Arctic Monkeys- “There’d Better Be A Mirrorball” (Domino)
Don’t allow this song’s title fool you into false sonic expectations. Then again, maybe you should. It will make the absolutely spellbinding twist all the more rewarding. This lead single from Arctic Monkeys’ pending seventh album is neither a disco-fueled banger, nor the brooding alt-rock sounds that have defined the band’s biggest moments. “Mirrorball” takes an intensely deep dive into the orchestral trappings of classic, jazzy, lounge pop, and it is positively entrancing. Lead vocalist Alex Turner exhibits impressive diversity in his ability to deliver such a drastic artistic pivot so seamlessly. From the cinematic Bond-styled entrance to the pure velvet grace of Turner’s voice and the smooth stylings behind him, this is a luxuriously satisfying surprise.
Beyonce- “Cuff It” (Columbia)
“Cuff It” is an undeniable feast for the ears, and one of the most insatiable dance bangers of Beyonce’s stratospheric career. Anchored by one of the many brilliant samples found throughout Renaissance (Teena Marie’s “Ooo La La La”), the record spills over with bold and funky rhythms as well as the undeniably iconic and charismatic personality that defines Beyonce’s greatest gifts as both a vocalist and an entertainer. That’s not to mention that the track is unapologetic in its explicitly racy sexuality (her panting delivery of “Can I sit on top of you?” will leave your speakers sweating), and don’t even try to pretend this isn’t one of its most endearing qualities, because it certainly is. The Queen takes the sentiments that have been salaciously at the core of hits by Nicki Minaj, Cardi B, and Megan Thee Stallion and gives them their rightful place as commanding and empowering proclamations of feminine autonomy, rather than merely playing like sleazy, albeit catchy, shock tactics.
Michelle Branch- “I’m A Man” (Nonesuch)
The lead release from Michelle Branch’s newly arrived fourth LP is one of the most rollicking and biting singles of her entire career. In it, the 2000s hitmaker takes fiery aim at problematic gender politics and how they tatter our personal relationships, not to mention the social and professional climates of our country. Spitfire lyrics, especially “I’m so tired of being told by everybody that I can’t make decisions ’bout my own damn body” strike deep, but even more-so in the aftermath of recent legislative events.
Zach Bryan- “Heavy Eyes” (Warner)
What a fucking spectacular jam this track is. A rapid-fire breakdown that would simultaneously please both bluegrass and rockabilly enthusiasts forms the backdrop of a palpitating anthem. It is equally highlighted by Bryan’s urgent account of young, turbulent romance, and the most sizzling, full-bodied electric guitar showcase I can recall hearing in years. The most prolific and rewarding canon of 2022 thus far continues to fire out one certifiable rocket after another. This is the kind of track that makes you fall in love with music all over again.
Luke Combs- “The Kind of Love We Make” (Columbia)
Far and away, my favorite Luke Combs single to date. The country superstar soaks his bold Southern twang in a vat of smooth R&B heat, and the results are fire. Combs long ago established the vast range residing within his huge honky pipes, but this subtle stylistic pivot showcases them as prominently as any track that he’s soared the charts with thus far. More of this please, Luke. This is red-hot country gold right here.
HARDY featuring Lainey Wilson- “Wait in the Truck” (Big Loud)
The art of Southern Gothic country storytelling receives its first notable mainstream spotlight in many moons with this captivating duet of domestic violence and murder. HARDY and his co-writers do the tradition impressive justice with the stark specificity and dramatic grit of their songwriters, while Wilson’s husky vocals and the gospel backing behind her carry this piece to a glorious finish line.
Carly Rae Jepsen- “Talking to Yourself” (Interscope)
Glittery, bubble-gum bliss of the highest form. I can’t get it out of my brain. All hail the new princess of synth-pop.
Lucius featuring Brandi Carlile and Sheryl Crow- “Dance Around It” (Mom+Pop)
Meanwhile, this is the type of dynamic, show-stopping records that young artists like Carly Rae Jepsen should be aspiring to as their careers unfold. The sound of the track is a vibrant utopia of disco-fried dance-rock, and all of the cutting, harmonic glory that has come to define all of the very best elements of Lucius. The heavy-lifting, hair-raising support of folk-rock heavyweights like Crow and co-producer Carlile only add further weight to an already magnificent moment. Speaking of moments, this single boasts two of my favorite music moments across all of 2022 thus far: the gripping and banging chorus itself, and then the brutal line that defines the pre-chorus: “I just touch myself ’cause I don’t wanna f—.” That’s about as raw of a depiction of a relationship on the brink to be found in the storied annals of popular music. A career performance for a band that deserves to be on the lips of every music fan’s mouth, worldwide.
Macklemore featuring Windser- “Maniac” (Bendo)
A fantastic pop-rap earworm. The nervy, falsetto-laced chorus is irresistible from the word go, and Macklemore’s signature brand of humor and introspection is on full display with the rap wordplay he peppers throughout the verses. This is most definitely smash-worthy, and continues a welcomed return from one of the past decade’s most creative and charismatic Hip-Hop wizards.
Miko Marks & the Resurrectors- “Trouble” (Redtone)
Y’all, can we please stop sleeping on Miko Marks, already? This woman is one of the most enthrallingly soulful voices I’ve been introduced to in ages, with a rafter-rattling range that is soaked in gritty roots origins and bluesy gospel gravitas. Her splendid band is a revelation in and of itself; imbuing this swampy romp with blistering finger-picking, sweltering harmonica licks, and an overall bastion of Americana brilliance. Marks has been crafting quality music since 2005 (seriously, WTF have we been?), but she’s the kind of undiscovered voice that one can only hope will reap the benefit of paths paved by mainstream breakouts like Brandi Carlile in the months ahead.
Marcus Mumford- “Grace” (Island)
Of all the tracks on the aforementioned harrowing solo debut from Marcus Mumford, this second single is truly the only track that taps into the jangly atmosphere of his band’s biggest hits. Yet it still retains the raw sense of personal conflict and cathartic release that was the impetus for the entire album in the first place. The beloved gravel of Mumford’s voice has an added layer of redemption and release that borders on triumphant, if not for the brutally honest moments where he is confronted by his own inner-doubts: “But it’s all behind/I’m fine, it’s alright/Do I sound like I’m lying?” It’s the combination of those tiny moments of darkness within the overall sonic spirit of the track that so beautifully demonstrates the harsh dichotomies that lie at the heart of all of life’s most challenging and important moments.
Ozzy Osbourne featuring Jeff Beck- “Patient Number 9” (Epic)
It’s difficult to resist the outright absurdity and atmospheric, orgasmic spirit of Ozzy Osbourne’s most dramatic performances, and the title track from his most recent LP falls right in line with that career tradition. “Patient Number 9” is on brand in all of its bizarre, demonic sounds and messages, not to mention the flat-out bitching quality with how hard it rocks. Osbourne’s voice is never pleasant, but it sure does intoxicate the listener, particularly on the chilling chorus, while Jeff Beck’s swirling guitar jamming positively ripples through your veins. This is a rock acid trip in every sense of the word, and it will leave you jonesing for more.
Katie Pruitt- “Something About What Happens When We Talk” (Rounder)
A graceful, reverent cover of one of the very best moments from one of the very best Lucinda Williams albums (1992’s brilliant Sweet Old World). If you were still on the fence regarding the music and taste level of this young and promising singer-songwriter (which BTW, why the hell would you be after 2020’s “Expectations”?), this track should certainly sell you. Great stuff.
LeAnn Rimes- “Spaceship” (EverLe)
I’ve been a fan of LeAnn Rimes her entire career, and as I mentioned earlier during the album review, I hold her catalog from 2005 forward in extremely high regard. It has consistently and exponentially grown and blossomed with each preceding album, and I can’t help but feel as if it was all leading up to this singular performance. The production is grandiose enough to create a sense of cinematic, ethereal wonder, but also stripped enough to allow Rimes’ majestic vocals their rightful showcase. It’s my favorite moment of her entire career.
Julie Roberts and Jamey Johnson- “Music City’s Killing Me” (Sun)
This track from Roberts’ forthcoming LP unites two Nashville stars from the 2000s who each were, at one time, forecasted to be budding mainstays on the country dial. That destiny didn’t come to fruition for either party, due to respective personal demons and long droughts of recording inactivity. It’s wonderful to hear from both of them again, and their inconsistent professional conquests only further inform the ache with which they sing about Music City. This is a George & Tammy-worthy song, and a fabulously sung and executed entry in the annals of traditional country duets.
Sam Smith and Kim Petras- “Unholy” (Capitol)
The instant hook of this song’s chorus is absolutely bewildering, and that haunting intoxication doesn’t let up for one single second as the track progresses. It represents a complete artistic reinvention on the part of Smith, who connects with a devilish side of his soaring power-ballad pipes that is required to portray the scandalous nature of the song’s storyline: “Mummy don’t know Daddy’s getting hot, at the body shop, doing something unholy.” Adding further to the dark ambience of the record is the seductive swagger of Kim Petras’ contributions, as well as the moody hyper-pop production. It’s Smith’s scintillating vocals however that remain the most captivating aspect at all times. A bold and daring left-turn that could prove to be the breakthrough to a whole new level for the British crooner.
Shania Twain- “Waking Up Dreaming” (Republic)
The country-pop megastar launches a new album era by going all-in with a splashy burst of 80s-inspired electro-pop energy. It should come as no surprise that Shania handles this latest sonic adventure with the same charm, personality, and comforting accessibility that has defined her entire career. The track finds her exploring the increasingly deep and raspy crevasses of her post-Lymes disease voice, and it only adds more depth to a pulsating, passionate performance. No, it’s not “Man! I Feel Like A Woman!” or even a “Life’s About to Get Good”. However, anyone doubting the addictive nature of “Waking Up Dreaming” has simply not given it enough repeat plays yet. This one’s a grower, and one offering plenty of pop pleasures as it does.
Keith Urban- “Brown Eyes Baby” (Capitol)
The latest release from the Australian superstar is a perfect sampling of a brand that has played a major hand in building Keith Urban’s two decades of massive hits. A smooth, melodic, guitar-driven blend of soft-rock and country that rarely sounds better coming out from any other modern-day artist. One of Urban’s greatest strengths has always been the tender empathy and emotion with which he sings. Those qualities positively soar here, without every becoming saccharine or overbearing. His words convincingly caress the doubts and insecurities of the song’s subject, like any supportive lover or friend always should.
The War and Treaty- “That’s How Love Is Made” (Mercury)
In this initial preview of their third studio effort, this soulful husband-wife duo once again delivers a rousing, romantic performance that will make listeners both melt and weep at the pure beauty of their soaring vocal chemistry. That’s not to mention the undeniable passion and love they share which beat at the heart of every song they record. Both Michael Trotter Jr. and Tanya Trotter are vocal powerhouses all to themselves, but they reach whole new heights of magic when they harmonize and transform into one unified vessel. Performances such as this reinforce their potential to absolutely revive and define soul music for a whole new generation.
Zedd featuring Maren Morris and Beauz- “Make You Say” (Interscope)
Morris and Zedd look to recapture the magic of their 2018 mega cross-over, “The Middle” with another crackling dance-pop outing that undoubtedly possesses all the qualities necessary for a radio earworm. Perhaps my opinion is biased by the extensive assault of airplay that its predecessor received, but I’m increasingly finding myself in the camp that “Make You Say” is also the superior record. It may not necessarily recapture the lightning-in-a-bottle commercial reception that was bestowed up “The Middle”, but this track just pops from the speakers more for me. Morris’ vocals are pure pop fire and the beats that Zedd and Beauz unleash throughout are dazzlingly colorful and infectious.
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