A lot changed for me in 2022, and music was there to guide me through it. The chaos of the year is why, for the first time since I started writing about music, I skipped out on my year-end album recap. Churning out three of these in a row has got me exhausted, I can’t lie. Thankfully after this, I do not have to write another one for several months. There were a lot of phenomenal records to choose from in 2022, and narrowing down ten was quite difficult. But without further ado, I present to you a tribute to the music that worked its way into my playlist and close to my heart since its 2022 release.
10. Harry’s House - Harry Styles
Three albums into his solo career, and Harry’s House might just be his best. It’s a true testament to his abilities, combining the highlights of both Harry Styles and Fine Line to create something that while fresh and new, also feels abundantly honest. The range of vulnerability and formulaic pop sounds found on Harry’s House led to Styles taking home the most prestigious award of the night at the 2023 Grammys - album of the year. What shocked me about its success is that while the songs are wonderful, the album lacks a concise aesthetic like his other works have. His prior records have photoshoots that really demonstrate an encompassing feeling, but Harry’s House produced very little content aside from the music itself and Styles’ long-lasting “Love On Tour.” But maybe it’s the lack of exhausted promo, as we know it to be in today’s digital age, is what really reveals the heart behind this record.
Lead single “As It Was” completely exploded onto the charts, and now sports an impressive 3.7 billion streams on Spotify. It also boasts the record of being the most-streamed song in a single day in the USA in Spotify history. After its release, you couldn’t go anywhere without hearing this danceable smash hit. Radio, TikTok, you name it, it took over. “As It Was,” alongside its visually stunning music video, were the only Harry’s House releases made prior to the complete album drop. Styles certainly didn’t bore with singles later on, however, as four more tracks received music videos: “Late Night Talking” (also part of the billions club on Spotify), “Music For a Sushi Restaurant,” “Satellite,” and “Daylight.” Styles has never shied away from bold artistic statements, and these videos are certainly no exception. Extravagance is present in every single one of them, and honestly, if this is how good music videos can be when you possess such wealth, I have to wonder why some other artists of a similar status aren’t doing the same thing. The “Music For a Sushi Restaurant” video, albeit unsettling, stands out for its storytelling and its thoughtful visuals. I remain impartial to “Satellite” though. The video starts at one of Styles’ concerts, where a little robot breaks free on a quest for love and adventure. It travels the world until eventually settling and running out of battery next to Styles. Many have found parallels between the story told here and the story of One Direction, especially as the robot dies outside of NASA, where 1D filmed their final music video.
I can say with confidence, even having been to The Eras Tour, I have never seen a concert crowd singing along so loudly as I did when I attended Love On Tour. The environment Styles fosters within his fanbase and his crowds is admirable, and it’s simply impossible to not have a great time. When he opened the show with “Daydreaming,” which isn’t even a single, the stands erupted into blissful belting unlike anything I’ve experienced before. And speaking of non-singles, many of the record’s most outstanding picks sprout from the eight songs not released promotionally. “Keep Driving” and “Cinema” are the perfect blend of danceable fun alongside wistful indie-pop that make them irresistible. Even three years later, as my tastes have changed and new music has been released, I always go back to these two songs. Also among my favorites are “Grapejuice” and “Little Freak,” which both follow similar genre-blending compositions, though “Grapejuice” possesses a uniquely flattering vocal delivery and production technique that makes it sound quite different from anything else in Styles’ repertoire. And of course, “Matilda,” a heartbreaking deep cut that quickly became a fan favourite for its heartfelt boy-next-door feel and painful relatability.
I was never much of a One Direction girl, but Styles’ music fell under my radar very early into his solo career, and it has introduced me to just how much of a force to be reckoned with this talent truly is. Harry’s House pushes his artistic bounds to new heights, providing an array of songs that will be adored for years to come. I look back on Styles’ early work with a reminiscent fondness, and I look at his recent releases and see just how much he is capable of when handed the reins on his own art. This album is a 2022 must-listen. As fans taunt, tease, and beg him for new music, I am confident that Harry Styles is cooking up a remarkable follow-up to his award-winning, record-breaking, chart-smashing masterpiece.
9. The Loneliest Time - Carly Rae Jepsen
Seeing Carly Rae Jepsen’s career evolve right before my eyes has been a great joy of my lifetime. I fell in love with her work quite early on - us Canadians have to stick together! The Marianas Trench / Carly Rae Jepsen adjacency is still one of my favourite tidbits of lore to drop on people. Dedicated is really the record that, for me, showed me that Jepsen was more than just a pop radio personality, but she was an indie darling, a cult classic. She sports one of the most dedicated (pun intended) fanbases that I have ever encountered, and yet Jepsen’s mainstream entries as of late have been very few and far between. This elasticity seems to allow her the comfort to explore her musical desires and create something so passion-filled that the audience resonates completely. Thus, The Loneliest Time is born.
Like much of my favourite music, The Loneliest Time employs a strategy in which no real solitary genre is present, rather than a smattering of everything that makes up this artist. There is soft indie-pop, there is 80’s influence, there is disco, there is tongue-in-cheek sassiness, there is your classic radio pop smash, and so much more. I remember when the lead single, “Western Wind,” was released - as one of the most mellow tracks on the record served up as the first taste, I was shocked when the rest of the album turned out to be chock-full of upbeat danceability. But honestly, it’s just like Jepsen to keep us on our toes and to strategically ease into a new release cycle. “Beach House” became the second single, and it’s basically the stark opposite of its predecessor. Possibly the single most fun and unserious release in Jepsen’s entire discography, “Beach House” recounts experiences dating, specifically through dating apps. Jepsen has never strayed from some good ol’ boy-bashing in her lyricism, and the examples brought up in this song are so bizarre that you can’t help but to adore it. My favourite type of straight woman is the one that isn’t afraid to admit that men ain’t shit! “Talking to Yourself” is the adrenaline-boosted hit that got away, and the record’s third single. If one song from The Loneliest Time had the potential to grow as big as “Call Me Maybe,” it was this. Instead, the album’s title track gained the most notoriety, with the attention-catching and memeable bridge that won over hundred of thousands of hearts on TikTok. Jepsen takes on disco-pop headfirst in this tune, partnering with fellow Canadian recording artist Rufus Wainwright. Having a male collaborator adds just that perfect amount of harmony and storytelling to an already brilliant track. Simply put - this is the type of song that it is impossible to be in a bad mood while listening to, and it wraps up the record beautifully.
Much of this album slips under the radar as critically underrated gems. If pop perfection is what you seek, it doesn’t get much better than “Surrender My Heart” and “Joshua Tree.” The latter of the two possesses such an earworm of a hook that it will be stuck in your head after only one listen. “Shooting Star” follows the dance-oriented trend as a fun, sexy, lighthearted romance jam, meanwhile “Bends” and “Far Away” are hushed and mellow, laced with vulnerability. “Go Find Yourself Or Whatever” is probably one of Jepsen’s slowest, saddest songs yet. Her music is recognized for its playful and hopefulness, and while she sings about all stages of a relationship, she usually doesn't tackle such a raw sadness as this track. It shows both artistic and personal growth, and provides a beautiful moment on the album. “So Nice” feels like happily walking down the street on a brisk spring morning. It’s a field of flowers, the feeling of falling in love. If someone wrote me a song like this, I would know they were the one and do everything it took to never lose them. Jepsen’s happiness just radiates through the track, and its subtle disco undertones give it that lift it needs to become one of the album’s biggest standouts.
What can I say? I’m grateful to live in a world in which Carly Rae Jepsen exists. She proves time and time again that she’s still got what it takes. “The Loneliest Time” deserved every last second of virality it achieved, and with that success, Jepsen has been able to increase her group of loyal supporters to even greater heights, nearly twenty years into her music career. For a decade now, Jepsen has gotten into the habit of releasing a b-side album for each of her records, in which she groups together songs that didn’t make the cut for the first release, but that she still wanted the world to hear. The Loneliest Time paved way for 2023’s The Loveliest Time, a sister album exploring deeper, grittier, and sexier themes. Its pop prominent songs include “Shy Boy,” “Psychedelic Switch,” “Anything To Be With You,” and “Kamikaze,” all of which take on a certain dark indie-pop edginess that only few artists are able to achieve. Jepsen is at the top of her game, and it just baffles me that her music hasn’t given her the same mainstream notoriety as some of her peers. She has been happier and healthier than ever these days, and as she begins teasing her next album, I can’t wait to see her continue thriving.
8. Laurel Hell - Mitski
I know it is a wildly unpopular opinion, but Laurel Hell is my favourite Mitski album. I had a really hard time getting into her music pre-Be The Cowboy, with the exception of a few outliers. My style is a lot more on the pop-rock side than grungy DIY alternative, though I do have a great admiration for the scene. Heating “Nobody” for the first time was what made me give Mitski another chance, and was I ever glad I did. I have a soft spot for Be The Cowboy, and it is home to many of the artist’s most impressive songs. Laurel Hell takes Mitski’s experimentation with modern synth-pop influence to a new level, and while I can appreciate that many people adore her for her previously established style, I was thrilled to witness this shift in real time. It is so in tune with the styles I gravitate towards, and I knew it was going to be a hit from the moment I heard “Working for the Knife” (which is still one of my top picks from the record’s entirety). Not only the style, but I also feel like Mitski’s vocal capabilities are on full display in Laurel Hell, taking prominence over the instrumentation in a way they never have in her music before. I love when artists take risks and create passion projects, and this is one of those records that was so clearly born out of a love for the music,
“Should’ve Been Me” is kind of the best song ever, but also, once I heard someone say that the one repeating noise in the hook sounds like it comes from a Mario game, and now I can’t unhear it. It’s the first time I’ve ever felt like I could completely dance along to a Mitski song. The lyrics are still classically self-deprecating, but it’s got such a fast-paced, up-tempo beat. “That’s Our Lamp,” the album’s closing track, is similarly upbeat, and honestly, these two are just about the only songs in Mitski’s discography I’d describe as almost a redefined pop sound. Also hailing as singles and/or strong chart performers are “Love Me More,” “The Only Heartbreaker,” and “Stay Soft.” These continue the trend of synth-pop mixed with indie-rock, combining to build something entirely new. They have catchy choruses that will get stuck in your head all day long, in the best way possible. Perhaps the best by-product of Laurel Hell is the record’s lead single, “Working for the Knife.” It is a beautiful song that illustrates the crushing weight of capitalism, and how easy it is to lose your passion and identity into a job. It’s unfortunately all too relatable, and Mitski does a brilliantly heartbreaking job at putting a hard-to-capture feeling into words.
The slower, deeper cuts on this album were both soul-crushing and marvelous. The more modern production method allows for a new layer of storytelling to be added to the music. In “I Guess,” a two-minute long tribute to the ending of a significant intrapersonal relationship, a mellow haze takes over, and it perfectly soundtracks the complicated sentiment of grief. A complete story is brought to life in only two verses and an outro - not an easy feat, and the overarching vibes are a massive driving force. Instrumentation also plays a huge role in the album’s opening track, “Valentine, Texas.” It paints the picture of an eerie atmosphere that transitions into something hopeful, perfectly introducing listeners to the next thirty minutes of music. Severely underrated are “There’s Nothing Left for You,” “Heat Lightning,” and “Everyone,” all of which deal with themes of social isolation, building self-worth, and all other unwanted thoughts that occur after dark.
Mitski has always excelled at songwriting, and that is one of the reasons why she exploded onto the scene so rapidly. Her early music, though not as commercialized, is an emotionally dense, thorough retelling of the artist’s various lived truths. As her success has evolved from what originally began as a school project and turned into a career in a vicious industry, her resources, and therefore her stylistic influences, have changed. Through navigating that, a complex and thought-provoking record came to fruition. Laurel Hell may not be everyone’s cup of tea, but it’s hard to deny its genius. Making art with such heavy emotional depth always runs the risk of being too much of a downer that crowds don’t connect, but Mitski rides that line so flawlessly. In turn, her fans appreciate and are inspired by her openness and the seeming ease at which she confronts her feelings head on. Even if she never touches another synthesizer, Laurel Hell proves yet again what a talent Mitski truly is. Songs from her most recent album, The Land Is Inhospitable and So Are We, take noticeable influence from Laurel Hell’s production, and combines it with just the right touch of her roots. I firmly believe Mitski will grow into more and more of a family name as her career proceeds, so long as she continues to create such gorgeous works of art - and even if it doesn’t connect with the general public, she’ll always have the girls, gays, theys, and the mentally ill by her side.
7. Stick Season - Noah Kahan
I am miles behind on every TikTok trend, so I didn’t learn about Noah Kahan until a friend showed me “Dial Drunk,” the then-new single off Kahan’s deluxe album re-release. By then, “Stick Season” had already skyrocketed on the charts, and I’d somehow missed it entirely. I immediately grew fond of the album as a whole, and even ended up being one of the lucky few fans who got tickets to one of his 2023 summer shows (mind you, my experience was a little tarnished by the food poisoning I got at the show). Having grown up on country-pop, Kahan’s style was reminiscent of my own roots. Additionally, he successfully intertwines both indie and folk influence, creating a genre-bending passion project. After resonating with millions and ultimately changing Kahan’s life, Stick Season is a feat many artists spend their whole careers striving to achieve.
When I revisit this album in full, there are way more skips than I remember. The project’s driving forces just hold that much excellence that any weaker performers roll off the back. I’m not a huge fan of “Come Over,” “Strawberry Wine,” “Halloween,” or “Still.” Don’t get me wrong, they’re still enjoyable pieces of music to listen to, but they just never really clicked into place for me. The record’s other ten songs are anything but unforgettable. Kahan’s relatability and artistic brilliance are what helped him cross the threshold from being a one-hit TikTok star into an established artist. Among the record’s most fun picks are “She Calls Me Back” and “Homesick,” alongside the aforementioned “Stick Season.” Each of these tracks possess an upbeat tempo backed by pop music foundations, while still maintaining their country-folk core roots. The lyrics are sad, yearning for places or people slipping out of reach, but the delivery comes in such a manner that you wouldn’t guess so without reading into it - except for “Stick Season,” that one’s pretty direct. “Stick Season” paints a picture so vivid it’s no wonder it became so beloved. Out of the batch, though, I’d have to say “Homesick” is my favourite. It grapples with the pros and cons of growing beyond the borders of one’s hometown, a topic that holds significant weight when coming from a small town, tight-knit community like Kahan’s background.
Much more of the record lies on the rather melancholy side. A couple standouts are the equally heartache-inducing “Orange Juice” and “Growing Sideways,” the prior of which is dedicated to someone close to Kahan struggling with sobriety. Kahan’s storytelling skills really get a chance to shine in this track. “Growing Sideways” is a lot more personal to me, detailing deep-rooted feelings that come alongside mental health struggles. Kahan illustrates that healing is nonlinear as he sings about his own insecurities amidst his personal journey. “Northern Attitude,” “All My Love,” and “New Perspective” are phenomenal as well, their choruses being instant earworms. “Everywhere, Everything” has the most gorgeous chorus on the entire record. This love song uses a pitch and instrumentation shift to illustrate a sense of desperation, an overwhelming, overflowing feeling. It’s beyond powerful - even as someone who has never been in love, it’s tough not to have a visceral response to such passionate music. The way I feel listening to “The View Between Villages” is indescribable; it is one of my favourite songs of all time, especially the extended version released on the deluxe album. It’s really easy to tell when an artist has poured their heart and soul into something, being completely vulnerable and exposing genuine emotion, and this song is one of those pieces. The bridge changed me as a person after the first time I heard it, and I’m not even kidding. Every time I listen to it, it feels like the first time again - it’s that moving.
Sometimes it’s hard for me to distinguish a hyperfixation with an artist as a whole, or just a select piece of their work. I tried to get into Kahan’s older work, and only ended up sticking with “False Confidence.” But I have VERY high hopes for his future, as his career is still quite new, and he seems to have found his most established and authentic sound on Stick Season. The later released deluxe edition is home to some more brilliant tracks, including “No Complaints,” “Call Your Mom,” “You’re Gonna Go Far,” and another absolute all-time favourite, “Your Needs, My Needs.” Noah Kahan possesses great talent - thank goodness the world has tuned in for it. Stick Season is absolutely worth the listen, regardless of what type of music you enjoy most. Kahan is evidently very proud of this work, as he should be.
6. emails i can’t send - Sabrina Carpenter
Before there was “Espresso,” there was “because i liked a boy” and “Nonsense.” Amidst the Olivia Rodrigo drama fabricated entirely by people with too much time on their hands, I fell in love with the album’s singles just a couple of days after its release. I overplayed the life out of about four tracks, and eventually delved into the album as a whole, quickly falling in love with it. Sabrina Carpenter is another high-profile artist that I was incredibly lucky to score tickets to while she was touring this album - though not getting to see her during Short n’ Sweet may become my villain origin story. This fast-rising pop star has megawatts of personality and star power tied up into one pretty little bow. In a world full of mellow music reflective of the world’s overall state, we need someone like Sabrina Carpenter, who is making lighthearted, fun, and feminine tunes. She is the long overdue it-girl of the 2020’s, and I couldn’t be happier seeing her flourish.
emails i can’t send is the singer’s first album off of Disney’s Hollywood Records label. She earned her breakthrough role on Girl Meets World at only thirteen years old, and has been gradually gaining notoriety since then, until her explosive 2024 that catapulted her into the throes of the mainstream. emails was a great starting point to show the world what Carpenter is capable of, and many of the album’s tracks remain fan favourites to this day. “Nonsense” is one of her most beloved songs, with her charming impromptu outros each night of tour gathering plenty of attention. “Vicious,” “bet u wanna,” and “Read your Mind” are all fast-paced, energy-packed pop earworms demanding audiences to get up and dance. For the most part, Carpenter details her trials and triumphs in dating, expressing disdain towards men who just can’t make their minds up. It’s all very tongue-in-cheek and self-confident, a formula with no room for failure. She fills a hole that the world of pop music needed filled.
Among my favourites are “decode” and “Already Over.” While the prior is the album’s pensive and nostalgic closing track, the latter is a country-infused pop anthem. “Already Over” speaks to a complicated situationship that is equal parts sexy and confusing. The mild twang blends seamlessly with the rest of the composition, all falling into place to create an innovative banger. Unlike most of her music, “decode” is anxious, a track that is equal parts self critical and a means of calling out her ex. She struggles as she feels that a situation is slipping out of her control, ultimately ending the album with a candid voice memo as the music fades. It makes a callback to the album’s introductory track, “emails i can’t send,” which details how her father cheating on her mother shaped her perception of love. “Tornado Warnings,” “Fast Times,” and “Bad for Business” are a few more of the record’s greatest highlights, and there are soft acoustic moments found within “skinny dipping” and “how many things.”
Riding the high of the album’s success, Carpenter released a deluxe edition featuring “Feather,” another one of her signature songs. This era exuberated pure fun, youth, and girlhood. Its radiant live performances included a gorgeous lit up heart backdrop, Carpenter in sports jerseys for the cities she performed in, sparkly dresses, cowboy hats and country boots, and all the aura that comes with rebirthing herself as a true blonde bombshell. It’s bittersweet to be saying goodbye to many pop girls of my generation and hello to a new wave of them, but artists like Carpenter are so deserving of their high status. If you’ve only tuned in more recently, emails i can’t send is most certainly a staple in her discography, and worth the listen front-to-back. Sabrina Carpenter is sure to accomplish wonderful things in her career ahead of her; she now has the world in the palm of her hands, all watching her every move with great anticipation. What will she do next?
5. SOS - SZA
SZA is an absolute powerhouse performer, as she has proven time and time again. For anyone who was still skeptical, though, SOS came along and took the world by storm, cementing SZA’s status as R&B royalty. This 23-track album was released at the end of the year with little lead-up, and still managed to break records and tear up the charts. That kind of star power only comes around every so often. The majority of the record takes a mellow approach, focusing more on the singer’s soothing vocals than instrumentals. However, like all the greats, SZA has the ability to blend styles and create her own unique genre, and that’s exactly what she does on SOS. Many songs completely stray from the standard structure of an R&B recording, instead employing electric guitars and pop hooks. After all, such a lengthy tracklist would render itself redundant if all songs sounded similar.
The album’s standouts are, in my opinion, incredibly easy to decide upon. When picking my top five, I’d have to go with “Ghost in the Machine,” “Smoking on My Ex Pack,” “F2F,” “I Hate U,” and “Too Late.” This eclectic combination of tracks displays just how wide of a range SZA is capable of. Her vocals blend flawlessly with Phoebe Bridgers’ to create one of the most gorgeous duets I’ve heard in a long time on “Ghost in the Machine.” The existential, melodramatic song possesses a haunting feel that leaves the listener completely immersed in the music. “Smoking on My Ex Pack” is just so much fun to listen to and sing along to, as is the shameless “I Hate U.” When I mentioned the presence of guitar before, it specifically reigns glorious on the energetic “F2F.” This charged, sexual, feminine banger will have you banging your head, and then wondering in awe who else could possibly combine R&B and rock together in such a way. As far as virality is concerned, “Kill Bill” skyrocketed to the top of all music charts, and remains SZA’s most streamed song on Spotify with a whopping 2.4 billion streams. The single “Snooze” is also a huge highlight, as is “Nobody Gets Me,” two melodic and emotional tracks with lyrics that roll right off the tongue. “Seek & Destroy” is an instant earworm, and “Special” is a heartfelt ballad that gets up close and personal about insecurities and rebuilding self-worth following a breakup. SOS is constantly a double-edged sword, where you always know SZA is going to be vulnerable, but you never know whether she’ll be singing about a steamy session with her man or her wavering mental health.
I’ll admit, not every song on the record clicked for me. I’m more of a Ctrl girl, with a smattering of SOS on heavy repeat. “Used, “Conceited,” and “Good Days” may have never resonated with me, but man, do some of those other songs ever do something to me. SZA is an artistic genius who has mastered the art of creating an album. On both of her full-length releases, every song is meticulously placed, every tracklist is incomplete without intros and interludes. Clips of conversations with herself and her family members can be found on select tracks as a means of either introducing themes of the song or propelling the story forward in a creative manner. Shifting sounds, moods, and sometimes incorporating a killer transition from one song to the next are among SZA’s many, many talents. The songs on SOS tell a story of being a young woman in her late 20’s and early 30’s, navigating life and its many road bumps. The singer keeps it completely real and down-to-earth with her audience. Despite expressing disdain for the inner workings of the music industry, and a desire to complete her recording contract sooner rather than later, she decided to release a deluxe edition called LANA in February 2025. This re-release doubles the length of the album, clocking it in at two hours and four minutes, or 42 songs. As she prepares to embark on the tour of the summer with her longtime friend and collaborator Kendrick Lamar, there is no denying SZA is on fire right now. The fact that SOS has remained such a hot commodity more than two years after its release is a testament to just how talented this artist really is. If you haven’t dived into SZA’s discography yet - this is your sign.
4. Being Funny in a Foreign Language - The 1975
I, like everyone else, am tired of Matty Healy. But god damn, is the man ever talented. He may be a nuisance but he sure is excellent when it comes to creating music. The 1975’s 2022 release was, by far, my favourite piece of work by the band. Blurring the lines between their own traditional, individualistic style and closely following modern trends has always been their specialty, but Being Funny in a Foreign Language takes it to a new level. The band teams up with masterclass musician and producer Jack Antonoff to create a new, more polished sound. If 1980’s music and 2020’s music had a lovechild, it would be this record. Each track is a breath of fresh air, yet something so familiar at the same time. Surrounding this album cycle was the band’s At Their Very Best tour, and this statement couldn’t be more true. A decade since they began releasing music, The 1975 has found their signature sound, creating a record that even the harshest of critics can’t deny is brilliant.
The album’s sound journey takes twists and turns, but just like each of the band’s records since their sophomore, it begins with a track called “The 1975.” This always serves as an overarching guide to the album as a whole, which usually carries some sort of theme or message. For Being Funny in a Foreign Language, this introductory track is equal parts self-critical as it is critical of the current cultural climate. It’s easily my favourite of these special tracks yet. We get a lot of highs and lows on this record, a good handful of ballads mixed with some up-tempo beats. “Human Too” and “All I Need To Hear” are two very slowed songs that focus more on Healy’s vocal abilities and a soft piano backtrack than anything extravagant. Dealing with raw human emotion and uncertainties in Healy’s life, these two tracks carry a lot of weight. Also on the softer side but in a different way are “Wintering” and “When We Are Together” - conveniently, also my top two picks from the album. “Wintering” is an ode to the holidays and spending time with your family, no matter how strange they may be. A scene of chaos and love is painted through Healy’s sarcastic lens to make a heartfelt, toe-tapping song capturing a very unique feeling. “When We Are Together” also features very cheeky, attention-grabbing lyrics - literally opening with “our first kiss was Christmas in a Walmart toy department.” Who says something like that other than Matty Healy? Through such raw truth-telling comes a gorgeous description of the feeling of being in love, definitely among one of the sweetest songs in the band’s discography.
We start picking it up again with tracks like the lead single “Part of the Band,” and the album’s most fan-adored offspring, “About You.” While still being delivered in soft, rather hushed tones, the songs’ lyrics are sung with more energy and more mainstream potential. “About You” is the perfect balance of moody, down bad, and thoughtful. Healy harmonizes with Carly Holt, the wife of his fellow bandmate Adam Hann, to bring new depth to the track. Its orchestral arrangement seamlessly blends with the rest of the formula and turns this song into the perfect hit that it is. Also featured on this record are “Happiness,” “Looking for Somebody (To Love),” “Oh Caroline,” and “I’m in Love With You.” Each of these tracks lean on more danceable beats than the last, and notably, all take place in the record’s A-side, with all the mellower counterparts sitting on the B-side. “Happiness” is a super fun listen with some jazzy influence, while “Oh Caroline” is cheeky, desperate, and on the more simple side lyrically. “I’m in Love With You” is definitely the record’s single most upbeat track, with a chorus that simply demands one to get their body moving, and a beyond catchy bridge to die for. “Looking for Somebody (To Love)” serves to be a highly memorable moment as well, its upbeat nature just a facade for the weighted topics it discusses. A picture of a school shooting is painted, and Healy steps inside the mind of someone so distraught and lonely that they resort to brutality. This type of storytelling is what makes him stand out again and again as a highly capable artist.
There is a clear-cut method to Healy’s madness. No matter what controversy he finds himself in, he does everything with a purpose. He loves to troll and stir the pot, and he loves to be ignorant at some times, yet passionate for change at other times. The band are true chameleons of their genre, changing their style and their cause every time the social climate shifts. Being Funny in a Foreign Language is an indie-pop lover’s dream. It’s everything I could’ve asked for from the band, and it just crosses one more box off the long list of sound profiles the band is able to nail down. As they have taken to social media to update the font of their official logo, I eagerly await what subjects will be the centrifugal force of their sixth studio album.
3. RENAISSANCE - Beyoncé
RENAISSANCE is the album that changed my mind about what I previously thought Beyoncé’s music could be. Of course I’d heard the older classics like “Crazy In Love” and “Halo,” but that was about it, I just never got the hype. When I started getting more into R&B last year, Bey was towards the top of my list for obvious reasons - she is a major pioneer in the genre as we know it today. Today, she is two thirds of the way done with an ambitious project in which she explores the influence of genres previously uncharted by her. RENAISSANCE is the first act in this trilogy of albums, serving as a postmodern disco and dance-pop revolution. She pays tribute to Black artists who paved the way before her, and this record in particular is hugely an ode to the queer community and culture. Beyoncé attributes RENAISSANCE, as well as the entire trilogy project idea, to creative surges brought on by the Covid-19 lockdowns. There isn’t a single dull moment on the album; every track is adorned with glittery beats and smooth vocals. This particular album was chosen to be released first out of the trilogy due to its uplifting nature. After the pandemic ended, Bey said she just wanted to release something to make people dance and spread happiness. The album most certainly achieves this goal.
Singles “BREAK MY SOUL” and “CUFF IT” are the driving forces behind the album’s concept, and both tracks succeeded in garnering massive hype on social media. As the artist’s first solo release in six years, and a drastic departure from her traditional sound, “BREAK MY SOUL” just about broke the internet as well. House and R&B music collide to create something that will go down as a club classic. This track contains an irresistible hook, and is the type of music that you really can’t listen to and be in a bad mood. It is complete with samples of Big Freedia’s music to tell a story of self-assuredness. “CUFF IT” follows current pop trends a bit closer than its predecessor, while intertwining elements of funk and house. This elegant party anthem quite simply states a desire to let loose on the dance floor, the composition itself so adequately echoing that sentiment. In terms of other defining moments on RENAISSANCE, “AMERICA HAS A PROBLEM” is, by far, my most replayed track on the album. No matter how many times I put it down, I always pick it back up again. It’s such a powerful piece of music with production and attitude allowing it to flourish as an ode to self-confidence. Bey compares herself and her sexual energy to the addictiveness of cocaine, pledging to never let her lover forget that she’s the one who wears the pants. If this wasn’t iconic enough diva behaviour for you, the powerhouse artist also released a remix of the track featuring rap legend Kendrick Lamar, bringing new imagery into play and maintaining its irresistibility. Among my other top picks on the album are “COZY,” “ALIEN SUPERSTAR,” “THIQUE,” and “SUMMER RENAISSANCE,” all of which exude themes of self-love that this album cycle leans so heavily on. “I’M THAT GIRL,” the record’s opening track, is a flawless illustration of this beautiful mantra.
Within sixteen cohesive tracks in which each song segues into the next without hesitation, many of which are 4+ minutes long, there are bound to be a few spots where the music falls short. But on RENAISSANCE, there’s really not a single skip. The most filler feeling songs to me are “ENERGY” and “MOVE,” and even both of them are still extremely catchy and enjoyable, albeit slightly more forgettable than the tracks surrounding them. “CHURCH GIRL,” “VIRGO’S GROOVE,” and “ALL UP IN YOUR MIND” took a few listens to really stick with me, but now I can’t get them out of my head. Same goes for “PURE/HONEY,” which is now one of my favourites. Specifically, the first part of the song - I live for a good female empowerment banger. “HEATED” may not be one of the album’s strongest contenders, but that outro is to die for. And even in such a fast-paced LP, Bey finds room for one song that takes the glam down just a notch, and instead reflects on the ups and downs in her long-term relationship. While the rest of the album is loud, proud, and makes zero apologies, Beyoncé ventures into the subject of humility when it comes to the soft spot she has for her man. She renounces her love and commitment on “PLASTIC OFF THE SOFA,” a lovely tune that is RENAISSANCE’s closest thing to a ballad.
Ultimately, the word ‘cunty’ was made to define this record. I can’t think of any other music I’ve ever heard that fits so perfectly into that definition. Of course, one wouldn’t be able to say this in a formally published review, but this is my website, so I can say what I want. Bey is absolutely serving cunt and she damn well knows it. The dazzling essence of RENAISSANCE serves two purposes - to bring joy to its listeners, and to provide the singer with a creative outlet. After a lengthy musical drought, Beyoncé couldn’t have created a stronger comeback. In terms of concept, visuals, production, and lyrical composure, RENAISSANCE excels, making it a surefire dance floor staple for years to come.
2. five seconds flat - Lizzy McAlpine
Lizzy McAlpine is one of those artists who effortlessly achieves what so many other artists strive to do. Her easily recognizable style is reliant on the strength of her voice and her primarily acoustic, but sometimes explosive melodies. The girl and a guitar trope has played over so many times, some more successful than others. It’s a classic, and it’s garnering a resurgence following the popularity of artists like McAlpine. Her influence combines elements of indie, pop, and even folk to create a record that perfectly captures how it feels to be searching for love and identity in your twenties. My introduction to Lizzy McAlpine wasn’t through “ceilings” like everyone else, but rather from a friend showing me the song “reckless driving.” It didn’t take anything more than that to get me hooked; I immediately listened to the entire record in awe. All this time later, and nearly every track still holds space in my heavy rotation.
These fourteen songs have been carefully crafted and hand-picked to indulge listeners in McAlpine’s most vulnerable moments. Songs like “chemtrails” and “called you again” navigate the tricky aftermath of a breakup, whereas “what a shame” details a forbidden romance, and “hate to be lame” captures the anxiety and uncertainty involved in falling in love and starting a new relationship. All of the singer’s growing pains are on full display to the world, bringing solace to those going through similar scenarios. “all my ghosts” is one that really resonates with me, as McAlpine reflects on past experiences that haunt her. I have lived a thousand lifetimes, and every time I am back in my hometown where everyone knows everyone, I feel this song to my core. She must make amends with these previous versions of herself and withhold from allowing them to hinder her current relationship, but lord knows that is a task much easier said than done. “doomsday” is another song that is both musically gorgeous (with a visually stunning music video) and painfully relatable. Comparing a toxic, doomed relationship to the imagery of a real life death and funeral, the singer drives home the point that despite being better off without this person, the pain still lingers. The triumphant exclamation “I would’ve married you if you’d have stuck around” comes forth in the bridge, which is equal parts depressing and therapeutic. When you don’t think you deserve better or will be able to find better, you settle for what’s in front of you. I know this all too well.
The album’s commercial highlights lie within “erase me,” “reckless driving,” “an ego thing,” “what a shame,” and of course, “ceilings. “orange show speedway” has also become a fan favourite and a career highlight in McAlpine’s discography, though it’s not all that well-known outside of her fanbase. These tracks possess just a hint of pop, just enough for it to appeal to mass audiences. “ceilings,” the song that propelled McAlpine’s career into what it is today, is a hazy daydream state of reminiscence. Its devastating lyrics recount lovely memories and feelings in a relationship, only to reveal at the end that none of it is real anymore, it all lies in the past. Many of these songs touch on toxicity in a romance - a wonderful example is “an ego thing,” which paints the picture of a couple constantly bickering, both stubborn and unwilling to change. Holding the title of both my personal favourite and the most screamable on the album is “erase me.” It is a strong display of McAlpine’s vocal range and emotional depth. Her writing has such an abstract feel to it, creating beautiful poetry out of everything she expresses. She describes hookups used as a means to distract from heartache, a passionate sentiment to losing someone she still loves so deeply. And “firearm” is worth mentioning - it may be a bit overlooked by the greats surrounding it, but that bridge is truly a force to be reckoned with.
Lizzy McAlpine’s unique storytelling methods intertwine with her one-of-a-kind musical style to create something completely new. It’s clear she has a knack for combining fictional settings with her raw emotions, a skill that she carried with her onto her 2024 album Older. I was blown away by five seconds flat, it is truly such a marvelous piece of work. There seems to be nothing this starlet can’t do.
1. Midnights - Taylor Swift
Midnights is a dazzling collection of glam-pop sounds that have never previously been explored in Taylor Swift’s discography. My jaw dropped the second I hit play on that very first track as the album released, and I instantly knew it would be a favourite. Still, as I sit back and listen to the complete record, it astonishes me that Swift had this record in her. Though she is certainly a jack of all trades who can pull off plenty of shifting sounds, but when making pop music and deciding on singles to represent a new era, she generally plays it fairly safe. Midnights is a distinct departure from this previous work, pop from a more mature viewpoint and a more trendy production style. After the heaviness of folklore and evermore, something fun yet moody was needed. My only complaint about this record is that it didn’t get its own full-production tour, though I am grateful that its Eras Tour set covered plenty of territory. This album has the type of sound that feels fresh and new each time you revisit it. I will never grow tired of this record, and I can only hope that after the mediocre follow-up with TTPD, she decides to pick back up this dreamy synth-pop genre one day.
The tracklist for this record is unique in that it doesn’t follow a set timeline, rather than touch on scattered experiences through Swift’s life. She describes it as a concept album for this reason. It is all about the thoughts that come at and around midnight, the overthinking and the doubt and the grief. Through this, she gets plenty off her chest - how much she misses a previous relationship, the public scrutiny she is constantly under, the wrongdoings of fellow industry professionals, the fear of falling in love again, and the fact that we are all constantly changing. The record opens with “Lavender Haze,” an absolute staple in the singer’s discography. The intro alone was enough to get me hooked, but the rest of the song rolls out in a majestic trail of pure whimsy. Swift’s vocal performance here is breathtaking, and to top it all off, she released a video for this song that is among the most visually stunning music videos she’s ever done. It is followed by “Maroon,” another breathy, soft pop masterpiece that romanticizes the past and describes a fun-filled love affair. “Anti-Hero,” the record’s first single, is a vulnerable piece of work in which Swift gets critical with herself, acknowledging her own toxic tendencies, whether real or heightened by anxiety. “Snow On The Beach” and “You’re On Your Own, Kid” are two mellow and emotional tunes. The prior of the two features harmonies with Lana Del Rey - a dream collab. The latter has become one of Swift’s most signature songs within her cult-like fanbase. It covers all the ground the singer has tread to get to where she is today, and it serves as the official anthem of the Eras Tour.
“Midnight Rain” is another of her all-time best, and despite not getting proper treatment promotionally, its Eras Tour performance was one of the most memorable of the night, and provided a perfect visual representation of how it feels to listen to it. “Question…?” and “Karma” are two absolute bops from side B, but in comparison to the rest of the record, they lack something to be desired lyrically. The bridge from “Question…?” is amazing, not to mention the brief sample of “Out Of The Woods,” suggesting that this track is about the same subject as the 2014 hit. “Bejeweled” is another fun, dance-oriented tune with a beautiful music video and a much more confident version of the artist than we see on most of the record. Whenever I try to summarize the overarching subgenre of Midnights, this song comes to mind, both its style and its title. It is preceded by “Vigilante Shit,” another track that had my jaw on the floor upon first hearing it. A bit over-hated in the beginning, but has since become well-loved for its stunning choreography on tour. I have loved it since the moment I met it. It’s a self-assured man-hating anthem, and as a fellow misandrist, I can’t help but adore both the highly risky style and the straight-to-the-point verses. For a stark comparison, a drastic slowdown occurs on the hushed ballad “Labyrinth,” which was one of my surprise songs on tour! Finally, the record closes with “Sweet Nothing” and “Mastermind.” “Sweet Nothing” is interesting in that it is a love song, but its lyrics are still kind of a downer. It is even more sad to think that the love it was supposedly written about no longer exists. “Mastermind” is both a letter to the fan’s and Swift’s own acknowledgement of her brilliance. Over and over again, she puts magnitudes of thought into every aspect of her career, and “Mastermind” is a cheeky way of giving a nod to these traditions in both her personal and professional life. It’s no secret why, despite not being a very popular pick from the record, she decided to put this song into her Eras Tour setlist.
Swift is no stranger to breaking records, but Midnights certainly did not let down in that department. It made her the first artist to win Album of the Year four times at the Grammys, as well as her being the first artist to occupy every slot in Billboard 100’s top ten. Thirteen songs isn’t all the music this era had to offer, either. At 3am, following the standard release, Swift surprise dropped seven more tracks, including “The Great War” and “Would’ve Could’ve Should’ve,” which are so good that there’s absolutely no reason for them to not have made the cut for the standard release. She even continued releasing rejects from the album into 2023, with the irresistible “Hits Different” and “You’re Losing Me” hitting streaming far later. Swift is constantly proving her haters wrong, and demonstrating that she is just as inspired twenty years into her career as she was the day she started it. Comparing Midnights to her self-titled debut is an insane pipeline, an unbelievably impressive feat. The creativity and talent that went into this concept record is evidently a mass amount of energy. The result is one of the best records of the 2020’s so far, and one of the best pop records I’ve heard in a while, by miles. Love her or hate her, Taylor Swift isn’t going anywhere anytime soon. Midnights is seriously an album of the generation for me. Pop music doesn’t get much better than that.