(Spotify playlist here; Youtube playlist here.)
In alphabetical order:
“Atlantic” by the Weather Station. “I should really know better than to read the headlines.” You said it.
“Boomerang” by Yebba. Move over, Adele. When it comes to white soul, Yebba has you beat hands down. Plus she’s from Arkansas instead of Tottenham.
“Chaise Longue” by Wet Leg. The funniest song of the year. Plus it makes me jump up and down.
“The Dress” by Dijon. From a terrific record, Absolutely. To me, he’s the perfect combination of Frank Ocean, Bon Iver, and D’Angelo.
“Fuera la liga” by Los 4. Best percussion of 2021? Best cackle too?
“Go Your Way” by Robert Plant & Alison Krauss. Usually I don’t like their versions of other people’s songs as much as I like the originals. And Anne Briggs’s original is great. But this version is even better because it’s not trying to be.
“Keep an Eye on Dan” by ABBA. I had pretty low expectations for Voyage. But it’s not bad. This is my favorite track: the total opposite of “Does Your Mother Know.”
“Kiss Me More” by Doja Cat featuring SZA. What Prince’s “Kiss” was to 1986, this song is to 2021.
“Leave the Door Open” by Silk Sonic. A gorgeous update of the Gamble-Huff aesthetic courtesy of Anderson .Paak and Bruno Mars.
“Like I Used To” by Sharon Van Etten & Angel Olsen. I love this single, even if it’s overproduced and the mix is muddy and it attempts to be magisterial (rather than casual) and ageless (rather than contemporary) and it doesn’t really mean anything. But I’m just a sucker for practically anything Van Etten does.
“Marchita” by Silvana Estrada. This unfathomably talented Mexican singer and songwriter released a good handful of singles this year, and they’re all fantastic. It was very hard to choose just one. If you like this, also check out “Tristeza” and “La corriente,” at least.
“Muba” by Jupiter & Okwess. Their latest album, Na Kozonga, doesn’t hold a candle to their last two. But this song is the exception.
“Mundo Nuevo” by Alex Cuba & Lila Downs. I can see this becoming a folk song in fifty years.
“No Difference” by Hand Habits. A number of unhappy American women are singing about their unhappy lives over indie-soundtrack music, often with slightly ominous swooshy noises behind muffled guitars and drums, to widespread acclaim. Out of the miles of this product, this is the only song that really appealed to me this year. It’s probably all the popopos and oohs.
“Point and Kill” by Little Simz with Obongjayar. I have to say I like Obongjayar’s part better than Little Simz’s (she has a tendency to be obvious), but anyway, when the horns come in I just swoon.
“Rainforest” by Noname. A pretty valiant attempt to wrap up the entire world’s problems in under three minutes.
“Red Room” by Hiatus Kaiyote. Wait—this band is Australian?
“Rise to Ashes” by Amon Tobin. Tobin has long been my favorite EDMian—probably because he’s so maximalist—and this is his best single in years.
“Rómpelo” by Cimafunk. This man makes me so happy. And isn’t it great to have Lupe Fiasco back? El alimento is my dance album of the year.
“Same Size Shoe” by serpentwithfeet. Ah, the ecstasy of finding the perfect match. Love the trumpets!
“Starlight” by Yola. 2021 was a great year for traditional soul singles, and this is one of the best.
“Swan Song” by Lindsey Buckingham. Yet another mean song about Stevie—keeping the feud alive for forty-seven years and counting.
“Velur” by Zoé. It sounds just like New Order at first, but soon it becomes this delirious pop confection, made even more delirious by the unknowability of the word velur.
“Why Don’t You Touch Me” by Leon Bridges. This guy just gets better and better, and for me this is the most devastating soul single since Frank Ocean’s “Swim Good.” The B-side, “Motorbike,” is great too.
“Witchoo” by Durand Jones & the Indications. A band from my hometown (Bloomington, Indiana)! And they’re disco too!