NEW YORK (AP) — Ten of the perfect songs of the yr, as decided by Related Press Music Author Maria Sherman, in no specific order.
“A Bar Song (Tipsy),” Shaboozey
It’s not solely the largest tune of the yr, however one of many longest-reigning No. 1s of all time, so far as the Billboard Sizzling 100 is anxious — Shaboozey’s “A Bar Song (Tipsy)” tied Lil Nas X’s “Old Town Road” with a formidable 19 weeks atop the charts. It is sensible that these two songs resonated in related methods: Each are cross-genre, monolithic musical moments, classically nation and an amalgamation of types forming one thing fully trendy. Shaboozey’s earworm interpolates J-Kwon’s “Tipsy” and locations it squarely on the light bar stool of a hard-working weekend warrior. Like a couple of too many whiskey shooters, it will encourage a singalong of “Oh my, good lord” from anybody.
“Not Like Us,” Kendrick Lamar
There was a time the place describing “Not Like Us” required a taxonomy of the freshly reignited beef between Kendrick Lamar and Drake, a interval of diss tracks begetting diss tracks with dizzying alacrity — and a transparent victor. The reality is, after all, the tune stands by itself: a triumphant declaration of West Coast hip-hop, humorous and bombastic.
“Like That,” Future, Metro Boomin and Kendrick Lamar
Future and Metro Boomin have lengthy made preferrred collaborators, however this yr’s joint album, “We Don’t Trust You,” felt like a very long time coming. It was an occasion. Instantly upon its launch, “Like That” stood out, not only for its fiery guest verse from Lamar, or its hyper-speed sample of Rodney O and Joe Cooley’s “Everlasting Bass” and Eazy-E’s “Eazy-Duz-It,” however for its ferocity. It is the massive … three?
“Good Luck, Babe!,” Chappell Roan
Face it: 2024 belonged to Chappell Roan. A veteran of the music business now experiencing what appears like an unparalleled rocket launch into fame, Roan has lengthy wielded her theatricality and sexual candor like a wand (and a rabbit) in her songs. But it surely’s “Good Luck, Babe!” that thrust her into the mainstream, a pop megahit that tackles lust, frustration and obligatory heterosexuality atop strings, ’80s synths, and a hovering vocal efficiency. How may you not fall in love together with her?
“Espresso,” Sabrina Carpenter
For the caffeinated — or these in dire want of an vitality enhance — Sabrina Carpenter’s “Espresso” emerged like all great pop hits should: Almost from nowhere, as addictive as its namesake and confounding in its lyrics, directly recalling the Y2K period of off-kilter pop songs with nonsensical lyrics atop sunny productions. (“That’s that me espresso” is up there with the Backstreet Boys’ declaration of “I never wanna hear you say / I want it that way.”) However this one is not merely fueled by nostalgia. It is disco-pop when the style was lifeless and buried, revitalized and made intelligent by Carpenter’s ever-present humorousness. Cheeky!
“Texas Hold ’Em,” Beyoncé
For career-long followers of Beyoncé, the reminiscence of the once-teenaged singer who spoke with a smooth, pronounced Texas twang is all however distant. For them, a hybridist nation album from the celebrity performer was merely a prophecy fulfilled. When “Cowboy Carter” arrived, it grew to become instantly clear that B was devoted to reclaiming nation music as a Black girl. But it surely was the introduction of this new period with “Texas Hold ‘Em” that solidified it — a honky-tonk stomper with plenty of western soul.
“Nasty,” Tinashe
Give her No. 1 for the perfect lyric of the yr — “Is somebody gonna match my freak?” Tinashe’s “Nasty” is the hit followers of her easy R&B-pop have been ready for years; an exemplar of her specific skills. It’s a sultry, goodtime hit — a kick, a snare, naked manufacturing and a scare beat — melodic and stacked with backing vocals. No marvel TikTok instantly embraced it. “Nasty” is for dancing, a tune that evokes a quote commonly attributed to Oscar Wilde: a vertical expression of a horizontal urge.
“I Had Some Help,” Submit Malone and Morgan Wallen
Of any modern pop performer, Submit Malone has benefitted essentially the most from his means to shapeshift. In an alternate universe, it could be onerous to consider the “White Iverson” rapper launching a profitable nation profession. On this one, it makes an excessive amount of sense — the Texas musician has been dropping “ma’ams” and “sirs” in his speech since day one, and his signature autotuned vibrato works throughout the style spectrum. (It is that very same idiosyncrasy that had each Beyoncé and Taylor Swift calling him for options this yr.) However it’s his purple solo cup collaboration with controversial hitmaker Morgan Wallen that undoubtedly made waves, an instantaneous anthem for hanging out within the mattress of a pickup truck or at a yard barbecue.
“Igual Que Un Ángel,” Kali Uchis and Peso Pluma
One of many greatest music tales of the previous couple of years has been the rising reputation of regional Mexican music — an exhilarating reflection of Latin music’s continued international progress. However the artists on the middle of the motion, together with Peso Pluma, know that their music succeeds as a result of it each celebrates custom and transcends it, like in his gruff rapping over corridos. In Kali Uchis’ “Igual Que Un Ángel,” Pluma experiments with new genres completely, and she or he welcomes him into her world. Right here, Uchis’ shiny, shimmery disco dream-pop is the muse, and Pluma’s stony vocal tone a easy accent. It is an addictive tune, and a reminder of the facility on the coronary heart of creative collaborations.
“Right Back to It,” Waxahatchee and MJ Lenderman
A vocal concord between Waxahatchee’s Katie Crutchfield and MJ Lenderman is a marvel from the bounce — two kindred spirits, schooled in folky Americana and raised in DIY punk — however that’s just one fraction of the magic of “Right Back to It.” The tune considers long-term relationships, the sort of love that may be examined, regular, dependable and, at occasions, restive. “I let my mind run wild / Don’t know why I do it,” she sings, “But you just settle in like a song with no end.”
