I was going to just explain away my two-year absence from writing and leave it at that, but it just didn’t sit right with me. The longer I indulged in my playlists, the more I was able to recognize that my passion for music didn’t diminish in the slightest during those two years. So why not immortalize them with a top 10 write up like every year has gotten since I began doing this? I feel like a bit of a cheater, as some of these records I didn’t discover until well after the year was over. Alas, here we are. I begin my delve into 2022 and 2023, two phenomenal years for new music, with the latter of the two. I’ve been falling back into some of my former music phases lately, so I figured that working from most to least recent was the most efficient way to make this work. My recency bias surrounding some of these albums may not be clouding my judgement anymore, but listening to them as I write about them refreshes my admiration for the art, serving as a reminder for why I take time to do this even though I have so much else going on in my life.
10. GUTS - Olivia Rodrigo
GUTS resonated with me much more than its predecessor, probably because it comes from a far more mature and grown place. Though I did adore Rodrigo’s debut, I was just a couple years past the prime demographic when it released, and a lot of the subject matter was a bit juvenile for the phase of life I was in. GUTS was a lot more current for me, though. On it, Rodrigo cements her artistic vision and abilities by carving out her own unique blend of pop and rock influences. From the opening notes of “all-american bitch,” I knew this record would be a hit. Rodrigo has proven her talent for picking a brilliant opening track twice now, as SOUR’s “brutal” was another energy-filled anthem that perfectly kickstarted her debut release, letting listeners know what they’re in for. Even “teenage dream” and “logical,” two of my least streamed tracks from GUTS, are so wonderfully screamable when in the right mood. Olivia Rodrigo’s breakthrough came at such a young age, and given the high quality of her first two releases, it is exciting to think of what more she will be capable of throughout her career.
In the meantime, GUTS is an ode to the trials and triumphs of being a girl in your late teen years/early 20’s. The lead single “vampire,” which has now surpassed one billion streams on Spotify, bitterly calls out an ex-lover for using her and other women, sucking her energy completely dry. Its release was followed by “bad idea right?,” which also tackles the subject of a toxic man in Rodrigo’s life who she just can’t help being attracted to. However, not all romantic songs on the record have negative connotations. “lacy,” which began as a poem and turned into a song, is a sapphic ballad about pure, unfiltered admiration for another woman. While she seems hesitant to admit her feelings at first, the end is hopeful. Rodrigo feels some sense of guilt, but she is no longer afraid to admit she has fallen for this woman.
“pretty isn’t pretty” is another highlight that takes a similar stance as SOUR’s “jealousy, jealousy.” It speaks to insecurities and a constant feeling of having to decorate yourself to look nicer, and yet, it’s never enough. I can’t think of a single woman around my age who has not experienced such pressures due to modern society’s norms, but being able to recognize it as unjust is a great start when it comes to dismantling the mindset. “making the bed” is about Rodrigo coming to understand herself and her relationships with the world and the people around her. It is both self-deprecating and takes great accountability, and it is a tad too relatable for my liking. “get him back!” and “ballad of a homeschooled girl” are jam-packed with explosive rock energy, while the melancholy b-side “the grudge” strips it down in a heartbreaking melody about betrayal. Rodrigo’s talent for so effortlessly mastering songs with polar opposite energy levels and making them work on the same record as each other is what makes her the star she is.
Released as secret tracks on different vinyl pressings, and later made widely available on streaming services, are a small handful of bonus tracks. These include the highly memorable “obsessed” and the country-pop influenced “girl i’ve always been,” which are two of my favourites in Rodrigo’s full catalogue. The complete GUTS collection consists of seventeen songs, all of them simultaneously emotionally vulnerable, and beyond fun to listen to. Following the album’s release, the singer embarked on a highly successful world tour with unforgettable performances of her hits in the largest venues she has played thus far. I am truly so excited to think of what more Olivia Rodrigo is capable of, as fans eagerly await the day she begins teasing her third studio album. Big things are most certainly to come.
9. Blame My Ex - The Beaches
As much as I love to gatekeep my small Canadian indie bands, I am thrilled for The Beaches that their success has grown immensely with the release of their most recent full-length. I first saw the band live at a 200-capacity venue in my hometown back in 2018, and I most recently saw them headline a 16,000-capacity venue in the heart of Toronto. Blame My Ex, while still indie-rock, takes a poppier sound than the band’s former releases, much to the dismay or pleasure of longtime followers. Though I’m quite impartial to some of the band’s earlier jams such as “T-Shirt,” “Highway 6,” and “Want What You Got,” which take on a far grungier edge than any of their recent music, I do love me some good indie-pop music, and I found myself keeping Blame My Ex on heavier rotation than many of those prior releases. Not only has the band really come together and found their sound, but there are also plenty of unapologetically queer anthems on this record, which is something I’ll never turn down an opportunity to listen to. Though it may be cause for argument with other fans, my opinion is that Blame My Ex is the band’s best cohesive work yet.
Though it doesn’t even crack my top five on the album, “Blame Brett” is the most successful single to emerge from the release. Not only does it pack a punch for the band’s self-deprecating yet empowering style, but it is the catalyst for the album’s theme and overall aesthetic. Sarcastically dismissing herself from all faults and flaws in a relationship, “Blame Brett” does exactly as the title suggests - places all the blame on singer Jordan Miller’s ex-boyfriend and ways in which he hurt her. Miller points out traits that make her a bit of a toxic lover, and subsequently dismisses them as if they’re nothing. It’s a fun, light rock song that hails women taking the reins in a relationship, and men being the villains. At the band’s recent Toronto headliner, Blame My Ex stations were set up throughout the venue, at which fans could write on t-shirts and signs the name of the ex they were blaming for their problems.
“Me & Me,” “Everything is Boring,” and “What Doesn’t Kill You Makes You Paranoid” follow the same pessimistic themes of despair and loneliness, admirably still doing so in a danceable manner. All three tracks describe depression, isolation, social discomfort, and generalized anxiety. The lovely, melodic “Me & Me” is my top pick from this batch, and ultimately the most hopeful of the three. By the end of the song, Miller seems to have made peace with her own presence, despite being wary at first. These songs are fast-paced and relatable, but no match for “Shower Beer” and “If A Tree Falls,” the heartache tracks of the b-side. “Shower Beer” describes a deep depressive episode; it makes the days where we feel the most pathetic and worn-down into something fun with a lovely tune and the knowledge that we’re not the only ones having those experiences. “If A Tree Falls” is very pertinent to Miller’s breakup and her immediate feelings in the aftermath. Having experienced my first real adult breakup last year, I can relate to the impending feeling of doom and gloom, even though I knew splitting was 100% for the better. This song was the very first one written post-breakup, and alongside its raw lyrics are flawless vocals and a delivery that allow the listener to be completely immersed in the emotion.
“Kismet,” “Cigarette,” and current trending hit “Edge of the Earth” are three of my other favourites, as well as some more positive outliers. “Edge of the Earth” takes on a soft pop-rock form in all its lesbian glory. This is the first song released by The Beaches that was written by guitarist Leandra Earl. With two openly queer members and several explicitly sapphic tracks on Blame My Ex (huge shoutout to “Cigarette”), the band and “Edge of the Earth” have struck a chord of approval within the queer community. There has been a vast increase of highly vocal queer women in the music industry within the past couple of years, and I am so happy that The Beaches get to be a part of that. “Kismet” and “Cigarette” are quite upbeat and true to the band’s roots, which is probably the main reason I resonate with them so much. “Kismet” is a little deranged, but oh-so fun, and my most played song from the album. Unfortunately, those two are deeper cuts on the album, but I have hope that they’ll still get their moment eventually. As the band I once called a tiny, local, hidden gem continues to conquer crowds much larger than what has ever been available to them in the past, they are picking up new fans every step of the way. If Blame My Ex is the gateway into the band’s new defining sound, you can sign me up.
8. Endless Summer Vacation - Miley Cyrus
I’m a Miley girl through and through. I’ve admired her work for quite some time, but it wasn’t until more recently that I sat down and really deep-dived her entire catalogue. What a flawless discography and cinematography this star has under her belt. Endless Summer Vacation isn’t my favourite release from Miley Cyrus, by any means, but it contains some powerhouse tracks and some gorgeous deep cuts that serve as highlights in her lengthy career. Everyone knows “Flowers,” and what an iconic statement that song is, but there are so many more tracks on this record that one simply must know. As she currently moves into her next album era, I look back on this one with fondness for how happy she seems these days, and a hope that the next couple of years will finally bring us her first concert tour in far, far too long. The truth is, while this album didn’t bring us a whole lot of content aside from the music itself, it’s clear to see that this record contains music Cyrus was compelled to write and get off her chest for the world to hear, before moving onto the next chapter of her life.
A very summery vibe indeed was channelled on the album. Every song feels like one you could scream driving down the road with the windows down, or perfectly fit for a day on the beach. “Jaded” and “Rose Colored Lenses” take the reins when it comes to demonstrating this feeling of freedom and warm weather, the prior boasting a music video in which a gorgeous Miley Cyrus is seen showing off her post-breakup glow, basking in the California sun while performing the track. Interestingly, the record is split so that side A and side B are both concepts in and of themself. Both halves narrate Cyrus’ ‘endless summer vacation,’ but side A is considered the AM tracks, whereas side B takes a darker, and at times more melancholy, PM stance - the more vulnerable, riskier writing that comes out of the nighttime. A very unique sound was birthed through some of these tracks, a modern moody dance-pop sound perfect for the nightclub. Though Bangerz was Cyrus’ real club album, songs like “River,” “Handstand,” and “Violet Chemistry” capture a certain energy that’s just perfect for the setting. In fact, “River” was directly inspired by a trip taken to a gay club with friends, and worked into a seductive ode to sex and romance. “Handstand” is my only disagreement for track placement; it sits as the final AM track, but it is much more PM to me. Perhaps the song serves to bridge a gap between the two segments, a not-so gentle transition into madness.
It may be true that much of Endless Summer Vacation is uncharted musical territory for Miley Cyrus, it is also highly reminiscent of her roots. “Thousand Miles (feat. Brandi Carlile)” sounds like a matured version of something that could’ve come straight out of the Hannah Montana era. It’s bittersweet and preaches self-love and positivity, leading forces in Cyrus’ mantra as of late. “Used To Be Young” and “Wonder Woman” are much more emotion evoking, both of them referencing the star’s entrance into the spotlight at such a young age, which resulted in heavy scrutiny of her every move. Being as feisty a soul as Cyrus is, her responses to said criticism were always bold and unapologetic, only leading to further scrutiny. “Used To Be Young” is a love letter to herself, acknowledging times she may have messed up, but embracing all past versions of herself and everything they taught her. She has always possessed strong morals and been unafraid to advocate for what she believes in, and she reiterates her stance here, simultaneously making peace with the general public and standing up for herself against them. The music video is immensely powerful, featuring an emotionally overwhelmed and vulnerable Cyrus standing and singing in a Disney t-shirt. She was recently honoured with a Disney Legend award, closing the doors on any harsh feelings about her messy exit from the brand upon the completion of her show.
The song “Wildcard” can be taken seriously in terms of the music on Endless Summer Vacation, because on one hand, you’ve got one of the sweetest love songs in Cyrus’ catalogue, “You,” but then “Muddy Feet (feat. Sia)” ia about anger and infidelity. Powerful vocals and a powerful (and messy) message drive this song to be one of the strongest performances on the record. Despite initially asking for privacy upon her very public split with her on-again, off-again fiancé, she now seems unafraid to call out his wrongdoings. Her confidence shines through with the same strength it did through the Bangerz era. Then there’s “You,” which is about the helplessness when it comes to falling in love, and a never ending honeymoon phase for both partners. It’s a must-listen when checking out this album. On Endless Summer Vacation, Miley Cyrus shows the world what she’s capable of - as if she still has anything to prove. Those of us with immaculate taste have already been by her side, defending her and supporting her, recognizing her inspiring and individualistic talent. She’s been a household name since she was a child, but at age thirty, she has made those who were once skeptical change their minds. It has been a highly successful past two years for Cyrus; finally, she won a Grammy for her work, a long overdue acknowledgment. Don’t sleep on Miley Cyrus’ last album, check it out now! Exciting times to be a fan are on the horizon. I can’t wait to see what 2025 brings for the artist - I know it’ll be something beautiful!
7. Scarlet - Doja Cat
I didn’t really like this record when it first came out, but I had a random internet person recommend that I give it a second try, so I decided to. God, was it worth it. I can’t lie, there’s still a small handful of songs here that I never really play even still - “Skull and Bones,” “Balut,” “Love Life,” and a couple more. But, the standouts far outnumber the ones that still didn’t click for me. I think when I first listened, I was too clouded by my vision of what Doja Cat’s music has sounded like in the past, and I was expecting a continuity of that legacy. But on Scarlet, Doja shakes her head and makes something she wants to make. Her artistic abilities really shine through on this record. Over the past year, I’ve opened up my tastes to include a great admiration for R&B and hip-hop, two genres I’ve never been extremely fond of, and it’s largely because of this album. Doja Cat showed me what those genres could be in the right hands, and from there, I found a good handful of other artists I’m now extremely fond of. I can assure you that once Scarlet clicks for you, it’ll be there for good.
Prior to the album’s release, two singles were put out, and both of them captured my attention immediately. “Paint the Town Red” and “Agora Hills” were such captivating songs that I came to really care for fast. “Paint the Town Red” is just so much fun to sing and dance along to, and then “Agora Hills” is just so unlike anything I’ve ever heard, such an imaginative fusion of genres to form something sexy and moody.. Even as I’ve warmed up to the rest of the album, these singles still serve as two of the greatest highlights on it. Also heavily on my rotation are “Ouchies,” “WYM Freestyle,” “Demons,” and “Fuck The Girls (FTG).” These songs are just impossible to not sing along with. It’s such motivating, enjoyable music to listen to around the house as I’m trying to get work done, or at the end of a long day when I just want to let loose. “Ouchies” in particular is just such an earworm that it’s taken up so much of my brain space lately, and “Demons” is such a tongue-in-cheek statement that I can never get enough of. Doja Cat has clearly found her voice within these lyrics - her confidence radiates through the recordings.
Also excelling are “Shutcho,” “97,” “Can’t Wait,” “Attention,” “Gun,” and “Go Off.” Doja Cat seamlessly blends genres, blurring any binaries that she has previously been restricted by. The softer side of her range is on full display in many of these tracks. “97” sees her harmonizing with herself as she raps and sings at once, showing off her lavish lifestyle and embracing a don’t-give-a-fuck attitude that is chanelled within pretty much the entire record. “Go Off” also takes on an overarching R&B sound, with a sung chorus that ties together the song like it could be a Planet Her b-side. What sets it apart from her record-smashing breakthrough is its moodiness and complete honesty. “Attention,” “Shutcho” and “Gun” follow similar formulas, as they both serve as disses to someone who Doja Cat seems to strongly dislike. A lot of this album is a middle finger to the music industry, her haters, and toxic fans, so it is completely up for interpretation as to where her anger stems from on these tracks. All I know is that her passion is evident, and she has a story to tell. On the other hand, “Can’t Wait” is a romantic statement in which she expresses her desire to be close to this person for as long as possible. It’s one of the sweetest, most positive songs on all of Scarlet, and one of the nicest love songs in Doja Cat’s discography.
Later, a deluxe edition was released, which included the absolute bangers “ACKNOWLEDGE ME” and “OKLOSER,” among five other new tracks. “ACKNOWLEDGE ME” is severely underrated due to its delayed release; it’s one of my favourites on the entire album. I’m super grateful I stumbled upon a Reddit comment thread in which someone suggested I give this record another try. It ended up ruling my 2024 listening habits. It’s a real sleeper hit, and I wish I would’ve appreciated it to the fullest extent in 2023, but I’m lucky to get to write about it now. Love her or hate her, Doja Cat is a once-in-a-lifetime talent, bursting with potential and having accomplished so much so early into her career. She has been making headlines since 2018, and though Scarlet performed lower than her other recent releases, it marks the start of a new Doja Cat era - one in which she is in control.
6. So Much (For) Stardust - Fall Out Boy
I’ll forever have fond memories associated with this album. Its release overlapped with my trip to Arizona to see the opening weekend of Taylor Swift’s Eras Tour, so I attended an early listening party occurring at a local record store while I was there. As a longtime diehard Fall Out Boy fan, I won’t forget the feeling of flipping through vinyl and CDs while getting to hear this fabulous record playing loudly over the speakers, surrounded by a whole bunch of other big fans. I’ve loved all of the band’s post-hiatus work, even MANIA, which always seems to trigger discourse. Save Rock And Roll is one of my favourite albums of all time and played a major role in shaping my music taste today, as did American Beauty/American Psycho. Maybe nothing can beat SRAR for me, but So Much (For) Stardust is definitely a highlight in their discography.
The album had three singles, interestingly also the first three songs on the tracklist, in order. “Love From The Other Side” was the album’s first single, as well as the band’s first release since 2019. The immediate response was highly positive, with fans chattering about how this might be some of their best work yet. It’s such a fun jam that combines old school and post-hiatus Fall Out Boy sounds. The release of “Heartbreak Feels So Good” followed, and it was just as good as - if not better than - its predecessor. The vision for this album becomes clear, as it takes on a very modern rock sound, but still holds that classic FOB authenticity. By now, fans were completely hooked. Finally, “Hold Me Like A Grudge,”is filled with cheeky metaphors like the band is well-known for, and makes references and parallels to plenty of the band’s older songs. The elaborate music video features a superhero Pete Wentz reuniting the band to save them from being forgotten through a tear in the space-time continuum, and is a continuation of the oh-so intricate “This Ain’t A Scene, It’s An Arms Race” video from 2009.
This album houses plenty of what I now consider to be among my absolute favourite Fall Out Boy songs. The way I felt the first time I heard the chorus of “Heaven, Iowa” was transcendental. I remember the jaws of everyone in that record store dropping. It’s a grand and cinematic song, handling themes of impermanence, both in terms of the physical end of life and interpersonal relationships. “I Am My Own Muse” is an unbelievably energetic rock jam, which actually made it onto the game Just Dance 2024 without even being a single! With the most epic chorus ever, this song is self-deprecating while seemingly discussing negative feelings encountered during the pandemic in 2020. A rock song of this theatricality is impossible not to enjoy, and is definitely my #1 So Much (For) Stardust pick. “Flu Game” is another one I was shocked by upon first listen. That chorus is so catchy and memorable; everything about it feels brand new yet so familiar at the same time. The title “Flu Game” is a reference to a 1997 basketball game in which Michael Jordan insisted on playing despite being quite ill. In turn, the song is about persevering even when not feeling up to it, more specifically about a grand heartbreak and moving past it. “The Kintsugi Kid (Ten Years)” is reminiscent of bassist and songwriter Pete Wentz’ widely known mental health struggles, which are laced into the lyrics of the band’s discography. Kintsugi is a Japanese art of patching together cracked ceramic with gold to make an even prettier piece. In the track’s context, this is a metaphor for Wentz building back up his health after staying in a ‘chemical haze’ to avoid his emotions. Naturally, Covid-19 played a core role in many songs on this album. “What a Time To Be Alive,” however, is THE Covid track. It is filled with rage, depression, isolation, regret, and a sense of excitement to move forward. Also, it may be a bit of a reach, but I am living for the fact that when Patrick Stump sings ‘I’m going on and on and on,” it sounds exactly like the delivery of the same lyric in AB/AP’s “Twin Skeleton’s (Hotel In NYC),” and I like to think that it was a purposeful interpolation.
“So Much (For Stardust)” ties it all together in a beautiful little bow, featuring cinematic orchestration, a great vocal performance from Stump, and callbacks to other songs on the album. It is a desperate cry for help, a yearning for a new beginning, and wondering how they got where they are today. ‘Stuck in the permafrost’ relates both to the idea of seasonal depression, and being stuck in a catch-22 in which they can’t please everyone and themselves with their musical style evolution. The fact that at the end of it all, we are all just made of stardust is both poetic and ominous, and summarizes the bulk of the album, the insecurities and uncertainties. This band was so important to me during my formative years, and the bond I formed with their music is one that will last forever. So Much (For) Stardust is a triumphant piece of proof that over twenty years into their career, Fall Out Boy are still at the top of their game. I can’t wait to see the band continue killing it well into the future.
5. Unreal Unearth - Hozier
I admire Hozier as an artist and a human being so deeply, and this was the record that really showed me what he’s capable of. I have followed him for quite a long time, but never listened to much more than his hits until this album cycle came along and I decided to dive a bit further into the Hozier Cinematic Universe. I have always thought that man was wonderful, one of the few male celebrities these days who seems to actually care wholeheartedly about the global issues he uses his platform to bring awareness to. His lyricism is unmatched, and he has such a niche knack for making music that makes you want to frolic in an open field. Unreal Unearth is a lengthy concept album that delves into politics, love, heartbreak, mythology, and philosophy. It is based on Dante’s Inferno, a theory that illustrates nine separate circles of Hell, based on the severity of the sins committed during the lifetime. Different tracks coincide with different circles. Some of the songs appear to be primarily fictional, whereas some of them are completely autobiographical. Hozier has stated that he spent a lot of time during the pandemic locked up and reading this literature and these manifestos. Rather than creating something about quarantining, he wanted to make some thoughtful art to serve as a relief, and thus, Unreal Unearth was born.
It’s very difficult to fully comprehend the topics Hozier discusses on this record. His intelligence, and the amount of research that evidently went into this project, leads listeners to deep dives on historical figures and their theories. “De Selby (Part 1)” and “De Selby (Part 2)” kick off the album. These tracks are named after a fictional character from the novel The Third Policeman. The two songs are polar opposites, despite following the same themes - Part 1 is mellow, acoustic, and ends with a segment in which Hozier sings in his native tongue, Irish Gaelic. Part 2 is one of the most up-tempo tracks on the album, and in the artists’ complete discography. De Selby, the character, is a scientist studying human relations with the world, and in turn, these two tracks see Hozier questioning his own reality, and the ways in which darkness creeps into our lives and relationships. They serve as the descent into Hell and all its madness.
“First Time” is a gorgeous, yet heartbreaking tale that covers the lifespan of a relationship, from beginning to end, entangled with deep existentialism. “Who We Are” and “All Things End” are two sides of the same coin, also dealing with existential themes and lost opportunities. These two are placed almost back-to-back on the record, separated only by the interlude “Son of Nyx.” Hozier’s vocals on these are absolutely gorgeous, some of the best performances in his discography. Both of them feel a lot like looking back at your life on your deathbed, face to face with every decision you ever made.
Most of my favourites lie within the middle of the album. “Francesca” - centered around the love story of Francesca da Rimini and Paolo Malatesta, figures from the 13th century. Their romance was born out of infidelity, and ultimately resulted in both partners being murdered by da Rimini’s husband. Hozier alludes to this romance as one that transcends death, and it possesses a disorienting outro to mimic being lost in circles of Hell and trying to find one another. “Eat Your Young” is both politically and sexually charged, with poetic euphemisms alluding to both corporate greed and oral sex. The track revolves around gluttony, and it’s just insane how he can fit so many subtopics into one track, and yet he does it with ease. “Damage Gets Done” is a lovely duet with Brandi Carlisle about reminiscing on one’s youth, yearning for that feeling back, but recognizing it is not possible. As a young person, a lack of money or material goods didn't matter, but living by such a rule set is no longer sustainable. “Anything But” displays some of Hozier’s most impressive vocals, so majestic and almost un-human sounding that I was shocked when I found out certain parts of the melody were still entirely him. He uses metaphors of riptides, waves, mayflies, stampedes, anything but what he is, to illustrate a desire to distance himself from his romantic partner. This song is deceptive, as it sounds sweet, but you’ll realize it isn’t as soon as you read into it.
To end the album, there is a beautiful three track run, starting with “Abstract (Psychopomp),” in which Hozier recalls his experience as a child seeing an animal get hit by a car and die, his first real encounter with death and mortality. The alternate title “Psychopomp” translates to ‘spirit guide,’ interestingly. “Unknown / Nth” is mellow and oh-so fun to sing along to, especially with all those ‘sha la-la’s. It tackles the aftermath of a breakup, the emotional dissonance, being fine with the loneliness, but struggling with the fact that this person who once knew everything about you now doesn’t. The lyric change in the final chorus, in which Hozier claims ‘some people are better unknown,’ alludes to his eventual ability to move past the trauma. Finally, “First Light” marks Hozier’s ascent out of the circles of Hell and back into reality. It sums up the album with a sense of hope and optimism - quite literally illustrating that there are brighter days ahead, above ground. This immersive journey is a lot to take in. Once all EPs from this era are factored in, the Unreal Unearth universe includes 26 songs. That is no small feat, especially considering how in-depth these songs really are. I hope Hozier soon gets a well deserved break after releasing and non-stop touring this amazing record.
4. Snow Angel - Reneé Rapp
It’s been a while since I’ve gotten so strongly and completely hooked on a new artist off only one album. I’ve heard a lot of impressive debuts lately, but I was drawn to this one in a different way than others. Something about Reneé Rapp’s talent is so one-of-a-kind. She has a range from soft pop to belting, and her first album is primarily a rather bold pop sound that shows off a little bit of everything. It’s no surprise that this powerful force of a woman has starred on Broadway, as well as reprising her role in the 2024 Mean Girls movie remake. Aside from her musical talent, Rapp has the relatability and realness in her lyrics and her personality that people like me crave from stars. She was made for the spotlight, but she was also made to talk shit completely unfiltered on her private Instagram. In other words, she’s just like me for real (minus the musical talent part).
“Poison Poison" and “Talk Too Much” have a very defining energy for the record, and coincidentally, are also my top two picks. They display Rapp’s most tongue-in-cheek, unapologetic potential. “Talk Too Much” opens the record, its charged guitar riffs setting it apart from your typical pop song. Superstition and paralyzing anxiety are the driving force in this song, with Rapp self-sabotaging her own happiness by convincing herself that she’s unworthy, that fate is working against her. The bridge is an unforgettable rambling of emotions while speaking just to fill the silence, leading to some regrettable things being said. In “Poison Poison,” Rapp complains about someone she despises. After all, she is the queen of holding grudges. This song is just so fun to listen to and scream along to But on the other hand, “Tummy Hurts” and “23” are mellowed down and reveal Rapp’s emotions surrounding devastating, all-consuming emotions. The former of the two gained notoriety as a trending internet hit, its (unfortunate) relatability and straight-to-the-point lyricism connecting with mounds of listeners.
As far as a vulnerability goes, the title, and THE single most defining, track surpasses all else. Reneé Rapp recalls an incredibly traumatic experience of being drugged and assaulted and belts her regrets, her healing, everything she was holding in. The song was written very fresh afterwards, and sees Rapp in a state where she is struggling to make sense of her emotions. She describes a long, lonely winter wallowing in a horrible mental space, and out of it, a painstaking masterpiece was born. She has said that hearing it come together upon recording was something magical. Her jaw-dropping belting abilities are also showcased on “I Hate Boston” and “Gemini Moon.” These songs follow the instant classic formula in which a ballad turns heavier, into a power anthem. Rapp’s performances here are so impressive that you won’t be able to turn away without turning into a fan.
Two underrated favourites of mine are “Willow” and “So What Now.” The latter is an anthem for all hopeless romantics, a picture of Rapp running into an ex she still has feelings for, and being unsure of how to act. Meanwhile, “Willow” is just perfection, its chorus showing off the softer side of Rapp’s range. This love letter to her younger self combines her love of willow trees and her love of Frank Ocean’s songwriting, who she has stated inspired the lyrical composition for this track. And then, of course, there’s “Pretty Girls,” the sapphic yearning song of lesbians’ dreams. Honestly, it makes me so happy to think of children growing up with idols like Renée Rapp, who are releasing remorselessly gay music that discusses the topic without any lingering taboo. “Pretty Girls” is about being a queer woman seeking queer experiences, but instead serving as questioning womens’ experiments - though, don’t get me wrong, Rapp displays a guilty pleasure for. The experiences are meaningful for her, which ignites a passion that is intertwined with the sadness of not being able to find something real. It’s a gorgeous and seductive song, and it’s so refreshing to hear queer voices drifting more and more into the mainstream.
Reneé Rapp has had a busy few years, between starring on Broadway, releasing her EP, going viral, the release of this album, starring in the television series The Sex Lives of College Girls, and starring in the aforementioned 2024 Mean Girls film remake. I am stoked beyond belief for what she puts out next, and she’s already begun dropping teasers for her next era. I wish I’d hopped on the trends with this one earlier than I did, but I eagerly anticipate the day I see her on tour. Unfortunately, I was just shy of being in time to get tickets to see her in support of Snow Angel. Having such an impressive discography and resume so early on into her career shows there’s just no way but to keep going up. All I know is that this stunning, talented, charming woman has won me over, and I am a huge fan of hers.
3. The Rise and Fall of a Midwest Princess - Chappell Roan
The craziest thing about this album is that every single time I listen, it gets better. The more Roan performs her songs, the more they come to life, the more exhilarating they get. This album is just so different from anything else out there right now. And the reason it was able to reach that level is the magnificent, one-of-a-kind human being behind the project. Roan’s talent is one for the ages. She demands the attention of everyone in every room she walks into. She has something that no one else out there has right now. I am so proud to have hopped on the Chappell Roan train shortly after “Pink Pony Club” came out. Hearing the album’s vibrant singles and music videos as they rolled out, and then the complete album when it dropped, it was so obvious Chappell was something special. Thankfully, the rest of the world has caught onto that now. Her humble roots and irresistible pop music formula has made her relatable with people far outside of her prime demographic, which is both a blessing and a curse. Luckily, Roan is a bold woman who isn’t afraid to stand up for herself, an admirable trait in an industry that so often treats its stars like playthings.
It’s no secret that Chappell Roan’s songs simply demand to be heard and enjoyed by everyone. No sane human being can resist “HOT TO GO!.” Resisting the urge to smile and dance is nearly impossible when this song comes on. To make it all the more better, it even comes with its own set of dance instructions. The choreography has become popular on TikTok and at live shows, be they Roan’s or not. I’ve been to shows in the past year where this song comes on the preshow playlist, and suddenly the whole crowd is united in their efforts to mimic the steps laid out by Chappell in the “HOT TO GO!” pre-chorus. The energy behind “Pink Pony Club” and “Naked In Manhattan,” two of the record’s earliest singles, really show the heart behind the album, and the extraordinary depth of Roan’s artistic abilities. She is able to build worlds within three and a half minutes, able to completely enamour an audience with a wave of positive emotion based on the upbeat nature of her music. Not even five seconds into “Naked In Manhattan,” we are greeted with a voicemail being left by Chappell that sets the theme as sexy, playful, feminine, and unapologetic - all traits that drew me in immediately.
Chappell Roan is the first openly, vocally lesbian artist that has made it this mainstream, and it’s been groundbreaking already, despite her burst onto the scene being relatively recent. “Naked In Manhattan” is one of many very sapphic songs on The Rise and Fall of a Midwest Princess. Also extremely, loudly gay are “Guilty Pleasure,” “Red Wine Supernova,” “Femininomenon,” and “Super Graphic Ultra Modern Girl.” Roan previously identified as bisexual before coming out as a lesbian after the release of her debut album, which was being worked on for several years already prior to its release, so a lot of the queer themes tackled are those of overcoming compulsory heterosexuality, undoing religious trauma/guilt, and experimenting with her sexuality for the first time. It’s kind of an ode to what Roan has overcome in order to grow into the larger than life person she is now. It also couldn’t have come out at a better time for me and my journey of self-discovery. It is amazing to think of young queer kids growing up right now with someone like them in the spotlight and one hundred percent unapologetic.
This album had a long buildup and a lot of singles, including the aforementioned “Red Wine Supernova” and “Femininomenon,” as well as the sexy jam “My Kink Is Karma,” and the painstaking “Casual.” “Red Wine Supernova” is one of her best. It’s provocative, fun, and vibrant, with a music video in which Roan’s look is completely unforgettable. “Casual” is another one of her best; it is so devastating, and the bridge is practically begging listeners to scream it at the top of their lungs. The track remains slow, but relatively up-tempo, despite the painstaking heartache described within the lyrics. This creates the perfect formula for a yearner’s anthem, as “Casual” quickly skyrocketed to become one of Roan’s most popular songs. Its aquatic themed music video is visually stunning and brings new life to an already beautiful piece of art. “Femininomenon” is one of the most serotonin-boosting songs I’ve ever heard. It is impossible to listen to such a fun song and not smile. Plus, “get it hot like Papa John” has become such an iconic lyric. I’m a big fan of the dramatic, brief instrumental segment that opens not only this song, but the record as a whole. And, of course, “My Kink Is Karma” is just iconic in every which way. This confidence-boosting jam is about knowing your worth and getting pleasure from an ex receiving the karma they deserve - in Roan’s case, not just mental pleasure. In the pre-chorus and the bridge, Roan mimics an orgasm as she sings about how all these bad things happening to her ex are turning her on. Her sexual pleasure is obtained by seeing this person fail, and honestly, as a fellow petty bitch, I get it.
Now, don’t be fooled by how upbeat these tracks are - Roan is very capable of a heart-wrenching ballad. “Coffee,” “Kaleidoscope,” and “Picture You” are melancholy tracks about different phases of a relationship. The fantasizing, the letting go, and the moving on. Roan’s elegant vocals mix with piano and synth to paint a picture and let listeners feel what she feels. “Kaleidoscope” in particular provides beautiful lyrical imagery, comparing the way love changes to the shifting colours seen when looking through a kaleidoscope. She shares a common queer experience, which is falling for a friend, causing the relationship to fluctuate either for the better or the worse. “California” is a slow song that’s one of my favourites on the album, as it’s quite relatable to me. It describes feeling lost and overwhelmed, unsure of where home is, feeling a love/hate relationship for both where you’re currently residing and your hometown. I left my city two and a half years ago to chase growth, and it has been both a gorgeous and a traumatizing experience. In a couple of months, I move back home, and my emotions are running wild - one side of me is highly reminiscent of living in a smaller town, and the other side of me feels like I’m moving backwards, and I’m going to become sheltered all over again. I can’t even imagine how Chappell feels, with this song specifically relating to chasing down music industry dreams, something that seems glamorous from the outside but can really reer its teeth. This was written far before her popularity exploded, and I presume it’s gotten less manageable since then, but a large part of her seems to love life with a platform and an outlet.
It’s impossible to discuss every song in depth because there are just so many impressive things about this artist that I can write about, but my favourite songs are “Super Graphic Ultra Modern Girl” and “After Midnight.” I can’t quite put into words how thankful I am to be living at the same time as Chappell Roan is creating art. And I specify art as a whole, not just music, because every aspect of her persona and her work she puts out into the world is carefully crafted to express herself. And I am so grateful to have bragging rights that I listened to Chappell Roan before she blew up. She is exactly the type of person who should be made famous, someone who is bursting with passion and drive, and who can use an accelerated budget to express themselves further. The more known her songs become, the more awards shows and festivals she gets to perform at, the more iconic drag looks, storytelling music videos, and dramatic and thoughtful music rollouts we will get from her. As she is in the process of unveiling the first single of her next era, Roan’s billboards have begun popping up all over the place, with her as a lawyer and as a dentist. Honestly, her makeup skills and dress-up style are what I have always and will always aspire to be. It is beyond exciting to think that this artist’s career is only just beginning, and that The Rise and Fall of a Miswest Princess is only the first out of many triumphant projects she will create.
2. Gag Order - Kesha
Unpopular opinion amidst most other longtime Kesha fans, but Gag Order is my favourite complete piece of work the singer has released. It’s quite different from anything she’s done before; Kesha is best known for her party anthems, and yet this album is stripped down and emotionally raw. I never strayed from Kesha’s side. After she released Rainbow, her first record after speaking her truth, I was streaming it into oblivion. I was a Kesha girl through the Animal and Warrior days, and Rainbow was so much more mature, yet just as bold as her old work. Gag Order is bold but in a different way - it takes applaudable risks. Unfortunately, highly overlooked because much of her audience loves her for her party girl days. But I understood it and I adored it. Everyone knows what Kesha went through in recent years. A traumatic, life-altering violation that caused her years of anguish. Of course, because she’s in the public eye, something that is tragic enough to go through on your own is widely publicized for the whole world to weigh in their opinions. It’s a serious topic affecting real people, and people reduce it to online discourse. After everything she’s faced, I have great admiration for her strength, confidence, bravery, and bold style. I think Gag Order serves as a beautiful testament to a period in her life that she is now able to move past. The songwriting on this record is top-tier and incredibly revealing. Now, as Kesha moves onto a bold re-emergence into the pop scene, Gag Order is nothing but pages in a diary, something she needed to simply get out and move past. Out of that came gorgeous, meaningful art.
Out of all the songs on the record, the closing track “Happy” speaks to me the most. Simply put, it is one of the best songs I’ve heard in a while. It captures such a specific phase of the grief cycle that makes so much sense if you’ve experienced it. It’s hopeful yet sad, beautiful yet haunting. Kesha reflects on the innocence she lost far too young, considering things she could’ve done differently before letting those regrets go. She yearns for a youthful outlook on life, a pure happiness without any struggle, but recognizes it can never exist. Her words crash into a repetitive, impactful bridge and outro, which builds up in instrumental intensity until it ceases. There couldn’t be a better way to wrap up a record as delicate as Gag Order. Also among the album’s most beautiful moments are twin singles “Fine Line” and “Eat The Acid.” This duo was released at the same time to introduce fans to the spirituality, honesty, and mindfulness found on the album. “Fine Line” directly references Kesha’s long-lasting legal battle and puts shame on those who have tried to stop her from speaking her truth. “Eat The Acid” leans heavier on the spiritual side of things. Kesha has been open about drug use in the past, but one drug she has never and will never touch is acid. Her mother warned her about a terrible experience she had taking it as a teenager, hence where the repeated lyric “you don’t wanna be changed like it changed me” comes from. Rather than indulging in hallucinogens, Kesha’s vow and reflection on her mother’s story led her to a place in which she searched herself deeply and found the answers she was looking for. Beautiful, simple visualizers pair with these songs, illustrating the vulnerable energy that it radiates.
“All I Need Is You” and “Too Far Gone” are also gorgeously pensive, with heavenly vocal layering that enhances the listening experience to the nines. But the record isn’t devoid of fun, dance pop - “Only Love Can Save Us Now” serves as a highlight full of anger and hope for humankind. Shortly before embarking on her tour in support of the new record, Kesha changed the name from the Gag Order tour to the Only Love tour, citing a desire for positivity and growth, rather than a focus on past hardships. “Only Love Can Save Us Now” is energetic and manic in comparison to the rest of the album, making itself an unforgettable listen that helps define the Gag Order era as a whole. On top of that track, “The Drama” and “Peace & Quiet” are upbeat outliers that bring radiant joy to an otherwise melancholy record. The unique almost indie-pop sound blends beautifully with dance undertones, making these tracks stand out from anything else in Kesha’s discography.
I’d be remiss not to mention “Hate Me Harder,” “Something To Believe In,” and “Living In My Head.” These three, though not my highest contenders when I need to scratch a Gag Order itch, are elegant tracks that assist in tying together every concept Kesha gets off her chest into one cohesive work. “Something To Believe In” is my favourite of the three, with simple but powerful lyrics placed over an energy-boosting beat. “Hate Me Harder” is an anti-love letter to those with nothing better to do than tear down artists they don’t like, something that Kesha has clearly allowed to get to her in the past. “Living In My Head” is an acoustic melody that tackles themes of all-encapsulating depression and anxiety, while Kesha harmonizes flawlessly with herself. And of course, I’m a sucker for cinematic records, so although I don’t listen to them much, I am thrilled to report that the album is complete with an interlude and a reprise carefully placed for the sake of telling a story.
I feel incredibly grateful I got to see Kesha perform this album live. What an unforgettable night. The hits I grew up with, alongside the tracks that grown-up me resonates with, all on a much smaller stage than one would typically think of as an appropriate size for Kesha. I don’t queue for concerts much anymore, but this show was an exception. I got to the venue unbelievably early in the day and secured an excellent view. I don’t think I’ll ever get the opportunity to experience Kesha like that again; it was such an inspiring side of her to see ignited. As she moves forward from something that took so much from her, she revels in the freedom she has finally been granted. Her strength is unmatched, and I have a strong feeling that soon, she’s going to be dominating the dance pop scene once more.
1. My 21st Century Blues - RAYE
I was in a drought for inspiration, and then I stumbled upon My 21st Century Blues. I admittedly didn’t discover this one until about halfway through 2024, when it instantly skyrocketed up, up, up in my all-time streaming statistics. I couldn’t get enough of it. I’m not really on TikTok much, so I missed the trends with “Escapism.” I don’t remember where or why, but the song popped onto my radar one day and I fell so in love with it that I had to check out the full album. And man, am I so glad I did. It is the most beautiful, inspired, passionate album I’ve heard in a while. RAYE has been through a hell of a lot to get where she is today, and she boldly tells her story to the world and takes back her power so beautifully.
Focusing solely on the three best performing songs from the record - the aforementioned “Escapism,” “Oscar Winning Tears.” (which is currently seeing a surge in popularity following RAYE’s stunning Grammys performance of the song), and “Worth It.” - they are a testament to just how good the album is. They’re enough to draw anyone in, with both 2020’s pop and 1960’s jazz influences combining into genre-bending hits. “Escapism.” is a must-listen, a four and a half minute immersive journey through RAYE’s substance abuse and mental illness struggles, strung together with irresistible hooks, a slowed bridge by featured artist 070 Shake, and an ever so powerful outro. Its overall sound is rather current, but the other two singles are laced heavily with jazz and the blues. Both “Oscar Winning Tears.” and “Worth It.” are phenomenal showcases of RAYE’s vocal ability. Both of them radiant feelings of confidence, the prior being a breakup anthem and the latter being a cheerful love song (despite RAYE later confirming that the man who inspired it really wasn’t worth it). To “Oscar Winning Tears,” you’ll want to run through an open field and feel the wind on your face, but “Worth It.” will make you want to dance in the kitchen arm-in-arm with your love.
“Hard Out Here.” is a standout, and a great summary of how triumphant of a feat making this album was for RAYE. Despite being the album’s first single, it didn’t reach the popularity level of many other tracks, but it’ll always be superior in my heart. This song features some of RAYE’s best songwriting yet as she recounts challenges she’s faced growing up, including being silenced and coaxed into conformity by her former record label. It is addressed to those who hindered her growth, making it utterly clear that her days of not standing up for herself are over. In addition to this track, “Body Dysmorphia.” and “Environmental Anxiety.” were the first album tracks I had an immediate emotional response to upon hearing them for the first time. The subjects they tackle are so painfully relatable to struggles I’ve faced in my own life, and they’re incredibly difficult subjects to speak so freely about. Coexisting with the sadness is rage, deep brooding anger that the world is in such a state that finding peace is near impossible. I feel empowered, seen, and heard every time I listen to these tracks - I am so lucky that someone out there has the talent to turn feelings of fear into art.
RAYE touches upon many other struggles in her life - emotional manipulation (“Black Mascara.”), substance reliance (“Mary Jane.”), a lust for life brought on by depression (“The Thrill Is Gone.”), sexual abuse (“Ice Cream Man.”), sex addiction (“Five Star Hotels.”). She experiments with multitudes of tempos and styles to tell her story. While “Black Mascara.” is a dance beat for a night out on the town, “Mary Jane.” is stripped down and focuses more on vocalization and acoustics rather than complex musical arrangements. “The Thrill Is Gone.” is one of the most noteworthy jazz/blues inspired tracks on the album. Its tune sounds like nothing else modern, despite tackling modern issues. It’s an impressive, beyond enjoyable take on a dying genre, brought back to life by emboldened artists like RAYE who don’t stray from a challenge. “Ice Cream Man.” is powerful, moving, and painful. It’s not a glamorous song, though the arrangements are gorgeous, but the type of song that reads like a journal entry. A song that RAYE needed to get out and off her chest. It’s such a vulnerable topic, but women like her bravely speaking about their trauma are helping other women heal from the same things. “Five Star Hotels.” is dark and seductive, told from the point of view of a struggling woman seeking momentary pleasures. How ironic and poetic that a song about intoxicated hookups that RAYE knows to be a mistake is the sexiest song on the album.
Also possessing a seductive edge is “Flip A Switch,” not one of my top picks, but an empowering anthem about knowing one’s own self-worth. RAYE doesn’t hold back as she calls out and cuts contact with a former lover, and through doing this, she reignites the love she has for herself, exuding confidence and chaos if anyone unworthy dares mess with her head again. This song takes up a well-deserved space on my playlist of songs that make me feel untouchable when I’ve got them blaring through my headphones. Also happy and conclusive is the finale “Buss It Down.” This soft, piano-oriented track is an ode to the next chapter of RAYE’s life, one of long-awaited real happiness. Holding the ones she loves close and dancing through life unapologetically are her mantras, and truly, I don’t think there could be a better way to wrap up such a soul-bearing album.
Topping the record’s excellence off in a grand, cinematic touch, it is completed with both an introduction and a conclusion track including clips taken from slices of life rather than music. The intro consists of RAYE being welcomed to the stage at the “world famous 21st Century Blues Club.” The audience cheers for her, and she wastes no time before getting into the story. In the closing track, “Fin,” RAYE thanks the people closest to her for their help with the creation and support of the project, an incredibly sweet touch from a kind soul. Through these two short tracks, she makes it clear that the album is intended to be heard in order. Each song has its place, and that placement has a story.
One thing that makes RAYE so outstanding is her impressive performing abilities. These introductory and conclusion tracks could be an ode to the role live music plays in her storytelling. Eight months after the album release, RAYE launched a live album in which she performs My 21st Century Blues to completion, alongside newly added imagery and backup from The Heritage Orchestra. As if her vocals weren’t already unbelievably impressive on the studio album, this live record sees her hitting high notes far out of range for any average person. My biggest regret is not paying more attention to her set when I had the chance to see it at All Things Go, and I’m so sad I probably won’t get another chance to see her before this era is over. However, I’ll be the first in the Ticketmaster queues for her next tour.