The 19 niftiest pop numbers of 2019

19. Sturgill Simpson – Sing Along

An embittered electro rampage from the American country singer. The beat is so urgent, you won’t notice you’re dancing on scorched earth. 

18. Chaka Khan – Hello Happiness

This feel-good floorfiller is no ‘I’m Every Woman’ or ‘I Feel For You’ – yet if all three songs showed up at the same party, they’d get along swimmingly.

17. Ariana Grande – NASA

Singing what might be the cleverest lyric of the year, Ariana offers the universe to a suffocatingly needy lover. Her price? Just a little space

16. Mark Ronson (feat. Lykke Li) – Late Night Feelings 

For camp melodrama, look no further than this gorgeous 70s-disco expedition. It basically stomps around swigging a glass of wine with mascara running down its face. 

15. Charli XCX (feat. Big Freedia, CupcakKe, Brooke Candy & Pabllo Vittar) – Shake It

In this four-way battle royale between esteemed rappers, Charli plays the part of referee, regularly stepping into the ring to remind you to shake it.

14. Rina Sawayama – STFU!

‘STFU!’ bites back at casual racism with a fiery nü-metal-inspired assault. 

13. Post Malone – Circles 

The singer-rapper’s softboi mumbles are a perfect fit for Tame Impala-lite dream-pop. 

12. Theophilus London – Cuba

A self-described ‘angry lovesong’, spewed out over a warped disco groove steeped in hip-hop fuzz. 

11. Grimes & io – Violence

This trance-pop glitterbomb is relatively generic for Grimes. Yet her erotically-charged account of abuse – sung in eerie, bird-like trills – is something you’re unlikely to hear from any mainstream popstar.

10. Miley Cyrus, Swae Lee & Mike Will Made It – Party Up the Street 

Low-key and hypnotic tropipop laced with Timbaland-esque BVs.  

9. Lana Del Rey – hope is a dangerous thing for a woman like me to have – but i have it

Dressing up existential dread in old Hollywood glamour is Lana Del Rey’s hallmark, but this superbly stark piano ballad doesn’t overindulge. Life sucks – yet hope persists. 

Oh, and here’s a fantastic cover by my friend Shay Khan.

8. Stormzy – Vossi Bop

Does any lyric sum up 2019 better than ‘Fuck the government and fuck Boris’? Um, NOPE.

7. Tame Impala – It Might Be Time

Kevin Parker reinvents his rock-pop project’s neo-psychedelia, adding harsh industrial overtones to highlight the protagonist’s paranoid internal monologue. 

6. Billie Eilish – bad guy

The opening beat thumps like some poor bastard who woke up in a coffin and is trying to bang his way out. The spooky post-chorus riff will go down as one of the decade’s most recognisable.

5. Tami T – Single Right Now

Over a churning bassline and synths that grow evermore anxious and chaotic, Swedish singer/producer and queer femme icon Tami T gives a brutal analysis of the quinntessential young person’s relationship trajectory (‘You wanna be single right now, but then you meet someone…’). The refrain is repeated but Tami swaps in the appropriate pronoun each round, making this song a safe space for everyone to cuss out their ex. 

4. Sir Babygirl – Pink Lite

Sir Babygirl’s music harks back to 90s femme-fronted pop-rock, a magical era when riot-grrrl edge (think: Veruca Salt, Republica) was still commercially viable. 

3. Fontaines D.C. – Boys In the Better Land 

The Dublin rockers write a sneering post-punk postcard from the big smoke. Depictions of an Anglophobic taxi driver aren’t just colourfully written – they’re politically timely too. 

2. Katy Perry – Never Really Over

Classic high-impact pop with a tongue-twisting chorus. I can confirm that it is very satisfying to memorise. 

1. Lizzo – Truth Hurts

Yes, ‘Truth Hurts’ is technically a 2017 song. Yet watching this once-niche banger not only ascend to the summit of the US Hot 100, but also go on to become the longest-running #1 by a leading female rapper (tying at seven weeks with Iggy Azalea’s ‘Fancy’) was a massive win for the millions of music fans worldwide who sees themselves in Lizzo

The 31-year-old Detroit-born singer/rapper/flautist had been plugging away for years before hitting the big time in 2019, and she did so on a platform of love and compassion, both for ourselves and the people around us. 

‘Truth Hurts’ might look like a sassy breakup anthem on paper – ‘Why all men be great ‘til they gotta be great?’ is a question the male race is yet to find a collective answer for – but it plays like a transcendent church sermon.

Lizzo isn’t the first popstar to evangelise emotional independence and preach self-help quips, but as a black, plus-size female rapper, the breadth of prejudices she has unfairly had to defy to get where she is today means that, for many people, she might be the first popstar they deem qualified enough to inspire them. 

Charli XCX’s outstanding new album is business as unusual

charli-xcx-charli-album

Stream on Spotify

Score: 9.0/10

Add to library: Pretty much everything hun

Featuring collaborations with Christine and the Queens, Troye Sivan, Lizzo, HAIM, and Sky Ferreira.

Booking festival stages and Taylor Swift support slots might be a breeze with a couple of transatlantic smashes in your back pocket. But Charli XCX is a popstar who evolves so quickly, and challenges her creative limits so regularly, that her most accessible work – think the punchy, shout-along hooks of ‘I Love It’ or ‘Boom Clap’ – is simply trite compared to her post-2014 pivot to PC Music’s hyper-futuristic robo-pop.

The conflict between these two opposing creative avenues has defined the last four years of Charli’s career: an agonising yet fruitful chapter of label interference, one scrapped third album, two critically-acclaimed mixtapes and an EP, plus an endless stream of singles.

After seven attempts at landing a hit, one of those singles, the Troye Sivan duet ‘1999’, miraculously climbed to #13 in the UK charts last year. Songs like that fluffy bit of Y2K-nostalgia porn aren’t what make long-gestating third album Charli a triumph. If you look at the popstar’s recent body of work as a hedonistic, orgy-fuelled beach resort – housed within an alien dimension where it rains champagne and snows cocaine – ‘1999’ conveys as much of that fun as an official website. But it’s probably the reason Charli has been released at all.

Because here’s the genius of Charli XCX. So deeply ingrained is her pop know-how that, alongside years of reckless experimentation, she has continued to write enough chart hits – for herself and others, see: song of the summer ‘Señorita’ by Shawn Mendes & Camila Cabello – and rack up enough industry goodwill to sneak the abstruse synth gimmickry of hipster darlings A.G. Cook, SOPHIE and Danny L Harle into the mainstream.

Take ‘Click’, for example. As soon as the aforementioned single’s gentrified house-pop makes its tidy exit, a protracted blast of feverish synth confirms we’re in business-as-unusual mode. Co-starring Kim Petras and eccentric Estonian rapper Tommy Cash, it’s a godless hymn honouring the whips, the gold, and the instant gratification that comes with being a rockstar: ‘Get what I want like “click” / They want a pic like “click”’. The cocky rhymes are propped up by simple, evocative percussion – until Cash starts rapping about Sudoku and hashtags, and the production becomes openly hostile around him. The final 30 seconds is a collection of twisted, nightmarish sounds typically associated with demonic possession, seemingly added for no other reason than for the amusement of scaring the shit out of any Taylor Swift fans picked up from the Reputation Tour. Bewildering moments like these are what make Charli a triumph.

Thankfully, there are plenty of them. The belligerent ‘Cross You Out’ slow-dances to 80s-prom drums and extraterrestrial rumblings. On ‘2099’, Charli backs up her self-anointed avant-garde status with high-tech, and highly-textured, production. Best of the lot is the Missy Elliot-recalling ‘Shake It’ – a four-way battle royale between Big Freedia, CupcakKe, Brooke Candy, and Pabllo Vittar. Charli plays the part of referee, regularly stepping into the ring to remind you to shake it. Each of these iterations comes flavoured in a new vocal effect, with the singer mutating into everything from a malfunctioning android to sentient liquid.

Whatever creative lane Charli XCX has navigated over the years, she has never stopped writing inherently catchy hooks. Charli is a world where aggressive futurism coexists with comparatively meek but charming single options like ‘White Mercedes’ and ‘Official’. That alone makes it one of the most important pop records of the 2010s, and – if I may be so bold – the next decade to come.