-empowering until the bridge, where Sigrid admits, “It hasn’t hit me yet, and I
know if I go home I’m gonna get upset,” which transforms the song into a desperate self-plea to hold onto whatever happiness possible before the inevitable heartache comes crashing down in a deafening roar. – Chris Will
Silver Sphere, “boys in bands” (Buy)
Genre: Pop
Album: TBD
Label: Silver Sphere / Human Re Sources
You likely have never heard of cosmic indie-pop singer Silver Sphere, but make no mistake: her song “boys in bands” is one of this year’s best electro-pop moments. One look at her Instagram tells you all you need to know – there are more pouts than smiles, and glittery eyeshadow frames distant, glossy stares. She’s completely over the bullshit, which undoubtedly includes the fuckboys who have screwed her over one too many times. “boys in bands” serves as a warning to anyone who is inexplicably tempted by the lackluster sheen of a guy with a backwards Supreme hat and a cigarette behind his ears. While it’s easy to look back after things end to think “what the hell was I thinking?,” it’s even easier to find yourself back with someone who cares more about their image than your feelings. That’s where Silver comes in to remind you that there are better options out there. The best bit is the Nintendo-esque beat that’s woven throughout. It’s nice to hear an electronic song that doesn’t rely on tired trop instrumentals. Take note DJs – it’s possible to make a danceable song without trying so hard. – Joe Kadish
Kalle Mattson, “Ten Years Time” (Buy)
Genre: Folk/Pop
Album: TBD
Label: Independent
Sylvia Plath’s famous “Fig Tree” passage, found in her only novel, 1963’s The Bell Jar, digs its roots into the suffocation of not only mental health but the uncertainty of life itself. Greatly influenced by the iconic American storyteller, folklorist Kalle Mattson harvests his own meanings and convictions in the tattered feathers of his new song. On “Ten Years Time,” which contains an appropriately gummy pop hook, peers into a looking glass to see what a future could possibly hold for him. “Stop, start into my heart,” his organ lights up with possibility before fizzing out again. The terror of doom descends down, down, down but he soon employs such a fiendish sensibility to propel him back up, up, up into the light. The banjo mocks him, before disintegrating into synth-y puddles, and he loops back ’round to the start. What will become of him? [Taste Test review] – Jason Scott
Bronze Avery, “Anybody Else” (Buy)
Genre: Electro-pop
Album: TBD
Label: Independent
In less than two and a half minutes, Bronze Avery manages to entrance you into his lovelorn universe on the exceptional “Anybody Else.” The dream-pop vocalist has been making quite the splash in the LGBTQ+ pop scene thanks to his recent slew of impeccable singles, and this is no exception within his string of hits. Bronze’s vocals float beautifully over the celestial production. “I just wanna go back in time / Just to be right by your side / ‘Cause I haven’t got eyes for anybody else,” he wistfully serenades. “’Anybody Else’ is an ode to an old romance. I wanted the soundscape to feel nostalgic, almost like a
daydream in the sun, to mirror the pleasant memories of the last,” Bronze spills to B-Sides and Badlands regarding the plaintive piece. “Anybody Else” is a tribute to how pain can turn into beauty and to how Bronze Avery turns beauty into bops. – Galvin Baez
Tim Baker
, “All Hands”
Genre: Folk/Pop
Album: Forever Overhead (Buy)
Label: Plug Your Ears / Arts & Crafts Productions
You can never completely trim your roots. They’ll forever be integral to your various transformations in this life, and Americana-bluesman Tim Baker has certainly been haunted by his past enough to know the truth of it all. “No matter where you’re headed / You’ll end up where you been,” he sings, the words spilling out of him as a bubbly water fountain planted in the town square. But he doesn’t look back with an ounce of bitterness. Instead, he quickly turns such melancholic musings into a victorious mountain shredder. He combs clearly-defined Americana with soul as a cathedral-shattered hymnal, and his delicate sonic building allows the listener to bask in his new-found splendor in calculated increments. Former Hey Rosetta! frontman, Baker appears unafraid and undaunted to shoulder what comes after. [Taste Test review] – Jason Scott
Genre: Pop
Album: Fantasy EP
Label: Republic
There’s an ungodly war raging within each of us. With social feeds crunching our brain stem, injecting sour venom into our blood stream, there’s no wonder an existential crisis has seeped into nearly every facet of everyday life. New York’s popsmith chloe mk ejects her own cartilage and forges it into a flaming torch as she navigates the dark caverns of today’s world. “To Be Young” pulsates from the inside out, casting a trembling glow across her path, one decorated with brambles and overhanging limbs, and her voice lumbers forward into the brush with its gnarled fingers tearing her skin to ribbons. “Crying to Nirvana / I’m banging my first on the steering wheel / Nothing’s making sense / But I’m alright…” she convinces herself, witnessing the waters of internet culture rising above her throat. She later chops further to the heart of the matter, “Nobody knows what it’s like to be young and alone.” Her screams into the wilderness have never been more timely than this moment, an insightful proclamation for all of us to accept. [Taste Test review] – Jason Scott
Eli Raybon
, “Empathy Test” (Buy)
Genre: Pop
Album: Supertoys
Label: Independent
You could say we’re in the fury of a full-on ’80s renaissance. From TV reboots to horror remakes and sonic blends of dance-pop synths and new-wave with modern imprints, art and the collective creative consciousness is blossoming in what certainly feels like fresh new ways. Of Generation Z, Eli Raybon pulls from his early brushes with Blade Runner and the work of German electronic band Tangerine Dream (who have scored more than 50 cinematic pieces, including 1983’s Risky Business), and you can feel an authentic pulsating heart seep into every inch of his work. “Empathy Test,” up-linking cosmic murmuring with gaseous orbs, folding in on each layer with light-speed precision, finds the 21-year-old stepping out with a sublime chunk of pop music. [Full review here] – Jason Scott
Izzy Heltai, “Marching Song”
Genre: Folk
Album: Only Yesterday EP (Buy)
Label: Independent
Both beautifully romantic and tragic, Massachusetts folk dreamer Izzy Heltai ties his reedy vocal cords around a timeless melody, which incrementally builds with mournful wailing until his soul splinters right down the middle. “Marching Song,” a viscerally-wrought memento, fixed with brassy trumpets that flow as foamy and rich as the sea green tides, delicately and profoundly analyzes the desires burning a hole in his heart. “It feels like only yesterday I learned that I could be healed,” he sings, as he glances downward at his uneasy, tatted feet that drag and scrape the dirt. Piano splatters on a backdrop of acoustic guitar, which has been wrung clean to release tears of its own. When you think you know what to expect, Heltai strikes out with delightfully unpredictable melodic and production choices that leave you breathless. [Taste Test review] – Jason Scott
Vardaan Arora, “thirty under thirty” (Buy)
Genre: Pop
Album: TBD
Label: Independent
Vardaan Arora has consistently made it a point to be honest and open about his experiences in his music, and with his newest single “thirty under thirty,” he bares it all and proves why his point of view is necessary in today’s pop world. Underneath the guitar-driven production, Vardaan’s lyrics tap into every millennial’s psyche and tackles the highly relatable struggle of comparing oneself to other people’s success. “Am I doing it right? Am I doing it wrong? Am I doing it right? Why’s it taking so long?” he sings on the track’s hook. When asked about the inspiration behind the song, Vardaan explains to B-Sides & Badlands that he “wanted ‘thirty under thirty’ to be brutally honest and capture the frustrating anxiety around success and following a specific timeline to achieve it. We’re living in the age of social media where everyone is constantly making their accomplishments public. It’s easy for people to fall into the trap of comparing themselves to their peers.” Vardaan vividly paints an all-too familiar picture while reminding us that we’re not alone. “We’re all in the same boat, living our lives in the best way we know how, and we don’t need to follow anybody else’s path but our own.” – Galvin Baez
Maren Morris, “A Song For Everything”
Genre: Country
Album: Girl (Buy)
Label: Sony
Country sweetheart Maren Morris kicked off her career with a bang. Her first album, Hero, is filled with scrappy, foot-stomping tunes that bolstered her status as a star and earned her a Grammy nomination. Her follow-up, Girl, turns down the grit in favor of softer melodies and fluffier fare. There are times when this change of style does her talent a disservice, but in cases like “A Song For Everything,” Maren proves that the success of her debut was not just a one-off. The songwriting is top notch, perfectly encapsulating the power of music during whatever life throws your way. It’s a mystery why it hasn’t been, and perhaps never will be, chosen as a single. It’s far catchier than “Girl” and “The Bones” – not to knock either of them, as they are both shining examples of country pop – and possibly the best track on the LP. Twinkling keyboard notes and summery guitar chords make for the perfect soundtrack to driving with your windows down, whether you’re heading towards someone you love or running away from someone who broke your heart. Either way, you’ll be glad you pressed play. – Joe Kadish
Léon, “You and I”
Genre: Pop
Album: Self-Titled (Buy)
Label: Columbia Records
“You and I” is all emotion and grandeur, a pop song with wild dramatic flair and insatiable energy, thundering along with bleeding emotion and euphoric hooks. Swedish pop singer Léon shows off her incredible chops in the post-breakup song, equally intertwining Lana Del Rey and Adele style theatrics in the pouty, simmering verses and the gaudy, heart-wrenching chorus. The beautifully-bittersweet songwriting almost melts into the rest of the song, as Léon’s Fleetwood Mac-styled melodies convey love and loss more than words ever could. – Chris Will
Gabriella Rose, “The Chair”
Genre: Pop/Blues
Album: Lost in Translation EP (Buy)
Label: Independent
Breaking the top-soil of such layered moral quandaries, pop luminary Gabriella Rose confronts issues of humanity, sanity and our role in continuing the cycle of destruction with her song “The Chair.” Foot-stomps and a ghoulish choir of chains crash and break as waves onto jagged rock, bubbles lapping at her feet in an insatiable display of sadness. “Mother your little boy’s sick / I don’t know why my hands are red / Mother, I’m scared of what I did / Now, they’ve locked me up and left me for dead,” she sings, gutting the listener clean and turning the screws of every emotion. Maximum impact, though, comes much later. “This chair, they strapped me up / I’m sorry mom, I really do love you / And the man in the mask, he looks at me and laughs / And screams that this is what I deserve / And my head is a mess, I can’t catch my breath / I can’t find the perfect final words,” she extends in breathy murmurs. She’s stepped into the role as a murderer on death row, taking care to soak her words in beauty and compassion, and her performance is downright chilling. [Full EP review here] – Jason Scott
Kim Petras, “Sweet Spot”
Genre: French house/ Disco-pop
Album: Clarity (Buy)
Label: BunHead
Kim Petras recently dropped her debut album, Clarity, and her promotion rollout consisted of nine surprise-released singles over the span of two months prior to the album’s release. “Sweet Spot” was one of the surprise singles we received in May, and fans immediately knew the track would be a standout due to its bouncy production and sexy lyrics. “Baby, what you waiting for? You got the green light / Don’t you hold back no more, let’s live our best life,” the popstar sings seductively. However, its nod to French house icons such as Daft Punk and Modjo is what makes “Sweet Spot” stand above the rest of the record. Kim has successfully managed to take this nostalgic sound and apply it into today’s pop landscape, a bold move that no other pop artist has thought of this decade. You can distinctly hear the inspiration in the funky guitars and disco-flavored drums; “Sweet Spot’ would fit perfectly in any French DJ’s 2004 club set. – Galvin Baez
Madeon, “All My Friends” (Buy)
Genre: Dance
Album: Good Faith
Label: Hugo Leclercq / Columbia
“All My Friends” is Madeon’s first official release since 2016’s “Shelter,” and it’s safe to say that the wait was well worth it. The French DJ’s skills are impressive given his young age – he started making music at the age of 11 – which is why it’s no surprise that the track was written, produced and performed solely by himself. The song kicks off the era of Good Faith, his sophomore album that is coming, we’re just not sure when. Madeon calls it a joy-filled album, and if that’s the case, “All My Friends” was the right choice to lead the project. It’s a blissful, dance-floor ready affair that fuels the urge to stand on a table and shake your ass like no one’s watching. Instead of an all-out, balls-to-the-wall drop, Madeon opts for a beat that’s simple, that somehow packs the same amount of punch. The chorus sticks in your mind like glue and will play on a loop after the first listen. He claims the rest of the album won’t be 12 iterations of the same sound, but as long as he maintains the same level of quality, there will be no complaints from me. – Joe Kadish
Jai Wolf, “Still Sleeping”
Genre: Electronic
Album: The Cure to Loneliness (Buy)
Label: Mom + Pop Music
Jai Wolf’s “Still Sleeping” is a stunning piece of wistful retro synth-pop in the vein of M83’s 2011 album, Hurry Up, I’m Dreaming, existing in a frothy, sugary haze of yearning and wonder. Singer Georgia Ku plays the part of the hopelessly love struck bystander so well, her breathy vocal performance dripping in starry-eyed ache as she recounts encounters with her crush, painfully aware of her insignificance in their life but still unabashedly in love. Jai Wolf’s soundscape mirrors her unrequited love flawlessly, exploding around her voice in puffs of candy-coated synths and 80s-era percussion. – Chris Will
Carlos Vara, “Confident” (Buy)
Genre: Pop
Album: TBD
Label: Warner Records
The aroma of fruity elixirs penetrates the haze of a late-night rave. Carlos Vara, a slithering serpent who strips away any and all anxiety he may have had, sashays his way through the pop static for a glittering cloudburst of extraordinary proportions. “Confident” slinks along the grime of the club floor before scattering like so many rainbow shards of a disco ball’s reflective sheen. “I’m breakin hearts ’cause I’m bored / I’m an emotional whore,” he puffs in braggadocios smoke rings. His brazen swagger is never off-putting, in fact, paired with his silky tenor, the song wiggles its way around your earlobes and right into the brain. There’s no going back now. – Jason Scott
Zedd & Katy Perry, “365” (Buy)
Genre: Pop-house/Dance
Album: TBD
Label: Interscope
The math behind this Top 10 track is a formula that should make sense to most: a famous pop veteran artist plus a famous pop veteran producer equals an incredible pop mega-hit. With as much fame as these two artists have put together, they could have easily slapped their names on any song and send it to the top of the charts, but this lush collaboration is no lazy piece of work. The Zedd-produced single is a delicate dedication to love and excels in its ability to showcase such heavy emotion without sounding desperate or obsessive. Perry coyly coos, “24/7, I want you here / I hope you feel the same thing / I want you to be the one that’s on my mind,” on the song’s pre-chorus and chorus. “365” marks Katy Perry’s return to music since the end of her Witness era, and it assists in shutting down any doubts anyone may have regarding the pop titan’s longevity. Katy Perry is not slowing down anytime soon, and anyone who disagrees can talk to her Katycats about that. – Galvin Baez
Reba, “Cactus in a Coffee Can”
Genre: Country
Album: Stronger Than the Truth (Buy)
Label: Big Machine
With one of the most enduring country legacies, Reba’s swerve back to a more traditional-bent record was both crucial and refreshing. She has long been one to upload the format’s staunch storytelling roots, often exploring the human condition in all its colors with sometimes dark story-songs. “Cactus in a Coffee Can” holds its own against such iconic entries as “She Thinks His Name was John” and “Fancy,” but there’s something hypnotic about the fragile tale that rends one’s heart right out of their chest. When Reba, playing as narrator, chances across a lonesome soul, her life is forever monumentally changed; a shift is palpable in the words she utters. The emotional payoff in the end is certainly among Reba’s finest moments, as well. – Jason Scott
Emily Vaughn, “Pieces”
Genre: Pop
Album: Bitch Bops EP (Buy)
Label: Independent
Emily Vaughn has never been one to shy away from speaking her mind. She’s a star who owns her feminine power, and her music reflects her fierce, independent nature. Thankfully, electro-pop banger “Pieces” (as well as the rest of her incredible Bitch Bops EP) is no different and serves as a reminder that Ms. Vaughn is not the kind of girl you should take advantage of. Emily shared the personal meaning behind “Pieces” with B-Sides & Badlands and tells us about the song’s origin. “Pieces comes from the place of not having energy to give back to yourself because you’re constantly giving to others that aren’t reciprocating that energy. For a long time, I gave everything I had to people that didn’t deserve it, and writing ‘Pieces’ was basically my final stand and reminder to myself that if I continue to do that, I’ll run out of pieces for myself. I’m too good for that,” she explains. Next time you feel exhausted from giving yourself away, stream “Pieces” and remind yourself who you are. – Galvin Baez
Georgia, “About Work the Dancefloor” (Buy)
Genre: Alternative
Album: TBD
Label: Domino
I’ll be honest: the chorus of Georgia’s latest single doesn’t make a whole lot of sense. “I was just thinking ‘bout work the dancefloor,” she sings robotically. I might be missing something, but it really doesn’t matter. This song is a certified banger and rivals the likes of Robyn, who reigns supreme on the electro-pop throne. Synths are in no short supply here, and pulsating beats pump right through you, beckoning you to your feet. Georgia embraces living in the moment; forgetting your future and your past and focusing on the person you’re with and most importantly, the music. The stark contrast between the singer’s dulcet tones on the track’s verses and the mindless, mechanical vocals of the chorus create an enigmatic air about her that many artists lack. She switches back and forth from human to machine like it’s second nature, electrically charged by the spontaneity of a late-night triste, only to remember her real feelings that are bubbling below the surface. Whether there’s veins or wires running underneath her skin, “About Work the Dancefloor” will make you feel 100% alive. – Joe Kadish
Rico Nasty & Kenny Beats, “Cheat Code (feat. Bauuer)”
Genre: Hip-hop/Rap
Album: Anger Management (Buy)
Label: Atlantic Records
Rico Nasty is rap music’s wolverine, a fierce and ferocious emcee who shreds any beat that comes her way into absolute smithereens with impressive velocity and power. It would only seem appropriate then that one of her hardest-hitting songs is a collaboration with producers Kenny Beats and Bauuer, who thrive off a complimentary kind of chaos in their production styles. With “Cheat Code,” Rico sneers savagely about incompetent men and inconsequential copycats, her disdain as steely and sharp as a blade as she cuts down any hater who dares question her work ethic and talent. The chorus is the song’s boiling point, Rico spitting lava and venom as she skates across synths that sound like saw blades kissing. – Chris Will
Elliot Jones, Emotions” (Buy)
Genre: Pop
Album: TBD
Label: Independent
Pop newcomer Elliot Jones has proven that he’s here to carve his own lane in the pop sphere with his most recent single “Emotions.” The dreamy bop marks Jones’ first release since 2018’s island-tinged “Hard 2 Reach,” as well as the beginning of a new era for the Los Angeles-based singer-songwriter. Jones approaches the song in a sensual and suave manner as he croons, “I’m picking up on what you’re giving / I know you want to cross that line.” Jones tells B-Sides & Badlands, “Emotions sounds like summer to me because it has that really chill vibe, but the chorus is still full of excitement. There’s something dreamy about the production that sounds like falling in love. Like it’s your first crush and you’ve caught emotions, and it’s just a whole new world.” If “Emotions” is indicative of what’s to come for Elliot Jones, then he should expect for the whole world to fall in love with him. – Galvin Baez
Broods, “Dust”
Genre: Pop
Album: Don’t Feed the Pop Monster (Buy)
Label: Atlantic Records
Celestial, existential orbs crash into one another on this helluva stunner from Broods’ new album. “Dust” is both locked forever in a cosmic orbit around our lives, fating us to a life that is ruined by our own devices, yet one that continues colossal beauty tucked away in layers of tragedy and tears. “I’ve been trying to find the place I’m from,” spooks Georgia Josiena Nott. Her voice rattles your bones loose from their joints, and you eventually float on the winds of space and time. Your body is soon soaked into the blanket of stars, overhead, left to question the very nature of reality and what it all means. – Jason Scott
Tierra Whack, “Clones” (Buy)
Genre: Hip-hop/Rap
Album: TBD
Label: Interscope Records
Tierra Whack released “Clones” as the second of five varied and vibrant singles during a five-week period in February and March that Tierra Whack dubbed “Whack History Month.” Each song was a testament that Ms. Whack could still hold her own across a track twice as long as any song from Whack World, but “Clones” showed she also shows promise as a future radio staple. Kicked off by a buzzing, warbled synth line, Tierra brings in a low register to her steady flow as she asserts her individuality, calling out those male contemporaries who try to copy her style. Her voice buoys playfully with the bass synths that land like muted explosions throughout the course of the track, and the way she effortlessly rides the beat shows she’s a true force to be reckoned with in the rap game. – Chris Will
Megan Thee Stallion, “Running Up Freestyle”
Genre: Hip-hop/Rap
Album: Fever (Buy)
Label: 300 Entertainment
Hot Girl Summer. Summer thee Stallion. It doesn’t matter what you call it, but Megan Thee Stallion has this summer (if not the entirety of 2019) on lock as one of the year’s biggest breakout stars. Her latest album Fever is packed with witty songwriting and muscular hooks, as she flaunts her intelligence, independence, star status and sex appeal, and one of the most entertaining tracks on the album is “Running Up Freestyle.” Here, she lets her love for anime seep through with some wildly entertaining lines, referencing Street Fighter, Pokémon, and Dragon Ball Z all in the span of just a few bars. On top of that, some of the raunchier lines in the song are also some of her funniest across the entire album, as she switches up the tempo of her flow to add emphasis to her playful boasts. – Chris Will
Yuna, “Blank Marquee (feat. G-Eazy)
Genre: Pop
Album: Rouge (Buy)
Label: UMG
If I had my guess, I’d say that Malaysian singer-songwriter Yuna was a songbird in a previous life. Her voice is velvety-soft and glossy, dripping over her songs like warm honey and rich with emotion. She was created to sing. And while the understated sophistication of her music hasn’t garnered her much mainstream recognition in the U.S., it certainly has earned her clout as a serious and gifted artist. As she gears up to the release of her fifth studio album, Rouge, the delicate finch takes flight in a new direction, creating her most pop-leaning sound yet without compromising the maturity and refinement that runs through the core of her work. “Blank Marquee” is a gleaming, funk-infused kiss-off to anyone who has tried to piggy-back off of her talent and success. It exudes confidence and attitude in a way that sees Yuna shedding her pastel exterior to reveal the electric neon lights that lie beneath. The G-Eazy guest spot is a fun addition to the track, but it’s nothing more than a gratuitous feature. The song says it all: Yuna’s earned her wings and she’s more than capable of flying solo. – Joe Kadish
Little Big Town, “The Daughters” (Buy)
Genre: Country
Album: TBD
Label: Capitol
Treatment of women has brought religion into a new focus. Often leaders in the format, Little Big Town struggle with their own faith on the hauntingly beautiful and poignant “The Daughters.” While they challenge the listener to engage and question issues of empowerment and social trends, their message casts a far wider net, as they use the final verse to remind they respect the good men in the world. “I’ve heard of God, The Son and God, The Father / And damn, I love my son / I love my father,” sings Karen Fairchild, aligning a message of unity and unending hope as the solution. The song, webbed with acoustic guitar and cries of piano, may never have been officially shipped to terrestrial radio, but it signifies one of the most important moments in modern country history. – Jason Scott
Lizzo, “Juice”
Genre: Pop
Album: Cuz I Love You
Label: Atlantic Records
Lizzo’s 2017 single “Truth Hurts” is already shaping up to be the song of the summer, which is wild considering she already dropped one of the hottest (and one of the best) songs of the year back in January. “Juice” struts smartly along with a guitar loop that shines like the summer sun glinting off of Ray-Ban sunglasses, clearly crafted for pool parties, drinking on patios and disco dance floors. Lizzo pours her sizzling hot, spicy brand of self-love over every inch of the track, acknowledging her uncheckable badassery so much so that her joy feels infectious, almost contagious. But it’s like she says right? “If I’m shining, everybody gonna shine.” – Chris Will
Ariana Grande, “bad idea”
Genre: Pop
Album: thank u, next (Buy)
Label: Republic Records
Ariana Grande released one of the biggest pop albums of 2019 with thank u, next, and though it generated three career-defining, monster smash hits with “7 rings,” “break up with your girlfriend…” and the autobiographical title track, one of the album’s biggest treasures is the track “bad idea.” Grande wrote the track alongside long time collaborators Max Martin, Ilya and Savan Kotecha, singing from the perspective of someone working through lost love and pain through an on-and-off hookup. Grande keeps her vocals restrained as she twirls around anxious guitar chords and a ticking trap-inspired backbeat, laying bare her internal battle as she goes between calling out for help and pushing her temporary lover away. The track shines the brightest in its final minute, dipping into a brooding, stuttering breakdown with eerily distorted, down-pitched vocals mumbling the hook in what sounds like agonizing pain. – Chris Will
Hayes Carll, “Fragile Men” 
Genre: Americana
Album: What It Is (Buy)
Label: Dualtone Music Group
While lugging around his own baggage, the Americana music man has certainly situated himself as a powerful voice of reason and empathy amongst many of his conservative-leaning peers. But that doesn’t mean he doesn’t fearlessly and ferociously cast hate-mongering right into the fiery depths. “Fragile Men,” a torch ballad co-written with soul-pop singer Lolo (real name Lauren Pritchard) back in 2017, goes right on the attack of the KKK and other white supremacist groups. “Fragile men, I wish someone could hide you / I wish someone could guide you through these most difficult of days,” he mocks in enticing, flippant phrases, the guitar breaking off into soul-consuming flames. He approaches with dark humor, which cuts right at the heart of today’s sociopolitical environment without being terribly sanctimonious. [Hayes Carll interview] – Jason Scott
Muna, “Number One Fan”
Genre: Alternative
Album: Saves the World (Buy)
Label: RCA Records
Synth-pop gods Muna take the oft-treaded pop topic of self-love and give it a fresh new flavor on “Number One Fan,” the first taste of their upcoming album Saves the World. Muna take the microphone to the mirror and talk to themselves like they’re the biggest fans of iconic pop stars (Muna are, for all intents and purposes, iconic pop stars). They make time to tackle their haters and shrug off their disrespect, while building themselves up with tweet-worthy praise (“So iconic, like big, like stan”), righteously obsessive in their self-adulation. To hammer their point home they fashion their message around a salacious synth line, the thick, gooey bass dripping all over their diamond-hewed hooks. – Chris Will
Steven Universe, “Change Your Mind (feat. Zach Callison)”
Genre: Pop
Album: Steven Universe, Vol. 2 (Original Soundtrack) (Buy)
Label: Cartoon Network Music
Rebecca Sugar has been quietly making some of the best queer music of our time in her LGBTQIA+ friendly Cartoon Network show Steven Universe, and earlier this year, she closed out the last episode of what may be the final season with the brief but undeniably powerful “Change Your Mind.” Without giving too much away, the 56-second, stripped-down ballad gives melody to the feeling of those within marginalized communities dealing with those who prejudice against them. The song only has a few lines, but the truth they hold speaks volumes to those of us who know what’s it’s like to be told our existence is wrong. – Chris Will
Mickey Guyton, “Sister” (Buy)
Genre: Country
Album: TBD
Label: Capitol
Not many voices can arrest the senses quite like Mickey Guyton. She first caught the industry’s attention with her astounding waltz “Better Than You Left Me,” a tremendous Patsy Cline-worthy performance that strikes at the core of what country music should be. In the five years since, Guyton has continue kicking up dust and stones in her path with countless more singles and a couple EPs. Now, with “Sister,” a pop whirlwind of feminine support, she holds tight to her sturdy style touch points but continues to demonstrate her knack of mountain-clearing hooks and timely messages of empowerment. “I know it’s hard being strong and not getting lost in a man’s world / It’s going to try to break you down, but you gotta not give a damn, girl,” she sings. Her warble remains a magnificent addition to the country music world, even if radio continues to shun her God-given gifts. – Jason Scott
Billie Eilish, “ilomilo”
Genre: Alternative
Album: WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? (Buy)
Label: Interscope Records
I wrote about the piercing anxiety of “ilomilo” a few weeks ago, but it deserves a second look as one of the best songs of the year thus far. Billie Eilish’s debut is peppered with dread and sadness, but they both seem to hit their peak in one of the album’s best tracks. Eilish whispers of loss and of clinging onto what little love you have, as innocent people seem to be losing their lives to the administration and its supporters in terrifying numbers. She surveys of the decaying world around her with quiet but poignant distress, turning the emotional turmoil of watching our country slide into disarray into an American Horror Story-styled lullaby. It’s horrific, not just in its subject matter but also in how much it’s relatable, and how in its own dark, twisted way, the song is strangely comforting. – Chris Will
Charlotte OC, “Better Off on My Own” (Buy)
Genre: Pop
Album: TBD
Label: Twisted Talent
You fall out of love just as easily as falling head-over-heels. But sometimes, it’s hard to get to that place where love is just not enough to quench freedom one often so desperately craves. English pop singer-songwriter Charlotte OC lights the earth on fire beneath her feet with her new single. “Better Off on My Own” soaks the parched crust with a tank of gasoline before she tosses a lit match stick directly upon its point of origin. Flames consume everything in its path and leaves Charlotte to reclaim what is rightfully hers. “Maybe, it’s better / Maybe, I’m better off this way / With you, I’m heading, heading for another mistake,” she cries explosive teardrops, which flood down her cheeks and renew the blackened earth. “Somebody told me I need freedom,” she later recalls an encounter with a stranger whose sage wisdom pierced her heart. Her voice tears the melody to shreds, in the best way possible, a gravelly soprano only seeking to be uncaged as an eagle high in flight. [Taste Test review] – Jason Scott
Superfruit, “The Promise” (Buy)
Genre: Pop
Album: TBD
Label: RCA Records
Superfruit’s revamped cover of When in Rome’s 1987 smash hit “The Promise” is a gorgeous retelling of a classic pop song. Mitch and Scott trade out the signature guitar chords with warm, pulsating synths, their voices intertwining as gracefully as ever across the comforting four-to-the-floor beat. Mitch’s soprano flutters around the yearning hook, and he fills the song’s latter half with some of the best vocal ad-libs of his career, catapulting their take of “The Promise” to angelic heights that the original only scratched the surface of. The video further elevates the cover to something truly extraordinary, starring Olympic figure skater Adam Rippon executing celestial choreography on his skates. Above all else, Superfruit’s version of “The Promise” turns the track into an LGBTQ+ love song, a heartwarming ode to helping the one you love through the struggles of existing in a world full of injustice and heartbreak, while professing your undying affection. – Chris Will
Lizette Lizette, “Junk”
Genre: Electronic
Album: NON (Buy)
Label: Wednesday Records
Lizette Lizette creates something truly extraordinary with “Junk,” one of the standout tracks from their independently-released sophomore album, NON¸ a profound portrayal of the suffocating power of depression cloaked in a mystical 90s-esque house beat. The non-binary singer and producer’s dizzyingly magical instrumentation gives a sort of righteous power to the lyrics, in a way accepting the darkness that they experience as a part of what makes them unique and extraordinary, and giving the rest of us an outlet to dance through our own darkness. “Junk” is just a taste of the undeniable musicality that courses throughout Lizette Lizette’s NON, which proves Lizette Lizette is a must-know modern musical talent. – Chris Will
Julie Roberts, “I Couldn’t Make You Love Me” (Buy)
Genre: Country
Album: TBD
Label: Independent
There are songs that clutch your heart, but then there are star-winning performance that stop you in your tracks. Julie Roberts gives it her all on the truly, unapologetically soul-crushing “I Couldn’t Make You Love Me.” Dipped in Celine Dion-intensity, the song building to such a fevered pitch you may need a glass of water, the soaring and evocative torch ballad permits Roberts to dig her heels into the soil and excavate all the anguish throbbing in her chest and brandish it for all the world to see. Her voice splinters as she reaches for the stars, but therein lies the charm and potency. “Took life in my two hands and written my own story,” she unleashes every part of herself, climbing out of darkness and stepping into a heavenly light. Roberts is transcendent here, full-stop. – Jason Scott
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