The 2022 edition of our Annual Report begins today with our Top 50 Songs list. As the year winds down, stay tuned for more awards, lists, and articles about the best music, film, and TV of 2022. You can find it all in one place here.
Things are still far from perfect, but relatively speaking, 2022 was an okay year. With a push towards returning to semblance of normalcy, the last 12 months felt a bit like the “hard launch” of live music’s return; luckily for us, there was plenty of fantastic new music worth — to paraphrase Paramore — leaving our houses for.
Really. We had a lot to pore over. Early-year Artist of the Month alumni Momma and Wet Leg gave us riffs that we’re still humming along to in December. Indie rock veterans like Alex G, Big Thief, and Alvvays each managed to put out some of the best songs in their already-fantastic discographies. Bad Bunny, Taylor Swift, Harry Styles, and Beyoncé kept pop fans fed, while cuts from rising acts like Ice Spice, Soul Glo, and Bartees Strange set new standards for what their respective genres can be.
That’s not to say everything’s been perfect. The past year has given us a laundry list of aspects we need to re-evaluate within the music business in order to maintain it both as a lucrative stream of income and as an accessible form of entertainment for consumers. We sure don’t have all the answers, but we know they’re questions worth asking.
And if you needed any proof, here are just 50 songs released in 2022 that reminded us that music is a fine art, and worth fighting for.
— Abby Jones
Editor’s note: Scroll to the end for a playlist of all 50 tracks.
50. Wet Leg – “Ur Mum”
They’re full of male ego-killing one-liners, but “I feel sorry for your mum” may be Wet Leg’s sharpest jab. Here, the Isle of Wight duo’s Rhian Teasdale melds inevitable post-breakup anger with the knowledge that she deserves better: “I loved you/ That was crazy/ ‘Cause you just don’t motivate me.” If you’re not ready to move on yourself, howling along to her “longest and loudest scream” at least offers catharsis. — Carys Anderson
49. Angel Olsen – “All the Good Times”
Angel Olsen’s turn toward country wasn’t unprecedented, but it was still a risk. Luckily, in case there were any “I-listen-to-anything-but-country” fans hiding in her audience, Big Time opener “All the Good Times” proved just how comfortable Olsen was in a cowboy hat and spurs. Olsen combined genre signifiers like pedal steel and organ with her signature voice and wrapped it all in an explosive, climactic structure. Simply put, it’s a good time. — Jonah Krueger
48. Lil Yachty – “Poland”
Drawing inspiration from Wockhardt cough syrup and a bottle of spring water that Lil Yachty spotted in the studio, the warbling “Poland” wasn’t even finished yet when the self-described “joke” song leaked online. However, the track’s absurdly catchy hook instantaneously made it a viral hit, forcing the Atlanta rapper to first release the song on SoundCloud before bringing it to streaming services. Harkening back to Yachty’s earlier, carefree days, it’s no wonder that “Poland” became his first solo Top 40 entry and allegedly scored him an invite from the Polish prime minister. — Eddie Fu
47. Death Cab for Cutie – “Here to Forever”
Death Cab for Cutie have learned to age gracefully with “Here to Forever,” which tackles legacy and mortality with the seemingly effortless brevity and wisdom that only a band in their third decade could pull off. With palpable urgency, Ben Gibbard finds the means to push himself and the band forward, whether it comes from “God, or whatever.” — Bryan Kress
46. Plains – “Problem with It”
Waxahatchee’s Katie Crutchfield and Jess Williamson formed Plains to explore their favorite country sounds, aided by Brad Cook’s production and backing from Phil Cook and Spencer Tweedy. It’s hard to imagine those ingredients leading to anything but success, and highlight “Problem with It” is the “leave you in the dust” breakup song that proves the recipe was just right. — Ben Kaye
45. Horsegirl – “Anti-glory”
“Anti-glory” was an indie-rock banger upon arrival. Surprisingly danceable and slightly moody, the track is drenched in the genre’s history without feeling stuck in the past. The first song for Horsegirl’s debut album, Versions of Modern Performance, it not only lives up to the record’s title, but introduces Horsegirl as a rising force poised to help direct the state of indie in the 2020s. — J.K.
44. Lizzy McAlpine – “All My Ghosts”
There are few places less likely to spark a romance than “in the 7-11 under fluorescent lights,” and yet there’s a beating heart behind the Slurpee-centric love story laid out in Lizzy McAlpine’s “All My Ghosts.” The 23-year old folk-pop singer-songwriter’s chance convenience store encounter revives dormant fears from the past, but her plain-spoken confidence reveals a brighter future ahead as she says, “When all my ghosts disappear/ I can see it crystal clear.” — B. Kress
43. Joyce Manor – “Gotta Let It Go”
Joyce Manor have spent the better part of their tenure delighting in suburban skate-punk debauchery, but they’re older and wiser now. So what happens when the rebellion starts to go too far? On the band’s explosive single “Gotta Let It Go,” frontman Barry Johnson recounts a night spent aimlessly wasting time that may have taken a wrong turn: “Got into your car, the one that you stole/ It’s not a confession if I was just messing!” Suddenly, as he repeats the song’s title, “you gotta let it go” feels more like a wake-up call than a hedonistic mantra. — A.J.
42. Lucius – “Next to Normal”
May we humbly submit this for the highly coveted Bass Line of the Year Award? Never has the musical duo of Jess Wolfe and Holly Laessig sounded so downright funky, weaving a witchy disco heater seemingly cooked up in a laboratory for the sole purpose of shutting down dance floors across the globe. When the chorus kicks in, you’re liable to hallucinate a disco ball spinning triumphantly in front of you. — Spencer Dukoff
41. BROCKHAMPTON – “Brockhampton”
Leave it to a song like “Brockhampton” to remind us how special it was to have such a unique and creative band around for the last six years. Across lush strings and a romantic air, Kevin Abstract lays it all out for his audience: the good, the bad, the moments where everything fell apart. His bars are fiercely vulnerable, lifted from his most personal thoughts, and frankly, heartbreaking. R.I.P. (?) BROCKHAMPTON, it’s been a blast. — Paolo Ragusa
40. Arctic Monkeys – “There’d Better Be a Mirrorball”
“There’d Better Be a Mirrorball” answers a question Arctic Monkeys fans have been wondering for four years: What would happen if Alex Turner took Tranquility Base Hotel & Casino’s surrealism and wrote about realism? Turns out it would be a lounge-y breakup song perfectly suited for Turner’s languid croon. With the end of a relationship reflecting off spinning glass like a Bond title sequence, The Car lead single shows the band’s commitment to this second phase of their sound can be just as potent as their post-Britpop roots. — B. Kaye
39. Father John Misty – “Q4”
Chloe and the Next 20th Century — Josh Tillman’s fifth studio album as Father John Misty — makes an impression from start to finish, sonically reaching back in time with Jazz Age flourishes. “Q4” is the catchiest tune of the bunch, elevating the tale of two fictional sisters with a sweeping orchestral arrangement. It’s baroque indie pop by way of Old Hollywood, and it gets better with each listen. — S.D.
38. Wild Pink, Julien Baker – “Hold My Hand”
You don’t have to know the backstory of “Hold My Hand” for the song to wrap you up in a warm hug. Whether or not cancer has touched your life, lead singer John Ross’ tale of a small comfort from a member of his surgical team is as devastating as it is beautiful. Baker provides a thoughtful counterpoint, a bit more openly hurt but matching Ross’ hushed focus, and the ghostly way her voice floats above his is breathtaking. — Wren Graves
37. Hitkidd, GloRilla – “F.N.F. (Let’s Go)”
Written during a 60-day cleanse, “F.N.F.” (which stands for “fuck n**** free”) is a carefree, turn-up anthem for anyone who could also use clarity in their lives. Over a menacing beat, Memphis rapper GloRilla touts the freedom that comes with focusing on the goals at hand (“I ain’t poppin’ out at parties, gotta book me for a show”), a message that resonated on TikTok and beyond with encouraging cheers of “Let’s go!” As GloRilla says herself, there’s nothing like celebrating the single life with “ratchet-ass friends.” — E.F.
36. Spoon – “Wild”
“Wild” initially drills its way into your brain thanks to its pulsing percussive rhythms — then, it becomes so much richer, as Britt Daniel’s vocals kick in and the layers of guitars interlace with a thread of echoing piano. Harmonically deep, the song’s minimalist lyrics still drive their message home: “I was lost, I’d been kept on my knees/ And the world, still so wild, called to me” captures that very modern sense that as trapped as we all might feel by our lives, there’s a tantalizing glimpse of something greater, always close by. — Liz Shannon Miller
35. aespa – “Illusion”
For any casual K-pop listeners who have yet to get into aespa, let this be your sign. We’ve already deemed aespa the K-pop group of the future, and “Illusion” is a neat summary of exactly how they’ve earned that reputation. Their experimental edge, exciting visuals, and innovative energy are all tucked into “Illusion,” which appears on their explosive 2022 mini-album Girls. — Mary Siroky
34. Madison Cunningham – “Hospital”
As a quadruple threat — powerhouse singer, technically proficient guitar player, top-class songwriter, and Friend of Harry Styles — Madison Cunningham is operating at the peak of her powers on this sultry single from her 2022 album, Revealer. Cunningham swaggers over exuberant electric guitar riffs, delivering lines like, “Regret is like an infant that won’t let you sleep it off” with a wink and a smirk. — S.D.
33. Phoenix & Ezra Koenig – “Tonight”
Everyone likes when a popular band goes back to what they sounded like 15 years ago. But on “Tonight,” featuring Vampire Weekend’s Ezra Koenig, Phoenix wants you to know that while we can pretend it’s 2009 again, we can’t ignore the fact that things have changed, that we get older, that we have to make the most out of what we have now, not what we had then. If you listen closely, beneath the joy and the splendor is acceptance. — P.R.
32. Oso Oso – “Computer Exploder”
Oso Oso’s Jade Lilitri recorded his March album Sore Thumb along with his cousin and frequent creative partner Tavish Maloney, who tragically died a month after completing the demos. Fittingly, the emo-pop gem “Computer Exploder” encapsulates the all-consuming nihilism that comes along with realizing the future will always proceed unplanned; why not blow all your money on weed and acid? “Yeah, it’s fine if the love and the money run out/ If the drugs run out, I’ll die,” Lilitri sings on the track’ sticky chorus, as self-deprecating as it is earnest. — A.J.
31. Ethel Cain – “American Teenager”
There’s no shortage of minor-key doom and gloom on Ethel Cain’s 2022 album, Preacher’s Daughter. But on “American Teenager,” the singer-songwriter demonstrates a proclivity for crafting joyful, open-road anthems as well. When she sings, “I’m doing what I want and damn, I’m doing it well for me,” it’s not just a lyric — it’s a middle-fingers-up mission statement. — S.D.
30. Momma – “Speeding 72”
Of all the songs in the world about driving fast and getting to the gig with your friends, “Speeding 72” just might elicit the strongest rush. “Hey, I heard you’re coming from a complicated place at best,” Momma sing in its opening lines, and they deliver the track’s message as straightforward as possible. With gargantuan guitar riffs, effortless lyrics, and a direct reference to one of the most euphoric-sounding songs of ‘90s indie rock (Pavement’s “Gold Soundz”), “Speeding 72” is tailor-made for car stereos — or moments when you just need to replicate the exhilaration of surpassing the speed limit. — A.J.
29. Kendrick Lamar – “N95”
Kendrick Lamar uses a now all-too-familiar token of the pandemic as a metaphor: Take off our “masks” and start being real with our people and with ourselves. Those looking for some anti-mask message when he yells, “Take it off!” miss the point entirely. Lamar rebelling for a cause isn’t anything new, but he never sounds better than when he goes against the grain and calls out his peers for being fake. — Marcus Shorter
28. The 1975 – “I’m in Love with You”
The 1975 have attempted to be a once-in-a-generation band, and in many ways, succeeded. They’ve broken free from others’ expectations, they’ve released nuanced explorations of our modern times, they’ve shouted and begged and offered catharsis. But on “I’m in Love with You,” Matty Healy wisely reminds us that “it’s not that deep.” In fact, it’s deceptively simple, and it goes like this: “I’m in love with you, I, I, I, I, I….” Well put! — P.R.
27. SZA – “Shirt”
SZA has only put out a handful of solo singles since her landmark debut Ctrl five years ago, and each one is a brilliant example of her unique artistry. “Shirt” finds SZA once again making something dazzling out of the simplest beats. Her melodies wander and jump unexpectedly, her phrases are loaded with anxious musings and present moment discoveries, and her deliveries are crystal clear and immediate. As the anticipation grows for S.O.S, “Shirt” is perhaps the best gift we could ask for in the meantime. — P.R.
26. Alvvays – “Belinda Says”
On Blue Rev, Alvvays push their signature dream-pop sound past their usual boundaries and to its My Bloody Valentine maximum. “Belinda Says” is a dazzling wall of fuzzed-out shoegaze, Molly Rankin’s verses the voice of saccharine reason under a current of distortion. It’s an ode about succumbing to the desire of moving to the countryside and starting a life anew and anonymous, and the perennial struggle of transitioning into full adulthood (with the help of the sugary alcoholic drink that the band named their record after). There is a reference to the mighty Belinda Carlisle with the song title, only Rankin adds a crucial addendum: “Belinda says that heaven is a place on earth / Well, so is hell.” She’s right. — Cady Siregar
25. Steve Lacy – “Bad Habit”
Steve Lacy stumbled upon a miraculously good pop song with “Bad Habit,” and its Billboard Hot 100-topping legacy is still ongoing. But “Bad Habit” is also a testament to Lacy’s creative freedom, compiling what sounds like three different songs into one cohesive mix and twisting the concept of desire and a missed connection into something wholly original and authentic. There are many that qualify, but “Bad Habit” is one of the most deserved breakthroughs of 2022. — P.R.
24. Ice Spice – “Munch (Feelin’ U)”
“You thought I was feelin’ you?” Bronx native Ice Spice raps in response to a guy (a.k.a. a “munch”) desperate for sex. With a sense of playfulness often lacking in the male-dominated New York drill scene, the 22-year-old artist floats over a sparse beat produced by RiotUSA. Though the track is filled with mean girl lines like “Bitch, I’m a baddie I get what I please” and “If you ain’t a baddie can’t sit with me,” the tongue-in-cheek vibe makes it irresistible — even for the munches out there. — E.F.
23. Taylor Swift – “Anti-Hero”
It’s so much fun when Taylor Swift lets her most unhinged instincts out to play. “Anti-Hero” is Swift at her most theatrical and absurd, an exercise in paranoia and self-reflection. Let’s put one thing to rest here and now: The “sexy baby” line is good, ok? Allow this playful spot off Swift’s tenth album, Midnights, to have its moment. — M. Siroky
22. Danger Mouse, Black Thought, MF DOOM – “Belize”
This trio of names should in and of themselves have you reaching for the headphones. Over Danger Mouse’s hypnotically soulful beat, Black Thought’s precise rhyming and the late MF DOOM’s internal scheme spin your head in opposite directions, leaving no doubt you’re “checking the top two of a thousand intelligent chaps.” No collaboration delivered more fully on the promise of its components this year than “Belize.” — B. Kaye
21. BTS – “Yet to Come”
After two consecutive summers of earth-shaking English-language releases from BTS (“Dynamite” and “Butter”), South Korea’s preeminent septet opted for a tender Korean pop ballad to celebrate their ninth anniversary. It’s a loving ode to their past and a hopeful look towards the future; the members are ready to leave the “crowns, flowers, and countless trophies” behind and are more interested in the business of “dreams and hope going forward,” a vision they’re already making good on since the song’s heartfelt release. — M. Siroky
20. Mitski – “Love Me More”
Don’t let the dazzling synth pop fool you — “Love Me More” is signature Mitski, desperately longing for connection, for an escape from existential hell, for more. What makes “Love Me More” so significant, however, is how much more dynamic Mitski has become as a vocalist. When she hits the final “drown me out!” in the second chorus, her empowerment is infectious. It’s one of the many standout moments from Laurel Hell, and as always, there are layers upon layers to find with each listen. — P.R.
19. Alex G – “Runner”
This song deserves to be on this list for the sheer fact that it contains the Best Scream of 2022 at the one-minute-and-45-second mark. But beyond that jubilant wail, the Jacob Portrait-produced track builds layer upon layer — piano, snare drum, acoustic guitar, bass guitar, and Alexander Giannascoli trademark vocals — to underscore its lyrical tableau about trust and friendship. — S.D.
18. Arlo Parks – “Softly”
It’s been well over a year since Arlo Parks’ Mercury Prize-winning debut, but “Softly” demonstrates just how much more she has to offer. Where Collapsed in Sunbeams complimented Parks’ contemplative poetry atop warm, lush instrumentals, “Softly” is a much more active turn from the musician, with skittering percussion and a refreshing sense of urgency. If “Softly” is any indication, Arlo Parks’ writing is getting sharper and more intriguing with each release. — P.R.
17. Fontaines DC – “Jackie Down the Line”
Fontaines D.C. seem to just get better and better. This year’s Skinty Fia might be the Irish post-punkers’ strongest effort yet; an easy case to make when songs like “Jackie Down the Line” make up the track list. Catchy, tightly performed, and unrelenting, the surprisingly understated track miraculously exudes the intensity of a much heavier, noisier song. Frontman Grian Chatten never raises his voice and the song has no cathartic explosion. Instead, tension festers throughout its runtime. Fontaines D.C. build a mood and sit in it for four minutes, letting it simmer as the pressure rises higher and higher. — J.K.
16. Zach Bryan – “Something in the Orange – Z&E’s Version”
“Something in the Orange” is everything you hope for from a country song in 2022: It’s honest, it’s narrative, and it feels simultaneously urgent and timeless. TikTok might be driving executives wild because it’s just so unpredictable, but every now and then, the algorithm does something right and boosts a song like this to social ubiquity. If a viral trend introduced just a few more listeners to the magic of Zach Bryan, we’re calling it a win. — M. Siroky
15. Lucy Dacus – “Kissing Lessons”
Cut from the final tracklist of 2021’s Home Video, this autobiographical bop recounts a seven-year-old Lucy Dacus learning how to kiss from her friend Rachel. The track, which clocks in at under two minutes, packs in plenty of narrative, unspooling as an indie-rock paean to queer joy and self-discovery. — S.D.
14. Rina Sawayama – “This Hell”
Starting off a song by whispering the words, “Let’s go girls” is a bold move, and if anyone can pull off the homage to Shania Twain, it’s Rina Sawayama. “This Hell,” 2022’s song of the summer for people who have taste and enjoy having a good time, is a rainbow-hued bop that encapsulates all the reasons Sawayama’s star rightfully continues to rise. It’s clever, it’s almost unfairly catchy, it’s aware and referential. Pass the wine and join the ride. — M. Siroky
13. Denzel Curry – “Walkin”
“Killing all my demons ‘cause my soul’s worth redeeming.” That’s how Denzel Curry ends his first verse on “Walkin,” a song about confessions, conflicts, and dreams. Technically, the most impressive part of the track is how Curry alternates flows between verses as the drum patterns change. The first verse is all East Coast boom bap while the second is down south bounce. But he approaches both tempos with the same subject matter and perspective. Denzel feels pressure from being “the one” for his friends and family, even if they never implicitly put that yoke on his shoulders. But survivor’s guilt walks with us, whether we like it or not. — M. Shorter
12. Yeah Yeah Yeahs feat. Perfume Genius – “Spitting Off the Edge of the World”
Yeah Yeah Yeahs could have made the opening salvo of their big return a dance-punk explosion. But as one of indie rock’s formative projects, they knew the landscape had changed. Meeting the moment with unparalleled poise and Perfume Genius’ quivering vocals at their side, they gave us the frustrated yet defiant end credits song for the previous generation in “Spitting Off the Edge of the World.” — B. Kaye
11. Bad Bunny – “Moscow Mule”
The opening track to Un Verano Sin Ti (which translates to “A Summer Without You”) describes the loneliness that comes with being the world’s biggest superstar, which is only elevated by Bad Bunny’s experience with the empty feeling of meaningless sex. The Puerto Rican star sings about searching for something more from a potential relationship, yet is hardly immune from heartbreak despite all his fame. Featuring a reggaeton beat perfect for dancing alone at the club, “Moscow Mule” captures a sometimes tortured existence reflected in Bad Bunny’s emotive vocals. — E.F.
10. Soccer Mommy – “Shotgun”
While so much of Sophie Allison’s past work as Soccer Mommy has lamented the woes of unrequited and unhealthy love, “Shotgun” — the lead single from her kaleidoscopic 2022 album, Sometimes, Forever — mirrors the bliss of having finally found a person who just might be the one.
On the first of the song’s subtly dark verses, Allison recalls some of those former flings, reluctantly turning to cigarettes and uppers to cope with her dissatisfaction. This time, however, fate looks less grim. “This feels the same without the bad things,” she sings with a palpable tinge of relief.
By the time we get to the shimmering chorus, Allison has professed her unrelenting devotion, likening her passion to the intensity implied by a lethal weapon — a scary concept, but she doesn’t seem too worried about firing off. Comparing love to a drug is well-foraged territory, but on “Shotgun,” Allison can rest easy knowing this craving won’t prompt an agonizing comedown. — A.J.
09. Harry Styles – “As It Was”
In under three minutes, Harry Styles managed to remind everyone listening exactly how he’s ascended to his level of transcendent pop superstardom. In different hands, the melancholy themes of “As It Was” might have permeated the production choices Styles made with close collaborators Kid Harpoon and Tyler Johnson — instead, this irresistibly toe-tapping track pulled from the joyful sounds of the 1980s, and the resulting song spent 15 weeks at No. 1 on the Billboard Hot 100, becoming the longest-running US number one by an act out of the UK and the fourth longest running chart-topper in the charts history.
Beyond Styles’ popularity and the kind of lovingly curated listener base that leads to record-breaking, though, there’s a distinct catharsis to “As It Was,” perhaps one aided by the honesty tucked between energetic choruses. “Harry, you’re no good alone,” he sings to himself mournfully. Church bells ring out before the song reaches its exhalation of a conclusion. We can’t help but feel a bit lighter after listening to “As It Was” — here’s hoping Mr. Styles experiences just a fraction of that same relief he’s given us. — M. Siroky
08. Soul Glo – “Gold Chain Punk (whogonbeatmyass?)”
Soul Glo has been playing with the classic punk formula in the underground scene for a couple of years now, mutating hardcore stylings to fit their own whacked-out, hyper-aggressive agenda. But with the release of 2022’s Diaspora Problems, the Philly act perfected their concoction of genre-play, memorable hooks, and hard-ass riffs, and when it comes to the most moshable song of the lot, “Gold Chain Punk (whogonbeatmyass?)” makes like its name and takes the honorary gold chain.
The track immediately brings you in as clean, optimistic guitars mask the coming chaos. “Gold Chain Punk (whogonbeatmyass?)” then breaks into a spastic fit, as vocalist Pierce Jordan yelps over the growing madness. Before there’s time to get comfortable, the band murders any leftover positivity, the bass takes over, and the guitars begin to chug.
From there, it’s a breakdown so rough you’ll need knee pads and a helmet to survive the ensuing pit. They manage to do it all again, this time with an even looser grip on reality, as noise abounds and the performances become increasingly unhinged. Whether you’re the ass-beater or the ass-beatee, you couldn’t ask for a better soundtrack. — J.K.
07. Nilüfer Yanya – “The Dealer”
London’s Nilüfer Yanya has a knack for making uncomplicated guitar pop as textured and transfixing as you could imagine. There’s probably no better example of this than on “The Dealer,” a haunting meditation on a particularly discordant relationship that seems to ask: Who’s really to blame when a bond fizzles out? “I thought you were someone to rely on,” Yanya broods in her syrupy mezzo-soprano, but just a moment later, she reflects the burden back onto herself: “Baby, it’s me that’s taking us apart.” It feels a bit like self-reproach, a bit like defiance.
They say time heals all wounds, but “The Dealer” argues that the passing of time itself can yield a distinct pain of its own. “Keep hearing that the wintertime is coming back soon/ When somebody asks/ I hope it’s just the summertime you grew attached to,” she sings over a groovy breakbeat and intricate guitars, as if such emotional rifts are as natural and inevitable as the earth’s rotation. — A.J.
06. Florence + The Machine – “King”
“King” finds one of the world’s biggest artists assessing a war between her desire to have children and her profession — something her male counterparts rarely have to confront. Paradoxically, the battle has inspired one of the best songs in her career, only further dragging out the conflict.
Contradiction is the core of Florence + The Machine’s powerful Dance Fever lead single. It says it right there in the opening verse: “And how much is art really worth?/ The very thing you’re best at is the thing that hurts the most.” It’s how this sweeping baroque composition can sound — feel — triumphant but actually be disconsolate.
We’d expect such a renowned feminist figure to find self-actualization in a chorus like “I am no mother/ I am no bride/ I am king.” The thing is, she doesn’t owe anyone that moment of ascendancy, and yet simply by expressing it, she attains it. All the way through, “King” is a masterclass in opposing dynamics, as beautiful as the regal trappings Florence Welch reluctantly inhabits. — B. Kaye
05. Bartees Strange – “Heavy Heart”
On track one of his album Farm to Table, Bartees Strange plants a flag, claiming his place among the most skillful purveyors of indie rock on the planet right now. “Heavy Heart” is all sweat and urgency, propelled by fearsome drumming you feel in your chest and guitars that make you feel ten feet tall.
When the horns burst through at the halfway mark, it feels like a nod to Bartees’ heroes in The National and also an affirmation of his self-confidence as an artist. It doesn’t skimp on lyricism either, encapsulating the mixed emotions of emerging from a difficult year and how to deal with a “new normal” that feels anything but.
“Heavy Heart” is about success in the wake of tragedy and hope in the midst of despair, deftly conveying weighty emotions without getting bogged down by sentimentality. The Bartees Strange-issaince is upon us: Play this one loud in celebration. — S.D.
04. Beyoncé – “CUFF IT”
“Have you ever had fun like this?” asks Beyoncé on “CUFF IT,” a standout single from her earth-shaking summer album Renaissance. The short answer? No! Bey’s disco romp stylishly displays her most dance-forward impulses, and it characterizes the best of the urgent, euphoric highs that Renaissance offers.
But even deeper within “CUFF IT” is a kind of desperation and intensity that brings the song to a different level of emotional resonance. Like many of the songs on Renaissance, “CUFF IT” is a fantasy born out of the stillness of the pandemic, a mission of desire that only Beyoncé can make attainable. Her yearning for physical intimacy, for reveling in joy, for ecstatic freedom, is so immediate and rousing that the statement “we’re gonna fuck up the night” is less of a call to arms and more of a manifestation of the inevitable.
And at the center of “CUFF IT,” as always with Beyoncé, is her inimitable command of melody, dizzying and enchanting with each clever phrase. — P.R.
03. Big Thief – “Simulation Swarm”
At 20 tracks of magically-crafted folk music, getting a group of indie fans (who are likely wearing Carhartt overalls and an itsy-bitsy beanie) to agree on the best song from Big Thief’s Dragon New Warm Mountain I Believe in You is damn near impossible. If the listing gods demand one to be singled out, though, “Simulation Swarm,” deep in the album’s tracklist, has an irresistible gravitational pull.
It’s easy to point to the finger-picked acoustic guitar or the love-sick poetry, but to reduce the song to only Adrianne Lenker’s contributions is to lose the inexplicable wonder of the tune. No single aspect of the track is to thank for its raw beauty; rather, it’s the result of countless tiny, unknowable decisions that combine to create something far beyond the sum of their parts. Change any small aspect and the house of cards collapses. Luckily for us, the conditions were just right. “Simulation Swarm” is another perfect helping of Big Thief – and that’s frankly indefinable. — J.K.
02. Pusha T – “Diet Coke”
“Diet Coke” is, in many ways, an homage to Clipse’s 2006 magnum opus Hell Hath No Fury. There’s the title, which Pusha T took from a line he uttered on “Hello New World,” and the flows he utilizes. On “Diet Coke,” The Notorious B.I.G.’s spirit possesses Push, and the Virginia rapper spits flows that his predecessor used many moons ago.
“Diet Coke” represents the perfect blend of rapper, beat, and subject matter. And yes, that includes Fat Joe (a.k.a. Joe Crack) showing up for the intro while his voice echoes throughout the song. Here, Push’s best material shows up over minimalistic beats that accentuate his voice and bring focus to his linguistic gymnastics.
To that point, “Diet Coke” is just a simple loop with light drums and scratches. His performance elevates an already dope beat and makes imagining anyone else over the song an impossible feat. Biggie would be proud. — M. Shorter
01. Paramore – “This Is Why”
In the five years since redefining their sound with the ’80s pop rock of After Laughter, Paramore have influenced a whole generation of young artists, ranging from bands like Soccer Mommy to emo rappers like Lil Uzi Vert. With “This Is Why,” their first output since 2017, the band demonstrate their intentions to move away from the sheen of their last album into a funkier sound. Now, they’re taking cues from the likes of Talking Heads and even Red Hot Chili Peppers, for whom they “opened” at Austin City Limits 2022.
Marking the final song Paramore wrote for their album of the same name, “This Is Why” carries the weight and emotions of the last several years of simply surviving. At the same time, the track challenges listeners to simply be better to each other — or risk losing our humanity entirely — with lyrics like, “Survival of the fittest/ You’re either with us or you can keep it/ To yourself.”
After witnessing society’s lack of empathy — even through a global pandemic — Hayley Williams and company are over the bullshit. At least they’ve given us something to dance to — whether it’s alone in your bedroom or amongst the other fans who have missed them dearly, too. Who wouldn’t want to carry that energy into 2023? — E.F.
Consequence’s Top 50 Songs of 2022 Playlist: