The Best Songs of 2020

You can view our list of The Best Albums of 2020 here.

For many of us, our music listening experience in 2020 was vastly different from any other year. I honestly have no memories of jamming to songs in my car, hearing music over the loud speaker at a bar, or enjoying live music with a crowd of people on a warm, summer night. In 2020, my memories are mostly indoors, and very often, alone.

So what songs do we turn to in those moments? What tracks kept us company through the ups and mostly downs of a year lived largely in quarantine? We did our best to build a list of songs that captured the emotional highs and lows we felt, along with tracks that spoke something meaningful or something new. Take a look – and a listen – and let us know your favorite tracks in the replies!

15. AJR – “Bang!”

Here’s a real wild card. I was supposed to see AJR play this spring but then quarantine started. They’re a recent addition to my Spotify, but my brother is a big fan and has been trying to get me to listen to them for about a year or so now (Hi Nick!). He was largely unsuccessful in his attempts, but their radio single “Bang!” was when I hopped on the train. I’m not generally a Top 40 gal, but this song is refreshing. It’s radio friendly but original. Lyrically, it’s about growing up and how difficult that is, but sonically we’re at a party. It’s a promising single for the band’s fourth album and I’m excited to see how it fits in with the rest of it (We can expect that project early next year.) – Nadia Alves

14. The Bombpops – “Double Arrows Down”

“Double Arrows Down” is a raging punk song that focuses on guitarist/vocalist Poli Van Dam’s struggle with diabetes. Focused around an incident of passing out at a gas station due to complications from the disease, the song is equal parts terrifying and filled with rage (“I’m sitting there, in another cold pharmacy chair / Standing by while they suck my veins and wallet dry / I can write all these defiant songs, but my life is still reliant on machines”). The Bombpops portray the terror of this disease against a blazing punk riff and an electrifying pop chorus. The full horror and frustration of the disease is played out against the sound of rebellion, and hope to ultimately battle diabetes to the end. – Kyle Schultz

13. Juice Wrld – “Righteous”

Juice Wrld’s posthumous 2020 album Legends Never Die is a breathtaking view of what was to come from the emo rapper before his tragic passing last December from a drug-induced seizure. “Righteous”, the album’s lead single, serves as a haunting reflection on his mental health struggles and self-medication in an attempt to ease the pain. His words float gently atop the melancholy beat as he ponders on death and the cyclical nature of his addiction. “Taking medicine to fix all of the damage / My anxiety the size of a planet”, he confesses as his voice begins to rise. It’s a track that encapsulates the heart of a gifted artist gone far too soon. – Kiel Hauck

12. Twenty One Pilots – “Level of Concern”

For only releasing one song in 2020, Twenty One Pilots have had quite the impact this year. They released “Level of Concern” in April, when quarantine was only a two week affair and we all were baking sourdough and blending our coffee. Ah, simpler times. Personally, the guys have had a lot going on as well — Josh got married at the end of December, and Tyler and Jenna had their baby. They still found time to give us the perfect song about the absolute stress and anxiety of living through a pandemic, and it’s easily the most on-the-nose song of the year, which is why it makes my top songs for 2020. Plus it’s a bop. – Nadia Alves

11. All Time Low – “Sleeping In”

“Sleeping In” is the best song All Time Low have written in a decade. Seamlessly blending the pop direction of recent albums and the Warped Tour mosh pits of albums past, the song is the personification of the band’s career. All at once oozing in swagger and sexiness, “Sleeping In” is the song that All Time Low were always meant to write. The song manages to find restraint in the verses with a pop-funk mesh (“We got shit to do, you got work / But we fall right back into bed, like it’s all just a game / And we can’t help that, no we can’t help that”) and an all-out punk rock chorus that rivals All Time Low’s best (“If I said ‘I want your body,’ would you hold it against me?”). – Kyle Schultz

10. The 1975 – “Jesus Christ 2005 God Bless America”

I’ve long held that The 1975 are at their best when their songs are stripped down to an elemental level, which is what makes “Jesus Christ 2005 God Bless America” one of their best. A painful, folksy track about secret loves forbidden by religion reaches unexpected heights thanks to contributions from Phoebe Bridgers. Could anyone else on the planet make lines as simple as, “I’m in love with the girl next door / Her name is Claire” sound as emotional and meaningful through cracking, whispered vocals? When Bridgers and Matt Healy come together during the song’s final chorus, their song of love just beyond their reach becomes magic – and tragic: “Fortunately I believe / Lucky me”. – Kiel Hauck

9. Phoebe Bridgers – “Moon Song”

Though not released as one of the singles from Punisher, this track from the album is my favorite. I mentioned the raw emotion of it in my album review. Generally the freshness of a song will influence how much it sticks in my mind before I toss it aside for something shinier I get distracted by, but this one is a true jewel on the album, Phoebe’s discography, and the year in music. It’s rumored to be inspired by Conor Oberst, but lines like “You’re holding me like water in your hands” is all too relatable in a year where almost all of us have experienced intense loss and a redefining of priorities. I could have chosen any one of the songs from Punisher as one of my top songs this year — the album is truly that great — but “Moon Song” just has a little something extra that takes it all the way to the top for me. – Nadia Alves

8. KennyHoopla – “how will i rest in peace if i’m buried by a highway?//”

The title track from KennyHoopla’s debut EP is a renaissance song of genre, mashing new wave rock with garage punk and creating a modern dance track with the sensibilities of The Yeah Yeah Yeahs. The song is an energetic track that sounds ripped from the early 2000’s indie scene. However, the track is also a commentary on the uncomfortable nature of conforming to looking acceptable in society (“Culture is so claustrophobic / Claws to prove it hurts so good / And the party’s over / I’m still on your couch now, love”). The speed at which society moves and changes its opinion is a damaging thing (“How can I rest in peace if I’m buried by a highway? / Pain on the keys, is everybody still breathing? / Weight of my shadow, it gets more heavy, and it scares me, yeah”). The song turns the anxiety of the quickly changing world into a song that works equally on the dance floor as it does on a Midwestern emo playlist. – Kyle Schultz

7. Halsey – “you should be sad”

For the country ballad entry to the genre melting pot that is Manic, Halsey penned “you should be sad”, one of the rawest and most personal tracks of the year. It’s easy to mistake it as a break-up song (that was last year’s “Without Me”), but this is what you write when you’re on the other side, looking back at your ex with a smirk. Halsey tees things up mightily on the pre-chorus with the lines of, “No, you’re not half the man you think that you are / And you can’t fill the hole inside of you with money, drugs, and cars”, before bringing down the hammer with, “I’m so glad I never, ever had a baby with you / ‘Cause you can’t love nothing unless there’s something in it for you”. Ouch. It just might be the most empowered sad country song you’ll ever hear. – Kiel Hauck

6. Hayley Williams – “Crystal Clear”

In Hayley Williams’ solo project, Petals for Armor, she gave us songs about mental health, loss, femininity and new beginnings. Having the album since May really gave me a chance to pick through every track and I can confidently say “Crystal Clear” deserves a place on my top track list for the year. It’s the best closer I heard this year, and the way it brings the album full circle was necessary for something that began in such a dark and spiteful place. Hayley really took the time to truly process the past few years of her life and the decisions she’d made. Finishing it all off with a powerful song about forgiveness and clarity is a great lesson for all of us. – Nadia Alves

5. Taylor Swift – “Mad Woman”

One of the few venomous songs on Swift’s folklore, “Mad Woman” makes use of every line to fight back against an oppressive industry. On a base level, the song acts as a spiritual successor to Lover’s “The Man”, but there is much more to the song than the theme of “a woman scorned.” The song is at least partially a commentary against Scooter Braun, the music producer who bought all of Swift’s master recordings (“What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile? Or does she mouth, ‘Fuck you forever?’”). One of Swift’s few rage-imbued songs, “Mad Woman” describes the toll taken on women who see themselves being taken advantage of by anyone (“Every time you call me crazy, I get more crazy / What about that? / And when you say I seem angry, I get more angry”). – Kyle Schultz

4. The Weeknd – “Faith”

The most exciting stretch of After Hours belongs to the three consecutive songs featuring production from Metro Boomin, culminating with “Faith”. Here, Abel Tesfaye’s vocals become an instrument in the mix as he circles the drain and loses his religion, confessing, “When I’m coming down is the most I feel alone”. It’s a startling lament to an addiction that creates a chasm between himself and others, but the song reaches its thematic and sonically thrilling climax in the final minutes as the entire tone of the song shifts. “I ended up in the back of a flashing car”, he sings as he gently describes the shimmering lights of the cityscape and ambulance siren. The song fades into “Blinding Lights” – the biggest pop hit of the year, which takes on a sinister new meaning in this context. Truly, no one has mastered this sleight of hand trick better than The Weeknd. – Kiel Hauck

3. Marina – “Man’s World”

This has been one heck of a year regarding social justice and reform. Historic protests against police brutality, and in the America election, the choice of our first female vice president —  just to name a couple. Marina has come swooping in from her break after 2019’s Love + Fear to bring us “Man’s World,” a scathing track about gender equality, one of many women to release commentary on the issue. As a woman, the time for artists to talk about important issues plaguing my demographic are always welcome, and Marina has dropped a truth bomb on us in this track. She also put her money where her mouth is by choosing an all-gal team for the track’s production. It’s absolutely my track of the year, with its drop in November completely upending any idea I had of my ranking. – Nadia Alves

2. MxPx – “Worries”

During the height of the COVID-19 pandemic, MXPX were one of the first bands to release an original song about the new reality we all faced. “Worries” managed to melt away much of the anxiety that I felt living through the height of Chicago’s lockdowns and inspired me to leave the quarantine I had been in and venture home for the first time in two months.

“Worries” managed to bypass fears of the disease at the height of the lockdowns in big cities, and express the emotional resonance of a classic MXPX song while inspiring listeners to persevere with enigmatic skate punk verses and a raging punk guitar chorus/bridge (“I’m not worried, I’ll be fine / Just want you to know you’re on my mind / I’m not worried, just worried sick, a little dose of you might do the trick / You’re the cure for worried sick”).

It’s almost solely because of this song that I began to gather myself again and prepare for the rest of the year in Chicago’s early May. Even now, in December, I give this song credit for inspiring me to cast off the fear of the Spring lockdowns and prepare for the return of the every day. It’s also been a constant soundtrack throughout the year as infections seemed to surge again, reminding me that a return to “normal life” is only a matter of time away. – Kyle Schultz

1. Dua Lipa – “Break My Heart”

It’s difficult to choose just one song from Future Nostalgia that fully encapsulates Dua Lipa’s thrilling breakthrough this year, but if “Don’t Start Now” was fan service for the general audience, “Break My Heart” represents Dua’s alt-pop queen potential. Featuring an irresistible interpolation of INXS’ “Need You Tonight”, this dance/disco track feels less like an 80’s homage and more like a doorway into the future of pop music. In short, it’s the most fully realized track of the Future Nostalgia concept.

But as you’re dancing, take a listen to Dua’s growth as a songwriter. “Break My Heart” is about those moments in an exciting new relationship when you’re standing on the edge of the cliff. Is it safe to jump? Who could ever know? “I’m indecisive, but this time I know for sure”, she sings on the opening verse before crooning, “It’s you in my reflection, I’m afraid of all the things you could do to me”, on the pre-chorus. It’s a giddy uncertainty we’ve all experienced set to the most electric soundtrack you could imagine. And in a year as dark as this, it’s a refreshing dose of light and innocence. – Kiel Hauck

Honorable Mention:

Run the Jewels – “Yankee and the Brave (Ep. 4)”
Billie Eilish – “No Time to Die”
Carly Rae Jepsen – “Comeback”
Ariana Grande – “Positions”
Childish Gambino – “Algorhythm”

Posted by Kiel Hauck

A Night with Marina on the Love and Fear Tour

Seeing Marina live has been on my bucket list since I started listening to Electra Heart. I have always loved her cinematic approach to music and if you watch any of her music videos, you know she likes to go big or go home. So naturally, when she announced the accompanying tour to her album Love + Fear, I knew I had to be there. I know I say that about every show I go to, but after years of wondering whether I would ever get to see her perform, I really did have to be there.

She brought Daya as her opener, but we got stuck in traffic and only got to hear her play her last song, the song she did with The Chainsmokers, “Don’t Let Me Down”. You could tell that she had done a good job of opening, because everyone was already dancing and having a great time. I was bummed to miss her set.

Marina came on at about 8:30 p.m. and opened with the lead single from Love + Fear, “Handmade Heaven”. She was accompanied by a team of four dancers/background singers and a drummer. She then played “Hollywood” from her first album, The Family Jewels. She split the show in half, the Love half and the Fear half. She chose other songs from her discography that fit into each section and it was pretty cool to think about her sitting and planning her tour, picking and choosing songs that have connected throughout her whole career. 

She played an acoustic version of “Teen Idle” that I mention not only because she played it beautifully, but because of that particular song from Electra Heart. It’s one of the darker songs on the album but she hid that behind a lot of synth and effects. When it was so stripped back, though, it really drew attention to the despair in the lyrics. I think it was a testament of how she’s grown since 2012. Even though Electra Heart was a character she created, Marina’s gone through a lot in her career. She’s dealt with a lot of personal things in the spotlight, and it’s no doubt that she stepped back from music to deal with those things privately. So to hear “Teen Idle” so bare like that was really special. She clearly doesn’t relish in those lyrics anymore, and she doesn’t want us relishing in them either.

All in all, I would absolutely follow Marina through this tour. Her use of dance was a lovely choice, and the setlist couldn’t have been more perfect. From “I Am Not a Robot” to the unreleased track “I’m Not Hungry Anymore”, she really gave everyone something to look forward to. It was a pretty chilly night in Boston, but Marina’s high energy show made us all forget about that for a while.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: Marina – FEAR

You can read our review of the first half of LOVE + FEAR here.

We’ve gotten the first half of Marina’s album LOVE + FEAR, which she released on April 4th. FEAR is the second half, and it’s finally here. A whole 16 tracks from Marina Diamandis to savor. She released snippets of “Life Is Strange”, ”Soft to be Strong” and “No More Suckers” last week via her Instagram, but we received no official singles from the FEAR portion.

You can buy or stream LOVE + FEAR on Apple Music.

With those statistics out of the way, let’s get into FEAR. We all went into LOVE knowing pretty much what to expect. We had four singles and, arguably, a lot more commentary from Marina herself regarding the album. Up until a few days ago, we had no reference point for what angle FEAR would come from, other than a title and a tracklist. I love both LOVE and FEAR pretty equally so far, but I think FEAR is the more surprising of the two.

When you listen to LOVE, it’s immediately clear what we’re walking into. That seemed to be the case with FEAR, too, judging by the first track “Believe in Love”. It sounds exactly like a song titled “Believe in Love” should sound right up until the bridge, which is where I also feel some of the title inspiration came from. She sings, “Shouldn’t take fear so seriously” – a total turnaround from what I assumed the album would be thematically. We celebrated love on LOVE, but we’re celebrating a lack of fear on FEAR.

I talked a bit in my first review about how relatable Marina’s lyricism is and FEAR is no different. We should be able to celebrate overcoming fear and doubt, and Marina has given us art that allows us to indulge in that. She writes a lot about society and she acknowledges that it’s fine to be fearful, as long as we don’t set up shop in that state of mind. I feel like that’s why she released LOVE alongside FEAR. She could’ve very easily released only one of the two and called it a day, but she wanted to draw that parallel. In this way, she’s like no other pop artist around.

If we’re keeping with the recent music news, we’ve got the new Taylor Swift song that’s literally called “ME!” and it’s about loving yourself and all that jazz. That’s all fine and good, and I’m not trying to dunk on T-Swift, but as far as modern pop goes, I feel like Marina is one of the only artists who intentionally turns the microscope back onto the world around us. She knows that individuals all have a part to play in making the world turn, and she’s not shy about reminding her listeners of that.

Stand out tracks for me are definitely “Karma” for it’s fun vibe (as well as her trademark ‘talk while you sing’ deal), “Emotional Machine” for the lyrical rawness and (again!) relatability, and “Soft to Be Strong” because of how it ends the album so poignantly. As you all know I pay close attention to how an album flows, and the transition from the end of “Soft to Be Strong” back into “Handmade Heaven” is *chef’s kiss*.

So suffice it to say, I love Marina’s new album in its entirety. The production value perfectly encapsulates what Marina has done before but brings a new, refreshed spin on it. She’s only grown stronger lyrically and I’m so glad she’s back with us. LOVE + FEAR is another beautiful testament to Marina Diamandis’ genius.

4.5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: Marina – LOVE

UPDATE: You can read our review of FEAR here.

Last year, I talked a little bit in an article about chasing away winter about my intense love for Marina and the Diamonds. Last year, we had no clue that something was going on with Marina Diamandis, as she had been silent since 2015’s Froot. In the fall though, she released a song with Clean Bandit called “Baby” (which is an absolute bop) and we all noticed something. We had Marina back, but where were her Diamonds? Well, she took the opportunity of three years away to rebrand herself, and now she’s only Marina. What hasn’t changed, though, is the heart and soul she puts into the music she creates.

You can buy or stream LOVE on Apple Music.

Her latest offering, LOVE is part one of a two part album, LOVE + FEAR. She gave no intention that she was going to release them separately, but she tweeted on April 4th that, “[She] created ‘LOVE + FEAR’ as 2 separate records to be listened to individually. I’m releasing ‘LOVE’ today so you can listen to in full before we move onto ‘FEAR’.” So we got four singles (the first four tracks in the listing) and then four totally new tracks in this first wave of new Marina music, and then we’ll get another eight on April 26th.

Each track on the album seems to come from a very personal place for Marina. She’s coming off of a pretty long hiatus, and adding that to the fact that her reasoning for taking a break was the fact that she felt like she was losing herself amidst the touring and constant production, it’s safe to say that she would want to be intentional with the first project she releases. She’s been intentional with every release, but for some reason this album feels bigger than anything she’s embarked on before.

When she released “Baby” with Clean Bandit, I assumed it was just a one-off. Only when I saw the tracklisting did I realise she would use it for the album. I feel like she recorded this as a way to let off some steam. The album is pretty heavy from a lyrical perspective, and “Baby” is a good way to remind us that Marina’s here because she loves making music and wants it to be an enjoyable experience for everyone involved – especially herself.

Though I didn’t know it then, Marina would become a staple in my queue because of the activism she aims to spark. She’s not crazy and totally in your face, but I’ve always seen her music as more than just bubblegum pop. I could name a track from each of her albums that inspires thought from the listener. For LOVE, I would say that there are several. “Enjoy Your Life” is about being mindful and positive even when things seem mundane, “True” is about self esteem, and “To Be Human” is (in my opinion) a companion track to “Savages” from Froot.

If this is LOVE, I can only wonder what we can expect from FEAR. Even when Marina sings about the harder part of life, she wraps it in a musical soundscape that draws us together, making us enjoy using these finer processes of thought. We all see how messed up the world can be, and I believe Marina’s message upon her return is banding together and figuring out how to change. It can start with only one person, and that’s something to be celebrated.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Queue It Up: March 4, 2019

Yes, March 1st was a big release day this year. We have new full-lengths from Hozier, Solange and Weezer for our listening pleasure. However, a few of our other favorite artists have released new singles worth jamming, too.

“Sucker” by The Jonas Brothers

THEY’RE BACK. I can’t believe this is happening, but in 2019 The Jonas Brothers returned to social media to tease new music. The first new music in six years from Kevin, Joe and Nick was released at midnight, and you can bet your firstborn that I stayed up for it. Oops, your firstborn is gone now. It’s a great track and the video is even better. Filmed in the castle that also housed Oscar winner, “The Favourite”, the video showcases the guys’ respective significant others – Danielle, Sophie and Priyanka. It’s everything I ever dreamed of and they’d better go on tour or I might cry.

“Superstar” by Marina

“Handmade Heaven”, the first single from Marina’s new album, Love + Fear, has been out for almost a month now. Both singles, as well as “Baby” from late autumn 2018, are from the “Love” part of the album, and I’m curious as to whether she’ll release a single from the “Fear” portion. This single is totally different from “Handmade Heaven” and is more reminiscent of the Marina we’ve been in love with since 2010. “Superstar” is a great track and I’ve been playing it all weekend.

“Now That I Found You” / “No Drug Like Me” by Carly Rae Jepsen

The addition of Carly Rae Jepsen here is admittedly for Kiel [Thank you! – Kiel]. I’m not personally a huge fan of Jepsen’s work, but I’ll say that the two songs she released this week are great. It’s very Carly Rae; she seems to have found a niche that she’s sticking with. We’ve got three singles, but no release date for her fourth album. Both tracks are pretty thematically similar, but I do prefer the second of the two, “No Drug Like Me”. She used some heavier 80s synth than she usually does, and the distinction is nice.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.