December 31, 2020
2020 was a weird year. People lost their jobs, the music scene became essentially non-existent, and a demand for extensive mental health support rose as the world was stricken with a global pandemic. With so much time spent locked inside, attempting to adjust our creative mindsets to the state of the world, this year brought a great array of new music. Whether inspired by a world altered by COVID or an active attempt to distract from the misery, new records this year pushed boundaries, crossed over genres, saw amazing artist comebacks, and challenged standardized musical norms.
Coming up with only ten favourites was a difficulty, as always. I’d like to recognize a few honourable mentions that didn’t quite make my cut, including Smile by Katy Perry, High Road by Kesha, Dreamland by COIN, Kid Krow by Conan Gray, Plastic Hearts by Miley Cyrus, How To Be Human by Chelsea Cutler, how i’m feeling now by Charli XCX, Punisher by Phoebe Bridgers, and Ugly is Beautiful by Oliver Tree. Though other albums ranked above these few on my top-10 list, they were still on my heavy rotation through the entirety of 2020. The following albums, including my honourable mentions, paved the way for the growth and changes I experienced during the year. My life has never changed so drastically in such a short period of time - another effect of the pandemic - and music majorly helped me understand the constant changing of the world around me. With this being said, I’m super excited to present my personal favourite records of the year and discuss what made me love them so much:
10. Dedicated Side B - Carly Rae Jepsen
Jepsen’s record Dedicated was on my top-10 list last year, but this year’s continuation of the album is even better. It seems Jepsen has found the perfect balance between the individuality in her work and the mainstream pop that’s sure to land her on radio, hopefully with another hit as massive as “Call Me Maybe.” Her unique voice and her carefree, lighthearted personality are the main reasons why she has a cult following of adoring fans, and her latest record is a perfect reflection of all the elements that have made her previous music successful. With songs like “This Love Isn’t Crazy,” “Fake Mona Lisa,” and “Let’s Sort The Whole Thing Out,” it’s hard not to stay dancing for the whole 43-minute duration of Dedicated Side B. These tracks have completely indulged themselves in the genre of sugary-sweet indie pop, and it’s enough to keep you in a good mood until it’s over. For the most part, Jepsen’s tracks are fast-paced and upbeat, making me wonder why they were even archived from 2019’s Dedicated in the first place.
However, Jepsen’s 2020 release isn’t entirely her signature upbeat style. Previous releases like “Warm Blood” and “Sour Candy” have proved her to be a genius when it comes to pop-based ballads. Despite how great her radio-oriented tracks are, these slower songs are sometimes the biggest standouts in her discography. This trend continues with Dedicated Side B. Most notable are “Now I Don’t Hate California After All” and “Comeback.” The latter, a dreamy indie-pop collaboration with Bleachers, is my favourite track on the album. The pair perfectly compliment each other with layered vocals, creating an emphasized, dramatized effect. “Now I Don’t Hate California After All” closes the record as one of its longest tracks, clocking in at almost 5 minutes long. This tropical tune maintains its mellow delivery, allowing Jepsen to express herself through one of her most effective channels. Complete with the sound of palm trees swaying in the wind and waves crashing up on the beach shore as the track fades out, it’s safe to say this is also one of her greatest pieces yet.
Overall, this record is one of pop’s best newcomers of 2020. Unfortunately, none of its tracks broke through to mainstream radio, but it serves as Jepsen’s fanbase’s hidden secret. Tracks like “This Is What They Say,” “Solo,” and “Window” have a tongue-in-cheek approach that odes to signature Carly Rae Jepsen sounds and proves her Dedicated archives to be even stronger than the original piece of work. For fans of the 2019 record, this album sounds very similar, but digs deeper into the emotions that Jepsen strives to portray through her lyricism and artistry. She is definitely one of the most remarkable pop artists of the 2010’s, and with Dedicated Side B, she continues to carry her legacy into the next decade.
9. don’t you wanna be glad? - Super Whatevr
Since their entrance to the pop punk/alt-rock scene in 2017, Super Whatevr has been a band on my radar. Since then, they’ve gone from a tiny grunge niche to a fully established two-piece group who uses pop, rock, and everything in between to tear into the more emotional aspects of the human experience. Over time, I’ve watched the pair, especially leading man Sky McKee, learn how to manage his balance between his personal connection to his music and his public persona. While still maintaining a respectable barrier, he’s learned how to speak openly about his personal growth without being held back by any expectations caused by genre and the scene the band got their head start within. While previous records Good Luck and Never Nothing are heavily influenced by that indie/grunge-rock sound that the band was once known for, their 2020 record takes a much more upbeat, pop-sounding approach. This signifies McKee’s ability to leave behind his roots and explore delivery methods that intrigue him, regardless of public perception. When all is said and done, this risky move makes for a fluid, yet cohesive record, marking a significant change of path in the band’s career.
Standout tracks include those such as “unhealthy.” and “everything’s new, everything hurts.,” both of which include rock-based hooks with a much more clean, polished, and professional stance than we’ve ever seen from the band before. However, ballads like “melancholyism.” and “holy anxious.” tie together McKee’s deepest emotions and allow the audience to reciprocate his same feelings. Then the record includes a couple tracks unlike anything we’ve previously gotten a taste of in the band’s discography, such as spoken-word track “eternity complex.,” and “i wanna be cool.,” which features rapper Lost Boy. Perhaps my favourite track on the record is leading single “better.,” which really reflects on McKee’s growth through therapy and acceptance of his past. It’s somewhat of a sarcastic approach, making mention of several traumatic events and personality traits that he wishes he could shake but just can’t, but it also recognizes that in order to heal from said events, one must first come to terms with them. The song’s message is important, hence why it was chosen as the very first taste of the album as a means of culminating its theme, and also why its name is now tattooed on my body.
don’t you wanna be glad? is a continuation of the activism that McKee has portrayed through his career thus far. In speaking about his own experiences, he plays a role in eliminating stigma regarding mental illness. He confronts the darker side of life through form of music, creating a positive and accepting powerforce within the alternative scene. Despite the band’s stray from their typical sound, this record serves as a highlight of 2020’s music reel. It was a brave attempt to break genre boundaries and step into something new. Successfully, Super Whatevr has re-established themselves as a band who is capable of tackling any taboo subject from any musical approach, strengthening their ability to make a lasting impact.
8. Positions - Ariana Grande
Back in 2020 with her triumphant return from successful records in both 2018 and 2019 is Ariana Grande, and she’s better than ever. It seems she’s only gone up since Sweetener - though it was certainly a strong piece of work, anyone can identify thank u, next as even stronger, and Positions is the mightiest of them all. Showcasing her growth and touching on that side of feminine sexuality that she couldn’t discuss during her Disney channel days, her 2020 record tackles all things personal to Grande as she becomes more comfortable in her own skin. Her latest work is a truly outstanding testament to the struggles she’s endured. Positions topped this year’s pop charts for good reason - its strength and diversity is what makes Grande such a powerhouse.
Fan favourites such as “34+35,” “just like magic,” and “love language” tackle the fun, sexual, surface level enjoyment of a relationship, whereas deep cuts like “off the table,” “safety net,” and “pov” discuss intimacy, fears, and uncertainty. Perhaps most notable is “pov,” a track that displays vulnerability in self-image, as Grande pleads to a lover that she wants to see herself the same way he sees her. One of my personal top picks is “motive,” a girl-power tune featuring TikTok star Doja Cat. Of course, even the most vulnerable tracks on Positions include some amount of danceability, as Grande keeps the tempo high to please the listeners until the record is over. Title track “positions” is one of the greatest radio-oriented songs on the album, as it’s fast-paced and focuses on Grande’s commitment to her relationship. Complete with a captivating music video, it’s a great introduction to the themes explored through the remainder of the album. It definitely is not the strongest track, but its radio performance and ability to appeal to a wider audience (not that anyone needs to learn who Ariana Grande is at this point) assist her in entering her brand new album era.
Grande’s ability to pump out new music faster than fans can absorb the prior record has certainly been put to the test over the past while. With records produced in three consecutive years now, two of which were about six months apart, she doesn’t appear to have any intentions of slowing down, even during a global pandemic. Her flexibility in songwriting approaches are one of her most remarkable traits, and Positions certainly supports this style. As she navigates lighthearted love affairs and late night conversation topics with lovers, she proves that she no longer fears vulnerability. After all, she’s gone as high as she can go, and the spotlight now belongs to her. The ability to manipulate her public image from a good girl teen star to a strong, empowering feminist icon who embraces her body and femininity wholeheartedly is truly remarkable. Positions is, without a doubt, one of Grande’s greatest albums yet. With highlights like “west side” and “shut up,” just a couple of her brand new, best written and produced tracks of her career, it’ll be sure to make its rightful placement on many year-end lists.
7. Future Nostalgia - Dua Lipa
Over recent years, Dua Lipa very quickly skyrocketed to stardom. One second you’d never heard of her, and the next, you couldn't stop hearing about her at every turn you make. Though her record breaking debut album certainly was a force to be reckoned with, Future Nostalgia is one thousand times better, in my opinion. Lipa’s music has matured in production, lyricism, and style as a whole. Rather than her first album, which was quite experimental in nature, featuring a wide variety of tunes playing on different aspects of the pop genre, her 2020 release sounds fully established, as if she’s finally found her place and her signature sound. The cheekiness and danceability are what lands her a spot as one of the world’s most streamed artists, with pure genius singles like “Don’t Start Now” and “Break My Heart” which celebrate the female body and experience in a manner that can appeal to anyone from anywhere. Her confidence certainly gleems through as a massive driving force, on the contrary to her 2017 album. Future Nostalgia deserves every award it has earned this year; with its release, Lipa has ensured that her legacy will be timeless.
Tracks like “Cool” and “Hallucinate” serve the purpose of allowing the audience to just dance and let go of their troubles through the music. Meanwhile, “Good In Bed” and “Pretty Please” are so cheeky and sarcastic that you’ll fall in love with the tracks on first listen. “Boys Will Be Boys” is a highlight of the record as well; if Lipa hasn’t already made her mark as a feminist icon, this track will certainly do the work. Remarking upon the stupidity of the common saying and how it affects women’s daily lives, Lipa recalls how boys are taught that their rough and derogatory behaviour towards others is okay while growing up, which leads to their manipulation of women, and girls’ needs to grow up a lot faster in order to cope with it. Though the remainder of her album does not speak so blatantly about sexism, she makes it clear on many tracks that she is fully comfortable speaking over men and making her voice heard when need be, including on title track “Future Nostalgia,” where she calls herself a “female alpha.” Future Nostalgia is all about femininity, as it has become a much less taboo subject within the music industry over recent years. Lipa is comfortable in her own skin, and she wants the whole world to know, as well as the guys who stand in as the subjects of her songs.
Though the songs themselves are outstanding, the true greatest element of the album is Lipa’s growth. From a cleaned up and consistent production method to a shift in lyrical subject matter, Future Nostalgia has got it all. This sophomore record will surely pave Lipa’s way through future projects and a continuation of her fame as years go by. After all, she very quickly went from an underground indie-pop hidden gem to one of the world’s greats, taking place next to other feminist music stars like Taylor Swift, Ariana Grande, and Katy Perry. She hit the mainstream media right at the end of the 2010’s, but still had the ability to become one of the most iconic names of the decade. With such an excellent record kickstarting the 2020’s, Dua Lipa will surely make this decade her own.
6. Dream Riot - Featurette
Featurette has spent the duration of their career thus far climbing their way up. Now recognized as one of Canada’s greatest up-and-coming indie bands by a multitude of critiques and publications country-wide, their latest album has assisted them in obtaining such a reputation. Through years of writing, touring, and experimenting with new sounds, Dream Riot is the most reflective product of the hard work Lexie Jay and Jon Fedorsen have put into their project. It stands as the best-produced, best-written piece of work the duo has yet to put forth, and the production is perfectly clean and established. Not to say that their past record wasn’t outstanding as well, but it truly feels like they've found their signature sound with their latest. Bursting with confidence, Jay and Fedorsen take back the reign of their own career path and steer it in their very own direction. The result is a hidden gem of indie/electronic pop music that any fans get to brag about knowing before it was cool.
Dream Riot packs a punch, and with songs like “Won’t Love You” and “You Do You,” which take control in relationships with themselves and others, it follows the self-growth and self-love patterns that many other records I’ve already mentioned have stuck to. It continues a narrative that began with the band’s debut album, this time recognizing the narrator, Lexie Jay, as worthy on her own without any dependence on others. Having known her for several years, I can absolutely testify that this woman is a badass and capable of whatever she puts her mind to, so long as she believes in herself. Dream Riot proves that she finally does.
Where tracks like “Burn It Down” and “Million Things” are more danceable than anything else, there are also tracks serving to be some of the most vulnerable in Featurette’s discography, like “Don’t Know Me Without You.” Coming from a self-doubting approach, it’s one of the only songs on the record that would make you question whether Jay is fully comfortable in her own skin or not. But “White Rabbit” and “On My Own” reflect on a negative, manipulative relationship from the opposite approach to this vulnerable track, perhaps reflecting that Jay is confident in her decision, but still thinks about the implications of her choices and the way things ended. All in all, she seems to be fairly happy with where she is now, and her new music brings forth these emotions with a driving force.
If you don’t know Featurette yet, you’d better get acquainted pretty quickly. It won’t be too long until they’ve gone viral or take over radio with the way they’ve been going. Though 2020 was certainly a change in pace, they started out the year strong by allowing their headlining tour played in packed, energetic rooms to lead to their big album launch. One can expect that as soon as the world is once again in some state of normalcy, Jay and Fedorsen will be quick to pick up where they left off. In the meantime, stream Dream Riot in its entirety, because you won’t want to miss out on hearing this powerful record.
5. Petals For Armor - Hayley Williams
Lots of successful records this year touched upon growth, especially through the pandemic. Though Williams’ 2020 record handles the same general subject matter, it does so in such a brilliantly executed manner that puts it in a whole new league. Told through 15 songs and a multitude of selected segments that were released prior to the album and its final installment - each highlighting a specific aspect of the healing process - Williams takes her listeners through the journey of the lessons she’s recently learned. While “Watch Me While I Bloom” is a confident proclamation of self-assurance, “Dead Horse” comes earlier in the album and reflects upon doubt, attachment, and a lack of ability to leave a toxic relationship. Petals For Armor truly includes a little bit of everything, proving that healing is not linear, but rather it involves a layer of complex processes.
Though its cohesion is its main standout, Williams’ debut solo record certainly has select songs that were more impactful to me than others. To begin with, “Cinnamon” is an upbeat track that’s easy to dance to and has minor depth in meaning compared to other tracks. It is essentially written about the comfort, safety, and freedom she feels within her own home, as she belts out “I’m not lonely, baby, I am free.” “Roses/Lotus/Violet/Iris” is yet another incredibly individualistic song that features modern indie band boygenius. It’s fitting that a song about feminism would feature a powerful girl-power trio backing Williams’ vocals, and it’s clear that all artists on the song compliment one another’s styles. The track is very unique, well-crafted, and has an excellent meaning behind it. Even though it may not be as personal as some other tracks, Williams still pours raw emotion all over it, marking it as her own style. Finally, the record closes with my favourite track, “Crystal Clear.” It summarizes the experiences Williams has ranted about through the album, and it acknowledges her acceptance and learning how to move on from past traumas. She is no longer afraid to live life to the fullest, and she refuses to be held back by uncertainties any longer. Its melancholy delivery is a reflection of the process that brought Williams to this point. Its production and writing are pure genius, and wrap up the record with the perfect touch.
Hayley Williams has been a songwriting powerhouse since Paramore first made a name for themselves in the music scene in 2005, but Petals For Armor allows her to excel as a solo recorder and songwriter. Though her work in Paramore is exceptional, her solo album pushes her to limits she never quite explored within the band. The music is even more intimate and personal than anything we’ve heard from her before - which is really saying a lot. With the record’s release comes Williams’ public announcement that she’s no longer being held back by her past, which may be easier said than done, but the rawness seen in these 15 tracks is proof of her journey to healing. It’s the perfect soundtrack for those of us wallowing in our thoughts for the duration of 2020, and it very quickly became one of my top albums of the year.
4. Use Me - PVRIS
Following PVRIS since 2014 has been a journey. Considering leading woman Lynn Gunn was around 20 at the time, herself and the remainder of her band have expanded upon and changed their style many times in 6 years. They’ve had time to mature their lyrics and production, and though their debut record will always hold an incredibly special place in my heart, there’s no way to deny that their new sound is outstanding. PVRIS, now a duo between Gunn and her long-time musical partner Brian MacDonald, released their highly anticipated third full-length record in 2020, and consists of an alt-rock take completely different from the group’s usual signature style. It’s a departure from the branding that stuck to them when they made their debut. The production is highly developed and much stronger than their previous work. Now, in the spotlight more than ever before, PVRIS has released the greatest album of their career thus far. Use Me is a matured, diverse record that managed to go straight to the alt-mainstream without any hesitation. For good reason, critics and fans alike adored 2020’s re-introduction of PVRIS.
With fast-paced tracks such as “Gimme A Minute” and “Stay Gold,” both of which have the perfect mix of synthesized and organic instrumentation, Use Me is certain to appeal to any contemporary rock fan. Gunn and MacDonald have mastered the art of producing an alternative song, proven by this work. However, this record is much more musically diverse than anything we’ve yet to hear the band come out with. Tracks like “Loveless” and “Good To Be Alive” serve as a form of sarcastic ballad, still playing into the alt-rock genre, but leaning more towards an acoustic pop style. There is a heavy focus on Gunn’s critically acclaimed, easily recognizable vocals, which truly carry the tracks and the pace of the album. On top of these few standouts, we have a few tracks that land smack in the middle of the genre spectrum, such as “January Rain” and “Old Wounds.” While these two aren’t quite ballads, they still take a much slower pace than many of the band’s other songs. The deluxe version of the record also includes “Thank You (feat. RAYE),” one of the best-performing songs from the group in 2020.
If you haven’t hopped on the PVRIS train quite yet, now is the best time to do so. Gunn and MacDonald’s work is only getting better, and Use Me could just be the start of several golden years still to come. From the title track to a 2019 fan favourite, “Death of Me,” this album is a culmination of some of the band’s best work. They’ve mastered the formula and come with full force during this horrible year - and I think we should all be very, very grateful for it.
3. evermore - Taylor Swift
If I’d had a little more time to spend with this record before writing my top 10 list, it may have ranked at #2 or even #1. However, that’s not to say I didn’t adore the surprise release; very few artists have the power to release successful records during December, in the midst of Christmas craziness, but Taylor Swift is absolutely one of the ones who is capable. Her latest record is a continuation of July’s surprise album, folklore. The sister albums have a much more mellow, indie-stylized approach than Swift’s previous work, and it puts much more emphasis on storytelling lyricism than hitmaking. Not that Swift hasn’t always excelled when it comes to writing genius lyrics, but her 2020 work is the most raw, authentic display of her capabilities that we have yet to hear through her career. It resembles similarities to her critically acclaimed 2012 record, Red, which blends her country roots and her 2010’s pop style to create a genre-blending, emotional record. Though we’d already seen this approach from Swift earlier in 2020, no one was expecting yet another album with the same masterclass style before the end of the year. evermore is a further delve into the fictional and non-fictional stories that Swift began to explore in depth in July. Once again, she proves that her stories leave the greatest impact when told through her own unique genre.
Opening with acoustic lead single “willow,” Swift is quick to proclaim her love for ‘her man,’ a common theme of many songs she’s released since the beginning of her relationship with Joe Alwyn. The pair seem to work perfectly together as a couple, as friends, and as a songwriting duo. Alwyn co-wrote several songs with Swift between her 2020 records, credited on evermore as a part of “champagne problems,” “coney island,” and “evermore,” a handful of the most solemn and emotional tracks on the album. Among these tracks are several other slow songs - something Swift has seemingly excelled at amidst this pandemic - such as “tolerate it” and “happiness.” She also has the perfect mixture of upbeat tracks, reminiscent upon her mainstream 1989 and reputation pop days, such as “gold rush,” “closure,” and “long story short.” The latter is particularly significant, seeing as it speaks to Swift’s long-time feud with Kanye West that led to the deterioration of her mental health and a hiatus in her career. She’s spoken about this in almost every album since; reputation was all about her comeback from the drama and trauma, Lover had “I Forgot That You Existed,” and folklore vaguely spoke to the subject with lyrics in “the 1” and “mad woman.” However, “long story short” is potentially the most growth-proving approach yet, as Swift shows that despite the trauma, she’s learned a lot from her difficult experiences and no longer cares to involve herself in drama. It’s a real turning point and highlight of the record that takes quite a personal approach.
Though this track may be ultra-personal to Swift’s experiences in the spotlight, much of the record follows a theme that began with folklore by telling others’ stories. “dorothea” and “‘tis the damn season” are connected, while “ivy,” “no body, no crime,” and “cowboy like me” tell fictional stories that were created in Swift’s imagination, often based upon some other piece of media. “no body, no crime” is arguably the best song on evermore and one of the greatest of her career, partnering with HAIM for a girl-power story about a woman killing her best friend’s cheating husband. It combines indie-pop with Swift’s country roots and shows off her love for true crime by intertwining plotlines in her lyrics. Track 11, “marjorie,” also holds significance on the record, as it tells stories both from Swift’s point of view and her late grandmother. She recalls her mannerisms and the times they spent together in a beautiful fashion, once again proving how incredible she is at storytelling. Overall, the record forces its listeners to read into and decipher its lyrics in order to fully understand each story that is being conveyed.
Swift is nine albums into her career, and she hasn’t lost the magic that made her fall into the spotlight in the first place. evermore is a lyrical and musical masterpiece which demands to be recognized as one of the year’s greatest releases, even with its late release. Her impact in the music industry has become too immense to not credit appropriately, and she continues writing album after album, constantly inspired by the world around her. With quarantine not appearing to end anytime soon, I’m sure she won’t stop creating, and I look forward to hearing the next record she comes up with.
2. Manic - Halsey
I’ve loved Halsey’s music for a long, long time. She went from underground indie-pop badass to a chart-topping and record-breaking queen, remaining versatile in the music she put out as she expanded and evolved her audience. With Manic, however, she’s created a record that strays so far from genre norms that it exists only within its own realm. The majority of Halsey fans and critics alike can agree that it’s easily her greatest record thus far, with all 16 tracks in their glory. It’s ultra-personal and style-blending, allowing fans to explore Halsey’s personality and experiences with deep intimacy. Her songwriting has drastically improved since her early Badlands days (though no one can deny that record is still absolutely killer to this day). For the first time, Halsey introduces herself as Ashley and lets us into more aspects of her life than just her public, stage persona. She sets an example on how to be vulnerable and quit allowing fear to get in the way of healing, learning, growing, and experiencing the real world. That’s what this record is all about - a process of attempts to love every bit of herself.
Starting off with “Ashley,” Halsey wastes no time in re-introducing herself to the world by her real name. The audience can then infer that this record will be told from Ashley’s perspective rather than Halsey’s. The stories we’re about to hear come from her deepest personal experiences, not the public front that the world sees in the media. These stories will break boundaries between the artist’s personal and professional life, merging the two into one. Not only is it catchy, but the song has many more meanings than seen on the surface. As the record progresses, we hear tracks like “clementine,” “3am,” and “I HATE EVERYBODY,” which are odes to Halsey’s mental health and personality quirks. She accepts and embraces her flaws and sees them as a part of what makes her, her. “Graveyard” and “You should be sad” tell the powerful story of failed relationships. In “Graveyard,” she reflects upon her dependence on the other person, her willingness to follow them wherever they want to go, and her ignorance of any warning signs. But in “You should be sad,” she takes the alpha position and tells off her ex for all the ways they wronged her. Whether it’s about the same relationship or not, Halsey certainly knows where she stands and that she’s chosen to put herself first in any relationship.
“killing boys” follows a similar plotline to that of “You should be sad,” with Halsey taking control while calling it off with an ex. She recognizes that she’s been wronged and won’t put up with it for a second longer than she has to. She proclaims that “I don’t need you anymore,” taking pride in her own individuality and independence. A contrasting theme is seen in “Still Learning,” one of the most vulnerable tracks she’s ever written. Though some of her confident tracks may throw you off, Halsey admits in this song that loving herself is difficult. She reflects upon difficulties that come with being in the public eye and how they’ve damaged her own self-perception. While she puts on a tough persona, she recognizes that no one around her actually knows what’s going on inside her mind and all the insecurities and doubts she puts herself through daily. “More,” the preceding track to “Still Learning,” is equally as vulnerable in its discussion about Halsey’s fertility issues and desperation to have a baby. She sings to the unborn child with hope and longing, unknowing about how or when it will work for her. These songs pack an immense punch and allow any listeners to see an incredibly vulnerable side of Halsey.
Bringing the album together are short interludes, featuring artists like Alanis Morissette, Dominic Fike, and SUGA of BTS. They play around with general themes of the album like love, sexuality, and they also play around with vocal and musical special effects for a dramatized placement on the album. To wrap it all up is “929,” stylized as a conversation where Halsey reflects upon her life as it nears her 25th birthday. It ends the album on a mellow, personal note. The deluxe version also includes bonus tracks “I’m Not Mad” and “wipe your tears,” the first of which sarcastically proclaims that Halsey is over something she clearly still thinks about, and the second of which reflects upon a sapphic, seemingly secret relationship.
2020 Halsey shows off the insane progression she’s made over recent years as an artist and a person. Her latest music is outstanding and shows a sense of bravery that is difficult to accomplish. Luckily, the world seems to love the real Halsey, no matter how ugly she believes some of it to be, as the record performed so well on both the charts and with fans. Manic was released early in the year, pre-pandemic, and serves to be relevant as ever while we all self-isolate and wallow in our deepest emotions. Halsey has created an important soundtrack for this year and much time to come. Without a doubt, it is the strongest album she’s yet to release; it’ll be hard to top, but Halsey has already proven with Manic that she can do just about anything.
1. folklore - Taylor Swift
folklore is one of, if not the best record Taylor Swift has released. It’s the world’s introduction to an indie-folk Taylor Swift, and a Taylor Swift who writes songs from perspectives that aren't just her own. Of course, I already discussed a lot of this in my brief review of evermore, but folklore took the world by storm and painted Swift’s lyricism and artistry under a completely new and different lens than what the world had ever seen from her before. From the album’s iconic ‘teenage love triangle’ storyline with “cardigan,” “august,” and “betty,” to songs about her own life like “the 1” and “invisible string,” to her historical recap of the life of her Rhode Island home’s previous owner on “the last great american dynasty,” folklore is a truly versatile work of art that displays every last one of Swift’s musical strengths. Without any leadup besides minor hints that wouldn’t have been decipherable, Swift dropped a full-length record in a completely different style than ever before, and it still performed incredibly well on the charts - proving the impact she has on the modern music industry. Not only did the music stay on rotate from July until currently, but the marketing strategy was so incredibly genius that there was no other placement for this record than #1.
Opening with reminiscent and reflective “the 1,” Swift recalls previous relationships and phases of her life from which she’s passed by and healed. However, she can’t help but wonder how things would be now if some of those relationships had ended differently, or not ended at all. It’s a great nostalgia piece to open a record created during a pandemic where everyone has been left with nothing but their thoughts. Melancholy “exile (feat. Bon Iver)” and “this is me trying” maintain the reflectionist theme and enforce Swift’s new indie approach. Both of these songs are ultra-personal and contain lyrics that dig deep into her personal life. The emotional rawness is one of the greatest selling features, as Swift hasn’t always been so open and honest about her thoughts. During the 1989 era, she struggled with poor mental health and body images, but didn’t open up about it until years later. Now, she appears to have formed a positive relationship with the public spotlight, having the ability to comfortably share her deepest emotions with the world and being able to healthily choose which details she wants to keep to herself. These tracks are proof of this mindset growth and change.
Previously mentioned “the last great american dynasty” is one of the strongest tracks on folklore. Though Swift tells the story of someone else, she intertwines her own experiences and others’ perception of her in comparison to the main subject of the song. She speaks to the legacy of Rebekah Harkness and the life she lived in Swift’s current home, as well as how the pair of stars have become intertwined by this history. Also on the early side of the album is “my tears ricochet,” a very emotional track believed to be about the treatment of her discography and legacy by Scooter Braun and Scott Borchetta. She has been in a long battle with the pair of music industry giants for quite some time now, and the lack of headway she’s made has taken a fairly large toll on her, and reasonably so. Complete with gorgeous lyricism left for the audience to interpret and link to Swift’s situation, “my tears ricochet” is one of the best songs in her catalogue. “seven” is another powerful, reminiscent track where Swift recalls her naivety in a childhood friendship. The song’s subject does not have a good home life, but Swift is too young to fully understand - however, she knows she’s willing to be there for that friend no matter what. Following the common theme of nostalgia, “seven” is a mellow indie tune that represents Swift’s desire to change past mistakes by teaching her past self what she knows now.
“invisible string,” “mirrorball,” and “epiphany” continue to set the pace and theme as we move into the latter half of the album. Each track consists of a melancholy indie tune complete with nostalgic, reflectionist lyrics. They’re all ultra-personal in their own way, with “invisible string” recounting her relationship with Joe Alwyn and how he pulled her out of a dark time, “mirrorball” picking apart her personality insecurities, and “epiphany” comparing COVID-19 with her grandfather’s time spent in the military. Finally, closing the record are minimalistic “peace” and “hoax.” Both tracks discuss a love that is seemingly doomed from the start, while “peace” blames her stardom and lack of ability to fully give her lover peace, and “hoax” narrates a toxic relationship and attachment to a partner, no matter how much they hurt her. It ends the record on a perfect, soft note with piano chords fading out the tune. Of course, the deluxe edition features “the lakes,” a track that is foreshadowed in “invisible string” that discusses a getaway with her lover to escape social media and other drama based on news headlines and tabloids.
folklore is the most risky, mature album Swift has put forth yet. Without any idea how fans or the general public would take to Swift’s sudden shift in genre, she released this record with almost no lead up. It performed excellently, proving that the world was ready to hear a Taylor Swift similar to the style of songs she put out during the Red era. With the release of this record, Swift has shown the world that she no longer cares about their opinion of her or how well her albums chart. She knows that her truest fans and friends will stand behind her regardless, providing her with the confidence she needs to dip her toes into new, experimental waters. folklore deserves all the praise it received, and it absolutely soundtracked the better part of my 2020.