This is the fifth year of this blog. It is the fifth year I’ve been doing lists like this one. This particular one is very special to me, because it’s really the one that started it all- the Top 25 Pop Songs of the Year. It is always the first one to come out, and it’s often the most excruciating to publish just because of the number of entries. But after careful consideration and many edits, I finally feel good about what you’re about to read here.


It’s been a really good year for music this year. Sure, lots of artists we know dropped more material, but we also had a slew of new artists make their way onto the scene this year- as you’ll see in reading. 


Much like in years past, pop music production has become more and more complex just as the songwriting has. Happy sounding songs mixed with melancholy lyrics, artists branching out and trying new things with their sounds, and even songs that come from the most unlikely of places- 2019 had it all. 


We’ll lead off with some honorable mentions, but there is the best 2019 had to offer in music.
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Sara Bareilles’ second track from her newest album “Amidst the Chaos” is a delicate, tender, stripped-down ballad. But the things that would ordinarily make it a Bareilles ballad are sort of stripped away. We don’t hear a constant drum beat, and the piano is featured not in the warm heart of its range, but rather way up in its higher register. The percussion is bare bones: mostly a few bass drums and a snare. What makes this song unique is the use of strings: acoustic guitar is replaced by echoing violins, and perhaps the most unique of all- a harp finds its way into much of the song. The subject matter is pretty standard for Sara- try as she might, she can’t imagine a world without her partner.
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In 1985, Johnny Cash, Willie Nelson, Kris Kristofferson and Waylon Jennings formed the supergroup The Highwaymen, and their song “Highwaymen,” reached the top of the country charts. Nearly 40 years later, a new group comprised of Brandi Carlisle, Maren Morris Natalie Hemby and Amanda Shires formed, known as The Highwomen, and their debut studio album features a cover of sorts- a re-written version of the Highwaymen’s 1980s hit.

This song is crucially important, and dare I say that it is infinitely more interesting than its predecessor. The song sung from the point of view of women carry way more weight than the men who sang it in the 80s. Lyrics like “we are the daughters of the silent generations” and “We’ll come back again and again” have far more importance. Pair it with the stripped down instrumentation and the beautiful four part harmony being served by these women, and there is no comparison. Sorry, Johnny.
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This song is the quintessential Neo-Taylor track- it’s a playful, dismissive, and witty pop song about moving on from a man that (probably) broke her heart. Personally, I love seeing Taylor in f-you mode. That’s exactly what we get here, as she chalks up her sudden realization that this man doesn’t matter to simply “indifference.” The lyrics are simple, but not in a way that makes you think she didn’t try when writing them. They’re refreshingly honest, similar in tone to “Shake It Off,” though probably a bit more on the nose. An excellent opening track to “Lover.” So, yeah.
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Clocking in at just under two minutes, Lil Nas X’s “Panini” gets the point across quickly. Aimed at his fans who then became his haters, the song is less of a diss track, and more of an expression of anger towards those who loved him when he was a small-time rapper, but don’t love him as much now that he’s blown up (thanks to another song I don’t have to name on this list).  

For some backstory, Panini is a character from the Cartoon Network show Chowder, who doesn’t want to be anything other than friends, despite having a huge crush on the show’s title character, being overly possessive and wanting to get closer to him. Sounds pretty on the nose, as specific as the reference is.

Also, the music video is hilarious.

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Featured heavily in the promotional material for the second season of Netflix’s “13 Reasons Why,” Selena Gomez’s hit from early 2019 starts with a cool guitar intro that ultimately explodes into a more traditional pop sound during the song’s hook. Maybe the subject material is a bit dicey- going back to the relationship that really hurt you- but hey, it sounds excellent, so who am I to judge?


24. "Carry Me Away"
John Mayer

John Mayer makes another appearance on another of my lists, because, hello, have you met me? With three singles released in the last two years, “Carry Me Away,” the second one this year, is the better of the two (the other being the melancholic “I Guess I Just Feel Like”). Mayer embraces the mood of the song- a chill 90s-esque slow jam, but very much leans into his own maturity (he’s 42 now) with lyrics like “take me out and keep me up all night” and “put some of your tequila in my coffee cup.” Man, some of the images he continues to evoke even in his third decade of writing music are to die for.


23. "All My Friends"
The Revivalists

Sometimes, life in your twenties can be hard. Sometimes, it can be the death of you. But if you’re like The Revivalists (and I assume you are), you’ve got your friends to help you out. On this first single from “Take Good Care,” the New Orleans roots artists explain that to us in an explosion of sound that includes a slick horn section that punctuates each line of the chorus.


​22. "Bury a Friend"
​Billie Eilish

This song from “When We All Fall Asleep, Where Do We Go?” Is told from the perspective of the monster under Billie Eilish’s bed. That is, until we discover that the monster is actually Billie herself. It’s got all the good twists and creeps of a scary movie, while also infiltrating our minds with cool vocal lines thrown through a Prismizer, used to get some cool harmonies, as well as witty lyrics thrown in for good measure. Fans have speculated that “Bury a Friend” was inspired by an episode of sleep paralysis, but it’s entirely possible that the mind of everyone’s favorite teenage nightmare is just at it again with another intelligent song.

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21. "Hit the Back"
​King Princess

King Princess teased this song on Twitter as “the anthem for bottoms everywhere” before it was released back in October. Featuring a cool ascending piano intro before evolving into a pulsating bop, we get some sly suggestive lyrics about being… well, a bottom. It’s a slick fifth single off King Princess’ debut album, “Cheap Queen.” Pair it with an appearance on SNL, and it seems that we’ve got ourselves a star in the making. More, daddy!

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20. "Fire"
​Sara Bareilles

“Amidst the Chaos,” at least the first few tracks, is all about how creative Sara Bareilles can get with her music production and instrumentation, and nowhere is that more evident than on the first track, “Fire,” where she sings about a relationship that may have existed, but was never going to result in anything different than boring normalcy. Fun percussion and hardly any piano, combined with an INCREDIBLE vocal harmony line on the song’s title make this song hot. With an opener like this, Sara attempts to differentiate herself from the hits that established her, and in the years between “The Blessed Unrest” and “Amidst the Chaos,” it’s clear that external issues have had a major influence on her music. The album deals with the feminist struggle in today’s world, and this more rugged take on a failing relationship is the first notch in what could be a career-defining record for Bareilles.

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19. "Bridges"
Johnnyswim

From the repeated single guitar note right on through the song, you know you’re in for something special with the first single from Johnnyswim’s “Moonlight” album which dropped in April (although the single dropped in the first week of January). “Moonlight” saw a definite crossover into pop and perhaps even R&B for Abner and Amanda, and that’s on display in “Bridges,” as we hear the synthesizers so prevalent in the rest of the album, working to excellent effect in the record’s opening track. It’s a more direct approach than we’re used to from Team Swim in regards to the “we’re in this together” song, and though it may be a simpler approach as far as composition is concerned, it is an A+ folk/pop banger.

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18. "Sucker"
Jonas Brothers

The long-anticipated return of the Jonas Brothers was finally met with this sexy single, “Sucker.” Since it’s been over a decade since the three played music together, we are met with some cheeky, suggestive, mature subject matter. For anyone who loved the JoBros as a kid, it’s almost like they’ve grown with you- and it’s clear that they haven’t fallen out of practice or musical sync. I guess that one Vine was right. The Jonas Brothers can’t break up, they’re brothers! You’ll be whistling right along with Nick, Kevin and Joe on this one every step of the way.

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17. "Lover"
Taylor Swift

This is a love song unlike anything we’ve ever heard from Taylor Swift. It’s steep in simplicity, rife with plain, unadulterated love for the man she’s singing about. “Lover,” like “Blank Space” before it, is another notch of maturity from Taylor, as she’s not singing about men she’s lost or men who have ruined her life, but it’s about someone that she’s actually found a comfortable relationship with. And then there’s the SOUND of the song which makes it even more unlike anything T-Swift has done before- the stripped down, echoey production lends itself to that of a wedding dance, an atmosphere we’ve not experienced before. In my opinion, this is one of Taylor’s best. Although, leaving the Christmas lights up until January isn’t exactly daring, which means that Swift hasn’t completely lost her "edge" when it comes to writing lyrics... Which is good, I guess.

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16. "Blind Leading the Blind"
Mumford & Sons

Originally meant to be part of “Delta” but released as a standalone single, “Blind Leading the Blind” works incredibly well on its own. There are so many production elements that could lend the song to both “Delta” and “Wilder Mind,” from the heavy percussion that explodes during the core of the song, to the infusion of banjo that was a delight to have heard on the band’s latest effort, to even the old Mumford harmonies during the chorus. It has the ability to be both wildly intense and tender at the same time, so we get the best of both worlds from the ever evolving Gentlemen of the Road.

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15. "The Greatest"
Lana Del Rey

This is my first Lana Del Rey entry on any of these lists I’ve done, but “The Greatest” really spoke to me. Lana’s voice is peak Southern California millennial experiencing the end of the world, although “The Greatest” is the epicenter of her newest album, “Norman Fucking Rockwell!” It’s delightfully tender, almost in the peaceful type of end of the world where the sun’s going down for the final time. Her lyric “the culture is lit, but I had a ball,” is a sort of resignation to the end of the world, while recognizing that it’s been a hell of a ride for the young people inhabiting the world today. It’s the song’s best lyric.

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14. "Circles"
Post Malone

Starting with a lazy guitar chord progression, “Circles” is a lot deeper than it appears on the surface. Post Malone serves us some real feels with his crooning vocals, some unique instrumentation, and a relatable story that will break your heart. As he tries to preserve this relationship he sings about, he makes you really feel what’s he’s going through, the tracing, circular effect that couples do when the relationship isn’t working. I am continually impressed by Post’s vocal prowess, and “Circles” is a perfect example of why he’s one of the best musical artists working today.

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13. "Lose You to Love Me"
Selena Gomez

Selena’s second song on this list is about Justin Bieber, apparently. Who knew? Not me. The clearly emotional piano intro sets the tone for the rest of the song, as Selena sings a painstakingly heartbreaking but ultimately empowering song about the freedom from a relationship and how being without someone lends itself to soul searching and ultimately a greater truth about oneself. Sometimes (and by sometimes, I mean usually) self love is better than love from another person. I hope that whatever Selena is looking for, she finds eventually. As evidence by this song, she deserves it.

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12. "Cruel Summer"
Taylor Swift

“Cruel Summer” is the best song from “Lover” that never got released as a single, and it’s a crime that it never did. It’s a shamelessly Swift-y song that fits right at home in the “pop Taylor” catalogue. It might not be as revolutionary or as jarring a change of pace as “Lover,” but “Cruel Summer” is still a very clear sign that T-Swift is maturing through her music. She’s had enough, as evidence by the exasperated bridge about “crying like a baby coming home from the bar,” and her almost primal growls toward the end of the song. It is a fast, sharp, explosion of feelings with a capital F. Another quintessential Taylor Swift banger that deserves your respect, dammit.

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11. "Harmony Hall"
Vampire Weekend

I am new to Vampire Weekend, I will admit. But “Harmony Hall” is unlike anything I’ve ever heard. It is reminiscent of both Phish and The Rolling Stones, and its lyrics are layered and complex. The song has a jam-band feel to it, infusing percussion like bongos with piano and a choir. I can hear a little of “You Can’t Always Get What You Want” in it. But then when you delve into the meaning of the song, it takes on a whole new light. Frontman Ezra Koenig discusses his changing world, particularly seeing hate groups arise in upscale universities, like Columbia University, where the band attended and graduated. The song has blatant references to Charlottesville and the corruption in the Catholic Church. Lyrics like “Wicked snakes in a place you thought was dignified” thrown against the backdrop of what appears to be a celebratory song is just a testament to the complexity and maturity of the music Vampire Weekend brings to the table. “Harmony Hall” is truly one of the more unique entries on the list this year, and for good reason.

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10. "Juice"
Lizzo

Lizzo is the best human. She’s the best. That’s it. 2019 has been her year since her music has gone unappreciated for almost three years, and she’s finally in the spotlight with her studio album “Cuz I Love You.” With “Juice,” she throws us off the deep end into the funky positive world the song introduces us to. The confidence of the lyrics could be compared to a Bruno Mars song like “Uptown Funk,” but Lizzo extends the badassery to everyone listening to the song, and how we all have our own “Juice” that makes us all awesome. Also, the line “somebody come get this man, I think he got lost in my DMs” is LEGENDARY.

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9. "Lights Up"
Harry Styles

Harry Styles has returned and it is glorious. He continues to take his music forward, but via a different route, and nowhere is that more true than in “Lights Up,” as evident by brilliant instrumentation and some unusually melodic vocal lines that leave phrases hanging in the air- and by proxy, make us want him so much more. That chorus too, though. Melancholy as the lyrics might be, it’s that harmonious chorus that makes us swoon.

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8. "Cool"
Jonas Brothers

“Cool” was the second single dropped by the Jonas Brothers in their triumphant return to the mainstream music scene, after “Sucker.” They got it right with this one. The chord progression is just more aesthetically pleasing, the hook is catchy, and the way the song builds and builds into this wall of sound is fantastic. With references to Post Malone, Game of Thrones, Jane Fonda and James Dean, the JoBros straight up let loose and let you have everything you’ve been waiting for for the last decade with this banger of a song.

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7. "7 Rings"
Ariana Grande

Who thought “My Favorite Things” could be cool again? Ariana, apparently. “Thank U, Next” is all about embracing single, and nowhere is that on display better than “7 Rings.” All it takes is one phrase to understand the meaning- “I see it, I like it, I want it, I got it.” There’s nothing wrong with a little retail therapy to really feel yourself- I just can’t relate to having enough money to buy an entire house just for the closet. For me, I see it, I want it, I take it, I put it back because I can’t afford it. But live your life, Ari.

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6. "Happier"
Marshmello feat. Bastille

Where did Bastille go? Here with Marshmallow on this smooth collab, apparently. “Happier” has an amazing hook reminiscent of the ear worms of The Chainsmokers… though probably with better quality lyrics. Speaking of lyrics, this one’s actually really depressing when you listen closely- “Happier” is about a failing relationship, but ultimately wishing the best for your lover… even if it means the best means letting them go, or allowing yourself to see them be with someone else. The bridge, a very simple, repeated “I’ll go,” is utterly heartbreaking. It’s still a bop, though.

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5. "Sunflower"
Post Malone & Swae Lee

I listen to this song a lot, so perhaps there’s a bit of personal preference here for me with “Sunflower.” This song was featured on the soundtrack to Spider-Man: Into the Spider-Verse, and eventually reached enough success to make it all the way to the top of the Billboard charts in mid-January. Both Post Malone’s and Swae Lee’s vocals are on display here in the pleasant melody and high-flying hook to the song. It’s bursting with good feelings, some really cool percussion, and a hook that even though you might not know the lyrics to, you’ll know that all the ends of the lines rhyme with “sunflower,” and that will be enough for you. This one straight up just makes me really happy.


​4. "Break Up With Your Girlfriend, I'm Bored"
Ariana Grande

Well, shit, Ariana. Be a little more blunt, why don’t you? “Thank U, Next,” is all about Ariana getting to do whatever the hell she wants, which includes telling us to break up with our girlfriends simply because she knows (and knows we know it too) that she’s a better option… who cares if it’s really because she’s bored? This song is straight up hot as fuck. Not sure if you’re trying to listen to it in the bedroom though. Does anyone think it might kill the mood?

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3. "Bad Guy"
Billie Eilish

Where do I begin with “Bad Guy”? It has probably the most famous bass line this year. It’s deliciously evil in the most playful, taunting, witty way possible, as Billie flaunts her own toughness while mocking her partner’s (likely) less-than-aggressive nature. With lines like “‘make your mama sad’ type, ‘make your girlfriend mad’ type, ‘might seduce your dad’ type,” we see that Billie Eilish is unapologetically unafraid of… well, everything. With her meandering vocal lines and seemingly lazy, but always sharp tone, we see that she really is all of us to a certain extent: a living nightmare just waiting to be unleashed. “Bad Guy” is the song of a generation, very similar to a “Smells Like Teen Spirit,” as we feel her standing bloody-nosed and bruise-kneed. If only we could only be so bold as Billie is. We all strive to be her, because she’s the bad guy. Duh.

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2. "Truth Hurts"
Lizzo

“I just took a DNA test- turns out, I’m 100% that bitch.” Talk about an opening statement. “Truth Hurts” came out in 2017, but for some reason went unnoticed until this year, blowing up to reach number one on the Billboard charts toward the end of the summer. This song is full of cutting lines, where Lizzo describes getting rid of her man via a hair wash, having a new man that plays for the Minnesota Vikings, and putting the “sing” in “single.” It’s a jab-per-minute banger that has taken Lizzo to the upper echelon of pop stardom. Lizzo is a model of positivity and individuality, and I would be shocked if “Cuz I Love You” is the last we hear from her.

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1. "Old Town Road"
Lil Nas X feat. Billy Ray Cyrus

Raise your hand if you had a country-trap song featuring Billy Ray Cyrus on your radar for this year in music. Didn’t think so. It began when a small-town rapper from Georgia bought a Nine Inch Nails sample from a Dutch guy he’d never met online and sang a lonely cowboy song. The song became popular on TikTok, but then it earned so much merit Billy Ray Cyrus did a remix of it. And then the world exploded. “Old Town Road” redefines the country song, having controversially “defeated” the country charts after it was taken off the list. It is an absolute banger of a song that has the rare quality of both being catchy and also having “everyone-friendly” lyrics. Billy Ray Cyrus, who everyone thought was dead, honestly, has a verse that is FIRE. “Old Town Road” has spawned about a million remixes, some going so far as to include Mason Ramsey (the yodeling kid from Wal-Mart) and Korean pop group BTS. Hell, even Dolly Parton has said she wants in on the action. Let me just put it this way: you will be remembering “Old Town Road” as long as you live.



What was your favorite song from this past year? Which songs did I leave out? Leave a comment down below.

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This New Orleans-inspired celebration tells the story of the signing of the Declaration of Independence by the Continental Congress. “Fireworks” is one of three songs in the entire series to feature the vocals of Grady Tate (“I Got Six” and “Naughty Number Nine” are the other two), whose silky-smooth voice may not have the same bravado or range as someone like Jack Sheldon, but is able to ground this particular song in contrast to the horns and background vocals that fly above it. Favorite moments included the listing of the signers of the document (“Benjamin Franklin, Philip Livingston/John Adams, Roger Sherman, Thomas Jefferson”), and the rhyming of “Declaration of Independence” with “Seventeen Hundred Seventy-Six.” Those two don’t rhyme, but I’ll be damned if “Fireworks” isn’t one of the catchiest, most underrated songs in all of Schoolhouse Rock.

Lynn Ahrens is the best, isn’t she? She made Ragtime, Once on This Island, Anastasia, and a host of others, but Schoolhouse Rock is where Ahrens got her start in 1973. The study of nouns is a simple premise but can be complex to explain, and Ahrens constructs melodic phrasing that is easy to follow, so she can take you on a journey to meet many people (like a bandit, Mrs. Jones, a sea captain, or the Beatles), see many places (like Hudson Street, Liberty Island, or her neighborhood corner store), and many things (like Mrs. Jones’ dog, the Statue of Liberty, or a jukebox). I’ve always wanted to direct a version of Schoolhouse Rock Live!, just so I could open it with this song. ​

I respected “Elementary, My Dear” for going farther in its multiplication tables than most of the other songs on Multiplication Rock!. All the way up to 20? As in 2 x 20? That’s some intense action right there, as most of the other songs multiply only up to 12. I love that as the song continues, and each simple math question is answered and followed by an “elementary,” we get a cute little “clap-clap” to go along with it. As we count the animals on Noah’s Ark, we learn that every time you multiply by 2, you get an even number- something I sometimes find interesting even though I learned my twos tables many many years ago. Number are cool, aren’t they? ​

This one is in the same vein as “Conjunction Junction,” but I can see how its constant “Electricity, Electricity” after every line can get inside your head. It doesn’t want you to forget what this portion of Science Rock! is discussing, and that’s all well and good. The song makes some good points that I, who was not great with science in school, will hold onto forever, such as how electric generators have magnets and magnetic fields inside, and how currents transfer electricity to vessels to use it in a variety of ways (like in lightbulbs!). ​

Truthfully, I find “The Preamble” a little hokey for me, with its banjo and slower tempo than most of the songs on America Rock!. But I give this song sole credit for teaching me the opening section to The Constitution, and that is what lands it on this list. What I love most about Schoolhouse Rock! is that they don’t try and make up cheesy rhymes to get you to remember terms, dates, or meanings of things. Instead, the music is just so well-written and clever (and don’t get me started on the animation) that you end up remembering the songs as wholes. Their melodies get stuck in your head, and while you may be humming a tune, the information they’re trying to convey to you kind of neatly fits in the space. Is that what learning is? I think that’s what subconscious learning is. ​

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A father, son, and grandson masterfully take us through the world of adverbs, brilliantly utilizing another of Schoolhouse Rock’s timeless hooks. I, for one, had no idea that places and times could be adverbs, and thanks to Lolly, I can use my adverbs to accurately tell my friends where and when to meet me to go nut picking. There’s also something about the way the phrase “Everything described will be described some more” being so fun to sing along with. Is “Lolly” an all-timer? Indubitably. ​

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I’m seeing Muse in concert tonight, and I could not be more excited for it.

I’ve been obsessed with their newest effort, Simulation Theory, and I have no doubt that this concert at Madison Square Garden is going to be a techno-synth-metal-glam rock showcase.

But since I neglected to publish a March Wrap Sheet, I thought I would make it up to both you and myself by publishing some lists I have long been meaning to publish- and, most importantly, get back to my roots of writing countdown lists.

So, since my life takes me to see one of my favorite bands live, let’s take a look at the Muse catalogue and count down my ten favorite songs.

I did my best to try to include at least one song from each studio album, and if I omitted one, I can only say that I am well aware that a majority of the band’s work is excellent, and my brain will only allow my attention span to write about ten plus a few honorable mentions.

So, plug in, baby. Let’s count em’ down.

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​Honorable Mentions:

Is it “Starlight?” Is it a Weezer song? It could be both. It starts out with a piano melody present throughout the song, doubling Matthew Bellamy’s vocals, but transforms into this emotional hook, with warm, full guitar power chords, and soaring falsetto from the lead singer.

I also really love the first line of the song about the singer “fallen from the inside,” noting that the dark forces introduced in another song on this album are starting to take hold. That’s one of the reasons I love this band and its albums- they never forget what the themes are, and each album and subsequent song is carefully crafted to tell a story. It’s incredibly intricate and intelligent storytelling and it should not be taken for granted. Isn’t it great when pop music can be both fun and dramatic at the same time?

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It is no surprise that this song is often paired with “Plug in Baby,”- the two are similar both in tempo and sound. But “Stockholm Syndrome” definitely gets more metal as the track plays on, not to mention the theme.

If you’re not familiar, Stockholm Syndrome is the term for when hostages feel sympathy for their captors. Think the Norrmalmstorg bank robbery in Sweden in the 70s for where the term is coined, or Beauty and the Beast, if you’re less familiar with that historical event.

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More vague meaning, but a continuation of overarching themes from the band here. Since the song comes from Absolution, much of the album (and “Time is Running Out” is no exception) echos an impending apocalypse, the feeling of emergency or even chaos. “Time is Running Out” could also be about some kind of strained relationship, but the instrumentals suggest something much more dire taking place in the background.

Also, it’s got this really cool groove featuring Bellamy’s eerie falsetto during the chorus that I can certainly get down to.

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I love it when we see Muse’s softer side, as evidence by “Something Human,” from Simulation Theory. It’s about a robot breaking free from his circuits and wanting to experience something real in this world- something human… or at least, that’s how I feel about it. The lyrics also make mention of being on the road for way too long, another reason for a possible lighter tone.

The peaceful keyboards and acoustic guitar make for a more chill road song- and if you listen to the alternate acoustic version, you get right down to the mood the band is going for.

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​The Top 10:

The same people who worked on “Panic Station” also worked on “Superstition.” Yes, that “Superstition.”

“Panic Station” bring the funk, as shown by its synth and disco-inspired bass and percussion during the chorus. Chris Wolstenholme’s bass is heavily featured, as we get some rare bass chords in the main lick. 
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A horn section in a Muse song? What??? I mean it’s not totally unheard of, they did use it in songs like “Panic Station” and “Supremacy.”

“Pressure” is excellent. We don’t see many of these “stomp-clap” songs from the band, so this pop-friendly track from Simulation Theory is a breath of fresh air. ​

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From the opening bass lick right on down, “Hysteria” rocks. Wolstenholme definitely carries the entire song with his bass work, laying down a platform for Bellamy’s frantic guitar work, both of which blend beautifully during the chorus. The song’s lyrics come from someone who’s lost their mind over craving the love of another. You can almost feel the terror and insanity take over during the course of the song, especially as one of the songs many bass riffs descends dramatically. This song is chilling, and a banger to boot.

Okay, one more fact about the bass in this song (just because it’s so good), Wolstemholme’s bass was voted the best bassline of all time in a poll by MusicRadar. Cool.

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This song is a turn, fully immersing the band into this electronic mood they were in for the building of The 2nd Law. Starting with this brilliant “ma-ma-ma-ma-ma-ma-ma-ma” that carries through the song, “Madness” is mostly this silky smooth R&B tune that forms a warm relationship with the synthesizer. Every so often we get these treats of vocal harmony, even one that builds on top of each other in dramatic fashion. What I notice is that most (if not all) the harmonies take place on the word “Madness,” almost as if the song’s narrator is slowly spiraling out of control, like his mind is sprawling, just on that singular word.

And then there’s that guitar solo. That beautifully out of place guitar solo. It’s crunchy, distorted and frantic, but it works so well, always coming back home at the end of each phrase. And by the end of the song, we get this dramatic, desperate last iteration of the chorus.

God, I love this song. Who said madness didn’t have to be orderly?

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I can always bop to “Uprising,” no matter my mood. A song about taking down the powers that be, the chorus is this glorious anthem that you just want to shout from the rooftops. By the sheer fact that almost everyone knows the words to the hook, this is probably Muse’s best-known song. I personally love the rhythm guitar patterns in the verses myself, paired with the increasing urgency of Bellamy’s vocals with every line. Lines like “if you could flick a switch and open your third eye” and “rise up and take the power back/it’s time the fat cats had a heart attack” just inspire me. And then there’s that quintessential Muse guitar riff in the bridge. This one’s got it all for a successful pop song, as well as a song that fits right in with the band prog-rock style. ​

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This was the first Muse song I ever heard. It was a part of the Guitar Hero 3 song list, and it featured these really hard quick strums and scales. It clocks in at just over 6 minutes, Muse’s longest until “The Globalist” came along. It’s got elements of Spaghetti Western film soundtrack, surfer rock, synthesized techno, and modern hard rock. The lyrics tell about the Cydonia region of Mars, make reference to the Four Horsemen of the Apocalypse, and even a self-empowerment anthem. “Knights of Cydonia” truly has it all.

It has been described as “Forty years of rock history in six minutes,” which I will absolutely concede. This song goes through so many moods, it’s incredibly easy to get lost in, especially because there aren’t many lyrics in it. It’s like riding a horse through space, then through hell and back, and into this dark arena with lasers flying everywhere. And then it explodes into this fantastic barrage of hard rock and vocal harmony. On many live performances (most notably in the band’s concert at Rome’s Olympic Stadium), the intro is paired with “Harmonica” by Ennio Morricone, inspired from Once Upon a Time in the West.

“Knights of Cydonia” is everything I love about Muse. The dramatics, the themes, the instrumentation, the balance between intricacy and simplicity, and just power of it all. This song is truly great, and you’re lying to yourself if you think it’s not.

​
What's your favorite Muse song? Drop a comment down below. 

Does anyone else feel like Chris Stapleton is being used as the token “indie/country star thrown in to a pop song for crossover appeal” artist here?

That could be just me.

I like “Say Something,” I do. It’s got just enough of both artists, while blurring the line to make me say “wait, this isn’t something Justin Timberlake normally does,” or “wait, this isn’t something Chris Stapleton normally associates himself with.” I listen to this song, and I know both artists, but it’s like I’m hearing two people I’ve never heard before. It’s crunchy, it’s got some groove, some acoustic guitar, some slick harmonies, and a catchy hook to boot. This is a combo that should not work by any means, but it does to great effect. Sometimes the greatest way of saying something is by doing a collab that nobody expects.

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"Thought Contagion"
Muse

Bitch, we’re all cows. This song started as a meme but is a BOP. Silly lyrics, mooing, a Kelis sample, and all the mooing. Also, the video is adorable. What’s not to like about this song?

Got milk, bitch? Got beef? Got steak, ho? Got cheese?

These are legendary lyrics and Doja Cat deserves your respect.

​
"In My Blood"
Shawn Mendes

Okay, be honest, how many times have you wanted to punch a wall every time you heard one of Shawn Mendes’ intros or high vocals?

I’m right there with you. I think he’s a YouTube singer who managed to sneak his way into mainstream society and the throngs of screaming girls decided they liked him too much not to let him go.

But I really like “In My Blood.” It sounds very Kings of Leon, and his songwriting feels a lot more vulnerable and damaged than much of his other work. Props to Mendes on this one. Hopefully, as he gets older, we see more of that maturity come up in his songwriting.

​
"No Angel"
Charli XCX

In their newest release, Delta, Mumford & Sons built on their alternative rock sound from Wilder Mind. How did they do that? By incorporating instruments used in Sigh No More and Babel. We hear a lot of banjo in “Beloved,” which is blended finely with electric guitar. While much of the album has a lot of alt-rock, and even electronic-based sound on it, it’s nice to hear that the Gentlemen of the Road haven’t completely lost their roots. The hook is so pleasant to listen to, in contrast with the verses and pre-chorus filled with tension, resulting in an explosion of Marcus Mumford’s vocal lines soaring above the rest of the music. I close my eyes and see sun over a mountain. Could just be me. Whatever. A+ effort from the boys on this one.

​Edit: They were commissioned by National Geographic to have their music featured on some animal footage. Yay bears!

When Demi Lovato was hospitalized earlier this year for a drug overdose, the world was watching, desperately pleading for the singer to pull through. She has, but this song about relapsing cuts deep, and will make even the most hardened music listeners shed a tear. With nothing but a simple piano, Lovato’s lyrics are hard to listen to; the illustrations she paints of drinks on the floor, losing potential lovers, disappointing and worrying her parents, and even thanking her close friends who have stuck with her from one episode to another; it’s heartbreaking. ​


23. "Boss"
The Carters

For every great song, there are at least two songs you wish you would never hear again. 2017 was a really solid year for music, but there were quite a few shortcomings by more than a few artists as well. As part of According to Andrew, we're counting down the top 10 most annoying songs of 2017.

Now, to clarify, it's not that these songs are bad per se (I mean, some of them are pretty bad), they're just annoying. They're songs you would be okay never hearing again. Mostly, this is just a forum for a bunch of straw man arguments against these songs, but some of them I actually have legitimate grievances with.

Okay y'all. Let's suffer through this together. Hold your breath now.


Dishonorable Mentions:

"These Heaux," Bhad Barbie

Okay, let me rant a little bit here, Tay-Tay. This is the same woman who created 1989, one of the best albums to come out in the last few years. It was Taylor saying “yeah, look at all my haters talking shit about me and how I live my life, I honestly could care less.” And it worked. It showed maturity. It showed honesty. I could get behind her being a role model for young women. “Bad Blood” was a little aggressive, but it was still a solid song to listen to (mostly because of Kendrick Lamar, but who’s counting?) And then she drops this. I’m confused. It sounds to me like it’s the same haters she was shaking off really got to her, and she’s now caring far too much and trying to act like a real badass in order to exact her revenge. As far as I know, she was the one who got called out for trying to start shit between Kim and Kanye, right? I don’t get the image change, because literally no one person made her do anything. It only comes off as fake to me. Image changes that work are typically what make revolutionary and transcendent talents. Beyonce. Lady Gaga. These two have transformed their personal and musical styles to great effect. They are generational talents. Taylor is not. “Look What You Made Me Do” is a prime example of how not to do an image change. You don’t make a huge deal out of it (the trademarking of the snake… really?), you just go ahead and do it and don’t give a shit what other people think. It’s almost like she put this one out in order to stay relevant or something. If the old Taylor is truly dead (and I really hope she isn’t because embracing pop music was one of the best things to ever happen to her), I really don’t want the new one. A major shortcoming for an artist who was beginning to feel like the real thing. Also, you can talk about how you love the image change all you want. She’s still going to end her concerts with “Shake It Off,” no matter how much you might want the image change to stick.


Rants over. Thank you for indulging me for a minute there. Which songs from this year do you never want to hear again? Leave a comment down below. 

Feel free to check out According to Andrew's Best of 2017 spread by clicking HERE.

This year was a truly great year for mainstream music all the way around. There wasn't just one song that dominated the airwaves for the last twelve months (okay, maybe there was), but instead, a great many songs made their way into the spotlight and made us all feel, dance, or sing along in different ways. 

Yes, I shamelessly listen to pop music, and I'm not ashamed of it. I'm just really happy that I got to experience more music than I've ever listened to before this year.

For the third year now, here are the top 25 pop songs of 2017.

Julia Michaels’ debut single is one of the more personal songs from this year, as it serves as a raw ode to some of Michaels’ own anxieties. The symptoms are laid out in front of us: “I’m jealous, I’m overzealous, when I’m down I get real down, when I’m high I don’t come down.” It’s also got this genius string line through the verses. Michaels also gives us one of the catchiest hooks of 2017, from her smooth “I would judge you too,” to her “I got issues, and one of them is how bad I need you.” Not bad for a first timer, reaching as high as 11 on the Billboard Hot 100 charts.

​
21. "Slow Hands," Niall Horan

Our second One Direction defector, Harry Styles, made a statement with his debut single. In an interview with Rolling Stone, the way Styles describes the writing of the song is this:

“The song is written from the point of view as if a mother was giving birth to a child, and there’s a complication. The mother is told, ‘The child is fine, but you’re not going to make it.’ The mother has five minutes to tell the child, ‘go forth and conquer.’”

If that’s not lyrical maturity, I don’t know what is. Style’s song sounds almost apocalyptic at first listen, with his “just stop you’re crying, it’s the sign of the times,” almost like a message to people ready for 2017 to be over, as well as a swirling of multiple synthesizers, pianos, bass, and percussion in a slow-moving power ballad. It’s a great spinoff from an artist with what appears to be a bright future as a singles artist. I’m still not fully convinced that this isn’t a ploy by One Direction to have many successful singles careers and then get back together, though.

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7. "Bad and Boujee," Migos feat. Lil Uzi Vert

The Star Wars franchise is the best for many reasons. It’s the characters we know and love (except for Jar-Jar Binks). It’s the story lines and memorable quotes we’ve come to cherish. It’s the lightsabers, the spaceships, the idea of good vs. evil.

Tying it all together is the music- seven scores crafted by the brilliant composer John Williams, who’s been with the franchise since A New Hope came out in 1977. Williams has written some of cinema’s most memorable music, and some of his scores are so iconic, you don’t need to have seen the movies to know the sounds of greatness. His work on Star Wars is no exception.

On this Star Wars Day, May the Fourth, we’re counting down the best Star Wars music. These tracks encompass the franchise, getting us pumped for battle, hopeful for the fate of the galaxy, and torn between the light and dark sides of the force. Overall, Williams’ films scores are iconic, and even the snippets of these tracks get stuck in our heads for days.

For this list, we’re excluding the opening theme song. I 1,000,000% acknowledge that this track is one of the most important pieces of film score ever composed.

Like I said, lock s-foils in attack position. Even at 83 years of age (which is how old he was when he wrote this score), it is evident that Williams can still kick ass with his battle themes, and this tune appearing toward the end of Force Awakens is no exception.


"The Asteroid Field" (from The Empire Strikes Back)

It’s got an air of danger surrounding it, which is, well, what it has in common with most asteroid fields. Found as Han, Leia, C3PO and Chewie are attempting to evade an Imperial Star Destroyer by taking it on a trip through an asteroid field, this piece gives us all the anxiety of being struck by a flying object at a moment’s notice. The best part of the song comes at 2:18 of the above video, where the tension is at its height. The odds of successfully navigating an asteroid field are approximately 3,720 to 1. This piece hits that stat home.


"Ewok Celebration" (from Return of the Jedi)

When George Lucas re-released the prequels in 1999, he made a bunch of changes, some of which were unnecessary (see Vader’s added “nooooo” during the final lightsaber battle), to say the least. One of the best changes he made, though, was adding this gem to the very end of Return of the Jedi, replacing that fakakta “Yub-Nub” victory dance. Lucas’s replacement for the song was this uplifting, hopeful, and triumphant piece that ties the original trilogy with a nice little bow, as celebration shots of many of the planets seen in the prequel trilogy were also added for extra time. This is a much better fit than gratuitous shots of dancing Ewoks to a traditional Endorean folk song. Also, I like the touch of adding Hayden Christiansen as ghost Anakin to the re-release. I enjoy continuity. Bite me.


"Finale" from (The Empire Strikes Back​)

The Empire Strikes Back is not only the best film in the Star Wars franchise; it may also have the best music. Found at the end of the film, as Luke recovers from having his hand chopped off and learning that Darth Vader is his father (pain both physically and emotionally), Lando and Chewie prepare to regroup and eventually find Han Solo’s frozen body, all while the Rebel fleet prepares for the next battle with the Empire. While the film certainly is light on the action, it’s heavy on the drama, and would certainly leave the audience member disheartened, and scrambling for answers to the question “what comes next?” This piece of music provides us a little bit of closure for the film. The sweeping violin theme at around 1:00 makes me feel like Williams and the filmmakers were hiding something, as if to say “something big is coming. And you’re gonna love it.” 


​"Activate the Droids" (from The Phantom Menace)

So if The Empire Strikes Back is the best film in the canon, The Phantom Menace is unequivocally the worst. Plagued by wordy dialogue and bad acting (mostly from Jake Lloyd as Anakin and whoever the hell voices Jar-Jar Binks), the film does have some pretty solid action sequences. One of them comes at the beginning of the film, as the Separatist Droid Army invades the peaceful planet of Naboo. This march appears again as the droids unfold themselves during the battle with the Gungan army. This is the version I’ve chosen, which features some glorious French Horn slides at 0:53. Paired with the thunk-thunking of metal footsteps to the beat of the music, the droid invasion theme is a LIT battle anthem. Hey, at least one person knew what he was doing for this movie. John Williams is the man.



​The Top 10:

10. "Rey's Theme" (from The Force Awakens)

Our newest hero, Rey, is exemplified perfectly in this moving piece. She's the silent scavenger; the quiet, scrappy hero, discovering new and creative ways to stay alive among the desolate landscape of Jakku.


9. "Throne Room" (from A New Hope)

It's almost like a wedding march, at first listen. This tune, from the end of A New Hope, occurs as Luke, Han and Chewbacca are honored for their valiant efforts in destroying the Death Star. 


8. "Cantina Band" (from ​A New Hope)

Of course the Cantina Band song is on this list! No Star Wars music list would be complete without this bouncy romp, which features more electronic instruments than any other piece of scoring in the franchise. As Luke and Obi-Wan journey into the Mos Eisley cantina to find a pilot, the cheerful song juxtaposes the slimy, dark atmosphere of the wretched hive of scum and villainy.


7. "Order 66/March at the Jedi Temple" (from Revenge of the Sith)

Much like the droid army before it, the execution of Order 66, and subsequent march on the Jedi Temple is accompanied by intense music. The image of Anakin Skywalker/Darth Vader and his intimidating army of clone troopers is chilling, made more menacing by the piercing trumpets and pulsing bass. A truly badass procession deserves an even more badass fanfare.


6. "Across the Stars" (from Attack of the Clones)

Attack of the Clones is not even close to the best film in the Star Wars franchise. Hayden Christiansen is about as good an actor as Jake Lloyd. His romance with Natalie Portman's Padmé seems forced. But one thing that helps, of course, is music. Thank God for John Williams, who developed this love theme for Anakin and Padmé. Featuring a lonely oboe which builds slowly to a full orchestral swell, while also illustrating for us the backdrop of war midway through the song, "Across the Stars" is one of the more underrated themes in the canon. It's haunting, and it makes the romantic scenes between Anakin and Padmé a little more bearable.


5. "Battle of the Heroes" (from Revenge of the Sith)

If you listen closely to "Battle of the Heroes," you can slowly hear the crumbling of everything we've seen in the first two prequel films, as this final battle tune accompanies two major battles: Yoda against Emperor Palpatine, and Obi-Wan against Anakin. Featuring a choir sound that was also featured heavily in "Duel of the Fates" from The Phantom Menace, "Battle of the Heroes" makes us feel like everything is falling down around us, spiraling toward a cruel, inevitable heat death (get it? Because heat death- Mustafar- lava? Never mind.)- which is actually what's happening. When I hear this, all that comes to mind is Obi-Wan's constant pleading with Anakin to see the errors of his ways, only to have Anakin's twisted mind pull him further toward fully becoming Darth Vader.


4. "Battle of Endor" (from Return of the Jedi)

I'm cheating a little bit with this one, as the Battle of Endor music actually has many different themes within it. The first occurs in the first few minutes. You may know it better as the "It's a trap!" sequence, as the Rebel forces attack the Second Death Star, only to find that the Empire had been expecting the attack, and had prepared an ambush for them. The half hour long track takes us through all the tension of this lightsaber-space-and-land battle, throwing in themes like the Ewok theme, the Imperial March, and others. If you feel like listening to all 32 minutes, you'll see the tension rise and fall, and you'll actually be able to imagine the Rebels turning the tides of the war, all while Luke, Darth Vader, and the Emperor face off in one last showdown. The other best part of this song comes in the last 10 minutes, as Lando leads the charge into the main reactor of the battle station. We hear this as a reprise to the TIE Fighter dogfight sequence from A New Hope, but I think it sounds a little fuller in Return of the Jedi. That's just me though. That sequence takes place in the second video, at the start of Part III of the track. Part III also features Vader's death, which is sad in its own right.
​

3. "Duel of the Fates" (from The Phantom Menace)

"Korahhhhhh... Matahhh..... Korahhhh... Ratahmah......"

Doors opening on Darth Maul. The double lightsaber. The ensuing triple battle. Everything about this sequence from The Phantom Menace is epic. Taking original Sanskrit chants translated from the Celtic epic poem Cad Goddeu, and using the powerful London Voices choir as ammunition to its frantic orchestrations, "Duel of the Fates" is one of the best battle themes in the Star Wars franchise. It also makes a return in Revenge of the Sith, as Yoda and Palpatine throw senate chairs at one another during the battle of Coruscant. 


2. "Imperial March," (from The Empire Strikes Back)

Well, here we are. Yes, the Imperial March is probably one of the most well-known pieces of film score of all time. But the bad guy never wins in the battle of good versus evil, and so, the Imperial March ends up as the #2 on this list. A fiercely menacing tune, this song personifies everything in this world (yes, the real world, not just the Star Wars world) that is bad or evil. Your boss. Donald Trump. The New York Yankees. Whatever is bad in your life, you can personify them or their arrival with the Imperial March. And as if the well-known first 30 seconds weren't intense, it only builds from there, adding syncopations and really ramping up the volume at the end. How those flute players and brass players manage to play all those extremely fast rhythms for three minutes I'll never be able to fathom.


1. "The Force," (from A New Hope)

I could genuinely listen to this on loop for hours and get goosebumps with every orchestral swell. This song exemplifies everything that Star Wars is: an escape to a long time ago in a galaxy far, far away. This theme accompanies Luke on Tatooine, as he stares out at the binary sunset against the soft twilight, hoping for a way out. This is my favorite Star Wars theme, and what makes it special is how often it is played throughout all of the films in the canon. When I hear this song in trailers for The Force Awakens and The Last Jedi, I truly get emotional. If the Imperial March is the theme song for the dark side of the force, this is the theme song for the light.

There is no emotion, there is peace.
There is no ignorance, there is knowledge.
There is no passion, there is serenity.
There is no chaos, there is harmony.
There is no death, there is the force.

That chill that you get while listening to this: it's the force flowing through you.

Which musical themes from Star Wars are your favorite? Leave a comment down below.

There are many, many great songs that found their way to the airwaves in 2016. But there are some that one can hear far too many times before they’re ready to punch a wall. I’m not saying any of the songs on this list are bad (okay, maybe I think some of them are bad), and this is one person’s sole opinion, but I wouldn’t be mad if I didn’t hear them for a while after this year.

​It’s also my opportunity to rant, because I really haven’t had a chance to do a not-so-PC opinion piece this year.
 
These are the top 10 most annoying pop songs of 2016. 


Dishonorable Mentions:


"Lost Boy," Ruth B

Cliché. Cliché. Cliché. Make one more Peter Pan reference and see if I’ll get it. Try me, Ruth B. I appreciate your attempt to be Christina Perri, but I’m going to pass. The entire song feels like it was written by someone in middle school, from the basic piano, to the juvenile lyric writing. I also heard it far too many times this summer, especially in a time when there was such great summer music going on. Ruth B’s voice is pretty, but I think she can do much better than this one.



"This is What You Came For," Calvin Harris feat. Rihanna

This one’s not that bad. It’s a reasonable club banger. It’s got some interesting editing done during the hook with Rihanna’s vocals. But it’s annoying as hell. It’s everywhere. I can’t get the hook out of my head, and the tension-filled buildup before the drop isn’t that great when it’s for the 19th time in one car trip. 



"Don't Let Me Down," The Chainsmokers feat. Daya

These two are both featured on my Top 25 Songs of the Year list. This one is not one of their best. It's mostly because the song doesn't have too much to offer, not really doing anything in the lyrical department, and offiering a less-than-stellar instrumental hook. I expected better from these two, who had stellar years despite this omnipresent earworm.



The Top 10:

10. "Black Beatles," Rae Sremmurd feat. Gucci Mane

Am I missing something with this song? This was a number-one hit? This is the song that accompanies the viral “Mannequin Challenge” videos on YouTube. I read a Rolling Stone article ranking this song as the best pop song of 2016, stating that it was the pop song “we needed,” in spite of everything going on with the election and all that. But I’m not sure this is the one we needed. I mean, I get the need to make a name for yourself, but if you call yourselves the “Black Beatles” with your “John Lennon lazers,” and you fizzle out as a one hit wonder, you’re gonna look pretty stupid. Also, I'm pretty sure that neither of them are playing actual instruments.


9. "Perfect Illusion," Lady Gaga

Cue the rage quits in three, two, one. I don’t like this song, kids. For all the hype of the Joanne album, one would have expected “Perfect Illusion” to be Gaga’s magnum opus. Unfortunately, it’s anything but that. It’s nothing she hasn’t already sung about in her previous albums, not to mention the unimpressive melodies and desperate key change at the end of the song. I respect the hell out of Lady Gaga. I think she’s ridiculously innovative, dare I say revolutionary. A generational talent. But she can do better. “Bad Romance” still remains the best song she’s ever done, and it isn't close when you pit this song against it.

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8. "Broccoli," D.R.A.M. and Lil Yachty

First thing’s first. The names. D.R.A.M. stands for (and I’m not joking): Does. Real. Ass. Music. And what kind of a name is “Lil Yachty”? I.... I don’t know. I’m also not sure what either of them look like, but one of them has beads from 1999, and it looks like someone put a red mop on his head. ANYways. The tone of the voice in comparison with the high piano and extremely deep bass is so out of left field. It sounds lazy. Drake kind of does the same thing, but he’s established himself as a great rapper, so I’m okay with it. But this? Eh. Can’t do it. I'm not even going to talk about the Fifty Shades and Hulk Hogan reference.


7. "Don't Wanna Know," Maroon 5 & Kendrick Lamar

For those of you who are still with me, I promise there will be a lot more for you to hate me for by the end of the list ;) I like Maroon 5, I really do. This is not one of their better songs. From the opening, overly repetitive lyrics, there’s not much I can do from restraining my fingers to change the radio station. The addition of Kendrick to a Maroon 5 track is a nice touch, but it can’t save the song as a whole. NEXT.


6. "Hymn for the Weekend," Coldplay

The most notable thing about this track is that Beyoncé has uncredited vocals on the track. And even then, there’s not much that’s impressive about this one, other than the fact that it managed to find its way onto every top-40 station imaginable. We’re all aware that Chris Martin likes to play the piano. And it’s not bad, for the most part, except for the abrasive lick where he plays some kind of melodic scale from the top of one octave in the bass down to the bottom. And Coldplay singing about “feeling drunk and high?” Come on. You’re the last band I would expect to do any kind of hard drugs. Also, I’m not sure why Beyoncé would want to collaborate with Coldplay, but I suppose the queen has her reasons.


5. "Just Like Fire," P!nk

Do you think Alice would have wanted to set fire to her radios after hearing this song for the millionth time? This was written for the 2016 film Alice: Through the Looking Glass, the sequel to the 2010 Tim Burton version of Alice in Wonderland. I’m not sure why the filmmakers got P!nk to write a song for them for a movie that literally takes place between Victorian England and LSD-world. Regardless, if I hear the out-of-tune guitar intro to this song, and P!nk’s fake rapping one more time, I will destroy all speakers in the world. Just like fire.


4. "Let It Go," James Bay

James Bay listened to “Stitches,” by Shawn Mendes, “Love Yourself,” by Justin Bieber, “Thinking Out Loud,” by Ed Sheeran, and “Let Her Go,” by Passenger, and thought “yeah, writing a sad-boy love song isn’t so hard! Let me try!” And so, we got “Let it Go.” It begins with a whimpering, almost crying Bay crooning about walking home and talking with someone who isn’t giving him the love he wants. Not to mention the unsurprisingly catchy chorus. Or perhaps it’s too catchy. Either way, I could pass never hearing this one again. SKIP.


3. "Treat You Better," Shawn Mendes

Shawn. “Stitches” was amazing. And then you tried to do pretty much the same thing with “Treat You Better” and pretty much fell flat on your face while trying to turn all your vowels into the first vowel sound in the word “apple.” Once again, you begin with a soft acoustic guitar that’s on the off-beat, so your listeners get delightfully thrown off. Then, you’re singing us a song literally all of us have heard before. “I’m a better guy for you than that guy.” And then there’s the “bahtah thahn ‘ee caaahn” during the chorus which is flat-out annoying. And hard to listen to. 


2. "Cheap Thrills," Sia feat. Sean Paul

And this is probably where I lose the people I didn’t after putting Lady Gaga on this list. Remember Sean Paul? The dude who did “Temperature?” Well, he’s back, and he’s collaborating with Sia… for some reason. No, I don’t mean to knock Sia. She’s the first woman over 40 since Madonna to have a number one at the top of the U.S. Charts. But I hate how much this song caught so much momentum, especially when “Alive” is a much better track from the “This is Acting” album. Sia’s high flying vocals are nowhere to be found in this one, and it makes her seem like every other female pop star these days. “Chandelier” is one of the most important songs of this century, and “Cheap Thrills” just feels like an attempt at a second hit, but falls way short. And don’t even get me started on Sean Paul. I don’t know why he’s there. 2007 is over, dude.


1. "Stressed Out," Twenty-One Pilots

top-25-pop-songs-of-2016.htmlAlright. So Twenty-One Pilots is reasonably okay. Their lyrics are pretty good. I’m not the biggest fan of their sound, but “Ride” and “Heathens” aren’t half bad. Then there’s this mess of a song, as the guys pander to the hipster-millennial generation. “I wish we could turn back time to the good old days,” sings Tyler Joseph, putting far too much emphasis on the letter “d” in “good old days.” The hook bugs the crap out of me. Of course, everyone wishes life was simpler when they were a child. But people grow up. Deal with it. Get a job like everyone else. It’s part of being an adult. You get stressed out. What's more interesting is how you work through being stressed out instead of whining about the times when it was easier for you. The alternative/rap/rock/indie-EDM thing is too much for me in this one. And it goes without saying that I could not escape this track when it first hit the airways in early 2016. I know the beginning thumps of this song so well, it’s become muscle memory to change the station as soon as I hear them. “Stressed Out” earns the top spot on this list for the year.


What songs drove you crazy this year? Leave a comment down below.

Be sure to check out our list of the top 25 pop songs of the year HERE.
​And be sure to check out According to Andrew's full "Best of 2016" spread HERE.

 2016 featured some great music from artists both old and new; some making their debuts onto the music scene, others adding onto their already impressive resume. In this list, we’re counting down the top 25 pop songs of 2016.

These songs made their way onto this list via their amount of peak radio exposure, likeability, and commercial success during the 2016 calendar year.


Honorable Mentions:

"Heathens," Twenty One Pilots

I didn’t like Twenty-One Pilots to start this year. I didn’t understand their music, or their appeal, and I couldn’t stand hearing them on the radio wherever I went. Then I heard them perform on Saturday Night Live, and something clicked. “Heathens,” features a somber piano lick throughout, with Tyler Joseph’s aggressive bass dispersed throughout the song, almost mimicking the sound of a shotgun being reloaded. The track was the lead single off the soundtrack to the 2016 film Suicide Squad. It reached as high as #2 on the Billboard Hot 100 charts.

Best line: “We don’t deal with outsiders very well, they say newcomers have a certain smell”


"No," Meghan Trainor

The song, in my opinion, should have been called “Untouchable,” because that’s the catchiest part of this Meghan Trainor earworm. “No” is a major departure from Trainor’s first album (Title), as it lends itself to more of a hip-hop vibe with more apparent sexual undertones. It works perfectly as a hip-hop track, and even draws comparisons to songs from Brittney Spears, Madonna, and NSYNC.

Best line: “My name is ‘no,’ my number is ‘no,’ my sign is ‘no,’ you need to let it go”


"Don't Mind," Kent Jones

Hate on this one if you want, I think it’s so clever. Kent Jones takes us on a journey through the land of geography, remarking on women he meets from every corner of the globe. And then we get to the chorus, which features a sloppy, but catchy and ultimately very effective pairing together of different languages, including Spanish, Japanese, English, and French. The song features elements of the Barry White song “Practice What you Preach,” as Jones sings “Telling me this, telling me that” in the chorus numerous times.

Best line: “She from Africa, but she fuck me like she Haitian”


“Cold Water,” Major Lazer, Justin Bieber and MØ

This EDM track by Major Lazer features some big names, including Justin Bieber and MØ, but also Ed Sheeran, who is featured on the main guitar lick throughout the verses of the song. The track isn’t really anything all that profound, but its synth-heavy chorus made ”Cold Water” a fine summer anthem this year.

Best line: “And if you feel you’re sinking, I will jump right over into cold, cold water for you”


"HandClap," Fitz and the Tantrums

Whether you’ve heard it at sports games or during commercials or video games, “HandClap” gets you up and moving. Fitz and the Tantrums’ third album featured this leading single, an indie-dance-pop anthem that’s clearly aimed at getting people to, well, clap their hands. But it’s not the chorus or the earworm bassline that is featured throughout the song. It’s the fast moving vocals of Michael Fitzpatrick that really make it unique.  With a healthy balance of sharp and pulsing verses and a pre-chorus that has a perfect breakdown feel, “HandClap,” is a great jam song. Just don’t forget to clap on the right beats during the chorus.

Best line: “Get on my knees and say a prayer to James Brown”


"Side to Side," Ariana Grande feat. Nicki Minaj

A last-minute entry on this list, "Side to Side" marks the first of three Ariana Grande songs on this list. She had another big year with "Dangerous Woman," what can I say? This reggae/R&B tune features the always-wonderful Nicki Minaj on a strong verse midway through the song, paired with another strong vocal performance from Ariana herself (that riff in the hook? UN. REAL). I can just see the club materializing around me as I listen to this song, can't you? Or maybe this one makes me want to take a spin class, I don't know.

Best line: "Tonight I'm making deals with the devil, and I know it's gonna get me in trouble"


"Panda," Desiigner

Never has a song about a BMW sounded so good. “Panda,” the debut single by rapper Desiigner, features an incredible hook painting the image of the artist’s lifestyle. His line about “having broads in Atlanta,” is probably a nod to Desiigner’s rapping style, as it’s very similar to that of rappers who hail from that city. As a whole, though, “Panda” is about Desiigner’s love for the BMW X6, which he describes, lyrically as “the panda is the black X6 and the white X6. The black X6 looks like a Phantom, the white X6 looks like a panda.” This trap song has been widely praised critically, as it was hailed as one of the 30 best songs of the first half of 2016 by Rolling Stone, and reached the top spot on the Billboard Hot 100 at the end of April. It was even so good, Kanye had to sample it for his own album.

Best line: “Man I’m the macho like Randy, the choppa go Oscar for Grammy”


The Top 25:

25. "Unsteady," X Ambassadors

Does anyone else think someone is shaking a rattle in front of the microphone for a majority of this song? This hit, the third single from X Ambassadors’ debut album “VHS,” features stellar vocals from Sam Harris, as he switches back and forth from belting high notes to reaching into his falsetto, giving the chorus an eerie sound as he moves back and forth between his two vocal registers. In fact, nothing about the lyrics to the song suggest stability, and Harris’ vocals perfectly exemplify such unsteadiness, much like the crinkling of whatever-it-is throughout the song. Watch the music video, and let the story of an alcoholic rip your heart out, paired with Harris’ stunning vocals (he’s so damn good). This one reached #20 on the Billboard Hot 100.

Best line: “Mama, I’m here, approach, appear”


24. "Say You Won't Let Go," James Arthur

A man and his guitar. Nothing better than that, am I right? James Arthur, winner of the ninth season of The X Factor, gave us this single off of first studio album. This simple, folk tune is a beautiful love song about the prospects of a potentially long-term relationship. Arthur’s smooth voice slips in some of the best, most natural riffs you’ll hear this year, and his lyrics will make you cry. Eventually, the song swells to feature a little percussion and some backing strings, and Arthur reaches the depths of his emotions and lets them all pour out during the last chorus. I anticipate that many first dances at weddings will be to this song.

Best line: “I’m gonna love you till my lungs give out, I promise till death will part like in our vows” and his riff before “Oh, and you look as beautiful as ever”


23. "Sledgehammer," Rihanna

“Sledgehammer” was written to promote Star Trek Beyond, but had been written and worked on for two years prior to the film’s release. It makes total sense that this song was written by Sia, as her vocal patterns and tendencies are found in both the pre-chorus and chorus to the song. Stylistically, the song is perfect for a Star Trek film, much like the way most James Bond theme songs are stylistically appropriate for their films, featuring the signature Bond chord progressions. “Sledgehammer” gives off the vibe of a majestic adventure film, and the music video only drives that point home more. The lyrics suggest something different, in that Rihanna describes how she moves past someone who hurt her. The chord progression from D to Bb in the chorus is chilling.

Best line: “You’re just another break and I’m a sledgehammer”


22. "Body Moves," DNCE

As is typical for DNCE, their funk-rock and dance-pop origins are fantastic and can get anybody moving. Featuring a thumping bass line found in a lot of pop music recently, and the highly underrated vocals of Joe Jonas, “Body Moves” reminds us of the fun-loving stylings of MKTO, while giving us sexy undertones like that of Justin Timberlake’s earlier albums. Then we’ve got the horn-inspired bridge, which is incredible. The synth and the trumpets blend perfectly together. The music video features a lot of making out, and a lot of half-naked hot people. A lot of hot people.

Best line: “Come and roll with me, we’ll rock them body moves, me and you, body moves”


21. "New Romantics," Taylor Swift

Another hit from Taylor’s 1989 album is “New Romantics,” which, as the music video shows, follows her on the road toward the end of her tour, as she reminisces on the good times she’s spent with her fans. It makes sense that it takes place at the end of her tour, because the song is a bonus track on the album. Why it was ever left off the album in the first place is completely beyond me. Much like “Blank Space,” or “Shake it Off,” “New Romantics” does reference Taylor’s perceived personality (as she likes to do), but it offers itself back to the fans that she’s addressing.

Best line: “Heartbreak is the national anthem, we sing it proudly”


20. "One Dance," Drake feat. Wizkid and Kyla

Drake, the almighty one, has come to save us. With this follow up to 2015’s “Hotline Bling,” “One Dance” is more of a dancehall tune with some afrobeat flavor, as it mixes in some vintage-sounding echoing piano, shades of tropical music, and a solid, club-worthy beat. The additions of Nigerian artist Wizkid and British singer Kyla make the song even more complete. It’s a great representation of the spiritual energy two people can share together while dancing at the club. The song is a gorgeous array of multiculturalism that evokes some of the stylings of 80s Lionel Richie. The song reached #1 on the Billboard Hot 100, and reached #1 as well in the UK.

Best line: “Grips on your waist, front way, back way, you know that I don’t play”


19. "Hide Away," Daya

“Hide Away” was Daya’s coming out party. The Pittsburgh native had a big year this year, as she released both her self-titled EP, as well as the Sit Still, Look Pretty album, on both of which this song appears. “Hide Away,” features Daya’s near flawless vocals, as she effortlessly pops back and forth from chest voice to head voice, a la your prototypical indie-pop singer. However, there’s something about Daya’s voice that’s extremely unique, which is why “Hide Away” received so much love at the outset. The synth-pop song has a catchy hook, with the phrase “Where do the good boys go to hide away, hide away” being repeated numerous times, not to mention the phrase “tell me where the good boys go” during the bridge. If you listen to her music, Daya the artist is extremely likeable, and it’ll be fascinating to see where she goes next.

Best line: “Boys seem to like the girls who like to kiss and tell, talking them up about the things they do so well”


18. "Scars to Your Beautiful," Alessia Cara

A powerful anthem about body image, Alessia Cara’s “Scars to Your Beautiful” was released as a single from her album “Know-It-All” in July 2016. The Canadian singer’s song is unconventionally dark for a song about body image addressed toward women (much unlike Meghan Trainor’s “All About That Bass”), but it is able to tackle the subject with scathing introspective lyrics like “What’s a little bit of hunger? I can go a little while longer,” and then blow the doors open with a powerful chorus, reflecting on the fact that all of us are stars in our own way. Musically, Cara’s voice is silky smooth, with riffs in all the right places, reaching high and low points effortlessly. The synth-pop foundation for the song paired with the subject matter draws some comparison to Rachel Platten’s “Fight Song,” but also draws comparisons to singers like Beyoncé due to the dark yet powerful style of the song.

Best line: “There’s a hope that’s waiting for you in the dark, you should know you’re beautiful just the way you are” and “No better you than the you that you are”


17. "Let Me Love You," DJ Snake feat. Justin Bieber

The big year for the Biebs continues with this collaboration with “Lean On” producer DJ Snake. This one’s a little more bearable than the aforementioned “Lean On,” as Bieber’s vocals and riffs throughout the track make it easy to sing along with. The musical hook uses some kind of synth piano, and, while annoying for a time, it gradually becomes likeable and memorable. Due to Bieber’s work with both DJ Snake and Major Lazer, he’s definitely solidified his status a feature fixture of the EDM world. This track may be the most romantic club banger we’ve heard in a while.

Best line: “Say go through the darkest of days, heaven’s a heartbreak away”


16. "Send My Love (To Your New Lover)," Adele

A pregame song from Adele. Who knew? The release of 2015’s “25” saw Adele once again embrace both the somber and glorious upbeat sides of breaking up. Last year, it was “Hello,” this year, it’s “Send My Love.” The 10-time Grammy winner walks the line between biting passive-aggression and unapologetic truth telling, all while swelling into a bittersweet hook. The harmonies of the chorus really help drive the point home. While it might not be her best up-tempo in her career (because the “21” album was and always will be her best work), “Send My Love (To Your New Lover)” gets us all feeling some kind of way about our ex-loves and the night of drinking ahead.

Best line: “I’m giving you up, I’ve forgiven it all, you set me free”


15. "My House," Flo Rida

Is it just me, or does every Flo Rida song make you want to throw a house party? Finally, the guy wrote a song about a house and throwing a party inside, and it’s great. When that piano riff hits for the first time, you know it’s time to turn on the colored lights and pop the champagne. The hook is absurdly catchy, and the beat is just right to jam to in all parts of the party stage, whether before, during, or even after it.

Best line: “Mi casa es tu casa so it ain’t no holding back, another shot of vodka, you know what’s in my glass”


14. "Gold," Kiiara

Kiiara’s snap-pop single “Gold” is fascinating, particularly during the chorus, as she runs samples of her own songs backwards and mixes them up, ultimately creating some weirdly unmelodic but strangely catchy hook. This one gives us flashbacks of Sia’s “Chandelier” (at least thematically) and Lorde’s “Royals.” While we’re waiting for the latter to come back to us with another album, Kiiara was the perfect person this year to step into the spotlight with this smooth and smoky hit.

Best line: “Gold up in my teeth, tastes like money when I speak”


13. "Me Too," Meghan Trainor

Yes. I have put a Meghan Trainor song in my top 25. This is finally the one that Ms. Trainor got right, as she finally comes away from her faux-doo-wop-and-bubblegum-pop music from “Title”. The second single from her “Thank You” album, “Me Too” gives us much more of a club vibe, while also giving us soulful sections full of tambourines and great three part harmony (and yes, she’ll throw in a great riff or three in there as well). While some of the lyrics aren’t the best things ever, a lot of it is really, really great. Hopefully she’ll stick with this kind of music from now on. Bless you, Meghan. Bless you. Also, she's in a onesie for the majority of the music video. So that's fun.

Best line: “My life’s a movie, Tom (Cruise), so bless me baby, Ah (Choo)”


12. "Adventure of a Lifetime," Coldplay

The first single from the British group’s colorful “A Head Full of Dreams” album features a disco and funk-infused beat, a pulsing bass groove from Guy Berryman, and a catchy guitar solo that highlights its intro and choruses. Much like their other leading singles from previous albums, “Adventure of a Lifetime” has the energy to be that quintessential quirky, yet mainstream pop hit. It works as a car jam song, a workout song, and it can even pass for existing in a club setting. The music video is a little weird, though, as shown by all these monkeys running around playing instruments. The high, echoing “woo-hoo’s” by Chris Martin during the outro of the song are infectious. You’ll find yourself singing along even if you’ve never heard the song before.

Best line: “Under this pressure, under this weight, we are diamonds taking shape”


11. "24K Magic," Bruno Mars

Bruno and the boys from Uptown are back, this time with another flashy, delightfully arrogant 80s-style groove. It has all the same retro-funk stylings of “Uptown Funk,” but Mars’ solo turn on lyrics turns up the heat on the amount of swagger oozing from the lyrics of the song. “24K Magic,” has all the nostalgia of the 2013-14 Billboard chart topper, but doesn’t do very much to top it. In fact, I’m not sure there’s any party song that could top “Uptown Funk” at this moment. But it does keep the party going, and it does so in the fun, bouncy way that we’ve come to love Bruno Mars for.

Best line: “Take your sip, do your dip, spend your money like money ain’t shit; We too fresh, got to blame it on Jesus, #blessed”


10. "Dangerous Woman," Ariana Grande

Ariana takes the art of the slow jam and makes it her own with this first single off her second album of the same name. The waltz-time feel and ever-present guitar solo, combined with Ariana’s lyrics make “Dangerous Woman” her most mature song yet. It begins as a seductive whisper, and finishes with a full out, no marking, belt-and-riff fest, as she flaunts her obvious range and vocal control. The extended guitar solo in the middle of the song gives it that little bit of edge it needs as both a pop song, an R&B tune, and a rock song. When Ariana sings that final chorus, the chill will set in. Tell me about how good she is, will you?

Best line: “Taking control of this moment, I’m locked and loaded, completely focused, my mind is open”


9. "Ride," Twenty-One Pilots

Okay, so they snuck up on me and made me fall in love with this track. “Ride” is a combination of many different genres of music. It’s part reggae/afrobeat, part rap, part alt-rock (think FUN.), and part EDM. And I like a lot of the parts that make up this song. The lyrics are confusing, as the listener’s not sure what “Ride” Twenty One Pilots are talking about- the ride through life, or the ride toward death? They experiment with the deeply philosophical along the way, making us take a quick analysis of our closest friends and loved ones, and then circling back to ourselves as a whole, with the simple but poignant “I’ve been thinking too much” during the bridge of the song. In the song’s final act, when the bass drops into the hook of the song, and Tyler Joseph belts his little heart out for the final chorus, it’s a well-earned catharsis for the song. Finally, it settles on a warm, but ultimately somber tone, leaving us to wonder about our lives in the process.

Best line: “We all have a list of people we would take a bullet for them, a bullet for you, a bullet for everybody in this room, but we don’t seem to see many bullets coming through”


8. "Sorry," Justin Bieber

I will admit that, traditionally, I am not the biggest fan of Justin Bieber. I didn’t like his music, he was a jerk in real life and had no remorse for his actions, and I didn’t take him or his fame seriously. That was until he released his “Purpose” album, and I understood, especially when his first major single from the album was literally apologizing to a girl that he had wronged. Bieber’s voice has matured a lot since his days of singing “Baby,” and all this life experience he’s had has certainly done him well, at least in the development of his music. This is a lot like when Taylor Swift released her “1989” album, and we all finally really understood what she was about. I think the “Purpose” album is Bieber’s real coming out party. The hook of the song is undeniably catchy, but also very deep, as Bieber acknowledges that there’s more to a woman than just her body and putting titles on a relationship. It’s good to see Bieber grow up, for once. I’m a fan of this incarnation of the pop star. Hopefully he can keep it going in 2017.

Best line: “I know you know that I made those mistakes maybe once or twice; by once or twice, I mean maybe a couple of hundred times”


7. "Into You," Ariana Grande

Ariana is back and explosive as ever. This sexy jam features incredible bass, along with some of the best synth in pop music this year. The music is both aggressive and smooth simultaneously, and creates a delicious musical soup when paired up with Ariana’s incredible voice. It goes without saying that the lyrics for “Into You” are hot as hell (as are most of the lyrics on the “Dangerous Woman” album), as she keeps the focus of her song completely focused on her through her quiet whispers at the beginning of the song, all the way through the powerful belting notes at the end. Also, her nod to Elvis is much appreciated. Say what you will about Ariana. You can like her, you can dislike her, but you can’t that she’s got talent, and can sing and perform circles around most other artists in music today.

Best line: “A little less conversation and a little more touch my body”


6. "Sit Still, Look Pretty," Daya

Daya dealt a one-two punch with her debut album this year, with her second single being the better of the two. “Sit Still, Look Pretty,” keeps that bubbly pop feel of “Hide Away,” but adds a quicker barrage of vocals during the hook, which make it a little more pleasing to the ear. On top of that, Daya keeps the same message in both tracks: following one’s dreams no matter what other people think, and dismissing any notions or expectations that women will act or look a certain way, or depend on other men in order to find self worth. It’s a delightful, bouncy middle finger to the people who expect girls to just “sit still and look pretty.” Daya nails it with this one.

Best line: “And I might love me some vanilla but I’m not that sugar sweet, call me HBIC”


5. "I Took a Pill in Ibiza," Mike Posner

2016 was a strange year. Nowhere is that feeling more exemplified than in Mike Posner’s first top-10 hit in nearly six years, “I Took a Pill in Ibiza.” The title to the song, firstly, is very misleading. It’s not about how awesome everything gets when one takes drugs. In fact, it’s the exact opposite, as Posner describes how he feels awful after taking a pill to seem cool (because I guess Avicii disapproves of him). It goes on to describe how Posner views himself as a “singer who already blew his shot,” as well as a dismal life that being a low-life of a celebrity who makes all this money and attention, but finds a way to screw it up. The juxtaposition of the lyrics and the vibrant hook make you want to stop and take a second look at the song, because doing so will make you realize exactly how disappointed Posner has become with his life. While it makes the song really sad, at least we know that we should never be high like Mike. It’s a shame this one never reached the top of the charts in the United States, but it did go double platinum, and is one of the top-selling singles of the year.

Best line: “I’m just a singer who already blew his shot; I get along with old timers ‘cuz my name’s a reminder of a pop song people forgot”


4. "Cake by the Ocean," DNCE

Just when we were all ready for a good summer song, along came “Cake by the Ocean,” the first single released by ex-Jonas Brothers member, Joe Jonas, and his new band, DNCE. The song begins with a creeping guitar line, reminiscent of 1950s surfer songs, and worms its way to an unsurprisingly catchy hook with lots of repeating phrases, including the always-memorable “ah-ya-ya-ya-ya-ah.” Okay, so the song isn’t really about anything. There’s cake, and there’s an ocean, and I guess it could be about butts or sex or whatever, but the point is this: Doesn’t it make you want to go to the beach and scream your lungs out to this pop-punk gem?

Best line: “Red velvet, vanilla, chocolate every night- confetti, I’m ready, I need it every night”


3. "Love Yourself," Justin Bieber

An unexpectedly stripped down feel for the Biebs, “Love Yourself” might be the best thing he’s ever done. Ed Sheeran makes a guest appearance on the track, featured throughout as guitar player and background vocalist. The tender track is a very honest break-up letter to an ex, giving a self-assuring mantra that says: “If you don’t think I’m good enough for you, go ahead and love yourself.” Written with scathing burns, “Love Yourself” also features some interesting musical elements, including a set of trumpets which give the song a blues side midway through. This isn’t Bieber’s first outing with Sheeran, as he is also featured on “Cold Water,” Bieber’s collaboration with Major Lazer. But the two make really good music together, that much is clear. The tongue-in-cheek song keeps us laughing at the jabs, but crooning along with the lyrics. “Love Yourself” may have only been at the top of the Billboard Hot 100 for two weeks out of the year, but it was the top-performing single of 2016, going double-platinum, selling over 2.7 million times.

Best line: “My mama don’t like you, and she likes everyone”


2. "Can't Stop the Feeling!," Justin Timberlake

JT’s newest hit is a feel-good party jam that just makes you feel happy all over. From the opening beats with overlaying piano, JT puts his signature style on the song, making a super bouncy and colorful song (because it was written for the Trolls movie, after all) super cool, only the way the “Suit and Tie” superstar can. The pre-chorus of the song is the best: soft at first, then descending into a really neat tension-filled section, and finally sliding up to the hook, where it explodes with vivacity, life, and good, wholesome fun. Just like “Shut up and Dance,” was last year’s song of the summer, so too is this one. You can try to forget this song, but you might be too busy dance, dance, dance, dancing to do it.

Best line: “I got that sunshine in my pocket, got that good song in my feet”


1. "Closer," The Chainsmokers feat. Halsey

After I heard this song for the first time, I already knew the words to the hook. That’s how catchy this song has been this year. It was a little bit of a sleeper hit (keep in mind that The Chainsmokers had the incredibly profound song “#Selfie” last year), considering all the new albums put out by artists like Beyonce, Justin Bieber, Ariana Grande, Sia, and Kanye West this year, which really highlighted pop music in 2016. However, “Closer” remained the pesky single that no one could get out of their heads or escape from. The combination of synthesized strings, the keyboards, and bass is fantastic, and the tension of the dramatic musical and lyrical duet between Andrew Taggart and Halsey is palpable. The amount of millennial nostalgia and late 90s-early 2000s zeitgeist will make all us pique our ears and listen (especially when they throw in that line about a Blink-182 song). The sweet melodies of the verses and emotional final hook of this song will be memorable long after this song fades into the background of pop music. When this song comes on the radio in 10 years, you’ll still be nodding your head in rhythm and respect. “Closer” was the longest-running Billboard #1 this year at 12 weeks, and it earns the top spot on this list for 2016.

Best line: “Stay and play that Blink-182 song that we beat to death in Tuscon, okay”


What were your favorite pop songs from this year? Leave a comment down below!

Don't forget to check out the list of the top 10 most annoying songs of 2016 HERE.

Take a look at the rest of According to Andrew's "Best of 2016" spread HERE.