The 50 Best Songs of 2022 So Far: Staff List (2024)

Table of Contents
4*TOWN, “Nobody Like U” Charlie Puth, “Light Switch” Louie Vega x Moodymann, “Seven Mile” Pusha T, “Diet Coke” Kassi Ashton, “Dates in Pickup Trucks” Lauren Spencer-Smith, “Fingers Crossed” Jazmine Sullivan, “Roster” Future feat. Drake & Tems, “Wait For U” Sebastian Yatra, “Tacones Rojos” Kay Flock, Cardi B, Dougie B & Bory300, “Shake It” Cody Johnson, “‘Til You Can’t” CKay, “Emiliana” DJ_Dave, “Castles” Ari Lennox, “Pressure” Bonnie Raitt, “Made Up Mind” Megan Thee Stallion, “Plan B” Orville Peck, “C’mon Baby, Cry” Ed Sheeran, “Shivers” Fred Again & I. Jordan, “Admit It (U Don’t Want 2)” Jack Harlow, “First Class” Phoebe Bridgers, “Sidelines” Justin Bieber, “Ghost” Omar Apollo, “Tamagotchi” Becky G & Karol G, “MAMII” Charli XCX feat. Rina Sawayama, “Beg For You” Kendrick Lamar, Blxst & Amanda Reifer, “Die Hard” GAYLE, ‘abcdefu’ Maren Morris, “Circles Around This Town” Florence + The Machine, “King” Harry Styles, “Late Night Talking” Wet Leg, “Angelica” Dove Cameron, “Boyfriend” Muni Long, “Hrs and Hrs” Fireboy DML & Ed Sheeran, “Peru” Dua Lipa & Megan Thee Stallion, “Sweetest Pie” Becky G, “Bailé Con Mi Ex” The Weeknd, “Less Than Zero” Mitski, “Love Me More” Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & ‘Encanto’ Cast, “We Don’t Talk About Bruno” Bad Bunny, “Después de la Playa” Maggie Rogers, “That’s Where I Am” Gunna & Future feat. Young Thug, “Pushin P” Yahritza y Su Esencia, “Soy el Unico” Rosalía, “Saoko” Latto, ‘Big Energy’ Karol G, “Provenza” Kendrick Lamar, “N95” Lizzo, “About Damn Time” Doja Cat, “Woman” Harry Styles, “As It Was” References

For a few months there, 2022 was sounding a whole lot like 2021. That was true in the near-literal sense: As late as April, you could browse the Hot 100’s top 20 and still only pick out one or two songs that were actually released in 2022. As massive hits from the second half of 2021 continued to linger near the top of top 40 radio and streaming playlists, seemingly refusing to cede room to newer songs — and few major star artists or undeniable smashes came around to claim the space by force — the original music of 2022 struggled to find its footing, at least on the Billboard charts.

But great pop never stays down for long, and in the last month or two, a whole spate of widely anticipated releases by big-name artists have arrived as reinforcements to make inroads for 2022 at the highest levels of popular music. And truthfully, even when those top tiers were still occupied entirely by songs from 2020 and 2021, there were still plenty of fascinating things happening at pop’s lower levels — not to mention a decent number of winning ’21 holdovers that didn’t really make their proper impressions on us until the calendar turned.

Here are our 50 favorites from the year so far — songs that either were released or have peaked on the Billboard charts since January 1. It’s finally begun to actually feel like 2022, and it is, as they say, about damn time.

  • 4*TOWN, “Nobody Like U”

    The 50 Best Songs of 2022 So Far: Staff List (1)

    Theother Disney-distributed animated movie to hit the Hot 100 this year, Turning Red produced a fictional song for the ages with faux-boy band 4*TOWN’s signature hit “Nobody Like U” — helmed, of course, by behind-the-scenes superduo Finneas and Billie Eilish. The song is captivating not only for the ways in which it sounds exactly like a turn-of-the-century TRL smash (the pounding piano, the chorus harmonies, the questionable rap breakdown) but for the ways it sounds nothing like one (the knotty song structure, the downright bizarre early volume drop-out), making it a gem both as a lost early-’00s classic and weirdo-pop one-off for the singular siblings O’Connell. —ANDREW UNTERBERGER

  • Charlie Puth, “Light Switch”

    After co-writing the Kid LAROI/Justin Bieber Hot 100 No. 1 smash “Stay,” it’s only right that Charlie Puth decided to make his own breakneck blast of a song. But unlike that lovelorn duet, this suggestive single is all about Puth being unable to resist the sexual power that a part-time lover has over him. “I say, ‘Don’t look back,’ but I go right back,” he bemoans in a particularly torn lyric — though you get the impression from the cheeky chorus (complete with switch-flip sound effect, of course) that he doesn’t really mind too much. – KATIE ATKINSON

  • Louie Vega x Moodymann, “Seven Mile”

    This collaboration between two titans of house music does not disappoint, channeling the spirit of laid-back, keyboard-centric, groove-focused masterpieces like Gil Scott-Heron’s “Angola, Louisiana.” The electric piano loop that centers “Seven Mile” is warm enough to heat a cabin in the depths of winter, while kick-clap drum programming noses the track in the direction of a low-key dance floor. Moodymann became famous as a producer and a DJ, but he’s also a distinctive vocalist, and his sandy drawl-singing helps drives home the frustration in his lyrics: “Signed applications, no job, always waiting for a call/ Back to school, where I fail, back to jail, I’m tired of it all.” —ELIAS LEIGHT

  • Pusha T, “Diet Coke”

    The King ofCoke Rap finds a new way to do it again and again — this time with 88Keys and Kanye West chopping up the beats as he sneers in classic fashion, riding top-notch production in ways that only Pusha T can. It’s often not so much his lyrics as the way he delivers them that puts Push above the rest, and you can pick your own favorite line to menace the neighbors with, but the best example is probably his most regal: “They mad at us/ Who wouldn’t be?/ We became everything you couldn’t be/ Everything your mama said you shouldn’t be/ The Porsche’s horses revvin’ like ‘Look at me!’” —DAN RYS

  • Kassi Ashton, “Dates in Pickup Trucks”

    If it were this easy for country artists to seamlessly blend R&B into their sound, half of Nashville would’ve done it by now — but precious few can do it without clumsily grasping for the most obvious sonic signifiers. Instead, Kassi Ashton’s “Dates in Pickup Trucks” just radiates long-absorbed R&B in the sublime melancholy of its bounce and the wistful sensuality of every sung-sighed post-chorus “al-ri-ight.” The result is an irresistible not-quite-ballad that reads like a Luke Bryan tailgate anthem but actually feels more like a classic Brandy deep cut. — A.U.

  • Lauren Spencer-Smith, “Fingers Crossed”

    The 50 Best Songs of 2022 So Far: Staff List (2)

    American Idol alum Spencer-Smith launched what would become a top 20-debuting Hot 100 hit by uploading a version of this smoldering heartbreak ballad she wrote with Fransisca Hall and Jakke Erixson to TikTok in November 2021. “Wish you said you loved me when you didn’t have your fingerscrossed,” she wails, the confessional lyrics burning with the pain and regret of giving her time and heart to a non-committed lover. Ultimately, she finds the courage to walk away from the relationship, with the stabbing kiss-off lyric, “But now I don’t even miss you anymore.” — JESSICA NICHOLSON

  • Jazmine Sullivan, “Roster”

    Sullivan is all swagger on Roster,” a bluesy tour-de-force from the deluxe edition of herHeaux Talesalbum. She sings from the perspective of a “player by nature,” a woman with a rotating cast of men at her beck and call, and “Roster” serves as a recruitment pitch — she’s looking to fill one empty spot in her Rolodex, but only if a potential partner understands the rules of engagement. Sullivan’s vocal performance is typically commanding — by turns sweet and scratchy, brooking no dissent — and the production is a less-is-more triumph of choppy acoustic licks and rapid-fire handclaps. “Toxic, call me toxic,” Sullivan sings. “But you’ll never call me stupid.” —E.L.

  • Future feat. Drake & Tems, “Wait For U”

    Guided by a sample of Tems’ “Higher,”Future and Drake venture into familiar territory on “Wait For U,” unfurling verses that detail the complicated relationships they navigate amid the lavish lives they lead. They both seamlessly glide in their true-to-form lyrical introspection: “Every time I sip on codeine, I get vulnerable,” Futureraps, while Drake muses, “I sit on my balcony and wonder how you feelin’.” It’s a long-overdue first Hot 100 No. 1 hit forFuture as a lead artist, and another victory in a lengthy list of successes from the friends and frequent collaborators — while also keeping Tems’ hot streak rolling. —JOSH GLICKSMAN

  • Sebastian Yatra, “Tacones Rojos”

    I will readily admit I’m a sucker for a good pop song, and Yatra goes all in in this irresistible bop inspired by ’90s Spanish pop. TaconesRojos” (Red Heels) is fun and sweet more than sexy and sultry (evidenced in lines like“My slice of sunshine, the apple of my eye, the one who dances reggaetón with red heels and makes me fly”), but it’s immediate ear candy with its breezy acoustic groove and catchy, easy to hum melody. The bilingual remix with John Legend just pushes its reach even further.LEILA COBO

  • Kay Flock, Cardi B, Dougie B & Bory300, “Shake It”

    With her pop crossover success and household-name status, it’s easy to forget that Cardi B started off as a ferocious NY rapper, capable of going bar-for-bar with any new or established MC. “Shake It,” from Bronx drill star KayFlock, not only allows Cardi to flex over samples from Akon and Sean Paul, but to sharpen her sword against a trio of upstart rappers, demonstrating her tenacity over a deliciously grimy beat from her borough as a hard-earned homecoming. —JASON LIPSHUTZ

  • Cody Johnson, “‘Til You Can’t”

    The 50 Best Songs of 2022 So Far: Staff List (3)

    Texan Cody Johnson earned an undeniable hit, notching his first Country Airplay chart leader with this surging, up-tempo multi-week No. 1. “’Til You Can’t” is propelled by a universally relatable message of making the most of every day and giving every moment your all — whether that’s chasing down a dream or holding tight to a loved one. Singer-songwriter Johnson isn’t a writer on this song (Ben Stennis and Matt Rogers wrote the track), but this former bull rider and now rising star sings with the intensity of an artist who has lived every word of it. —J.N.

  • CKay, “Emiliana”

    A lovelorn ballad that pairs acoustic introspection with Afrofusion rhythms, CKay’s “Emiliana” – much like his international smash “Love Nwantiti” — flaunts the hitmaker’s ability to hit the heart and the hips with the same arrow, tossing in a Soulja Boy reference for good measure. While emo and Afrobeats might sound like a one-night stand on paper, they’re bound to snowball into a full-fledged affair – and maybe even produce some offspring — if the Nigerian singer continues this winning streak. –JOE LYNCH

  • DJ_Dave, “Castles”

    While New York-based producer DJ_Dave performs her music via a very modern method — coding it live in a process referred to as “algorave” — her sound is nonetheless something of a throwback, fusing the golden era of lush ’80s synth pop with a twist of sleek techno-futurism. Released in April as the producer’s first single of the year, Castles pulses with urgency, creating a vibe akin to being inside a rapidly spinning kaleidoscope and further establishing DJ_Dave as one of the dance scene’s most exciting artists to watch. —KATIE BAIN

  • Ari Lennox, “Pressure”

    It was R&B radio that felt the “Pressure” applied by Ari Lennox’s breakout hit towards the end of 2021, when it was already clear from its rapturous fan reception that the song deserved to be a much bigger hit than it was. Luckily, the format relented in 2022, making the song a top 5 R&B/Hip-Hop Airplay hit and eventually a crossover Hot 100 success — well-deserved, if overdue, recognition for one of R&B’s brightest rising talents and possibly her most irresistible single to date. “Keep your eyes on me,” Lennox insists over a sweet, hip-swaying Shirley Brown groove; she’s got ’em now, for sure. —A.U.

  • Bonnie Raitt, “Made Up Mind”

    As described by Bonnie Raitt on the lead track to her excellent 21st album Just Like That…, “the serenade of a made-up mind” mostly consists of the sounds of silence: “The quiet behind a slamming door/ The break of a heart that won’t break no more.” Up to the Rock and Roll Hall of Famer’s guitars, then, to provide the punctuation, with fuzzy, ripped-up riffs that give the song both its muscle and its bite. Raitt herself doesn’t need to offer any extra commentary, just a sympathetic shoulder and a been-there nod for the next ex out there left standing alone when the music stops. — A.U.

  • Megan Thee Stallion, “Plan B”

    The 50 Best Songs of 2022 So Far: Staff List (4)

    Megan Thee Stallion’s “Plan B” started as a snippet from an untitled, unreleased track performed during the rapper’s set at Coachella. When a clip of the performance surfaced on Twitter, it almost immediately began circulating between fans begging for a recorded version – which they received just one week later. Sampling a remix of Jodeci’s 1995 hit “Freek’n You, “Plan B” finds Meg spitting scathing disses at her ex over THE swaggering throwback beat: “Still can’t believe I used to trust you/ The only accolade you ever made is that I f–ked you.” —HANNAH DAILEY

  • Orville Peck, “C’mon Baby, Cry”

    Orville Peck continues to subvert, transform and exceed the expectations of his audience with each new release. His new single, “C’mon Baby, Cry” is a masterpiece, arriving squarely at the intersection of camp and sincerity. The driving beat and simple guitar lines pair nicely with the masked cowboy’s crooning voice, which blasts up in the stratosphere as he asks his lover to just man up and let the tears out for once: “Take my hand and let it go/ You can call me up anytime/ C’mon, baby, cry.” —STEPHEN DAW

  • Ed Sheeran, “Shivers”

    Science notes that we shiver when excited due to an adrenaline surge in the body. In this similarly hormonal jam from his 2021 LP =, Ed Sheeran notes that this is the same biological reaction he experiences when considering such activities as kissing your eyes, drinking your smile and generally having you in very close proximity. Shivers are of course also what many of us get upon hearing Sheeran’s spare, slinky bop, which peaked at No. 4 on the Hot 100 in January and once again demonstrated the U.K. phenom’s unparalleled ability to write hooky power melodies that are — just like such tingles of excitement — simply undeniable. — K.B.

  • Fred Again & I. Jordan, “Admit It (U Don’t Want 2)”

    Two of the most exciting producers in U.K. dance teaming up was always going to be cause for celebration, but even moreso with the third name the duo roped into indirect collaboration: Ariana Grande. It’s herThank U, Next centerpiece (and oft-theorized Mac Miller tribute) “Ghostin” being chopped up here, with her heartwrenching “You don’t want to admit that it hurts you” cry on the song downpitched to near-unrecognizability, and looped for extreme visceral impact. In lesser DJs’ hands it might’ve come off as a cheap repurposing, but Fred Again and I. Jordan treat the weight of it with proper respect, using it as the beating, bloody heart for the year’s most devastating floor-filler. — A.U.

  • Jack Harlow, “First Class”

    Within three years, Jack Harlow went from zero to rap hero, and he highlights that journey in the aptly titled First Class.” Complete with a TikTok-viral interpolation of Fergie’s 2007 Hot 100-topping ode to a lavish lifestyle, Harlow displays how “Glamorous” he truly is with braggadocious lyrics like “They say, ‘You a superstar now,’ damn, I guess I am/ You might be the man, well, that’s unless I am.” He balances out his displays of success with a motivational “You can do it too, believe it” — proving that despite the accolades, he’s still Jack from Louisville, Kentucky. — RANIA ANIFTOS

  • Phoebe Bridgers, “Sidelines”

    The 50 Best Songs of 2022 So Far: Staff List (5)

    It’s hard to fathom that this song for Hulu’s Conversation With Friends seriesis Phoebe Bridgers’ first original song to be released since the slow-burn success of her 2020 album Punisher. But listening through “Sidelines,” you get to see her progress. Her signature alternative/lo-fi sensibilities are still right there at the forefront, but her lyrics are now marked by supreme confidence, with Bridgers declaring she’s “not afraid of anything at all” at the song’s start. Her tender vocals, as well as the swelling strings, give this song a sentimentality that would have felt out of place on a project like Punisher, proving that Bridgers is ready to take her next bold step forward in her career. —S.D.

  • Justin Bieber, “Ghost”

    It was impressive when Justin Bieber’sJustice single “Peaches” debuted at No. 1 on the Hot 100 upon the album’s release back in March 2021 — but maybe even moreso when the album’s “Ghost” finally climbed into the chart’s top 10 this February, the kind of slow climb that only the most A-list pop stars can manage these days for a single so deep into an album cycle. Not hard to see why pop radio ultimately found it undeniable though, though: “Ghost” is Bieber in his sweet spot, a yearning love song with a midtempo beat that never drags, production that keeps you engaged and a perfectly confusing-but-powerful refrain: “I miss you more than life.” —A.U.

  • Omar Apollo, “Tamagotchi”

    What can’t Omar Apollo do? On his debut studio album Ivory, the Indiana native takes a (successful) stab at a number of genres, including Y2K-infused Latin trap, alongside era-defining production duo, The Neptunes. “Tamagotchi” is the most sexy, summer-ready offering on the LP, fully-equipped with a Spanish verse from the Mexican-American singer and signature Pharrell-Chad breakdown. The song even caught Grammy-winning artist and friend Tyler, The Creator’s eye, the rapper playfully faulting Apollo via Instagram DMs for not promoting it enough. — NEENA ROUHANI

  • Becky G & Karol G, “MAMII”

    When Karol G tweeted this year, “An anthem is coming,” on Feb 3rd, she was not playing around: Becky G and Karol G joined forces to deliver this powerful reggaetón feel-good anthem for their first-ever collaboration — which also became the highest-charting song for both artists on the Hot 100 with its No. 15 debut. The track starts off slow, with melancholy guitar chords that set up what appears to be a spiteful song — but it quickly takes a turn, transitioning into a bouncy, uptempo hit that perfectly describes the empowerment you feel after letting go of a toxic relationship. Every word counts in their lyrics, especially the Karol outro: “Sometimes they don’t change for something better, and not even for something tastier.” —INGRID FAJARDO

  • Charli XCX feat. Rina Sawayama, “Beg For You”

    Upon first listen, Charli XCX and RinaSawayama’s “Beg For You” sounds like a faithful remake of September’s “Cry For You” — certainly not a bad thing, since the 2006 Europop classic deserves such a revival. But further spins of “Beg For You” reveal the nuances within the homage, as Rina and Charli utilize “Cry For You” as the foundation of a modernized ode to longing, playing off of each other vocally and using those U.K. garage drums as a springboard to a lighter-than-air chorus. —J. Lipshutz

  • Kendrick Lamar, Blxst & Amanda Reifer, “Die Hard”

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    On the heavy-hearted but not heavy-handed ”Die Hard,“ Kendrick Lamar bemoans why his past demons won’t allow him to be the best lover in the present. He tinkers with the questions “Can I open up? Is it safe or not?” over tinkering cowbells, and gets emotional assists from rising vocalists Blxst and Amanda Reifer, making the song avulnerable highlight from his Billboard 200-topping LPMr. Morale & the Big Steppers.The seasoned MC also earns new high marks with “Die Hard,” including his career-first Hot R&B Songs No. 1.HERAN MAMO

  • GAYLE, ‘abcdefu’

    Few songs will end up being as defining for the past year in pop music as GAYLE’s breakout hit, an inspired culmination of a TikTok-favored brand of kiss-off songwriting, with pop-punk edge, a catchy lyrical twist, and an absolute whopper of a singalong chorus. It’s already inspired a number of imitators (and maybe a parody or two as well), but few can match the potency of the original recipe — which not only crossed over to the Hot 100’s top five earlier this year, but was even bigger internationally, reigning on Billboard‘s Global 200 Excl. US chart for a record-tying nine weeks. —A.U.

  • Maren Morris, “Circles Around This Town”

    Maren Morris’ first brand-new single since scoring the biggest four-quadrant hit of her career with 2019’s “The Bones” sees her returning to her early days — somewhat literally. Humble Quest lead single “Circles Around This Town” not only revisits the crunchy guitars and roof-raising vocals of her breakthrough hits “My Church” and “80s Mercedes,” it also reminisces about the circumstances that inspired them, when she was still in Nashville spinning her wheels in “a Montero with the AC busted.” It’s a winning origin story — particularly when she finally arrives at writing “the one about a car and the one about a church” — and feels particularly satisfying because “Circles” itself could’ve easily been one of those difference-making cuts. — A.U.

  • Florence + The Machine, “King”

    The lead single off her first album in four years, “King” marked the beginning of a stunning comeback for Florence Welch. Produced by Jack Antonoff, the track applies urgency and importance to topics that are oftentimes trivialized – female power and self-indulgence, choosing between motherhood and career – by matching Welch’s rock ‘n’ roll vocal fry with a cathartic blend of steadily-intensifying acoustic instruments. Add to the mix a spooky supernatural music video featuring Welch snapping a man’s neck and using his corpse for an occult ritual, and you’ve got yourself an era-defining statement only Florence + The Machine could pull off. —H.D.

  • Harry Styles, “Late Night Talking”

    HarryStyles is the reigning king of soft love songs. Last album, he just wanted to adore you, and with “Late Night Talking” he’s here to do anything he can to help you through. With all the “let me kiss it and make it better” energy Styles could muster, the song is a lot less “Watermelon Sugar” and more in the realm of a polite summer bop. But the gentle repetition of “I can’t get you off my mind” is no less romantic than some of the louder tracks on Harry’s House. It’s not “Music For a Sushi Restaurant” as much as it is a song for slow grooving in the kitchen. —TAYLOR MIMS

  • Wet Leg, “Angelica”

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    A sunny guitar riff perks up this lyrically unsettling track, as indie-rock newcomers Wet Leg experiment with trippy instrumentation and absurdity. Per its songwriters, “Angelica” is about disenchantment, though you probably wouldn’t think so from focusing on its shimmery production. We follow the song’s title character on her social engagements in each verse, which escalate into her “obliterating everybody” with the rays of a sci-fi weapon, as a psychedelic musical breakdown ensues. “Angelica” represents what the Isle of Wight duo does best, delivering subtly cunning tracks with simple guitar-driven arrangements. — FRED SAHAI

  • Dove Cameron, “Boyfriend”

    A dark seduction waltz with a gender-flip twist could’ve ended up a mere TikTok novelty — or worse, an outdated pop relic from the50 Shades of Greyera. But Dove Cameron sells “Boyfriend” with a wink and a mischievous smile, leaning into the pause in “The universe must have divined this/ What am I gonna do, not grab your…. wrist?” and teasing “I could be such a gentleman… plus all my clothes would fit” like the charming villain who seems like a much better hang than the staid protagonist. The result is that all-too-rare thing in 2022: a legitimate surprise pop hit by an intriguing rising talent. — A.U.

  • Muni Long, “Hrs and Hrs”

    Singer-songwriter Priscilla Renea has reinvented herself as Muni Long, who had R&B fans swooning over her breakthrough single “Hrs and Hrs.” The titillating ballad details her and her significant other loving one another in affectionate showers (champagne and otherwise) until the end of time. After a decade of penning pop and R&B hits for other hitmakers, she earned her first Hot 100 hit under her own artist credit with “Hrs and Hrs” in 2022 — and with a new Def Jam deal, Long is playing the long game and cementing herself as a budding star in her own right. — H.M.

  • Fireboy DML & Ed Sheeran, “Peru”

    Wizkid’s breakthrough in 2021 with “Essence” seemed to kick open the door for Afrobeats to go mainstream in the U.S. — but an assist from a mega pop star, in his case Justin Bieber, certainly never hurts. In a similar vein, Nigerian pop starFireboy DML enlisted the chameleonic Ed Sheeran for “Peru,” his insistent earworm that has charmed radio and topped Billboard’s U.S. Afrobeats Songs chart and opened Stateside audiences up to his catalog. There’s a reason the track has caught on so much, and its catchiness has defined its staying power. —D.R.

  • Dua Lipa & Megan Thee Stallion, “Sweetest Pie”

    Dua Lipa and Megan Thee Stallion took fans on the ride of their life with a delicious collaboration that flawlessly combined one cup of Lipa’s candied vocals and one cup of Meg’s fiery verses, whisked together with a dollop of captivating chorus and baked to perfection. And, of course, no recipe for the “Sweetest Pie” would be complete without the Houston rapper delivering a clever yet scathing proclamation of female power: “Cesar Millan, I got his a– trained / Just tryna let a dog know who really run things.” —R.A.

  • Becky G, “Bailé Con Mi Ex”

    The 50 Best Songs of 2022 So Far: Staff List (8)

    A stand-out song from her Esquemas set, “Bailé Con Mi Ex” is a melodically-driven pop track that puts Becky G’s sweet, wide-ranging vocals at the forefront. What was supposed to be an English track and written for a man, the Mexican-American artist made her own, recording it in Spanish and from a woman’s POV. We love a hard-hitting reggaetón bop from Becky, but this slower, funkier, R&B-influenced track about a girl dancing with her ex really speaks to the veteran star’s versatility. —GRISELDA FLORES

  • The Weeknd, “Less Than Zero”

    TheWeeknd’smusical persona — nihilistic, prone to excess — has always read like a character in a Bret Easton Ellis novel, so “Less Than Zero,” the title of Ellis’s first novel (named for an Elvis Costello song) is a fitting title for a song about self-loathing. “Remember I was your hero,” Abel Tesfaye asks in a wistful voice, positioning himself as someone beyond saving, so far out of reach that he “will always be less than zero.” Oneohtrix Point Never joins Tesfaye, Max Martin and Oscar Holter, the production trio behind “Blinding Lights,” for a jogging beat, fueled by synthesizers with plenty of that 1980s flair — but “Less Than Zero” is breezier, softer and more reflective than other Weeknd songs, a perfect rearview choice for Dawn FM’s penultimate track.CHRISTINE WERTHMAN

  • Mitski, “Love Me More”

    “Love Me More,” off of Mitski’s post-hiatus LP Laurel Hell, finds her as desperate and hungry as ever — in this case, pleading for adoration over a frenetic ‘80s disco synth beat, with racing instrumentation matching the intensity of her chorus cries. Unlike most of her devastating love songs, “Love Me More” explores her relationship with fame and need for validation and reciprocation (“But when I’m done singing this song/ I will have to find something else/ To do to keep me here.”). To no one’s surprise, Mitski once again masters expressing the deepest desires we’re not supposed to admit to, without sacrificing the catchy flair of a dance-pop song – a triumph comparable to her breakout single, 2018’s “Nobody.”F.S.

  • Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & ‘Encanto’ Cast, “We Don’t Talk About Bruno”

    Maybe we’re not allowed to talk about him, but people were definitely listening to “Bruno,” with the secretive, salsa-tinged showstopper becoming only the second Hot 100 No. 1 from a Disney animated film, and the longest-running chart-topper (five weeks) for any song from a Disney movie. The song was built for repeat listening, with mile-a-minute lyrics and its finale of Les Miz-level vocal stacking. It even had its own TikTok trend, thanks to the meme-able way Camilo (Rhenzy Feliz) drawls those spooky “7-foot frame, rats along his back” lines. Basically, Lin-Manuel Miranda figured out how to make a song that perfectly advanced the Family Madrigal’s narrative, while also soundtracking countless school drop-offs and dramatic road-trip sing-alongs. – K.A.

  • Bad Bunny, “Después de la Playa”

    For his 2022 album Un Verano Sin Ti, Bad Bunny took his versatility to the next level, blessing fans with lots of perreo but also non-reggaetón bangers that touch on genres like dembow, bossa nova, alt-rock, and reggae, to name a few. Después de la Playa” perfectly encompasses this versatile summer soundtrack: a fast-paced mambo and merengue fusion that was recorded with a live band, making it without a doubt the most energetic song on the set. Debuting at No. 3 on the Hot Latin Songs chart, “Playa” is an ideal encapsulation of post-beach sundown adventure. —JESSICA ROIZ

  • Maggie Rogers, “That’s Where I Am”

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    Maggie Rogers, who for the past three years released no new music but earned a master’s degree from Harvard Divinity School, is also a master of genre-blending soundscapes. On the heartbreak lament “That’s Where I Am,” the lead single from her forthcoming album Surrender, Rogers offers a stuttering electronica intro, a full-energy rave-up, a cool acoustic guitar break, and aching vocals — all to bolster a chorus both philosophical and anthemic: “Even boulders turn into sand/ Wherever you go, that’s where I am.” All that’s missing is the festival full of fans sure to sing along to this one. — THOM DUFFY

  • Gunna & Future feat. Young Thug, “Pushin P”

    Sometimes, a song’s greatest strength is good old fashioned alliteration: “Pushin’ P,” the dizzying trap summit of Gunna, Future and Young Thug, found major success thanks in part to Gunna’s shape-shifting “P” slang (sometimes a reference to “keeping it player,” other times about “pushing paper”). But sonically, the track soars thanks to lines like “Pointers in the Patek and the piece, I’m pushin’ P.” All three rappers buy into the P-word rundown like they’re playing a game of Scattergories, and their combined swagger is simply too towering not to inspire. Listening to “Pushin’ P” provides an instant shot of confidence, no matter what “P” might mean to you. —J. Lipshutz

  • Yahritza y Su Esencia, “Soy el Unico”

    SoyElUnico was already a hit on TikTok just months before it was even released, becoming Yahritza y Su Esencia’s first-ever song. The sad sierreño, helmed by 15-year-old Yahritza Martinez on vocals and her siblings Jairo on the bajoloche (4-string acoustic bass), and Mando on 12-string guitar, became a relatable heartbreak anthem thanks largely to its ultra-personal and very relatable line, “Mucho tiempo me gastaste y eso no puedo recuperarlo/ Trato de olvidarte esta noche, como deberia de hacer hace tiempo”(You wasted a lot of my time and I can’t get that back/ I try to forget about you tonight, how I should’ve done a long time ago). Penned by Yahritza at the age of 13 after observing a real-life situation her brother Mando went through, “SoyElUnico” debuted at No. 1 on Hot Latin Songs, and hit No. 20 on the Hot 100, making the teen rising artist ​​the youngest Latin performer ever to enter the chart. — J.R.

  • Rosalía, “Saoko”

    Everything about Rosalía’s “Saoko” works. From the earworm hook “Saoko, papi,saoko” — which pays homage to Wisin and Daddy Yankee’s 2004 hit “Saoco” — to its hypnotic bass line and an unexpected jazz piano break, the Spanish artist keeps listeners on the edge of their seats as she energetically raps about constant transformation. The opening song on her most recent album, Motomami, this two-minute reggaetón banger with funk undertones is a quintessential Rosalía track for many reasons, but most notably for its experimental nature. — G.F.

  • Latto, ‘Big Energy’

    Latto shows a lot of personality on this pop/rap smash, which shot all the way to No. 3 on the Billboard Hot 100. The track interpolates Tom Tom Club’s 1981 pop-funk classic “Genius of Love.”Mariah Carey, whose 1995 smash “Fantasy” also borrowed from “Genius,” gave Latto’s breakout hit an extra jolt by hopping on its official remix, along with DJ Khaled. The song borrows the Gen-Z/Twitter term “big d–k energy” — which, as Latto told Billboard last fall, is something people of all genders can possess. “It’s an aura that you carry and a confidence,” she explained. “When you walk in the room, you have ‘big energy’ and no one can tell you otherwise.” – PAUL GREIN

  • Karol G, “Provenza”

    The 50 Best Songs of 2022 So Far: Staff List (10)

    Karol G is at that stage of her career where she can do no wrong — and with “Provenza,” she does just about everything right, pivoting masterfully from tried-and-true reggaetón and empowerment themes to deliver a different kind of female anthem. Set over a lilting calypso beat (courtesy of producer Ovy on the Drums, who knows this singer like no one else) Provenza” feels like an impressionist painting: wistful and sweet, even gentle, but with an undercurrent of strength. The video, which shows women of all shapes and sizes relaxing blissfully by the ocean without a guy in sight, makes us feel like we’ve been invited to a party open to all, but where we all get to feel special. The song’s grip on our collective imagination is so fierce, it allowed Karol G to replace herself at No. 1 on the Hot Latin Songs chart, a feat never accomplished before by a female artist. —L.C.

  • Kendrick Lamar, “N95”

    The 50 Best Songs of 2022 So Far: Staff List (11)

    “I’ve been goin’ through something/ Be afraid,” Kendrick Lamar cautions in the intro ofMr. Morale & The Big Steppersopener “United in Grief.” As it closes and gives way to “N95,” he wastes little time making good on that warning: in his first verse, he takes aim at everything from “designer bulls–t” to “fake woke” attitudes before clanging in with a loud “B-tch! You ugly as f–k!” as resounding as the song’s backing hi-hats. Sonically, it’s everything fans have been waiting for in the five-year gap between albums, complete with Lamar’s patented vocal fluctuations that come at a moment’s notice and production that allows him to puff his chest in its verses as easily as he croons in its bridge. Its combative lyrics are too, offering people plenty to chew on and dissect on umpteen listens. — J.G.

  • Lizzo, “About Damn Time”

    The 50 Best Songs of 2022 So Far: Staff List (12)

    “About Damn Time” isLizzoat her absolute self-loving finest. Starting with the most tremendous bassline of the year, the song is primed to “bring out the fab-u-lous.” (Or is it “fat b—chlust”?) As the first singleoff ofher upcoming albumSpecial(due out on July 15), the song proves that the newLizzo is as fun, flirty and clever as we’ve ever seen her — in fact, she “might be better.” Whether the song is being consumed via the music video with Lizzoin a glitter bodysuit or on constant repeat trying to figure nail the “Balenci-ussy’s” part (Or is itBalenciussy? OrBalenci-esies? Who knows?), “About Damn Time” is clearly just the beginning of a big year forLizzo. —T.M.

  • Doja Cat, “Woman”

    The 50 Best Songs of 2022 So Far: Staff List (13)

    You know you’re a star when you can create a chorus to a hit song mostly consisting of just one word over and over — but you know you’re a superstar when you do it with your album’s fourth single. “Woman” was the little Doja Cat song that could, percolating around the lower stretches of the Hot 100 seemingly forever, until its entrancing Afrobeats shuffle, brain-worming hook and clever and casually anthemic rap verses (“They wanna pit us against each other when we succeedin’, for no reasons/ They wanna see us end up like we Regina on Mean Girls“) wore down any remaining radio resistance. Now the third top 10 hit from her blockbuster Planet Her set, Doja’s “Woman” makes all Main Pop Girl debate for 2022 look increasingly childish. — A.U.

  • Harry Styles, “As It Was”

    The 50 Best Songs of 2022 So Far: Staff List (14)

    “You know it’s not the same as it was” is a pretty apt sentiment for the past two-plus years — but in the effervescent lead single from his Harry’s House LP, Harry Styles appears to be telling a much more personal story than just of how the world turned upside down for absolutely everyone amid the global pandemic. The song is so particular to Styles, in fact, that it kicks off with a sweet goodnight message from his goddaughter, and even name-drops himself in the verses (“Harry, you’re no good alone”). But the real magic trick of this deceptively upbeat hit is just what a perfect welcome mat it provided for the superstar’s homey third solo album, creating the exact right amount of anticipation for what other pop gems were on the horizon. For a song expressing loneliness and the inevitable evolution of relationships, you can’t help but turn it up when it comes on the radio and dance along to its synthy alt-pop beat — Harry-style, with arms beautifully flailing. – K.A.

The 50 Best Songs of 2022 So Far: Staff List (2024)

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