This year’s been a lot. Thank god for music.

It’s been a strange year. You’ve read it, you’ve seen it, you’ve lived it. Music has had two huge pair of shoes to fill and I’m relieved to report artists have not let us down on either front: the need for escapism and the will to anchor very real and important events into the cultural zeitgeist have both given rise to phenomenal art. If there was ever a time when I could say music has saved my life, this year stands as the most appropriate. Despite the cancellations, the delays and the absences, 2020 has branded itself as pop music’s torchbearer — here’s hoping 2021 keeps the momentum going. Before we launch into what will be OUR year (right? no, for real, high hopes but low expectations), I thought I’d join the plethora of writers, “crit-eeks” and twitter users in an effort to crystallize those songs that have made the year a bearable one. Let’s dive in: my 30 favorite songs of 2020, in alphabetical order.

Aminé — Pressure In My Palms (feat. slowthai, Vince Staples)

PIMP is easily one of the catchiest, bounciest tracks of the year. Not only does it live up to its stellar line-up, it goes far and beyond wildest expectations — silently bringing on Joyce Wrice, Jak Knight and Bree Runway to spruce things up too. From the jolly cutthroat allusions to some of Fergie’s most (ahem) memorable moments to references to Steve Harvey’s monumental error at 2015’s Miss Universe and Winona Ryder’s sticky fingers, Amine delivers some of the year’s most quick-witted and fun lyrics before handing the mic to UK rising legend (yes, legend) slowthai who touches base with us for a quick moment before letting Vince Staples take it away. The features are kept quick and to the point so you see I’m amazed that they’ve lived rent-free in my mind for the past four months.

Bree Runway — ATM (feat. Missy Elliott)

Bree Runway’s charisma has earned her several comparisons to the legendary Missy Elliott — which she ran with to give us the stellar APESHIT along with very Elliott-ean visuals earlier this year. So when she announced her collaboration with her idol, it was with the hardly-dissimulated glee of a kid in a Christian household on Christmas morning. Which was also my reaction upon hearing the song. There are only a handful of rappers that can hold their own on a track with Missy: Bree is part of that roster. She doesn’t only match Missy’s demeanor, she elevates it and serves appetizer, entree and dessert. I’ll gladly pay the bill, no need to run to the A-T-M, A-T, A-T-M.

Carly Rae Jepsen — Never Get to Hold You

Emotion (2015) is Carly Rae Jepsen’s third studio album, and the one that propelled her from the gaze of fascination that went with her ability to earworm her way across the globe with some of the most annoying pop singles of the 2010s to a critic darling overnight — rightly so, in this writer’s humble opinion. Who knew Carly was still holding on to two of the best pop songs written in the past five years all this time? She released Never Get to Hold You and Love Again in August to celebrate Emotion’s five-year anniversary, making it especially hard to pick one of the two to include here. Still not over the fact that these were written more than five years ago and still sound like some of the most fresh pop songs out in 2020.

Charli XCX — visions

Not content with releasing one of 2019’s best albums — and one of the 2010s best pop offering no doubt — Charli decided to record and produce an entire album in five weeks during lockdown alongside long-time collaborator A. G. Cook (who has stayed busy all year — an understatement). visions is the closing number, an epic techno pop track that takes us from the melancholy croon of autotuned maven Charli to earth-shattering bass lines and the crumbling of every certainty I had that we’d ever dance again. I will add that obsessively watching Charli’s every move is on my 2020 bingo card and you best believe it’ll also be on 2021’s, 2022’s and really any foreseeable future. You?

Chloe x Halle — Forgive Me

Chloe and Halle have WERKED the at-home performances to promote their new album like no other has this year. Oh and they gave us some of RnB’s finest cuts of the year, joining the line-up of ladies that have made the genre a quarantine staple — and have been largely ignored by the Grammys. Forgive Me is a cheeky cold track so hauntingly good yet so far from what The Kids Are Alright had to offer. It’s one of the best demonstrations of the long way the Bailey sisters have gone in the past couple years — they step it up every, single, time. They’re the proof that hard work does pay off — but don’t be fooled they’re also insanely talented, humble, wise beyond their years and pretty much all the things you wished you’d been / ‘ll be (lucky you!) at that age.

Christine and the Queens (feat. Caroline Polachek) — La vita nuova

Leave it to Chris to start off the year with a collection of tracks that would serve as the gold standard against which every synth art pop song would be measured against. And also to not give other artists much of a chance to rise to the occasion as elegantly as she did. Fresh off her Pang high, Caroline Polachek joined Chris on this one and although she might be “just another girl in a sweater”, anyone would buy this sweater if only for an ounce of her talent to rub off on them.

Django Django — Spirals (MGMT Remix)

Every once in a while comes a glorious song that becomes even more glorious in the hands of the right people. Django Django and MGMT made this song this year. It might have flown past a lot of radars but it certainly did crash on my windshield. It’s dizzyingly good and so disorienting you quickly forget this year was one of social unrest, sanitary pandemonium, rampant famine and democratic failures. Now what did I have to write this? Here we go again…

Donna Missal — I’m Not Ready

Indie pop rock has a new face: Donna Missal is the name. Remember it. The New Jersey-born singer-songwriter gave the world her sophomore full-length in July and I wasn’t ready. The vocals were a given at this point yet I’m Not Ready still finds ways to impress on that front. The crisp songwriting and the dramatic flair — coupled with the full-circle moment of its final leg — make this track the perfect conclusion to an album I’ll cherish for a long time — my little secret that I’m not entirely ready to share with the whole world yet. It’s okay to be selfish sometimes.

Dorian Electra — F The World (feat. The Garden, Quay Dash, dOllywood1)

The chaos of F The World accurately translates what this year’s been for so many. In all fairness it also depicts what most years feel like for gen Z hyperpopheads. Dorian Electra have let their style evolve organically in a less polished and more abrasive direction — also opening to the door to many collaborations that one wouldn’t have placed bets on during the Flamboyant era. Somehow it makes sense to have Village People and Pussy Riot in nu metal adjacent music. That’s the thing with Dorian Electra: somehow all they’ve done so far has made sense, no matter how left-field it has been. I couldn’t tell you why for the life of me.

Dua Lipa — Physical

In Dua Lipa land, an Olivia Newton-John x Mulan collaboration was self-evident. Dua’s interpolation game is strong, but Physical really takes it to new heights, Mount Everest-style. Everything falls into place so seamlessly, it’s the escapist anthem we needed before we were told getting “physical” wasn’t in the cards for us — or at least, wear a mask during it and avoid kissing or so specialists said. If anyone has ruled the airwaves this year, it has to be Miss Lipa — although The Weeknd is also a strong contender. I am extremely grateful that commercial success equated artistic triumph for a change.

Gorillaz — Aries (feat. Peter Hook, Georgia)

The Song Machine series hasn’t let us down in the lead-up to the release of its first season, consecrated in a stellar compilation of Gorillaz’ finest work since Plastic Beach. Aries (Episode 3) is an effortless groove of a song that bops along to a brewing thunderstorm and the soothing sound of Damond Albarn’s transportive vocals. There isn’t much in the way of ornaments — further proving that there is still gold to be mined out of simplicity.

James Blake — Are You Even Real?

In one of the year’s most emotionally charged songs of the year, James Blake made the Summer that much easier to get through. It’s the sound of a lover’s angst, “dreaming of connection” and longing for the times where touch will once again be hailed as a primary sense. There’s something extremely addictive to the song’s melancholy, the kind that helps let out a good cry when the time comes or at least, sit with your feelings for a while instead of dismissing them to move on to the next thing.

Janelle Monáe — Turntables

Janelle Monae didn’t have to do much to end on here, let’s be honest. I was squashing my withdrawal symptoms from the lack of Monae funk since Dirty Computer when Turntables came out to accompany a *insert streaming service* documentary on voter suppression. Leave it to the neo-soul pop songstress to make a statement with a musical bang. This song is what Pharrell’s Entrepreneur wanted to be in my mind. No need to say Janelle brought it home, Pharrell on the other hand…

Jessie Ware — Spotlight

Few moments systematically send shivers down my spine like Spotlight’s transition from a cinematic chord section to a bumping house-inspired soft dance pop number. And the gift keeps on giving. Each piece of the puzzle makes for a spotless insertion in the most elegant offering the ongoing revival of disco has brought us thus far. Once the hypnosis is over come back to read more.

Josef Salvat — First Time

A late addition to this year’s crop of fine dance pop records, Josef Salvat’s First Time is a heart-wrenching tale of immutability within change. The build-up is simply sublime — and we have Rich Cooper, as well as Mr. Salvat himself to thank for it. Mark my words, if the upcoming LP is as gripping as First Time, 2021 has an early contender for best album of the year.

Kylie Minogue — Say Something

Talk about starting a new era with a bang! Say Something marked the beginning of Kylie’s DISCO era (excruciatingly on-the-nose? how dare you!) and had popheads all around the world sound the alarm. The aussie queen of reinvention was back, and this time again, had the potential to make one of the escapist highlight of the year. And prophecy might have become reality. Say Something is a smooth synth pop take on the need for connection written before any of the year’s events even came into focus. Kylie and collaborators just had it in them to write something universal enough that it would probably have fitted the year no matter what course we’d have been on. US war with Iran? Need for connection. No Megxit? Need for connection. No impeachment? Need for connection. Justin Bieber not releasing one of the worst albums of the year and getting Grammy-nominated for it AND having the nerve to call out the Grammys for not nominating him in the category he wanted? Need for connection.

LÉON — Head And Heart On Fire

No one has successfully tapped into nostalgia quite like LEON in the opening act of her second album (Apart). Head And Heart On Fire sounds like a song passed down from generations and in many ways it is. Maybe it’s the hints of Joni Mitchell’s songwriting, the Fleetwood Mac reminiscent arrangements or the characteristically raspy soft vocal delivery. The magic lies in not being able to exactly pinpoint where the enchantment comes from. A magic trick is best not explained.

Megan Thee Stallion — Savage Remix (feat. Beyoncé)

Queen B. Chef kiss ’cause she’s a treat.

Side effects of this track: everyone calling themselves a ‘savage’ for the dumbest things. No Elody, putting ketchup in your pasta doth not a savage make.

Oklou — god’s chariots

Oklou made great strides in the PC Music-adjacent pop sphere with her Galore mixtape. god’s chariots is a stand out that deserves several soakings to completely take in. Bask in the glory of its arpeggiated synths and the soft overlapping vocal layers. Is this what the kids call a ‘vibe’?

Phoebe Bridgers — I Know The End

Phoebe Bridgers. A name on everyone’s lips, from Jimmy Fallon to Annie next door. If 2020 taught us one thing, it’s to check on your friends regularly. Especially those whose most listened to Spotify artist is Phoebe Bridgers. Please give them a call now. The grandiose I Know The End plays with the idea of being very aware of its placement as the closer of Punisher — a perfect encapsulation of Phoebe’s ambivalence, oscillating between quick-witted comedy (see her twitter for proof) and devastating remarks on existence. What makes I Know The End so incredibly poignant is also the context leading up to it. No preceding track on Punisher hinted at the incoming cathartic scream — and the subsequent giggle.

Rina Sawayama — Bad Friend

Rina has instantaneously become a household name after the release of SAWAYAMA back in April. Every pophead nowadays is quick to defend her rights to every award she is eligible for in 2020 — and not eligible for as well. Saying she was robbed at the GRAMMYs rings deja vu but give Bad Friend a listen and tell me it’s not one of the best pop songs ever written. I dare you. (twitter: REDTAKES1) Particularly refreshing is its subject matter: the guilt trip that follows a falling out with a close friend years later. It has happened to a lot of us and it’s my first time hearing a song on it. Pixels are thriving in 2020 — RGB and in full HD let me tell you!

ROSALÍA — Dolerme

La Rosalia strikes again. I’ll be the first to admit I had no idea what the song was about the 100 first times I listened to it. This didn’t stop me from feeling all the right emotions. Rosalia has to be one of the few voices that doesn’t lose any of its punch and emotive power through heavy post-processing. She’s also poised to deliver one of the best albums of 2021. Can’t wait.

Spillage Village — Hapi

The Atlanta supergroup occasionally comes up with gems born out of undeniable chemistry and the synchronicity of deep wells of creative potential. Hapi is one of those diamonds in the rough, an adroit blend of gospel, folk, R&B and rap that ultimately sounds like it’s sung around a bonfire. Spillage Village really harbors a sense of community it is hard not to aspire to. Whenever all the pieces fall into place we catch a glimpse at what the pooling of resources can bring to the table and exceed the sum of its parts.

Terrace Martin, Denzel Curry — Pig Feet (feat. Kamasi Washington, G Perico, Daylyt)

Perhaps one of the most important songs released this year, Pig Feet is a testament to the ability of music to reflect discourse and more importantly to move the discussion forward. When done as artfully, no additional words are needed to explain the significance and weight of such music. I implore you, listen to it if you haven’t already.

The Strokes — At The Door

Few bands make it through conflict and come stronger on the other side than The Strokes have. At The Door signs off a new era for the band, willing to do momentarily do away with percussion against all odds. It’s a strange one, perhaps one of the most moving tune the guys have ever put out. A masterpiece.

Tierra Whack — feel good

The shortest track on this list, clocking at barely one minute thirty seconds. Packing emotion in high intensity. Tierra Whack is a master of the short-format, painting a picture in a matter of seconds and erasing it as quickly. She sublimes feeling into art and covers all her bases like a veteran despite having ever put out only one LP to date.

VÉRITÉ — younger women

Every now and then an artist releases an unexpectedly poignant song that takes me by surprise. VERITE’s younger women is one such occurrence (and VERITE kept the ball rolling with the incredible i’ll take the blame soon after). There are plenty of break-up songs out there, waiting for someone to claim as their own as they live through the angst of separation and living with the aftermath of whatever caused the relationship to come to a close. younger women is a song that can easily be claimed despite no relationship in sight. I can’t imagine how intense it must feel to live through something similar AND stumble upon this track. Should I start a break-up playlist in anticipation of the inevitable?

Victoria Monét — Jaguar

Jaguar is not Victoria Monet’s first step in the limelight but it’s the most self-assured yet. The singer-songwriter has honed her skills on some monumental songs, including many with bestie Ariana Grande (7 rings, 34+35, Be Alright, Let Me Love You) and a Chloe x Halle banger (Do It). Jaguar’s title track feels like a self-fulfilling prophecy: greatness attracts greatness. From the most melodically pleasing introduction heard in a hot minute, it evolves through a lush neo-soul landscape, only to bring back the intro in a denser atmosphere and give the people what they need.

Weyes Blood, Tim Heidecker — Oh How We Drift Away

A low-key Beatlesque pop rock track takes a well-deserved spot. Natalie Mering continues her streak of mesmerizing vocals in a tale of lost friendship — toying with the idea that time ticks on and we are entirely powerless to the attrition that ensues. Nostalgia lives on in this collaboration with Tim Heidecker into an oddly-satisfying 60s Americana-infused number that manages to avoid the pitfalls of obtuse derivation with brio.

Woodkid — In Your Likeness

In Your Likeness is quintessential Woodkid. It bridges the Golden Age era (circa 2013) and S16 (2020 yay) with its dramatic flair and its display of audacious production choices only a more confident Yoann Lemoine could have attempted. Sparse moments and fuller ones intersect frequently, weaving a musical fabric so textured and plentiful the track can be visited and re-visited to the heart’s content. I can vouch: it’s still as dazzling the fiftieth time around.

We made it! 30 tracks! Next up is my favorite albums list!

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Any and all feedback is greatly appreciated! Hope you enjoyed it

Twitter: @REDTAKES1