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deadcactuswalking · 4 years

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The Top 10 Best Hit Songs of 2020

Screw your introductions. It’s 2020, we haven’t got time for a pre-amble. This is the best list.

THE TOP 10 BEST HIT SONGS OF 2020

For 2018 and 2017, I did four massive lists with at least 10 songs each discussed in depth for the end of the year. I’m proud of them and I stick by them but they’re tedious to write and read. You really need some kind of visual medium for them to work that well, at least in my style of year-end lists. Thankfully, there are hundreds of people doing just that so instead, I’m just going to take 10 songs I remember from the predicted year-end list and ramble about them in hopefully a more precise way. Let’s start with... oh, for f—

#10

“I Hope” – Gabby Barrett

Peak: #3

I don’t like country music, or really get country music. I’m British, I’m not supposed to, but as I do watch charts I see country music gaining increased prominence on the charts, in an era of streaming I didn’t think it could really cope with. I’m using SailorCharts’ predictions for the Billboard Year-End Hot 100; this is at #10, which is crazy to me. That’s probably thanks to that nonsensical Charlie Puth remix but let’s ignore that for the sake of my sanity. “I Hope” is vindictive, overly harsh and absolutely repulsive. It shows an uglier side to Gabby Barrett that you’d usually only be able to see if you look up her political views, but that’s what makes it so uniquely cathartic to me. This is a person who I disagree with heavily on a moral principle ripping off a middling Carrie Underwood track with blown-out, compressed and really gross production... but that’s 2020 for you. It’s hard to listen to with a straight face or without turning it off, but you have to endure it. You have to listen to this woman croakily belt her overlong chorus until the melody of that hook grounds itself into your mind, and you remember that climax point. “And then I hope she cheats”. Barrett isn’t destroying the guy’s sports car as a metaphor for her revenge fantasy like Underwood, she is just completely upfront about how much she wants this guy to be left emotionally distraught by this new relationship out of pure spite. Nothing represents the constant aggravation of 2020 finally releasing and expressing all of the fears and anger society has kept curled up until they were forced to isolate for the sake of common human respect and dignity, and the fact that people are adamant that they’ve had enough of oppression, inequality and the elite, than those squealing guitars in the second chorus and Barrett’s raspy delivery. This song is far from perfect – I’ve seen many argue it’s not good at all – but it feels necessary this year as an avenue for the public to vent their frustration. Now let’s do that with someone who isn’t a Trump supporter.

“The Bigger Picture” – Lil Baby

Peak: #3

Yeah, speaking of songs being necessary, I admire Lil Baby, a person with a platform who people, especially the youth, will listen to, for making a protest song like this. Regardless of how many rappers express their grievances about racial inequality and societal issues, the person with the biggest and most impactful voice will always matter the most to me. The most important issue Baby gets at here is that racism isn’t new or simple. It’s complex. It’s deep-seated. It’s systematic. It exists in the very way people function under their governments and how people live their lives and do business. Even me mentioning business is a sign of how capitalism undermines the struggle for the economy. Lil Baby speaks from his own experience in Atlanta and gets to the heart of real Black struggle in the United States, with the inherent fear and defiance that many young Black men have of the police and authority, regardless of background or criminal record (oftentimes non-existent, unlawful or directly targeted). Sure, he dips his toe into some centrist ideas, which I’m not a fan of, but they aren’t rooted in this “why can’t we all get along?” crap often spouted by those who don’t want to see social upheaval affect the money flow. It’s not just rich old white dudes either, look at Lil Pump, Lil Wayne and Kanye West, and how buddied up they got with Trump for their own desperate financial security and outright refusal, in many ways hypocritical, to help the working-class and the disadvantaged. They’re only disadvantaged because of the elite. It should not be an inherent birth right to be impoverished, but that’s how we live, and I admire Baby for attempting to make a change over the melancholy pianos and trap skitters. Oh, and yeah, he’s flowing and spitting over this. He’s not boring and overly pretentious. He’s engaging. He makes you want and need to listen to him because he, like many Black people in America and oppressed minority groups worldwide, has got something to say. We’ve got to start somewhere. Black lives matter. Now for some honourable mentions.

Honourable Mentions

Let’s have a lighter tone, perhaps, for these next few entries, but first, let’s run through some honourable mentions, in no particular order other than where they are on the predicted Hot 100.

“Blinding Lights” – The Weeknd

This song has already been talked about to death, by about March, so I’d be doing a disservice to discuss it here.

“Don’t Start Now” – Dua Lipa

Same here. This is a weird list because whilst this would be in the top five if I had more to say about it, I don’t have much to say about it other than how it is a perfectly composed pop song. I want to discuss songs I actually care about on a level more than pure sonic enjoyment, so make of that what you will.

“ROCKSTAR” – DaBaby featuring Roddy Ricch

Roddy Ricch should be absolutely treasured while he’s still here.

“Life is Good” – Drake and then Future

If there’s one thing I’ve learned about pop music in 2020 it is that Future, when he’s on, is an absolute monster. Anyway, more honourable mentions soon, and let’s hop back onto the list proper.

Screw it, it’s my list.

“All I Want for Christmas is You” – Mariah Carey

Peak: #1

At the start of this year in January, it felt like just another monotonous routine of a year that started exactly how it would end: with apathy about the world in ruins. This is true for most years but 2020 decided to spice it up a little with... you know... 2020, and all of its pandemics, riots and chaos. So, for just a short time, can I talk about a song that provides absolute joy to absolutely everyone? It peaked at #1 at Christmas in 2019, which was part of the 2020 chart year, and it’s on the predicted list, so it counts and it is an incredible song that reaches into the holiday festivities with manufactured cynicism, before plunging into that jolly bag of cash and producing the most organically happy Christmas song ever. The song is, by name, not even about Christmassy commercialism, and rejects it entirely, with how Carey croons beautifully about how she isn’t asking for gifts, snow or Santa Claus. It’s telling how a single about wanting personal connection every holiday season is the biggest Christmas song of all time instead of any of the other schlock that gets reissued and has a resurgence in this time of year. It helps that it is a gorgeous and intricately composed song with that mellow intro building up into the sleigh bells and pounding percussion carrying the wonderfully 90s strings. This is a timeless classic and I’m so glad it’s a Christmas standard, for what it stands for as well as it being just an amazing song that really only comes around every so often to be a bonafide smash hit everyone loves and appreciates... except maybe every retail worker since December 1994. Walmart is a cesspit anyway, I assume that bile can be chalked up to overplay and negative connotations, of which this song on its own in a vacuum, has absolutely none.

“We Paid” – Lil Baby and 42 Dugg

Peak: #10

How do I even...? I mean... just listen to the song. It clicks. I’d love to leave it there but I am obliged to ramble so... I find this song impossible to explain. I mean, it’s just “We Paid” by Lil Baby and 42 Dugg, an absolute anomaly. It’s barely a song, with a chorus unrecognisable from its verses, two nasal and uninteresting vocalists, flows I’ve heard before and clearly rushed, awkward bass mastering and mixing overall... yet it’s so, so addictive. It’s all about that intro for me, where it starts with a whistle and off-beat, complete nonsense producer tags and pre-verse rambling from 42 Dugg, before the bass kicks in and it just hits so hard. I couldn’t care less about any single line after “’Fore I go broke like Joc”, and I don’t have to. Both Dugg and Baby have stiff flows but are full of character that is so, so necessary over this menacing trap beat that survives only off of the melody so incredibly low in the mix I can’t tell what it’s even trying to be. Oh, and, while we’re here...

“24” – Money Man, remixed by Lil Baby

Peak: #49

This is good for a lot of the same reasons, and wasn’t even a hit. I just wanted to highlight this song for many of the same reasons I really love “We Paid”. It’s a complete nobody rapping robotically over a trap beat that bumps but only because of the cadence and charisma of the two rappers here... which is kind of non-existent in both songs. It relies on the flows, and they’re just kind of monotonous after each of the iconic opening lines. It’s also telling that this chorus acknowledges two Black men who have since become iconic in their fields and died within a month of each other, those being Kobe Bryant and Pop Smoke, may they rest in peace. It’s pretty tragic, actually, and adds a sense of depth to the braggadocious triumph these deflated singles attempt to convey. I am bemused by these songs and whilst you can try to fully understand popular music to the point of deep analysis and Genius annotations, the best music has a sense of mystery and intrigue, at least to me, and something about the whistle in “We Paid” and the vocoded guitar line in “24” makes these two tracks incredibly replayable. Also, you know, Lil Baby’s verse on “24” might be the verse of the year.

Honourable Mentions #2

The sequel is never as good as the original. Regardless, here are some more honourable mentions.

“WHATS POPPIN” – Jack Harlow, remixed by DaBaby, Tory Lanez and Lil Wayne

This guy is a bad omen. “I’mma spend this holiday locked in” is an eerie prediction of this dour year. Also DaBaby is awesome when he tries.

“Roses” – SAINt JHN, remixed by Imanbek

The original song is dreadful, I have no idea how this Kazakh house DJ pulled this remix off but it is a massive improvement from about every possible angle you could think of.

“10,000 Hours” – Dan + Shay and Justin Bieber

That’s well over a year, like that’s 416.7 days. These guys are devoted... and honestly kind of scary.

“Ballin’” – Mustard featuring Roddy Ricch

Chorus of the year.

“Blueberry Faygo” – Lil Mosey

This song is awful, absolutely reprehensible, with no redeeming factors and a clear lack of effort put into anything in the song itself... but at least it’s optimistic. At least it sounds happy and like a true Song of the Summer, and, oh, my God, we needed that this year.

“Lemonade” – Internet Money and Gunna featuring NAV and Don Toliver

Peak: #6

NAV is on my best list. NAV is on a year-end list. NAV has a #1 hit in the United Kingdom, Portugal and Greece. NAV, the Brown Boy himself, has one of the biggest hits of both 2020 and 2021, given that this isn’t caught between years, and I’m not complaining because this song is a riot. I did say that this list wasn’t based on pure sonic enjoyment but I’m going to throw that absolutely out the window for this one. If anything, “Blinding Lights” and “Don’t Start Now” aren’t on the list out of pure fatigue, because this song is just as incredible as it sounded on release, with that slick, watery acoustic guitar coating a light trap skitter and bouncy 808s. That’s a description I could use about most hip-hop this year, but “Lemonade” has this liquid-smooth quality to it and it is safe to say that NAV and Gunna fill up all of the space available in their container here, whatever that means. NAV, for once, co-opts a flow that sounds great from his whiny Canadian mumble, mostly because he takes Don Toliver’s flow from the chorus, and whilst he didn’t write this chorus, he absolutely sells it with his soulful crooning. This song is a hedonistic celebration of everything materialistic and meaningless, but it’s having fun doing it, and that is seldom seen in 2020’s trap efforts. Gunna’s flows here are playing with the beat in a way that is reminiscent of Young Thug but finally in a way that sounds uniquely interesting and fitting for Gunna, and not just straining his limited vocals out to testing out a flow that clearly doesn’t fit the guy, or settling for something a lot less engaging. Man, out of all people to be praising this year, I did not expect it to be Lil Baby, NAV and Gunna... back to back, several times. Let’s get back to people I did expect to be gushing about by the end of the year.

“everything i wanted” – Billie Eilish

Peak: #8

Much like “The Bigger Picture”, this song made the list out of necessity, mostly in its lyrics. I would be absolutely selling this year short to not include one of the most thought-provoking young women in pop music on a list like this, and thankfully, she wrote a gorgeous song that I can discuss here. Firstly, the sound of this song is brilliantly subtle and intimate, with panning keys, light-weight clapping percussion and such little focus on everything surrounding Eilish’s soft, dead-pan cooing multi-tracked to add that extra depth and convincing delivery to the lyrical content, which we’ll discuss later. It’s not that this makes the song sound unfinished or lazy, or even uninteresting, because it has that degree of elevation that is necessary for a lyrically focused song like this, with the second verse starting off with just the muted 808s emphasising that intimacy that Eilish attempts to convey through the lyrics, which are mostly an ode to her and her brother’s especially close relationship. Eilish details her depression and even nightmares, relating to a lot of her music’s themes surrounding sleep paralysis and the very concept of dreaming. That first verse is heavy in content, and honestly distressing to even write about here, but it can be summarised in this: Eilish had a dream where she committed suicide by jumping off of the Golden Gate Bridge, which is a common location for these types of deaths, adding that unnerving realism to the verse. The verse may be about betrayal but you could interpret it and much of her music as a response to the press and the media, which seems to flip on how they portray and criticise her, which has been increasingly obvious this year. That makes the idea of no-one, not even her fandom and those keeping the most attention and eyes on her, caring about her suicide even more damaging and raising the stakes to something that doesn’t feel like meaningless teenage angst or even just dropping off emotional baggage. The song is, in many ways, a love song to the only person she thinks would care: her brother, FINNEAS, with the chorus reciting his words of wisdom and reassurance to Eilish as she struggles with suicidal thoughts. The verses may be a specific and detailed level of insight into her psyche, but the chorus, with its wider scope and lesser detail, doesn’t come off as unrealised. Rather, it appears motivational, to both Eilish and the audience, but with the following verse and final leg of the chorus making it incredibly clear that words mean nothing without an action to follow it up or back up what has been said. Motivation doesn’t mean a quote on a wallpaper or Genius lyrics page. It’s about the willpower and the inspiration to change the way you think about yourself and make self-improvements to battle these demons, even when it seems impossible, and if it does seem impossible, there’s always your close support bubble that can reassure you and bring you back down to Earth when it all feels so unreal and that you can’t handle it.

Ee-ooh.

“The Box” – Roddy Ricch

Peak: #1

It’s tough to go into extreme depth about the personal impact a hit song has had on your mental health and what this means for the audience of said artist, and then completely dismiss it for another wacky Young Thug clone, but I did it before – in this very list twice already – and I’ll do it again, God damn it. “The Box” is pure chaos. It starts with this triumphant brass section that sounds dusty and classic, but then you immediately hear that damned “ee-ooh” sound, barely on beat and barely holding a note. It sounds like a poor falsetto imitation of a door creaking, and it is perfect. It’s just such an engaging hook, as if the actual hooks and choruses weren’t engaging and interesting enough. There’s so many intricacies to Roddy Ricch’s performance here and his array of flows are put on display excellently over this menacing beat with that reversed 808 that sets this apart from any other trap beat, especially with the eerie keys and especially with Roddy Ricch, who delivers possibly the best performance on this list second to my #1. The song starts with that mighty, iconic hook and even with that, Roddy rejects his flow before the measure is even up, outright refusing to continue and stalling with a muted “mm” sound. The lyrics aren’t cryptic by any means but it’s not like they’re all that simple, forming some kind of trap-rap word association all about “the box”, which could really mean anything at this point. He goes for a whiny elongated ending to each line in the second part of the chorus before switching sides to elongating the middle of the line in contrast to him spitting the last few words in rapid succession with a carefree cadence that’s almost inspiringly smooth. His verses are littered with charisma and hilarious ad-libs, and that’s before he goes into that falsetto for the second half of the first verse, with a simple but joyously stiff delivery, that makes his voice get closer to cracking with every syllable. Then we have the second verse, where the dude even laughs on beat and makes it sound great. The yelping in the second verse is endearing and amazing, with the way the beat cuts off for him to belt “BITCH, DON’T WEAR NO SHOES IN MY HOUSE!” at the top of his lungs like a misogynist toddler absolutely completing the song for me, and how the beat comes in afterwards is just perfect. It’s hard to explain this song without listening to it, again, but one listen of these flows and how he plays around with the beat like a kids’ toy is enough to understand truly why this song is one of the best of this year, and that Roddy Ricch is an absolute treasure.

I’m a 2020 presidential candidate / I done put a hundred bands on Zimmerman

This might be the best lyric on this list by the way. Speaking of ridiculous trap bangers with quotable lyrics and incredible flows...

“Heartless” – The Weeknd

Peak: #1

How did both of these songs hit #1? Sure, they’re trendy, they’re catchy and they’re by popular artists, but there’s something about these songs that feels so chaotic and messy, yet so grounded in reality despite how loony these guys and their performances are, including the lyrics. For “The Box”, you have 30 Roc’s pounding trap beat to make sure Roddy doesn’t completely go off the walls, and for “Heartless”, well, the same is true, but replace 30 Roc for the absolute legend of modern hip-hop production that is Metro Boomin. The intro going into the first verse is one of the highlights of pop music this year. I love how it leads you in with the mystery of the coating of reverb-drenched synths, all of which sound oddly alien, before revealing the layer of the trap beat and furthering the mystery via The Weeknd’s whispering “sheesh” ad-libs. Then, when that first verse hits, all subtlety is dismissed as excessive and unnecessary, even with that first cocky opening line, but especially when the heavy 808 bass continues to crash multiple on each bar surrounded by air horns and Abel’s never-ending luxury porn. This song is an ode to self-aware, reckless and absolutely self-indulgent materialism, highlighting its effect on not only how Abel copes (most notably with the amphetamines making his “stummy” feel “sickly”) but also on who surrounds him, particularly his inability to settle down and find a partner, and how frustrated he is with this, which is especially true in the chorus, before he puts on the disguise once again for the verses, in which he spits a list of endless excessiveness in his bars carrying as much swagger as he usually does. This song in all its maximalist production is oddly minimal in how it presents the raw psyche of the character of the Weeknd and his drug-addled mindset that couldn’t care less about the effect he has on his friends, family, women, himself or even society, as long as he has a good time... but it’s increasingly clear that he knows the impact this life style has and he understand that it makes him “heartless”, but only because that’s what he decides is directly affecting him and of course, Abel has always made sure that the character of the Weeknd is as selfish and self-obsessive as possible. It helps that this isn’t a moaning and moody piece of self-indulgent boring trap slop. It isn’t conveying a message through music that can’t represent it, it’s effectively pulling off its narrative through the whole sonic package, and you know what helps even more? It’s fun, and it’s funny, and the revealing bridge where Abel looks back at his past relationships and how this life style is a response to the damage and pain inflicted on him by said relationships, comes as a genuine shock because just seconds earlier, the guy said this:

So much pussy, it be fallin’ out the pocket

What an incredibly thought-out song, and definitely one deserving of a couple GRAMMY Awards in whatever category those racist out-of-touch elitist executives decide to retroactively slot the Weeknd into when the backlash becomes too much. With that said, here are some more honourable mentions.

Honourable Mentions #3

Now in IMAX 3-D!

“Break My Heart” – Dua Lipa

INXS are fuming.

“Good as Hell” – Lizzo

This is beautifully composed and genuinely motivating, and Lizzo has so much charisma but in 2020, I do not feel “good as hell” enough to justify this being on the list. Hey, what can I say? Truth hurts.

“Truth Hurts” – Lizzo

That failed gag was about as on-the-nose as this song itself, but Lizzo totally embraces that.

“For the Night” – Pop Smoke featuring DaBaby and Lil Baby

“Wishing Well” – Juice WRLD

I’m not a fan of these songs in particular but it would be awful of me to not include these two artists on the lists, even if it’s tragic that it has to be posthumously. Both were gone way too soon, and way too close together for it to feel anything more than distressing and really depressing. Sure, they represent two completely different issues rappers face, but the fact that the two biggest hip-hop artists of 2020 are both gone and not able to see this immense success is just a tough, bitter pill to shallow. Rest in peace to both of these men and I hope out of respect for their legacy, and out of apathy for how the record labels milk both of these audiences, that I won’t need to talk about them in the years ahead.

I have just discussed a lot of important songs with meaningful concepts, deep lyrics and insight, sonically innovative instrumentals and genuine emotional trauma as the background for their creation... but when I discuss my #2 as well as my #1, I need you to keep in mind this question: what is the purpose of pop music?

#2 – “RITMO (Bad Boys for Life)” – The Black Eyed Peas and J Balvin

Peak: #26

Popular music and especially the charts should always be taken with a grain of salt. Art doesn’t necessarily mean anything without meaning appropriated to it, and that meaning has a bunch of baggage that correlates to the lyrical meaning and contextual history behind whatever is being analysed and what is being criticised or praised. The Billboard Hot 100 is a glorified stat pad, as many have pointed out, and there are flaws in the system that don’t even make it a perfectly accurate set of data. This isn’t to undermine popular music and its impact. I’m not saying Elvis Presley and his ludicrous amount of weeks at #1 is to be scoffed at, or that Michael Jackson’s Thriller is an inconsequential piece of music that shouldn’t be remembered as fondly and as often as it is. These albums and artists had a genuine effect on culture, and the society that follows it, especially in the United States’ desperate attempts at gathering an “American” culture to cope with their extreme levels of regional, ethnic and economic diversity and disparity. Neither my #2 nor #1 pick reflect that at all. In fact, “RITMO” is a laughably bad song, but to call it a song implies there is art here, when in reality this is a pure product made for a soundtrack to a mildly successful Will Smith movie, made as a cash-grab by a fading producer-rapper and a tacked-on genuine mega-star who was offered millions of pesos to rap on this dated, lazy house-adjacent reggaeton beat. This isn’t just a product, it’s packaged and not with limited edition decoration, just typical, disposable plastic that’s harmful for the environment. I’m not doing a worst list this year because I want to celebrate what remnants of fun we had in 2020, and it’s telling that a lot of these songs are from 2019 or earlier in the year, and feel like separate landscapes even. Do you seriously remember “RITMO” in any capacity? Or even the movie that it was made for? It’s almost outstanding that a song that samples a band called Corona can be so oddly tone-deaf to the current situation, and not even one of the pandemic, but one of social progression and worldwide oppression that this song ignores to sell a product... but ignorance is bliss.

It’s misleading to say that 2020 started off awful in March. That would just be blatantly untrue. Hell, the virus was discovered in Wuhan in December and made its way to Europe and the United States by the time late January rolled around, and even by then the US had killed important Iranian military secretary and one of their national heroes Qasem Soleimani ostensibly on grounds of “terrorism” for the sake of a power play and risking a potential world conflict. Diplomatic incidents don’t just happen, they have reasoning and they have a background. Not even in popular music do things just happen, they follow a trend or a burgeoning genre, and if they don’t, they are pioneers of a trend that follows to varying success. You can see this in 2019 producing the biggest hit of all time with “Old Town Road” by Lil Nas X, which felt like a sudden insurgency of this random country-rap pop song by a complete nobody becoming suddenly one of the most important cultural milestones in the country’s history. It’s less of a sudden event and rather an exemplification of things that were happening over time, like the dominance of streaming, conglomerates manipulating what was believed to be organic digital and social media to benefit them and the elite, the increasing saturation of white men in the country genre that has yet to improve from his bro-country years, the racism that runs rancid in the South as Republicans steer closer to extremism and anyone who can challenge them decides to clear their way to the centre or is oppressed and ignored by the government that can continue silencing them. You may say that it’s not that deep but if you talk about popular music, you absolutely have to consider its wider impact. With all that said, sometimes it’s better to live in the moment.

“Hot” – Young Thug featuring Gunna

Peak: #11

Maybe it’s bizarre for me to dismiss everything I said about the cultural impact of popular music and its existence as a product for the big three record labels as well as a milestone for culture and the audience that consumes it, just so I can put my favourite hit song at the top of the list. I would completely agree with you, and I wasn’t planning really to put this song so high until it immediately clicked in a contrast with “RITMO”. “RITMO” isn’t self-aware of its existence as purely a product and nothing else, but it’s not like that fact is hidden from you when you listen to the track. It is pure ignorance of the wider world and pure ignorance of anything that is actually and genuinely important to people across the States and across the world, but not in a way that can move people and become important. Sure, the song is fun and catchy and actually a pretty damn great song, that is why it’s so high on this list, but it’s more to represent how heavily these songs juxtapose each other. “Hot” is in equal proportions a promotion of commercialism and materialism, much like “Heartless”, but without any of the emo-adjacent moaning about fame and without any of the self-awareness... which may seem like “Hot” misses the point but it absolutely does not. “Hot” is the absolute peak of the trap genre. It’s not conceptually important, but it is a song that means the most to me in this particular period and in this particular year. The song is an album cut from 2019 that is only big because of a Travis Scott remix and SpongeBob memes, so it sets itself up to be perfectly detached from 2020, even before you hear those triumphant horns from Wheezy and the trap percussion that bumps harder than anything else on this list or in Thug’s discography. That immediate release of energy coated in smoky, whispery ad-libs isn’t what makes this song important, though, it’s the subtle build-up of Gunna’s simple, direct but menacing flow that feels like he is directly talking to you and almost wagging his finger at you whilst doing so. It’s just Gunna appreciating and absorbing the peak of hedonism in a cohesive and monotone Auto-Tuned flow. Just like the years of the Trump administration and prior, it creates a routine and a pattern that despite how outrageous it may seem, gets you used to believing what is expressed and revealed, which is often completely petty and ridiculous nonsense, just like Gunna’s bars here. Then Young Thug comes in. The aura of mystery surrounding his reverb-drenched mumbling in the bridge intrigues you and pulls you in, taking you out of the Gunna-infused hypnosis and dragging you face-first into starstruck astonishment. The song finally releases in full-blown explosive trap-rap fashion with one simple meaningless phrase: “I took the Bentley coupe back then I hopped in a Cayenne”, followed by that energetic screeching ad-lib that book-ends nearly every bar here. Finally, there’s liberation. Sure, this is hyperbolic, and I’m not trying to make some insanely pro-Biden political statement here, but it feels significant to me that this is one of the biggest hits of one of the most historically essential years in recent history, even if it didn’t make much initial impact. Thugger switches from sing-songy melodies to repetitively imitating a machine-gun in a guttural yell, and it feels natural. It feels chaotic and that there is very little focus, but that’s because there is. He is completely ignorant of anything surrounding him and indulges in his own self-aggrandisement with rapid but smooth flows in his signature yelping delivery. The lyrics are frankly meaningless and irrelevant listing of luxury brands and cars, but that’s because Thugger couldn’t care less about the wider world or what surrounds him or even the impact he himself has on society or culture. It’s not like that means the song can only be appreciated in a vacuum because it creates that vacuum for itself, and by using that one manic Thugger verse – the best verse I heard in 2019 and one of the best verses to ever hit streaming services on pure energy and delivery alone – allows itself to release and indulge in the little things, the petty fantasies, those precious albeit unimportant elements of life that add up to form some kind of self-satisfaction and dare I say in 2020, happiness, and before you can even truly appreciate that...

Turn the whole top floor to a whorehouse / Hundred racks in ones, dude bought the flood out

...it’s taken away from you once again, and you have to scour your way through a fading trap beat without any of the additional touches that made it so great in Thugger’s verse, without the playful flutes, and most importantly, without the fun. You’re left there with what remains of Wheezy’s composition after it was ravaged by Thug and with only the same whispery, barely audible repetitions that started the song off, and you realise that whilst the release may feel great and liberating while it’s there, until you break the routine and bring about change, your happiness and your freedom is meaningless and any attempt to replicate that same feeling is futile. So to answer that question, the purpose of pop music is to reflect on how culture and society develops, evolves and adapts with what it’s faced with, but ultimately, to us as people and consumers, music serves as a fleeting moment of joy, self-expression and most importantly, a release of what has to be bottled up and silenced in the everyday routine of life, because of powers outside of our control. Farewell, 2020, and good fucking riddance.

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