The 100 Best Songs of 2021: Staff List

ABBA, "Don't Shut Me Down"

One of the year’s most gratifying LP releases was ABBA’s Voyage comeback set, a delightfully low-stakes set of shimmering pop confections with precious little imprint from the 40 years that had passed since the pop legends’ previous album. “Don’t Shut Me Down” was the set’s arguable highlight, a mildly meta plea from the group to an ex lover not to reject the new-and-improved version of themselves upon their return (“I’m asking you to keep an open mind/ I’m not the same this time around”). When they’ve shown up with a reggae-tinged, sweetly sax-y bubblerock gem like this, who could turn them away? — ANDREW UNTERBERGER

Lana Del Rey, 'White Dress'

The opener for the first of her two 2021 albums, Chemtrails Over the Country Club, “White Dress” sets a vivid, dynamic first scene for the otherwise lukewarm LP, with all the drama fans have come to expect from Lana Del Rey. In it, she reminisces on her past — she was once an innocent teenager, a waitress in a summer-white dress. When was her purity lost? Did she burn, flying too close to the sun, or did she become a god in the process? And while we’re at it, what happened at the Men in the Music Business Conference in Orlando? Featuring one of her most disarming melodies and her best reflection on the loss-of-innocence trope to date, “White Dress” is Chemtrails’ zenith. — KRISTIN ROBINSON

Pronoun, "I Wanna Die But I Can't ('Coz I Gotta Keep Living)"

“I Wanna Die But I Can’t” functions as both a scream-along anthem about stunted emotional growth, and proof as to why Pronoun leader Alyse Vellturo needs to be playing bigger stages — who wouldn’t want to lose their mind to this chorus in an arena? Until then, the shaggy riffs and Vellturo’s yelps will have to suffice with soundtracking too-loud late-night drives. — JASON LIPSHUTZ

Brockhampton feat. Danny Brown, 'Buzzcut'

After 2020 marked the first year since 2016 without a new Brockhampton studio album, the self-proclaimed boy band returned in early spring with the acclaimed Roadrunner: New Light, New Machine. Frontman Kevin Abstract and guest Danny Brown quickly dial up the energy with their respective verses on this bulldozing project opener and lead single, which has — to borrow from Abstract’s rapping — an “early two-thous” feel in its accompanying music video and brash production reminiscent of a N.E.R.D. beat from around the same time, an ideal fit for the rappers’ rock-edged rawness. — JOSH GLICKSMAN

Kanye West feat. The Weeknd & Lil Baby, "Hurricane"

Existing on the Internet in countless pre-release forms, Kanye West’s finalized “Hurricane“ reflects the grandiose maximalism that has time and time again defined West’s artistic legacy. Contributions from The Weeknd and Lil Baby build upon that aura of extravagance, as two of the most notable names in popular music today show up to quickly bless the track before Kanye’s typically confident entrance. The song’s light gospel touches, from blaring choir harmonies joining in on Abel’s angelic chorus to the church organ-backed beat, makes it a standout effort amidst the 27-track sprawl that is Donda. — EJ PANALIGAN

Blxst feat. Ty Dolla $ign and Tyga, "Chosen"

Naturally, Blxst’s breakout single had to come packed with his signature West Coast flavor. The L.A. rapper/singer/producer makes modern day cookout music, his songs providing the perfect two-step groove for a warm, sunny day kicking it with family and friends. On “Chosen,” Blxst also recruited fellow Cali artists Ty Dolla $ign and Tyga for this vibe about his lover, who he awards the titular status. Appearing on the deluxe version of his 2020 album No Love Lost, “Chosen” was made on “a normal day,” as Blxst had no idea the melodic hit would become his first Billboard Hot 100 entry, peaking at No. 53 so far. — CYDNEY LEE

Eric Church, "Hell of a View"

Church takes love to the precipice in this rowdy love song, beginning like a quintessential Church song, in a nameless small town. “I caught your wings on fire/ When I smoked my Bronco tires/ Outta that town,” Church recalls, taking listeners on a soaring journey of passion, reckless love and life at 10,000 feet. At that altitude, things tend to get a bit turbulent, but the scenery sure is stunning. — DAVE BROOKS

Gera MX & Christian Nodal, "Botella Tras Botella"

Lacing both of their genres, “Botella Tras Botella” is an innovative collaboration between the Mexican rapper Gera and Regional Mexican star Nodal, a country-tinged acoustic ranchera with hip-hop beats. The eventual hit was born during a carne asada get-together, and resonated with fans because of its easy-to-sing lyrics about hanging out with the boys and drinking your sorrows away. “Botella” made history on the Hot 100 this year, as the first Regional Mexican title to enter the listing in its near-63-year history when it debuted and peaked at No. 60 on the chart dated May 8. “It simply has soul,” Gera previously told Billboard. — JESSICA ROIZ

Jungle, 'Keep Moving'

Amythyst Kiah, "Black Myself"

From the first time you hear Kiah’s wide-open, self-assured growl over this song‘s full-throttle swampy guitar riffs, she takes full possession of her experience as a Black, queer woman in America. “You better lock your doors when I walk by because I’m Black myself,” the Chattanooga-bred Americana singer-songwriter proclaims, before adding, “You look me in the eyes, but you don’t see me because I’m Black myself.” It’s the fearless expression of an artist claiming her own life, with no apologies offered (or needed) for not conforming to others’ expectations. — MELINDA NEWMAN

Nardo Wick feat. 21 Savage, G Herbo and Lil Durk, "Who Want Smoke?" (Remix)

Folks may or may not have wanted smoke with Florida breakout rapper Nardo Wick in 2021, but a whole lot of rappers (and/or TikTok creators) were up for the challenge of taking on its eerie, pounding beat — particularly the trio of guests on the song’s starry remix, Chicago stalwarts Lil Durk and G Herbo, and Atlanta fixture 21 Savage. It’s the latter whose dryly imposing and wickedly funny bars the teenage Nardo seems to aspire to, and Savage shows why here, smartly playing off the beat’s Nightmare on Elm Street energy with playfully threatening bars like, “One, two, three, four/ N—as mad I f–cked they ho.”) — ANDREW UNTERBERGER

TWICE, 'Alcohol-Free'

Music history is littered with classic booze bangers, but far rarer is the pop jewel that sings of sobriety while remaining absolutely intoxicating. That’s what K-pop nonet TWICE achieve with this irresistible bossa nova-inflected gem, with sweetly plucked guitar, grinningly mischievous piano, and a horn-speckled chorus about being as bone-dry as the title implies, but still buzzing off the way their lover looks at them. “Alcohol-Free,” perhaps, but certainly not lacking in fizz. — A.U.

Remi Wolf feat. Dominic Fike, "Photo ID" (Remix)

Who would have thought that going to the DMV would make a great premise for not one, but two of 2021’s greatest songs? Between Olivia Rodrigo’s megaballad “Drivers License” and Remi Wolf’s frisky “Photo ID,” the always-dreaded process of getting an ID is now the unlikely muse of Gen Z’s most promising pop exports. In the fun and frivolous treat that is the “Photo ID” remix, featuring Dominic Fike, nothing is off limits for the duo, including topics like OnlyFans feet pics and Erykah Badu. It’s just like Wolf says: “S–t gets weird when you talk about it.” — K.R.

Michaela Jaé, "Something to Say"

Michaela Jaé was the heart and soul of FX’s Pose (where she was credited as MJ Rodriguez), so it’s no shock that her joyous musical debut “Something to Say” hits you with the same blinding inner light she brought to her starring role on that pioneering series. Co-written by Earth, Wind & Fire’s Verdine White (and carrying that group’s unmistakable zest for life), “Something” is an exuberant slice of soul-pop, with the energy of a bumpin’ block party on the first day of summer. – JOE LYNCH   

Young Thug & Gunna, "Ski"

It’s all about that beat, an absolute marvel of a four-note staccato string pattern laid over skittering trap drums, opening “Ski” and running throughout the booming cut’s two and a half minutes, a most welcome sound whenever it came thundering out of the speakers in 2021. Young Thug and Gunna don’t really need to put on a full joint slalom run over a beat this massive, but they still get some nice downhill momentum going — particularly on the hook, where each hat-tips his partner after recognizing signs of the other’s imprint on the girl they’re currently with (“B–ch got a Backwood on her nightstand/ She must be f–kin’ with Gunna”). —  A.U.

beabadoobee, "Last Day on Earth"

The cheeriest song to ever hit on murder and church burning before getting halfway through its first verse, this opening track to indie phenom beabadoobee’s Our Extended Play balances its sense of impending doom with a blindingly bright “shoop-doo-be-doo” chorus and “yeah!” punctuations to boot. It’s an effective combo, one that co-writer Matty Healy of the 1975 is well-traveled in, and which Beatrice Laus’ airy sigh is particularly well-suited for, sounding equally exuberant and resigned as she interrupts her own giddy chorus to remind herself, “The world’s about to end, so I’m gonna have to finish.” — A.U.

City Girls, "Twerkulator"

If you had “Yung Miami and JT meet Ralf und Florian” on your 2021 bingo card, please tell us what lottery numbers to play. The relentless electro-trap of City Girls’ “Twerkulator“ was so unstoppable that even an uncleared sample (Afrika Bambaataa’s culture-shifting 1982 classic “Planet Rock,” which itself interpolated Kraftwerk’s proto-techno gem “Trans-Europe Express”) couldn’t stop it from conquering TikTok back in spring. After its official release in May, the Hot 100 was finally impacted by both the left and right cheek of this booty shaker with the song hitting No. 51. – J. LYNCH   

Moneybagg Yo, "Wockesha"

Yo Gotti’s burgeoning CMG label became formidable this year with the ascension of Moneybagg Yo and his Billboard 200-topping album A Gangsta’s Pain. The set was headlined by his cautionary tale “Wockesha,” where Bagg comes face-to-face with his biggest vice: lean. With Lil Wayne’s 2009 interview with Tim Westwood about his struggles with kicking the cup serving as the song’s starting point, Bagg tries mightily to wean himself from the claws of the syrupy concoction. The woozy and well-traveled Debarge piano hook, previously used by Biggie and Ashanti, offers much-needed support during the rapper’s fight against his addiction. Dubbed ‘Kesha,” the purple drank sadly bests Bagg, as he ultimately succumbs to what he deems his “therapist.” — CARL LAMARRE

Mitski, 'The Only Heartbreaker'

As with the strobe-lit hit “Nobody” from 2018’s rapturously received Be the Cowboy set, indie darling Mitski Miyawaki saved the Obvious Single from her upcoming Laurel Hell album for its second advance cut, following the distorted churn of “Working For the Knife” with the pure synth-pop release of “The Only Heartbreaker.” But despite the song’s After Hours-worthy ’80s mega-hooks, the lyrics paint a typically Mitski portrait of romantic insecurity, in this case resigning herself to always being the titular villain in her relationship: “If you would just make one mistake/ What a relief that would be.” — A.U.

Grupo Firme, "Ya Superame (En Vivo Desde Culiacan, Sinaloa)"

Grupo Firme is not only known for its party-starting norteño and banda tracks but also for its empowered breakup songs, such as “Ya Superame.” Recorded live, surrounded by a group of friends who are drinking and singing along, the song is dedicated to the ex who doesn’t understand that the relationship is over. The most memorable lyric is the first: “What part of ‘no’ don’t you understand, the ‘n’ or the ‘o?’” lead singer Eduin Caz poses with his powerhouse vocals. “Ya Superame” became the third Regional Mexican song to ever enter the Billboard Hot 100 chart and the group’s third No. 1 on Regional Mexican Airplay. “The song is the first one [to hit the chart] without a collaboration, so that’s an even greater win,” the group’s manager Isael Gutierrez told Billboard. “We got rid of the stigma that only covers or duets worked with Grupo Firme.” — J.R.

Billie Eilish, 'Your Power'

During an appearance on The Late Show with Stephen Colbert in May, Eilish referred to “Your Power” as “my favorite song that I’ve ever written,” and with good reason. She’s at her most vulnerable in the stripped-back, folky ballad, as she sings about the destructive impact of an age-inappropriate relationship and wonders if the older man has been affected a fraction as much. Her relatively hushed tone throughout the track yields some of parent album Happier Than Ever’s most poignant moments — such as the small breath she takes between singing “If you could take it all back,” and asking, “Would you?” The single exists in an entirely different universe than her debut album sonically and thematically, showcasing yet another side to the versatile superstar. — J.G.

The Linda Lindas, "Racist Sexist Boy"

In response to a racist comment from a classmate, 11-year-old drummer Mila — along with her Linda Lindas bandmates, ranging in age from 13 to 17 — wrote this blistering, punk-rock takedown that puts hatred on blast. “You say mean stuff and/ You close your mind to things you don’t like,” Mila sings while pounding on her kit. The Latinx and Asian-American rockers debuted “Racist Sexist Boy” at the L.A. Public Library in May — and soon after, their performance went viral, catching the eye of Epitaph Records, which signed the band within the month, and introducing listeners the world over to the young punks who refuse to back down. — CHRISTINE WERTHMAN

Drake, "What's Next"

When Drake released the three-song EP Scary Hours 2 in March, it represented a bit of a reset for one of the biggest artists in the world: a return to straight-ahead rapping without relying on the melodic hooks or R&B interludes that imbue so many of his singles. (Not that those are necessarily a bad thing, but not every song of his has to sound like Drake featuring Drake.) “What’s Next“ has some typically cringe-worthy Aubrey lines — we don’t really need to know how far he got on Valentine’s Day — but more importantly than anything, it brought a return of some of the energy that he’s occasionally been lacking in recent years. — DAN RYS

Normani feat. Cardi B, "Wild Side"

Breaking away from the pop mold she built with “Motivation,” Normani made a sultry splash with “Wild Side,” flexing a few R&B muscles (literally the case in the song’s astonishing music video) to show off her own musical versatility. The seductive set is a masterclass in the concept of “less is more,” as even rap rebel Cardi B slows down her verse to deliver some slick, sexy bars. A walk on the “Wild Side” may be nice, but Normani is ready for a more permanent stay. — STEPHEN DAW

Old Dominion, "I Was on a Boat That Day"

“I remember it like it was yesterday ’cause it was” is a top contender for best opening lyric of 2021 — kudos to Old Dominion, along with co-writers Shane McAnally and Josh Osborne, for that one — and it perfectly sets up the raucous ride listeners are about to embark upon. This twangy tongue-in-cheek romp follows a newly single sailor who leaves his heartbreak ashore by soaking up the “sun and the rum” out at sea instead. He was on a boat, motherf–ker, don’t you ever forget. – KATIE ATKINSON

Julien Baker, "Hardline"

By the time that Julien Baker gets to the first line of her Little Oblivions opener, “Blacked out on a weekday,” you may already be woozy yourself — between the indie rock power ballad’s walloping synths and swirling background vocals, you’ll be clutching to the sides of your seat for stability. But that’s just the start: after Baker bleakly muses, “What if it’s all black, baby, all the time?,” the bottom drops out, giving way to one of the most beautiful, knee-buckling climaxes of the year. Hold on tight. — J.G.

Turnstile, "Mystery"

Starting with a whimsical flurry of twinkling synthesizers, “Mystery” gives no indication that the Baltimore five-piece is about to break into a hardcore melee, shaped by a meaty bass line, sinewy guitars and booming drums. “I know you’re scared of running out of time,” sings frontman Brendan Yates before screaming in solidarity, “BUT I’M AFRAID TOO!” The band busts up any outdated or self-serious notions of how post-hardcore punk is supposed to sound, charging full speed through a singalong chorus with gleeful abandon and an abundance of sincerity. — C.W.

H.E.R., "Damage"

Any genuine romantic relationship boils down to one thing: honesty in accepting and handling the partner’s vulnerable heart with loving care. H.E.R. perfectly captures that sentiment in “Damage.” The song’s chorus says it all: “Careful what you take for granted/ ‘Cause with me you know you could do damage.” Further shaping the track’s intimate mood is a smoldering sample from Herb Alpert’s 1987 R&B hit “Making Love in the Rain,” providing the perfect dramatic backdrop for the song’s emotional downpour. — GAIL MITCHELL

Måneskin, "Beggin"

The Italian four-piece band, which broke out internationally as this year’s Eurovision winners, had one of the year’s most arresting rock singles with this remake of a 4 Seasons hit from 1967. Front-man Damiano David belts the cover with starry swagger and style. This is actually the third go-round for “Beggin” on the Hot 100: The 4 Seasons’ original peaked at No. 16. a hip-hop-flavored cover by Norwegian electropop duo Madcon reached No. 79 in 2009, but this muscular version beat them both, hitting No. 13. — PAUL GREIN

Porter Robinson, "Look at the Sky"

Porter Robinson’s long-awaited Nurture set proved he hadn’t lost his knack for life-affirming robo-pop whose heart-bursting humanity was too awesome to be hidden underneath its glitching beats and digital vocals. The best of the bunch was lead single “Look at the Sky,” a soaring, alt radio-friendly triumph over apathy and atrophy in which Robinson eclipses his pandemic-era struggles to proclaim, “Look at the sky, I’m still here/ I’ll be alive next year.” A hard-won victory, no doubt, and we hope he wastes no time in keeping the winning streak going. — A.U.

Farruko, "Pepas"

Farruko’s “Pepas,” an EDM/reggaetón scorcher about pill-popping partygoers, hit No. 1 simultaneously on Billboard’s Hot Latin Songs and Hot Dance/ Electronic Songs charts in August, an anomaly that quickly highlighted the broad appeal of the Puerto Rican reggaetonero’s unlikely hit.  The smash has remained on top of Hot Latin Songs ever since. Beginning with Farruko’s enticing, almost a cappella croon, it slowly boils to an anthemic, immediately unforgettable chorus that’s become ubiquitous, from dance clubs to NFL broadcasts. Now that’s a crossover. — LEILA COBO

Yola, "Diamond Studded Shoes"

Don’t be deceived by the sparkly title or jaunty, swinging rhythm of “Diamond Studded Shoes” — Yola is tackling deep issues of economic inequality and systemic racism. “Some of us will barely get by/ they buy diamond studded shoes with our taxes/ Anything to keep us divided,” the British soul stylist belts in a sturdy voice that leaves no room for doubt that she knows the score and she’s not about to accept it. Indeed, by the end, she’s vowing to “fight for the life and soul of the world we love.” It’s anything but politics as usual in her message of coming together against those who benefit by sowing division. — M.N.

Avril Lavigne, "Bite Me"

Avril Lavigne didn’t have both feet planted in the pop-punk world during her commercial heyday, but when she started working with genre-revival leader Travis Barker and signed to his DTA Records imprint in 2021, the move to jump fully into power-chord rock made sense both professionally and sonically. “Bite Me” lets Lavigne showcase her long-dormant ferocity: as Barker bashes away on the drum kit, she spits teases like “I bet you taste me on the tip of your tongue” with the devilish glee of her early years. — J. Lipshutz

Tokischa & Rosalía, "Linda"

Superstars from all across the globe have been clamoring to work with Latin superstar Rosalía this decade: The Weeknd, Bad Bunny, Billie Eilish. But her sultry lady-loving track “Linda” with rising Dominican rapper Tokischa is a standout among Rosalía’s last two years of duets. Much like its accompanying music video, in which the two women are the center of various neon-lit street parties, the song exudes power and confidence, as both women rap about arriving when they damn well please (Tokischa shrugging, “I was late for the appointment, I was with La Rosalía”), and defying labels anyone might dare to put on them (Rosalía proclaiming, “We kiss, but we’re homies.”) — TAYLOR MIMS

Willow feat. Travis Barker, "Transparentsoul"

Willow’s masterful rock jam “Transparentsoul” featuring Travis Barker is the ultimate revenge song that anyone can dedicate to the backstabbers in their life. “I can see right through, just so ya know,” she roars in the hit, putting her foes on notice while also setting the perfect vibe and energy for an effective workout. The pop-punk blast grabbed many music listeners attention’ when it was released as the lead single off Willow’s fourth studio album, Lately I Feel Everything, in April, and in June it became her first Hot 100 hit since “Whip My Hair” over a decade earlier. — DARLENE ADEROJU

Clairo, "Amoeba"

​​Clairo’s hushed record Sling feels like a collection of pensive still life paintings in a year otherwise dominated by loud, TikTok-ready jams. On the LP highlight “Amoeba,” the singer/songwriter chastises herself for being self-centered, but she delivers gut-punch lines like “I can hope tonight goes differently / But I show up to the party just to leave” with a shrewdness that only comes from maturity and deep introspection. A daring lead single, Clairo’s “Amoeba” shows her commitment to craftsmanship above chart position, drawing inspiration from ‘70s songwriting greats like Carole King, and shirking temporary hits in favor of songs that are both timeless and complex. — K.R.

Trippie Redd feat. Playboi Carti, "Miss the Rage"

A fan-made edit of “Miss the Rage” featuring unreleased Carti vocals began circling TikTok earlier this year before he and Trippie Redd confirmed their collab — ultimately earning both rappers their highest-charting Hot 100 song as lead artists when the song peaked at No. 11 in May. With the emo-rap hit, Trippie and Carti channel the visceral fury both performers couldn’t relish in during the COVID-19 pandemic powered by a royalty-free, high-octane synth loop, courtesy of producer Loesoe via a Cymatics.fm sample pack. — HERAN MAMO

Silk Sonic, "Smokin Out the Window"

On “Smokin Out the Window,” Bruno Mars and Anderson .Paak need to let off some steam — or smoke, for that matter. Music’s cool guys quickly took over TikTok with their declaration of stress over a relationship filled with emotional games and gold digging. If nothing else, the success of “Smokin Out the Window” — which became the duo’s second Hot 100 top five hit in November — can be attributed to the fact that Silk Sonic, and only Silk Sonic, can make calling a woman “this b—h” weirdly attractive. — RANIA ANIFTOS

Summer Walker feat. JT, "Ex For a Reason"

Recently minted R&B superstar Summer Walker made her name singing confessional ballads over slow, wobbly, nocturnal trap beats — so it was a pleasant surprise her Still Over It lead single “Ex For a Reason” saw her excelling over cranked-up BPMs with a knockout pop hook. With a nodding assist from JT of City Girls, Walker laments needing to remind both her current man and his out-of-pocket ex that the two split for good cause — “She can never be what I am/ But as long as he with me, that’s what it’s gon’ be” — while a sweetly bumping electro beat gives the message extra weight. Alternate title: “Your Boo.” — A.U.

Durand Jones & the Indications, "Witchoo"

Durand Jones & the Indications have a knack for dusting off old sounds and giving them new life. “Witchoo,” the first single off their third studio album Private Space, brings new shine to disco grooves, with bold bass lines and Aaron Frazer’s signature falsetto. The band’s four-minute melding of disco, funk and R&B quickly became their most undeniable hit, and their most danceable. The Indications “got the space if you’re bringing the case” — so, as the chorus commands, “come through, bring the crew.” — T.M.

Carly Pearce & Ashley McBryde, "Never Wanted to Be That Girl"

As Carly Pearce learns the hard way on her spellbinding divorce EP 29, real life has a nasty tendency of turning you into different variations of That Girl, in ways you never would’ve previously imagined. “Never Wanted to Be That Girl,” a gut-punch duet with fellow modern country exemplar Ashley McBryde (found on the EP’s Written in Stone deluxe edition), sees her becoming a particularly humiliating version of That Girl: one confronted with increasing evidence that her man isn’t actually her man at all, who now must decide how much attention she can bear to pay to what’s right in front of her. “God, this feels like hell,” she and McBryde wince over weepy guitars, and you don’t doubt it for a second. — A.U.

C. Tangana & Andrés Calamaro, "Hong Kong"

This powerful duet with Argentinian rocker Andrés Calamaro, part of C. Tangana’s Latin Grammy-winning album El Madrileño, starts with electric guitar riffing that merges into Tangana’s storytelling rap. With a chorus that proclaims, “I have a flower in my ass and a camel in Hong Kong,” this Latin Grammy winner for best pop/rock song is all about excesses, perfectly combining the melodies, lyrics, and vibes of two generational artists. — INGRID FAJARDO

Sharon Van Etten & Angel Olsen, "Like I Used To"

One of the year’s biggest sounding songs, the drum crashes and synth swells at the start suggest indie rock trying to learn “Born to Run” — and one of its saddest. “Like I Used To” is about what happens when all your energy has gone missing and life is interrupted. Van Etten (who wrote the bulk of the song) and Olsen (who helped finish it) aren’t singing about the pandemic, but they might as well be. “Well, my head’s gone today/ Sell my past for a way to sing and have something left to say,” they lament, the interplay of Van Etten’s soulful alto and Olsen’s crystalline quaver lasering through the wall of sound with help from a cascading keyboard. The song burns brightest in the final verse, with closing lyric “Taking what’s mine like I used to” delivered by the duo like it’s a promise. — FRANK DIGIACOMO

The Weeknd, "Take My Breath"

After mining the 1980s to create “Blinding Lights,” the biggest Hot 100 song of all time, Abel Tesfaye’s alter ego took the hot-tub time machine back to the late ‘70s for this track, which sounds like he tracked down synth-Jedi Giorgio Moroder and messed with the time-space continuum. Although the lyrics to “Take My Breath” stand shoulder-to-shoulder with the sultry work of Donna Summer and Barry White, they’re secondary to the track’s appeal. The heady combination of its bottomless bass drum beat, shimmering synthesizer and the Weeknd’s silky vocals (and stratospheric falsetto) would have driven Studio 54’s beautiful people straight to the dance floor without stopping to wipe their noses or straighten their clothes. — F.D.

CKay, "Love Nwantiti (Ah Ah Ah)"

International Nigerian phenom CKay’s breakthrough single “Love Nwantiti (Ah Ah Ah)” is the ultimate tropical groove, perfect for long drives or getting in the creative zone — as seen in countless viral social media clips capturing artists, chefs, dancers and more showing off their skills to the song’s sweet sound. Written when CKay was in love, the smooth jam is perfect for listeners of all ages — and last month, its success helped CKay reach No. 1 on Billboard’s Emerging Artists chart. — D.A.

Capella Grey, "Gyalis"

While 2021’s song of the summer debate was amping up, Bronx rapper-singer Grey came in hot with his club anthem “Gyalis.” He glides on the unforgettable bounce of Juvenile’s “Back That Azz Up” and relocates the New Orleans hip-hop staple for his own New York uptown anthem (“The city is my palace,” he boasts in the chorus). Crooning about living the carefree, promiscuous life of a Casanova, as the Jamaican slang term “gyalis” indicates, Grey gassed himself all the way up the charts and earned his first top 10 Hot R&B/Hip-Hop Songs hit in November. — H.M.

Polo G, "Rapstar"

Polo G’s first Hot 100 No. 1 hit doesn’t swerve away from the pulpy storytelling that helped the Chicago MC develop a robust following; instead, the lyrical details are collected around a ukulele hook and trap beat and congeal into a mainstream product. Like all of Polo G’s best work, “Rapstar” revels in complexity — hip-hop braggadocio in his bars is balanced out by personal exhaustion (“Make sure I smile in public, when alone, my eyes teary”), providing a portrait of a young artist who understands fame’s gift and curse. — J. Lipshutz

Camila Cabello, "Don't Go Yet"

This flamenco-flavored song didn’t come close to matching the Hot 100-topping success of Cabello’s previous tribute to her Cuban roots, “Havana.” It was our loss: The single, which debuted and peaked at No. 42 on the Hot 100, has the vibrancy of a Miami Sound Machine classic. Cabello’s performance of the song on the Billboard Latin Music Awards, where she fronted a lineup of white-jacketed musicians like she was a singer at a hot Latin nightclub in the 1940s, was muy caliente. – P.G. 

Lorde, "Solar Power"

You’d think the timing would have been right this year for the most resolutely outside single of Lorde’s career, but pop fans met Lorde’s ode to kicking it at the beach alongside her photographer bf with a surprisingly frosty reception. Too bad; timeliness aside, “Solar Power” feels like a jam for all seasons, New Zealand’s finest catching just the right amount of UV rays not only from that big yellow thing in the sky but from two of the best dance-rock songs of the ’90s. “Blink three times when you feel it kicking in,” she offers before the song kicks into hypergroove, rolling with the ecstasy of contentment. Dunno, sounds pretty chill. — A.U.

Arlo Parks, "Hurt"

With a muffled, syncopated drum beat that rolls in like a friend with a breakfast sandwich on a hungover Sunday morning, “Hurt“ is an unassuming, cautiously optimistic ode to picking up and starting over. While Arlo Parks‘ lyrics detail spiraling bouts of depression, her rich vocal tone and gentle swagger make you believe there is, in fact, a better future coming, even if only marginally. Hey, in 2021, we’ll take what we can get. — J. Lynch

Megan Thee Stallion, "Thot S--t"

Following the culture-quaking success of Megan Thee Stallion and Cardi B’s controversial “WAP” came “Thot S–t” — a momentous track that once again demonstrated the Texan rapper’s notorious ability to stir moral panic amongst conservatives. Cockier than ever following her Grammy win for best new artist, Tina Snow — Megan’s raw and punchy alter ego — spits over a booming bassline: “I don’t give a f–k ’bout a blog tryna bash me / I’m the s–t, per the Recording Academy.” The song’s especially provocative music video sees Megan and friends terrorizing a senator with their twerking skills, running him over with a garbage truck, and many other unforgettably NSFW moments. — THANIA GARCIA

Doja Cat, "Need to Know"

It’s Doja Cat’s solar system, and we’re just living in it. The genre-bending Gen Z paragon made a statement with her intergalactic, Grammy-nominated album Planet Her and on “Need to Know,” her rapper/pop star balancing act is on full display. Peaking at No. 8 on the Billboard Hot 100, the spacey single finds her reinforcing her sexual wants, needs and curiosities through both bars and melodies, creating a seductive theme yet maintaining her signature humor (“Itchin’ for me like an ugly sweater/ Need it in me like a Chuck E. need cheddar”). — C. Lee

Camilo, "Vida de Rico"

Armed with a ukulele, a wistful voice and lyrics that are innocent but oh so clever (“I can’t give you a dime, but I can give you a thousand kisses/ I have little to take you out with, but slow dancing is free”), Colombia’s Camilo changed the sound of Latin pop, making what could be considered  corny sound cool. He also takes risks in songs like “Vida de Rico” (Rich Man’s Life), incorporating a peppy cumbia sway to his guitar-driven music. It defied everything that was on the charts early this year, and helped place Camilo in the top 15 acts on Billboard‘s year-end Latin Artists listing, without a single twerk or reggaetón beat to be found in his music or videos. — L.C.

Girl in Red, "Serotonin"

Hearing someone say they’re thinking about “cutting [their] hands off” is normally cause for serious alarm — but when Girl in Red sings it on her stuttering single “Serotonin,” it simply feels relatable. With the opening track off her phenomenal debut album If I Could Make It Go Quiet, the singer/songwriter born Marie Ulven brought the mania of her own inner turmoil into full view, mixing evocative lyrics with a frenzied, more hybridized sound. Quickly becoming the Norwegian star’s first stateside alternative radio smash, “Serotonin” helped mark Girl in Red‘s new position as a dominating presence in the world of alt-pop. — S.D.

Olivia Rodrigo, "Deja Vu"

How do you follow up one of the biggest debut singles in pop history? With another immediately catchy song with a familiar theme — one that deftly combines specificity and universality in a way that Olivia Rodrigo proved within two songs to have already mastered. A wistful evisceration of a recent ex who has jumped back into a new relationship  — which you could hear all about throughout her eventual debut album Sour — “Deja Vu“ is so relatable that it can be painful, a particular specialty of Rodrigo’s that has made the young singer an immediate global superstar. — D.R.

Adele, "To Be Loved"

One of the luxuries of superstardom like Adele’s is being afforded an enviable level of patience — not only for when it takes six or so years to write, record and release a new album, but for when it takes six or so minutes for your slowly unfolding torch song to reach superballad, maybe even signature song, proportions. “To Be Loved,” penultimate cut and emotional climax to her 30 album stuns not so much with histrionics as with deliberateness, with co-writer and ivory-tickler Tobias Jesso Jr. not rushing the legendary singer one iota as she sinks her heart, soul and diaphragm into a personal anthem about refusing to regret not looking before she leaps: “To be loved and love at the highest count/ Means to lose all the things I can’t live without.” The record shows, she took the blows, and was loved her way. — A.U.

Elton John & Dua Lipa, "Cold Heart" (Pnau Remix)

In lesser hands (and with lesser-quality songs), a song like “Cold Heart“ could seem, well, heartless — but with Australian trio Pnau at the production helm, the single’s mashing up of bits from four John tunes has spanned generations and crossed over multiple radio formats. As John and Lipa take turns interpreting lines from John classics “Rocket Man” and “Sacrifice,” while also interpolating the less-familiar John tracks “Where’s the Shoorah” and “Kiss the Bride,” they bring a freshness to decades-old material, culminating in John landing on the Hot 100 for the first time since 2000 — and scoring his first No. 1 on the U.K. singles chart in 16 years. — M.N.

Tyler, the Creator, "Lumberjack"

“Rolls Royce pull up, Black boy hop out/ Shoutout to my mother and my father, didn’t pull out,”  is the typically bold opening to Tyler, the Creator’s riotous “Lumberjack,” lead single off his Grammy-nominated album Call Me If You Get Lost. The innovative artist is unapologetically flashy over the beat’s dramatic piano shuffle (borrowed from Gravediggaz), boasting about his “MSG sell out” status, as well as his owning his companies in full and having “salad colored emerald on finger, the size of croutons.” DJ Drama serves as his hypeman with ad libs throughout (“Oh s–t!“) — foreshadowing the manifested Gangsta Grillz-style album that Tyler yearned for early in his career, and which CMIYGL ended up delivering. — C. Lee

Brandi Carlile, "Right on Time"

This piano-driven ballad begins just as an ugly argument ends (“Come back now, even if you call me out”). Slowly building from regret to resolve and then grace, Carlile offers both an apology and a cry for assistance in this gentle yet powerful plea. “Turn back time,” she sings, “Help me to rewind and we can find ourselves again.” In a year in which we all need to give each other a little space and love, “Right on Time“ and its message of forgiveness keeps the sanctity of kindness top of mind. — D.B.

Chris Stapleton, "You Should Probably Leave"

This subtly sultry track from Stapleton’s Starting Over album finds him trying (unsuccessfully) to rebuff an ex-lover’s attempts to rekindle an on-again, off-again relationship. “There’s still time for you to finish your wine/ Then you should probably leave,” he sings over a swinging groove, with his signature growl tempered to a soulful croon, as each new lyric finds his resolve crumbling further. The song netted Stapleton one of his three Grammy nominations this year, for best country solo performance. — JESSICA NICHOLSON

BTS, "Butter"

BTS’ second entirely English-language single did even better than the first, the Hot 100-topping “Dynamite,” by besting that chart for 10 weeks, longer than any other hit in 2021. “Butter,” which also brought the group its second straight Grammy nod for best pop duo/group performance, is an irresistible combo of K-pop, bubblegum and hip-hop, with an infectious refrain and an exhilarating strut. The last shot of the video, where J-Hope pops a pat of butter into his mouth, is the only dubious choice here. — P.G. 

Bo Burnham, "All Eyes on Me"

One of the biggest takeaways from Bo Burnham’s musical comedy Netflix special, Bo Burnham: Inside, was that the comedian wasn’t just good at combining humor with poignant social commentary — he could write pop songs to rival anything on the Hot 100. Republic Records took notice, and after signing Burnham (and getting the entire soundtrack on streaming services), they released the foreboding, R&B-leaning “All Eyes on Me” as a standalone single. The ominous, murky synthesizers complement Burnham’s gloom-filtered vocal, which makes him sound like some hypebeast Angel of Death as he commands that all hands raise and eyes lock: “Get your f–king hands up / Get up out of your seat / All eyes on me / All eyes on me.” His disciples answered the call, earning the song 69.3 million U.S. streams so far, according to MRC Data. — C.W.

Lizzo & Cardi B, "Rumors"

Aiming squarely for the dark hearts of internet trolls and gossip blogs, Lizzo and Cardi B made defamation celebratory (and retaliatory) with their August pop/R&B scorcher “Rumors.” Entering the Hot 100 at No. 4 — Lizzo’s highest debut to date — the song is a laundry list of the absurd things this pair of human trending topics have heard about themselves. The power duo then dismisses the haters by joyfully (if also sarcastically) admitting that “all the rumors are true, yeah!” before a serious brass hook offers the final taunting “nyah.” — K.B.

Yotuel, Gente De Zona, Descemer Bueno, Maykel Osorbo & El Funky, "Patria y Vida"

The song of the year at the Latin Grammys managed to stoke a revolution with its slow beats and barely contained fury. Instead of shooting from the hip from the get-go, “Patria y Vida” (Country and Life) — a play on words that turns the official Cuban slogan of “Country or Death” on its head — starts with a melancholy trova guitar, emblematic of Cuban revolutionary songs. But “Patria” transforms into a plea of discontent that picks up steam as its artist composers –Yotuel, Gente de Zona, Descemer Bueno, and Cuban-based rappers Maykel Osorbo and El Funky — finally explode with aggrieved raps. That all the performers in this song are Black, and singing and rapping in their own words about being oppressed in their homeland, further expands the impact and importance of this song, both sure to last far past 2021. — L.C.

MUNA feat. Phoebe Bridgers, "Silk Chiffon"

In a year where joy was, quite frankly, in short supply, “Silk Chiffon” was a long-awaited gust of fresh air bursting into a stale room. MUNA and Phoebe Bridgers may be known for some of their dourer offerings, but “Silk Chiffon” sees the queer quartet keeping it easy and breezy, layering acoustic guitars under blissful synths as they paint a portrait of simple LGBTQ love. When you’re feeling down, just remember the immortal words of this buoyant bop; “Life’s so fun, don’t need to worry about no one.” — S.D.

Chlöe, "Have Mercy"

Chloe Bailey sure knows how to turn criticism into a paycheck. At just 23 years old, the Chloe x Halle star maturely shook off the online hate she was getting for her unabashed body positivity, and channeled it into an alluring debut solo single. On “Have Mercy” she takes charge of the narrative surrounding her “Laffy Taffy” and gets to be as sexy as she wants over wall-shaking bass, ticking drums and a shout-along hook borrowed from Jersey club star Uniiqu3 — though it’s still her own jaw-dropping vocals that have us shouting, “Lord, have mercy!” — R.A.

Brent Faiyaz feat. Drake, "Wasting Time"

Rising R&B star Brent Faiyaz could sing the McDonald’s drive-thru menu and it would sound like art. Combine that vocal finesse with strings and loops expertly composed by The Neptunes, and a vulnerable Drake verse that sounds straight outta So Far Gone, and you’ve got the perfect marriage of past and present hip-hop hybrid sounds. While Brent has been selective with his offerings leading up to his sophomore album, the satisfying nostalgia of “Wasting Time” establishes it as his standout single of the year. — NEENA ROUHANI

Brothers Osborne, "Younger Me"

Country duo TJ and John Osborne take a very personal subject — TJ coming out as gay earlier this year — and turn it into a universal message to anyone who wishes they could tell their younger self that everything’s going to work out exactly how it should. “Younger me/overthinking, losing sleep at night,” TJ sings in his warm baritone, “If he only knew he’d be alright.” The song is a watershed moment for mainstream country music, but it’s the intimacy and reassuring warmth of TJ’s delivery that earns it repeated listenings. — M.N.

Nathy Peluso, "Mafiosa"

Though she won the Latin Grammy for best alternative music album, Peluso is a salsa lover at heart — and “Mafiosa,” like her previously released “Puro Veneno,” is an ode to the tropical genre. In the bossed-up track about finding her self-worth and being the most powerful woman in the block, Peluso fiercely chants: “I’m going to be a gangster, a wonder woman/ May bad men fear me/ When I arrive in my car/ They despair/ They get scared and speed away.” Led by a live salsa orchestra (piano, trumpet, congas, guira, and more), the Argentine singer-songwriter is a dangerous woman on the loose, sending a clear message: Men are afraid of powerful women. — J.R.

Japanese Breakfast, "Be Sweet"

“Tell the men I’m coming,” Michelle Zauner declares in the opening line of her lead single from Jubilee. “Tell them: count the days.” The bass percolates like Michael Jackson’s “Off the Wall,” making this warning land like an invitation to a dancefloor showdown. Laced with snake-hipped synths and bright percussion, “Be Sweet” is awfully exuberant for a song about reconciling with a dishonest lover. But after years of mourning her mother’s untimely death from cancer, Zauner wanted her third album to be joyous — so on Jubilee, bliss coexists with sadness, longing and all the darker stuff in our heads. “Come and get your woman,” Zauner sings with stone-cold confidence. “Pacify her rage.” The knife twist at the end of that line indicates that whatever happens next, compromise will not be involved.  – F.D.

Saweetie feat. Doja Cat, "Best Friend"

Everyone deserves a best friend who talks them up as hard as Saweetie and Doja Cat do in this plucky ode to baddie BFFs. They’ve got their own cars. They’ve got their own money. Their booties may or may not be growing. In this bubbly anthem — which became Saweetie’s highest-charting hit on the Hot 100 upon climbing to No. 14 in April — these confident confidants are not just best friends; they’re “motherf—in’ soul mates.” – K.A.

Kacey Musgraves, "Justified"

With “Justified,” from Musgraves’ post-divorce rumination project Star-Crossed, the singer-songwriter details the non-linear path to healing that often accompanies a devastating breakup. The song’s shimmering synths and up-tempo shuffle pulse alongside Musgraves’s gift for phrase-turning lyrics, including “If I need just a little more time to deal with the fact that you should have treated me right/ Then I’m more than just a little justified.” “Justified” returned Musgraves to the top 10 of any Billboard Airplay chart for the first time since 2013, hitting No. 4 on the Adult Alternative listing. — J.N.

Halsey, "I Am Not a Woman, I'm a God"

One of alt music’s sharpest lyricists showed up to 2021 with knives out — well, mostly pointed inward, actually. The title of this thumping industrial pop gem (with production courtesy of collaborators Trent Reznor and Atticus Ross of Nine Inch Nails) makes it sound like an empowerment anthem, but Halsey only builds up to tear down: “I am not a woman, I’m a God/ I am not a martyr, I’m a problem/ I am not a legend, I’m a fraud.” The end goal isn’t self-immolation, but self-knowledge, and like parent album If I Can’t Have Love, I Want Power, this one cuts deep. — J. Lynch

Pop Smoke, "What You Know Bout Love"

It may seem far-fetched for a drill rapper to effectively flip Ginuwine’s ‘90s R&B classic, “Differences,” but that’s exactly what happened with the late Pop Smoke’s “What You Know Bout Love.” The typically menacing emcee gets in touch with his sentimental side on the posthumous crossover smash — which climbed to No. 9 on the Hot 100 this April — as the warm and fuzzy Ginuwine instrumental is looped in the background underneath mile-a-minute hi-hats and flirty snaps, to heart-swelling effect. — N.R.

Bad Bunny, "Yonaguni"

A mix of vulnerable emo lyrics and chill reggaetón beats brings “Yonaguni” to life, giving Bad Bunny a newly alternative, perreo sound. The Puerto Rican superstar sings about overcoming a breakup, but missing that special someone no matter how hard he tries. He references in the chorus that he will do anything to win her back, including traveling to the titular Japanese island — even singing some Japanese words at the end to get his message across. “Yonaguni” earned Bad Bunny his 15th No. 1 on Billboard’s Latin Airplay chart, and also debuted in the top 10 on the Hot 100, his first time reaching the chart’s top tier with an entirely solo single. — I.F.

Justin Bieber feat. Daniel Caesar and Giveon, "Peaches"

For years, Bieber has straddled the lines between pop and R&B, with purists from the latter being among his most prominent critics. On “Peaches,” Bieber silences the noise by enlisting two of the genre’s most acclaimed acts in Daniel Caesar and Giveon to deliver a breezy anthem named for Georgia’s state fruit. Biebs’ hook gushes with flavor as he croons about his girl’s curvaceous body and smoking on Cali’s best strain of weed. After being pummeled in many corners for last year’s Changes album and its lead single “Yummy,” the single now has Bieber back in the driver’s seat, topping the Hot 100 and receiving Grammy nods for record and song of the year. — C. Lamarre

Glass Animals, "Heat Waves"

Longtime cult favorites in the U.S., British alt-pop outfit Glass Animals finally scored a global crossover hit in 2021 with their percolating “Heat Waves.” The song came on as gradually as a warm front, impacting internationally in late 2020 and sweeping stateside in early 2021, catching a viral booster shot whenever its momentum seemed to lag, and finally hitting the Hot 100’s top 10 this November. The song was an appropriate slowcomer, a hazy, languid charmer with a truly contagious chorus — the kind of heater whose impact you don’t really notice until you incidentally touch your forehead while listening on pop radio for the 77th time and find your brow to be drenched in sweat. — A.U.

Snail Mail, "Valentine"

“Valentine“ is an explosive reintroduction to indie singer-songwriter Lindsey Jordan, best known in the music world as Snail Mail. The dynamic opener to her sophomore set of the same name assertively sets the tone for the rest of its runtime — the gentle, eerie production behind its first verse ramps up into a bombastic, guitar-blasted chorus, perfectly complimenting Jordan’s piercing lyrics of heartbreak and unrequited love. Jordan’s well-executed use of momentum throughout makes “Valentine” an unforgettable title track – one that builds so well that as soon as it ends,  you want to run it back a hundred times. — E.J.P. 

Cardi B, "Up"

It’s no surprise that Cardi B’s braggadocious bars climbed all the way “Up” the Hot 100. It’s the Bronx native in her element on the standalone single, rapping off a self-assured list of reasons why she could easily stomp out any “b–ch who n—a wanna f–k on me.” Cardi opted to keep the beat simple and characteristically hip-hop for her rapid-fire verses letting the lyrics really shine through and proving that “Balenciaga Bardi” is still that self-proclaimed “emotional gangsta” after all these years. — R.A.

The Weeknd & Ariana Grande, "Save Your Tears" (Remix)

“Save Your Tears“ was already a top five Hot 100 hit before its remix came along, but now it’s almost impossible to imagine the synthy midtempo song without Grande’s ethereal vocal ad libs throughout – especially that playful “mm-mm” that comes right before her solo second verse — which helped propel “Tears” to the chart’s apex. We already knew that Abel & Ari make a good pair, but this remix improves on the original by turning a playboy’s lament into a duet where each side of the relationship accepts some of the blame. So adult! – K.A.

PinkPantheress, "Just For Me"

Known for upcycling ’00s garage and drum-and-bass beats into blink-and-you’ll-miss-it modern pop, the release of PinkPanthress’s “Just For Me” showed that the British sampler/songwriter was more than just an anonymous Uni student, dropping super short songs online: she was a budding star. Produced by fellow genre-blending U.K. phenom Mura Masa, “Just For Me” is a triumph in under two minutes, featuring PinkPanthress’s saccharine vocals, a chunky beat, and some of her most piercing lyrics yet — sparing no seconds as she poses the breathless chorus question: “When you wipe your tears, do you wipe them just for me?” — K.R.

Jazmine Sullivan, "Pick Up Your Feelings"

After a six-year break, Jazmine Sullivan roared back with this kiss-off anthem from her acclaimed EP Heaux Tales. Instead of wallowing in self-pity following a breakup on “Pick Up Your Feelings,” Sullivan takes the matter of holding her ex accountable squarely into her hands. “I’m tryna find a f–k to give for you,” she declares in her warm, thick tone. “Pick up your feelings/ Don’t leave no pieces.” Said Sullivan to Billboard of the song’s appeal earlier this year, “It sounded real R&B, something I felt was missing from this project: a standout mid-ballad that people are used to hearing me do.” Recording Academy voters concurred, nominating “Feelings” for best R&B performance and best R&B song at the 2022 Grammys. — G.M.

Lil Nas X, "Montero (Call Me By Your Name)"

Even after you strip away all of the theatrics, costumes, pole-dancing and devil-twerking, Lil Nas X’s smash hit “Montero (Call Me By Your Name)” is still a certified banger. Infused with a flamenco-like guitar pattern and some earth-shaking bass, this unapologetically capital-G Gay Anthem stands as a musical and artistic triumph, where Lil Nas X takes gay sex and romance and catapults them into the heart of pop culture and public consciousness. There’s no wonder why the 22-year-old rapper led every headline for days after the song’s release — the real question is why anyone ever thought that we wouldn’t be hearing and seeing so much more from him. — S.D.

The Kid LAROI & Justin Bieber, "Stay"

Right around the time that 24kGoldn and Iann Dior’s 2020 four-quadrant smash “Mood” was finally starting to peter out on radio and streaming, The Kid LAROI and Justin Bieber filled the gap with another muscular mega-duet (similarly co-helmed by writer-producers Omer Fedi and Blake Slatkin, among others) that mixed pop, rock and hip-hop energies for atomic impact. “Stay” is a manic 2:21 sprint to the finish line, with Bieber and LAROI trading off vocal hooks like a baton as they breathlessly plead for the “reason [they] believe in love” not to walk out on them over urgent synths and insistent drums. Hardly surprising that “Stay” is living up to its title on the Hot 100, topping the chart for seven weeks and still hanging in the top five over 20 weeks in. — A.U.

Baby Keem & Kendrick Lamar, "Family Ties"

Rising rapper Keem’s secret weapon on “Family Ties” – an appearance by his older superstar cousin, largely absent since 2018 – is reason alone for the triumphant track to be a smash (and a Recording Academy favorite, scoring nominations for best rap song and best rap performance). While Kendrick’s scene-stealing bars about “smokin’ on top fives” garnered the most social media attention, Keem knocks haters’ nepotism claims with his fiery bars and proves he’s worthy of joint billing with his co-star, while building the hype for his Billboard 200 top five debut LP The Melodic Blue. And in the meantime, “Ties” also reassures Lamar’s fans that even after he leaves longtime label TDE, he’ll never forsake his family. — H.M.

Giveon, "Heartbreak Anniversary"

Giveon’s heart-wrenchingly personal “Heartbreak Anniversary” tells the tale of ache and despair following a breakup – forming the type of connection in an emotional ballad that draws listeners in and keeps them there. Giveon’s baritone serenades “Cause I remember every time/ On these days that feel like you and me/ Heartbreak anniversary, do you ever think of me?” over airy keys and distorted guitars, which melt together to create one of the year’s catchiest tear-jerkers. The ballad, which became a national favorite thanks partly to its accompanying dance challenge on TikTok, is the breakout R&B star doing what he does best — layering vulnerable lyrics over a lingering melody and putting us right in our feelings. — T.G.

Adele, "Easy on Me"

The expectations heading into Adele’s first new music in nearly six years were as sky-high as one of the British singer/songwriter’s patented power notes. But instead of going the bombastic route with 30‘s lead single “Easy on Me,” Adele sent this vulnerable musical message to her son, setting the tone for a beyond open post-divorce project and reintroducing the peerless vocal delivery fans had desperately missed. “I changed who I was to put you both first, but now I give up,” she aches over sympathetic piano – and she once again managed to take a plaintive piano ballad to the top of the Hot 100 (for six weeks so far, and counting). – K.A.

Doja Cat feat. SZA, "Kiss Me More"

Another yeah, another blissed-out pop-n-B/hip-hop hybrid proving unshakeable from the top 40 for Doja Cat. “Kiss Me More” built on the foundation that “Say So” built in 2020 and further cemented the singer-rapper as one of the mainstream’s most undeniable and charismatic hitmakers — while also giving special guest SZA her highest-charting Hot 100 single to date with its No. 3 peak. But as obvious and ingratiating a crossover as the song was, it sacrificed none of Doja’s signature horny oddball flair: How many other pop superstars would begin a verse on their all-ages smash by shouting, “I FEEL LIKE F–KIN’ SOMETHIN’!” — A.U.

Rauw Alejandro, "Todo de Ti"

Inspired by James Brown and Bruno Mars, Rauw admitted in June that “Todo de Ti” was the last track to make it on his Vice Versa album because he felt that “something was missing.” Evidently, the summer anthem (and viral TikTok hit) was the final puzzle piece: a departure from his signature urban-leaning sound, “Todo de Ti” allowed the Puerto Rican star to show off his chameleonic ability to shift gears and go from hardcore reggaetón to a sweet, groovy pop tune. “The most important thing in my music is the melodies,” he expressed of the track, which was finished in two days. “It’s a totally different proposal and I took a risk.” “Todo de Ti” earned Rauw his first-ever solo Billboard Hot 100 chart entry, climbing to No. 32 in July. — J.R.

Olivia Rodrigo, "Drivers License"

It’s been 11 months since “Drivers License” made then-17-year-old Olivia Rodrigo the toast of the music world overnight, becoming 2021’s first true runaway blockbuster and entering into permanent pop lore by Groundhog Day. But while the teenage torch song was massive enough to loom over practically the entire year that followed, what still stuns about “License” in December is how light on its wheels it remains. The heartbreak hymn motors with near-krautrock steadiness and precision, ingenious in every detail of its subtly propulsive production — from the opening car-door-ajar alarm that winds into the song’s primary verse hook to the two-note bass bubble that takes the song from its leveling chorus to its instantly immortal bridge. There aren’t a ton of breakup ballads you’d consider road trip staples, but “Drivers License” made Rodrigo perhaps pop-rock’s biggest rookie phenom since Alanis Morissette in large part because you could picture her freaking out to it like Alanis from the backseat, shotgun and behind the wheel simultaneously. — A.U.

Pooh Shiesty feat. Lil Durk, "Back in Blood"

Few new rappers hit the scene with as much confidence and sense of self this year as Pooh Shiesty. The Memphis rapper deftly channels the spirit of label boss Gucci Mane without sounding like a clone, bringing his own patient, imposing flair to “Back in Blood,” his defining anthem of the year.  Meanwhile, Chicago drill veteran Lil Durk continues his staggering breakout season with a combustible guest verse, leaning on his knack for vivid storytelling and shout-along bars. The two MCs have a similarly instinctive ear for both melody and flow — and contrast nicely, with Sheisty’s laid-back swagger dovetailing with Durk’s more insistent delivery, coalescing for easily one of the best hip-hop songs of the year. — D.R.

Billie Eilish, "Happier Than Ever"

Kali Uchis, "Telepatía"

Released by Kali Uchis because “the world needed some healing energy,” the Tainy-co-produced “Telepatía” is a dreamy bilingual pop track that talks about feeling lonely and the desire to make love telepathically. “After we ended up in this pandemic, the lyrics became more relevant,” she previously told Billboard. “I try to stay grounded and make music from a clear, level-headed place and contribute something positive to the world.” Part of Kali’s first-ever Spanish language album Sin Miedo (Del Amor y Otros Demonios), “Telepatía” went viral on Tik Tok and ultimately earned the Colombian-American singer-songwriter her first No. 1 on the Hot Latin Songs chart — dethroning Bad Bunny and Jhay Cortez’s “Dakiti” from its 27-week lead, and making Kali Uchis the first female soloist without an accompanying act to lead the chart since 2012. — I.F.

Wizkid feat. Tems, "Essence"

If we were ranking the 100 best summer songs of the year, “Essence” would come out on top. From Tems’ ascending melody to start her verse, the track’s butterflies-in-your-stomach feel is established, peaking at the contagious chorus (“You don’t need no othaaaa body!”) which we’ve collectively belted at every party and gathering for the last eight months. Wizkid delivers a memorable verse of his own, but he knew exactly what he was doing when he let the burgeoning Nigerian singer-songwriter take the spotlight with “Essence,” putting Afrobeats squarely in the U.S. pop mainstream, and giving listeners all we need for countless warm-weather festivities to come. — N.R.

SZA, "Good Days"

SZA’s first unaccompanied top 10 hit on the Hot 100 wouldn’t have been anyone’s guess for a conventional crossover. “Good Days” is a languorous, stuck-in-bed slow jam — not the fun kind, though, as its anguished lyrics aren’t focused on getting laid but rather getting outside of your own head just once before the apocalypse. The song’s title isn’t a statement or even a prediction, just a blind wish: “Still wanna believe in good days,” the star singer-songwriter sighs along with her backing vocals, while impossibly lush waves of synth and guitar attempt to provide comfort and reassurance. It was hardly a song made for R&B radio, but it was still undoubtedly what a ton of music listeners wanted to hear as 2020 turned to 2021, becoming one of the first major streaming hits of the early year. It may not be possible to take a vacation from your brain — or from anything else at COVID’s height, for that matter — but at least the view is always nicer from the top of the charts. — A.U.

Taylor Swift, "All Too Well" (10 Minute Version) (Taylor's Version) (From the Vault)

“All Too Well” (Taylor’s GoFundMe Version)  

Goal: Turn a nine-year-old album track into a Red-hot single. Set new record for the lengthiest No. 1 song ever.

Challenges: Expand a five-minute breakup ballad back to its original 10-minute length. Sing about an ex’s “f—k the patriarchy keychain” without earning eye-rolls.

Risks: Raising the ire of Boomers who will huff, “Well, it’s no ‘American Pie’” in Facebook comments section. Having too many parentheticals in a song title.

Reward: Earn eighth No. 1 on Hot 100. Validate beloved deep cut as universal pop classic. Give Swifties extra reason to celebrate #RedSeason.

UPDATE: Fans fueled 54.4 million U.S. streams and purchased 57,800 downloads in first week. This project has exceeded its initial goal. — J. Lynch

Lil Nas X & Jack Harlow, "Industry Baby"

“Industry Baby” is important as both a groundbreaking mainstream collaboration between a queer male rapper and straight male rapper and another major hit for Lil Nas X leading into the release of his long-awaited debut album, Montero. Divorced from its cultural context, however, “Industry Baby” is important simply as an undeniable banger: fresh off more intimately developed confessionals like “Montero (Call Me By Your Name)” and “Sun Go Down,” Nas aims to create a stadium-sized celebration and hits the mark, rapping over trunk-rattling beats (thanks in part to co-producer Kanye West, natch) while Jack Harlow slides in with the same mix of sexual innuendo and college-sports wordplay as his breakout hit “Whats Poppin.” This one is, indeed, for the champions, and “Industry Baby” kept Lil Nas X in the winners’ circle for the rest of 2021. — J. Lipshutz

Dua Lipa, "Levitating"

Everything about this Future Nostalgia gem is encapsulated in its effervescent title, from the written-in-the-stars lyrical love story floating straight to the galaxies, to the handclapping beat begging you to get up and dance, to its relentless rise up the charts – even ending 2021 as the year’s biggest Hot 100 hit despite never topping the chart. It all comes back to what a fun repeat listen it is, with its slinky, Studio 54-inspired production from longtime collaborator Koz alongside Stuart Price (who also shepherded Madonna’s disco revival for 2005’s Confessions on a Dance Floor), as well as those sweetly cheeky lyrics (looking at you, “sugarboo”). At the end of last year, during her Billboard Women in Music interview, Lipa told us of her strategy around her March 2020 album release, “We love to milk it.” Now, a full year and a half later, she’s still milking this unstoppable single… all the way to the Milky Way. – K.A.

Olivia Rodrigo, "Good 4 U"

How do you get out from under the shadow of a record-breaking, Hot 100-topping debut single that yielded its own Saturday Night Live skit and one of the best bridges in recent memory? If you’re Olivia Rodrigo, you change just about everything: “Good 4 U” smashes “If it ain’t broke, don’t fix it” to pieces, flipping the distraught, heartfelt balladry of “Drivers License” for a middle-fingers-up anthem spiked with tongue-in-cheek lyrics and 2000s pop-punk angst. (Rodrigo would later give writing credits to Hayley Williams and Josh Farro for similarities to Paramore’s 2007 single “Misery Business.”) Her songwriting is clever without being congested, and her vocal glides just as effortlessly on top of raucous guitars as it does over a serene piano. Oh yeah, and “Good 4 U” also arrived atop the Hot 100, making Sour the first debut album ever to score two No. 1 bows on the chart — and proving that, contrary to the song’s opening lyrics, it was in fact Rodrigo who excelled at moving on really easily. — J.G.

Silk Sonic, "Leave the Door Open"

Instead of leaning into today’s R&B sound, Silk Sonic — comprised of famed retro heads Bruno Mars and Anderson .Paak — grooved their way back into the ’70s with their exuberantly sleek seduction anthem “Leave the Door Open.” Dripping with both humor and sex appeal, “Door” is an instant slam dunk by the R&B super-duo, as they lovingly recreated the lush sounds of ’70s soul, but with enough modern finesse to still conquer audiences not even born until decades later.

In hopes of fulfilling their bedroom conquests on the swoon-worthy ballad, Bruno and Anderson aim to please: Not only do they cajole their lady with “straight from the heart” wordplay, but they offer extra incentives to get the party started (“If you smoke, I got the haze/ And if you’re hungry, girl, I got filets”). Silk Sonic make their predecessors proud both with the detail of the production and the investment of their performances — most notably, Bruno’s series of high notes at the song’s conclusion. “Leave the Door Open” rocketed to No. 1 on the Hot 100 in just five weeks and earned Grammy nominations for record and song of the year. Though An Evening With Silk Sonic took another eight months to materialize and the pair haven’t announced tour plans, the duo’s debut single was such a winner that it guaranteed that the door would still be open whenever they decided to return. — C. Lamarre