Few major star artists or undeniable smashes came around to claim the space by force.
The original music of 2022 struggled to find its footing, at least on the Billboard charts, as massive hits from the second half of 2021 continued to linger near the top of top 40 radio and streaming playlists, seemingly refusing to make room for newer songs. Few major star artists or undeniable smashes came around to claim the space by force.
Cody Johnson, a Texas native, scored a straightforward hit with this soaring, uptempo song that spent multiple weeks at the top of the Country Airplay chart. The theme of “‘Til You Can’t” is one that can be related to by everyone: make the most of each day and give every moment your all, whether you’re pursuing your dreams or clinging to ones you already have. Ben Stennis and Matt Rogers composed the song; singer-songwriter Johnson did not. Nevertheless, this former bull rider and rising star sings with the passion of someone who has experienced every word of the song.
Similar to his global success “Love Nwantiti,” CKay’s “Emiliana” is a lovelorn song that combines acoustic contemplation with Afrofusion beats. It displays the hitmaker’s ability to hit both the heart and the hips with the same arrow and throws in a Soulja Boy reference for good measure. Emo and Afrobeats may appear to be a one-night fling on paper, but if the Nigerian singer maintains this winning trend, they may be certain to blossom into a serious relationship and possibly give birth to some progeny.
The opening line of Bonnie Raitt’s superb 21st album, Just Like That…, sums up “the serenade of a made-up mind” best: “The hush behind a slamming door/ The break of a heart that won’t break no more.” The punctuation is left to the Rock and Roll Hall of Famer’s guitars, whose distorted, fuzzed-up riffs give the song both its strength and its venom. Raitt herself doesn’t need to add any additional commentary; all she needs to do is lend a sympathetic ear and a knowing nod to the next ex who is left standing by themselves when the music ends.
While it was clear from the adoring fan response that the song deserved to be a much bigger hit than it was, R&B radio started to feel the impact of Ari Lennox’s smash hit “Pressure” closer to the end of 2021. Fortunately, the format gave in in 2022, turning the song into a top five R&B/Hip-Hop Airplay hit and finally a crossover Hot a hundred hit. This well-deserved, if overdue, success for one of R&B’s most promising developing talents and probably her most tough to refuse single to yet. Over a beautiful, hip-swaying Shirley Brown beat, Lennox commands, “Keep your eyes on me; she’s got ’em now, for sure.”
The pairing of two of Britain’s most intriguing producers has always been a cause for celebration, but what about their third name? more so since it is used in an indirect manner. Ariana Grande has collaborated with others. Here, her Thank U, Next anthem “Ghostin'” (sometimes seen as a reference to Mac Miller) and the sad line “You know it’s you I don’t want to acknowledge that I’m heartbroken” are chopped up. high visceral effect through looping. When used as the throbbing, bloody heart of the year’s most devastating floor filler, Fred Again and I. Jordan handle its weight with respect. It may have been a cheap diversion in the hands of other DJs.
According to science, when we are enthusiastic, our bodies experience an adrenaline rush that causes us to quiver. I get a tingling of excitement when I hear it, and it makes me shiver.
In three years, Jack Harlow rose from nothing to become a rap legend, and his song “First Class” is a fitting tribute to the trip. On his TikTok, Harlow not only virally inserts Fergie’s dedication to his 2007 Hot 100-top-ranked luxurious lifestyle, but he also uses boastful lyrics to show off how “glamourous” he is. In spite of the honours, Jack demonstrates that he is still from Louisville, Kentucky by countering his list of accomplishments with the inspirational phrase “You can do it, believe me.”
With each new release, Orville Peck continues to defy, surpass, and subvert his audience’s expectations. His most recent song, “C’mon Baby, Cry,” is a masterwork of drive and sincerity. His lines complement the masked cowboy singing with their brisk beats and straightforward guitars. “Take my hand and let it go / You can call me,” the song pleads with his girlfriend, “make yourself a man and stop your tears for once.”
The beginning of Megan Thee Stallion’s “Plan B” was a portion of an unnamed, unreleased song that was performed during the rapper’s performance at Coachella. When a video of the performance appeared on Twitter, requests for a recording of the concert almost instantly spread among fans. A week later, they finally got their wish. Meg can be heard hurling harsh criticism at her former over THE swaggering throwback beat in “Plan B,” which samples a remix of Jodeci’s 1995 smash “Freek’n You.” She says, “Still can’t believe I used to trust you/ The only accolade you ever made is that I f-ked you.”
Although New York-based producer DJ Dave performs her song in an entirely cutting-edge manner by live-coding it in a system known as “algorave,” her sound is nevertheless somewhat retro, mixing the golden age of luscious ’80s synth pop with a hint of smooth techno-futurism. “Castles,” which was released in April as the label’s first single of the year, pulses with urgency, giving off the feeling of being inside a quickly spinning kaleidoscope. It also established DJ Dave as one of the most exciting talents to “watch” in the dance scene.
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