#and meet miley cyrus and breakout are SUCH good albums

[h-f-k]

Miley Cyrus releasing see you again when she was 15 years old… so iconic of her

[onestowatch]

Lollapalooza 2021: 15 Ones to Catch (Who Aren’t Headlining)

Lollapalooza is officially one week away, and wow does that feel good to say. As one of the first music festivals to welcome us back to festival season after a far too long hibernation, the annual festival, hosted at Grant Park in Chicago, Illinois, is set to bring the musical stylings of Tyler, the Creator, Miley Cyrus, Foo Fighters, Megan Thee Stallion, and plenty more. But, unless you’ve been living under a rock, chances are that you’re already more than familiar with the artists set to headline. So why not figure out who to see while you’re waiting to scream along to Call Me If You Get Lost.

From collectives who are moving beyond the need for genres to music that is just as likely to make you cry as it is laugh, these are 15 ones to catch (who aren’t headlining) at Lollapalooza 2021.

Peach Tree Rascals

When & Where: Sunday, 2 p.m. at Bud Light Seltzer Stage

Peach Tree Rascals’ Lollapalooza set has been a very, very long time coming. The Bay Area–bred collective has been steadily making waves with their genre-bending approach to indie-pop that calls to mind a more idyllic, lovesick BROCKHAMPTON (an act you should most definitely catch as well). And despite emerging a growing fan-favorite in the last couple years, the aforementioned rascals have yet to play a show, ever. With a headline tour that was canceled due to COVID, Lollapalooza will officially be making history as the first-ever Peach Tree Rascals set.

Tate McRae

When & Where: Saturday, 5:15 p.m. at Grubhub Stage

Tate McRae’s rise through the pop stratosphere has felt meteoric. First gaining fame at the young age of 13 for being the first Canadian finalist on So You Think You Can Dance, McRae has certainly come a long way to stand as one of the most promising voices in pop. With a vocal range more than powerful enough to deliver haunting dark pop ballads like “you broke me first” one moment and stand side-by-side with Khalid on the summer bop “working” the next, there are no two ways about it. McRae is a pop star in the making and this is your chance to catch her before her inevitable headliner status.  

Marc Rebillet

When & Where: Saturday, 9:00 p.m. at Grubhub Stage

Part-time meme and full-time artist, Marc Rebillet creates music with an unmatched comedic timing. It’s a comedic genius that has led to him getting a 24-hour ban on Twitch—for taking his shirt off in the middle of a stream, an act which I’m guessing Lollapalooza will be more than forgiving of giving his penchant for performing in a bathrobe. The self-described improvisational artist creates all his songs from scratch, resulting in an experience where no two live shows are quite the same. Come for the comedy, stay for the absolute dancefloor bangers.

Dayglow

When & Where: Thursday, 3:45 p.m. at Lake Shore Stage

Dayglow is sure to bring a smile to your face and put a pep in your step. Apologies if I sounded like my grandparents there, but there’s no denying the sonic sunshine that is Dayglow’s rapturous brand of indie-pop. Paying homage to the dance-inducing melancholy of ‘80s pop duets, it’s difficult not to get swept up in the Austin, Texas–bred artist’s hypnotic vision. It’s the sort of euphoric music that feels almost tailor-made for the return of festival season—drenched in sunny rays and brimming with infectious sincerity.

Giveon

When & Where: Friday, 4:45 p.m. at T-Mobile Stage

Before his breakout moment on Justin Bieber’s “Peaches,” Giveon was already charting his path for R&B domination. With an angelic and haunting baritone, each R&B rumination carries with it a palpable weight—an emotional turmoil that is only elevated by the minimalistic soundscapes which allow the proper space for his transfixing voice to fully shine. For a crash course on Giveon, check out a compilation of his two standout EPs, When It’s All Said and Done… Take Time. Or better yet, experience the magic of Giveon live.

Ashe

When & Where: Thursday, 6:30 p.m. at Grubhub Stage

Ashe creates effortlessly timeless music, blurring the line between the nostalgic songwriting of Fleetwood Mac and a modern-day folk-pop star. The sentiment is best expressed in her critically-acclaimed debut album, Ashlyn, which demonstrates the Los Angeles artist’s peerless songwriting acumen, toeing the line between rapturous euphoria one moment and deeply affecting storytelling the next. If you need a good laugh or cry, do not miss out on Ashe.

Sir Chloe

When & Where: Sunday, 12:45 p.m. at T-Mobile Stage

Fronted by Dana Foote and comprised of Teddy O’mara on guitar, Palmer Foote on drums, and Austin Holmes on bass, Sir Chloe’s music exists in the nebulous void of haunting dark pop and heart-rending alternative garage rock. The New York–based indie rock band originally started as a college project, birthed in the music halls of Bennington College, and now they’re set to take Lollapalooza by storm. With an impressive debut album, 2020’s Party Favors, under their belt, this set feels only the beginning for the bewitching indie outfit. 

jxdn

When & Where: Sunday, 3 p.m. at Bud Light Seltzer Stage

jxdn is the latest artist to make good on pop-punk’s continued resurgence. The first signing to Travis Barker’s DTA Records, the breakout singer-songwriter has found a fan in not only the blink-182 star but in Machine Gun Kelly, who jxdn is set to tour with this fall and makes an appearance on his debut album, Tell Me About Tomorrow. With an acclaimed debut album in the books and some of pop-punk’s biggest stars behind him, jxdn is sure to deliver a Lollapalooza debut for the ages. 

AG Club

When & Where: Friday, 7:45 p.m. at Grubhub Stage

AG Club, an abbreviation of avant-garde club, is a genre-less music collective that shares a lot in common with fellow Lollapalooza must-see act, Peach Tree Rascals, including a collaborative single. But don’t get things twisted, this Bay Area collective has their own vision in store for you. With a brash, in-your-face attitude, AG Club is likely to draw comparisons to the Saturation era of BROCKHAMPTON and glory days of ASAP Mob, but with their introspective, omnivorous approach, they deftly manage to emerge as an act all their own. If you want to go where the party is, don’t miss AG Club.

Tai Verdes

When & Where: Friday, 1:45 p.m. at Bud Light Seltzer Stage

Where would we be without TikTok? I, for one, would be without my preferred form of short-form entertainment and the world be without the infectious pop-R&B stylings of one Tai Verdes. Originally working at Verizon before his breakout single, “Stuck in the Middle,” became a viral hit on TikTok, Verdes is now one of the most promising and rapidly rising acts in music today. And with his debut album, TV, the viral star proved himself no one-hit-wonder, delivering a collection of tracks that span a range of emotions and genres that we cannot wait to experience live.

Dominic Fike

When & Where: Thursday, 7:45 p.m. at Grubhub Stage

Dominic Fike is a musical chameleon. First breaking out with his unassuming radio hit “3 Nights,” to only jump into the absolute vibe that is the Kenny Beats–assisted “Phone Numbers,” and culminate it all with the genre-spanning debut album, What Could Possibly Go Wrong, Fike is an artist whose limitations seem limitless. It’s a notion that plays out in his breathtaking live show, reworking his hits with an insatiable appetite until they’re songs that exist only in that singular moment. Fike’s is set you will not want to miss.

Oliver Tree

When & Where: Thursday, 9 p.m. at Grubhub Stage

Alternative auteur Oliver Tree is nothing if not unpredictable. Flaunting his signature JNCO jeans and an impressive professional razor scooter pedigree, the inimitable artist delivers on an infectious blend of alternative, electronic, hip-hop, and pop that defies any simplistic classification. And with his debut album, Ugly Is Beautiful, now out in the wild after a much-hyped cancellation and subsequent surprise release, Tree has more than his fair share of music to pull from. Plus, given his penchant for going in and out of retirement like he’s trying to break a record only known to him, it’s probably best not to miss this set.   

RMR

When & Where: Sunday, 2:45 p.m. at Tito’s Handmade Vodka Stage

RMR originally made headlines with his breakout single, “RASCAL,” a transfixing country trap ballad that saw the rapper donning a black balaclava and Saint Laurent bulletproof vest while rapping over an interpolation of Rascal Flatts’ “Bless The Broken Road.” Since then, the anonymous rapper has been spotted hitting the town with Sharon Stone and embracing his penchant for melodic trap in the Westside Gunn, Future, Lil Baby, and Young Thung–loaded Drug Dealing Is a Lost Art. Existing at the fusion of trap country and melodic rap, RMR’s Lolla set is one you’re not likely to forget anytime soon.

Chiiild

When & Where: Sunday, 12:00 p.m. at Lake Shore Stage

Nostalgic and novel, Chiiild’s self-described brand of “synthetic soul” is nothing short of intoxicating. Setting its own sauntering pace, Chiiild’s unique take on R&B and soul takes on a cosmic energy, as if floating through a wormhole with nothing but a single cassette deck on hand. It’s a testament to the Canadian band’s all-encompassing approach that draws upon not just R&B and soul but psychedelia, jazz, indie, and pop to craft a sound that is all their own. Take a trip on Sunday, and meet us at Chiiild.

All Time Low

When & Where: Thursday, 6 p.m. at Tito’s Handmade Vodka Stage

Because teenage you wasn’t old enough to convince your parents to let you see All Time Low the first time “Dear Maria, Count Me In” was trending.

[goddamnfight]

Meet Miley Cyrus was Miley’s only truly good album... I mean breakout was alright but meet Miley Cyrus is the shit.

[zestycactus]

Now here is the miley list! @serenaelisabet enjoy!! Also tagging @dany36! Now I want to listen all of Miley’s albums lol

Miley Top 5

Meet Miley Cyrus:

See You Again

East Northumberland High

Good And Broken

G.N.O. (Girls’ Night Out)

I Miss You (it’s a song she wrote dedicated to her grandpa. In her memoir Miles To Go she wrote about how close she was to him as a kid and how she wrote the song when he passed away. So when I watched her Best of Both Worlds tour DVD and she showed a slideshow of pictures of the two of them that’s when the waterworks came. I think it’s the only time a concert DVD could make me cry lmao)

Breakout:

7 Things

Full Circle

Fly on the Wall

Breakout

Wake Up America

The Time of Our Lives (even though it’s a seven song EP lol):

Party in the USA

When I Look At You

The Time of Our Lives (this song is co-written by Kesha!!!)

Kicking and Screaming

Talk is Cheap

Can’t Be Tamed:

Liberty Walk

Who Owns My Heart

Can’t Be Tamed

Robot

Every Rose Has Its Thorn

Bangerz:

We Can’t Stop

SMS (Bangerz)

Wrecking Ball

4x4

On My Own

Miley Cyrus & Her Dead Petz (this was hard lol the album is 23 tracks):

Karen Don’t Be Sad (when I first heard this song I’m like hmm it’s ok and then later I read that Karen in the song is a trans woman and I heard it again and it all clicked into place. It’s a beautiful song)

Space Boots

1 Sun

Slab of Butter (Scorpion)

Pablow the Blowfish

Younger Now:

Rainbowland

Younger Now

Malibu

She’s Not Him (bi and pan representation 2017)

Inspired

[deadcactuswalking]

REVIEWING THE CHARTS: 10th November 2019

I think I should give an update on what I’m listening to as I don’t often do that on this show. Hold on, let’s check my last.fm... oh, yeah, 300 scrobbles for Weezer – in the past week. I really have hit rock bottom.

Top 10

For what should be the sixth consecutive week now, “Dance Monkey” by Tones and I is at #1, and somehow that’s the only thing staying stable amongst all the chaos as while I’d like to think this was a relaxed week where it cleared out everything from the JESUS IS KING album bomb and left only the remnants of that busy week, it really wasn’t, and instead was a full-on avalanche by its own accord.

The first most obvious example of that is “Don’t Start Now” by Dua Lipa, debuting at #2, and that’s pretty much the only example of this week’s generally manic appearance in the top 10, as the huge comeback single becomes Dua Lipa’s 12th UK Top 40 hit and her seventh top 10 hit, her first top 10 since “Electricity” with Silk City peaked at #4 in 2018. I’ll be speaking more in depth about that song later.

Otherwise, we don’t have much interest in this first ten songs. “Ride It” by Regard featuring Jay Sean (By technicality) is down one spot to number-three.

Unfortunately, this has opened up possibilities for Ed Sheeran and “South of the Border” featuring Camila Cabello and Cardi B up a space to number-four.

Also down one space is “Circles” by Post Malone, surprisingly, at number-five, as I saw this as possibly making a run for #1 but that doesn’t seem as likely with the monster that “Dance Monkey” is.

“Lose You to Love Me” by Selena Gomez is down three spaces off of the debut to number-six, as I expected.

Staying steady at number-seven is “Good as Hell” by Lizzo featuring Ariana Grande.

Also still at number-eight is “Memories” by Maroon 5.

Now we have two one-space fallers at the tail-end of the top 10, first of all “Bruises” by Lewis Capaldi at number-nine. I don’t even know how this is still here.

Secondly, and finally to round off the top 10, “Outnumbered” by Dermot Kennedy at #10.

Climbers

There aren’t many climbers here at all but the only two notable climbers are in the top 20 and look like foreshadowing of hits to come, so that’s notable in itself, although very unfortunate as despite me being relatively ambivalent on the pretty decent “This is Real” by Jax Jones featuring Ella Henderson moving up 11 spaces to #19, I am immensely displeased about “hot girl bummer” by blackbear peaking higher than the original “Hot Girl Summer” as it reaches the top 20 at #18 after a seven-space boost, as if this hack needed any more attention put on him.

Edit: I forgot about Niall Horan’s “Nice to Meet Ya” up eight spots to #26 this week, which I’m happy about since it’s a great song and I’d love to see it find its way into the top 10.

Fallers

There aren’t actually as many fallers this week, or at least less than I expected, but there’s still a couple notable fallers to talk about here, such as “Follow God” by Kanye West down nine spaces to #15 off of the debut at #6 last week, as well as other losses for most of the debuts from last week (Well, those that are still on the chart), those being “Floss” by AJ Tracey featuring MoStack and Not3s down five to #27, “Orphans” by Coldplay down five to #32 and “Look at Her Now” by Selena Gomez down 13 to #39. Also losing out on five spaces this week at #33 is “Take Me Back to London”, a former #1, by Ed Sheeran and Stormzy, and remixed by Sir Spyro featuring Aitch and Jaykae.

Dropouts & Returning Entries

We actually do have a re-entry this week and it’s “Graveyard” by Halsey back at #40, meaning we have eight drop-outs, most of those being established smash hits finishing up their run, those being “Sorry” by Joel Corry featuring uncredited vocals from Hayley May from #32, “Ladbroke Grove” by AJ Tracey out from #35, “Senorita” by Shawn Mendes and Camila Cabello out from #36, “Taste (Make it Shake)” by Aitch from #37, “3 Nights” by Dominic Fike from #38 and “Don’t Call Me Angel (Charlie’s Angels)” by Ariana Grande featuring Miley Cyrus and Lana Del Rey from #39, as well as, of course, Kanye West’s two hits from JESUS IS KING that debuted last week, “Selah” featuring uncredited vocals from Sunday Service, Ant Clemons and Bongo ByTheWay out from #19 and “Closed on Sunday” with A$AP Bari out from #20.

ALBUM BOMB: Krept & Konan – Revenge is Sweet

On the 1st of November this year, British trap duo Krept & Konan released their sophomore album Revenge is Sweet and it peaked at #5 on the albums chart. I haven’t listened to it because I personally don’t care much for the two rappers, but they are big enough to land two hits in the top 40, one of which was released as a single prior to the album but both bearing high-profile features, so I’ll have to talk about them.

#28 – “G Love” – Krept & Konan featuring Wizkid

Produced by P2J

First of all, I obviously do not have as much to say about Krept & Konan than I do about Kanye, so this will be a shorter episode in comparison to last week with JESUS IS KING since there’s a lot less to unpack and I have a lot less passionate opinions about the duo (Which, considering how disappointed I was with that album, is probably not a bad thing). This is pre-release single, “G Love”, Krept & Konan’s fourth UK Top 40 hit, and it features Nigerian singer Wizkid, who makes his second ever appearance on the chart. For what it’s worth, I actually very much enjoy Wizkid whenever he appears, usually bubbling under the top 40 with songs featuring Drake and Skepta, as he has a lot of charisma; honestly, I’m surprised this is his only his second appearance on the chart, and his first since “One Dance”, a Drake song featuring him and Kyla hit a record peak of #1 in 2016. It’s a pretty odd collaboration for Krept & Konan, but then again, Wizkid did a song with Skepta as well, so this could be good – and is it? Well, it isn’t a good first impression when the otherwise nice synths are clipping pretty badly but it doesn’t exactly create a bad vibe or atmosphere, and while Konan sounds half-dead on the hook, Wizkid’s high-pitched Auto-Tuned croon is pretty vibrant. Konan is equally dull on the verse, although admittedly both he and Krept have pretty funny opening lines, even if Krept is mostly talking about emojis for half of his verse (Not even kidding, apparently if you cross him, you’ll get emoji knives). I don’t really have an opinion about this song, to be honest, it’s a pretty generic Afroswing beat with some squeaky vocal samples, and Krept and Konan both sound like they did a one-take whilst high and left. There’s a weird empty space between the verses and chorus as well, it genuinely feels a bit janky at times (God, I haven’t used that word in ages). Wizkid doesn’t even have a verse, so this is pretty boring. Let’s hope the next song can redeem the duo...

#23 – “Tell Me” – Krept & Konan featuring D-Block Europe and Ling Hussle

Produced by Dabeatfreakz

Okay, so this is more in Krept & Konan’s wheelhouse and has honestly got me pretty excited because D-Block Europe are the funniest men in UK trap right now, and I don’t think they even realise it. Anyway, this is Krept & Konan’s fifth UK Top 40 hit, D-Block Europe’s sixth, and it’s actually also a pre-release single (Hell, this one’s got a video). If you’re wondering who Ling Hussle is, well, she’s actually an upcoming rapper and singer who hangs around these guys, seemingly, and hasn’t actually been able to crack a million views yet from what I can gather, so this really is kind of her breakout single and obviously her first to hit the UK Top 40. Can these five rappers make a cohesive posse cut? Well, of course not, it’s D-Block Europe, but they try, bless them. First of all, this really isn’t a Krept & Konan song, Konan is definitely there even if he’s drowned in Auto-Tune that makes him unrecognisable, but Krept has a really short verse, and Ling Hussle straight-up doesn’t, instead providing an admittedly pretty sultry hook with Young Adz, who somehow cannot handle the simple melody that Ling Hussle lays down and kills, having a stroke on the pretty bland piano-trap beat as he tends to do. Krept is also pretty pathetic here, with a hilarious falsetto that genuinely made me chuckle – although that was probably unintentional. The end of Krept’s janky verse is hilarious, with the beat just barely there, and it mostly being breathing sounds and one-syllable ad-libs while Krept barely gets words out, and it’s all drowned in Auto-Tune with so much weird empty space. It’s so bizarre, to the point where Young Adz’s obnoxious singing about wanting the woman to open her legs so he can “watch her pee” sounds pretty for-the-course. Genius annotators just gave up on Konan’s verse, and he and Dirtbike LB are easily the least interesting here, although Konan does spend much of his time making some strange, misguided metaphor for guns using Maggie Simpson. He probably has the best verse here, as it’s the only one that doesn’t completely collapse midway through. I can’t help but like this, though, because everything goes wrong at some point and no-one even attempts to fix it, much like all of D-Block Europe, who I’m starting to think are my favourite UK rap artists because they are so unashamedly awful that whilst most of their music is unlistenable, any deeper analysis forms a new genre I like to call Post-Cubist era trap-rap.

NEW ARRIVALS

#37 – “Opp Thot” – Poundz

Produced by HARGO

“I could never wife your opp-thot. Give me that neck, come bop-bop. I just want to jeet and skeet, don’t use no teeth, girl, give me that slop-top.” How poetic. It’s a viral song from Poundz, and hence his first UK Top 40 hit, and I have such little expectations that this could be Nostalgia Critic’s version of The Wall and I’d praise it to hell and back as if it were by Floyd. Seriously though, this isn’t actually that bad. Lyrical density isn’t there but I didn’t expect it to be, and the mixing on the version that is used for Spotify adverts might actually be better as the hi-hat is too centred with Poundz’s multi-tracked and kind of hurts my ears actually. There are actually some cool lines here, and punchlines that make me understand the viral success, like when he kicks someone “out like Brexit”, the loveable way in how he says he’ll shoot you (“Man get hit with the ostrich bird”), how he makes people run away from him “like Scooby”, and a couple of other funny pop culture references about Tetris, Snapchat and... getting your enemy sprayed like Fireman Sam. Yeah, that line won me over, because the beat is just a menacing piano line with some skittering trap beat behind it and honestly nothing all too special. It isn’t that bad though, there is some talent here.

#35 – “Break Up (Bye Bye)” – Cast of RuPaul’s Drag Race UK

Produced by Leland and Frederick William Scott

Features uncredited vocals from Jade Thirlwall

...Huh? Okay, so I knew of the new British edition of RuPaul’s Drag Race (Graham Norton’s a legend) but I actually have no idea how the “drag race” works. I know what drag queens are and do (If “drag queens” is the right term), but I don’t know the format of the show at all – although I know the American edition has probably been around for decades at this point. The people on the American show do release promo singles but they don’t ever get close to charting anywhere so I usually don’t have to worry about any of this, but I am a complete outsider to whatever fanbase this has, and that seems to be a sizeable portion of people since this did chart. So, I did some vague research and found out that this was written by MNEK, who you should know from “Never Forget You” and several other hit singles, for the fifth episode of the show, and is credited under the name “Frock Destroyers”. Classy. Listen, this is the cast’s first UK Top 40 hit, and I do not understand the show, I’m just going to make this clear because I won’t understand the song either (In fact, there are two songs and they have the same name but one of them is by “Filth Harmony” so I’m even more confused). Anyway, about the song: the horns sound really cheap and gross, as do the hi-hats and the awfully-mixed instrumentation in general, so much so that I’m actually distracted by the very questionable lyrics, mostly because of the awful bass mastering that isn’t only clipping but it just doesn’t have any impact in the drop. It’s not like the chorus is anthemic as it’s supposed to be either, because it just feels so rushed and random. The female lead vocal is delivered by Jade Thirlwall of Little Mix so it’s not like it isn’t a good performance, but it is so inconsistently mixed in comparison to what I’m assuming are the drag contestants, who are so much louder than everything, especially the second verse. It’s pretty catchy, admittedly, but this really is a bit of a trainwreck production-wise. I guess I’ve officially been frock-destroyed. Whatever that means.

Edit: I listened to the other version and it might actually be worse lol

#31 – “Kiss and Tell” – AJ Tracey and Skepta

Produced by Skepta

More UK trap? Okay, well, it was actually a pretty big week for the genre as AJ Tracey and Skepta are also here with their eighth and 15th UK Top 40 hit respectively, “Kiss and Tell”. AJ Tracey had a song debut last week which was okay and I’m generally indifferent towards the guy although his debut album was pretty lacklustre, and I’ve always been a Skepta fan, so in a way I’m excited to hear but I am worried that it could be pretty dull as well, considering AJ Tracey’s got top billing... but it is Skepta-produced and I haven’t heard many bad beats from the man, and this one is definitely very cute, with the twinkling synth melody and otherwise typical trap beat and 808s, as well as a haunting vocal loop. Honestly, everyone kills it here. Sure, “kiss and tell” doesn’t rhyme with “Astroworld”, but AJ Tracey’s flow in the first verse is insane, with some really great lines, especially the hilarious closing line about... something falling off a chair, let’s just say that. Seriously, this is probably AJ Tracey’s best ever verse, it’s rapid and slick, and works especially with his voice. Skepta also delivers a slightly slower verse here, but his flow is janky at times, and takes awkward pauses despite moments where he really kills it – in fact this verse parallels most of his discography. Skepta can be awkward and inconsistent but when he really kills it, I’m amazed, and he does impress me with his flow here sometimes, but AJ really shines on this song. I didn’t have much to say about that one, but it’s actually pretty great. I hope this isn’t a fluke, because if this is how AJ is coming in on his second album, it could be one of my favourite hip-hop albums of next year. We’ll see, but for now this is great.

#30 – “Thumb” – M Huncho and Nafe Smallz

Produced by Quincy

While these names may seem alien to you, they’ve actually charted before. Nafe Smallz and M Huncho both appeared with Gunna on the Plug’s “Broken Homes”, a song I wish I enjoyed more than I did, and Nafe also appeared on a pretty awful Skepta single called “Greaze Mode” (Probably a candidate for, if not, his worst song), so this is their second and third UK Top 40 hit respectively. The BBC refused to give it any cover art on their page, so I guess that could mean anything... but it most likely means that this is garbage, because this really is some awful, unforgivable dreck. First of all, let’s talk about the lyrics and structure for a bit. There are two renditions of the chorus, they’re both exactly the same, over-long two-part hooks delivered by M Huncho. There is one verse in the middle and it is entirely a trade-off between the two rappers, with Nafe Smallz being considerably more sexist and disgusting in his verse where he delivers a frankly terrible Young Thug impression. I understand that rap music has a lot of misogyny and disrespect towards women, hell, I have to acknowledge that as someone who just praised a song called “Opp Thot”, but at least have some attempt in hiding your lack of respect or sympathy for women, or being somewhat respectful in how you say everything, or at least funny in how over-the-top you’re being, perhaps. What Nafe Smallz says about the “slut” and “thot” that he doesn’t actually make effort to have sex with and just watches whilst smoking is frankly really revolting and upsetting, especially because it got into the UK Top 40 which really should say something about us as a music-listening public, that we let this get so high. Nafe Smallz’s meek, high-pitched, nasal voice is aggravating, so much so that M Huncho’s unintelligible murmuring in the intro might actually sound better. The beat has some infuriating bass mastering as most cheap UK rap does, and overall it sounds pretty type beat. M Huncho doesn’t necessarily sound bad here, but his Auto-Tuned flow does very little to change and makes the three-minute runtime feel exhausting. Admittedly, some of Nafe Smallz’s inflections sound pretty, and M Huncho’s stammering is lazy, evening the awfulness out between the two rappers out pretty well. Also, was there really any need for the whole theme of the song being about putting thumbs in... female posteriors? The outro is literally just “put my thumb up in her butt” repeated on loop. Yeah, no, I don’t like this. Next.

#2 – “Don’t Start Now” – Dua Lipa

Produced by Ian Kirkpatrick – Peaked at #30 in the US

This is the massive debut this week from pop singer Dua Lipa, one of my favourites voices in pop music right now actually, and someone who has grown on me immensely in the past year, although some of the songwriting still isn’t as strong as it should be and she still has a tendency to slip into the background of her own production. I’m hoping for that to change with her sophomore album, and this is (Probably – “Swan Song” still exists) the lead single off of that record. The cover art is going for a vaguely late-90s early 2000s look, and I’ve heard this is a more straight-forward dance-pop tune, so I’m hyped to listen to this... and yeah, as I expected, this is pretty great. Initially, I wasn’t actually impressed with the flavourless piano intro, but as soon as it kicked into full gear I knew the hype around this was worth it, because that bassline is INCREDIBLE. As someone who has recently found a lot of love for house music, this bassline is one of the best I’ve heard from the genre, and this is very much house, almost like French house to some extent, but also very nu-disco, meaning the cover art is very fitting for the era that both it and the song are attempting to replicate. Dua Lipa sounds great as she always does, going into her higher register with rhythmic, multi-tracked, almost-rapping cadences in the verse, but taking a sudden shift to a sweet diva vocal in the pre-chorus, which is beautiful, as the pianos sound good on their own, but the squealing synth comes in at the perfect time along with the hi-hats, the song is just so intricately structured... then we get the drop, which is just great, as well go back to the minimalist house beat where Dua Lipa aggressively tells off this ex who has just started putting any effort into the relationship after it ended, with sassy inflections and... random sound effects, which I’m not complaining about. The slick, disco guitar and groove in the second verse accentuates Dua’s lyrics detailing how he tried to break up with her, almost implying a manipulative or toxic relationship. The second drop is somehow more impressive than the first, with a stuttering “Don’t” hinting at the drop prior and some sampled cheering that, much like the cowbell, is a random sound effect, but adds more punch to the chorus. Once the post-chorus hit, I had to take a break from writing and genuinely calm down, I was really overwhelmed with everything happening, yet it doesn’t feel cluttered because everything comes in at the right time, sometimes when you don’t even expect it to, and the mixing is great, far from over-produced even as while it’s pure pop with a lot of manufacturing, it feels a lot more organic especially with the post-chorus, which is just gorgeous. I don’t want to even spoil it for you or myself anymore, so I think I’ll actually leave it at that. My commentary will just cheapen how brilliant this song’s climax, is, really. This is an amazing record and one of, if not my favourite song from Dua Lipa. I hope this has as much success in the US because if this doesn’t get on one of my year-end best lists for 2019 or 2020, I will be severely disappointed.

Conclusion

Well, it should be obvious, right? The Best and Worst of the Week go out pretty easily, Dua Lipa getting the Best of the Week for “Don’t Start Now”, and M Huncho and Nafe Smallz getting Worst of the Week for “Thumb” which is just gross. Honourable Mention is obviously going to AJ Tracey and Skepta for “Kiss and Tell” although Dishonourable Mention is a bit harder. I think I can’t go with the Drag Race because that would be unfair – it’s a bad song, sure, but if I understood the show more, maybe I’d see the appeal. I don’t want to step on too many toes, either. “G Love” is unremarkable, as is “Opp Thot”, so I’ll probably go with “Tell Me” by Krept & Konan featuring D-Block Europe and Ling Hussle. I hope you enjoyed reading, I’m off to listen to Pinkerton again probably, and I’ll see you next week, hopefully it’s not as busy.