Bad Bunny- “DTMF” (Rimas)
Released over a year ago, “DTMF” had already cemented its status as a smash song. In the wake of Bad Bunny’s recent triumphs at both the Super Bowl and the Grammy Awards however, the pulsating track has become a cultural moment that will help define the overall pop music story of the present decade. It’s proof that language ultimately does not matter in terms of music’s ability to accomplish a powerful connection and emotional significance across a wide spectrum of listeners and cultures.
The Band Perry- “Psychological” (Big Machine)
It’s hilariously fitting at this point that Kimberly Perry and what’s left of her family band (her hubby has now replaced both of her brothers) would release a single with this title, given the schizo trajectory of the group’s career and their litany of comeback attempts over the past decade. But while the group’s seemingly endless reincarnations make for one of modern music’s most fascinating tales, it does not erase the fact that Perry remains an evocatively tender vocalist. This more straight-forwardly contemporary production paints that voice in one of its best-suited recent settings, and her delivery of the song’s titular hook is entertaining. All that said, it still feels like she’ll forever be chasing the charming magic of the sibling trio’s debut disc.
Bleachers- “You and Forever” (Dirty Hit)
The last Bleachers album was something I enjoyed out of the gates of its 2024 release, but it’s almost alarming in retrospect how little I returned to that project, given the affinity I carry for their previous work. I’ve always enjoyed their moody outings as much as their bopping ones, but their more recent fare in that realm just hasn’t felt as durable. Therefore, I would have preferred for them to launch their new era in more anthemic fashion, but “You and Forever” again partners Jack Antonoff’s hushed reflection with a murky alt-pop backdrop. Luckily, there is a pair of things thrown in that I’m a sucker for: 1) Those E-Street-referencing horns and 2) An opening line like “Who could catch their breath at a crime scene?”. Turns out they’ve still got me on the hook.
Leah Blevins- “Diggin’ in the Coal” (Easy Eye Sound)
Oh, how great it is to hear Leah’s thick, buttery twang on new material! And what a perfectly-suited song this is for her pipes, a thick, chugging, steel-drenched twanger. It’s not a literal mining song like so many of the vintage country classics in that vein, but it deserves entrance into that storied canon nonetheless, for how sublimely Blevins uses the trade as a metaphor for the rare brand of love she has found. A stellar return from a young talent who is very deserving of roots royalty.
Benson Boone- “Mr. Electric Blue” (Warner)
The rising superstar’s latest hit is a fizzy pop-rock outing written in tribute to his father, and dripping with cosmic nods to the likes of Bowie and ELO. And while this record doesn’t get anywhere near the heights of the respective classic anthems of either of those legendary acts, Boone absolutely sings the fire out of it, with the same passionate gusto as his biggest ballads. It all comes together to form an infectious and satisfying pop package worthy of routine spins.
Zach Bryan- “Plastic Cigarette” (Warner)
The first proper single from Zach Bryan’s recent long long-player, “Plastic Cigarette” is one of the most sparse on the album, and is also its most buzz-worthy out of the gates, thanks to its shady reference to the infamous Chickenfry drama. But to get consumed with that gossipy detail is to miss the forest for the trees on this track. “Cigarette” is vintage Bryan, with its striking imagery and its revelatory exploration of the true reasons for his messy romantic history. To date, it’s one of his best showcases of the qualities that have made his work one of music’s most powerful and definitive pillars in the 2020s.
Sabrina Carpenter- “House Tour” (Island)
Another surefire smash from the current pop scene’s glitziest and most comedically flirty sensation. The late-80s production lands somewhere between epics from Janet Jackson and Paula Abdul, and we find Carpenter indulging in some of her most coy deliveries today, namely her promise that, of course, none of the lyrics are sexual metaphors. Wink wink. It’s just pure, unadulterated pop fun, and nobody’s doing that realm better these days than Sabrina Carpenter.
Charley Crockett- “Kentucky Too Long” (Island)
The tireless Americana journeyman prepares to wrap up the storied Sagebush trilogy of Western-inspired albums that he and producer Shooter Jennings launched last year. This first single extends the cinematic storytelling that made preceding albums Lonesome Drifter and Dollar A Day so richly captivating. Crockett’s booming Southern vocals hook you immediately, and Jennings once again colors it with a perfect balance of country and soul touches. Crockett’s output is challenging to keep up with, but he’s yet to deliver anything that isn’t worthy of the effort.
Foo Fighters- “Your Favorite Toy” (RCA)
The newest Foo single is a head-first, deep-dive back into the band’s muddiest, grungiest hard-rock roots. Throughout their legendary career trajectory, they’ve produced some of their generation’s truly definitive records, and in doing so they’ve explored the grandest and most polished lengths of contemporary rock & roll. “Your Favorite Toy” however doesn’t bother with any of those perfected niceties, and it results in a glorious call-back to the band’s grittiest, most formative origins, all the while proving that Dave Grohl still possesses one of the most commanding growls of anyone on the planet.
Ella Langley- “Be Her” (Columbia)
Seemingly in the blink of an eye, Ella Langley has found herself on top of the entire music world with the Hot 100 crowning of “Choosin’ Texas”, a rewarding crossover moment that she refreshingly achieved with all of her neo-trad country bona-fides in tow. It raises the bar in intimidating fashion for this follow-up single, but she smartly stays the course with another authentic outing, deeply rooted in her seductively pure drawl and the same vintage production that colored “Texas”. It also boasts a sturdy yet vulnerable message of self-worth, with Langley’s turn-of-phrase and lyrical choices striking an equally sharp sweet-spot.
The Lone Bellow- “Islands in the Stream” (Soundly)
“Islands in the Stream” is inarguably the pinnacle of the campy charms that defined country music in the early 1980s. And while it may seem like a strange swerve for this esteemed folk-rock outfit to record a proper cover of it, they’ve already been performing it in their live show for years, and that clearly has given them a precise understanding of the song’s central spirit. They do it great justice, with their modern and organic trappings unearthing the song’s rawest joy and emotions. Most of all, this is a superlative showcase for the gorgeous vocal talents of Kanene Donehey Pipkin, who is absolutely delightful here.
Mitski- “Where’s My Phone” (Dead Oceans)
The enigmatic alt wonder injects some instantly insatiable rock energy into her musical surroundings, and in the process delivers both a humorous and frighteningly accurate depiction of the detached frenzy defining human culture in the 21st century. And really, that combination makes for the best kind of musical social commentary. It’s contagiously funny and entertaining, but laced with a stringing realism that should also give us all a bit of pause.
Sombr- “Homewrecker” (Warner)
A perfectly-timed release from this rising rock voice, dropped in the aftermath of his Grammy Awards performance, as myself and countless other newly-exposed listeners started digging through his impressive 2025 debut for the first time. “Homewrecker” leans a bit further into the indie-pop realm than that album’s singles, while still maintaining a bold rock & roll underbelly. Sombr clearly and confidently establishes himself as a passionate, entertaining, and versatile entertainer who can nimbly adapt across a wide spectrum of stylistic blends, and I for one am rather hooked.
Taylor Swift- “Opalite” (Republic)
“Opalite” is simply one of those undeniable pop smashes. From my first spin of The Life of a Showgirl last fall, it immediately stood out as one of the album’s perennial highlights, and arguably the best showcase of the synthy pop-goodness that Swift and producers Max Martin and Shellback strike throughout the entire record. Her list of hits since the 1989 era is obviously massive, but for my money, this is her most utterly infectious bop since “Shake It Off”. Fight me on it, if you’d like. The video is a total hoot too, BTW.
Jessie Ware- “I Could Get Used To This” (EMI)
Ware has been ascending the pop A-list for sometime now in her UK homeland. Stateside, she meanwhile remains one of the criminally unsung heroes of the modern pop and dance scene. Like its preceding releases, this lead single from her forthcoming sixth album deserves to change all of that. Whether it actually will remains to be seen, but one thing’s for sure: “I Could Get Used To This” has earned its staple status on my 2026 playlist. Ware’s vocals are purely enchanting, and they continue to reach beautiful heights amidst the sweeping, modern-disco soundscapes that have become her wheelhouse.
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