50) Mary Chapin Carpenter- “Secret Keepers”
Carpenter’s latter day recordings have been almost entirely defined by the slow, whispered reflection of her deep folk roots, rarely resembling the jangly tempos and sounds of her 90s country classics. So, when she does return to that realm as found on this wistful selection from her sixteenth studio set, it feels like an overdue visit from an old friend. As is classic Chapin, the tune’s message is wise and inspiring, reminding us to always be kind, for we never know what demons or baggage our neighbor is carrying inside.
49) Brothers Osborne- “All Night”
The term “bro” has understandably become cringe-worthy in critical country circles over the past decade. When it comes to this sibling pairing however, it represents one of the most reliable breaths of fresh air to be found on today’s country dial. “All Night” is a thoroughly enjoyable country-rock rave-up, splendidly punctuated by vigorous vocals, muscular guitar riffs and an infectious chorus. Best of all, the production strikes a perfect balance between grit and polish. These brothers are the real deal, folks.
48) Shawn Mendes and Justin Bieber- “Monster”
A dream-pairing for pop super-fans that proves to be one of the most subtly profound ruminations to be found in the top forty stratosphere this year. Mendes and Bieber come together for a mature reflection on the costs of being a young superstar that simultaneously reconciles their mistakes and takes the industry to task for its unrealistic expectations and toxicity. Mendes has been on this introspective trajectory for some time, but “Monster” returns Bieber to the thoughtful maturity he impressed with back on 2015’s Purpose.
47) The 1975- “If You’re Too Shy (Let Me Know)”
The 1975’s biggest smash to date offered the precise sound we’ve come to expect from the scrappy British upstarts. In other words, straight out of 1985, and in all the very best ways. It’s loaded with pronounced dance beats, eletro-pop jamming, charming vocals, and all the frivolous horn sections needed to satisfy one’s 80s-pop sweet tooth. The storyline meanwhile follows a bumbling horn-dog working up the nerve to ask a woman to undress on FaceTime. Pervy on paper? Yes, but undeniably delightful on record.
46) Chuck Prophet- “Best Shirt On”
Prophet launched the third decade of the solo phase of his career with this rollicking slice of satisfying Heartland rock, combining crisp guitar licks with stylish brass flourishes, while the slightly sardonic swagger of his voice serves as the song’s sturdy anchor. It’s sharp, simple, and utterly contagious.
45) Zac Brown Band- “The Man Who Loves You the Most”
As a tender and heartwarming profession of a father’s unconditional love for his young daughter, it’s true that this underrated single was the type of song that is understandably a stereotype in country music. In the wrong hands, it could easily rank as another mawkish “I Hope You Dance” rip-off. But when colored with Brown’s sincere, humble vocals and Jimi DeMartini’s sympathetic fiddle, it’s a stirring reminder as to why such songs are also classic staples in the country canon. I’m not one to necessarily discourage the type of sonic experimentation the band has been bastardized for in recent years, but it’s also comforting to hear them back in the territory that they ruled the airwaves with a decade ago.
44) Carly Pearce and Lee Brice- “I Hope You’re Happy Now”
One of the most potent mainstream country duets in ages. Pearce is continuously showing the 90s-tinged POV, vocal prowess and polished presence that could make her a Faith Hill of her era if given the opportunity. Her rich twang soars here, and Brice passionately matches her each step of the way. This offers the tormented bite that every true break-up tune should, and was only further heightened in the wake of Pearce’s own divorce later in the year.
43) Eminem- “Darkness”
Backdropped by a chilling sample of Simon & Garfunkel’s “The Sound of Silence”, “Darkness” plays as a horrific and unedited account from the perspective of Stephen Paddock, the mass shooter responsible for the 2017 Las Vegas massacre–as he’s completing the attack. A heartbreaking, sobering and maddening achievement, and an important one as well. It’s not meant for entertainment, but is rather a call for the social and political change necessary to end the nation’s gun violence; an epidemic that should remain a priority, even while momentarily tempered by the current COVID-state of the world.
42) Tyler Childers- “Long Violent History”
Written and released in the aftermath of the social unrest that defined the summer, “Long Violent History” is a justifiably prickly and pointed evisceration of prejudiced injustices that remain a constant presence in the American landscape. To hear these declarations flow so adamantly from Childers’ unfiltered, unflinching twang is an experience undeniably laced in both discomfort and irony. The grassy mountain arrangements sound primitively lifted from music’s most formative years; and perhaps that’s what is most stinging about this record. That the hatred he’s attacking is as prevalent today as they were back when that sound was in its infancy.
41) Childish Gambino featuring Ariana Grande- “Time”
Donald Glover and Ariana Grande make a stunning pair on this dreamy burst of euphoria for your ears, combining their two disparate styles to craft an exotic amalgam of sounds and textures. It’s a kaleidoscopic blend of everything from shimmering R&B-pop and trap to soul and techno synth, with each of the distinct artists’ alluring personalities providing the proverbial glue of the record. Glover once again demonstrates his uncanny ability to create a record that is heavy in complex arrangements and studio wizardry, without ever once sounding overproduced.
40) Harry Styles- “Watermelon Sugar”
An insatiable bubblegum-rock romp that earned every bit of its status as one of the summer’s definitive smashes. Styles pairs his mysterious and flirty Timberlake-recalling vocals with a lush, chic palate of vintage funk, power-pop and modern psychedelia that goes down oh-so-smooth time and time again. He’s one of the most promising future purveyors of rock-pop in the game today.
39) Alicia Keys- “Underdog”
Easily her most palatable single in many moons, “Underdog” was both polished and loaded with gravitas, with a chorus celebrating everyone from underpaid teachers to single mothers and front-line warriors. The best part is Keys bookends those choruses with well-developed character sketches of the down-trodden to create a well-rounded and sincere performance. Furthermore, the pristine vocalist intelligently leaves the glory-notes at home this time, with a restrained vocal that gracefully rides a well-balanced crest of soul, reggae, and gospel.
38) Trixie Mattel- “Video Games”
For those of you not yet officially indoctrinated as a RuPaul’s Drag Race super fan (what are you waiting for, BTW?), you’re probably not aware of the plethora of talented music-makers quietly residing in the drag genre. Trixie Mattel is inarguably the cream of this crop, and in a deliciously rewarding piece of cultural dichotomy, her genres of choice fall under the folk, country and Americana umbrellas, rather than the dance sounds most often associated with the drag scene. This orgasmically dreamy cover of Lana Del Rey’s “Video Games” is the best sampling yet of just how killer her brand of roots music continues to be. Hauntingly bittersweet vocals are brilliantly underscored by a hypnotic melody and an alluring noir backdrop that will leave you absolutely entranced. And yes, that’s a frigging autoharp she’s playing.
37) Teddy Thompson- “Heartbreaker Please”
Thompson remains one of today’s truly classic heartbreak vocalists, and the pulsating “Heartbreaker Please” easily ranks among his most captivating exercises in loneliness to date. He’s hopelessly addicted to the pain his lover inflicts, and the worst part is that he’s keenly aware of this fact as well. He delivers the chorus with such a desperate sense of yearning, and you can’t help but partially guilty as you indulge over just how damn good it sounds.
36) Orville Peck and Shania Twain- “Legends Never Die”
The most unexpected union of the year resulted in one of its most epic collaborations. “Legends Never Die” finds the notoriously masked Peck offering the most accessible portrait to date of his abstract, idiosyncratic vocals. Meanwhile, Twain sounds absolutely invigorated in her role as a country elder stateswoman, with the dusty 70s Outlaw tendencies of the production perfectly complimenting the smoky quality of her latter-day voice. “Legends” is, at the core, pure country camp. But it’s the artists’ self-awareness of this fact that ultimately makes it so effortlessly cool and addictive.
35) Ashley McBryde- “One Night Standards”
A pure country storyteller with a badass rock attitude, Ashley McBryde has become an unlikely mainstream darling, and is slowly chipping away at Nashville’s authenticity complex. “One Night Standards” has plenty going for it, from astute musicianship and classic country wordplay to some serious Terri Clark vibes that recall a once-glorious landscape for female country artists. Best of all however is that it’s unapologetically adult. This is a story of two people committing to a physical encounter, and nothing more. McBryde spins the tale without a single shade of shame, and nothing but frank and honest expectations: “I don’t want a number you ain’t gonna answer/Let’s just stick to the one night standards.”
34) Drive-By Truckers- “Thoughts and Prayers”
“Thoughts and Prayers” is a modern-day entry in the storied lexicon of folk-tinged protest songs. Therefore, it’s also one of the most politically polarizing releases of the year, and consequently one of the most important. Framed by a stomping, growling Southern Rock backdrop, lead vocalist Patterson Hood and his band mince absolutely no words when it comes to the tragic issue of gun violence. The angry outcry of the song’s final verse is the lyrical meat that garners the most attention, but the most sobering visual arrives early on: “They’re lined up on the playground, hands up in the air.”
33) Eric Church- “Stick That In Your Country Song”
In one fell swoop, Eric Church tackles a litany of important, common-man issues plaguing our country, and then calls his genre peers to task for abandoning a once rich tradition of singing songs that cut deep to the core of real, every day life. It’s an appropriately aggressive performance that is proud, angry and passionate in all the very best ways. Church continues to build a staggering body of work, and further establish himself as both a voice for everyday people and a beacon in the Music City landscape.
32) The Jayhawks- “This Forgotten Town”
The alt-country favorites unsurprisingly provide one of the year’s most vivid portraits of rustic Americana. “This Forgotten Town” is both triumphant and tattered in its portrayal of a place and its people, both of which have seen better days, but continue to provide pride and solace to each other. The band’s performance is as engaging as ever, boasting a bright and ramshackle combination of twangy steel, parlor-style piano and soulful harmonies.
31) The Strokes- “Bad Decisions”
A solid comeback hit for one of best rock outfits to rise to prominence since the dawn of the millennium, “Bad Decisions” stays true to classic Strokes form, thanks to Julian Casabalancas’ trademark vocal oddities, a hooky New Wave groove that borrows the melody of its hook from both Blondie and Billy Idol, and a guitar backdrop that’s fabulously reminiscent of Modern English. Like most Strokes smashes, it’s one of those sly tunes that ever so slowly lodges itself into your consciousness with each repeated listen.
30) Lori McKenna featuring Hillary Lindsey and Liz Rose- “When You’re My Age”
“When You’re My Age” is an inspiring painting of the unwavering love that a parent and child share, how it evolves, yet remains constant all the way through adulthood. The somber choruses tremendously tap into the uncertainty of today’s world, while setting the stage for a steadfast and proud declaration of infinite support, love and devotion. McKenna’s been ripping our hearts out with the mere power of her words for years now, and this stands among the most movingly raw moments of her vast catalog.
29) Beyonce- “Black Parade”
Released in commemoration of Juneteenth ,and as the country’s racial tensions in the aftermath of George Floyd’s death reached a fever pitch, “Black Parade” will first and foremost be remembered as a timely and critical social statement in the heat of that moment. Most importantly, it’s a dazzling, gorgeous and infinitely proud celebration of black culture and history, combining an elegant blend of the rich sounds that help define both. It emphatically takes racism and hatred to task, but more than anything promotes the conquering power of pride, love and unity.
28) Haim- “The Steps”
Launching the roll out of their killer third album, “The Steps” vigorously built upon the tremendous sound and musicianship that this trio of sisters had already established on their first two LPs. Fabulously off-center harmonies, confident guitar swagger, badass drums, and an unapologetically sardonic female perspective are all generously offered, with no apologies. It’s all performed and produced with such incredibly sharp precision, invoking a tale of romantic dissatisfaction with catchy pop economies, intelligent turns of phrase, and a wonderfully jilted wink and smile.
27) The War and Treaty- “Five More Minutes”
Dripping in velvet vocals, rich horn arrangements, and subtly funky guitar riffs, “Five More Minutes” is a rewarding musical revelation to behold. The singing and musicianship is marvelous, the sentiments are earnest and enticing, and the rhythm packs a bouncy wallop that makes the tune undeniably catchy as well. It manages to recall a bygone era, while sounding impressively current and fresh as well. The War and Treaty may be one of music’s best kept secrets, but with tracks like this, they won’t be for very long.
26) AWOLNATION featuring Alex Ebert- “Mayday!! Fiesta Fever”
The year’s most jolting, colorful, and bewildering record by a mile. It’s completely nonsensical from the word go, and all the better for it. Mariachi horns segue into thrashing, heavy guitars. The vocals whiplash back and forth between tempered frenzy and all-out screaming. “Mayday” bangs, roars, and aggressively seduces its listener to lose themselves in the spirit of an uproarious party that is entertaining and absolutely out of control. The very definition of a modern-day rock music acid trip.
Listen on Apple Music: Fifty Best Singles of 2020, Part I
Continue to Part II
The 706 