\n\tThese tunes come from all over the map. In our Top Ten alone, we go from Stockholm to Compton, from Nashville\u2019s Music Row to New York\u2019s sleazy punk-rock bars. These songs range from Seoul to Spain to San Juan, from Vegas to Veracruz to Versailles, from Nigeria to Mexico to Colombia. There\u2019s reggaeton and K-pop and drill and crunk, country and Afrobeats and emo and sirrie\u00f1o. But the criterion for this list isn\u2019t popularity or airplay \u2014 strictly musical brilliance and originality. Wherever these songs come from, they remind you that we\u2019re living in a time of wide-open possibilities and nonstop innovation. Some of the most famous megastars of our moment \u2014 Beyonc\u00e9, Taylor Swift, Kendrick Lamar \u2014 are also the most adventurous.<\/p>\n
\n\tSome of these songs come from legendary artists who managed to stay vital across the decades, like David Bowie, Mary J. Blige, Madonna, or Bob Dylan. Others come from teenage dirtbags. We have \u201cAnthems for a 17-Year-Old Girl\u201d; we also have \u201cDrivers License,\u201d an anthem from a 17-year-old girl. We have the ancient country grit of Johnny Cash, who signed off the year Olivia Rodrigo was born. We\u2019ve got one-hit wonders, plus entire genres that came and went overnight. (Take a bow, Christian nu metal.) There\u2019s tortured poetry and raw confessions. There\u2019s also the one that goes, \u201cBaby, you a song.\u201d<\/p>\n
\n\tWe had plenty of arguments while putting this list together \u2014 and we enjoyed every minute. It\u2019s a list of songs, not artists, so we mostly avoided repeating multiple tunes by the same performer. But some musical masterminds just had too many classics to deny. (If the universe wants to give Lorde both \u201cRibs\u201d and \u201cGreen Light\u201d in the same career, you can\u2019t tell it not to.) Every fan would compile a different list \u2014 that\u2019s the point. But this list sums up an era when there are no rules to follow, no playbooks to obey. Nobody made this list by playing it safe. Read on, turn up the music, explore \u2014 and get ur freak on.<\/p>\n
\n\tYou can listen to the whole list here<\/a>, and to hear an in-depth interview with Missy Elliott about the making of our top pick, 2001\u2019s \u201cGet Ur Freak On,\u201d go here<\/a> for the podcast provider of your choice, listen on Apple Podcasts<\/a> or Spotify<\/a>, or just press play above.<\/p>\n \tTrain, \u2018Drops of Jupiter\u2019<\/p>\n \t\t\t \n\tEvery era gets the lighters-up, power-ballad, arena-rock anthem it deserves, and for the early 2000s, Train delivered with \u201cDrops of Jupiter.\u201d It was a Top Five hit in the summer of 2001, but it\u2019s just gotten more ubiquitous over the years. Pat Monahan belts poetic questions like, \u201cTell me, did Venus blow your mind?\u201d He was inspired to write it by his late mother, after waking up from a dream about her returning from the cosmos. Train had other hits, like \u201cHey, Soul Sister,\u201d but \u201cDrops of Jupiter\u201d has taken its place as a true standard, the closest this era has gotten to a \u201cDon\u2019t Stop Believin\u2019\u201d or \u201cAfrica\u201d of its own. In other words, it\u2019s the music equivalent of the best soy latte that you ever had. \u2014Rob Sheffield<\/p>\n<\/li>\n \tTweet, \u2018Oops (Oh My)\u2019<\/p>\n \t\t\t \n\tTweet\u2019s biggest hit was well ahead of its time. Produced by the ever-future-forward Timbaland and co-written by Missy Elliott, the song takes on self-love over a hypnotic, techno-reggae beat. Tweet was inspired to write the song after watching an episode of Oprah where a doctor advised people to start looking at themselves naked in a mirror to learn self-acceptance. Tweet takes this to sultry levels, describing the experience of coming home after a night out and discovering that it was her own body that left her breathless. And while most interpreted the sexy, intoxicating track as being about masturbation, Tweet has maintained it\u2019s about however one learns to love the body they\u2019re in. \u2014Brittany Spanos<\/p>\n<\/li>\n \tFleet Foxes, \u2018Tiger Mountain Peasant Song\u2019<\/p>\n \t\t\t \n\tFleet Foxes\u2019 2008 debut is full of radiant vocal harmonies, but they all fall away on this stunning solo showcase for frontman Robin Pecknold. Singing over a spare, mournful folk guitar part that feels like it could be centuries old, he sketches a \u201cScarborough Fair\u201d-style scene of medieval wanderers on a cold morning before making his way to a gravesite and crying out in spiritual pain: \u201cDear shadow, alive and well\/How can the body die?\u201d It\u2019s a starkly evocative outburst, even if Pecknold would later downplay \u201cTiger Mountain Peasant Song\u201d as a young man\u2019s work. \u201cI think those songs were stories mostly because I was 20 years old writing them and had few life experiences to draw from!\u201d he\u00a0said<\/a>\u00a0in 2020. \u2014Simon Vozick-Levinson<\/p>\n<\/li>\n \tAvicii, \u2018Levels\u2019<\/p>\n \t\t\t \n\tIn the early 2010s, EDM conquered dance floors worldwide \u2014 everywhere except America. Then came Tim Bergling, a babyfaced Swedish teenager who went by Avicii, named for the lowest level of Buddhist hell, where souls get a shot at rebirth. His weapon? \u201cLevels,\u201d a euphoric piano and synth progression built around Etta James\u2019 gospel classic \u201cSomething\u2019s Got a Hold on Me,\u201d was like pouring a can of Monster down the ear canal of the nation. After 2011, it blared everywhere with baffling appropriateness: Coachella, Buffalo Wild Wings, your nephew\u2019s elementary school graduation. \u201cYou\u2019re the John Coltrane of Fruity Loops,\u201d Chic\u2019s Nile Rodgers said to Bergling. \u2014Sarah Grant<\/p>\n<\/li>\n \tPost Malone and Swae Lee, \u2018Sunflower\u2019<\/p>\n \t\t\t \n\tCountry-rap troubadour Post Malone and Rae Sremmurd party starter Swae Lee teamed up like Tony Stark and Peter Parker for the soundtrack to\u00a0Spider-Man: Into the Spider-Verse, creating a breezy, dreamy, melancholy tune that dominated our universe\u2019s Top 10 for 33 weeks. Written and recorded around 6 a.m. after a long collaborative session between Post and Swae, the two-minute-and-38-second song would be sung by\u00a0Spider-Verse\u00a0protagonist Miles Morales while working on some art in his bedroom. The movie would end up the\u00a0Number One film in the country, helping \u201cSunflower\u201d grow to be the first digital song certified double diamond by the RIAA. \u2014Christopher R. Weingarten<\/p>\n<\/li>\n \tTego Calder\u00f3n, \u2018Pa\u2019 Que Retozen\u2019<\/p>\n \t\t\t \n\tWhereas Daddy Yankee and Don Omar loomed as the obvious candidates for reggaeton stardom, Tego Calder\u00f3n brought forth something entirely different: a touch of salsa legend Ismael Rivera, not in sound, but in his throaty flow \u2014 rustic to the bone \u2014 and the ease with which he handled a barrage of Puerto Rican slang. \u201cPa\u2019 Que Retozen\u201d is the hedonistic megahit of his 2002 revolutionary debut, El Abayarde. It brims with humor and self-confidence, pinning the beat against serrated lines of bachata guitar. At a time when Latin music was learning to paint with a new set of colors, Calder\u00f3n emerged as the genius-next-door, a master of shading. \u2014Ernesto Lechner<\/p>\n<\/li>\n \tWarren Zevon, \u2018Keep Me in Your Heart\u2019<\/p>\n \t\t\t \n\t\u201cShadows are fallin\u2019, and I\u2019m runnin\u2019 out of breath,\u201d sings Warren Zevon in this song\u2019s first line. By the time he was making The Wind<\/a>, Zevon had been diagnosed with terminal cancer and decided to carry on with what would be his final studio record. On this beautifully stoic and gentle lullaby to himself and his legacy<\/a>, co-written with longtime collaborator Jorge Calder\u00f3n, Zevon doesn\u2019t sound like the wild man he once was. But with the sympathetic thump of drummer Jim Keltner behind him, he wants to reassure everyone that he\u2019ll still be around in one form or another once he\u2019s gone. If you hear a line like \u201cYou know I\u2019m tied to you like the buttons on your blouse\u201d and don\u2019t tear up a bit, you really are a werewolf with no soul. \u2014David Browne<\/p>\n<\/li>\n \tDavido feat. Musa Keys, \u2018Unavailable\u2019<\/p>\n \t\t\t \n\tBig tribal vibes inform this illuminative 2023 anthem. The teeming chorus and rustic percussion of this poignant single from the Lagos, Nigeria, representative\u2019s fifth LP resound like a vigilant village in motion. When\u2019s the last time a song about being aloof went bonkers on the charts? For all of its \u201cleft-on-read\u201d insistence (with a hearty declaration that \u201cI can\u2019t talk\u201d), \u201cUnavailable\u201d reached Number Three on the Billboard U.S. Afrobeats Songs chart. Davido\u2019s fiery tenor feels intimate and expressive as he reflects on his busy rock-star life, not without a touch of regret. \u201cI\u2019m changing my life, oh\/Got my mama proud, innit?,\u201d he proclaims. This smart single about ghosting is indeed haunting. \u2014Will Dukes<\/p>\n<\/li>\n \tScarface, \u2018My Block\u2019<\/p>\n \t\t\t \n\tOne of the most evocative and emotionally rich lyricists in hip-hop history was far from home when he painted this picture of his Southside Houston neighborhood. Hired by Russell Simmons to lead his Def Jam South imprint, Scarface recorded much of his lone mainstream-adjacent album, 2002\u2019s The Fix, in New York City. \u201cBeing in New York \u2026 can change the outcome of anybody\u2019s records and thought process,\u201d Face told Complex. A combination of bittersweet reminiscences and a loping piano loop from a Roberta Flack and Donny Hathaway record, \u201cMy Block\u201d was narrow in scope but universal in substance: \u201cOn my block, it\u2019s like the world don\u2019t exist\/We stay confined to this small, little section we living in.\u201d \u2014C.W.<\/p>\n<\/li>\n \tWheatus, \u2018Teenage Dirtbag\u2019<\/p>\n \t\t\t \n\tA quarter century later, the song that Brendan B. Brown wrote, in part, about a grisly murder in the Long Island town in which he grew up is now a karaoke standard and Y2K signpost. But between Brown\u2019s third-verse falsetto to his evocation of Eighties adolescence (Keds, tube socks, shitty Camaros), the song\u2019s dated specificity has actually helped it endure. Covers and interpolations from One Direction, SZA, and Rod Wave have given the song a new Gen Z resurgence, while Weezer has continued to increase its global appeal by covering the song that\u00a0many assume they wrote. \u201cWhatever drove people to the song,\u201d Brown\u00a0told<\/a>\u00a0Rolling Stone\u00a0in 2020, \u201cis way more important than some satan murder in my hometown.\u201d \u2014Jonathan Bernstein <\/p>\n<\/li>\n \tMac Miller, \u20182009\u2019<\/p>\n \t\t\t \n\tMac Miller never sounded as self-actualized as he does on the introspective track from his 2018 album,\u00a0Swimming, which came out months before his untimely death. On \u201c2009,\u201d a wistful Miller reflects back on the pivotal year before he dropped his first label-released mixtape,\u00a0K.I.D.S.,\u00a0and offers nuggets of wisdom like \u201cLife ain\u2019t a life until you leave it.\u201d But it\u2019s the careful selections Miller made that mark \u201c2009\u201d as the epitome of his musicianship: The rapper folded in the piano motif from Chant\u00e9 Moore\u2019s Nineties hit \u201cGot a Man\u201d and a vibraphone to achieve a soulful vision that reflects his lasting legacy. \u2014Maya Georgi<\/p>\n<\/li>\n \tSkrillex feat. Sirah, \u2018Bangarang\u2019<\/p>\n \t\t\t \n\t\u201cBangarang is probably the furthest thing from brostep, because the tempos aren\u2019t even dubstep tempos,\u201d Skrillex explained in 2014. He was talking about the EP as a whole, but the title track makes his point all by itself. It\u2019s a frisky, hip-hop-tempo track that builds on the piledriving low end of his career-making earlier works, but turns all of it into hooks. It was a clear signal that the guy that underground types pilloried as a one-trick pony \u2014 indeed, as Skrillex pointed out, \u201cbrostep\u201d was not a term of endearment at first \u2014 had a lot of facets to show. \u2014Michaelangelo Matos<\/p>\n<\/li>\n \tBleachers, \u2018I Wanna Get Better\u2019<\/p>\n \t\t\t \n\tJack Antonoff has spent this century writing hits with the biggest names in music, from Taylor Swift to Lana Del Rey to Lorde. Meanwhile, he\u2019s also fronted Bleachers, where the New Jersey native often channels the grandeur of Eighties radio-rock and New Wave through an indie-pop lens. He never did it so powerfully as on \u201cI Wanna Get Better,\u201d a statement of emotional purpose after the national tragedies of 9\/11 and the Iraq War, and the death of beloved family members. Against urgent piano stabs, Antonoff sings about feeling \u201cfroze in time between hearses and caskets,\u201d before the song lifts into its anthemic better-getting chorus \u2014 as he called it, \u201ca fucking life story in three minutes.\u201d–Jon Dolan<\/p>\n<\/li>\n \tKid Cudi, \u2018Day \u2018n\u2019 Nite\u2019<\/p>\n \t\t\t \n\tKid Cudi enjoyed a symbiotic relationship with Kanye West for a few years \u2014 it\u2019s hard to imagine Cudi existing without Late Registration, but it\u2019s hard to imagine 808s and Heartbreak existing without Cudi. His 2009 debut, Man on the Moon: End of the Day, was his attempt to forge his own path, and \u201cDay \u2018n\u2019 Nite\u201d was its centerpiece, a Geto Boys riff dripping with Drive-wave synths and arena-ready sonic spacing. The lyrics \u2014 a paean to insomnia, smoking weed, and determined solitude \u2014 feel ripped from the very MySpace ecosystem that Cudi used to launch his career. The result is a track both about and for the nighttime, as well-suited blaring from nightclub speakers as it is quietly playing from headphones on a night bus to nowhere. \u2014Clayton Purdom<\/p>\n<\/li>\n \tShaboozey, \u2018A Bar Song (Tipsy)\u2019<\/p>\n \t\t\t \n\tSongs that fuse disparate genres can sometimes feel forced. But even with six songwriters chipping in, \u201cA Bar Song (Tipsy)\u201d is the most seamless and rollicking blend of despondent country and shout-along hip-hop imaginable. Everything you\u2019d want in a country song is here: references to alcohol brands, a narrator with the low-wage job who can\u2019t afford to buy his girlfriend that expensive handbag, and a singer whose voice can dip into a pained lower register. With its hands-in-the-air energy, the chorus is a jolt of desperate escapism that the narrator so desperately needs. Plus, how can you hate a song that ends with a funny spoken finale of \u201c\u2026bro, they kicked me out the bar\u201d? \u2014D.B.<\/p>\n<\/li>\n \tFoo Fighters, \u2018Times Like These\u2019<\/p>\n \t\t\t \n\tIn the 1990s, Foo Fighters notched nearly as many alternative-radio hits as Dave Grohl\u2019s previous band, Nirvana. As the 2000s came around, and rock got harder, the Foos fit in effortlessly. Written during a tumultuous period for the band, which was still finding its way as a unit, 2002\u2019s \u201cTimes Like These\u201d is textbook Foos \u2014 layered guitars supporting Grohl\u2019s upper register punctuated by syncopated chords \u2014 with lyrics meant to evoke a sense of resilience and hope. Its chantable chorus, \u201cIt\u2019s times like these you learn to live again,\u201d is so easily applied to any hardship that it\u2019s become a calling card as relevant to political candidates (President Biden in 2021) as it is to someone in recovery. In other words: a universal message in any time. \u2014Shirley Halperin<\/p>\n<\/li>\n \tJ Balvin and Willy William, \u2018Mi Gente\u2019<\/p>\n \t\t\t \n\tFrom the beginning, Colombian pop innovator J Balvin showed a tastemaker\u2019s ear for electronic textures and seductive genre hybrids. In the case of \u201cMi Gente,\u201d the moody, exotic motif in the intro was already present in Willy William\u2019s \u201cVoodoo Song,\u201d which Balvin transformed into a bilingual moombahton anthem, with everyone-is-welcome lyrics about joining a universal party. By the time the soulful Beyonc\u00e9 remix dropped in the fall of 2017, \u201cMi Gente\u201d had become the kind of cosmopolitan dance-floor scorcher that had the grooves of Latin America reverberating in every corner of the world. \u2014E.L.<\/p>\n<\/li>\n \tJohn Prine, \u2018Summer\u2019s End\u2019<\/p>\n \t\t\t \n\tBefore his death<\/a> in 2020 gave the song added gravitas, \u201cSummer\u2019s End\u201d was the standout on John Prine\u2019s triumphant final album, The Tree of Forgiveness. Over a simple, sweet melody, Prine deploys beautifully vivid imagery (swimsuits on a clothesline, the moon and stars shooting the breeze) to sing about love, mortality, and time passing. Following Prine\u2019s death, it became an instant standard, covered by Phoebe Bridgers, Adrianne Lenker, Jackson Browne, Valerie June, and others. Co-writer Pat McLaughlin started the song off with the late-summer imagery before Prine chimed in: \u201cLet\u2019s throw in lawyer\u2019s talk,\u201d he remembered saying. \u201cSo we put \u2018per our conversation,\u2019 like we\u2019re getting charged by the hour.\u201d \u2014J. Bernstein <\/p>\n<\/li>\n \tTems, \u2018Free Mind\u2019<\/p>\n \t\t\t \n\tVirality often threatens to cheapen great music, but the reason Tems\u2019 \u201cFree Mind\u201d became so inescapable \u2014 especially on places like TikTok and Instagram \u2014 was because the Nigerian singer-songwriter\u2019s visceral yearning for peace on the song resonated with many people, particularly Black women. It was one of her earliest tracks, a cut from her debut EP, 2020\u2019s\u00a0For Broken Ears, from which Future lifted her \u201cHigher\u201d hook for his own Grammy-winning smash, \u201cWait 4 U.\u201d But years later, that success brought the masses back to Tems\u2019 original masterpiece \u201cFree Mind,\u201d and from there, she became one of the continent\u2019s brightest stars. \u2014Mankaprr Conteh<\/p>\n<\/li>\n \tFlorida Georgia Line, \u2018Cruise\u2019<\/p>\n \t\t\t \n\tThe rise of \u201cbro country\u201d in the early 2010s was accelerated by this 2012 ode to hitting the open road in a \u201cbrand-new Chevy with a lift kit,\u201d the radio turned all the way up.\u00a0Florida Georgia Line members Brian Kelley and Tyler Hubbard had been fine-tuning their blend of swaggering post-grunge and twangy pop with producer Joey Moi for years when they realized the summer-song ideal with \u201cCruise,\u201d which added hip-pop grooves to its bright-eyed flirtations. Its monster success opened the door for other country dudes to break out the drum machines, while its remix with St. Louis MC Nelly helped Florida Georgia Line come out of the gate with a crossover smash. \u2014Maura Johnston<\/p>\n<\/li>\n \tMastodon, \u2018Blood and Thunder\u2019<\/p>\n \t\t\t \n\tAtlanta\u2019s Mastodon came up with the greatest metal riff of the new century, a heavily syncopated, wave-chopped two-bar menace. Opening Leviathan, their conceptual opus about capturing Moby Dick, \u201cBlood and Thunder\u201d helped raise the flag for a new generation of sludge-metal bands that treated the subgenre with more prog precision. The percussive riff, naturally, was written by the drummer. \u201cBrann [Daillor] came up with that,\u201d Mastodon guitarist Bill Kelliher told Guitar World. \u201c[H]e\u2019s about as good at guitar as I am on drums \u2014 which is to say, terrible \u2014 but he comes up with a lot of riffs, and puts them into my hands. The thing is, he thinks of rhythms differently than I would.\u2026 This was jagged, angular, and weird, but all of a sudden it clicked.\u201d \u2014C.W.<\/p>\n<\/li>\n \tOld 97\u2019s, \u2018Rollerskate Skinny\u2019<\/p>\n \t\t\t \n\tDallas\u2019 Old 97\u2019s were initially lumped in with the alt-country scene, but by 2001\u2019s Satellite Rides, they had turned into something else: an ace pop-rock band. Inspired by a brief romance with Winona Ryder, \u201cRollerskate Skinny\u201d finds frontman Rhett Miller piling up lines both boyishly endearing (\u201cYou\u2019re pretty as a penny\u201d) and caustic (\u201cWouldn\u2019t be here if the Athenia hadn\u2019t sunk\u201d). It\u2019s joyfully buoyant, but with an ache at its center, summed up by its final line, which Miller stretches out till it sounds almost like an affirmation: \u201cI believe in love, but it don\u2019t believe in me.\u201d \u2014J.D.<\/p>\n<\/li>\n \tRema, \u2018Woman\u2019<\/p>\n \t\t\t \n\tRema tapped into traditionalist Afrobeat rhythms on this delectable hallmark dedicated to the fairer sex. The Nigerian wunderkind\u2019s striking lyrics (\u201cI\u2019m in love with plenty women, I no mind marry all of them\u201d) and pop-star allure ensured that his commitment-ditching modal missive surpassed 50 million Spotify streams. The song\u2019s trance-friendly sheen, heartened by a loud, gallop-y stomp, underscores the declarative finesse in Rema\u2019s timbre as he efforts toward an unstoppable chorus. \u201cWoman\u201d is both earnest and acidic \u2014 its big-hearted spiciness, wherein playboy vigor meets love-worn diligence, is a big part of its charm. Call it a polyamorous pop stomper for the ages. \u2014Will Dukes<\/p>\n<\/li>\n \tTyler Childers, \u2018Feathered Indians\u2019<\/p>\n \t\t\t \n\tIt didn\u2019t take long for this album track off Tyler Childers\u2019 debut album to become the fan-favorite standout and his most-streamed song on Spotify. It\u2019s a perfect little country song, from its multi-hook-laden chorus to its rural romanticism to Childers\u2019 phrasing in the first verse (listen to how he wrestles meaning out of a single word: religious). Childers later began donating royalties from the song to Native communities and indefinitely retired it from live performances because its title (which references an outdated design on a belt buckle he once owned) felt harmful to Indigenous people. But Childers\u2019 rock-star move to retire his most-beloved song has only added to its mystique. \u2014J. Bernstein<\/p>\n<\/li>\n \t5 Seconds of Summer, \u2018Youngblood\u2019<\/p>\n \t\t\t \n\tEven when they were hellbent on being seen as a pop-punk band, 5 Seconds of Summer were destined to bring everything that made them great to mainstream pop \u2014 no caveats, no boy-band labels, no try-hard routines. The lane was wide open, and \u201cYoungblood\u201d slammed down on the gas. The New Wave-influenced record is perfectly assembled around live drums, rhythmic guitar riffs, and an incessant bass line. 5SOS mined the haunting and desperate agony of a destructive relationship and injected it into an exhilarating hit, swelling both sonically and emotionally, bypassing drunk texts and going straight for late-night calls as addictive as its chorus. \u2014Larisha Paul<\/p>\n<\/li>\n \tBright Eyes, \u2018First Day of My Life\u2019<\/p>\n \t\t\t \n\tBright Eyes\u2019 Conor Oberst often got pegged as something of an emo-folk new Bob Dylan in the early 2000s, and he never embodied that weighty comparison so much as he does here. The tender song about being hopeful in new love even cleverly uses the same chords as Dylan\u2019s decidedly less optimistic \u201cDon\u2019t Think Twice It\u2019s Alright.\u201d Throughout the song, you can almost hear the same melody pierce through. \u201cI wanted to do something stripped down,\u201d Oberst told\u00a0Rolling Stone<\/a>\u00a0in 2002. With just Dylan\u2019s twinkling chords to cruise on, the singer-songwriter\u2019s voice cracks as he delivers simple, yet effusive lines like, \u201cI could go anywhere with you\/And I\u2019d probably be happy.\u201d The result is the prolific artist\u2019s sweetest song, and his most popular. \u2014M.G.<\/p>\n<\/li>\n \tThe Knife, \u2018Heartbeats\u2019<\/p>\n \t\t\t \n\tSwedish sibling duo the Knife\u2019s 2002 electro-pop gem \u201cHeartbeats\u201d is a love song that zooms in on a fleeting fling, rendering a brief encounter with the grandeur of the eternal. You can see the shape of pop to come in its dazzling array of synths, which undulate and glow, sparkle and strobe, while gated toms ripple across the mix. Vocalist Karin Dreijer situates the song in that timeless space where a memory so potent makes the past feel present. It creates an ecstatic rush, but also a kind of hopelessness. \u201cTo call for hands of above to lean on\/Wouldn\u2019t be good enough for me,\u201d goes the hook, at once a plea for release, and another to relive. \u2014Jon Blistein<\/p>\n<\/li>\n \tKanye West feat. Rihanna and Kid Cudi, \u2018All of the Lights\u2019<\/p>\n \t\t\t \n\tKanye West essentially assembled the Avengers of pop music for \u201cAll of the Lights\u201d and impressively assembled them like a voltron rather than a slate of superheroes shining on their own. If you didn\u2019t know better, you might think Rihanna, with her searing hook; Kid Cudi, with his mantra on the bridge; Fergie, with her lightning-quick rap sequence; and Alicia Keys, with her belted ad-libs, were the only features. Yet under what may be West\u2019s most inspiring, invigorating, and empathetic production and performance laid\u00a0Elton John, Drake, The-Dream, Charlie Wilson, John Legend, Ryan Leslie, Elly Jackson, and Tony Williams, too. \u2014M.C.<\/p>\n<\/li>\n \tPaul Simon, \u2018Rewrite\u2019<\/p>\n \t\t\t \n\tPaul Simon is as pure a writer as rock has given us \u2014 he once explained to Rolling Stone\u2019s David Fricke that it took him three full months to write \u201cThe Boy in the Bubble,\u201d from Graceland. (Fricke\u2019s priceless response: \u201cWhat\u2019s that, about a word a day?\u201d) It stood to reason, then, that Simon would be the one to come up with \u201cRewrite,\u201d a joyous gem from his late-career highlight So Beautiful or So What. \u201cI\u2019ve been working on my rewrite, that\u2019s right \u2014 gonna turn it into cash,\u201d he asserts on the frisky chorus. The verses paint a different story \u2014 this is the first-person tale of an \u201cold guy working at the car wash\u201d promising to finish the project he\u2019s been talking about forever. \u2014M.M.<\/p>\n<\/li>\n \tThe Mountain Goats, \u2018No Children\u2019<\/p>\n \t\t\t \n\tThe cliche of an album \u201cbeing as good as a novel\u201d actually usually fits with records by the Mountain Goats\u2019 John Darnielle, especially the band\u2019s 2002 album, Tallahassee, which tells the story of a doomed married couple in a Florida house out of Edgar Allan Poe drinking themselves into mutual oblivion. It peaks with \u201cNo Children,\u201d\u00a0one of the most convincingly hateful I-wish-we-could-break-up screeds ever written. \u201cAnd I hope you die\/I hope we both die,\u201d Darnielle sings with scorched-earth fervor. He was inspired, somewhat diabolically, by Lee Ann Womack\u2019s then-huge country hit \u201cI Hope You Dance,\u201d a song he hated and parodied by changing \u201cdance\u201d to \u201cdie.\u201d \u2014J.D.<\/p>\n<\/li>\n \tKe$ha, \u2018Tik Tok\u2019<\/p>\n \t\t\t \n\t\u201cTik Tok\u201d was the perfect introduction to the party-animal persona of Kesha\u2019s early music, and its carefree energy still shines 15 years later. The debut track from Kesha opens with the line \u201cI wake up in the morning feeling like P. Diddy.\u201d But after allegations surfaced against the producer, Kesha flipped the lyric into a bold, crowd-shouted \u201cfuck P. Diddy\u201d at live shows. \u201cTik Tok\u201d was an era-defining record for the early 2010s, downloaded 610,000 times in its first week, which set a record for a single by a female artist. At the time, the most downloaded song in one week was Flo Rida\u2019s \u201cRight Round,\u201d which had Kesha on the hook. \u2014Tomas Mier<\/p>\n<\/li>\n \tFather John Misty, \u2018Holy Shit\u2019<\/p>\n \t\t\t \n\tWhat do ancient holy wars, the golden era of TV, and carbon footprint have in common? Father John Misty<\/a>. Josh Tillman\u2019s 2015 masterpiece, I Love You, Honeybear<\/a>, is a concept album about falling in love while the world is falling apart, and it all culminates on the gorgeous penultimate track, \u201cHoly Shit.\u201d He rattles off fiery lines like \u201cEunuch sluts, consumer slaves\/A rose by any other name\u201d and \u201cNo one ever knows the real you and life is brief.\u201d But he can put all that despair aside, because he\u2019s found his person. It\u2019s a twisted love song, one Tillman wrote on his wedding day, that remains his most brilliant piece of songwriting. \u2014Angie Martoccio\u00a0<\/p>\n<\/li>\n \tT-Pain, \u2018I\u2019m Sprung\u2019<\/p>\n \t\t\t \n\tIf you wanted to pinpoint the big bang of pop music\u2019s Auto-Tune era, you could do worse than \u201cI\u2019m Sprung,\u201d the infectious first single by T-Pain. Eventually, the self-proclaimed \u201crappa turnt sanga\u201d would become synonymous with the pitch-correcting technology. But on \u201cI\u2019m Sprung,\u201d it feels like a eureka moment, enlivening millennial pop-rap signifiers (see acoustic guitars) with an army of eerily perfect, harmonizing T-Pains. Despite the fact that the track is basically just complaining about being in a relationship (\u201cshe got me doin\u2019 the dishes,\u201d he croons, amazed), it\u2019s all surprisingly sweet, a guy lost in the clouds and wondering how he got there. There\u2019s probably less Auto-Tune than you remember, too, but what\u2019s there transformed popular music. \u2014C.P.<\/p>\n<\/li>\n \tRich Boy feat. Polow Da Don, \u2018Throw Some D\u2019s\u2019<\/p>\n \t\t\t \n\t\u201cI wanted something to represent the \u2019hood that sounded authentic, but when you compare it to the average song on the radio, it would feel larger than life,\u201d said Atlanta producer Polow Da Don about his shoegaze-bass insta-classic \u201cThrow Some D\u2019s.\u201d \u201dLike it cost some money to produce.\u201d Built on a skipping sample of Switch\u2019s luxurious 1979 R&B hit \u201cI Call Your Name,\u201d Polow and Alabama wordsmith Rich Boy went full IMAX on this shimmering ode to flashy Dayton wire wheels. An absolute sensation at the time, it seemed that every rapper \u2014 Kanye West, Andr\u00e9 3000, Lil Wayne, Rick Ross \u2014 wanted their shot at riding on a remixed version of Polow\u2019s rims. \u2014C.W.<\/p>\n<\/li>\n \tOld Crow Medicine Show, \u2018Wagon Wheel\u2019<\/p>\n \t\t\t \n\tThis song took a forked path to the top of the country charts. \u201cWagon Wheel\u201d began as an unfinished song by Bob Dylan from the 1973 Pat Garrett and Billy the Kid soundtrack sessions. Critter Fuqua, of the Nashville string band Old Crow Medicine Show, heard the song on a bootleg when he was a teenager, and the band recorded it in 2004, adding lyrics, since the original didn\u2019t have any, and splitting writing credits with Dylan, who they\u2019d never met. Their lovely fiddle-steeped treatment became one of the century\u2019s great sing-along country gems, and eventually a Number One hit when Darius Rucker recorded it in 2013. \u2014J.D.<\/p>\n<\/li>\n \tLizzo, \u2018Truth Hurts\u2019<\/p>\n \t\t\t \n\tIf there was a hall of fame for most-quotable lyrics, \u201cTruth Hurts\u201d would be a shoo-in. The 2017 single was much of America\u2019s introduction to the polymath born Melissa Jefferson thanks to its viral resurgence in 2019 and a barrage of brash, meme-ready bars. Though the booming, piano-led trap beat and Lizzo\u2019s naturally comedic delivery keep things buoyant, the song emerged out of heartbreak. \u201cThe whole beginning of that session was just venting about the situation with this guy and me taking down notes on what she was saying, because the things she said were funny or outlandish,\u201d producer-songwriter Ricky Reed recalled. Lizzo rebounded with her Minnesota Viking and then raced on to global stardom, which is a helluva way to get even. \u2014Jon Freeman<\/p>\n<\/li>\n \tThe Hold Steady, \u2018Killer Parties\u2019<\/p>\n \t\t\t \n\tThe Hold Steady have written a pile of this century\u2019s toughest rock & roll songs. But it\u2019s hard to think of another one while \u201cKiller Parties\u201d is playing \u2014 the knockdown climax to their 2004 indie debut, Almost Killed Me. The Brooklyn-via-Minnesota bar-band dudes bash out an anthemic ode to watching your twenties swirl down the drain, with nothing to show for your wasted youth except killer parties you can\u2019t even remember. They blend wide-screen Springsteen passion with Replacements-style wit, as Craig Finn splutters his barstool poetry (\u201ckiller parties almost killed me\u201d) over Tad Kubler\u2019s enormo-dome guitar. But like so many Hold Steady songs, it\u2019s about lost boys and girls in America, with nothing to believe in except each other. \u2014R.S.<\/p>\n<\/li>\n \tTaylor Swift, \u2018Love Story\u2019<\/p>\n \t\t\t \n\tTaylor Swift was only 17 when she sat on her\u00a0bedroom floor<\/a>\u00a0and refashioned the tragic ending to Shakespeare\u2019s\u00a0Romeo and Juliet\u00a0into what would become her breakout hit. It only took 20 minutes for her to channel the Bard \u2014 and her own teenage angst over her parents\u2019 disapproval of a boy she liked \u2014 into a country-pop romp that is\u00a0still\u00a0being used to soundtrack marriage proposals. (Nearly every night on Swift\u2019s Eras Tour, multiple\u00a0proposals<\/a>\u00a0happened in the audience while she performed the song.) With a climactic, yearning-filled bridge of over-the-top proclamations (\u201cI love you and that\u2019s all I really know\u201d), \u201cLove Story\u201d is a peak example of Swift flexing her songwriting superpowers, and it remains the most fearless fairytale she\u2019s ever written. \u2014M.G.<\/p>\n<\/li>\n \tDoja Cat feat. SZA, \u2018Kiss Me More\u2019<\/p>\n \t\t\t \n\tIf the Bad Boy Records hits of the Nineties taught us anything, it\u2019s that disco is eternal. To wit: We will likely be hearing \u201cKiss Me More\u201d for the rest of our lives, an easy fit alongside \u201cGet Lucky\u201d on the playlist of any wedding DJ unafraid of having a room full of people yell, \u201cI \u2014 I feel like fuckin\u2019 something!\u201d Doja Cat cut a sardonic figure across her early records, her DGAF flow just as comfortable talking shit as it was topping pop charts, but \u201cKiss Me More\u201d is strikingly unified, thanks in part to SZA\u2019s characteristically high-rizz guest verse. The result was a four-quadrant hit that ended up breaking records with its longevity. \u2014C.P.<\/p>\n<\/li>\n \tAlabama Shakes, \u2018Hold On\u2019<\/p>\n \t\t\t \n\tAs Brittany Howard told NPR about the Alabama Shakes\u2019 breakthrough hit, the first audience that heard the band working out \u201cHold On\u201d onstage immediately joined in with its improvised chorus. \u201cThey thought it was a cover song,\u201d she said, \u201cso they started singing it with us.\u201d That crowd response speaks to why the song became an immediate classic. It feels familiar \u2014 a bit of soul, a hint of blues \u2014 yet isn\u2019t beholden to either genre. \u201cHold On\u201d also sported lyrics anyone could understand \u2014 about leaving your teens behind, taking on new responsibilities, and wondering if you were up to the task \u2014 along with a taut guitar groove and a Howard vocal that still grabs you by the lapel more than a dozen years later. \u2014D.B.<\/p>\n<\/li>\n \tUsher feat. Lil Jon and Ludacris, \u2018Yeah!\u2019<\/p>\n \t\t\t \n\t\u201cYeah!\u201d wound up heralding the arrival of Usher\u2019s album Confessions after Lil Jon leaked it to DJs in late 2003. The song caught fire, and eventually there was no choice but to make it the lead single. All these years later, \u201cYeah!\u201d still hits with unmitigated delirium: the blaring synths and booming bass, Lil Jon\u2019s inch-perfect ad-libs, Ludacris\u2019 hall of fame feature, and Usher spinning crunk&B gold with a spicy club drama about a guy struck dumb by the realization that the baddie coaxing him onto the dance floor is his girl\u2019s ex-best friend. The angel and devil on his shoulder duke it out for a few minutes, but there was only ever one answer to this conundrum. It\u2019s right there in the title. \u2014J. Blistein<\/p>\n<\/li>\n \tAventura feat. Don Omar, \u2018Ella y Yo\u2019<\/p>\n \t\t\t \n\tA riveting, tawdry telenovela in the guise of a four-minute hit, \u201cElla y Yo\u201d finds Don Omar admitting to his best friend, Aventura heartthrob Romeo Santos, that he has been conducting a guilt-ridden affair with his wife. Not surprisingly, the 2005 visual is a tad histrionic, but the main attraction here is the brilliant interpolation of a lilting, spidery bachata into the gritty, old-school reggaeton groove. The contrast between Santos\u2019 mellifluous crooning and Omar\u2019s gruff vocals amps up a stylistic clash that, at the time, felt nearly apocalyptic. \u2014E.L.<\/p>\n<\/li>\n \tAshlee Simpson, \u2018Pieces of Me\u2019<\/p>\n \t\t\t \n\tFollowing the success of her sister Jessica and her husband, Nick Lachey, on MTV\u2019s Newlyweds, Ashlee Simpson signed on for her own reality show, which focused on the recording of her first album. Ashlee\u2019s debut single,\u201d Pieces of Me,\u201d arrived in 2004 as a polished mix of pop and rock that captured her own voice and set her apart from her sister. It became a breakthrough, climbing to Number Five on the Billboard Hot 100, her highest-charting single. Had the infamous Saturday Night Live lip-syncing incident not occurred, Ashlee\u2019s trajectory might have been very different. In its moment, \u201cPieces of Me\u201d hinted at a different future, her raw vulnerability and punk-pop edge could have fueled a long run. \u2014Alison Weinflash<\/p>\n<\/li>\n \tRich Gang feat. Young Thug and Rich Homie Quan, \u2018Lifestyle\u2019<\/p>\n \t\t\t \n\tWhen Rich Homie Quan started working with Young Thug, he was so jazzed with the sessions he claimed they\u2019d be \u201cthe best collabo since OutKast.\u201d Cash Money label head Birdman apparently agreed. After launching Rich Gang as a supergroup, he reconfigured it as a showcase for the new duo, who continuously goad each other into ever-more-elastic, emotive bars across the project. All of this is immediately apparent on their 2014 debut single, \u201cLifestyle.\u201d Thug\u2019s Dadaist delivery etches out indelible melodies, Quan\u2019s rugged wordplay grounds the tracks, and the resulting effect is as exuberant as it is melancholy. Quan was right: You don\u2019t even have to squint to draw a line back to Aquemini. \u2014C.P.<\/p>\n<\/li>\n \tNewJeans, \u2018Hype Boy\u2019<\/p>\n \t\t\t \n\tA song so addictive that it enticed (what seemed like) the entire South Korean military to dance to it on TikTok, \u201cHype Boy\u201d celebrates youth culture and crushes with infectious charm. NewJeans member Hanni, then 17, co-wrote the lyrics, adding age-appropriate angst and authenticity. \u201cHype Boy\u201d sounds fresh and modern, while also giving off a low-fi retro vibe. The five teenagers harmonize beautifully, but \u201cHype Boy\u201d also showcases their individual voices in the barely three-minute song. Smoothly switching back and forth between Korean and English lyrics, NewJeans rev up when they hit the co-dependent giddy chorus: \u201c\u2019Cause I know what you like, boy\/You\u2019re my chemical, hype boy.\u201d \u2014Jae-Ha Kim<\/p>\n<\/li>\n \tGreen Day, \u2018Jesus of Suburbia\u2019<\/p>\n \t\t\t \n\t\u201cI wanted to take a big risk,\u201d Billie Joe Armstrong said, and this was it: a nine-minute, five-movement suite. They aimed for an emo \u201cBohemian Rhapsody\u201d but delivered something more like glam-punk \u201cRockin\u2019 in the Free World\u201d for kids watching U.S. tanks roll through Baghdad on cable. The music is as ambitious as its message, with nods to their forebears, from Patti Smith to Ginger Baker to \u201cMoonage Daydream,\u201d served over big chords and crisp couplets. \u201cI\u2019ve walked this line a million and one fucking times,\u201d Armstrong spits. And he never stopped. The band keeps re-aiming the charge for MAGA, Ukraine, Gaza. The angry-old-man song they swore they didn\u2019t want to write is exactly what each new version of idiot America demands. \u2014S.G.<\/p>\n<\/li>\n \tPop Smoke, \u2018Welcome to the Party\u2019<\/p>\n \t\t\t \n\tPop Smoke\u2019s \u201cWelcome to the Party\u201d had all the hallmarks of what Brooklyn drill had become in 2019 (an atmospheric beat, hood shout-outs, \u201cgun on my hip\u201d affirmations) with a refreshing collection of skills that portended to where the 19-year-old rapper could take it (a knack for melody, an inimitable baritone, and a charisma that radiated through the speakers). The hook was so catchy that Pop Smoke just saying \u201cbaby\u201d became quotable, exemplifying a hitmaking ability that he was still refining at the time of his death. Pop Smoke carried a momentum through \u201cWelcome to the Party\u201d that he eventually rode to the top of the charts \u2014 it\u2019s a shame he had passed when it happened. \u2014Andre Gee\u00a0<\/p>\n<\/li>\n \tOriginal Koffee, \u2018Toast\u2019<\/p>\n \t\t\t \n\tJamaican songstress Original Koffee stormed onto the scene in 2019 with this invigorating banger, all about giving praises due. The righteous refrain and invincible hook \u2014 all explosive swag and glasses-raised excitement \u2014 drove her debut EP, Rapture, to Number One on Billboard\u2019s U.S. Reggae Albums chart. The sporadic riddim and Koffee\u2019s melodically jestful salvos are just ripe for a packed-to-the-rafters club near you. But the track\u2019s upbeat message comprises its hyperactive heart. \u201cBlessings all pon me life and\/Me thanks God for di journey,\u201d Koffee yelps over a piercing Island pulse. A motivational speaker-imploder? It\u2019s no surprise this insatiable anthem won her a Best Reggae Album Grammy: The fluid blend of mindful energetics on \u201cToast\u201d makes it a dance-floor triumph. \u2014W.D.<\/p>\n<\/li>\n \tRauw Alejandro, \u2018Todo de Ti\u2019<\/p>\n \t\t\t \n\tJust when the reggaeton rhythm was becoming stale, Rauw Alejandro opened up the field with a rebellious gem that became the Latin summer anthem of 2021. The opening cut of his star-making second album,\u00a0Vice Versa, \u201cTodo de Ti\u201d introduced Rauw to the world at large. Here was a male reggaetonero who actually knew how to dance, while reveling in the nostalgia of Eighties New Wave. Like many boricua trendsetters, Rauw is equally informed by his Latin roots and the mainstream Top 10 hits that he grew up with, and the merging of these two sensibilities gave the tune an everyone-is-welcome global vibe. The combination of a funky guitar lick, robotic synths, and Auto-Tuned vocals in the outro made for an inspired pop moment. \u2014E.L. <\/p>\n<\/li>\n \tGucci Mane, \u2018Lemonade\u2019<\/p>\n \t\t\t \n\tFrom 2006 to 2009, Gucci Mane released approximately 4 million mixtapes, and they vary wildly, from unlistenable to sublime, sometimes track to track. The State vs. Radric Davis \u2014 technically the Atlanta stalwart\u2019s fifth official LP \u2014 was intended as a grand coming-out party, \u00e0 la Tha Carter 3: an opportunity to hear a DatPiff legend go in on glossy major-label beats, with the guest list to match. It mostly doesn\u2019t work \u2014 Gucci doesn\u2019t clean up like Weezy did \u2014 except for \u201cLemonade,\u201d a stone-cold classic that marries Guwop\u2019s brontosaurus flow with sprightly, plonking upright pianos. Gucci finds a wide-open pocket in that ear-tickling beat from which to slouch, leer, sling slang, and talk ice-cold shit. Brr! \u2014C.P.<\/p>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"If there\u2019s anything that defines music in the 21st century, it\u2019s constant change. We live in an era…\n","protected":false},"author":3,"featured_media":288493,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[137629,148255,179,71844,22527,53171,24796,148256,34577,4580,2859,11259,148257,59650,148258,148259,81571,59077,4662,18979,171,148260,148261,24495,12303,69080,23786,32367,31347,148262,49244,13935,121660,4149,17076,26514,40585,4404,109207,20898,148263,148264,5531,22854,141470,127834,65956,148265,76931,45756,148266,55017,27377,138716,47840,148267,148268,4273,35506,67,132,68,74546,148269,25736],"class_list":{"0":"post-288492","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-adele","9":"tag-amy-winehouse","10":"tag-ariana-grande","11":"tag-bad-bunny","12":"tag-beyoncu00e9","13":"tag-billie-eilish","14":"tag-bob-dylan","15":"tag-boygenius","16":"tag-britney-spears","17":"tag-bruce-springsteen","18":"tag-bts","19":"tag-cardi-b","20":"tag-carly-rae-jepsen","21":"tag-chappell-roan","22":"tag-courtney-barnett","23":"tag-dangelo","24":"tag-daddy-yankee","25":"tag-daft-punk","26":"tag-drake","27":"tag-eminem","28":"tag-entertainment","29":"tag-frank-ocean","30":"tag-haim","31":"tag-harry-styles","32":"tag-justin-bieber","33":"tag-justin-timberlake","34":"tag-karol-g","35":"tag-kelly-clarkson","36":"tag-kendrick-lamar","37":"tag-killers","38":"tag-lady-gaga","39":"tag-lana-del-rey","40":"tag-lcd-soundsystem","41":"tag-lil-wayne","42":"tag-lorde","43":"tag-mariah-carey","44":"tag-megan-thee-stallion","45":"tag-mia","46":"tag-migos","47":"tag-miranda-lambert","48":"tag-missy-elliot","49":"tag-mitski","50":"tag-nicki-minaj","51":"tag-olivia-rodrigo","52":"tag-one-direction","53":"tag-outkast","54":"tag-paramore","55":"tag-peso-pluma","56":"tag-radiohead","57":"tag-rihanna","58":"tag-robyn","59":"tag-selena-gomez","60":"tag-shakira","61":"tag-solange","62":"tag-sza","63":"tag-taylor-swfit","64":"tag-the-weekend","65":"tag-timbaland","66":"tag-u2","67":"tag-united-states","68":"tag-unitedstates","69":"tag-us","70":"tag-usher","71":"tag-wilco","72":"tag-yeah-yeah-yeahs"},"share_on_mastodon":{"url":"","error":"Validation failed: Text character limit of 500 exceeded"},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/288492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=288492"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/288492\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/288493"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=288492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=288492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=288492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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\n\t\t\t\t\tImage Credit: The Knife\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Kanye West\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: FABRICE COFFRINI\/AFP\/Getty Images\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Gary Miller\/FilmMagic\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Ke$ha\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Jim Dyson\/Getty Images\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: T-Pain\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Rich Boy\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Old Crow Medicine Show\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Lizzo\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Jerry Holt\/Star Tribune\/Getty Images\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Taylor Swift\/Youtube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Doja Cat\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Alabama Shakes\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Usher\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Aventura\/Youtube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Ashlee Simpson\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Rich Gang\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: NewJeans\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Green Day\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Youtube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Koffee\/YouTube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Raw Alejandro\/Youtube\t\t\t\t<\/p>\n
\n\t\t\t\t\tImage Credit: Gucci Mane\/YouTube\t\t\t\t<\/p>\n