49 Best Songs of 2020 – Best New Music of the Year

With survive music, tours, and festivals on hesitate, the music setting, like all things, felt different in 2020. still, artists pushed through and kept us thrilled, comforted, and empowered in a dark and sequester year. The music that emerged from this earned run average of separation still made us feel unite and gave us something to experience together—whether we were dancing in our rooms ( alternatively of push clubs ) to Dua Lipa and Lady Gaga, celebrating the power of our sex through Megan Thee Stallion and Cardi B, or just riding out the melancholia of the moment with Phoebe Bridgers or Soccer Mommy. The year ’ s best new tracks evoke nostalgia, protest, romanticism, and precisely some damn well playfulness, which we surely deserve after these by 12 months. Take a heed below .

“Savage Remix” by Megan Thee Stallion featuring Beyoncé

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Megan Thee Stallion ’ s “ Savage ” was already a hit thanks to infectious TikTok choreography and her high-energy bars that never take a break. The entirely person who could have improved the track would be Beyoncé Giselle Knowles-Carter herself—and when snippets of Beyoncé ’ s verses on the remix leaked ahead of its official secrete, the Beyhive could not contain themselves. The remix simultaneously serves as an ode to the city of Houston, the resilience of women in hip-hop, and the fact that Beyoncé is in truth a superior rapper to Jay-Z. Don ’ thyroxine at me. —Bianca Betancourt, Assistant Digital News Editor

“Yo Perreo Sola” by Bad Bunny

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not being able to hear Bad Bunny ‘s standout track from YHLQMDLG exist was one of the ultimate cultural travesties of 2020. not merely is the song plainly a bonafide reggaeton firecracker, but it ‘s besides an unexpected feminist manifesto. Bad Bunny raps of the importance of women being able to declare whether or not they want to dance with person at a party, and to top it off, he performed the song in puff for it ‘s accompanying ocular. “ Yo Perreo Sola ” singelhandedly proclaimed that machismo serves zero importance in 2020 and beyond. —B.B .

“Useless” by Omar Apollo

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Some songs just sound like a dream, and Omar Apollo ‘s “ Useless ” is one of them. Apollo composed the ethereal path with the help of companion musician Albert Hammond Jr. ( of The Strokes fame ) to create a breathless ode to fleeting millenial love affair. —B.B .

“Eternal Summer” by The Strokes

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One of the few incontrovertible moments that has come out of weeks of sheltering in place is that we have a modern album by The Strokes to soundtrack our room into the summer. While the concluding few efforts from the quintessential New York band have showcased the obviously strained relationships between the bandmates, their latest effort ( about eerily titled The New Abnormal ) ultimately sounds like the boys are at least halfway excited to be together again. The standout chase is well “ Eternal Summer ” —an contagiously tempo-ed track that effortlessly melds the early millennial aughts aesthetic of their early exercise with julian Casablancas ’ s affection for electronic-inspired production. —B.B.

“Rewind” by Ravyn Lenae

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If Ravyn Lenae ’ s teaser track from the latest insecure soundtrack is a sample of her music to come, consider us ready. Lenae ’ s exquisite vocals float over the breezy guitar-backed track, while the 21-year-old musician subtly settles into an increasingly mature and more scheme melodious aesthetic. The buttery-smooth product reminds of R & B prima donna from decades past à la Toni Braxton and Aaliyah. There ’ second no doubt that soon enough, Lenae ’ s name will be associated among them and many more in her projects to come. —B.B.

“I Want War (But I Need Peace)” by Kali Uchis

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Kali Uchis ’ s latest EP, To Feel Alive, serves as a sentimental soundtrack to the uncertainty of our populace today. The aeriform track “ I Want War ( But I Need Peace ) ” details the tiring back-and-forth of a relationship that ’ sulfur adequate parts toxic and intoxicant. The lead, along with the three other songs, are depart of the quarantine-created EP and were all written, produced, and performed by Uchis herself, proving that even as the worldly concern comes to a pause, her musical creativity continues to thrive. —B.B .

“Si Veo a Tu Mamá” by Bad Bunny

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Any artist who decides to sample the brazilian classic “ The Girl from Ipanema ” is indisputable to create a hit, but when Bad Bunny remixes the bossa nova track, it becomes a prime model of where the future of urbano pop can go. The sung is cheerful and danceable, but with spanish lyrics that are sincerely heartbreaking, narrating the emotions that follow you into post-breakup biography while you wonder what your x is up to. —B.B .

“Physical” by Dua Lipa

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Between the newfangled sounds that Lady Gaga, The Weeknd, and now Dua Lipa are presently serving listeners, it seems like the heavy synth and booming freshwater bass feel of the ’ 80s is back in entire swing. We love that with “ Physical, ” Dua international relations and security network ’ thymine afraid to experiment with a mainstream pop fathom while besides rocking avant-garde, punchy-bright looks with her accompanying video recording. This high-energy track just makes us want to dance and, apparently, sol does Dua. —B.B .

“Juro Que” by Rosalía

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Rosalía returns to her flamenco roots with this raw and hypnotize track. While the Catalan singer received her big bankrupt afield by experimenting with the Caribbean sounds of reggaeton, Rosalía at her core is a flamenco singer—and she shines when she strips down the frills of pop for a more bare-boned, operatic performance, much like “ Juro Que. ” One doesn ’ triiodothyronine have to speak spanish to hear the pain and grief that evokes through Rosalía ’ s greatest legal document : her voice. —B.B .

“Lilacs” by Waxahatchee

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Steeped in the band ’ mho touch folk-tinged indie sound, “ Lilacs ” by Waxahatchee is a beautiful admonisher that you have to put in work every individual day to take caution of yourself and break toxic patterns. If there ever was a class we needed this type of encouragement—in uplifting, melodic form, no less—2020 is it. —Ariana Marsh, Senior Features Editor

“Are You Even Real?” by James Blake

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James Blake ’ sulfur music, while ethereal and entrance, often feels imbued in melancholy. “ Are You even Real ? ” breaks from that tradition and offers an ardent proclamation of a love then bewildering it ’ randomness hard to believe it exists. Featuring a foundation piano telephone line punctuated by bass-led percussion and strings, the heartwarming song captures the sublime beauty of full infatuation. —A.M .

Only You by Theophilus London feat. Tame Impala

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A reimagining of Steve Monite ’ second 1984 single of the lapp mention, “ alone You ” is a euphoric track about lusting after—and then getting it on with—the one you love. Melding Theophilus ’ s smooth vocals with Tame Impala frontman Kevin Parker ’ second synthy, psych-rock sounds, it ’ s a lively track that ’ ll make you want to get on your feet and dance your room through the respite of this dumpster fire of a year. —A.M .

“Susie Save Your Love” by Allie X ft. Mitski

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Allie X and Mitski dexterously craft a fib of infatuation and unanswered love in this synth-heavy bop. The track, from Allie X ’ second Cape God album, follows the all excessively conversant woes of those unlucky adequate to fall in love with a friend–who ’ sulfur already in sleep together with another. Expect the song to induce ‘ 80s nostalgia and an itch to hit the dance floor. —Chelsey Sanchez, Assistant Social Media Editor

“Waving, Smiling” by Angel Olsen

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Angel Olsen turns lost sexual love into a pensive lullaby in “ Waving, Smiling, ” one of many haunting tracks off of her 2020 album Whole New Mess. The cinematic sung reminds me of Fleetwood Mac ’ s “ Landslide ” for its cracker-barrel ripple, skeletal instrumental, and brooding lyrics. But Olsen besides strikes out on her own as an astute songwriter. With its optimistic abstain, “ Waving, Smiling ” recognizes love ‘s immutable come back, an awareness only come by after surmounting–finally–incomprehensible grief : “ I ‘m waving, smiling / At love everlastingly, animated and dying. ” —C.S .

“Peace” by Taylor Swift

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Taylor Swift disclosed to Rolling Stone that “ Peace ” relays her fear of never being able to “ in full achieve… normalcy ” with her longtime dandy, Joe Alwyn–though, one not need be a ball-shaped pop asterisk nor date a rising Hollywood actor in order to relate to the song ’ s universal themes. This finespun, businesslike, and underrated folklore track gives form to the anxiety that comes with falling short in a relationship and the closeness attached to arduous sleep together, with unforgettable lyrics like, “ All these people think love ’ s for show / But I would die for you in secret. ” —C.S .

“WORLD WE CREATED” by Giveon

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The 25-year-old baritone singer creates a sensuous and sensitive journey in his debut ( and already Grammy-nominated ) R & B album, TAKE TIME. In “ WORLD WE CREATED, ” his creamy vocals take the driver ‘s seat, steering listeners straight into a warm and lustrous reverie. —C.S.

“Kerosene!” by Yves Tumor

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No one serves raw fantasy and abstraction like Yves Tumor. On “ Kerosene ! ” Tumor ‘s playing into a new, decidedly rock sound over the ambient electronic and experimental sounds listeners might be used to. Where previous years ‘ tracks may have slipped deep into electronic aberration, “ kerosene ! ” glides into a searing electric guitar solo. It ‘s a racetrack that softens the common mutations, while still offering a delightfully dark take on a amatory duet. —Natalie Maher, BAZAAR.com Contributor

“Cut Me” by Moses Sumney

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In 2020, horns were n’t necessarily the instrument of choice, but as “ Cut Me ” begins to lean in, a horn emerges, a piano clanks, a stuttering 808 begins, and finally something that sounds like a falsify harp chimes in. It ‘s a apparently chaotic instrumental overlap, yet Moses Sumney ‘s voice soars above all sounds. “ Cut Me ” is a testament to indulging in everything at once and an ode to the aural phenomenon that is Sumney ‘s range. —N.M.

“Qadir” by Nick Hakim

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Nick Hakim ‘s music exists somewhere at the intersection of Tame Impala and Curtis Mayfield : a chat up of sounds that rightfully romanticizes laid-back breeziness and dateless coolness. “ Qadir ” is plush and smooth, as Hakim pays tribute to a childhood ally who passed besides soon. —N.M .

“Silly Watch” by Lil Uzi Vert

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For about three years, Lil Uzi fans lived off nothing but Instagram-fit slideshows and scattered song snippets that were about always left with no follow-up. But out of the flames of bad-contract embargo last came Eternal Atake II, a record perfectly dreamlike enough to exist in the current moment. “ Silly Watch ” is one of its six opening tracks that each hit with equal-part speed, fury, and dash as Uzi breathlessly works through the album ’ second capture into another dimension. For three uncoiled minutes, North Philly ’ s favored pat estrange relentlessly keeps his minor, designer-clad shoe on the gas pedal point, making a track then black it comes with its own artist-suggested dance move. —N.M .

“Stoned Again” by King Krule

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In 2020, King Krule ’ mho grumble is a welcome and expected staple, a rare tested signature that doesn ’ thymine seem to lose its edge with wear. “ Stoned Again ” takes Archy ’ s common abruptness and ups it an octave to a snarled shout, only then to juxtapose it with these velvet soft opening lines : “ Yeah she ’ mho my fresh / My dulcet and sour, my lemon honey. ” —N.M .

“Circle the Drain” by Soccer Mommy

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“ Circle the Drain ” sounds like what would play in a adolescent ’ sulfur room after a good date in an early 2000s cult-classic high school movie. With cheeseparing Hilary Duff-esque approachability, Soccer Mommy details depressive tendencies amid sing-along melodies and strong guitar strums, making for a sung that is as sweetness and approachable as it is cuttingly dependable. —N.M .

“People, I’ve Been Sad” by Christine and the Queens

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In some ways—maybe most ways—Christine and the Queens seems like an insuperable violence. Héloïse Letissier has spent the last four years rotating through identities and aliases, becoming the dominant face of nonnatural crisp, clean, and cutting modern pop music. But in 2020, she ’ s gone full mask off, peeking her head out with an honest confession : “ It ’ randomness true that people, I ’ ve been sad, ” she offers sweetly, before unfurling into a poetic part-English, part-French hymnal of self-fulfillment. —N.M .


“Ungodly Hour” by Chloe x Halle

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Chloe x Halle have been here. The sisters have been teeming with likely barely under the surface as Beyonce ’ s carefully-curated, well-manicured protegees for years, but 2020 ’ s sophomore album iniquitous Hour found the copulate hitting their noteworthy stride. The project ’ s title track is doused in flinch – an impressive and possibly unexpected groove from its electronic producers Disclosure – as the sisters exchange chirp of flirty invitations and angelic insinuation. —N.M .

“Wildfires” by SAULT

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SAULT ’ s anonymous entrance into pop culture has been a electrifying and rewarding experiment this year. The british group has captured the ramp, sadness, and baron of Black universe in 2020, and then subtracted any potential celebrity by remaining an intentionally faceless entity. “ Wildfires ” is a sung about necessary and delinquent rebuilding, and the confidence and facility behind the movement begging for it. The delivery is a convincingly sweetheart outspoken display, as a articulation promises, “ We will never show fear. ” —N.M .

“WAKING UP DOWN” by Yaeji

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Yaeji ’ s “ WAKING UP DOWN ” is a high-paced checklist of life ’ s daily necessities that feels ampere much as like the aggressive buzz of an 8 ante meridiem iPhone dismay as it does a substitute for the general public ’ south collective longing for a night out. As Yeaji runs through a litany of mundane care ( waking up, hydrating, cooking ), the track ’ s bassline acts like the SoulCycle teacher screaming in the hearer ’ s face to get it done. It ’ s a profoundly topical track that is adorably honest about how hard life ’ s little maintenances can sometimes be. —N.M .

“Got It On Me” by Pop Smoke

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The done trace between 50 Cent and Pop Smoke is chummy and exhaustive. Raised in neighboring New York borough and sharing the beautifully specific East Coast aural gruffness, both rappers have a good that made them into local legends, before their epic tone brought them commercial stardom and icon condition in their city.

On “ Got It On Me, ” the late knocker and baron of New York drill interpolates his own cautionary message to distrust enemies with 50 Cent ’ s iconic “ Many Men. ” What would have been an audacious sample choice for most rookie-year rappers was actually a poetic pass of the blowtorch from 50, who executive-produced Pop Smoke ’ s posthumous album Shoot for the Stars Aim for the Moon, after Pop was tragically murdered in February. The consequence is a fool-proof sonic court to an ever-lasting blame descent. —N.M .

“I! Gits! Weary!” by KeiyaA

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2020 ’ sulfur fog has given ample opportunity for introspection, namely the experiential kind that unfurls as life ‘s problems mix with blase monstrosities beyond our comprehension. “ I ! Gits ! aweary ” works through the debilitation that ’ s a by-product of thinking besides difficult on the powers that be, and the calculate of what to do future. “ Should I take a policy out on my tax-sponsored dissent ? ” the profoundly promising Chicago singer KeiyaA asks, before taking a breath and questioning if it ’ s possibly just the shrooms speaking. KeiyaA ’ s anxious questions about self-preservation attest in an excitingly alert, even calm air, lo-fi soul sound. —N.M .

“Aquí Yo Mando” by Kali Uchis and Rico Nasty

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“ Aquí Yo Mando ” is 2020 ’ second perfect storm, as Rico Nasty and Kali Uchis collaborate for an 808-intensive, separate English, function Spanish trap masterpiece. Rico Nasty turns down her usual pop-punk heaviness to meet Kali Uchis in the middle, as the colombian siren ever so slenderly lets up on her baby pink aesthetic. The result is a pair that this year in truth needed. —N.M .

Hit Different by SZA feat. Ty Dolla $ign

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about ten years ago, in the midst of N.E.R.D. ‘s cocaine-drenched music video ode to socialite-level party “ Every one Nose, ” a 19-year-old SZA flashes on filmdom amongst a flurry of indiscernible faces. As a then-intern at Pharrell ’ s streetwear stigmatize Billionaire Boys Club, SZA ’ s admiration for Pharrell was a apparently one-way adulation. But in 2020, SZA stands for much more, and it seems absolutely full circle that her 2020 re-entry into the populace awareness came via the new single “ Hit Different, ” produced by the inimitable tag team of Pharrell and Chad Hugo.

The racetrack keeps its foot in 2020 via a feature from the omnipresent R & B hook king Ty Dolla $ ign. SZA delivers a sermon on beloved, lust, and self – the lyrical territory that she has owned across the latter half of the 2010s. —N.M .

“Lessons From My Mistakes … but I Lost Your Number” by Liv.e

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Liv.e ’ south debut album Couldn ’ t Wait To Tell You is a comfort sort of chaos, as the Dallas singer seems to effortlessly combine a life worth of charm with a diary ’ s deserving of introspection. “ Lessons From My Mistakes ” sounds of faint and far away R & B, tinged with soul that carries Liv.e ’ south scattered thoughts to fruition. Liv.e lets us in on her ongoing process of self forgiveness and growth, a whispered sentiment that sinks smoothly back into the layers of piano keys, finger snaps, and clusters of hi-hats. —N.M .

“Delete Forever” by Grimes

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“ Delete Forever ” is a finespun pop-folk morsel. Grimes taps into a closely vanessa Carlton-like vibration, hitting vocal riffs evocative of the early 2000s modern simplicity and layering it with jangling finger-picking guitar riffs. Stripped of Grimes ’ s usual glitchiness, the cut leaves more space for her heart-wrenching dedication to the friends she has lost to addiction. —N.M .

“XS” by Rina Sawayama

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In a time when resentment for billionaires is at an all-time high, distrust for rich celebrities is spreading flying, and the world continues to burn as a by-product of corporate avarice, Rina Sawayama offers a timely takedown of capitalism in the form of “ XS, ” a assuasive 2000s-era-inspired bop. While the track may at first come off as a typical pop chase celebrating exorbitant wealth and corporeal possessions ( “ Cartier set / Tesla Xs / Calabasas, I deserve it ” ), the insurgent lyrics mock the people who want excessively much and warn against the dangers of overconsumption. —Erica Gonzales, Culture & Content Strategy Editor

“Shameika” by Fiona Apple

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On Fiona Apple ’ s exultant album Fetch the Bolt Cutters, her inaugural in eight years, she looks back at the challenges and learning moments of her formative years with a judicious discerning eye. One of those reflections is the bright and punchy “ Shameika, ” where Apple recalls a time when she was being bullied in school and a schoolmate told her that she had potential. The exchange resonated with Apple, both as a child and as an pornographic, and now with listeners who ’ ve quoted the lyrics in tweets and Twitter bios. —E.G.

“Describe” by Perfume Genius

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The leading unmarried for Perfume Genius ’ s latest album is a delectable slow burn with its velvet guitar chords, honey-dripping pace, and layered vocals. But amid the dreamy haze, Mike Hadreas actually sings of being in such a dark seat that he ’ south forgotten what it ’ s like to feel good things, indeed person has to describe them to him. This song, however, is unforgettable. —E.G .

“Captain Hook” by Megan Thee Stallion

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After the knocker ’ s early record label tried to block the free of her raw music, the arrival of her March 6 project, Suga, barely tasted even sweeter. On the follow-up to her 2019 album Fever, and seasonal worker hit “ Hot Girl Summer, ” Stallion is confident, sharp, crude, and unassailable. The standout track, “ Captain Hook ” —on which she flaunts her sexual exploits and weaves through deft flows—may just find her at her raunchy and most intimidate. And we love it. —E.G .

“Garden Song” by Phoebe Bridgers

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In her first gear solo publish since her applaud 2017 debut album, Stranger in the Alps, Bridgers sends us into a dreamlike state with her signature narrative style and easy vocals as she sings about her hometown and recurring nightmares. The pair of the passive, guitar-led tune with haunting imagination is spine-tingling ( “ Someday, I ‘m gon na live / In your house up on the hill / And when your skinhead neighbor goes missing / I ’ ll plant a garden in the yard ” ), as is the grating freshwater bass harmony, performed by her tour director, under the chorus. —E.G .

“Levitating” by Dua Lipa

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Dua Lipa treated us to a full serve of hits with her sophomore album, Future Nostalgia, which arrived in March equitable as lockdowns began. With nightlife on pause and clubs and dance floors empty, the pop ace gave us a reason to dance, and this disco-laced, funk-infused cut just gets the job done. The song even got a storm end-of-year boost with a remix featuring DaBaby, whose buoyant stream matches the sung perfectly. —E.G.

“Song 33” by Noname

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The Chicago rapper and organizer does so much in merely 70 seconds. She responds to J. Cole ’ s track “ Snow on tha Bluff, ” which seems to paint her activism as patronize. She calls out the men and the high-profile rappers, who are excessively quiet during times of agitation and who hold up the patriarchy by not doing enough to protect Black women, like the murder activist Toyin Salau or trans women, whom she mentions in the song. And she points out how junior-grade arguments like Cole ’ s perturb from the more press consequence of injustice, citing George Floyd ’ s death by police. “ When George was beggin ‘ for his mother, saying he could n’t breathe / You thought to write about me ? ” Noname rhymes, all over a chill, psychedelic outwit by Madlib. —E.G.

“Dynamite” by BTS

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The kings of K-pop continued to reign sovereign in 2020, releasing their first gear English-language song to chart-topping success. The track not entirely solidified their ball-shaped stardom but besides demonstrated pop perfection. Glittery, infectious, and equipped with a final chorus keystone change, “ Dynamite ” lives up to its name. —E.G.

“WAP” by Cardi B featuring Megan Thee Stallion

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“ WAP ” is more than a birdcall. It was a consequence. It was a movement. It defined the cultural zeitgeist of 2020. It inspired Instagram captions and TikTok dances, possibly to the chagrin of our exhaust followers. But most importantly, it showed that women, specially women in hip-hop, can own their power through expressing their sex, preferably than be reduced to objects of pleasure. In a fourth dimension when women are still body-shamed and taboo about familiarity hover, lines like “ Gobble me, swallow me, drip down the slope of me ” are welcome acts of defiance. —E.G.

“Care” by Beabadoobee

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Angst and frustration were not lacking in 2020, and Beabadoobee captured them absolutely with begrimed guitars and a late-’90s vibration on “ Care. ” “ I precisely love that feeling of nostalgia. It ’ s like a quick blanket, ” the singer, born Bea Kristi, told us in October. The delicate but rough-around-the-edges track sounds plucked from a retro coming-of-age film, in which you ’ re the main character. —E.G.

“pov” by Ariana Grande

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Ariana Grande ’ s surprise album, positions, may be considered her sexiest lp so far, but this head-over-heels-in-love ballad is a surprising standout. “ I ’ five hundred love to see me from your point of see, ” the pop star sings, about staccato, in the chorus. She sweetly acknowledges a collaborator ’ s categoric love and hopes it can inspire her own amour propre. —E.G.

“How You Like That” by Blackpink

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western, mainstream music listeners are just scratching the surface when it comes to K-pop, and Blackpink continued to break through this year, thanks to some big-name collabs, punchy singles, a new album, and a Netflix documentary. On their lead single, the daughter group did what they do best : put their own whirl on an intense trap beat ( courtesy of producers like Teddy Park ). —E.G.

“Rain on Me” by Lady Gaga and Ariana Grande

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It ’ s always a fiddling chilling when two boastfully names collaborate ; there ’ s a bunch of atmospheric pressure for the end leave to live up to already-high expectations. But with Lady Gaga and Ariana Grande, there was no cause to fear. The popular pair worked through their pain together and delivered an enliven dance track about the building complex travel of healing. —E.G.

“Weak” by Flo Milli

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Leave it to Flo Milli to repurpose SWV ’ s hopelessly romantic R & B ballad for a char diss about the men wasting her time. “ Blowin ‘ me up, I ‘m tryna sleep / I ai n’t your addict, ” she vents. The 20-year-old knocker carries this audacious tittup and IDGAF confidence through all 12 tracks of her debut mixtape, Ho, Why Is You here ?, making her one of the most stimulate entertainers of the year. —E.G.

“Do It” by Chloe x Halle

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equitable when we thought Chloe and Halle Bailey couldn ’ thymine get any more impressive, they stunned us with glow-ups for their latest album, iniquitous Hour. Every aspect from the fashion to the artwork direction got an upgrade, and the music was elevated to a unique blend of alt-R & B, pop, and rap that the sisters have claimed as their own. “ Do It, ” their run individual, is a prime example with soaring harmonies and airtight production. —E.G.

“Moment” by Victoria Monét

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A longtime composer for acts like Ariana Grande, Diddy, and Fifth Harmony, Victoria Monét beautifully comes into her own with her album, Jaguar, which shows a more mature side to the Grammy campaigner. Her leading single, “ Moment, ” is a seductive and sophisticated presentation to this new era. —E.G.

“Exile” by Taylor Swift featuring Bon Iver

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Taylor Swift and Justin Vernon ’ s haunting couple focuses on the sorrow and grief that come from two people not being able to understand or communicate with each early. But despite the premise, the start star and indie family favorite are creatively in synchronize, her crude lyrics supported by his transcendent arrangements. The leave is a pleasantly unexpected collaboration, apropos of Swift ’ south best album so far. —E.G.
Listen to all the picks below and follow Harper ‘s BAZAAR on Spotify. Follow This message is imported from Third party. You may be able to find the same contented in another format, or you may be able to find more information, at their network site .

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