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Top 50 Songs of 2022 (So Far)

Here are the tracks that have gotten us through the first six months of 2022

Best Songs 2022 So Far
Illustration by Steven Fiche
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    We’re kicking off our 2022 Midyear Report with our favorite songs of the year so far.


    What the hell happened to time? Remember when a week felt like a week? Since everything went belly up a few years ago, seven days seem to feel more like 30. Which might go some way to account for the onslaught of music we’ve received over the first half of 2022.

    This feels like the first time since it happened that things are running at full-steam again — or more than full, really. The industry’s collective finger was on pause for essentially two years, and now we’re fast-forwarding to make up for it. It’s a lot to take in — then again, so is everything these days. We’re faced with such a constantly shifting rush of emotions, swings of positivity and negativity, that it only makes sense for music to mirror the surge.

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    Over the last six months, we’ve witnessed the return of legends, follow-ups to viral hits, and rookie breakthroughs at a seemingly unprecedented clip. But if there’s one space where “too much of a good thing” doesn’t necessarily apply, it’s music. That’s especially true when we’re locked in an experience whirlwind; we need something to pull us back towards the ground, to tether us in the chaos and remind us simple joys still exist.

    Perhaps nitpicking through such a smorgasbord of sound to find the “best” songs of the year so far is a bit of a fool’s errand. For one, there have just been so many good songs. For another, whatever got you through these last six months are the best songs, regardless of what the experts say. Maybe it’s better to say these are the 50 songs that the experts at Consequence have connected with the most so far in 2022. We know you connected with some of them, too.

    Ben Kaye
    Editorial Director


    50. Avril Lavigne – “Love It When You Hate Me”

    A more modern entry in Avril Lavigne’s pop punk comeback, “Love It When You Hate Me” could easily have been bogged down by the emo rap contributions of blackbear, but a beat switch allows him to slide right in without overstaying his welcome. Elsewhere, Lavigne delivers a chorus that’s as hooky as ever, venturing into the familiar territory of ignoring the warning signs. And of course, Travis Barker’s thunderous drums continue to be the cheat code two decades into his career. — Eddie Fu

    49. Joy Oladokun – “Keeping the Light On”

    Joy Oladokun has promised the follow-up to her breakout in defense of my own happiness debut will be “about the human will to keep trying in the midst of all the tragedy that we’ve seen and perpetrated.” Consider “Keeping the Light On” a thesis statement to that goal, a bright counter to modern misery that’s as heartening as it is catchy. — B. Kaye

    48. Momma – “Speeding 72”

    Pavement reference? Check. Fuzzed-out guitars? Check. A chorus that gets lodged in your subconscious? Check, check, check. This rocker from co-bandleaders Etta Friedman and Allegra Weingarten is a song about driving a car tailor-made for playing while driving a car, preferably with the volume turned all the way up. — Spencer Dukoff

    47. Father John Misty – “Q4”

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    The master of indie satire strikes gold on “Q4,” his Chloë and the Next 20th Century track that bites back at the corporatization of art. The tale is centered around a struggling memoirist, but coming from Father John Misty, you can’t help but find the irony doubling back on itself. In that way, it reveals an earnestness in Josh Tillman’s songwriting that actually only furthers the innate irony, a feedback loop that ends up thoughtfully revealing. — B. Kaye

    46. Oso Oso – “Computer Exploder”

    If it came out that a radioactive songwriting spider bit Jade Lilitri of Oso Oso, no one would be shocked. Lilitri can write some of the catchiest music in indie rock, only to withhold it for the perfect moment. Case in point, “Computer Exploder,” the first track off sore thumb. What starts as a mid-paced opener seamlessly morphs into a festival-ready anthem with a chorus begging you to sing along even upon first listen. — Jonah Krueger

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