State Champ Radio cool pop songs
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered. These tracks from artists including RM, Charli XCX, Dora Jar and more will get you energized to take on the week. Pop any of these gems into […]
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered. These tracks from artists including Mabel, Lauv, Nilüfer Yanya and more will get you energized to take on the week. Pop any of these gems into your […]
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered. These tracks from artists including Alfie Templeman, Debbii Dawson, Nxdia and more will get you energized to take on the week. Pop any of these gems into […]
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered. These tracks from artists including Leigh-Anne, BABYMONSTER, Frank Turner and more will get you energized to take on the week. Pop any of these gems into your […]
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
These 10 tracks from artists including Chappell Roan, Bleachers, Kylie Minogue and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of our favorite cool pop songs of this year.
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Chappell Roan, “Super Graphic Ultra Modern Girl”
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On paper, Chappell Roan’s “Super Graphic Ultra Modern Girl” represents an eyeroll, as the rising pop star dismisses another bad date with “fugly jeans” and swears off lame dudes altogether. In practice, though, the song is ecstatic: the best track on Roan’s striking debut album The Rise and Fall of a Midwest Princess blasts off following its conversational opening verse into the electro-pop stratosphere, and when the beat kicks in on the back half of the chorus, trying to resist one of the year’s most giddy pop moments is a losing game. – Jason Lipshutz
Dylan, “Rebel Child”
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The guitar snarl of Dylan’s new single “Rebel Child” harkens back to latter-period garage-rock revival, when bands like The Hives and Jet were still soaking up radio spins and commercial synchs — but the rest of the song swerves into a satisfying pop lane full of “woo-hoo” refrains and anti-hater messaging. When Dylan declares, “Oh, baby, I can’t lose, my drum is beating harder,” as the percussion picks up on the chorus, “Rebel Child” reaches a new, synergistic height. – J. Lipshutz
Bleachers, “Modern Girl”
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Anyone who’s caught a recent Bleachers show understands that, when Jack Antonoff isn’t helping mold some of biggest pop albums in recent memory, he and his band mates are putting on gleefully raucous performances; “Modern Girl,” the lead single to their upcoming fourth album, bottles some of that onstage energy and brings it back into the recording studio. In between saxophone struts and a wall-of-sound hook, Antonoff’s voice settles nicely into a rapid-fire cadence, each syllable flush with jittery passion. – J. Lipshutz
Yeule, “Cyber Meat”
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While Yeule’s 2022 album Glitch Princess, which focused on disassociating with the natural world, featured a daringly synthetic approach to pop, the newly released softscars tries to untangle the various complexities of humanity with an alt-rock edge. “Cyber Meat” is a standout from the new album precisely because it’s something we haven’t heard from Yeule before: as they masterfully deploy hooks over crashing drums and bleary guitar, they sound fearless, and have us wondering where else they might go next. – J. Lipshutz
Slaughter Beach, Dog, “My Sister in Jesus Christ”
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The entirety of Slaughter Beach, Dog’s new album, Crying, Laughing, Waving, Smiling, contains a bright indie twang that will make a lovely autumn-sunset soundtrack this season — although the lyrics of the rollicking standout “My Sister in Jesus Christ” might jump out from the background and grab your attention. Jake Ewald’s songwriting touches upon My Chemical Romance, blue Gatorade, a snakeskin purse and “dirty emails on AOL” — and that’s just one of the verse — but does so with a smile and a wink, each reference grabbing your attention without becoming too intrusive. – J. Lipshutz
JP Saxe, “Anywhere”
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JP Saxe has described “Anywhere” as one of his favorite songs that he’s written to date, and it’s easy to understand why: the piano ballad functions as a lullaby but never dips into the maudlin, with Saxe soothing his subject that, while he may be away from home, he’s going to be back soon enough. A song like “Anywhere” is tricky to pull off without sounding saccharine, but Saxe lowers his voice to a gentle embrace instead of a showy bellow, making his words all the more relatable. – J. Lipshutz
Brent Faiyaz, “WY@”
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Over the soft, insistent tap of an 808 and multi-layered, almost unearthly harmonies, Brent Faiyaz sings of a poisonous lover who’s too alluring to let go: “You take on my ability / You’re the death of me and the remedy.” Just like the subject of “WY@,” the pull of this soulful slow-burn is hard to turn down, and easy to get lost in. – Joe Lynch
Kylie Minogue, “Green Light”
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Hailing from Kylie Minogue’s excellent new LP Tension, “Green Light” is a bouncy, bright bop that finds the Aussie pop queen singing her verses in a soft, ping-pong staccato before the disco-inflected chorus takes over. And that smooth sax solo? Just icing on the top of this delicious confection. – J. Lynch
Coco & Clair Clair, “The Hills (feat. DEELA) – George Daniel Remix”
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Life’s a party for Coco & Clair Clair on “The Hills,” but the party gets dialed up to 100 with the track’s George Daniel (of The 1975) remix – the chill, house vibes of the song swapped for bouncy U.K. club beats. The duo, whose voices are pitched and sped up in Daniel’s version of the song, hop around from event to event, but ultimately can’t help but think of the object of their affections in the inevitable down moments that come with a busy week spent without their love. – Starr Bowenbank
Slayyyter, “I Love Hollywood!”
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Slayyyter’s sophomore effort, STARF–KER, tells the tale of gritty nightlife and the dark underbelly of fame over high octane, maximalist production for 35 minutes straight. Listeners are thrust into her world upon hitting play on the album’s indulgent introductory track, “I Love Hollywood!” — bright lights, drug-filled parties and brushes with controversial pop culture icons are just a sliver of the trouble Slayyyter wraps herself up in, but she doesn’t mind one bit, so long as she remains the well-dressed, enviable center of attention. – S.B.
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
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These 10 tracks from artists including Sia, Madison Beer, Corrine Bailey Rae, Poppy and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist with all 10.
Corinne Bailey Rae, “A Spell, A Prayer”
After turning heads with her garage rave-up “New York Transit Queen,” Corinne Bailey Rae – best known for the neo-soul-pop classic “Put Your Records On” — has unreleased her full Black Rainbows album. As evidenced on the expansive, atmospheric opening track “A Spell, A Prayer,” the singer-songwriter is in the midst of a fruitful creative 180, refusing to limit herself to any one genre while still maintaining her meticulous approach to songcraft. The results are as eclectic as they are thrilling on this 10-song LP. – JOE LYNCH
Madison Beer, “Sweet Relief”
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Hailing from Madison Beer’s latest album Silence Between Songs, “Sweet Relief” nicely demonstrates the pop star’s subtle, effective vocal choices when it comes to three-minute-song storytelling. Opening with a propulsive verse that conjures the slight melancholy of infatuation, the song lets loose on the chorus, with Beer conveying the feeling of an irresistible romantic obsession. – J. Lynch
Riovaz, “The Rake (Can’t Complain)”
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Riovaz continues his genre agnostic journey through the ups and downs (though mostly the latter) of relationships with “The Rake (Can’t Complain).” It’s a single that proves high BPMs and emo lyrics pair nicely together, especially when refracted through the Jersey artist’s obsession with ‘90s dance, from drum’n’bass to house. – J. Lynch
K. Flay, “Punisher”
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On the electric and menacing “Punisher,” included on K. Flay’s latest album Mono, the genre-blurring artist sings of a “great manipulator” and “vindictive dictator.” By the chorus, it’s clear who the villain in question is, as K. Flay admits to a relatable truth: “Nobody knows how to punish me like me.” The confession sets the stage for the catchy chorus built around a whining riff and whispering voices — leaning into the notion that everyone is their own toughest critic. – LYNDSEY HAVENS
Poppy, “Motorbike”
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Poppy goes sleek and seductive for her latest Zig single, “Motorbike,” tackling fierce femininity over darkwave synth instrumentation. Kicking off the track is an ominous voice that ponders, “I wonder why, nothing catches my eye, quite like the sight of a girl with a powerful machine between her legs” — a potential nod to her Poppy.Computer days — before descending into a full blown groove that sees her lusting after a girl ready to overpower the large metal machine. Whether the lust is in attraction or jealousy is up for interpretation. — STARR BOWENBANK
Sia, “Gimme Love”
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While Sia has found great success in the past with motivational anthems like “Alive,” “Unstoppable” and “The Greatest,” new single “Gimme Love” — which previews her first solo pop album in eight years, out next spring — adopts a more pleading attitude, as the singer-songwriter begs for affection over echoing drums and a cloudy sea of synthesizer. The tone of “Gimme Love” doesn’t diminish its scale, however: Sia is still making pop music for enormous spaces, and her latest can fill any sized room. – J. Lipshutz
Leah Kate, “Desperate”
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“God, I’m a mess right now,” Leah Kate squeaks right before launching into the chorus of “Desperate,” the most impressive new track on her recently released debut album Super Over. In between eye-rolls at her own clinginess and super-charged melodies that sound ripe for top 40 radio, Kate sneaks some unkempt vulnerability into the pre-chorus, giving a post-breakup track like “Desperate” a stronger, more empathetic foundation. – J. Lipshutz
Bella Poarch feat. Lauv, “Crush”
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Midway through his new collaboration with Bella Poarch, Lauv declares, “Love Island is my favorite show”: the point that he and his co-star on “Crush” are making is that sometimes, you can go on TV, give out roses, and go home alone, without any drama following you off camera. “Crush” is low-stakes post-summer giddiness, with two skilled voices harmonizing about embracing the butterflies without putting down stakes; Poarch in particular sounds self-assured on this type of rhythmic pop track, tossing in vocal flourishes for good measure. – J. Lipshutz
Yumi Zouma, “KPR”
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New Zealand quartet Yumi Zouma have been releasing music together for nearly a decade, and new single “KPR” demonstrates the way in which they keep getting better: after perfecting their brand of fine-tuned indie-pop, “KPR” delves into atmospheric, slightly askew shoegaze, and the results are even more rewarding. The single captures the range of vocalist Christie Simpson, who simmers beneath the production, steps forward into the silence, and commands the final hook. – J. Lipshutz
Hannah Diamond, “Poster Girl”
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It’s hard to make bubblegum pop that sounds as effortless as Hannah Diamond’s “Poster Girl” — which perfectly matches the aesthetic of its single artwork, featuring Diamond surrounded by pop-star posters in her bedroom as a hair dryer becomes her low-budget wind machine. The synth lines and vocal melodies of “Poster Girl” sound instinctive, as if Diamond woke up one day with turn-of-the-century teenybopper smashes fully internalized; it’s a new single, but it feels time-honored. – J. Lipshutz
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
These 10 tracks from artists including Leigh-Anne and Ayra Starr, Romy, Blondshell, Tirzah and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all 10.
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Leigh-Anne feat. Ayra Starr, “My Love”
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Little Mix star Leigh-Anne Pinnock has found an intriguing new lane for her solo career: “My Love,” co-starring rising Nigerian artist Ayra Starr and produced by Afropop connoisseur Magicsticks, values movement above all over the course of nearly three minutes, with both artists singing about relentlessly vibrating rhythms as the percussion follows their cue. “My Love” is designed to be bellowed among groups of friends on the dance floor, and succeeds in pushing Leigh-Anne’s sound into the future. Jason Lipshutz
Romy, “She’s On My Mind”
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“She’s On My Mind” is a joy, as both the album closer to Romy’s recently released Mid Air and what the song represents in that spot: after Romy Madley Croft murmured her subtle magic with The xx, her debut solo album lets her spread out into sensual, often smile-inducing dance music. With its euphoric key plinks and whooping vocal hooks, “She’s On My Mind” ends the full-length triumphantly — but of course, the track works just as well on its own, the softness of Romy’s voice highlighting any dance break. – J. Lipshutz
Baby Queen, “Quarter Life Crisis”
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Before the final five seconds of Baby Queen’s new single “Quarter Life Crisis” speeds up into a chaotic swirl and then crashes down, 25-year-old Bella Latham sings about living within that hurricane of post-teen uncertainty, asserting in the chorus, “I look at my face and I don’t recognize it.” A shakier writer might have trouble provoking empathy for mid-20’s ennui, but Latham understands how to make each line both biting and relatable — as well as deliver a hummable waltz of a hook. – J. Lipshutz
Morgan Saint, “It Hurts To Be Human”
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The title of Morgan Saint’s sparkling new dance-pop track refers to post-breakup agony: as the bass hits a groove and the cymbals get tapped, Saint bemoans putting an untrustworthy partner’s needs before her own and ignoring clear-cut warning signs during a doomed romance. The tension between Saint’s sorrow and her self-produced, happily chattering track helps “It Hurts To Be Human” levitate above other dance floor cuts of its ilk, particularly when the song arrives at its elastic breakdown. – J. Lipshutz
Jolie Laide, “Pacific Coast Highway”
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Jolie Laide is the new collaborative duo of Nina Nastasia and Jeff MacLeod, and after Nastasia unveiled Riderless Horse, her first album in 12 years, last year, “Pacific Coast Highway” suggests that we’ll be getting more moving songwriting from the beloved cult figure soon enough. “Pacific Coast Highway” possesses a stormy foundation, with a cracked guitar-and-drums arrangement that threatens to explode, although Nastasia also communicates a calmness while extolling the peace and freedom of her subject. – J. Lipshutz
iann dior, “You Don’t Even”
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iann dior topped the Billboard Hot 100 for eight weeks as the featured guest on 24kGoldn’s “mood,” and the Texas singer-rapper brings the same irresistibly melodic melancholy to his latest solo track, “You Don’t Even.” Dior melds sweetness and pain so breezily that it’s easy to overlook his knack for pop songcraft. – Joe Lynch
Tirzah, “Promises”
An album title like trip9love…??? doesn’t exactly roll off the tongue, but Tirzah isn’t the type of singer-songwriter to meet the audience halfway. Once again paired with producer Mica Levi, the English artist creates a strangely compelling mixture of minimalist piano, skittering 808s and gently haunted vocals on gems such as “Promises.” – J. Lynch
George Riley, Elixir
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The meaty beat and jangling metal that introduces “Elixir” are immediately grabbing. And once London singer-songwriter George Riley adds her vocals into the mix, it’s game over. Her syrupy sweet delivery paints the thumping dancefloor production with colors of R&B and pop, resulting in a track just as enticing as the elixir she sings of. – Lyndsey Havens
Blondshell, Street Rat
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After teasing the fondly titled “Street Rat” online and in her live show, alternative artist Blondshell finally unleashed the track as part of the forthcoming deluxe edition of her self titled album (out Oct. 6). “Wouldn’t feed that / To a street rat,” begins the artist, doubling down on her knack for scorching one-liners delivered as softly as possible — which, somehow, makes them all the more painful. And when the chorus hits, during which she confesses certain circumstances to be “awful … and needed,” Blondshell reminds listeners that her greatest strength of all is her unrelenting honesty. – L.H.
Slothrust, “Pony”
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Ginuwine’s “Pony,” a R&B classic and staple for the ’90s, is seen through a brand new lens in Slothrust’s latest cover of the track. The song goes grunge, trading the original winding bass instrumental for fuzzier and notably heavier guitar and drum work from duo Leah Wellbaum and Will Gorin. Wellbaum shines on the song, delivering the lyrics — which boasts of sexual prowess amid searching for a partner that can truly satisfy — with a knowing wink and the perfect hint of seduction. – Starr Bowenbank
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
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See latest videos, charts and news
See latest videos, charts and news
These 10 tracks from artists including Cannons, Lauv, BAMBII with Aluna, Meet Me @ the Altar and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all 10.
BAMBII feat. Aluna, “Hooked”
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Toronto-bred DJ BAMBII has become known for her unexpected fusions, ensuring each release offers a new roadmap to the same destination: a good time. On the sultry “Hooked,” she and Aluna journey through gently thumping, and at times oscillating orchestral beats — setting the scene as if the pair are slowly winding down a dim-light, hazy road in no rush at all to reach their destination. — Lyndsey Havens
Saint Motel, “Fine Wine”
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The latest from Los Angeles pop band Saint Motel offers a reassuring take on growing up: “Our bodies will age but we’ll never grow old,” sings frontman AJ Jackson, comparing the process to that of fine wine, becoming better with time. And once the glimmering chorus hits, which sounds tailor-made to accompany an onstage curtain of sparklers, it’s hard not to buy in. — L.H.
Cannons, “Desire”
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“I’ve got a fire / I feel it starting to grow,” Cannons singer Michelle Joy declares on their sensual new single, “Desire”: the line may be a knowing or unwitting callback to “Fire for You,” and like the band’s breakout hit, the new track conveys its yearning message through ’80s textures and clean, dreamy synth-pop. When Cannons release singles that are both smoky and designed for swaying, you better be ready to press the replay button. — Jason Lipshutz
Dylan feat. Bastille, “Liar Liar”
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British singer-songwriter Dylan has specialized in emotionally heightened pop tunes during her speedy ascent, as have Bastille over the course of their mega-streaming career; together, Dylan and the band’s Dan Smith have conjured an intensely magnetic duet with “Liar Liar.” Both singers spit out the titular phrase as a decree against deception, accentuating the song’s piercing strings and sprinting beat with ample charisma. — J.L.
Lauv, “Love U Like That”
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The single artwork for Lauv’s “Love U Like That” is a neon-purple lipstick print — a fitting image for a love song that embraces its listener with enough heartfelt emotion to glow in the dark. Lauv has earned billions of streams with this brand of vulnerable, immaculately constructed pop, and “Love U Like That” once again finds him navigating fizziness with airtight hooks and generous falsetto. — J.L.
Speedy Ortiz, “Ghostwriter”
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“I’m tired of anger” is the lynchpin line on Speedy Ortiz’s bewitching new single “Ghostwriter,” as Sadie Dupuis sings about attempting to live with less rage while also existing in a world full of social injustices that deserve to be called out. Out of all of the singles that Speedy Ortiz has shared ahead of upcoming album Rabbit Rabbit, “Ghostwriter” may possess the most immediately satisfying balance of shimmer and substance, pushing forward with purpose as Dupuis ponders her next move. — J.L.
Chris Farren, “All We Ever”
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“All We Ever,” the best song on Chris Farren’s great new album Doom Singer, essentially exists as a list of the singer-songwriter’s large and small desires: as the guitar surfs forward and a synth hook pops in and out, Farren proclaims that he wants to “fall asleep reading a book,” to “get drunk with my friends,” to “make my mother proud of me,” to “love being alive.” The cover of Doom Singer finds an animated Farren on his knees, pleading with the heavens; “All We Ever,” then, serves as that image’s lovely audio counterpart. — J.L.
LANY, “XXL”
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Perhaps a song that’s nostalgic for the year 2018 will make you feel older than the dirt under your shoes, but LANY sell the not-so-distant look back on “XXL,” an expansive pop-rock track about a misbegotten romance and the too-large hoodie that makes the memories flood back. The repetition of the “XXL” motif, used at the end of each verse and throughout the chorus, serves the song well, turning what could have been a stray observation into a memorable anthem. — J.L.
Meet Me @ The Altar, “Take Me Away (Freaky Friday)”
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For fans of Freaky Friday’s “Take Me Away,” as sung by actress Christina Vidal for the 2003 movie’s House of Blues performance scene, Meet Me @ The Altar put their spin on the classic track and revived it for Gen Z, just in time for the film’s 20th anniversary. Vocalist Edith Victoria injects a fair amount of bite, adding more of the band’s signature pop punk edge to the group’s rendition of the track. — Starr Bowenbank
Puddle Splasher, “Basic Forms”
Following 2019’s The Blankest Blue, Puddle Splasher — Brooklyn based trio consisting of members Dante Fotino, Andy Altadonna and Adam Thibeault — has returned with new single “Basic Forms,” their first in five years that doubles as the first look at an upcoming album. The band continues to dive headfirst into fuzzy, alternative leaning rock as Altadonna’s voice melts into energetic guitar and drum work at the turn of the chorus. — S.B.
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
Explore
See latest videos, charts and news
See latest videos, charts and news
These 10 tracks from artists including PinkPantheress, Reneé Rapp, Baby Queen and more will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all 10.
Baby Queen, “Dream Girl”
Rising British pop star Baby Queen has demonstrated a knack for sunny pop melodies and sardonic lyrics from her first singles, and new track “Dream Girl” shrugs off cynicism for an earnest declaration of unrequited adoration. The singer-songwriter deploys endless rhetorical questions (“Does he give you everything you need? And baby, do you ever think of me?”) to prove herself more worthy of love than some lame boyfriend, and does so with an array of bouncy, undeniable hooks. – Jason Lipshutz
Frankie Bird, “Twenty Nothing”
At the beginning of the “Twenty Nothing” music video, Frankie Bird, the singer-songwriter who formerly went by Frankie, breaks the horizon, striding down the middle of an empty street with a guitar strapped to her back; the shot is an apt metaphor for the singer-songwriter, who spends the single looking back on her tumultuous twenties and looking ahead to her next artistic era. “Twenty Nothing” pinpoints disappointment through musical evolution: the country-tinged production and harmonies prove affecting as she expands her pop-rock environment. – J.L.
Mahalia feat. JoJo, “Cheat”
Searching for a modern, more feminism-forward take on Brandy and Monica’s “The Boy is Mine”? Look no further than “Cheat,” on which Mahalia and JoJo brush off a dude who’s two-timing them while leaning into the turn-of-the-century rhythmic pop production (the music video, complete with flip phones and MySpace nostalgia, is a blast as well). Ahead of her sophomore album IRL, Mahalia continues to delight as a new-school UK pop star, while JoJo, currently owning Broadway in Moulin Rouge, sounds reinvigorated a lifetime removed from her “Leave (Get Out)” days. – J.L.
Glaive, “All I Do is Try My Best”
Years of promising singles and short projects have led to Glaive’s debut album, the spectacularly titled I Care So Much That I Don’t Care At All, due out July 14; those releases have also resulted in the (slight) polishing of the teen’s unruly songwriting, as heard on the sweeping strums and full-throated sing-along of “All I Do is Try My Best.” Glaive’s messy, often nihilistic wordplay sounds even more intoxicating within a defined pop structure, creating a tension between styles that makes the song stand out in an impressive discography. – J.L.
Youth Lagoon, “Rabbit”
Trevor Powers became an indie-blog darling in the early 2010s as the mastermind of Youth Lagoon, then retired the moniker that made him famous in 2016; Heaven is a Junkyard, the first Youth Lagoon album in eight years, sounds like an old friend stopping by and sharing tales from several travels. “Rabbit” floats in the wind with piano sprinkles and Powers’ tender voice, then surges toward a propulsive finale that’s barely perceptible before it arrives — the mark of an effective storyteller, confident in their craft. – J.L.
Reneé Rapp, “Snow Angel”
Reneé Rapp has become a buzzy new name in pop, known first for starring roles in Mean Girls on Broadway and The Sex Lives Of College Girls, but following her 2022 debut EP, it became clear she’s a double threat — and rousing lead single “Snow Angel,” off her forthcoming debut full-length, solidifies that sentiment. The rock-pop ballad fits within a formula that has worked well for artists like Olivia Rodrigo and Billie Eilish (it’s similar to the latter’s “Happier Than Ever”) and advances Rapp’s skillset, showing off her powerful vocal range and heart-wrenching honesty. — Lyndsey Havens
Romy, “Loveher”
Led by delicate, twinkling keys and a steady drumbeat, Romy begins to sing tenderly of the one she loves — delivering each line like she’s confessing her feelings to herself alone. Yet as the production picks up and the lyrics become more hypnotic — “I love her I… I love her I…” — it’s clear Romy made this song for the masses. And there’s more to come, as Romy announced her debut solo album, set to arrive September 8. — L.H.
Tiwa Savage, “Pick Up”
While a call (or several) going unanswered often incites some rage, the latest from Nigerian singer-songwriter Tiwa Savage checks that emotion at the door. Instead, as she sings of calling someone repeatedly she maintains an air of confidence over a meaty, bouncy beat. From the perspective of the listener, it works: a song this catchy would never go ignored. — L.H.
PinkPantheress, “Angel”
Diehard PinkPantheress fans have been given a treat with “Angel”: released as part of the forthcoming Barbie soundtrack, multiple snippets of the song’s demo were floating around the Internet over the past year, and have since become fully actualized. Pink’s effervescent vocal delivery stays true to hits like “Boy’s a Liar” and “Break It Off,” while the instrumentation adds another unique layer to the British artist’s sound with the inclusion of the fiddle. – Starr Bowenbank
Slayyyter, “Out of Time”
Slayyter makes a grand return with new single “Out of Time,” embracing pop maximalism on the track with ’80s-inspired synth instrumentals and large-than-life hooks that tells the sad tale of a fame-hungry woman with an alluring charm. “Make up runs from her eyes/ She walks in/ Oh goddamn, he could get it tonight/ She hates herself, but if they all love her then she don’t mind,” she sings on the pre-chorus of the cut, a first look at what’s to come from a forthcoming LP from the singer. — S.B.
Looking for some motivation to help power you through the start of another work week? We feel you, and with some stellar new pop tunes, we’ve got you covered.
Explore
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See latest videos, charts and news
See latest videos, charts and news
These 10 tracks from artists including The Aces, Madison Beer, Blonde Redhead and Boys World will get you energized to take on the week. Pop any of these gems into your personal playlists — or scroll to the end of the post for a custom playlist of all 10.
Ilsey with Bon Iver, “Heart of Gold”
Singer-songwriter Ilsey Juber has worked with everyone from Miley Cyrus to Kacey Musgraves and dozens more across the last decade. On “Heart of Gold,” her warm tone takes on the affecting Neil Young classic with an assist from Bon Iver: there’s a fullness to Ilsey’s rendition — and with the slightly faster pacing, the ongoing search for that illusive heart of gold sounds more urgent than before. — Lyndsey Havens
Gabriels, “Glory”
Rising three-piece band Gabriels, a British-American act formed in 2016, have uncovered a kind of magic when they combine, and “Glory” is a stellar example. Though the song clocks in at under three minutes, with its heart-racing cymbal taps, full-bodied harmonies and soul-stirring fusion of jazz and gospel, the moments that Gabriels manage to pull off within that frame have a lasting impact. — L.H.
The Aces, “Attention”
Indie-pop quartet The Aces kicked off Pride month with the release of its uplifting third album I’ve Loved You For So Long. Standout track “Attention” focuses on the recognition of your own limits, and what you can give: “I’ve become your enemy / You’ve started resenting me,” sings lead vocalist Cristal Ramirez with a touch of remorse, before admitting, “I’m tired of tearing you apart / Know your heart has had enough.” — L.H.
Alicia Creti, “Strange”
Montreal singer-songwriter Alicia Creti only debuted last year with the piano-led “Congratulations,” and on “Strange,” she’s sticking with what she does best, delivering impressive range over soulful R&B-pop production — and, of course, led by keys. “Strange” sounds less pristine than her debut track but in the best way possible, allowing her unfiltered vocals to hit full force. — L.H.
Madison Beer, “Home to Another One”
“Home to Another One” may sound like a stylistic exercise by Madison Beer on first listen — the respective sounds of Tame Impala and Lana Del Rey, springy psych-rock and lilting pop, smushed into three minutes — but Beer’s performance stands out within the mash-up, synthesizing those influences into a sturdy groove and reflection on betrayal. The long-simmering pop artist’s sophomore album, Silence Between Songs, is due in September, but “Home to Another One” was wisely released in time for summer spins. – Jason Lipshutz
Becca Mancari, “Over and Over”
“I wanted to write a queer pop song that has meat on its bones,” Becca Mancari explains in a press release for new single “Over and Over”; to accomplish this, the singer-songwriter combines a novelistic lyrical approach (“Line cook, janitor / That year I was invisible / Back in the closet, celibate / But we don’t have to talk about it”), a killer refrain centered on its titular phrase, and backing vocals from their pal Julien Baker. The product is both airy and substantial, one of the more satisfying pop tracks of the year — in other words, mission accomplished. – J. Lipshutz
Blonde Redhead, “Snowman”
Back with their first album since 2014, Blonde Redhead have previewed the forthcoming Sit Down for Dinner with a breathtaking five-minute comeback statement: “Snowman” draws upon experimental Brazilian music, but exists in the warm comforts of 2000s indie rock, Amedeo Pace’s voice swirling across the layered production like a long-lost siren from the blog era. The length and depth of “Snowman” suggests that Blonde Redhead’s return will carry lofty artistic ambitions — as listeners, we’re all the better for them. – J. Lipshutz
Porsh Bet$, “Moving On”
Over a gentle yet prickly guitar, Porsh Bet$ tells a soon-to-be-ex, “We’re holdin’ on to what’s left of nothing / what’s the point of a long discussion if we’re moving on?” With a chorus like that, you might expect a sneering delivery, but the Harlem-raised indie singer-songwriter asks the question with a wistful warmth, making this a rare breakup song that isn’t pained or pissed off – just grateful, but ready to call it a day. – Joe Lynch
Los Aptos & Cuco, “Miel”
Los Aptos and Cuco are a match made in heaven on collaborative track “Miel.” The group – which consists of trio Juan Ortega, Jony and Alex Rivera – effortlessly croon about the beauty their lover possesses (“Y esos ojos hermosos color a miel” — “Your beautiful eyes are the color of honey”), and dare to consider what life would be like without the object of their affections, a perfect complement to Cuco’s romantic musings. – Starr Bowenbank
Boys World, “me, my girls & i”
Heartbreak doesn’t stand a chance against the girls of Boys World – Elana, Makhyli, Queenie Mae, Lillian Kay and Olivia Ruby – and their new track, “me, my girls & i.” The track sees the quintet uplifting the unofficial sixth member of the group (the listener) out of her “sad b—h” state of mind, and employs all the trappings of mending a broken heart: going out, dancing, spending time with your closest pals. With nearly three minutes of girl power themes, high-energy beats and bouncy instrumentation, the track acts as an antidote to emotional slumps of any kind. – S.B.
