Pride

Basically all good music is soul music on some level, but given the futuristic, genre-bending, production-minded transmissions found on 2016’s stunning Hopelessness — still Anohni’s most recent full-length — it’s slightly unexpected to see her citing Marvin Gaye’s What’s Going On as a primary reference point for her upcoming My Back Was a Bridge for You to Cross. But it makes sense once you hear the first-take looseness and raw delivery of “It Must Change,” a deeply felt protest song with targets between the personal and political, and gorgeously lush production worthy of Sigma Sound Studios in the ’70s. Organic, emotional, timely, timeless: Sounds like soul music to us. — ANDREW UNTERBERGER

Opening with an elegant arrangement of male and female voices, the title track to Anjimile’s second album The King shifts dramatically when the Boston folk singer enters the throne room, building up a sense of drama and intrigue as a harpsichord hammers upon a distinct pattern of notes in a hypnotic fashion. It’s a striking, tantalizing tease of what seems to be a major creative leap forward for the artist.  — JOE LYNCH

Welcome to your much-needed escape, curated with laser-focused precision by DJ-singer extraordinaire Channel Tres. “All My Friends,” the undeniable up-late club banger off of Tres’ latest EP Real Cultural S–t, is the kind of immaculate dance song you’d expect to hear at a gay bar at 1 in the morning that ultimately persuades you to stay just a little bit longer. Brimming with house pianos and some delicious four-to-the-floor beats, “All My Friends” is Tres at his most boisterous, ready to dance the night away with you. — STEPHEN DAW

Flirting should always be fun, and Chappell Roan captures the giddy, sexually charged excitement of courting a potential lover in her viral hit. Complete with an infectious pop melody, an anthemic chorus and cheeky innuendos — “I heard you like magic / I got a wand and a rabbit.” It’s genius! — the 25-year-old rising star makes a very convincing case as to why her love interest, or her “Red Wine Supernova” rather, should give her a chance.  — RANIA ANIFTOS

Just like any 24-year-old, Claud is trying to figure out the whole relationship thing. On “Every F—ing Time,” they’re as openhearted as ever, capturing the vulnerability that comes along with the age-old “they love me, they love me not” confusion with Claud’s soft, poignant vocals complete with an air of melancholy beneath some of the more lighthearted lyrics, notably the opening verse’s Regina Spektor debate.  — R.A.

For the first few moments of “If I Were a Fish,” listeners would be forgiven for thinking they’d found an adorable albeit odd children’s song courtesy of singer-songwriter Corook. The jangling, folksy anthem posits life as a carefree sea creature, “floppin’ around and singing my song” — until Corook wonders alound, “Why is everybody so afraid of what they’ve never seen?” Suddenly, “If I Were a Fish” transforms into an anthem of inclusivity, celebrating difference as an admirable quality in and of itself with a hook that’s bound to reel you in. — S.D.

Doechii hit a nostalgic sweet spot with samples of Y2K classics “No Scrubs” by TLC and Trillville’s “Some Cut.” Flipping the Trillville single, which originally came from a male perspective, the Floridian singer and rapper shows a little love to the block boys, and enlists fellow sunshine state native Kodak Black for his own playful verse. While the feature wasn’t entirely well-received by fans, that didn’t stop the song from marking Doechii’s first Hot 100 entry and first No. 1 when “What It Is” topped the Rhythmic Airplay chart.  — NEENA ROUHANI

On this dark love song centered on unwavering commitment to a partner, Dove Cameron and Khalid sell the hell out of what they’re singing. Cameron’s airy voice offers a perfect yin to Khalid’s rich baritone yang, as they waltz together through this lilting lullaby-like ballad, promising to stay together forever. Sometimes, an artist team-up is a match made in heaven — and Dove Cameron and Khalid sound divine together. — S.D.

On “Be Your Man,” G Flip refuses to be a “one night lover.” They state they aren’t a man, but they know they can be that and more for their new lover who is backing away from the relationship over societal expectations. The Australian singer practically screams “I understand” over the swelling pop track and empathizes with their lover’s plight (“Caught between what you think is right/And what you want”). But at the end of the day, G Flip assures them “I know how you think/And what you like/And what your body needs.” — TAYLOR MIMS

The opening track to Jake Shears’ Last Man Dancing album, “Too Much Music” is an anthemic statement of resilience about music’s power to keep us motivated delivered with all the panache we’ve come to expect from the former Scissor Sisters member. If Paul Jabara had been tasked with scoring a queer version of a Rocky movie, it probably would have sounded like this.  — J.L.

Janelle Monáe’s lead single from The Age of Pleasure album beautifully embodies femme love by illustrating how Monáe likes to leave their (red) mark on their lovers as well as receive them (“Leave a sticky hickey in a place I won’t forget,” she fantasizes). The laidback, lustful reggae-inspired production could soundtrack the very parties that produced the queer experiences she said inspired “Lipstick Lover.” “I wear red lipsticks at the parties. I’ve had moments where if me and a girl or an energy want to engage, you’re going to see lipstick,” she said in her Rolling Stone cover story. — HERAN MAMO

They say that a good relationship brings the best out of someone, and that’s certainly the thesis of this delectable track from King Mala. On “Dirty Dishes,” the alt-pop singer looks at the general messiness of her life (and by extension her mind), and decides to “be a better version” for her love. It’s a sweet sentiment that’s only further bolstered by the fabulous funk sound driving the song, making “Dirty Dishes” an early standout for the rising pop singer. — S.D.

Delivering drama has always been a central tenet of Lava La Rue’s musical career, so why would their debut single on Dirty Hit be any different? “Renegade” sees La Rue embracing their inner rock star for a playful glam-rock banger, while still employing the chillwave rap-meets-r&b stylings that made them a star in the first place. Constantly switching gears in front of the audience, but never to the detriment of this delicious song, La Rue makes sure that everyone’s in for a good time on “Renegade.” — S.D.

Navigating the world as a queer person is already hard enough as it is; but Miki Ratsula perfectly narrates what happens when family members actively make it harder on this heartbreaking ballad. “What Would the Neighbors Think” is a master class in “show, don’t tell,” as the rising star paints an image of a loving-but-strained familial relationship and questions why they can’t just be accepted without any caveats. It’s a testament to Ratsula’s world-class songwriting and their singular voice that “What Would the Neighbors Think” translates perfectly to the listener, letting them in on exactly what the singer-songwriter is feeling. — S.D.

First teased live on the Coachella stage and at their opening slot on the Taylor Swift Eras Tour, MUNA’s “The One That Got Away” is another surefire hit from the three-piece band. Inspired by the sonics of Janet Jackson, the hard-edged synth pop track acts as both a middle finger to an ex-situationship and a celebration to liberating self-confidence. — KRISTIN ROBINSON

On “3 Boys,” Omar Apollo can’t make up his mind. On the one hand, he’s found a lover he feels “tethered” to. On the other, he wants to explore more boys. The track — with its steady beat building to a quickening chorus — is as seductive as it gets, only adding to the love and lust woven into the lyrics (“I know there’s some things you can’t speak/but thoughts of a third make me weak”). Topped with his dreamy voice, it’s easy to get why Apollo believes his desire can’t be contained. — T.M.

A gem off the seven-track breakup mini-odyssey i love you but this is goodbye, “Complicated” is further evidence of the artist born Destiny Nicole Frasqueri being one of modern pop’s most unclassifiable singer-songwriters. Mixing hyper-pop sheen with dance production, punk energy, R&B melodicism and emo lyrics, “Complicated” has enough going on that when it slows down its breathing for one second on the song’s simply stated knockout chorus lament — “You make it complicated” — the directness and sincerity of it is absolutely gut-twisting. One thing’s for damn sure: We’re never gonna find Princess Nokia faking. — A.U.

Ah, new love; one of pop music’s favorite tropes. While the metaphor of “love is a drug” has certainly been done before, there’s something about Remi Wolf’s approach on “Prescription” that feels delightfully different. For starters, the groove-focused production — complete with hornlines, distorted guitars and woozy synths — makes the song quickly stand out from more cookie-cutter love songs. Meanwhile, Wolf’s Marvin Gaye-style vocal cuts through the song with ease, making “Prescription” just as addicting as the new love at its center. — S.D.

A hair-raising pseudo-rock opera anchored by a malleable metaphor of snow as euphemism for both cocaine and heartache, Reneé Rapp’s “Snow Angel” is simply stunning. The singer-actress employs the emotive qualities of her musical theatre background to put some additional weight behind gut-wrenching lyrics like “The seasons change, addiction’s strange / I loved back then what I hate today.” “Snow Angel” oscillates between incredibly sparse piano-backed verses and choruses that incrementally incorporate more and more of those wailing guitars. The lead single for her debut LP of the same name, “Snow Angel” builds on the blueprint of Alanis Morisette for a rousing power ballad that understands the utility of melodrama in pop music. — KYLE DENIS

Shamir’s new album, Homo Anxietatem, is coming Aug. 18, and boy, the singer-songwriter must be stoked for the upcoming 30^th anniversary tour of Exile in Guyville. Our first taste of his album, “Oversized Sweater,” is a smartly penned alt-rock song about the unpredictability of relationships in the Liz Phair vein. No complaints here — we could always use more of those.   — J.L.

“Heaven” was already one of the most blissful pop singles of 2022, with sticky-sweet hooks (that rushed “Ijustwanna”!) and immaculate production, helmed by Shygirl and assisted by some of the genre’s most forward-thinking figures (Danny L Harle, Mura Masa). But the song went next level this year with the addition of another top 40 innovator: the cult pop star’s cult pop star, Tinashe, who adds her vocals to the remix, twisting its delectable topline into a satisfyingly curvy double helix. Anything closer to heaven and God would be forced to strike them back down earthward for their arrogance — assuming the Almighty wasn’t too busy boogieing to care. — A.U.

Breaking out on TikTok during the pandemic, Towa Bird boasts a cascade of curls and flowing follicles that hark back to the ‘70s. And sure enough, the rising singer-songwriter-guitarist draws on the punchy power pop of that era, albeit through the shiny lens of late ‘00s indie pop, to toss out treats like the fuzzy, sweet “Boomerang.” It’s just her second single, but it boasts the assurance and craft of an artist who’s ready to deliver a full-length.   — J.L.

Part of growing up means owning your own mistakes, and that’s exactly what Vagabon does on “Carpenter.” This delectable indie-pop jam sees the singer-songwriter dedicating herself to growing up, getting better, and acknowledging the missteps she’s made along the way. Add in some vibe-fueling production, and you have a winning track that makes you want to root for the fast-rising star. — S.D.

When two of D’Mile’s greatest collaborators come together with the Silk Sonic executive producer, you can expect nothing less than perfection. The track’s title serves as a sonic indication, setting up the funky bassline, rich vocals from Monet and Daye, and blazing horns. “Smoke” is a summer blessing, Monet declaring, “Keep it in rotation, it’s a celebration every time we smoke.” — N.R.

Ah, the friends to lovers trope. What better way to tell your longtime bud that you’re ready to take your relationship to the next level than with a club-ready, oh-so-catchy beat? VINCINT has us ready to hit the dance floor, and also convinced that he’s the right man for his love interest by repeating the dreamy, heart-on-his-sleeve proclamation: “If you gave me chance / I can give you romance!”  — R.A.